Vessels – White Fields and Open Devices

null

Standing out in the now rather over-crowded genre of post-rock is a difficult feat. For every innovative and emotionally-affecting instrumental rock band there is a slew of imitators and detractors at their heels. So the important question that needs answering before you dedicate your money or listening time to Vessels is this – are they leaders or followers?

Fire up the album and all the initial signs are promising: ‘Altered Beast’ kicks in with high-octane drums and a math-rock style clean guitar line. Piano chords and percussion chime in and help to give the impression of a track that is building and climbing towards a climax. Thank God – a band that does not use a wall of guitar sound to hide a lack of ideas behind, but instead as a vehicle to express some musical ideas and energy.

Listen to more of the album and it becomes clear that ‘energy’ is going to be (literally) a buzz-word around this band. Again unlike many of their contemporaries, there are no long slow featureless passages of filler; pretty much every part of this record feels driven by energy and passion. The impression given by Vessels is that they are aware of some of the criticisms commonly levelled at post rock: two or three tunes or ideas stretched out over the length of a record through interminable repetition. There are certainly no lack of ideas here, and no shortage of variety either: occasional vocals, samples, programmed drums, math rock guitar work and crescendos that verge on post-metal are all brought to the mix to ensure that the listener is always kept interested.

The occasional vocals work well and are faintly reminiscent of the early Silver Mt. Zion albums. On ‘A Hundred Times in Every Direction’ for example different voices overlap and form a fairly ragged choral effect which enhances rather than detracts from the post rock structure underneath.

As you can see from the vocal comparisons it is not true that they never end up re-treading any well worn post-rock clichés. Similarly listening to the opening to ‘Happy Accident’ and you would be forgiven for thinking that it belonged to Explosions in the Sky’s The Earth is not a Cold Dead Place. But as this is arguably one of the genre’s high points, that is no bad place for Vessels to borrow from.

If you are someone who has previously enjoyed post rock records but has become concerned in recent times about the quantity of ‘sound-alikes’ clogging up the genre, then Vessels White Fields and Open Devices is a good place to rediscover your enjoyment of post rock. If you aren’t bothered about post rock in the slightest but are just looking for a innovative and accessible record to treat your ears to, then this comes highly recommended.

No related posts.