Amelia’s Magazine | The High Wire – The Sleep Tape – Album Review

high wire sleep tape feedback dreamy album review cover

Is it really such a curse to receive the praise of Chris Martin? Does supporting one of the world’s biggest bands on an arena tour constitute something to be embarrassed about? Is success off the back of somebody else’s recommendation, visit this especially when that person is about as cool as blue rinse, clinic to be played down or avoided? If you answer in the affirmative to any of these questions then chances are you’re part of that group who chose to emphasise this part of the High Wire‘s back story over more trivial things like, say, their music. I will not be doing that, because it’s asinine; anyone who thinks that success this way should only be talked about as being of questionable worth is, as far as can be determined, an ass.

What we have here in The Sleep Tape, the band’s debut album, is an assured group of songs that melds droopy acoustic harmonies with a milder form of feedback than found with bands like My Bloody Valentine (but we’re talking *really* mild here – this stuff won’t ever cause anyone to aurally hallucinate). This is not really shoegaze as I’m used to it, though it’s a record that dreams like Slowdive, or hazy-pop group Galaxie 500, or even like psych-rockers Mercury Rev in places – it’s not cruel of me, whatsoever, to say that it’s called a ‘sleep tape’ for a reason.

This is narcolepsy, this is fatigue, this is a yawn and a stretch. It is deliberately designed to be so very sleepy. It is not boring, because those things aren’t synonymous with boredom. They are synonymous with, of any single word, ‘contentment’. This record feels very content. If this summer turns out to be a hot one (and I damn well hope that it is) then I want to spend at least one night falling asleep on a beach with these songs wrapped around me.

Their opening gambit, ‘The Midnight Bell’, is a slow 4/4 drumbeat accompanied by chimes, harmonies borrowed from the Byrds and what sounds like an acoustic guitar plugged into a reverb pedal. This is the format for pretty much every song here, but it’s to the High Wire’s credit that this doesn’t tire or bore, mostly because every few songs there’s something of a change in the air and along comes a thumping tune like ‘Odds & Evens’ to break the spell. It’s the highlight track, that one, and it’s obvious why it was chosen as the lead single – whilst this is hardly radical music to terrify and alarm most listeners, it is still slightly odd by many usual standards, and ‘Odds & Evens’ is exactly the way to lure in the punters.

It’s the closest thing to rockin’ out on The Sleep Tape, but there are other highlights – like ‘It’s No Secret’, where the male/female vocal overlap really comes into its own. The refrain, “yesterday/yes, I was kissing somebody new/but my baby/I wish I was kissing you,” loops around a country-tinged ballad where it’s not sure who’s been wronged, or who wishes for a second chance. That gender ambiguity drives the dreaming, the sense of sleep – everything’s a whisper in the ear from someplace just out of sight.

As the ‘Bodyclocks’ comes around and ends the album with that same refracted nursery chime that opened it, I can safely surmise that, if the High Wire have gone from three friends to this within two years, then their next record must be eagerly anticipated. It’s just so accomplished, so pretty! I commend Chris Martin, and I recommend listening to this woozy summer package, but please – pay attention. It’s worth not falling asleep listening to this.

Categories ,album, ,album review, ,Coldplay, ,debut, ,Dream-pop, ,dreamy, ,feedback, ,high wire, ,ian steadman, ,indie my bloody valentine, ,london, ,sleep tape, ,The High Wire, ,the sleep tape

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Amelia’s Magazine | Team Ghost – You Never Did Anything Wrong To Me – Album Review

team ghost review
Alternative Fashion Week Spitalfields 2010

Alternative Fashion Week is a funny old beast, viagra order one that I’ve been getting to know rather well over the past week. And really getting to become rather fond of. Every day I rock up at 1.15pm with no idea of what the day’s catwalk show would bring. Generally I come skidding to a halt on my bike just as the stout lady with the microphone finishes giving her daily spiel to the audience, order which is a funny old mixture of family, stuff friends, industry pundits (apparently, though I didn’t seen anybody I know) and interested city boys and labourers.

