My go-to driving album. It bleeps and bloops, sways and lurches with every amazing synth tone your brain wants to hear. Outstanding playing and truly boundary pushing songs. Dig it!
Favorite track: District Of Baddies.
Dublin’s instrumental maximalists Alarmist return with their second LP, ‘Sequesterer’, out 19th July. Like 2015’s acclaimed ‘Popular Demain’ album, the new record pulsates with kinetic energy, while also making detours into the more spacious and slower-paced avenues of the band’s collective imagination.
The trio, consisting of Neil Crowley, Elis Czerniak and Barry O’Halpin, draws upon backgrounds in post-rock, electronic, jazz and contemporary chamber music – foundations on which they build with an ever-increasing sense of freedom and adventure. Embracing the collision of frenetic percussion, clanging guitars and vaporous synths, they absorb faded relics of retro-futurism and bygone musical eras into their own new and twistingly melodic musical language.
"A brilliant second album, remarkably assured and gorgeously played" - Irish Times [4/5]
“The new album…combines elements of math rock, jazz, electronica and all sorts of expansive weirdness to produce nine songs of rampaging charm and charismatic complexity…’Sequesterer’ is a joy from beginning to end.” – The 405
"Sequesterer could very well be the quintessential post-math rock album we highlight while reminiscing about the micro-genre years downs the road. It’s truly that much of an instant classic" - Heavy Blog Is Heavy
Juxtaposed with the trio’s serious musical chops is a high-spirited, footloose sense of fun that runs through the music itself, even spilling over into the track titles. “District Of Baddies” channels the strange and thrilling journey of the opening song, which ranges through genres and moods “like being chased through multiple themed city markets”. “Boyfriend In The Sky” came from a romantic novella name generator, the title finally finding its musical mate in a radiant track with contrasting squashy synths and romantic, ‘80s Cocteau Twins-inspired guitars.
“Bronntanasaurus” sums up the expansive terrain that Alarmist cover throughout their new album, with their signature combination of sprawling colour and rhythmic drive, and a blurring of boundaries between electronic, post-rock and jazz elements. With a time-travelling, psych-infused quality, the track departs from weathered analogue textures and warbly Rhodes piano, gradually being consumed by waves of shiny digital synths and twisting melody.
That rapport manifests itself in the confidence and fluidity of this eclectic new record, on which they also more heavily blur the boundaries between live and electronic elements than ever before. “Lactic Tang” jigsaws off-kilter, unquantised beats with wildlife samples. It’s dense rainforest of sound recalling the aesthetics of labels such as Warp and Brainfeeder, grounded by the onset of dirty drums and detuned shoegaze guitar textures.
“Life In Half Time” defies the band’s maximalist impulses and allows luxurious space to experiment in its deceptive simplicity. A meandering melody takes centre stage in a narcoleptic landscape of prepared pianos, breathy sax and clarinet, and warm percussion.
On “Helical”, constantly churning synth textures nod to earlier electronic pioneers like Harmonia as well as contemporaries such as Oneohtrix Point Never, before “Expert Hygiene” expands the same impish hook into a gripping exercise in disorientation, uniting it with the band’s raw core of guitars drums and keys.
The bounding, cartoonish and nostalgic “Kalite Quest” embraces surf-twang guitars and psychedelic phasers.
Marking their subtle yet seismic sonic shift, the dulcimer, slide guitar and toy piano of “Nvymr” make it something of a companion piece to “Lost Console” from their previous album, the newer number’s sense of melancholic peace and breathing space coalescing neatly with the current sound. It is clear that this hyperactive trio have found a calmer and more reflective strand to their music – but the slamming piano lid that closes the track, and the album, provides final, gleeful, mic-dropping reassurance that Alarmist’s penchant for drama and spectacle is still going strong.
"Genres are harvested and
manipulated, and [they] take a quasi orchestral approach that allows their music
to hover in its
own instrumental space, gravitationally pulled toward a rock aesthetic but constantly implying
other philosophies in a way that excites.” 12 Points Festival
Hard to explain what I like about the beginning, I think it's the dream like / surreal-like feeling of the initial chords and the ensuing riffs which feels a bit like a spiral, a bit mesmerizing. Alejandro Yanez
I've listened to this album for years and I still don't know what to say about it.
One of the best albums I've ever heard and there are few things that sound so right to me at all much less in their near entirety.
I love this album and I love this band's music. yehoodi