SLEEPMAKESWAVES

Perhaps my favorite discovery of 2011--one of Prog's all-time best years--is back after a seven year absence with a refreshingly mature mix of high-powered Post Rock. Two of the band's founders remain, and they're making a go of it as only a trio.

1. "All Hail Skull" (4:45) great melodies, great switches (three of them), great layering, great bass play, great power. A great song. (9.25/10)

2. "Super Realm Park" (5:11) I love the spacious central motif but the first part is nothing special. Luckily it ends well. (8.75/10)

3. "Remote Control" (4:07) impressive bass play in the long opening before it turns kind of 1980s techno-pop CURE/DEPECHE MODE/TEARS FOR FEARS-like. A song that powers through from start tot finish. (8.875/10)

4. "Black Paradise" (4:46) arpeggiated acoustic guitar chords?!?!? WTF?!! And it's pretty! Second guitar (electric) joins in the weave-making in the second minute, eventually speeding up (do I hear a banjo-like instrument in there too?) Drums kick in at the end of the second minute, establishing a more TEARS FOR FEARS "Everybody Wants to Rule the World" feel and sound (and drum pattern) for the next minute before synth strings join in. Nice. I'll probably be listening to this one a lot. (9/10)

5. "Verdigris" (3:31) VANGELIS-like saw synth (and other synth sounds) weave together to create a BLADE RUNNER-like atmosphere for 90 seconds before piano-like MIDI keyboard assumes the lead with a gentle, simple melody with the synth(orch)estra continues on its space journey beneath. Actually very cool--very cinematic. (9/10)

6. "Terror Future" (4:56) power Post Rock of a very familiar style and sound--even when the vocals start in the fourth minute. Great drum-led syncopated finish. (8.75/10)

7. "It's Here, But I Have No Names for It" (8:29) slow-strummed no-effects electric guitar opens this one before scaled-down drums, bass. and second electric guitar takes the lead, playing a melody that sounds like the American Southwest. There is a very open, acoustic MY EDUCATION-like sound and style to this song that feels weird but comes off as cool--especially as one of the lead guitar tracks goes wildly off the rails, pulling the rhythm section up beneath it, ramping up the volume until the middle of the fourth minute when everybody cuts out and they slowly start over with a more reverbed variation of the opening over which multiple voiced "background" singing occurs. This goes on until 5:50 when the full band onslaught returns--this time to urge the tremolo lead guitar to soar to mythical heights. Excellent though classic Post Rock song. (18/20)

8. "This Close Forever" (4:41) this time the electric guitar arpeggi are both drencged in reverbed and echoedm giving the lead fuitar the effect of weaving wit and within itself. Alex and Tim join in, stop, and then return with all dials turned up to eleven! The drums, bass, and multiple guitar tracks over the final two minutes are so intense and awesome! Great finish! (9.125/10)

Total time: 40:24

The songs are quite disparate, as if gathered over a long period of time and, thus, representative of many different phases and influences over the past seven plus years. It works but I don't think I'll ever be able to like a sleepmakeswaves album so much as that amazing debut!

B+/4.5 stars; a near-masterpiece of diverse Post Rock from one of Australia's most under-appreciated exports.

Sleepmakeswaves is from Australia and has been billed as a 'post-rock' band. Well, on this album I hear plenty of rock, as in modern prog rock, but I don't hear anything really 'post'-like. This is essentially an all-instrumental album (some ethereal background vocalizing on a couple tracks) that is bold and dynamic, very accomplished musically, nicely arranged, which I very much enjoyed. Lots of energy and dynamics, heavy crunchy guitars, big drum sound, as well as some needed quieter moments and interludes. However, it comes across to me very much as the backing tracks for a great album, but what is still missing for what it needs to BE a great album, are strong melodies and lead lines. Great songs that just seem to be missing the main vocal or instrumental melodies. Perhaps that is their point, that they don't need vocal or instrumental lead melodic lines to be great. But if that is the case, their music undermines that very point, because most of these songs seem to be crying out for a strong lead vocal or instrumental melodic lead laid down over the top of these excellent tracks. Sure, some work just fine as atmospheric interludes (such as Verdigris), but most still need that melodic line to anchor the song and make it really memorable. It just seems unfinished. Every time I listen to this I find myslf trying to add in the vocal, lead, or solo lines that seem like they ought to be there, but aren't. Still very enjoyable, great sound, but can't shake the feeling that this hasn't yet lived up to its full musical potential. Best Tracks: Super Realm Park, Ritual Control, Verdigris, Black Paradise, title track. Rating: 3.5 stars

