photo by Daniel Kastner
Subtle is the debut EP from Seattle based Hallows; a collection of tracks which resonated in ears and the imagination with increasing effect listen by listen and encounters that are sure to fascinate any appetite for darkwave and post punk exploration.
Consisting of Dom R. (vocals, guitar, synth, drum programming) and Vanee D. (vocals, synth, bass), Hallows emerged in 2018 in Minneapolis / St. Pau before relocating. As their first EP reveals, the duo create songs and soundscapes as atmospherically revealing as they are post punk bred and dark wave mysterious. Each of the five tracks within Subtle make for captivating encounters which got under the skin in varying degrees but all deeply fascinated from first to last tenebrific breath.
Even in the individual character of their sound, Hallows reflect inspirations from modern peers like Soft Kill and Ritual Howls but equally there are certain aspects which bear essences of eighties bred bands. EP opener Out Of Sync is a lure of dark shadows and electronic suggestion, its web portentous in a way yet melodic radiant before the following title track consumed attention. Around the temptation of Vanee’s warm tones, its rhythmic touch carries intimation of early March Violets, almost concussive small explosions on the senses drawing that echo which is only enhanced by the dark throes of bass and Dom’s equally inky tones. This is turn brings thoughts to the likes of Skeletal Family and Children on Stun yet firmly Hallows set their own identity down, the track a striking persuasion.
In a Sleeping World is next up, rhythmic bait tapping air within a sonic shimmer initially before the song breaks into a lively dawdling gait lit by electronic phosphorescence. Again there is an old school breath to the track colluding with a fresh intense sigh carrying a touch of Dark Register to it, but once more the duo breed their own unique presence and a moment which only entangled ears and imagination before The Call // Ravenous dug even deeper into the psyche. Mystery and darkness soak every second of its dramatic presence, it’s almost claustrophobic air lit by electronic beacons of sound and seduction as again the union of vocals unite imposing shadows and streetlight like safety. Effortlessly compelling, the song is superb and with the title track stealing top honours.
The EP ends with Far Too Gone, a muggy bordering on suffocating hug of sound and atmospheric gravity which subsequently evolves into a just as thick and ravenous mist of ephemeral beauty and synth borne temptation if still shrouded by heavy invasive clouds of matching intimation. It is a spellbinding and gripping conclusion to a similarly hypnotic encounter, one announcing Hallows as one great reward in embracing darkness.
The Subtle EP is out now via Phage Tapes; available @ https://hallows.bandcamp.com/album/subtle
https://www.facebook.com/hallows.seattle
Pete RingMaster 02/06/2020
Copyright RingMasterReview
Never breaking its lively amble, the track is a richly rousing affair which the following Mars (Won’t Save Us) more than matches in contagion with its post punk lined virulence. Akin to a tonic made up from the essences of The Doors and Stan Ridgway, the track is part apocalyptic insight and part celebratory flirtation and one greed eagerly took to before Stowaway lured its own healthy portion of appetite with its surf washed, dark pop/rock stroll. Warm and seductive with a gorgeous crepuscular edge, the song swiftly got under the skin, its rhythmic swing gripping hips as vocals and melodies entangle the imagination.
Riot is next up, surrounding the senses in a sonic mist before again the bass leads a voracious dance for song and body to launch themselves upon. Langdon’s vocals again mix confrontation with eager catchiness; attitude soaking both as Milner’s rhythms spring their voracious swing and Edgar’s guitar infests it all with a sonic ravening while the synth of Jonathan Boulet adds its lure.
Recent single, Vultures, is next up to be quickly followed by its successor in Swallow. The first of the two tracks similarly entices with a lone lure, a guitar suggestively teasing ears before the virulent gait and enterprise of the track erupts to join its persuasion. The senses nagging beats of drummer Ola J. Kyrkjeeide alongside Fagernes’ moody bassline were swiftly under the skin, the latter’s tones again a thick lure into the kaleidoscopic beauty of the track. Yet there is a predatory edge to it all which grips just as firmly, post punk rhythms and steely grooves colluding with spiralling psych guitars and harmonic vocals to escalate the guileful nature of the song.
E605 follows, it too coaxing ears with a relative calm though this is a far darker and ominous temptation courted by the just as crepuscular hug of keys. Spencer’s vocals focus on the intent and manipulation of the song’s global protagonists as rhythms prowl the senses with a volatility which greedily erupts in the track’s voracious crescendos. There is a descriptive quality to the band’s sound which brings such depth to their songs, a dextrous intimation just as potent within the predatory Protestor and in turn the mercurial Portrait. The first is a snarling beast, but a wily one using every rhythmic twist and sonic thread to enslave as vocals forge disquiet and attitude; electronics a similarly calculating flirtation within the web while the second immerses the listener in a tenebrific electronic and sonic mist from within which Pravdica and Puleo engineer another ear gripping rhythmic manipulation. Even in its calmer stroll, the track is drenched in jeopardy and imposing darkness, every infectious note and magnetic word wrapped in threat.
As reinforced by next up World Is Falling Apart, the distinctiveness of Sheafs‘ sound is inescapable though there is something of an Asylums meets Baddies breath to it at times. The EP’s second track shows more restraint in its energy though every aspect is a boisterous incitement from its intoxicating groove to the rhythmic shuffle cast by the bass of Callum Wright and Charlie Eastap’s beats. A psych rock spice wraps each melody and seeps into every atmospheric intimation bred in the open imagination of the quintet as again inherent infectiousness fuels every intensity soaked moment uncaged before the band’s new single Total Vanity erupts. Straight away rhythms and riffs seize the moment, each pounding out audacious virulence incitement as Feenstra’s tones and words spring their own inimitable motivation upon ears and thoughts. The track is raucous splendour, a slice of fearless irresistibility sure to lead fresh hordes to the mutiny of Sheafs.
The album’s title track follows, blues liquor fuelling its opening flames before a surf kissed breeze courts the controlled but pungent rhythms at its core. As the opener sprung a lure of descriptive intimation in its sound alone so its instrumental successor weaves an even more stirring sonic tale of drama and suggestion to play with before No More follows suit with its shadow wrapped stroll into ears and thoughts. Again every hook carries creative revelation for the imagination to conjure with; the track nurtured in the same suggestive espionage and danger which marked the best themes tunes of sixties and seventies TV shows such as UFO, Space: 1999, The Avengers or The Prisoner.
Has it been more of an organic movement of sound or more you deliberately wanting to try new things?
