Landing Wave Lair EP
Wave Lair captures Landing during a creative resurgence, continuing down the path started on their self-titled release for Geographic North. Pulsating songs that kick around the band’s signature mix of hazy melodies, dreamy guitars and vapour-like synths, all augmented by the prominent use of drum machines and sequencers (drummer Daron Gardner has switched to bass full time). Aaron Snow says of his band’s direction, “We’re definitely happy with the new inclusion of drum machines and sequencers and such. It’s funny: we’re making the music I would have dreamed of making as an 18-year old now.”
Side A features three tracks focused on dreamy pop. Beautiful, concise tunes that show the love and influence of bands like Seefeel, Cocteau Twins and mid-80’s Cure. This may be the most melodic stuff the band has done to date. Opener “Patterns” begins with a shimmering swell before the song opens wide to unveil a rotating synth melody over which Adrienne Snow’s chilled vocals float and glide. Then there is the one-two “punch” of “Resonance” into “Cover Bare Arms.” “Resonance” is built off several layers of guitar loops with Daron Gardner’s bass line cutting right through, propelling the music into rhythmic territory the band hasn’t traveled before. “Cover Bare Arms” feels the most like an older Landing track. The easily recognizable guitar lines mixing with some new-age synth flourishes before Aaron Snow’s vocals coat everything in a hazy wash. “I feel so much lighter…” he sings with each word ascending into the sonic mist. Side B finds the band embracing their epic side with “Wave Lair.” A track that ranges from throbbing drone to soaring melody and back in just shy of 19 minutes. The layers of guitars take a backseat to the pulsing and gurgling electronics found throughout. This is a record of growth for Landing. As the band continues to add new elements to their sound they provide persuasive evidence as to why this type of music has endured.
Wave Lair is limited to 300 copies and comes with a full digital download.
A1 / Patterns
A2 / Resonance
A3 / Cover Bare Arms
B1 / Wave Lair
300 Total Copies
5 Test Pressings
Tiny Mix Tapes / Cerebus:
"I can’t tell you how many times I’ve thought to myself, “Damn, this sounds like Brocade” since Landing dropped the deceivingly effective, minimal post-prog full-length in 2005. While Wave Lair doesn’t sound anything like the work I’ve heard from the now-trio in the past, it retains the subtle nuance and delicate drift I’ve always ascribed to them. The final cut, an 18-minute thumper and title track, tells the story best: It’s lonely out in the desert, and since we’re not in a hurry let’s make the best of it. Jessica Bailiff-esque vocals join in soon, and while a few of the synth trills are a bit obnoxious, the atmosphere is ripe for the melting of minds as more of those bass-y, processed beats churn underneath. Later on, as the track is petering out, droning strings and throbbing bass form the crust of an underworld excursion that yields the best results, the rhythms kicking and hitching and chugging. This one came out in December 2012 so don’t feel bad if you missed it; just rectify the situation. I’ll wait."
"Patience is a virtue. The weekly onslaught of content from all corners of the music underground-- live sessions, mix tapes, remixes, album teasers, etc., etc. ad nauseum can wear. The mere act of sitting out the relentless content cycle can qualify as a strategy in and of itself. For Connecticut's Landing, a narcotic shoegaze inflected group centered around the husband-and-wife team of Aaron and Adrienne Snow, time off means the group has redoubled their efforts to explore transcendent, sparkling landscapes on the fringes of dream pop. Landing spent a prolific first half of the 00's on stalwart underground labels like K and Strange Attractors Audio House, but a six year hiatus has done the group well. Returning last year with a self-titled record on Geographic North, the group have just followed that up with a four-song EP on These Are Not Records. The A-side is three ethereal confections as gently transporting as any in the genre, but the titular closer is a 20-minute masterstroke combining hazy ambience and strong melodic sensibility with a calculating, slow burn payoff. Please enjoy."
"It's been ages since we've heard from psychedelic space drifters Landing, and we DEFINITELY don't remember them sounding like this. The swirling spaciness is still present, as is the group's dreamlike electronic psychedelia, but here, it's delivered in a much different form, one that's more sort of new wave electro synth pop! Yup, sequencers, drum machines, ethereal female vox, The first track might have you thinking you're listening to some new record on Captured Tracks or Sacred Bones, which if you're a fan of either, snag this right now. Crystalline guitars wound around loping rhythmic skitter, and low slung bass thrum, chiming and dreamy, the song more than just retro leaning electro-pop, at one point the guitars and vocals drop out, revealing the tripped out psychedelic electronic experimentation that lurks below/within, which the band has deftly crafted into something incredibly poppy and blissed out, equal parts 4AD, M83, and the new wave of, er, new wave. In fact the whole A side is made up of this sort of swirling prismatic kraut-pop, looped and mesmeric, trance-y and super hypnotic, the sounds pulsing and shimmering, loads of echo and reverb, the last track on the A side is all cool loping downer electro pop, crooned male vox, over a driving, but still laid back, twinkling harmonics, reverby jangle, a total throwback, but with a modern, more experimental sheen. It's on the B-side that we get a little taste of the Landing of old, a sprawling epic that sounds like it could/should have been on Kranky, all blurred drifts and murky melodies, bass thrum and synthy swirl, but some of the group's new elements are still present, a fractured, minimal glitchy rhythm, some of the sounds blown out, and glowing with a muted intensity, before being smeared into the softly undulating backdrop, over this slo-mo groove, drifts flurries of tangled synth, mysterious percussive fragments. About halfway through, the song seems to blossom into some swirling electronic dream pop, the female vocals rejoining, before as quickly as the sound changes, it changes once again, and spends the rest of the side's 8 minutes gradually unwinding and unfurling, a heady dreampop psych-drift headtrip that definitely proves that the whipper snappers these days, trafficking in similar sounds, have NOTHING on their sonic elders. Dreamy, droney, poppy, psychedelic, electronic perfection!"