'Sleepmakeswaves' is a post rock band from Australia that has become a well-known band internationally because of their expressive post rock style that is similar to Mogwai, Explosions in the Sky and Mono. The band has put out 3 full length albums and several EPs over the years since their formation in 2006.

This album, which is self titled, is not to be confused with their self titled debut EP. This particular album is actually a compilation made to help promote the band in the US and was released in 2012. The tracks are taken from EPs that are not so readily available in the US, and since the band was seeing some success in the states and fans were demanding more music, this short collection was produced to help satisfy the fans demands. It is a great sample of the style of post-rock that they produce, melodic, expressive and very well performed. Most of their music is organic, but there is some programming involved in some of the keyboard-like tones and some of the percussion. The band consists of two guitarists, Jonathan 'Kid' Khor and Tom Binetter, plus Alex Wilson on bass and programming, and William Smith on drums.

This collection starts off with the bright and upbeat 'Keep You Splendid Silent Sun' and the darker and slightly heavier 'We Sing the Body Electric', both of these tracks coming from the split EP with 'Tangled Thoughts of Leaving' from 2009. The first track involves more electronics than the later, which is a bit darker and more organic sounding. 'The Obstacle is the Path' is taken from the single 'The Obstacle is the Path' from 2010. This track is a great example of the melodic and accessible side of the band that also proves they could also add a progressive edge to it all.

'I Will Write Peace on Your Wings, and You Will Fly Over the World' comes from the EP 'In Today Already Walks Tomorrow' from 2008 is an example of the band at their most dynamic, ranging from fast moving heaviness to slower and pensive sections, leaving out the slow builds that normally come with the longer post-rock tracks, but instead turning it a varying style, again utilizing great melodic structure and driving exploration. There are sections in this track that are quite powerful and strong, almost uplifting in its heaviness because of its level of melodic structure and then ending with lovely shimmering guitars. The one drawback on this one is with it's length, there is a section that is a bit repetitive, but its not really that annoying.

'One Day You Will Teach Me To Let Go of My Fears' is one of the two tracks from the band's original debut EP (2007). This one is almost symphonic in feel with orchestral string effects that are surrounded by strong guitar riffs, the music is quite cinematic and not dark like you might expect, finally becoming more pensive in the last half. The final track is 'It's Dark, It's Cold, It's Winter', another track from 'In Today Already Walks Tomorrow'. This one is actually quite a lovely blend of a chiming guitar melody and some electronic percussion. It is quite soft and flows along in an accessible and lovely melodic style with just a slight bit of unease in the background created by a noisy effect.

This is a very good sample of some of the harder to find tracks from the band, and with the dynamic and melodic sound that reflects the more accessible sound of Mogwai, and the dynamics that are used so well in their music should give a novice listener a great idea of their sound. There is an excellent degree of variety here and it covers the range of styles the band has in their discography. It's a little heavy at times, but never really overbearing and even then , the music tends to have this uplifting factor in it that a lot of Post-rock seems to either be missing, or doesn't quite utilize as well as this band can. I would recommend getting this collection if you are curious about their sound as it is a great representation of the band's music. 4 stars. Excellent melodic post rock.

SLEEPMAKESWAVES are a Post-Rock band out of Australia and this is their first full length album released in 2011. A four piece of two guitarists, a bass player/programmer and drummer. We do get some guest trumpet on one track and violin on another. This is melodic and clear sounding and it's a little different than some Post-Rock with the way the outbursts come suddenly instead of slowly building. I'm not into a lot of the programmed sounds though, especially the percussion that sounds like a drum machine. The album sort of tails off quickly for me with those last three songs as well. Still I enjoyed this quite a bit being as I've been on a Post-Rock binge of late.

