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LONG DISTANCE CALLING

Post Rock/Math rock • Germany


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Long Distance Calling picture
Long Distance Calling biography
Formed in Münster, Germany in 2006

LONG DISTANCE CALLING is a post rock band formed in 2006 by David Jordan (guitar), Janosch Rathmer (drums), Florian Füntmann (guitar), Jan Hoffmann (bass) and Reimut van Bonn (ambience) with the belief that music has no "room for rules". There music can be described as somewhat adventurous post-rock that often drifts into post-metal territory.

They started rehearsing in early 2006 and in late September of the same year they released their first EP titled "DMNSTRTN". The EP was limited to just 200 copies and featured barely 4 songs ranging from 6 to 11 minutes yet it was well received by critics, getting compared to acts such as Mogwai, Red Sparowes, Porcupine Tree and Godspeed You! Black Emperor. A tour edition, limited to just a 100 copies was released later on. At the end of April the band went to the studio to record what would become their first album titled "Satellite Bay", and in May 2007 the band was signed to Viva Hate Records.


- Burritounit (Sebastian Maldonado) -

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LONG DISTANCE CALLING discography


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LONG DISTANCE CALLING top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.23 | 31 ratings
Satellite Bay
2007
3.58 | 77 ratings
Avoid the Light
2009
3.83 | 173 ratings
Long Distance Calling
2011
3.53 | 58 ratings
The Flood Inside
2013
3.59 | 49 ratings
Trips
2016
3.77 | 60 ratings
Boundless
2018
3.88 | 57 ratings
How Do We Want to Live?
2020
3.83 | 24 ratings
Eraser
2022

LONG DISTANCE CALLING Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

5.00 | 3 ratings
STUMMFILM - Live from Hamburg (A Seats & Sounds Show)
2019

LONG DISTANCE CALLING Videos (DVD, Blu-ray, VHS etc)

LONG DISTANCE CALLING Boxset & Compilations (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.00 | 6 ratings
090208
2008

LONG DISTANCE CALLING Official Singles, EPs, Fan Club & Promo (CD, EP/LP, MC, Digital Media Download)

3.06 | 13 ratings
DMNSTRTN
2006
4.00 | 7 ratings
Nighthawk
2014
4.00 | 3 ratings
Hazard
2020
4.00 | 3 ratings
Voices
2020
3.75 | 4 ratings
Immunity
2020
4.50 | 2 ratings
HDWWTL - The Remixes
2020
3.36 | 17 ratings
Ghost
2021
4.25 | 4 ratings
Kamilah
2022

LONG DISTANCE CALLING Reviews


Showing last 10 reviews only
 Eraser by LONG DISTANCE CALLING album cover Studio Album, 2022
3.83 | 24 ratings

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Eraser
Long Distance Calling Post Rock/Math rock

Review by alainPP

4 stars LONG DISTANCE CALLING is an extraordinary German group combining heavy rock à la OSI with atmospheric rock à la PINK FLOYD and not hesitating to scratch on dreamlike post-rock with well-established spleen. An orchestral group that lets its musical soul evolve by offering more and more strong albums, almost stoner at times. Their quality is to sound heavy, gripping, bewitching and hypnotic.

'Enter: Death Box' for the vintage intro, not that of the dinos, the one with piano, cracking, at the time when we listened to the music with the candle, slow icy and austere interlude. 'Blades' changes tone with a scalded rhythm, 'Kamilah' with a nervous hit with percussion and plaintive guitar, '500 Years' with its contemplative intro launching a title that can recall the distant sounds of THE CURE, 'Sloth' with sax and latent, soporific air, on a Floydian base, a vibrating guitar and one of the most beautiful titles, 'Giants Leaving' for the nervous snack, to show that before post there is rock, frenzied, ' Blood Honey' while crescendically rising with jerky breaks, 'Landless King' returns to a latent floydian sound in the distance, I can't help it, but you have to admit it and it's also a guarantee of quality, 'Eraser ' finally for the well-established post-rock ballad, monolithic, endless but with a hit that keeps you from falling asleep.

LONG DISTANCE CALLING continues to release albums that will become cult over time; yes very good but too complex I fear for any self-respecting person. I'm wrong, you're reading this column, so get out of your house, go buy it, listen to it and you'll understand.