Alternative Fashion Week Spitalfields 2010

On Tuesday I was still a novice, so I asked the lady at the back with a clipboard if I could sit down – being as I was press and that’s what it said on my ticket. “No.” She told me bluntly. “Not if you haven’t reserved a seat.” Oh alright then.

Alternative Fashion Week Spitalfields 2010
Don’t hassle this lady. She’s very busy. She ensures that everyone gets out on the catwalk on time.

One major issue with this event is the lack of surrounding information – Alternative Fashion Week doesn’t have much of an online presence and the bumpf that I got sent in the post was basic to say the least. It certainly didn’t warn me that I needed to RSVP or go fuck myself. I always find it amusing how, because of the way I dress and the fact that I carry a big professional camera with me (photographers generally being the scum of the earth and all that), I am treated in a certain way. Oh world of fashion, you do make me larf. Still, I like to travel incognito, so it suits me.

Alternative Fashion Week Spitalfields 2010
Some of the audience really aren’t going to help you get ahead in fashion – bemused city workers look on.

Alternative Fashion Week Spitalfields 2010
The band. They’re quite naff.

Now I actually think that the lack of a seat was a blessing in disguise – I spent about ten minutes on day one attempting to watch the catwalk shows front stage before realising that there was far more fun to be had hanging around the back, where a big old melange of models, designers, city workers, pervy middle aged male photographers and screaming organisers raced about like mad things – it made for far more interesting photos, and I got to boss the girls around when they come off stage. (Something none of the other photographers seemed to do. It must be something to do with my background as a fashion photographer because I have no qualms with telling a model how to pose. Though of course the rest of the cameras descended in front of me like locusts once I’d arranged a shot.) So whilst I can report generally on the outfits, I have no idea what any of the catwalk presentations were like. Not that I think that matters – it’s the clothes that are important, right?

Alternative Fashion Week Spitalfields 2010
“Hello young lady, can I take a photo of you because you don’t appear to have a bra on.” Believe me, there was only a pair of nipple tassles under that jacket.

The standard at Alternative Fashion Week is massively variable but amongst the huge quantity of stuff there are some really interesting designers to be found – ones that I would wager money on becoming successful. So it’s important to give into the undeniable exuberance of the occasion: everyone is quite simply having a ball. Some of the “models” may be slightly ropey, some of the designs outstandingly bad, but the fact that such an event exists to promote up and coming talent is a good thing. It’s just a shame they don’t have more resources to make sure that each designer gets as much promotion as possible: I had real trouble trying to figure out which was which. And that I at least had the choice of a seat if I had wanted.

Alternative Fashion Week Spitalfields 2010
Model or mum? You decide. Perhaps both. There are all comers here.

Alternative Fashion Week Spitalfields 2010 Alex Seroge
Alex Seroge showed a very strong collection.

Alternative Fashion Week Spitalfields 2010
Great styling from Hayley Trezise.

Over the week I have got better at making a note of who all the designers are, no mean feat when juggling camera, iphone and twitter updates. So if you see your work on my website and it hasn’t been properly credited do drop me a note and let me know. I’ve also learnt a lot about what you should and shouldn’t do at Alternative Fashion Week if you want to make an impression – and that shall be the subject of another post.

Alternative Fashion Week Spitalfields 2010
Alternative Fashion Week Day Spitalfields 2010
Alternative Fashion Week Day Spitalfields 2010
Alternative Fashion Week Day Spitalfields 2010
Alternative Fashion Week Day Spitalfields 2010
Kimberley Startup.

Alternative Fashion Week Day Spitalfields 2010
Havering College get ready to go on stage.

Alternative Fashion Week Day Spitalfields 2010
Adel Andic.

Alternative Fashion Week Day Spitalfields 2010
Maartje de Man.