"To You They Are Birds, To Me They Are Voices In The Forest" is my favourite but even the way this ends with what is supposed to be a bird slowly chirping from programming sounds cheap(haha). This kicks in hard 30 seconds in surprisingly as a catchy beat and in your face guitars hits us. It calms right back down though a minute later. It starts to build after 2 minutes with guitars and drums then settles again after 3 minutes. It suddenly kicks in hard though rather quickly.

"In Limbs And Joints" has a catchy guitar melody as the other guitar and more come and go. Drums before a minute. A pleasant but rich sound here then it turns pretty heavy after 3 minutes. "Our Time Is Short But Your Watch Is Slow" is slow moving as well with atmosphere before it builds some with percussion-like sounds I don't like and more. It ends like it began. "A Gaze Blank And Pitiless As The Sun" has spoken words and atmosphere to start. Those words end before a minute as the guitar comes in then more as it builds. It's much fuller at 2 1/2 minutes. Nice. A calm after 3 minutes then it explodes around 3 1/2 minutes. A sudden calm before 6 minutes with sparse guitar then trumpet and a beat join in.

"(Hello) Cloud Mountain" is mellow early on but it turns fuller a minute in as the tempo picks up too. Catchy as well then it kicks in pretty hard at 2 minutes. It settles right back before 3 minutes. Not bad. The next two songs don't do a lot for me. "Now We Rise And We Are Everywhere" opens with voices and chime-like sounds and more as it builds. It settles back around 2 minutes as a beat then arrives. Guitar only 3 minutes in then it builds again.

I've been listening to this one for a while. I've been having trouble pinpointing just what it is that makes me like this album less than their previous release, 2011's ...and so we destroyed everything, which I love. I think I've finally got it. Most of the sounds and weaves used in the songs of Love of Cartography are far simpler, far more melody-oriented and less filled with the subtle keyboard- and computer-generated "layers" beneath and between the main chords and melodies. The songs on Love of Cartography fall too easily into the bin of "Post Rock for the masses", whereas those of ...and so we destroyed everything each possessed so many delightfully unexpected twists and turns to keep me fully engaged throughout. The band's intimate and idiosyncratic touch to each song of ...and so we destroyed everything was so magical and so interesting that I feel that I could practically feel the joy and enthusiasm these guys were having in the recording and mixing rooms while making that album. I do not feel the same transferral of energy here. As a matter of fact, I feel myself 'tuning out' at some point during almost every song of Love of Cartography. The guitar chords are strummed more aggressively, played with more distortion, and recorded more loudly, and they feel more rehearsed and more methodical, less free-wheeling and spontaneous. Also, what were subtly layered beneath and within the mix before are now right up front and in your face. I can still feel emotion--especially in the solos, but everything else feels so . . . 'by the book.' Are the band members focusing more on composition and the mental side of their music--trying to produce a "perfect, polished" album? Is this just an example of the dreaded "sophomore slump" or is this the more mature band exhibiting the "true" direction that they'd like their music to take? Don't get me wrong, this is a collection of fine song. They are incredibly well produced, but they come straight at you more in the vein of a band like MASERATI than that of a synth-generated GYBE as their previous album had exhibited (at least, potentially). While ...and so we destroyed everything felt new and fresh--like a new great hope for the potentially for growth and 'progress' within the Post Rock subgenre, Love of Cartography feels like good ole Post Rock. Nice stuff for Post Rock enthusiasts. Nothing very new or exciting for the rest of the world.

Favorite songs: the gentle trip-hoppy-turns-rock anthem 10. "Your Time Will Come Again" (8:56); the gorgeous yet simple melodies of 9. "Something Like Avalanches" (5:30); the PINK FLOYD- and MASERATI-influenced 4. "Emergent" (8:28); the straight on power of 2. "Traced in Constellations" (4:37), and; 5. "Great Northern" (4:58). 3.5 star effort rounded down for disappointment factor.