 Avoid the Light by LONG DISTANCE CALLING album cover Studio Album, 2009
3.58 | 77 ratings

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Avoid the Light
Long Distance Calling Post Rock/Math rock

Review by The Crow
Prog Reviewer

4 stars "Avoid the Light" is the first Long Distance Calling album I've heard, and their style fits my tastes perfectly.

They play a kind of stoner rock mixed with space rock and touches of psychedelia, as well as crossover prog influences in the style of Porcupine Tree and The Pinneaple Thief, which makes this "Avoid the Light" a fun and easy-to-listen album despite being practically instrumental.

Highly recommended! I will listen more of this band, for sure.

Best Tracks: Black Paper Planes (it's an absolutely defining song of the band's style, really good) and Sundown Highway (an epic song that cleverly mixes stoner with gothic, but remains purely progressive)

My Rating: ****

 Eraser by LONG DISTANCE CALLING album cover Studio Album, 2022
3.83 | 24 ratings

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Eraser
Long Distance Calling Post Rock/Math rock

Review by nick_h_nz
Collaborator Prog Metal / Heavy Prog Team

4 stars [Originally published at The Progressive Aspect]

Long Distance Calling are a band that has a reputation for almost starting from scratch with each new album. I made the comment in my review for their previous album that the band "seem to take on a different aspect of the post-rock expanse for each subsequent release. Each of their albums has been quite different, and in that respect they are possibly one of the most progressive of post-rock bands." Thus it comes as no surprise that Eraser is a very different album from its predecessor. And yet, in many ways it seems almost to be a companion album. Recorded during the uncertainty of the global pandemic, which was a frustrating and frightening time for most musicians as their very livelihood (more than so many other occupations) was on the line; perhaps this is why Long Distance Calling seem to be continuing upon a theme. Eraser and How Do We Want To Live? are conceptually quite similar, and tell the same story from different viewpoints.

The band have made clear that this is an album about endangered species. Each track is supposedly dedicated to a particular animal, though it is not always obvious which that is. But what is clear is the lack of human voice - either in samples or vocals. This is not an album for the human voice, but those of the animals. You can hear the difference as where How Do We Want To Live? had a futuristic sound full of samples and synths, all clean and clinical, Eraser has a rawer, more natural and organic feel. It's the sound of a band playing together in the studio, rather than studio tricks augmenting the performance. In this sense, sonically it's reminiscent of Long Distance Calling's debut, Satellite Bay. That's not to say there are not additions to the band's performance, but this time around they are not samples and synths, but strings and woodwinds - real strings and eal woodwinds, no less!

Wonderfully, these additional instruments aren't applied in the manner you might expect. So often instruments like strings and woodwinds are used to create a symphonic background, as you might find on many prog and prog metal albums, that is bombastic and almost used as a background "wall of sound". There's often no subtlety or beauty in the way symphonic elements are added to prog. However, Long Distance Calling use these elements sparingly, and beautifully. To my ears, they almost provide leitmotifs, and I'll go even further - those leitmotifs are reminiscent, for me, of Prokofiev's Peter and the Wolf, the plot of which, as I'm sure we all know, sees the triumph of man (Peter) taming nature (the wolf). It's not difficult to make comparisons with the animals of Eraser. Like Prokofiev's wolf, we may end up seeing some of these animals only in a zoo, if at all.

The album begins with a quiet and melancholy tune entitled Enter: Death Box, which eventually reveals itself to be an inverted reprise of the title track, with the two tracks beautifully bookending the album. I can't say I know exactly what the band mean by this title, but it brings to my mind the spreadsheets used to record the movements of endangered and vulnerable birds in New Zealand (and probably other countries). There are a number of boxes for data to be entered, including Sex, Area, Frequency, On, Off, Total? and the Death box. The track itself is very short, and works more as an introduction to Blades, which crashes in with a great heaviness. Without the delicacy and beauty of Enter: Death Box, Blades would not have the impact it does.

