Wild Peace

Description

Echo Lake formed late in 2010 after Thom Hill and Linda Jarvis met studying at art school in South London. The ex-choir girls voice perfectly suited Hills Brian Wilson meets Galaxie 500 productions and they set about work on a project.

A songwriting and recording duo but fleshed out to a five piece for rare live dates, the act were picked up by cult London label No Pain In Pop and the resulting, acclaimed debut EP Young Silence quickly caused a press feeding frenzy. Fourteen months later and debut album Wild Peace is a considered, singular work brashly proving all the hype right. Marrying Hills huge, dense production style with countless interweaving layers of Jarvis emotive and cavernous voice the tracks seem to both float like the densest of mirages and maintain a majestic, considered indie-rock classicism.

Its a uniquely direct and convicted take on the melodic side of psychedelias pop frontier; the sound of a band flying close to the sun with just their debut release. Further Down is a meticulous introduction to the record; paced perfectly around Jarvis vengeful whispers with a controlled and tuned aggression which could be a description of the group as a whole. Early single Another Day is as straightforward a classic-British-guitar-pop track as you could hope for, with Hills joyous guitar lead spiralling over rising vocals and eventually building up to a frenetic climax. Third track Wild Peace is swooning organ and string-led ballad set to soundtrack a lost prom waltz, the widescreen chorus summoning up hazy memories of Kim Gordons cooings on Shadow of A Doubt, latterday Beach House and endlessly spinning mirror balls. The early-Arcade Fire immediacy of Even The Blind is the albums boldest point: a shimmering affirmation of hope and self-belief in a decade of interesting times. After the impressionistic blushes of instrumental Monday 5AM the record quickly picks up pace. Young Silence and In Dreams both from the bands debut EP more overtly recall My Bloody Valentines raw, abstract energy and Deerhunter or Spacemen 3s layered, rhythmic sprawl. The formers a Spector-ish wall of sound pop tune set to warp speed and the latter an ethereal interpretation of kraut minimalism.

Jarvis interchangeable, chameleon vocals give Last Song Of The Year a huge and uplifting melodic quality furthered by a hypnotic riff John Squire would be proud of atop stadium-sized drums. Closers Swimmers and Just Kids give hints of beachcombing Real Estate pop, listless Cocteau Twins shoegaze, Spiritualized atmospherics and mainstream Britpop pomp. In their essence, they display the uniqueness of a young band emerging fully formed, rapidly honing their many influences with supreme confidence. This one will be on plenty of reputed End of Year lists, Shimmering pop of the highest order!