North Atlantic Oscillation – Grind Show

7 11 2018

Grind Show 1Grind Show is the 4th album from Edinburgh band North Atlantic Oscillation and the first new release from Sam Healy since the 2nd Sand album A Sleeper, Just Awake from 2016.

Grind Show builds on the mood of the Sand album, whilst retaining the dark, post-progressive urgency of previous North Atlantic Oscillation releases.

Low Earth Orbit is a well-chosen opener, with its shifting soundscape – from tightly sequenced synths to more guitar heavy breaks. It sets the scene for an album that evolves throughout its journey.

Weedkiller is an early highlight. A mournful piano line sits atop a beautifully textured electronic backing before the trademark NAO drums and post-punk guitar riffs kick in. Being NAO, the songs dramatically shift and the music instantly drops off to take you in a different direction as the song plays out.

Needles has a fairytale, almost twisted Disney quality to the arrangement. I love the use of effects, almost played as an instrument on this track, twisting and blending the electronica. Needles is topped off by a fine, raspy vocal from Healy and I am sure it will become a fan favourite when the album is released in mid-November.

Around the album mid-point, Sirens is NAO at their most direct. Buzz-saw guitars to the fore, with harmony vocals sitting uncomfortably in the mix, before giving way to an electronic middle section. In complete contrast is another of the album’s key tracks, the mammoth Hymn. With its psychedelic fairground from hell waltz backing, I could imagine Hymn being used in a film soundtrack, and its one of those rare songs that reveals different elements after repeated listens.

“Someone calls and I answer”

Downriver is currently my favourite track on Grind Show. The stripped back arrangement, with heavily reverb drenched piano, really allow the song to breathe and find its own shape and convey the melancholy. The song also contains some of Healy’s most emotional vocals. I love the way the melody mutates over the held chord strings.  I don’t think I will ever tire of hearing this beautiful track. Fill your boots with this one, sigur ros fans.

NAO

The album heads to its conclusion with its final songs. Sequoia is a brass driven piece and unlike anything else in the NAO catalogue. Fernweh (apparently meaning longing for far-off places) is appropriately the albums longest track, clocking in at just under 8 minutes. The song is a definite slow-burner, with looped trumpet and discordant, abrasive landscapes underpinning the emotive vocals. Fernweh shifts gears half way through, and at this point I am reminded a little of some of the early 1980’s sonically adventurous releases of Peter Gabriel (Games Without Frontiers / The Rhythm of the Heat in particular). The percussion work in the second movement of Fernweh is top drawer.

I have been living with Grind Show for around three weeks now, and I find that it really does work as a whole-album experience. Whilst songs such as Fernweh, Downriver and Needles work well as stand-alone songs, the album has been sequenced so well that it deserves your full attention.

Buy Grind Show on Amazon (download)

Buy the Grind Show CD / download directly from the band

Other North Atlantic Oscillation releases

Grappling Hooks

Fog Electric

The Third Day

Lightning Strikes the Library (2016, compilation)





Sand – A Sleeper, Just Awake.

25 09 2016

cover_275lA Sleeper, Just Awake is the second album from Sand, the solo project from Sam Healy of North Atlantic Oscillation (NAO).

I bought the first Sand album in 2013, and it didn’t grab me straight away, but I rediscovered it recently and its had lots of plays particularly the haunting A Pill to Keep the `plane from Crashing (a track so good it appears on the forthcoming North Atlantic Oscillation compilation).

So I was pleased to find out that a new Sand album is on the horizon. A Sleeper, Just Awake builds on the primarily electronic vein of the debut album, but has much more variety in its choice of instrumentation and hit home much quicker than the first album.

Mayfly is a powerful opener and a real beauty – with a stunning arrangement and percussion that reminded me of Talk Talk and Steve Jansen / late period Japan. As with NAO, there are twists and turns and a great use of power followed by restraint that keeps you hooked throughout the songs.

L.T.G.B. has intriguing lyrics (I can’t wait to see them in the CD sleeve-notes) and is presumably a play on the term LGBT.

“Comic opera brought you here, months too late”

One of the first things that attracted me to NAO was the complex, often manic drums that topped a modern, progressive sound palette. Sand offer equally ambitious percussion, mainly using drum machines, which adds to the different taste between the two projects. Commitment to the Bit reminds me a little of Danish pop proggers Mew. I love the almost overloaded mix on this track, as it breaks down to a synthy, reverb-laden middle section, as the brief respite allows you to appreciate the songs power.

The awkward time signature of Seldom Used Furniture adds to the tracks charm, and at the moment, its my favourite track on the album. A slowly evolving arrangement in a song devoid of an obvious chorus makes this song stand out as one of the albums key tracks. Every single time I play Seldom Used Furniture I silently exclaim to myself “those synths”. Its a stunning piece of music, and one of Healey’s greatest songs.

“Knock yourself out”

Talking of time signatures, berceuse is a style of composition that is a lullaby, usually in 6/8 time. Sand’s Berceuse is instrumental for the first half of the track, before deep, heavy instrumentation and vocals disturb the arrangement before it shifts back to its almost mantra-like song structure.

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Embers ushers in one of the albums more atmospheric arrangements. Sparse guitar and synth populate the verses, with an almost Beatles / Lennon like chorus.

Initial has a Nine Inch Nails meets David Lynch vibe, with danger and disquiet hiding behind the almost cinematic string arrangement.

“First I damage you, then you carry me”

The album draws to a close with its two longest tracks. Coward builds from swirling organ and a click-track percussion track into an arrangement that blurs the boundaries between Sand and NAO.

“We’ve come to rest, at the edge of the air”

One of my favourite parts of the album is the quiet section just after 4 minutes into Coward. An almost no-man, Returning Jesus sounding section – just drums, bass synth, piano and distant, discordant guitar carry the song to its final destination.

The album ends with its longest piece, Earth Mound Square. I love the mixture of hard-sequenced synths and acoustic instruments that drive the first section of this track. I’m a sucker for songs that mix electronic and natural sounds, so I was always going to be a fan of A Sleeper, Just Awake.

The arrangement shifts, sways and evolves slowly, maybe mirroring how landscapes evolve over time through the gradually changing seasons. The end section has some moving, minimalist lines that bring the album to its conclusion.

Earth Mound Square is a well-chosen ending to a beautiful, moving and varied album by Sand. A Sleeper, Just Awake is already well on its way to being my favourite release from the North Atlantic Oscillation / Sand catalogue.

A Sleeper, Just Awake along with Hannah Peel’s similarly titled Awake But Always Dreaming, must surely be a contender for best electronic album of 2016.

A Sleeper, Just Awake is released 30 September 2016.

Buy the album

Buy the CD / download directly from Sand

Buy the download on Amazon

Buy the first Sand album on Amazon

Buy North Atlantic Oscillation – Lightning Strikes The Library – A Collection from Amazon








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