Probably because birds are already on my mind from Enter: Death Box, I imagine the blades to be those of a wind turbine. The blades of wind turbines are known bird killers. Millions of birds around the world are killed by the blades. While proponents of wind drams will point to studies that show that generally less than 1% of any one country's bird population is affected, this is a case of seeing what you want to see from statistics. Studies also overwhelmingly show that due to location, endangered and vulnerable bird species are disproportionately victims of wind turbine blades, and almost solely due to wind turbine deaths, some species have been moved from vulnerable to endangered, or endangered to critically endangered. And, honestly, if you can't hear the way the music turns, you must be deaf. The sense of turning is so tangible it is incredible. The use of dynamics is great, too. Just as when you see a wind turbine from a distance, and the blades appear to be turning slowly, when you are right underneath them, you realise how fast they actually turn. So the spinning sensation of the music seems slower when it is quieter (further away), and faster when it is heavier (closer).

The lead single, Kamilah, follows - the subject of which is the gorilla famous for being the first to have its full genome sequenced. Am I imagining it? Is it because I'm still reeling from the turning sensation of Blades? Or do those galloping and intertwining Maiden-like passages resemble the double helix structure of DNA? Maybe the visuals I get from Blades and Kamilah were not what was intended by the band, but it just goes to show how great the music is that it can provoke such images (intended or not). Just as a good book will always beat a film adaptation, because it makes your imagination soar; so will a good piece of instrumental music always beat one with vocals. (There are two species of gorilla, each with two sub-species. All four are critically endangered, with the main threats being poaching and habitat loss.)

I'm aware of how long this review already is, so I'm wary of continuing track by track, suffice to say that all are both affective and effective. I have never before considered that the vocal samples and lyrics might have distracted, or even detracted, from the music of Long Distance Calling (their previous album was probably my favourite yet, which shows that the sheer amount of samples didn't spoil that release for me), but without them, the music really does fire the imagination, and seems almost as visual as it is audio. Dynamically, this is possibly the most diverse Long Distance Calling album, and that also helps inspire those visuals. I have not yet decided whether I like this more than How Do We Want To Live?, but these two (together or apart) are my favourites in Long Distance Calling's consistently great discography.

I guess I need to mention Sloth as it is likely to be the stand-out track for many. Appropriately for its title, it is probably the slowest Long Distance Calling number ever. Especially with the addition of Jørgen Munkeby guesting on saxophone, this almost sounds like some lost Pink Floyd track. Long Distance Calling have always had a Floydian tinge to their music, but this is taking that sound to whole new levels, while never sounding derivative. Sloth still sounds like Long Distance Calling, but drawn out to a quite sublime slow pace that is simply beautiful. It's followed by the second single, Giants Leaving, which again brings me imagery from back home, as Dunedin (my hometown) is, I believe, the only mainland breeding colony of Royal Albatross. Given that albatross are known for their long wingspan (one species has the longest wingspan of all birds, and five of the next nine birds, by length of wingspan, are also species of albatross), this is a surprisingly short song ? but, especially after Sloth, appropriately uplifting, soaring to heights not yet felt on this album. If you have the vinyl, I guess this is an absolute banger to start side two, and will probably be a real crowd pleaser when played live. (All but seven of the world's 22 species of albatrosses are threatened with extinction, with the main threat being incidental death (bycatch) by commercial fisheries.)

With Landless King, one of the key issues regarding survival of the endangered and vulnerable species is addressed (or perhaps, addressed once more, but more overtly than previously). While the "king of beasts" is not endangered (the lion is listed as vulnerable), three quarters of their populations are in decline, and it is estimated that at the current rate of decline (due to poaching and, yes, habitat loss) the lion will be extinct in the wild by 2050. Like Prokofiev's wolf, if you want to see the lion, you will need to go to the zoo. The music for this track is suitably majestic, full of poise and gravitas. But it also feels confined, and there are passages which really do, for me, sound like the lion pacing back and forth in its enclosure (as anyone who has seen a lion at the zoo, may have witnessed). Thus there is a certain sadness about this track, although it ends on what sounds like a quite optimistic passage to me. This naturally leads to the last track, and the last species - us.

It's almost a callback to the last track of How Do We Want To Live? Humanity is the virus. Humanity is the "Eraser". We are responsible for the habitat loss, for the poaching, for the incidental death by "Blades" or bycatch, for the climate change. Humanity on one hand are the ones who are endangering all these species, and ultimately our own species also. Yet, on the other, we are the only ones who can do anything about any of this. We are the only ones who can push back the habitat loss, prevent the poaching and incidental death, and do something about climate change. Only we can save these endangered species, including ourselves. I could bring this back to Prokofiev and Peter and the Wolf once more. The moral for that symphonic fairy tale is often given as one variation or another of "the only way to be a hero is to take some risks". Eraser is the darkest track on the album, but it's always darkest before dawn. What we do (or don't do) on the new day could either help out future, or seal our fate. How Do We Want To Live?

