For some peculiar reason, the previous studio album, “Somnia,” (2022) by Irish post-rockers GOD IS AN ASTRONAUT, slipped past my radar completely. Then again, it seems that I’ve had some weird on/off relationship with this band; their 2005 and 2007 albums – “All Is Violent, All Is Bright” and “Far From Refuge,” respectively – blew my mind to smithereens, then, they sort of disappeared from my radar until the guitar-driven 2021 outing, “Ghost Tapes #10,” only to disappear again. I guess that’s the deal with instrumental post-rock outfits – it takes a little more effort to keep up with the releases since they don’t make such big waves. On the upside, when you do catch up, eventually, there might be a good few releases to enjoy. This time, the reason to do some catching up is due to the band’s upcoming studio album, “Embers,” set to be released on September 6th, 2024, courtesy of Napalm Records. I have probably over-used the term, “sonic journey,” yeah, ad nauseam, but, in this case, it is the very word that nails what this effort is all about. These nine new tracks comprise a highly cinematic trip across your inner constellations. I felt tempted to dub this release the most versatile and haunting GOD IS AN ASTRONAUT album to date already after a few spins. While playing on their strengths, this power trio incorporates delicious new facets to their craft in this incredible offering.
“Apparition” sets things in motion, sailing rather familiar waters. In fact, the song follows a somewhat similar template to the opener of “Ghost Tapes #10.” First, it weaves a familiar tapestry of post-rock guitar riffs. Then, around the 2-minute mark, something more haunting creeps in. Considering the signature sound of this bunch, I wasn’t mentally prepared for the prominence of those Middle-Eastern vibes – not only do the riffs take on that particular tangent but you can also hear some sitar, courtesy of guest musician Dara O’Brien. Oriental-sounding post-rock? Well, why the hell not if it sounds this good! The oriental vibes get even more pronounced in the tracks to come. The sitar returns in the coda of “Falling Leaves,” the first single off the album, and “Odyssey” serves a curve ball of atmospheric post-rock laced thick with KULA SHAKER vibes. The first half of the latter song rolls out exactly the sort of orientalism you would find on those Ministry of Sound chillout-music compilations, such as “Karma Chillout.” The latter half puts a guitar-driven riff frosting on the top, hence the strong KULA SHAKER impressions. With some New-Agey vocals, this banger could be a radio hit! The last riff played in unison by the sitar and the guitar is quite catchy.
Serving as a breather, “Heart of Roots” tones down the mood a bit with its piano-driven melancholy that resonates thickly with the air of vintage GOD IS AN ASTRONAUT. The song could almost be taken as the intro to the 9-minute title track. While it is true that instrumental music conjures up mental “illustrations,” as if by default, these post-rock hierophants have developed quite a prominent knack for painting pictures inside your head with music. “Embers” is the centerpiece of the album, mixing krautrock synths and guitar riffs from the heavier side of the postrock spectrum, slightly reminiscent of LONG DISTANCE CALLING. Toward the end of the song, the Middle-Eastern surface again. Maybe I’m just conditioned by a good few decades of listening to heavy metal but when the flat fifths and flat seconds are incorporated into guitar riffs this way, they come off particularly heavy. While this album is by far the most versatile GIAA offering to date in terms of cinematic splendor, it is also the heaviest when it comes to those riffs – with the riff-driven “Oscillation” offering the best bang for the buck, in this respect.
And speaking of cinematics, the follow-up track, “Realms,” is straight-up Hollywood film music. The song is an ambient, synth-driven soundscape that does not shy away from some of those most luminescent Hans Zimmer or Jóhann Jóhansson compositions. Being a sucker for this particular sort, I found the song my instant favorite on the outing. As per the radio-friendly single format, the song is not exactly short with its 5-minute length but, still, I would have rather had it continue for another 5 minutes or so.
Then, before the album closer brings this sonic journey to a close, “Prism” stands as yet another highly cinematic mood piece, built around a hauntingly repeating keyboard ostinato. While the motif does not sound anywhere near discordant enough to conjure up horror-film imagery, it has something utterly melancholic about it, so that you get the feeling that, if this was a movie soundtrack, the film would not be about a Sunday walk in the park.
Last, “Hourglass” puts the icing on the cake, traversing similar sonic terrain to the band’s song “Shining Through,” from their 2010 album “Age of the Fifth Sun.” Yeah, if you wanted to end on a high note, this would be exactly the way to do it. The closer, let alone the album as a whole, does not fail to impress me in demonstration of how the band has not lost the old magic while incorporating new, exciting ingredients to their sonic brew. “Embers” is nothing short of a highly evocative, cinematic journey through haunting musical landscapes – and those Middle-Eastern flourishes sure did add an entirely new, enticing facet to the band’s post-rock conduct. GOD IS AN ASTRONAUT seems to be aging like a bottle of quality wine.
Written by Jani Lehtinen
Tracklist
- Apparition
- Falling Leaves
- Odyssey
- Heart of Roots
- Embers
- Realms
- Oscillation
- Prism
- Hourglass
Lineup
Niels Kinsella – bass
Torsten Kinsella – guitars, piano, synths, backing vocals
Lloyd Hanney – drums
Guests:
Jo Quail – cello
Dara O’Brien – sitar, shamanic drum, bowed psaltery, chimes, tanpura
Jimmy Scanion – guitar (on tracks 1, 7)
Sean Coleman – zither, tape echo effects (on track 2)
Label
Napalm Records
