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‟Lycia is a cult darkwave act that has been around since 1988, providing several generations of fans with a sonic tapestry of somber reflection and hushed introspection. Consisting of Mike VanPortfleet (guitars, vocals, drum & synth programs), David Galas (bass, drum & synth programs, audio engineering) and Tara Vanflower (vocals), the trio have now released several albums with ‘Cold’ being their most fully realized and popular release. The cheery chaps at Silber Records are in the process of re-releasing the five Lycia studio albums, and ‘Cold’ is the third in the installment.
The inspiration to both the lyrics and overall sound of Cold was the band’s move from the desert landscape of Phoenix, Arizona, to the snow covered landscape of northern Ohio. The bleak, oppressive permafrost that greeted them seeped deep into their musical cerebral, leading to a sound that was more frigid, atmospheric, sparse and crystalline than on previous releases. The album commences with the 8minute epic, ‘Frozen’, a track with a droning yet captivatingly buoyant synth melody combined with razor sharp, thumping drums (straight out of the 80’s super-group pop rock manual). The band utilise these elements to engage the listener into a dark and entrancing lull which sounds like a hushed, pop-orientated My Dying Bride circa ‘Like Gods of the Sun’. VanPortfleet’s whispered and effect-heavy vocals add an emotionally fragile touch whilst the re-mastering work really shows its worth, thanks to the wide and open soundstage.
A similar formula of sharp percussion and atmospheric soundscapes continues forward into the follow-up track, ‘Bare’, although this time we are treated to the angelic vocals of Tara Vanflower. Effect-laden guitars and driven bass create a warm and inviting atmosphere, whilst the arrangement and combination of male/female vocals add the finishing touch to a rather epic and emotional piece. ‘Baltica’ continues Lycia’s vision of grandeur by creating a sweeping and ethereal soundscape to the interplay of giant oceanic currents. Swirls of guitar, synth and bass combine and synergise over a playful yet forceful landscape of percussion whilst Vanflower’s soothing angelic hums drape over the whole-thing to bring it to life. ‘Snowdrop’ is a slower-paced, otherworldly lullaby littered with swirling and disorientating guitars and synthwork which expand and blossom across your speakers. The result is a soundscape which comes across as a portal to a light-filled netherworld. On ‘December’, Lycia lull the listener into a false sense of security with a minute or so of calm and serene beauty before (unhurriedly) bursting-forward with deep and ominous melodies which are fused with pounding percussion and ghostly vocals, which them self sound like an instrumental layer.
The album contains vast, slowly drifting plains of sonic-debris which has had space-rockers and shoegazer’s expanding their minds, whilst the dark melodies and moody textures has made this a cult goth-rock album. The re-mastering work has added extra depth and dimension to the sound as the booming bass and crystal clear percussion demands the listener’s attention whilst the vocals are clear yet mixed in to the soundscape like another instrument. This release comes highly recommended to anyone who missed it first-time round. ‟
The inspiration to both the lyrics and overall sound of Cold was the band’s move from the desert landscape of Phoenix, Arizona, to the snow covered landscape of northern Ohio. The bleak, oppressive permafrost that greeted them seeped deep into their musical cerebral, leading to a sound that was more frigid, atmospheric, sparse and crystalline than on previous releases. The album commences with the 8minute epic, ‘Frozen’, a track with a droning yet captivatingly buoyant synth melody combined with razor sharp, thumping drums (straight out of the 80’s super-group pop rock manual). The band utilise these elements to engage the listener into a dark and entrancing lull which sounds like a hushed, pop-orientated My Dying Bride circa ‘Like Gods of the Sun’. VanPortfleet’s whispered and effect-heavy vocals add an emotionally fragile touch whilst the re-mastering work really shows its worth, thanks to the wide and open soundstage.
A similar formula of sharp percussion and atmospheric soundscapes continues forward into the follow-up track, ‘Bare’, although this time we are treated to the angelic vocals of Tara Vanflower. Effect-laden guitars and driven bass create a warm and inviting atmosphere, whilst the arrangement and combination of male/female vocals add the finishing touch to a rather epic and emotional piece. ‘Baltica’ continues Lycia’s vision of grandeur by creating a sweeping and ethereal soundscape to the interplay of giant oceanic currents. Swirls of guitar, synth and bass combine and synergise over a playful yet forceful landscape of percussion whilst Vanflower’s soothing angelic hums drape over the whole-thing to bring it to life. ‘Snowdrop’ is a slower-paced, otherworldly lullaby littered with swirling and disorientating guitars and synthwork which expand and blossom across your speakers. The result is a soundscape which comes across as a portal to a light-filled netherworld. On ‘December’, Lycia lull the listener into a false sense of security with a minute or so of calm and serene beauty before (unhurriedly) bursting-forward with deep and ominous melodies which are fused with pounding percussion and ghostly vocals, which them self sound like an instrumental layer.
The album contains vast, slowly drifting plains of sonic-debris which has had space-rockers and shoegazer’s expanding their minds, whilst the dark melodies and moody textures has made this a cult goth-rock album. The re-mastering work has added extra depth and dimension to the sound as the booming bass and crystal clear percussion demands the listener’s attention whilst the vocals are clear yet mixed in to the soundscape like another instrument. This release comes highly recommended to anyone who missed it first-time round. ‟
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