 Ghost by LONG DISTANCE CALLING album cover Singles/EPs/Fan Club/Promo, 2021
3.36 | 17 ratings

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Ghost
Long Distance Calling Post Rock/Math rock

Review by DamoXt7942
Forum & Site Admin Group Avant/Cross/Neo/Post Teams

3 stars This creation is blended with orthodox rock, space rock, psychedelic, desert rock and especially Krautrock. LONG DISTANCE CALLING hail from Germany or one of the Meccas of psychedelic / space rock. It makes sense that they would have been inspired by lots of German rock / Krautrock vanguards (sounds like they are influenced also by Rammstein?). Such a mysterious vibe can be heard via the first track "Dullahan" and the epilogue "Negative Is The New Positive". Weird atmosphere is shot from the beginning and psychic sound agents are getting developed gradually. This exaggerated mysterious aroma reminds us of the similarity to Electronic Meditation of Klopfzeichen.

As for authenticism, on the other hand, "Old Love" flavours charming, relaxable, and atmospheric via their sincere, decent playing and authentic melody lines and stable rhythmic bases. Fuzzy texture drives this track quite colourful but I wonder that only I could feel pop, catchy seasoning? In "Black Shuck" monotonous electronic drumming shows a feeling of emptiness in this song (just like the title itself) but in the middle phase the situation changes drastically. Aggressive drumming and crying guitar solo playing are pretty energetic and comfortable. Kinda stuff giving us massive power I imagine. "Seance" the eerie title expresses this creation vividly. Hallucinogenic electric guitar shouts like a dog's howling produce an impressive atmosphere, and ghostly tastes. On the contrary, their main dish in this track is enthusiastic and graceful regardless of sound dissonance. It cannot terrify but do empower us strongly with their emphasis and intention. The following "Fever" sounds just like a smooth stream of a river and simultaneously a sharp one that makes us high-spirited and spiritualizes us by boiling water-ish auditory stimulation.

The mixture of musical ingredients should be behind their background.

 How Do We Want to Live? by LONG DISTANCE CALLING album cover Studio Album, 2020
3.88 | 57 ratings

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How Do We Want to Live?
Long Distance Calling Post Rock/Math rock

Review by Devolvator

5 stars It is still gloomy, aspiring and powerful! In spite of very slight softening of the sound, the listeners still have the same incredible Long Distance Calling as 10 years ago. Everything is in the best canons, well, almost everything. The auxiliary two-part composition is very reminiscent of the refined early Porcupine Tree of the "Up The Downstairs" era with its long "walking" rhythms and monotonous urban guitar chords. The strings are still "crunchy minor", and this has been unchanged since the beginning of the band's existence. Hazard with her sci-fi color and changing tempo. Immunity is the most impressive thing on the album as reflects both the characteristic scale and the classic "acceleration uphill" for the band, seasoned with hopelessly depressive syncopations and repetitive riffs. In general, we have an excellent recording, not inferior to the previous opuses of the group, if not for one thing. The disc is very much reminiscent of the Porcupine Tree of the early 90s: the albums "Up the Downstairs" and "Sky Moves Sideways". Feeling like you've heard it all before. But this is not a flaw in the album, but rather a direct reference to the legislators of the genre. It's just that until today, Long Distance Calling had a more unique vector. Now they have maximized and modernized the style set by the records that existed long before LDC. This can hardly be considered an omission, perhaps a kind of suppression of the lack of fresh ideas by the resurrection of old traditions. Moreover, the recording material is still at its best.
 How Do We Want to Live? by LONG DISTANCE CALLING album cover Studio Album, 2020
3.88 | 57 ratings

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How Do We Want to Live?
Long Distance Calling Post Rock/Math rock

Review by nick_h_nz
Collaborator Prog Metal / Heavy Prog Team

4 stars [Originally published at The Progressive Aspect]

Some genres are quite narrow in scope, while some are so wide as to almost be boundless. Post rock veers more towards the latter, with a huge variation of sounds and styles being ascribed the tag. And yet, take almost any band described as post rock and they will be seemingly playing within their own boundaries. Long Distance Calling, however, seem to take on a different aspect of the post rock expanse for each subsequent release. Each of their albums has been quite different, and in that respect they are possibly one of the most progressive of post rock bands. For their seventh studio album in the fourteen years since their first release, Long Distance Calling look to the past and the future simultaneously.

