Labels Sonic Cathedral and Clapping Music have joined forces to bring the new album from Yeti Lane to vinyl LP and CD. For L’Aurore the psych duo built up their ideas for the album through a series of free-form improvisations with their pals, and thankfully their friends include Damo Suzuki and Anton Newcombe, from The Brian Jonestown Massacre. Delicate synthesizers blend with acid-fried guitar that could be an extended Neil Young solo.
7/10 Robin Staff review, 08 March 2016
Parisian Yeti Lane join forces with the Sonic Cathedral team to eat you slowly. “Delicat”, this record’s opener, toys with miasma before going all in for the crunch, using a rolling, almost groaning feedback shared with follow-up “Good Word’s Gone”, like their teeth are made of clouds, like they’re trying to bring the heavy but from a cosy sinking chair. This paragraph is my way of saying that Yeti Lane’s slow-burning, synth-swirling and hard-edged psych rock is weirdly comforting.
Maybe it’s the melodies, though: it seems that simple when the riffs peak their way through “Good Word’s Gone”, or when the vocal lines offer an almost post-Britpop wistfulness to proceedings. “Acide Amer”, which opens on squelching synths reminiscent of Paul McCartney’s shitty Christmas song, brings in screeching guitars but seems to merely be adjusting itself for perfect conditions, eventually locking in on the right song structure and firing things out at only the most expected of times -- when those silver-lined vocals come in, you know everything is kinda just in place for this group.
“L’Aurore” is huge, sky-breaching music, with synths as loud as lightbeams are… you know, light. This record is a maximalist dream but it pines for a quieter life. Bless it.
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- L’Aurore by Yeti Lane
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