An extremely well written album by Sydney siders Sleepmakeswaves. Unlike contemporaries such as Explosions In The Sky and Mogwai, Sleepmakeswaves add a sense of pace and dynamics to their music making it feel like more of a musical roller coaster than what the other said artists which contain less energy and pace. Stand out tracks for me are, to you they are birds, to me they are voices in the forest and our time is short but your watch is slow/a gaze blank and pitiless as the sun. A very solid collection of tracks and I will be looking forward to their next release.

sleepmakeswaves' debut full length album has certainly gained a great number of positive responses from both the online community and the Australian public. A popular live act, they have toured with the likes of Karnivool, earned a spot as feature artist on Triple J and also gained a 2012 ARIA nomination for this very album.

There's nothing terribly new that the band brings to the post rock genre, but what they do, they do very well. This is great music for having on in the background, or to relax to late at night. It's unobtrusive for the most part, as good post rock should be. By the same token, it's not totally engaging either. I find it difficult to immerse myself within the music, rather it just slips by without too much effect, and so in that regard I really need to be in the right mood to listen to it.

I'll single out track 4 "A gaze blank and pitiless as the sun" for special mention. Clocking in at around 11 minutes it is one of the longest on the album. It begins with some muted guitar strumming and builds nicely, until at 3:30 it explodes with some of the most energetic moments of the album. Here the music is almost transcendent, with power chords merging with trilling guitar, synths and percussion in perfect harmony.

Production especially is top notch. Each of the instruments occupy their own space and there's plenty of room for the music to breathe. At no point does it sound over compressed or too busy, a perfect balance for this kind of music.

Another highlight is the drumming of William Smith, who has sadly now left the band, but provides some amazing texture to the soundscape of this album.

Overall the band is one of the best post rock acts around and worthy of a listen for fans of the genre.

A great EP!

The strange thing here in this EP, entitled "In Today Already Walks Tomorrow" is its 37- minute length, so it could have been released as a studio, full-length album actually. I ignore the reasons, but anyway that does not really matter. I have been attracted by Sleepmakeswaves lately, listening to their 2011 release, and downloading some free- releases via Lost Children's site, and now I can say I really like their music.

If you like post-rock with great and beautiful atmospheres, this may be for you. So this release with six songs starts with "I Will Write Peace on Your Wings and You Will Fly Over the World", we know some of these post-rock acts use to have long and peculiar titles. The song starts with guitars and drums, later bass joins and together begins to build up the structure, with a dark atmosphere at first, and then a rockier and crazier one. A couple of minutes later it slows down and produces that calm, even relaxing sound post-rock use to offer. Then it is slowly progressing, adding new elements until the sound is louder and more emotional.

"Exits to Nowhere" is the shortest track, and probably the lightest. Though it is nice, it does not have anything new to add to the genre, I mean, here we are listening to Mono or Explosions in the Sky, with a different name. This song leads to "One Day You Will Teach Me to Let Go of My Fears" has a spacey atmosphere created by synths, while drums, bass and guitars make their work. Honestly I cannot help but remembering Pink Floyd's "One of These Days", and I am pretty sure that Sleepmakeswaves are aware of it, at least for the first minute and a half. Later the song becomes heavier and drastically changes, creating that convergence between heavy and soft guitars that makes the so evident post-rock sound. And it progresses and every quarter new elements are being added, if you listen carefully, you will find a cool diversity of sounds. After five minutes the intensity decreases, everything slows down and it fades out.

"So That Children Will Always Shout Her Name" starts with mellow guitars that produce a peaceful sound, the bass lines are also noticeable (during the whole record, actually), and later drums and some electronic elements appear very softly. As one can imagine, the song's emotions increase later, involving us in its charm and atmosphere. After three minutes until the end, the music is wonderful, taking us into their realm, so one can close the eyes, see different things and experiment with our emotions. "It's Dark, It's Cold, It's Winter" is another shorter song, with a calm and passive sound produced mainly by guitars, and some electronic samples as background.

The last song is also the longest one. "What We Cannot Speak of Must Be Passed Ever in Silence" has eight minutes of very good post-rock in its better-known face. This track offers soft and slow progressions, calm guitars that little by little are producing more musical and emotional elements. Thought there are no dramatic changes, there are some moments in which its intensity increases, creating a heavier and disarming sound. Its structure is very well-crafted, though I have to admit I have the feeling it could have been better exploited.

