Summer Of Glaciers / Concentric
| Album: | Concentric | Collection: | General | |
| Artist: | Summer Of Glaciers | Added: | Apr 2010 | |
| Label: | Ascender Descender | |||
A-File Activity
| Add Date: | 2010-06-20 | Pull Date: | 2010-08-22 |
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| Week Ending: | Jun 27 |
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| Airplays: | 1 |
Recent Airplay
| 1. | Aug 25, 2018: | Buford J. Sharkley Presents: As Told to Hervey Okkles
Touching Down (Feat. Emil Rapstine) |
2. | Jun 22, 2010: | The Orphanage
Worker Bee |
Album Review
Adam Pearson
Reviewed 2010-06-16
Reviewed 2010-06-16
On the upbeat, poppy side of instrumental, posty rock; touches of electronica. Definitely composed on a computer using sequencers and such – very exact percussion and interweaving, precise melodic guitar layers. Not only that, though, the drums lack oomph and little things like that really tip off that this was probably done entirely in Reason. Can be a little boring, but also kind of pleasant. This is a gapless album so be aware that the tracks bleed into each other. No FCCs – all instrumental except 10.
1. Light atmospheric pad supplemented by rhythmic, riffy guitars; layers of texture give piece some groove, drums are almost dancey in parts. (4:59)
2. Again, drums area almost glitchy, trippy when they come in. Little riffs are built on with lush distorted layers; not shoegazey. (4:34)
3. More electronic-y beginning, steady 16th note guitar tones lay the rhythmic groundwork with the trip-hoppy drums for light piano tinkling; distorted guitar comes back in and it gets a bit cheesy. Sounds like the bridge features distant steel drums. (4:52)
*4. Subtle mellow guitar augmented by shimmery, trippy effects. (1:50)
5. Contemplative guitar gets some future-sci-fi treatment; somehow gets a little bit carnal and sexualized; second half of track has forced ‘epic’ drums. (3:36)
6. Could not really distinguish where this track began after the last one, maybe it’s a more spaced out and ringy approach to the same phrase? Drums pick up big time for outro. (4:34)
*7. Digital-sounding persistent rimshot anchors the stompy, stuttery guitar lines and movement forward with prominent high bass tones. (2:54)
8. Abrupt shift from previous track, arpeggiating ascending layers of sequenced tones are built on with fluid guitar work. Not bad at all.(4:07)
9. More melancholic tinge to this one, flickery, blippery, cool warped melodic instrument, drums pick up for big bass drum outro. (2:41)
*10. Sampled male vocals and cooing backing vocals; nice uneasy atmosphere, dramatically pulled off for the most part. (5:43)
11. Settles on a nice interlocked rhythmic groove, slowly builds as riffs recycle and add on new bleeps and textures and ultimately climaxes in a wash of static and some feedback. (8:48)
1. Light atmospheric pad supplemented by rhythmic, riffy guitars; layers of texture give piece some groove, drums are almost dancey in parts. (4:59)
2. Again, drums area almost glitchy, trippy when they come in. Little riffs are built on with lush distorted layers; not shoegazey. (4:34)
3. More electronic-y beginning, steady 16th note guitar tones lay the rhythmic groundwork with the trip-hoppy drums for light piano tinkling; distorted guitar comes back in and it gets a bit cheesy. Sounds like the bridge features distant steel drums. (4:52)
*4. Subtle mellow guitar augmented by shimmery, trippy effects. (1:50)
5. Contemplative guitar gets some future-sci-fi treatment; somehow gets a little bit carnal and sexualized; second half of track has forced ‘epic’ drums. (3:36)
6. Could not really distinguish where this track began after the last one, maybe it’s a more spaced out and ringy approach to the same phrase? Drums pick up big time for outro. (4:34)
*7. Digital-sounding persistent rimshot anchors the stompy, stuttery guitar lines and movement forward with prominent high bass tones. (2:54)
8. Abrupt shift from previous track, arpeggiating ascending layers of sequenced tones are built on with fluid guitar work. Not bad at all.(4:07)
9. More melancholic tinge to this one, flickery, blippery, cool warped melodic instrument, drums pick up for big bass drum outro. (2:41)
*10. Sampled male vocals and cooing backing vocals; nice uneasy atmosphere, dramatically pulled off for the most part. (5:43)
11. Settles on a nice interlocked rhythmic groove, slowly builds as riffs recycle and add on new bleeps and textures and ultimately climaxes in a wash of static and some feedback. (8:48)
Track Listing