Heres What the Press Had To Say….
Coming of age can feel like the world is ending. The melancholy of what you know sliding into a past which you can only long for, but never return to, clashing against the euphoria of fresh starts and new vistas. That moment of passing into adulthood is destruction and creation of identity; it is hope, fear, anger and vulnerability. And it’s engrained thematically in the debut album from Swedish trio Echo Ladies, as across eight short tracks they succumb to letting go and facing fears of the unknown. Even the title, Pink Noise – taken from the setting on analogue synths which sounds fittingly ‘like the world is ending’ – hints to standing on a precipice of passing and potential.
Opening with the simply titled instrumental ‘Intro’, there is the race of beats and depth-charge synths as the track builds into an onslaught evocative of A Place To Bury Strangers or Sleigh Bells. While those programmed rhythms and the quickening beats weave through the rest of the album the synths soften, melting into vocals that soar in and out of the haze, making this first taste the exception rather than the example the rest of the record follows.
Deriving its title from a setting found on some models of old analogue synths, Malmö based dream pop/shoegazers Echo Ladies unveil Pink Noise following an acclaimed eponymous debut EP issued in March and a heap of positive press back home.
Drawing inspiration from Slowdive, the Mary Chain and the Cocteau Twins, the trio are reminiscent at times of a fuzzier Alvvays or Lesser Matters-era Radio Dept, their combination of guitar fuzz, synth melodies, programmed beats and a generous helping of reverb skillfully counterbalences gritty post punk with straight up pop melodies, courtesy of Matilda Bogren’s vocals.
Displaying enough brevity to sate even the most impatient listeners, with eight tracks gliding past in 27 minutes, Pink Noise is a solid entrée to the group. The tag of shoegaze/dreamgaze seems inaccurate at the top of the album however as skin-flaying instrumental Intro sounds nearer to deafening NYC guitar slingers A Place to Bury Strangers backed by Big Black’s Roland drum machine at set to stun levels.