Creating a tantalising yet portentous fusion of post punk and garage rock, Swedish trio Quantum Leap make their major entrance with a debut album which through its dark climes and apocalyptic tones makes for one hungrily infectious and enthralling proposition. No Reason, in the words of its introduction, “invites you to a heavy and dark feast celebrating the very last setting of the sun”, a beckoning as arousing as it is threatening.
Hailing from Uppsala, Quantum Leap consists of vocalist/guitarist/keyboardist Björn Norberg, bassist Andreas Hennius, and drummer Mats Gustavsson. With a diversity of musical backgrounds taking in thrash, death and black metal, electronica and pop, the three came together in 2014. A demo was released in 2016 after the band linked up with producer Tomas Skogsberg of legendary Sunlight Studios (Entomed, Refused, Backyard Babies, Dismember). That led to a contract with Swedish label Viskningar och Vrål (Whisperings and Growls), who now release the fiercely magnetic No Reason, the release again seeing the trio working with Skogsberg and featuring guest musicians in Lea Martinelle (saxophone), Rosa Kristalova (cello), Mattis Fredriksson (accordion), Daniel Söderberg (on modular synthesizer), and Janet Simmonds (backing vocals).
It opens up with That’s The Reason, a swiftly compelling trespass of post punk bringing an initial menace of sound before rumbling through ears on a rhythmically driven stroll wrapped in sonic dissonance. Norberg’s vocals, as strong and magnetic as the web of sounds around them, are soon accentuating the lure. It is a dark, suffocating, and invasively heavy confrontation but inescapably contagious with echoes of eighties bands such as Joy Division, Play Dead, and Leitmotiv to its rasping winds.
It is an outstanding start which swiftly aroused a keen appetite for things to come; one soon reinforced by the following In Between Worlds. It too springs from a raw sonic misting into a virulent attack, its swing eating at instincts and psyche with viral tenacity whilst spreading another exploration of stark, ravenous times. There is more of a noise infested rock ‘n’ roll attack to its post punk, bass and drums a rapacious incitement upon which guitars and keys spread a toxic glaze while escalating the infectious and fractious catchiness of the song.
With an even darker climate Blind comes next, the track a calmer but equally emotionally and atmospherically invasive proposal. It offers a more art/alternative rock spicing with not for the last time within the album a Bowie-esque hue which only adds to its persuasion before Yeah sees the band embrace a metal lined garage rock flavouring with matching success. The diversity within the band’s sound is in full swing at this point, each song revealing a new shade and flavouring to keep things unpredictable and intriguing. Trust quickly backs this variety up with its seventies psych toned dark rock. Though all uniquely different, the quintet of tracks so far all slip perfectly alongside each other, the alluring overall Quantum Leap voice uniting their eclectic characters.
The Fiction In The Daily Life bounds in with a mix of garage punk and heavy rock straight after; the excellent track swiftly stirring up attention and pleasure while Sea repeats that tempting straight after with its again Bowie reminding saunter. There is a definite Heroes like feel to the track which maybe does not lead it to impress as some of its companions within the album but only richly pleases within its fuzzy climate.
Through the bruising and hungrily rousing rock ‘n’ roll of All I Ever Wanted and the Bauhaus meets Wire like gothic/post punk air of I Don’t Know attention and enjoyment only escalated, both tracks unsettling magnetism while Dreaming taps a poppier gait to its darky lit romancing to equally attract. A bit like a blend of Modern English and Modern Eon with once more that hint of Bowie, the song entices from start to finish.
The album concludes with firstly the groove wired heavy punk ‘n’ roll of Mayday and lastly the senses consuming, imagination sparking sonic tides of Like A Memory From A Long Time Ago. With a melodic Skids like current ebbing and flowing in its infectiously sinister but thickly alluring ominous waters, it is a last entrapment for the suggestively impending apocalypse and another sepulchral proposal which is quite irresistible.
Quantum Leap have uncaged a debut which simply demands attention of the band and their dark foreboding layered sound…so stop reading and go explore.
No Reason is out now through Viskningar och vrål.
https://www.facebook.com/quantumleap2/
Pete RingMaster 06/06/2018
Copyright RingMaster: MyFreeCopyright
Around the core prowess and imagination of Andrews, Barker, and Marsh, the album also features bassist Scott Firth of P.i.L and regular Shriekback backing vocalists Wendy and Sarah Partridge. Instantly it had its fingers in ears and appetite, teasing and tempting as opener Shovelheads inserts a heavy infectious lure led by deceptively flirtatious rhythms. The vocals stand just as magnetic upon the strands of sound and words, electronic currents lapping the sizzling threads of guitar as the rhythms continue to throb. It is a great start, an imposing hint of things to come which rather than hungrily infesting ears and imagination inescapably nags them.
The following Before I Fall makes a similarly magnetic entrance, the bass of this time Fagernes walking magnetically through ears with the melodic intimation of the guitars for company. Like a psych washed fusion of Dead Can Dance, My Bloody Valentine, and Fields Of The Nephilim, the song fascinated and tantalised in equal measure. Its heavy emotion and senses wrapping shadows unavoidably infested the imagination but equally the song tempted the body into calm but definite involvement even as its darkness consumed. The fact that the song did not bring the same lust as for its predecessor or successor is simply down to their might, the song only magnetism.
It is an outstanding start reinforced by the senses transfixing tale of The Ghost of Rab McVie. Strings and their electronic counterparts quickly infest the imagination, the first from the suggestive touch and craft of Susannah Clark. Metcalfe is soon within their descriptive midst, voice similarly nurturing thoughts as the song leads the listener into its melancholic heart. There is a beauty to it though which just seduces ears and imagination but with an earthiness keeping the dark surroundings fully in view before the album’s title track provides the gateway into a nefarious journey. Feeling like being trapped in a Celtic Wickerman driven nightmare, the song simultaneously overwhelms, indeed suffocates, and seduces all with increasing intensity. It is quite superb with the craft of Clark simply irresistible.
The following Revers de l’aube has a far darker air from which a rhythmic web swiftly entangled ears and appetite, Destal in two songs already proving his craft a dynamic and deviously compelling aspect within the Varsovie sound. The track envelops the imagination like a frenetic fusion of The Three Johns and The Birthday Party pulled into the distinct individuality of Destal and Catherina; the result an incitement just as enslaving as its predecessor and one soon matched by the darkly lit Va dire à Sparte. More controlled in urgency as emotive and physical shadows align vocal and melodic intimation, the track prowls ears whilst all the time enticing eager attention especially with guitars, bass, and its instinctive drama.
The album’s piano nurtured atmospherically chilling Intro sets the tone alongside Sharone’s painting of words; its poetic scene setting the portal into the dark charms and cold breath of the following Graveyard. Once more the piano of Michelle Bailey captures ears and imagination as richly as the powerful and imposingly graceful tones of Sharone, both aligned to the infectious rhythmic manipulation of bassist Zach Barerra and drummer Anthony Hester. With sonic flames from the strings of guitarist Alex Goldsmith adding to the captivation, the outstanding track immerses the listener in dark magnetic theatre where whether calm and seductive or aroused and burning the senses, it engulfs the senses and imagination.
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.