Search - Pelican :: What We All Come to Need

Solid new album from the kings of HEAVY

bkhage01 | 10/28/2009

(4 out of 5 stars)

"Wow. Another excellent release from Pelican! What We All Come To Need surpassed my expectations, and it was hard for me not to give this album a full 5 stars, but I don't do so lightly. If I could give quarter or half stars, this would probably come in around 4 1/4 or 4 1/2. The songs are absolutely incredible, and show Pelican continuing to move in a new direction (in the same vein as City of Echoes and the Ephemeral EP). They definitely do not have the same, slow sludge sound that they mastered on their self-titled debut EP and Australasia, but that certainly isn't a bad thing. They still possess all the heaviness of their previous records, but have expanded it by adding new sonic tools to their arsenal. The drumming is much more noticeable (as it was on Ephemeral) and adds faster rhythms to the mixture, and the guitar riffs are very complex - some of the best of their career. As it seemed to be with their approach on City of Echoes, they absolutely pack as many nasty licks into each measure as possible.



The album opens with a bang on "Glimmer," slowly building up soundwaves and then crashing your eardrums in waves. Fans might notice that the track "Ephemeral" was actually present on the EP of the same name. In the past, Pelican has released different versions of the songs for their EPs, and then presented a trimmer, more cut-down version of the track on the LP. However, this version of "Ephemeral" appears to be nearly the same track, although it does sound ::slightly:: different, as if they maybe re-recorded it for the LP. But the difference is not as pronounced as the EP and LP versions of "March into the Sea" for example. The track "An Inch Above Sand" was actually released on the split 7" with Young Widows on the Temporary Residence label as part of Young Widows' 4-part split series (also excellent). However, unless you have a USB turntable handy, that track was vinyl-only. So it's nice to have it in this format as well. And trust me: there is plenty of new music here to go around. Check out Pelican's Myspace page - they're streaming the entire album right now if you want to listen to it before purchasing it.



The most notable moment on this album is the last track, "Final Breath" which represents a completely new musical attempt from Pelican, because it actually has vocals. Sung by a guest performer, Allen Epley, the lyrics are great. It was a little difficult to listen to at first, because Pelican held out so long without doing a song with vocals. However, after listening to it once or twice, I find that it is a great finale to the album. This is not an attempt at selling out, and it certainly does not throw Pelican into the mix with other screaming metal bands. The words are actually sung, not growled or screamed as one might predict. However, the lyrics blend amazingly. Also featured are guest performances by Aaron Turner of Isis (guitar), Ben Verellen (bass), and Greg Anderson (guitar).



The special edition, available exclusively at Southern Lord, includes a bonus DVD and is limited to an edition of 2000. I would recommend picking up a copy of this version while they're available. These guys are arguably the hardest working musicians in the business, releasing an EP or an album at least once a year, as well as extensively touring. I would highly recommend seeing them in concert if you get the chance, especially since they tend to play with other excellent bands from the Hydrahead and Southern Lord labels, and they keep their prices on everything way down to make it affordable for everyone. Great release!

"

Dreadful, Dreadful Mastering

Fritz Gerlich | admin@audioetc.info | 01/16/2010

(1 out of 5 stars)

"I should say before I start that I'm reviewing the sound quality only, not the music. And I'm assuming the damage was done in the mastering room, but it could have been done during recording and/or mixing. Traditionally it's been done by the mastering guy because making things louder is part of their speicialty and they have the proper tools. But today, some people believe that using compressors set to their maximum at every stage is a good idea.



So what is wrong? Well without a doubt this is an extreme example of the so-called 'loudness war', google it for more info. The loudness war is kind of a misnomer because it actually has to do with dynamic range compression and not volume per se. There is a persistent belief among many artists and music business types that to be heard the music has to be maximally compressed so that everything is one volume, and that the most signal that can possibly be put in a digital file is put in that file. How they do that is they reduce the volume of the louder bits so that they are at the same volume as the quiet bits, then they amplify the whole wave to the maximum level. This compression (not to be mistaken for lossy mp3 type compression) in extreme cases, like the album here, is accompanied by digital distortion, clipping, and of course loss of dynamic range.



Digital distortion is almost always bad except in the case of noise music like Merzbow which I personally hate. Digital distortion during compression always results in loss of audio data, in the most server cases the wave peaks are simply cut off and discarded, that is called clipping.



Anyway, this release is an extreme example of the damage that can be done to music in the attempt to cram as much signal onto the medium as possible. 4 dB of dynamic range, clipping, and excessive digital distortion are all here.



What I don't get is do artists think their fans are retarded? That they don't know how to use the volume knob, or replaygain/itunes volume normalization so the adjustment is automatic? No, all that ends up happing is that a lot of people like me just get ear fatigue from the constant saturated waves and turn it off."

A Warm, Huge, Expanding Installment

Ryan Smith | New Brunswick, NJ | 10/29/2009

(5 out of 5 stars)

"I love this album. I loved it since the first melody hit my ears. I've followed Pelican since about 2004-2005 and they quickly became one of my all time favorite bands with The Fire In Our Throats...(their 2nd full length LP). From Fire In Our Throats to City Of Echos and now What We All Come to Need there is a clear progression in quality. The recording quality and delivery has never been better. The mixing has never been better and the drums and bass have come up to make the whole experience more cohesive. Content wise, I feel every Pelican album has its ups and downs. I never expect to love every riff and every minute because there's so much. I get the same experience listening to jazz. There's just so much to hear in every song (there always is) that some parts are gonna stand out among others. Also Pelican have been delivering soul jarring melodies on guitar since Austrlasia, and nothings changed. Thank god the guys haven't run out of ideas, it is apparent that this cd contains equally as many astounding parts as any previous release, with a whole new, warmer feeling. Just look at the album art- this isn't a billowing, lofty first release (Australasia) it isn't a sky blue, fresh, crisp and invigorating album (Fire In Our Throats)- nor is it manganese-black drowning and destructive with shimmers of delicacy thrown in (City Of Echoes) - this is a warm and inviting album. It is all encompassing, the heavy parts grab you rather than hit you hard. It is a great experience. My favorite tracks are Glimmer, The Creeper, Strung Up From The Sky and Final Breath. This is a 5 star band. They're classic. Every release shows a different state of music, but really neither is better or worse- there's just early and later. It's rare to find a band where every album is worth listening to, but here you've found one."