"Opening with a whoosh of electronics, “Patterns” highlights the ethereal voice of Adrienne Snow that light up the track, blending with the dreamy guitar and electronic sequences to create a delightful tune, a warm bass adding another layer to the song. With looped guitar and a bass groove, “Resonance” moves into Cocteau Twins territory, a languid tempo allowing the song to shimmer with grace, the electronic percussion used sparsely and to good effect. Sounding more like the Landing of old, “Cover Bare Arms” is built around a pulsing bass line, the guitar adding sparkling melody lines to the tune, the ghostly voice of Aaron Snow almost lost in the mix, buried under warm reverb and rising synth chords. Having served up a trio of delightful pop ditties, side two finds the band stretching out for the epic nineteen minute title track, the electronics tacking centre stage creating a vast tapestry of sound. Beginning with a deep bass pulse, the track soon adds hazy synth chords and droned guitar washes that reveberate across the room like a heat haze on a desert highway, the sound s drifting and expansive. As the piece moves on in hypnotic splendour more layers are added, the track seemingly moving back in time to become a slice of Kraut inspired music, the rhythms becoming embedded in your brain, the textures coiling around each other, the only thing you can do is lie back and allow yourself to be transported. Whilst never entirely vanishing, towards the middle of the track, the pulse is relegated to the background, the drone enveloping time and space, the addition of almost hidden vocals an unexpected and delightful distraction before the piece dissolves into a floatation tank phase, barely moving far few minutes, until that pulse returns to lead us home. Truly magnificent, it is good to hear a band continue to experiment and move forward with new ideas and bags of confidence."
"Wave Lair which was released the first of this year, seems to have gone under the radar of many blogs and publications which is a little disappointing because this is actually a nice, soothing listen. I don’t know whether to call this shoegaze, dream pop, or ambient. Wave Lair, however succinct, is the follow up to the duo’s self-titled album from last year – the duo’s first proper full-length in six years. “Patterns,” the opening track of Wave Lair, presents a mesh of bright synthesizers, a strong bass line and Adrienne’s ethereal vocals; the guitar work is equivalently ethereal with Adrienne’s voice. “Resonance,” the second track, takes a sharp turn in to a dreary atmosphere with the synthesizers adopting a slight drone. “Cover Bare Arms” features Aaron on vocals, and the conclusion to the EP, “Wave Lair,” is an ambient tapestry that clocks in at almost twenty minutes!"
DOA / Delusions Of Adequacy:
"It’s fitting that the choice of title for this recording refers to a location centered around sonics, because all the changes in Landing – the economy of a three-piece, drummer moving to bass full-time without replacement, and a perspective that comes with lifespan maturity – have created a new playground/laboratory for the band to explore their gifts in a new dynamic. Thankfully, they are confident, detail-oriented, and dexterous, and continue pumping out worthy material. Wave Lair points to an even more diverse future for the band!"
"A strong undercurrent of ‘90s shoegaze and new wave runs through the material, especially now that drummer Daron Gardner plays bass only and drum machines are used for the songs' beats. The band's dreampop side gets a thorough workout in “Patterns,” whose guitar- and bass-prodded pulsations and vaporous synth washes call the glory days of The Cocteau Twins, New Order, and Lush, among others, to mind. Adrienne's suitably ethereal voice grows even hazier during “Resonance” and “Cover Bare Arms,” both of which plunge into deeper atmospheric pools than the opener. In keeping with the shoegaze tradition, the music swoons as synth washes crest and fragile vocals exhale. It's the title track that makes the strongest impression, however, especially when it plays as a sunblinded, krautrock-styled drone for the opening nine of its nineteen minutes before Adrienne's voice enters to briefly nudge the synth-emblazoned material into a quietly ecstatic zone before reverting once again to quieter instrumental form. Such material indicates that though the band's existed for fourteen years (and counting), Landing appears to be in a particularly strong place creatively at the moment."