Review Summary: A refreshing and untroubled blend of electronica and post rock which doesn’t sound even vaguely reminiscent of 65daysofstatic. No, really.
65daysofstatic, with their debut album ‘The Fall of Math’, stunned the world of post rock 4 years ago with their unique approach to the genre by mixing electronica’s screeches, blips and beeps and drum machine beats with the distinctive playing style of the pianos and guitars associated with post rock. At the time, they had tucked themselves into an enviable niche, a section of land no-one previous had even thought of treading. They were ahead of their time. Now, however, things are different. In the 4 years that have passed, bands new and old have cottoned onto the fact that electronica and post rock can, if done right, go together like eggs and bacon. Unfortunately, this opened the floodgates for a slew of unwanted clones desperate to make their mark, foolishly believing that people want to hear the same thing over and over. However, there are a small number of bands who have taken the formula of electronica and post rock and dragged it kicking and screaming outside of that 65 square metre box. Worriedaboutsatan is one of those bands.
Having released only one previous EP, and still with no full length to their name, you may be forgiven for assuming this English duo would be lacking in maturity and patience. But it is quite the opposite. Whilst being both creative and ambitious with EP02, Worriedaboutsatan still manage to establish a significant sense of composure shown by their effortless control of the album’s alternating serenity and intensity. After a 9 second intro, the first real track, ‘The Butterfly Effect’, firmly plants you in your seat and immediately engulfs you in its unique world of scattered microbeats and wandering guitars. Carefully organized, the song is structured with a single gritty riff, which rises and falls with strength, and tranquil ambience among the blips, all coming together to function as a perfect setting of sound to unwind to. ‘Relative Minors’ lavishes on the IDM in its intro, but balances the heavy use of electronica with a sombre but sobering combination of piano and violin. The echoing vocals are also a welcome addition and add that extra dimension which showcases the band’s understanding of the importance of uniting atmospheric density with cathartic reaction.
The kicker on the album, though, is ‘The Last Song (First Song Remix)’. Everything that comes before it is great, but this track proves Worriedaboutsatan are a band not to be crossed in a dark alley. Knife-sharpening ambience and woodblock beats fuse together to create an introduction for a simple drumbeat and more miscellaneous electronica noises, and before you know it a guitar has quietly poked it’s head up from under the sheets before it quickly retreats back and the track spasms out in an awkward minimal jarring of assorted instruments. Then, suddenly, jaws are sent crashing to the floor when the drums and guitar return with a sort of subtle eruption, like the way a firework’s bang reaches your ears a second after you see it explode. And before you know it, it’s over, and that, unfortunately is the major hindrance of the record. At only really 5 tracks long, Worriedaboutsatan leave you on your knees, begging for more. But judging by the way the duo have managed to wedge themselves inside a niche within a niche, with a truly original style that you have to commend for it’s focused energy and blissful minimalism, they won’t have too much trouble dishing out a full length in the near future. In fact, I’m guessing it won’t be too long before Worriedaboutsatan themselves will be worriedaboutclones.
