A due anni di distanza dall’EP di debutto i post-rocker tedeschi Shipwrecks si affacciano sul mercato discografico con il full length omonimo, in uscita il 10 novembre per Sportklub Rotter Damm.
Composto in un’antica casa di campagna nello Schleswig-Holstein, il più settentrionale degli stati tedeschi, e registrato in diverse location divise tra Germania e Paesi Bassi da uno dei chitarristi della band, Shipwrecks possiede un suono accurato, magniloquente e complesso, frutto dell’incontro fra strumentazione vintage, batterie spaziali, chitarre atmosferiche, percussioni esotiche, timpani e field recordings, oltre che partecipazioni esterne come la fisarmonica di Daniel Juline (EF/Halo of Pendor). La stessa attenzione ai dettagli è riscontrabile nell’artwork, opera del batterista, un assemblaggio di legno, metallo arrugginito, giocattoli, fossili, pietra lavica, ricci di mare (!) e altri elementi bizzarri, la cui essenza di scarti e rifiuti si sposa con i malinconici paesaggi sonori dei brani. Se i dettagli già evidenziati non fossero abbastanza interessanti, registriamo inoltre che il mastering è opera di Magnus Lindberg dei Cult Of Luna;
Shipwrecks verrà presto recensito su Grind On The Road, oggi abbiamo il piacere di ospitare in anteprima lo streaming integrale dell’album. Il pre-order è disponibile qui.
Finally (after the highly praised debut EP from 2015) the first full-length album by post-rock band Shipwrecks reveals itself, and not only as a really strong record but moreover as a total affair of the heart. The history of how this album came to life represents a passion for detail, a do-it-yourself enthusiasm and the sincerity in the way the four Cologne based musicians dedicate themselves to their art form. Following about a year of groundwork in the rehearsal room the band retreated from the busy city to the isolation of an old farmhouse in Schleswig-Holstein for one and a half weeks to finish writing. The songs have been recorded by one of the band’s guitar players, who also functions as in-house producer, over several months at various locations in both Germany and the Netherlands. Through the use of some of the finest vintage equipment, he attempted to capture the special sound of the band as monumentally as possible- from massive spatial drums confronting a mighty bass, to sublime guitars, atmospheric additions including timpani, exotic percussion instruments and field recordings, he worked right down to the last detail. The cover artwork is taken from a 1,3 x 0,6 meter mixed media assemblage created by the drummer, also a visual artist. Created from wood, pieces of rusty metal, fossils, child’s toys, lava rock, a sea urchin (!) and countless other bizarre findings from around the world, the artwork holds a charming lost-and-found feeling which sits perfectly with the melancholic post-rock soundscapes of the songs. The band entrusted the mastering of the record to Cult of Luna’s Magnus Lindberg, who gave the album its finishing touches; further scene fame provides a short guest appearance by Daniel Juline (EF/Halo of Pendor) on the accordion.
The final result proves the effort was well worth it. While the epic aesthetics sound familiar, the band neither panders to the legends of the scene, nor slips into much maligned quiet/loud post-rock formulas. The organic production differs pleasingly from the sterility of many records out these days and the spectacular cover work underlines the uniqueness of the sound that these young fellows conjure mainly with guitar, bass and drums. It’s clear that a beautiful piece of art has been created here. Available soon as gatefold vinyl, custom tape edition and in digital form.