Niagara
506
Boomkat Product Review:
Niagara open the doors on their own Ascender label with this first intriguing mini-album.
Simultaneously holding together both a sense of longing and of play, '506' is the skeletal follow up to 2013’s Ouro Oeste EP on Príncipe. Coastal tripper Espuma washes a knackered djembe recording in resonant, asiatic chords that wouldn’t sound out of place ringing through the streets of mid-twenty first century Japan. While Mégane takes the sonic visage of early Olde English Spelling Bee releases and reimagines it through what sounds like a live jam between two self-aware Speak N’ Spells.
We’d call it jazz if it didn’t infer the kind of pretension which is clearly lacking here. In fact, the unassumingly effortless vignettes of Lanterna, Corsa and Egyptiu combine to give the record a sense of intimacy that you almost feel bad for walking in on. Then after the dry chatter of 7 passes by, it’s replaced by the pitched-down and echoic bass guitar on Baixo Selva, which stumbles along with um baque while layers of electrical interference are given space to wander and waver through the track’s yawning expanse.
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Boomkat Product Review:
Niagara open the doors on their own Ascender label with this first intriguing mini-album.
Simultaneously holding together both a sense of longing and of play, '506' is the skeletal follow up to 2013’s Ouro Oeste EP on Príncipe. Coastal tripper Espuma washes a knackered djembe recording in resonant, asiatic chords that wouldn’t sound out of place ringing through the streets of mid-twenty first century Japan. While Mégane takes the sonic visage of early Olde English Spelling Bee releases and reimagines it through what sounds like a live jam between two self-aware Speak N’ Spells.
We’d call it jazz if it didn’t infer the kind of pretension which is clearly lacking here. In fact, the unassumingly effortless vignettes of Lanterna, Corsa and Egyptiu combine to give the record a sense of intimacy that you almost feel bad for walking in on. Then after the dry chatter of 7 passes by, it’s replaced by the pitched-down and echoic bass guitar on Baixo Selva, which stumbles along with um baque while layers of electrical interference are given space to wander and waver through the track’s yawning expanse.
Boomkat Product Review:
Niagara open the doors on their own Ascender label with this first intriguing mini-album.
Simultaneously holding together both a sense of longing and of play, '506' is the skeletal follow up to 2013’s Ouro Oeste EP on Príncipe. Coastal tripper Espuma washes a knackered djembe recording in resonant, asiatic chords that wouldn’t sound out of place ringing through the streets of mid-twenty first century Japan. While Mégane takes the sonic visage of early Olde English Spelling Bee releases and reimagines it through what sounds like a live jam between two self-aware Speak N’ Spells.
We’d call it jazz if it didn’t infer the kind of pretension which is clearly lacking here. In fact, the unassumingly effortless vignettes of Lanterna, Corsa and Egyptiu combine to give the record a sense of intimacy that you almost feel bad for walking in on. Then after the dry chatter of 7 passes by, it’s replaced by the pitched-down and echoic bass guitar on Baixo Selva, which stumbles along with um baque while layers of electrical interference are given space to wander and waver through the track’s yawning expanse.
Boomkat Product Review:
Niagara open the doors on their own Ascender label with this first intriguing mini-album.
Simultaneously holding together both a sense of longing and of play, '506' is the skeletal follow up to 2013’s Ouro Oeste EP on Príncipe. Coastal tripper Espuma washes a knackered djembe recording in resonant, asiatic chords that wouldn’t sound out of place ringing through the streets of mid-twenty first century Japan. While Mégane takes the sonic visage of early Olde English Spelling Bee releases and reimagines it through what sounds like a live jam between two self-aware Speak N’ Spells.
We’d call it jazz if it didn’t infer the kind of pretension which is clearly lacking here. In fact, the unassumingly effortless vignettes of Lanterna, Corsa and Egyptiu combine to give the record a sense of intimacy that you almost feel bad for walking in on. Then after the dry chatter of 7 passes by, it’s replaced by the pitched-down and echoic bass guitar on Baixo Selva, which stumbles along with um baque while layers of electrical interference are given space to wander and waver through the track’s yawning expanse.
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