The Laurels – Mesozoic (25/07/2011)
It’s taken 5 years but since forming in 2006, Sydney band The Laurels has finally released their debut EP ‘Mesozoic’. All of the years spent since their formation have not gone to waste though, as the band has built a strong local following not only by performing regularly but also being members of other notable Sydney underground acts. Their experience has no doubt shone through on this recording too, as the culmination of time and live practice gives this a very polished feel thanks to capable mixing from Jon Hunter and mastering by Andrew Edgson.
If one was going to label the genre that this band would fall under the easiest category would be to call them ‘shoegaze’ though I never personally quite understood what that meant as a genre. It’s probably easier to liken them to artists past and present, such as Sonic Youth or Spacemen 3 though I could even see similarities to artists like the Brian Jonestown Massacre and Black Rebel Motorcycle Club’s earlier material.
Opening track ‘Black Cathedral’ which is also the lead single has a grunt and edge that cuts through the hypnotic and grinding drone. I guess one characteristic of shoegaze is that it has a tendency to sound samey-samey and ‘Mesozoic’ definitely delivers that consistently. As the first song ends we’re immediately thrust into the second track ‘What She Does To Me’ which once again brings a buzzing and humming blur of guitars and drums.
Luke O’Farrell and Piers Cornelius share the vocal duties but as an instrument it’s not a high priority in the mix, but comes across like a sweet harmonious additional flavour in a hazy cocktail. ‘Turn On Your Mind’ has a very psychedelic feel reminiscent of Tame Impala who The Laurels have not surprisingly opened for, with a slow repetitive throbbing provided by bassist Conor Hannan. This contrasts subtly against the more raucous and more energetic ‘Merry Go Round’ that has some great crashing cymbal work from drummer Kate Wilson.
Closing track ‘Until The End’ has a fitting ending in itself as the song draws to a conclusion we are awash in a downpour of instruments all raining down rhythmically and surprisingly though the track clocks in at 8:45 you barely even notice it as the final drones and whines and buzzing fade out.
There’s barely space to move in this mix, an indistinct mesh of reverb and delay on the instruments yet somehow it’s not overwhelming or overbearing. This is also not the sort of record that one would listen to for vocal or lyrical inspiration as the words are barely indistinguishable amongst the noise that spews forth. From track to track there are only but the slightest nuances and hint of variety but again that’s characteristic of this genre, and The Laurels are sticking true to form. I’m sure the underground is waiting with baited breath to see what this band produces when their debut LP is released in the not too distant future.
Carina Nilma
If one was going to label the genre that this band would fall under the easiest category would be to call them ‘shoegaze’ though I never personally quite understood what that meant as a genre. It’s probably easier to liken them to artists past and present, such as Sonic Youth or Spacemen 3 though I could even see similarities to artists like the Brian Jonestown Massacre and Black Rebel Motorcycle Club’s earlier material.
Opening track ‘Black Cathedral’ which is also the lead single has a grunt and edge that cuts through the hypnotic and grinding drone. I guess one characteristic of shoegaze is that it has a tendency to sound samey-samey and ‘Mesozoic’ definitely delivers that consistently. As the first song ends we’re immediately thrust into the second track ‘What She Does To Me’ which once again brings a buzzing and humming blur of guitars and drums.
Luke O’Farrell and Piers Cornelius share the vocal duties but as an instrument it’s not a high priority in the mix, but comes across like a sweet harmonious additional flavour in a hazy cocktail. ‘Turn On Your Mind’ has a very psychedelic feel reminiscent of Tame Impala who The Laurels have not surprisingly opened for, with a slow repetitive throbbing provided by bassist Conor Hannan. This contrasts subtly against the more raucous and more energetic ‘Merry Go Round’ that has some great crashing cymbal work from drummer Kate Wilson.
Closing track ‘Until The End’ has a fitting ending in itself as the song draws to a conclusion we are awash in a downpour of instruments all raining down rhythmically and surprisingly though the track clocks in at 8:45 you barely even notice it as the final drones and whines and buzzing fade out.
There’s barely space to move in this mix, an indistinct mesh of reverb and delay on the instruments yet somehow it’s not overwhelming or overbearing. This is also not the sort of record that one would listen to for vocal or lyrical inspiration as the words are barely indistinguishable amongst the noise that spews forth. From track to track there are only but the slightest nuances and hint of variety but again that’s characteristic of this genre, and The Laurels are sticking true to form. I’m sure the underground is waiting with baited breath to see what this band produces when their debut LP is released in the not too distant future.
Carina Nilma