I love the cover art, which evokes sci-fi paperbacks of years gone by, expounding theories of years to come (and some, like Back to the Future, which have now gone, without ever being as they were dreamed). It's the perfect cover art for an album that looks at humankind's perpetual curiosity about what the future might hold, and in particular the role Artificial Intelligence might play in it. Indeed, the opening pair of tracks are entitled Curiosity, and they provide an absolutely terrific introduction. I'm not entirely sure why they are presented as two tracks, as they really are one piece, with the first part being the introduction and the second the exposition. Even within this breakdown, the introduction of the first part bleeds into the second part for at least half a minute, before the main piece explodes into being. By the end of the second part, it is a reprisal of the first ? further giving the impression (to me) that this would have been better served as one single track. But it's no criticism, so much as an observation. Ultimately, when you are listening, there is no distinction between parts.

Hazard starts strongly, with delicate guitar played over powerful drumming. It's probably the most straightforward post rock song on the album, which makes it a strange choice of single to me, as it is least reflective of the prowess of the band. Like the opening pair of tracks, the use of voice samples is terrifically effective, my favourite moment in the track being when those samples stop, and the guitars simply soar and roar. The rhythm section is thunderous, with the bass rumbling, and the drums echoing. The song as a whole doesn't do a lot for me compared with others on the album, but those final minutes are an absolute joy to listen to.

Voices begins with an electronic beat and melody, reminiscent of Depeche Mode, and similarly moody. This is the song most people are likely to have come across, as it was released as a single with a quite explicit video of the sexual relationship between a man and his life-like Artificial Intelligence companion. I love the drums here, they propel it along for the first half before the guitars join in. The drums hold a commanding presence throughout this album, and Long Distance Calling's discography in general. This makes their rare absence even more noticeable than it would be otherwise, and their return more welcome. That said, it is the interplay of all the instruments that creates the magic of Long Distance Calling. They make everything sound effortless and fluid, and the last minute of this song, when they are all going for it, is amazing.

Despite its short length, Fail/Opportunity is a real beaut, with an almost jazzy trip hop vibe to the beat. Caught somewhere between ambient and orchestral, while maintaining its post rock cred, the piece provides a perfect preface to the following Immunity. Does it relate to our opportunity to react to the present pandemic sweeping the globe, and the failure of many countries to do so, or to do so quickly enough? Is Immunity even about that present pandemic? I don't actually know, and yet it ebbs and flows like the waves of the virus. Building with increasing menace, falling away, only to build again but stronger, harder, faster.

After the bombast of Immunity, the tinkling keys that introduce Sharing Thoughts are almost inaudible ? but turn the volume up at your peril, for you will know about it when the track kicks in. I love the groove of the bass in this piece, and the resonance of the drums. They almost have the gated sound of '80s Phil Collins. Once again, the inclusion of strings is a gorgeous addition to what is already a standout. This is probably my favourite track on the album.

And if Sharing Thoughts doesn't evoke the '80s for you, then surely Beyond Your Limits will, with the first appearance of vocals (rather than voice samples) on the album. I've never heard of Eric A Pulverich outside this album, but he has a voice which is, to me, reminiscent of '80s yacht and hair rock. The drums again have an '80s sound at times, even more Phil Collins than in Sharing Thoughts. I'll be honest, though. I've nearly always preferred the instrumental side of Long Distance Calling. While they have had some terrific vocal performances throughout their albums (and I was surprised by how much I enjoyed Trips, which is probably their most vocal-heavy album), the attraction has always been the instrumental prowess of the band. So, this is probably my least favourite track on the album.

On the other hand, I love True/Negative, and its almost industrial nature. The drums have a definite industrial feel, that wouldn't be at all out of place in a band of that genre. True/Negative is a short interlude like Fail/Opportunity before it, and pairs neatly with the following track, as Fail/Opportunity did with Immunity. However, before Ashes begins, there is a brief introductory voice sample. This is, for me, the first time the voice sample is not particularly effective, as it disrupts the flow from True/Negative to Ashes. I'd have liked the voice sample to have come in later, after the introductory notes, rather than before ? or even at the very end of the song, to be the final thing we hear. But ultimately, within the entirety of the album, this is my only criticism, and it's a small one.

