Elevant: There Is A Tide (Elevant Music)
Liverpool grunge/psych trio issue rousing third LP
Released Mar 4th, 2016 via Elevant Music / By Richard Lewis
Their third album in as many years, Liverpool heavy rockers Elevant bring greater songwriting focus to their new set There Is A Tide while retaining the hard-hitting approach of earlier LPs.
Clearly in thrall to grunge, no not that band, the other ones in the movement principally the one named after the public art works in Seattle, who arguably started off the city's late eighties journey towards being known as music mecca, Soundgarden. Counterbalancing the Washington State sound, doomy Black Sabbath riffage surfaces along with frequent blitzes of New York No Wave style white noise.
While their influences remain clear, the three-piece more than possess the chops to convince, with the trio sounding far vaster than the sum of their parts. Anchored by Tom Shand’s pummelling Bonham-esque beats and Hannah Lodge’s interlocking bassline weaves, lead singer Michael Edward’s lung bursting Chris Cornell-style lead vocals and bludgeoning guitar work make the record sound like the work of a six-piece.
Front loading the set with the strongest cuts, I’m Only Falling Apart, social media sideswipe Audience ‘We’ve forgotten how to talk/We can only interface’ and We Eat Our Young see the band combining scabrous hard rock with the tougher end of psychedelia.
While Pink//Pond and Again Again are slightly directionless, Hand Over Fist is effective, ranging from all-out Sabbath style metal that diverts into complex arpeggios and jazz-inflected drumming. Elsewhere the angst ridden Home Is Dead opening with a febrile riff reminiscent of Sonic Youth’s frantic classic Silver Rocket ventures into a reflective acoustic section and on to a storming classic rock finale, as does Dead Skin journeying from all-out sonic apocalypse to hushed solo rendition, showcasing the trio’s impressive dynamics.
Clear signs the trio are an upward trajectory, their fourth LP presumably due next year will hopefully see Elevant's ascent continue.
Elevant play The Buyers' Club, Liverpool on Sat May 7th, support from False Advertising Tickets
Clearly in thrall to grunge, no not that band, the other ones in the movement principally the one named after the public art works in Seattle, who arguably started off the city's late eighties journey towards being known as music mecca, Soundgarden. Counterbalancing the Washington State sound, doomy Black Sabbath riffage surfaces along with frequent blitzes of New York No Wave style white noise.
While their influences remain clear, the three-piece more than possess the chops to convince, with the trio sounding far vaster than the sum of their parts. Anchored by Tom Shand’s pummelling Bonham-esque beats and Hannah Lodge’s interlocking bassline weaves, lead singer Michael Edward’s lung bursting Chris Cornell-style lead vocals and bludgeoning guitar work make the record sound like the work of a six-piece.
Front loading the set with the strongest cuts, I’m Only Falling Apart, social media sideswipe Audience ‘We’ve forgotten how to talk/We can only interface’ and We Eat Our Young see the band combining scabrous hard rock with the tougher end of psychedelia.
While Pink//Pond and Again Again are slightly directionless, Hand Over Fist is effective, ranging from all-out Sabbath style metal that diverts into complex arpeggios and jazz-inflected drumming. Elsewhere the angst ridden Home Is Dead opening with a febrile riff reminiscent of Sonic Youth’s frantic classic Silver Rocket ventures into a reflective acoustic section and on to a storming classic rock finale, as does Dead Skin journeying from all-out sonic apocalypse to hushed solo rendition, showcasing the trio’s impressive dynamics.
Clear signs the trio are an upward trajectory, their fourth LP presumably due next year will hopefully see Elevant's ascent continue.
Elevant play The Buyers' Club, Liverpool on Sat May 7th, support from False Advertising Tickets
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