Some bands have something extra about them, something instinctively unique which may not be majorly realised in the now but you can only anticipate will blossom to great success for its creators and ears at some point. Danish band The World State is one such proposition, though it is fair to say that its extra ingredient is already showing its face within the bands dark epic rock, as fascinatingly revealed by new album Traced Through Dust and Time. The band’s eight track debut album is an enthralling adventure; a drama in sound and narrative which almost plays like a stage play, luring ears and imagination into individual yet linked episodes of creative and imagination theatre.
In sound you might say that the Aarhus quintet is not exactly breaking into new landscapes yet with the unique structuring of songs and indeed the release itself alone, everything about Traced Through Dust and Time feels fresh and new. The band began in 2009, created by Leifur (bass, vocals, grand piano, harmonium, synths, accordion) who linked up Andreas Schubert (guitar) early on. Over time a number of line-up changes eventually led to the line-up today of Bina Rosenvinge (lead vocals), Jesper Kragh (guitar), and Danny Woe (drums) alongside the other pair. Debut EP Flier made a potent impression with its release in 2013 but it is with Traced Through Dust and Time that we are already expecting far broader and keener attention being enticed the way of The World State.
Written by Leifur and recorded during various stages and places between 2009-2015 with guest contributions from Lone Amtoft, Tenna Duch Schaldemose, Christian Dalmar, and Thomas Faurby, Traced Through Dust and Time opens its tempting with Fading Leaves. A cold wind lures the imagination first, guitars and keys with melodic hums for company soon emerging to offer a quaint yet haunting invitation. Its air is unpredictable, an imposing breeze ebbing and flowing within a warmer lure as a stormy atmosphere rumbles overhead. Already the dramatic potency of the album is at play, the song casting an evocative landscape upon which the theatre to come will weave its tales through elements like the portentous caress of strings provided by Who Killed Bambi.
A Castle for the Battles that I Fight flows on from the departing breeze of its predecessor and quickly strolls through ears with its infectious rock ‘n’ roll as Rosenvinge’s captivating voice unveils the narrative. The steely addictiveness of the bass soon lays down a gripping strand of temptation to add to that of the winy tendrils of guitar amidst anthemic rhythms whilst across its six plus minutes, band and song explore and evolve new twists and blends of magnetic textures; symphonic and gothic strains uniting with melodic and folkish imagination for example.
The calm shanty like entrance of The Strangest of Places soon glides into a darkly shadowed passage breeding portentous drums within a matching ambience lit with vocal flames. This alone has a web of flavours and styles which simply fascinates, the subsequent burst into a feisty gallop raising energy of song and listener as things become even more compelling and eventful. This song alone shows it is hard to make comparisons to other artists, another quality which sets The World State apart from the crowd.
The album’s title track comes next to seduce and mesmerise, the latter predominantly through the siren lure of Rosenvinge’s increasingly impressing voice. Jazz endeavour from the guitar mixes with progressive enterprise and a funk seeded bassline as the song grows and expands its charms minute by minute, expressive keys and celestial harmonies only adding to the s tantalising of ears and imagination.
A Celtic tinged, melancholy laced melodic sigh cups ears between the last and next track, From Oblivion to Live Again which wears the same solemn elegance and reflective shadows as the brief piece. As keys and Rosenvinge’s hug the imagination whilst a subsequent serenade of strings rises around them, the track provides a highly provocative passage which unexpectedly opens the way for bold and menacing beats to court a dark threatening atmosphere with its own dangers and hidden depths. Predominantly an instrumental, the track is manna for the imagination. All songs come under that in varying degrees, but the song is a mouth-watering almost cinematic involvement, which is emulated by Faith, Hope and the End of The World. Vocals across the band transfix as once more a gentle but creatively engrossing spectacle of imagination grows and eventually erupts around ears. When it does break its emotive cover, the song unveils a gothic rock/post punk like bassline and a virulence of aggressive rock ‘n’ roll which swiftly has body and spirit eagerly involved. As all tracks, it proceeds to twist and evolve with zeal, the violin of Laura Emilie Beck just one slither of rich persuasion keeping body and mind gripped as things build towards a seriously rousing finale as imposing and dynamic as a moment its title suggests.
The outstanding track makes way for another in Unlikely, the song a jungle of spice thick grooves and tenacious rhythms rounded up and held in check by the strong yet smouldering vocals; though that aggressive energy is given its head to run free throughout the galvanic slice of melodic rock. As absorbing and ingenious as its predecessor, the track simply ignites further an already greedy appetite before Everything Changes draws the listener into its own atmospheric play of sound and emotion encased in a web of highly imaginative and creatively incendiary sounds and textures.
Traced Through Dust and Time is just irresistible, and a release which only impresses more as every listen reveals something new in the depths of the songwriting and music. There will be few better or certainly as enjoyable debuts released this year we suspect with the thought that the band will only get stronger and bolder in all areas only adding to the excitement felt.
Traced Through Dust and Time is released March 3rd through most online stores.
Pete RingMaster 03/03/2016
Copyright RingMaster: MyFreeCopyright
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