Ashes is an absolutely amazing way to end the album ? as perfect a closer as Curiosity (parts one and two) were as openers. Ashes is as dark and menacing and chilling as you could expect it to be when it's opened by a speech equating the human race to a virus. And there I was wondering if Immunity was about a novel virus, when it seems it was likely about a virus as old as humanity itself. In fact, humanity itself. Curiosity is a real bastard?.

 Satellite Bay by LONG DISTANCE CALLING album cover Studio Album, 2007
3.23 | 31 ratings

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Satellite Bay
Long Distance Calling Post Rock/Math rock

Review by Mellotron Storm
Prog Reviewer

3 stars 3.5 stars. LONG DISTANCE CALLING are one of my favourite Post-Rock bands based on the two albums that follow this their debut from 2007. A five piece German band with two guitarists, a bass player, drummer and electronics creating the atmosphere. Interesting that on each of the first three albums the second last track of each has a guest vocalist which I must say adds to my enjoyment for the most part as they mix it up a bit. The band themselves say they aren't a Post-Rock band and I get it as they offer up this instrumental Metal that does have some Post-Rock styled guitars at times.

"Jungfernflug" opens with atmosphere then the music starts to slowly build a minute in. The guitar comes in over top at 4 minutes and they hit us with some power at 4 1/2 minutes. I'm not big on the riffs that follow a minute later. It settles back after 6 minutes to a mellow sound. I like this all the way to the 9 minute mark when it kicks in again. "Fire In The Mountain" opens with atmosphere as slowly pounding drums join in then guitar and bass. A pleasant sound as spoken words arrive just before 3 minutes reminding me of a song from THE SPACIOUS MIND. The voice lasts for about a minute then the sound turns more powerful. Nice. Post-Rock styled guitars after 6 minutes.

"Aurora" sounds really good to start with the depth of sound as the bass and drums lead the way. Picked guitar arrives then later around 4 minutes in we get riffs followed by a full sound. Distant spoken words after 5 minutes. A nice heavy sound here with the guitar over top. Riffs come and go and I'm not into them. "Horizon" is the shortest track and I like it, quite catchy. "The Very Last Day" opens with some powerful atmosphere that pulses as the drums join in. Spoken words talk about the oceans rising destroying cities all over the world. The words are brief and it turns heavy before 4 1/2 minutes. More spoken words late as it calms down.

"Built Without Hands" is by far my least favourite vocal track of the first three albums. His voice is distant sounding and extreme at times. Just not my thing. I like the instrumental work though from mellow to heavy. "Swallow The Water" opens with percussion as guitars join in and it builds. Catchy. The beats back off before 4 minutes as the guitars become the focus. It starts to wind down around 6 minutes in. A nice closer.

Some rate this as high as the next two ,I probably rate the next two higher than most with the self titles one from 2011 now being my favourite. Good to see Avestin agrees with me on that. It was good at least to spend some time with the album that got them started.

 The Flood Inside by LONG DISTANCE CALLING album cover Studio Album, 2013
3.53 | 58 ratings

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The Flood Inside
Long Distance Calling Post Rock/Math rock

Review by Gallifrey

4 stars Ever since its sudden stride into existence 15 years ago, post-rock has become the dominant style for instrumental bands wanting to stretch their atmospheric and layering limbs, but in recent years of increase in availability of music, post-rock has become the genre of choice for bands who aren't really good at anything, but still want to make music. The waves and waves of generic Explosions In The Sky clones poured through sites like Bandcamp and Soundcloud, ending most innovation in the genre and causing breakthroughs to be very difficult.

Germany's "Long Distance Calling" was a victim of this. Their very well produced and rather beautiful early music was put aside because, to be honest, it brought nothing new to the table. It was run-of-the-mill post-rock with the same crescendos and atmospheres we expect from the genre. But now, with 2013's "The Flood Inside", they've changed it up. They've got a vocalist.

