...AND SO WE DESTROYED EVERYTHING

sleepmakeswaves' official debut LP "...and so we destroyed everything" is often confused as the band's sophomore effort. It's easy to see why; their EP "in today already walks tomorrow" clocked in at 37 minutes long with its six tracks, but more than that was a very confident and coherent release constructed with the kind of thoroughness that is not normally expected from an EP, something generally associated more with interesting ideas yet to be fully realized, or even b-sides. While by no means ground-breaking or amazing, it put sleepmakeswaves on the map as a band to watch, and showed definite signs of a promising future.

Here on their debut, that promise begins to be realized in a big way. On a cursory glance, it would be easy to write off the album as just another post-rock record; long track titles, tremolo-laden guitars, build-ups and crescendos...it's all there. But sleepmakeswaves set themselves apart from the crowd with a progressive sensibility and solid sense of song-structure that is sorely lacking from most bands in the genre. This is evident right from the get-go on the anthemic opener "to you they are birds, to me they are voices in the forest." After a short and quiet synth intro, the track bursts to life, assaulting the listener with a beautiful aural display of soaring guitars and booming drums, urging you to pump your fist to the sky. A minute or so later it dissolves, only to begin the journey back up again to another arena-sized crescendo...and then it does it yet again, disappearing into nothing but a faint bassline and galloping snare drum, the latter of which slowly leads the charge uphill towards a magnificent climax that will refuse to exit your brain for days to come, finishing tastefully with a lovely violin coda accompanied by apocalyptic, distorted guitar chords. This pattern of build and release is repeated many times throughout the album (Such as in the 11-minutes-long thunderous centrepiece "a gaze blank and pitiless as the sun," a simply massive entity with an inspired use of horns), and will sound all too familiar for the frequent post-rock listener, but the way it is executed here ensures it never gets tiresome or sounds formulaic, but is instead a natural progression of peaks and valleys within the song structure.

And therein lies perhaps the greatest strength of this album. There's no doubting the quality of the crescendos; indeed, the utmost importance is always placed on musicality, and never do these peaks feel self-indulgent or meaningless instead of powerful. But the real beauty is how the band manages the space in between these highs. The attention to detail here is excellent, with little touches and splashes of colour ensuring that even the slowest moving or quietest of sections are captivating, and never just pure meandering. There is no slogging through a tiresome and monotonous build up to get to the good bit - the entire song is the good bit. Just as much value is placed on the journey as the destination, and the low points are not just breaks to catch your breath before the next high point, but are often as engaging and memorable as the high points themselves.

The band also proves themselves capable of stepping back from the epics and putting together more concise pieces, with three of the eight tracks coming in under 4 minutes. "(hello) cloud mountain" is at once a lovely little tune and bombastic fireworks display, showcasing both the band's ear for melody and their skill at creating crescendos, managing to be a fulfilling and complete experience in a short space of time. An unexpected highlight also emerges in the form of "we like you when you're awkward," a simple yet beautiful ballad-like piece featuring great interplay between a synth, electronic beat and acoustic guitar that is easily one of the most moving moments on the album, as well as being a great example of the band's versatility.

Saving the best for last, though, album closer and title-track "...and so we destroyed everything" affirms that, adaptable though they may be, the leviathans are where the band truly shines. At over 12 minutes it is the band's longest piece to date, and never once does it let go of your attention, progressing in unexpected yet logical ways, putting everything the band has to offer on display. From mournful piano to droning crescendos to spaced out electronics to even metallic riffs recalling the post-metal influence that was prevalent on their EP, the song takes a number of different musical themes and ideas and applies them in different contexts throughout its duration, a change in song-writing style that proves entirely successful. A powerful and beautiful journey, if there is one song you listen to on this album, let it be this one, as it is truly a progressive post-rock masterpiece.

Production-wise the album is for the most part crisp and clear. It brings a certain shine or even "bounciness" to the album, but this is a welcome effect that services the album well. Occasionally the drums seem placed slightly oddly in the mix, bordering on the line of not being suitably audible for the context, but this is a minor complaint. Also of note is the significant electronic influence. Synths, glitches, beats and all sorts are found throughout the album, providing a large amount of detail and adding another layer of variety and complexity to the arrangements. A couple of tracks are even based entirely around these electronic elements, such as "our time is short but your watch it slow" or aforementioned "we like you when you're awkward." While by no means the only band in the genre to incorporate electronics, it definitely gives them an edge to what is often a fairly traditional "post-rock" sound.

Unfortunately, the album isn't all sunshine and flowers. The album's flaws primarily manifest themselves in the second and third tracks. The latter, "our time is short but your watch is slow," is frankly a somewhat dull affair. It's pleasant enough to listen to, but feels as though it's building to something that never comes, instead choosing to lie down with a whimper. It could be argued that it is somewhat of a bridge between tracks, a calm before the storm of "a gaze and blank and pitiless as the sun," but nevertheless more attention could have been paid to the song-writing here, as similar bridging track "we like you when you're awkward" manages to stand up tall on its own despite its similar length and slow nature. Meanwhile, the former piece, "in limbs and joints" is a more traditional rocking track which, although beginning with a nice atmosphere, is ultimately unimpressive. Its sound becomes rather grating as time goes on, and the climax is thoroughly underwhelming and lacking of substance. The album manages to recover from this and its momentum is not severely harmed, but this one-two punch of mediocrity so early on is a definite dent in an album that is otherwise filled with quality.

Ultimately, "...and so we destroyed everything," like its predecessor EP, is not a ground-breaking album. But unlike the EP, it is an amazing one nonetheless. If originality is your primary concern, or if you're not a fan of post-rock to begin with, then this may not be for you. While they undoubtedly put their own spin on things, at the end of the day this is still a somewhat traditional post-rock record. But where it shines is the tightness of the song-writing, the constant focus on melody and progression, the driving rhythmic force, and the sheer power and emotion that bleeds from these songs. Almost every track here is a memorable one that will lodge itself into your brain and refuse to budge. It may not be revolutionary, but I'll be damned if it isn't fantastic.

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.

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.

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 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.