This is a nice EP from Sleepmakeswaves, here we can truly listen to their style, though it is not their best work for sure. My final grade will be three stars.

Happy New Year!

Enjoy it!

Two good tracks!

I could listen to their 2011 studio album via progstreaming, and was positively impressed, I liked it a lot. So then I was looking for some info or other releases of Sleepmakeswaves, and found that their first two-song EP as free to download through Lost Children's website. So of course, I did not lose time.

This self-titled release consists only of two songs that together make almost twelve minutes of music. So if you want a slice of their music, go and take it too. For those who don't know them, they are a post-rock band with inherent power and emotional moments, worthy for the genre's fans.

"One Day You Will Teach Me to Let Go of My Fears" has an spacey atmosphere created by synths, while drums, bass and guitars make their work. Honestly I cannot help but remembering Pink Floyd's "One of These Days", and I am pretty sure that Sleepmakeswaves are aware of it, at least for the first minute and a half. Later the song becomes heavier and drastically changes, creating that convergence between heavy and soft guitars that makes the so evident post-rock sound. And it progresses and every quarter new elements are being added, if you listen carefully, you will find a cool diversity of sounds. After five minutes the intensity decreases, everything slows down and it fades out.

"By Moving the Stars I Have Found Where You were Hiding" starts with a different sound. It starts with drums and soft and repetitive guitars. Later after a minute the heavier side appears and turns the song into a new one, much more emotional and powerful. Then it slows down, and later it increases once again, so the structure is repeated. And it finishes with its calmest side.

Here we just have a taste of their music, nothing more. Better to listen to their full-length album which by the way is very recommendable. This time, two stars.

Enjoy it!

A refreshing new collection of Post Rock/Math Rock songs from some very technically talented instrumentalists who are also very creative composers. As said by Braid, there is really nothing terribly new or earth-shatteringly groundbreaking in terms of PR/MR sound or structure, it's just refreshing to here an attempt in this sub-genre by some very competent, creative musicians. The drumming is especially vibrant and unusually (for this sub-genre) varied as played by a very talented Aussie, Will Smith. Also, guitar playing isn't so rote and mathematical as many other PR/MR groups. There is variety, texture, emotion, and skill on display here.

1. "to you they are birds, to me they are voices in the forest" (08:18) begins with an peaceful ambient nature intro before blaring guitars and belted drums burst upon the scene for a about 45 seconds. A lull ensues with U2-like drums and bass before tremolo guitars and pulsating synths join in. Another more delicate glock'n'spiel lull before all sound barriers are broken again. Very cool staccato bass and drum section reminiscent of GENESIS' "Watcher of the Skies." Duel synth and two guitar melodies compete for attention while weaving into a background tapestry within which voice and then rapidly strummed guitar melody bring forward new melodies. Synths, guitar and later violin bring back melodies sans drums or bass to end. A lot of MY BLOODY VALENTINE feel in this one. Awesome song. (18/20)

2. "in limbs and joints" (04:29) begins with an awesome echoing rapidly picked guitar which is then joined by whole group chord bursts (and what an awesome chord it is!) This is not your typical Post/Math rock, folks! There is complex thought and structure behind these songs--chords, layers, and progressions. The song establishes a rather heavy but not so thick that you can't distinguish all of the various instruments and their contributions. (9/10)

3. "our time is short but your watch is slow" (03:10) begins with spacey 'radio-wave' and 'whale' like sounds while TANGERINE DREAM driving synth rhythm emerges slowly to take over the pacing of the song. Midi-ed piano, glock & other background wash synth sounds play a note by note lead while volume-pedaled guitar chords gently guide the melody. Nice song. Not so Post/Math rock. (9/10)