Going through the current reviews and fans' reactions to this album, it's not looking good for LDC, but the simple fact is that they are being innovative, something the post-rock genre has needed since 1999. Marsen Fischer's voice, which appears on 4 of the 9 tracks, brings the band back to a more alternative rock style, but their roots as an instrumental band remain. Any generic alternative rock band with a guitar and a bass would think very little of the noise going on underneath the hook lines, but it's quite clear the vocals here were the last thing on, with LDC's signature layering of sound and texture crawling underneath Fischer's crystal clear vocal lines.

The backlash against the band is only expected, they have dropped an underground and progressive style for a more mainstream and accessible one, but I think they have simultaneously improved both genres in doing it. Long Distance Calling are simultaneously the most innovative post-rock band of today, and the most innovative alternative rock band of today, and that is something that will let them break through.

 The Flood Inside by LONG DISTANCE CALLING album cover Studio Album, 2013
3.53 | 58 ratings

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The Flood Inside
Long Distance Calling Post Rock/Math rock

Review by UMUR
Special Collaborator Honorary Collaborator

3 stars "The Flood Inside" is the 4th full-length studio album by German post rock/metal act Long Distance Calling. The album was released through Superball Music in March 2013. Since the release of the band's third full-length studio album "Long Distance Calling (2011)", a significant lineup change has taken place as Reimut Van Bonn (electronics and sound) left in April 2012. Keyboard player and vocalist Marsen Fischer then joined the lineup, which marks the first time Long Distance Calling have had a permanent vocalist in the lineup. Their music has predominantly been instrumental up until now, with only a few tracks featuring guest vocalists. Among others Jonas Renkse from Katatonia.

Even with a permanent lead vocalist in the lineup, the music on "The Flood Inside" is predominantly instrumental like the case were on earlier releases by the band. Even the tracks which feature vocals also feature longer instrumental sections. The colourful and often atmospheric guitar playing, the occasionally heavy distorted riffing and the quite busy drumming by Janosch Rathmer are still central in the band's music, like they have been since day one. The musicianship is overall on a high level. Marsen Fischer has a bit of an anonymous and not very distinct sounding voice, but his singing is pleasant enough and suits the music well. "The Flood Inside" is well produced and features a warm and pleasant sound.

"The Flood Inside" is in many ways a quality release by Long Distance Calling, but that's to be expected from these guys. However they seldom reach the excellent mark, where their music takes me away to another dimension and therefore my rating is closer to 3.5 stars (70%) than a full 4 (80%). It's still a great release though.

 The Flood Inside by LONG DISTANCE CALLING album cover Studio Album, 2013
3.53 | 58 ratings

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The Flood Inside
Long Distance Calling Post Rock/Math rock

Review by kev rowland
Special Collaborator Honorary Reviewer

3 stars German post rock act Long Distance Calling were formed in 2006 by David Jordan (guitar), Janosch Rathmer (drums), Florian F'ntmann (guitar), Jan Hoffmann (bass) and Reimut van Bonn (ambience) who wanted to create music where there would be no rules or preconceptions. Primarily an instrumental act, they had however previously worked with guest- singers such as John Bush (Armored Saint, Anthrax) or Jonas Renkse (Katatonia) so they were aware of the possibilities of using vocals within their own musical style. When founder member Reimut amicably departed in April 2012 they discussed what the next step should be for the band and they soon settle on Marsen Fischer to provide vocals on a permanent basis, with the added bonus that he also plays keyboards.

The new album then is quite different in some ways to the band's previous works, but at the same time fits in very naturally with their history. They have again used some guest musicians to broaden the sound, this time including Vincent Cavanagh (Anathema), Henrik Freischlader, Robot Koch (Casper, Max Mutzke, Marteria), Norwegian singer/songwriter Petter Carlsen, Tuneverse co-founder Alex Komlew and Mario Cullmann (F'nf Sterne Deluxe). 'The Flood Inside' starts with an instrumental number, 'Nucleus', but follows that up with 'Inside The Flood' which does have vocals. But, the songs without vocals don't need them as they are complete in themselves while the songs with vocals are complete without being overpowered by the singer. It is all about doing what is right for the music, and the use of space and clear layers within the sound is spot on. It is an album that can be enjoyed the very first time it is played but the more it gets into the psyche the better it is.

Well structured, complex where it needs to be but simple in others, this is a very strong piece of work and could well be considered their best yet. Worth investigation. www.longdistancecalling.de

Thanks to chamberry for the artist addition. and to Quinino for the last updates

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