New Lands

Chronique

Likely titled New Lands due to Flying Saucer Attack being lauched upon "phase two" (as the liner notes put it), this release finds FSA down to Pearce and Pearce only, as before with a bit of help here and there from Rocker and, on "Present," the co-writing skills of two members of Amp. That the first two tracks are called "Past" and "Present" and that the first has more of a "classic" FSA sound with a steady rhythm and huge solo while the second revolves around a buried, near inaudible series of loops, seems to be part of the album's plan, such as it is. New Lands in general showcases Pearce in testing mode, seeming to see what works and what doesn't, looking backward as much as forward. Indeed, the lengthy, majestic steady build of "Whole Day Song" reappears from the Goodbye/and Goodbye EP, this time with vocals and a low-key, softly intoxicating piano line. While the more experimental parts of New Lands aren't really Pearce completely trashing his general aesthetic and trying something new, they do show him attempting and often succeeding at introducing further variety to his murky, intriguing field. Thus, "Up in Her Eyes" has a very familiar vocal and guitar style, but the obsessive, upfront yet still shadowy percussion -- sounding more like a chugging train engine than anything else -- dominates the track, at least up until its slightly more ambient, free-flowing end. Other curious rhythms, reminiscent of past comparisons to the work of Main, crop up more than once -- the near arrhythmic, squealing loop that introduces "Respect" or the blunt, brusque punch of "The Sea." Through it all, the combination of Pearce's tender, dark folk vocals and skybursting guitar provides the central point of the experience, making for some fascinating, entrancing results.

© Ned Raggett /TiVo