The Pauses, purveyors of self-described "indierocktronica," have returned with their sophomore album, Unbuilding, with more of their unique blend of, well, indie rock and electronica, leaning mostly towards the former, with electronic elements (not to mention piano, trumpet, and cello) colouring things in nicely throughout.
The band demonstrate their proof of concept strikingly with opening track "Eventually, Everything Connects," and for the most part, everything does, with staccato synth stabs soon joined by drums, guitar and trumpet.
What sets the Pauses apart is their preference for more vintage electronics (there's even a Theremin) as opposed to the shimmering pads most synth-rock bands prefer in 2018. With the strings and horns thrown in, it's a bit of a jarring mix at first, but things sound tight throughout, and by album's end it's all completely normal.
In instrumental approach, the Pauses are not unlike New York's Crying (another female-fronted three-piece), whose 2016 Beyond the Fleeting Gales was a unique blend of emo, electronics and hidden metal accents. The Pauses are more contemplative (and less sugary), but the bands share a penchant for lock-step arrangements, meticulously placed solo flourishes, and other studied details — if you're a fan of one, check out the other. Anyone interested in path-blazing indie rock should check out this latest from the Pauses.
(Arctic Rodeo)The band demonstrate their proof of concept strikingly with opening track "Eventually, Everything Connects," and for the most part, everything does, with staccato synth stabs soon joined by drums, guitar and trumpet.
What sets the Pauses apart is their preference for more vintage electronics (there's even a Theremin) as opposed to the shimmering pads most synth-rock bands prefer in 2018. With the strings and horns thrown in, it's a bit of a jarring mix at first, but things sound tight throughout, and by album's end it's all completely normal.
In instrumental approach, the Pauses are not unlike New York's Crying (another female-fronted three-piece), whose 2016 Beyond the Fleeting Gales was a unique blend of emo, electronics and hidden metal accents. The Pauses are more contemplative (and less sugary), but the bands share a penchant for lock-step arrangements, meticulously placed solo flourishes, and other studied details — if you're a fan of one, check out the other. Anyone interested in path-blazing indie rock should check out this latest from the Pauses.