4. "a gaze blank and pitiless as the sun" (11:06) begins with a sampled speech from some post-apocalyptic American film. Guitar and drum rhythms soon establish themselves in much a GOD IS AN ASTRONAUT way and sound. By 2:30 a really rockin' groove has been established involving the whole band but isolating the original guitar in a non-stop ripping solo. A little lull before a new variation at 3:30 establishes itself with a bit more power chord play from guitars, synth voice and deep resonating bass. Incredible drum play. Song morphs a bit, in true Post rock style, before amping up--almost to RIVERSIDE-type levels--the heaviness and decibel levels. 5:55 stop! Sensitive guitar, synth, and echoed drum play begin to slowly re-build. Lead sustained-note guitar lead creeps into the mix around the seven minute mark. Another brief breather at 7:50 before a new chord progression with militarized drums and wild cymbol crashes while layers of trumpets and mellotron voices build up layers around the guitars. Amazing section. All comes to a kind of DEAD CAN DANCE/YES end of "Awaken" gentle end at 9:30 while synth washes and lone trumpet continue on, carrying the song to its peaceful end. (20/20)

5. "(hello) cloud mountain" (03:22) begins with some synthesized sounds in a CHROMA KEY kind of way. Guitar and keyboard arpeggios join in before another pretty basic U2-like bass and drum pattern establish themselves. ICEHOUSE-like synth bell notes take the melody lead for a minute during a little lull before the band kicks it back in again. Definitely more synthetic/electronic usage and sound to this one. (8/10)

6. "now we rise and we are everywhere" (06:42) begins with gentle ambient synths over which recording of children playing on a school playground sound. A fast bouncing Stick-like chord enters, followed by slow volume-pedaled guitar notes. By the two minute mark a trip-hoppy drum and bass rhythm is established. Pause around the three minute mark before fast and slow guitar arpeggios play off one another in opposite channels. At 3:50 an awesomely grooving thick bass and rock drum beat establish themselves beneath the two guitars and synths. At 4:35 the instruments all gel into a full-force Post Rock/Math Rock climax, not unlike MOGWAI or MONO. Fade out back with children playground as in the intro. (9/10)

7. "we like you when you're awkward" (02:36) begins with a sound quite reminiscent of either VANGELIS' Blade Runner soundtrack or a New Age/meditation song. Soon the drips and synths become part of the background as they are joined by computer click'n'pop rhythms and two WILL ACKERMAN-like acoustic guitars picking their arpeggiated rhythms in the opposite channels. Cool song! (9/10)

8. "....and so we destroyed everything" (12:20) begins with a piano chord! The solo piano continues playing very delicately for thirty seconds before any other sound joins it: a bouncy synth in the upper keys slowly emerges. At 1:30 the rest of the band comes CRASHING in, a fast tremolo picked electric guitar taking over the melody established by the piano. At 3:53 heavy guitar chords are introduced and at 4:15 they take over making the song sound quite heavy metal for while. Tremolo-picked guitar returns through the heaviness, all building in crescendo until 5:56 when the bottom drops out and we're left with a keyboard playing a pretty melody in a KLAUS SCHULZE kind of way. Trippy-hop programmed drums and acoustic guitars join in at the 6:33 mark. At 7:17 volumes pick up a bit while live drums return, bass carries forward a very cool melody, and electric guitars are now picked where the acoustic were. Heavy guitar chords and crashing cymbol play join in until at 8:38 the full power chords, tremolo eleoctric guitar lead, and now voices are added to the mix. By 9:26 the voices have left while the band carries forward its heavy yet melodic theme. At 10:00 everything drops away again except for voice, acoustic guitar, background synth wash and the same trip-hoppy drum program from before. All instruments begin to fade out: voice, synth, and, finally, drum program, leaving only a bare guitar playing its arpeggio theme to end. Awesome multi-part, multi-layered song. (25/25)

Check this one out, people--it will NOT bore you with its repetition and predictability (though, in the end, it is still mostly PR/MR structured and, therefore, somewhat predictable. But then again, isn't prog as a whole also somewhat predictable?) Synths/keys, trumpets, strings, varied guitar effects, and even 'vocals' make this an interesting and enjoyable listen--repeatedly, too. Try it out.

Five stars; a minor masterpiece of progressive rock music. Sleepmakeswaves has created an album that is definitely an excellent addition to any prog rock music collection. IMO, this is the Best Post Rock album of 2011 and definitely one that keeps the sub-genre alive and moving forward.