There’s a noticeable, satisfying widening of Meena’s sound in every subsequent release from the hugely talented Manchester band, and that has come sharply into focus with the pummeling wash of shoegaze indebted guitars and crispy machinated percussion on their debut album.
Though the band’s previous outings have outlined their trajectory, and hinted at what was to come, from the first moments of bouche-amusing taster ‘Doreen’ it’s clear that Meena have hit their new stride. Scattered percussion shots and glitched electronics drive militaristically beneath distorted synth and guitar swells that wouldn’t sound out of place on a 65daysofstatic record before soaring vocals drape over the top.
It’s this sort of juxtaposition that illustrate how adept these compositions are and how beautifully delicate sounds can be skilfully woven into a cathartic wave of sound without getting lost, partially due to the songwriting and performance, and partly due to the flawless mixing of Ben H Allen (Animal Collective / Deerhunter / Washed Out).
While Pieces like ‘Carte D’or’ or ‘Money’ beautifully showcase the use of modern production techniques and stylistic conventions, they have an equal and opposite in the gothic swirl of 'Wait' or sea of shimmering reverb on the brief but mind-blowing 'CW3'. There are echoes of the layered grit and lysergic wooze of MBV, or a hint of Nine Inch Nails' dusty, distorted drum loops but none of the pieces sound like anyone other than Meena.
The closing duo of 'How Far' and 'Peter' for instance couldn't be any different, with the former bursting into a soaring, melodic 90's powerhouse before the latter pulls the pop apart into backwards bursts of splintered tape and fizzling filters.
An incomparably intricate, wonderfully listenable burst of mayhem from one of the greatest bands you should have already heard of.
Though the band’s previous outings have outlined their trajectory, and hinted at what was to come, from the first moments of bouche-amusing taster ‘Doreen’ it’s clear that Meena have hit their new stride. Scattered percussion shots and glitched electronics drive militaristically beneath distorted synth and guitar swells that wouldn’t sound out of place on a 65daysofstatic record before soaring vocals drape over the top.
It’s this sort of juxtaposition that illustrate how adept these compositions are and how beautifully delicate sounds can be skilfully woven into a cathartic wave of sound without getting lost, partially due to the songwriting and performance, and partly due to the flawless mixing of Ben H Allen (Animal Collective / Deerhunter / Washed Out).
While Pieces like ‘Carte D’or’ or ‘Money’ beautifully showcase the use of modern production techniques and stylistic conventions, they have an equal and opposite in the gothic swirl of 'Wait' or sea of shimmering reverb on the brief but mind-blowing 'CW3'. There are echoes of the layered grit and lysergic wooze of MBV, or a hint of Nine Inch Nails' dusty, distorted drum loops but none of the pieces sound like anyone other than Meena.
The closing duo of 'How Far' and 'Peter' for instance couldn't be any different, with the former bursting into a soaring, melodic 90's powerhouse before the latter pulls the pop apart into backwards bursts of splintered tape and fizzling filters.
An incomparably intricate, wonderfully listenable burst of mayhem from one of the greatest bands you should have already heard of.
STAFF COMMENTS
Barry says: Crackling, fizzing industrial shoegaze breaks into euphoric psychedelic rock and shimmering synthpop, all perfectly manicured and beautifully performed. What could be better? Mixed By Ben H Allen (Animal Collective / Deerhunter) and mastered at Abbey Road? Go on then. Banger.TRACK LISTING
1. Doreen 01:25
2. Wonder 02:59
3. Wait 03:11
4. Cast 03:36
5. Money 02:52
6. Somebody 04:26
7. Different Now 01:14
8. Carte D'or 02:24
9. Creation 04:43
10. Stumble 03:13
11. CW3 02:03
12. Even Say 04:12
13. How Far 03:58
14. Peter 01:59