Written by: Loveloth
In an ocean of similar sounding post-everything bands, Astronoid clearly stand out. Each time I listen to them, I go to places, places that are far above all our tellurian and insignificant issues. While this feeling of elation isn't something new to me, Astronoid awaken something very specific in me. Despite existing for seven years now, Astronoid grabbed a lot of people's attention back in 2016 when they burst on to the scene with their debut Air, which brimmed with energy and creativity. It was a really good record so I wondered how their follow-up will sound, and I got my answer recently in the shape of Astronoid. I was a bit confused why they opted for such a simple title but after acquainting myself well with the record I realized what they were going for. But more on that later.
For the uninitiated, Astronoid revel in reverb, delay-heavy guitar work which, when combined with Brett Boland's falsetto's and Matt St. Jean's energetic and fast drumming, creates an ethereal and otherwordly atmosphere, but it's still intense and vivacious. I'll admit that this doesn't sound very original but make no mistake, as soon as you hear them, you'll realize they're something special. And while I didn't agree with them being labeled as "dream thrash" before, it definitely makes more sense now. You see, unlike Air, Astronoid doesn't rely as much on blastbeats or aggression. Instead, the band opted for a more varied and even punky (regarding the drums) approach.What we get is something that isn't that much different from Air, but it needs not be because of the quality the band possesses.
The record sets off with "A New Color" which is standard Astronoid business. It's fast, uplifting, has wonderful guitar harmonies, and Boland's characteristic vocals that you'll either love or hate due to his higher register and often usage of falsetto that is akin to Agent Fresco, Arcane Roots and most importantly Mew, who are a big inspiration to the band. Funnily enough "A New Color" is actually one of the weaker tracks but serves as a nice segway into the more interesting stuff that is down the line.
"Lost" is one of those tracks. Be it the gorgeous build-up, breathtaking breakdown or that nasty riff, this track is Astronoid at their best. Their sense of crafting sprawling and richly ambient compositions is superb and that sense of wonder I mentioned never left me, even when on repeated listens. Beauty and elusiveness hides all over Astronoid and I am certain that everyone will be reminded of different things when listening to it.
However, there is fair deal of repetition on this record but Astronoid use it as another tool for immersion and it works most of the time. "I Wish I Was There While The Sun Set" is a solid example of this but I need to mention that break near the fourth minute mark which caught me off guard because it reminds me of Motorhead that played post-rock. That bass tone is too good to ignore.
Speaking of which, the production. Magnus Lindberg (of Cult Of Luna) did an excellent job with the mastering but it would be pointless if the mix wasn't as good as it is. Drums are punchy but not overpowering (that snare sounds amazing), the bass is rich and chunky but is in that sweet spot between the guitars and the drums, you know, the place where it should be. The vocals are above everything but don't suffocate the instrumentation. What I am trying to say is that I really like how this record sounds.
Now, back to the introductory paragraph. I think the band chose the name Astronoid because it perfectly represents them as a band and the journey that led them to this point where they are at. It's obvious, but you can hear that youthful passion, energy and drive in the songs and I do love hearing genuine art because it's not as common nowadays. There is one issue that is holding this record back a bit though, and it has to do with Boland and his one-note approach to vocals. I sincerely hope he changes things up, or that the band adds more of them on their next release.
Overall, Astronoid may not possess that shock value Air had, but it's still a worthy successor to one of the most exciting debuts in recent memory. "Water", "Fault", "Ideal World" or "Breathe" all show a band that is confident and love what they do. I just hope they exit their comfort zone a bit. In any case, I am excited for their future, just as I was almost three years ago. History repeats itself.
Astronoid - Astronoid was released Feb 1st. from Blood Music
As someone who spends an inordinate amount of time confronting rough drafts, the process of heartfelt revision is something I can certainly appreciate and applaud. In 2010, as a one-man outfit, Becoming the Lion’s Ghosts Of A Fallen Soldier began life as an illustration of the homecoming and attempted emotional reconciliation of the titular soldier. In 2018, after adding vocals (and two bandmates, no less!) the bones of the original EP have been realized in flesh.
And to be frank, Ross Blomgren’s original instrumentation possessed rough-hewn edges. More importantly, however, these compositions revealed, through the cracks and under the dull synths, the post-metal sensibilities of God As Astronaut, the proggy melancholy of Tides from nebula, and the angst of Deftones. A potent and evocative mix, to be sure. The 2018 release, I am pleased to announce, does not lose or limit that core identity--indeed, it maintains those best qualities and significantly improves upon its weaknesses. That said, the freshly minted arrangement simultaneously adds new challenges for Becoming the Lion to confront.
First, the remarkable improvement. With the addition of a drummer and guitarist, (Dan Mazur and Dennis Paterkiewicz, respectively,) the original tracks are imbued with a significant weight. The riffs are somber, and the drums, rather than loosely hanging in the detached programmed void, feel grounded--rooted, even. The issue with so much post-rock/metal is a tendency to float...but not so here. In this sense, Becoming the Lion recall the ability of Russian Circles to place the audience in a percussively concrete time and space. From an instrumental perspective, Ghosts Of A Fallen Soldier is a marked success. The gentle atmospherics draw the listener in. The delay-ridden keys deploy subtle tethers, keeping them entranced. The package isn’t quite proggy in it’s experimentation, but the dynamics between clean and moderately hefty guitar tones work inordinately well with the ambiance. Vocals, particularly in the case of Rally at the Battlefront and standout Ready, Aim, Fire, brings a glorious (and necessary) melodic element. Melancholic, desperate, and borderline tortured at times--when these vocals work, they work very well in portraying the EP’s central character.
As alluded, Becoming the Lion displays some room for improvement. The vocals, while pleasingly emotive and undeniably successful at reinforcing the ambiance established by the guitar, occasionally falls away from the instrumentation, seemingly walking its own path with no clear destination. The introductory verse and pre-chorus on Too Late Now, for example, feels disconnected in a manner that isn’t quite reconciled by the general sense of confusion and tragedy. Otherwise, the EP falls a little flat on the tail end--after the sinister We Should Have Turned Back, I was hoping for a track or two that served to reconcile the various sonic elements displayed until that point. I suppose that a lack of reconciliation is, thematically speaking, sort of the point.
I’m tempted to describe the whole package as “charming,” largely because it continues to pull me in for reasons I haven’t necessarily been able to articulate here. All told, 2018’s return to Ghosts Of A Fallen Soldier is a successful experiment in revision and (inevitable) maturation. If emotive post-metal, post-rock, or otherwise alternative music is your poison of choice, Becoming the Lion is certainly worth your while.
A certain groggy-eyed, highfalutin' peasantry