Pink Floyd‘s Dark Side Of The Moon and Ozric Tentacles’ Jurassic Shift. These are all albums whose tracks remain emotionally welded together, no matter how many attempts are made to pull them asunder. Those who harbour a strong passion for long-players of this ilk will glory in the birth of Inventions whose debut demands instantaneous full exposure.
Having previously stuck rigidly to their own bodies of work, there was always the fear that neither Explosions In The Sky‘s Mark T. Smith or Matthew Cooper, the sole member of Eluvium,
sending audio tapes across the heart of the U.S., would bring a
cohesive series of fresh sounds to the table and, to some extent, their
music does touch base with their past bands. However, there can be no
doubt that as a united force they have also revelled in the freedom this
new project has granted them. Consequently, they have created an
instrumental album of the most beautiful, minimalist, ambient rock music
that resonates at a completely different frequency from all that has
Yawning into life, the aptly-titled “Echo Tropism” tugs gently at
your sleeve; its soft flow pulling you into a sculptured world where
joyous emotion soaks into the flora and resounds along currents that
circulate around your still form. Drifting through the tracks, breathy
vocalisations begin to create harmonics that rise through the
richly-layered subsonics. The spartan, often crunching, percussive
elements keep the whole locked into a central spine so that as the
synthetic patterns stretch, in the main, they remain integrated and
vital to the whole.
Softly throbbing industrial machinations thread their way through
tracks like “Entity” and “Psychic Automation”, the former pitching a
subversively robotic burble into a series of pressure-releasing
industrial pistons that curse as they snort and hiss their disapproval.
The one track that wincingly tries to break rank is the coiled snake and
bustling city soundscape of “Sun Locations / Sun Coda” which,
curiously, assimilates elements of trance music. Happily, the ambient
post-rock of “Peacable Child” reasserts the flow by slotting a
pitter-patter arpeggio beneath a warping synth to create rotational
drag. The remarkable effect is not unlike rhythmically cupping and
uncupping your ears. For an extra-sensory experience try closing your eyes - I was alarmed to discover a tank of
slowly pulsing, bioluminescent jellyfish staring back at me.
Constantly shifting, there is an astonishing organic flow to the
album and to force unwieldy terms like electronica or shoegaze upon this
collection would seem crass. It does touch base with the genres at
several points during its life-cycle, yet the focus remains rooted to
the emotional impact it has. Flooded with the same warm tones that
emerged from ISIS / Deftones collaborative project Palms’ debut and
imbued with similar instrumental pressure points to those of The Ocean’s
Pelagial and Uneven Structure’s Februus, this pulsating album positively glows. Make time for this single-sitting long-player and you will be rewarded.