Alternative Fashion Week Day Spitalfields 2010
It’s tough when your bum is hanging out in the street.

Alternative Fashion Week Day Spitalfields 2010
Checking through the running order backstage.

Alternative Fashion Week Day Spitalfields 2010
Alternative Fashion Week Day Spitalfields 2010
Alternative Fashion Week Day Spitalfields 2010

For those of you unfamiliar with the loud, sales scattershot-shoegazing electronic noise group M83, approved then perhaps it might make sense to take a quick break here and catch up. Anything will do, though it seems to be generally accepted that their 2003 record Dead Cities, Red Seas & Lost Ghosts is their high point; shortly after its release Nicolas Fromageau left the band to pursue his own projects, and I (like many others) had assumed that by now he had simply dropped away into the ether. Not the case at all, as it turns it – he’s back with Team Ghost, a new project with multi-instrumentalist Christophe Guerin, and with it taking the M83 project in a new direction, towards the realms of krautrock and synth-pop. The album cover (although technically this is an EP) should make it clear that this is cut from a decidedly darker and ruder cloth than the work of M83 – Team Ghost aren’t afraid to flash a bit of tit.

‘Lonely, Lonely, Lonely’ is the longest track. Fromageau’s choice, opening his own group’s first record effort with a song that’s surprisingly close to M83 in spirit, seems a strange one at first. It’s tempting to write this off immediately as merely a pastiche of his last band, and already as the music builds up I’m thinking of ways to describe this record as merely one man’s way to satisfy his own ego… and then it ends. I’m going to go out on a limb here and call this predictable instrumental track tongue-in-cheek. Just a hunch.

A Glorious Time’, though, kicks in with a huge wall of guitar feedback, sounding like some poppier indie band discovering a distortion pedal. Fromageau sings, “leave it all behind you… leave it all behind you,” over and over the guitar’s swirl. It’s a straight-up shoegaze track, and whilst not hugely original it’s already a sign of a more diverse lineup to come. It’s followed by ‘Sur Nous Les Étincelles Du Soleil’, a dreamy, twinkling song with some sultry French chanteuse breathing sweet nothings down in the mix. It’s halfway through before it’s clear that this is more post-rock than shoegaze, but of a very nocturnal sort.

Raising us from our slumbers comes ‘Echoes’, followed by ‘Only You Can Break My Heart’, which both fight it out for the distinction of being labelled the best track on here. The former is a pulsing tribute to Neu! and early-80s new wave – it’s surprisingly groovy for an artist like Fromageau, but not unexpected considering the influences being chucked about here. It’s the kind of thing that makes me excited to see what Team Ghost might do next; so too can this be applied to ‘Only You Can Break My Heart’, a pounding track that sounds not unlike No Age trying to beat the bloody hell out of a synthesiser. Totally instrumental, but completely bracing.

Colours In Time’ sounds eerily like an Air track remixed by Crystal Catles; Fromageau’s French lilt, crooning over a song that sounds not dissimilar to what you’d have found pumping out of an arcade game’s speaker system circa 1994. Then there’s ‘Deaf’, another bout of semi-shoegaze but this time more in the style of the recent Horrors album – it’s a shimmering track, and a satisfying closer to the album.

It may have taken him nigh-on seven years to finally find his feet, but Fromageau has clearly found a music partner with a clearly similar outlook and vibe. Where this EP really comes into its own is where it departs from the M83 formula, strikes out on its own with its own new influences. If they can maintain, hell, even improve upon the kind of collages they have here in songs like ‘Echoes’ then it will be fascinating to see where Team Ghost go to next.

Categories ,80s, ,Air, ,Crystal Castles, ,Dead Cities Red Seas & Lost Ghosts, ,feedback, ,ian steadman, ,M83, ,neu!, ,new wave, ,No Age, ,post-rock, ,shoegaze, ,Synth-Pop, ,Team Ghost, ,You Never Did Anything To Break My Heart

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