City of Echoes by Pelican on Apple Music

8 Songs

EDITORS’ NOTES

Pelican’s third studio long-player finds the Chicago quartet pulling in the reins of their instrumental epics to offer compositions shorter in length but just as powerful (if not more so) than the recordings that comprise their two preceding albums. Upon close listen, the band’s implementation of verse-chorus-verse architecture reveals that Pelican are building actual song structures here, rather than blasting off into the stratosphere without a map. Opener “Bliss In Concrete” has memorable changes that are almost as catchy as any hook-laden pop song. Their winning combination of post-rock and doom metal leans on the former more often than before, especially in the melodic title-track and the gossamer “Spaceship Broken – Parts Needed.” Another noticeable change in the band’s musicianship surfaces in the kind of taut changes and unspoken communication between players that could only have blossomed from the incessant touring of their first two albums. The ferocious “Lost In the Headlights” is a prime example of the band’s ability to keep their changes vacuum-tight while allocating propulsive riffs underneath exploding leads before pulling it all back in with a soft recoil.

EDITORS’ NOTES

Pelican’s third studio long-player finds the Chicago quartet pulling in the reins of their instrumental epics to offer compositions shorter in length but just as powerful (if not more so) than the recordings that comprise their two preceding albums. Upon close listen, the band’s implementation of verse-chorus-verse architecture reveals that Pelican are building actual song structures here, rather than blasting off into the stratosphere without a map. Opener “Bliss In Concrete” has memorable changes that are almost as catchy as any hook-laden pop song. Their winning combination of post-rock and doom metal leans on the former more often than before, especially in the melodic title-track and the gossamer “Spaceship Broken – Parts Needed.” Another noticeable change in the band’s musicianship surfaces in the kind of taut changes and unspoken communication between players that could only have blossomed from the incessant touring of their first two albums. The ferocious “Lost In the Headlights” is a prime example of the band’s ability to keep their changes vacuum-tight while allocating propulsive riffs underneath exploding leads before pulling it all back in with a soft recoil.

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About Pelican

The secretive instrumental art metal outfit Pelican was formed in Chicago by guitarists Trevor de Brauw and Laurent Lebec, as well as bassist Larry Herweg and his sibling drummer, Bryan. Owing a great debt to pioneering forefathers Neurosis and often compared to Boston's Isis, Pelican coincidentally also found a home at Isis mastermind Aaron Turner's Hydra Head Records. After making their debut with an eponymous four-song EP in 2003, Pelican expanded their epic, otherworldly trance-metal with 2003's critically acclaimed Australasia, followed in 2004 by The Fire in Our Throats Will Beckon the Thaw. After heavy touring, the quartet took a much-deserved break. They returned to the studio in 2006 and released City of Echoes in June 2007, followed by the live CD/DVD After the Ceiling Cracked later that December. What We All Come to Need, the band's fourth studio effort, appeared in 2009. While an EP, Ataraxia/Taraxis, arrived in 2012, that year would see the departure of Laurent Lebec, who was replaced by touring guitarist Dallas Thomas. Carrying on with a new lineup, the band released their fifth full-length, Forever Becoming, in 2013.

In 2015, Pelican released the Cliff EP. It featured the album tracks in four different versions, including remixes from Justin Broadrick, Aaron Harris, and Bryant Clifford Meyer. It also included a vocal version featuring Allen Epley and a previously unreleased track, the semi-acoustic "The Wait." ~ Eduardo Rivadavia & Thom Jurek

  • ORIGIN
    Chicago, IL
  • FORMED
    1998

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