Slow To Wake

Many of us are so jaded these days that we begin to assume that bands we’ve never heard of are not worth a listen. Thanks to the blessing/curse of affordable digital recording equipment and distribution via the internet, massive amounts of terrible music gets created and distributed. I’m sure anyone with MySpace can attest to how many god-awful bands are out there.

Slow to Wake, however, is one of the few unsigned, obscure bands who completely blew me away. Their self-titled, self-released debut is the strongest debut of the year, as well as one of the most solid all around. They manage to be unique and groundbreaking, while also evoking a sort of nostalgia, for despite their sometimes experimental arrangements and noisy parts, one can’t help but smile at hearing their use of traditional film score tropes. I almost expect this record to play along with the Wizard of Oz (or some contemporary equivalent). Seamlessly mixing cello, violin, upright bass, drums and horns, with various keyboards, synths, and electronic manipulations and samples, Slow to Wake sound unlike anyone else out there, but are likely to appeal to fans of GY!BE, Tortoise, Rachel's, and Boards of Canada.

Self-described as “electronic acoustic chamber digital bit redux film score post-rock organic harsh pretty ethereal,” Slow to Wake surprisingly fit the description quite nicely. The various instruments come and go, establishing solid grooves, crashing together, pulling part, and often working together in a way that one is used to hearing in only classical music or in film scoring. These compositions truly stand out, however, because unlike in most post-rock, in which a violin is used to supplement standard electric guitar noise, the strings here comprise the core of the group. Although Slow to Wake make excellent use of samples, electronics, moogs, bongos, and other percussive elements, they are at their center violin, cello, bass, and drums. The listener is instantly struck by how successful this combination is, flawlessly transitioning between styles. I wouldn’t be surprised to see this group quickly rise to the forefront, although they are just as likely to be playing classical music or scoring film than pursuing the traditional rock path.

From what I can hear, all musicians involved are serious players, and likely professionally trained. We often hear about the influence that free jazz and avant-garde composers have on bands, but this usually means that someone has heard Orenette Coleman and thinks that not knowing how to play there instrument can be turned into a virtue. When Slow to Wake cite a free jazz influence, particularly on there cellist’s playing, I can hear this influence as authentically as I can hear their debt to Aphex Twin and Tortoise. Based in Brooklyn, I cannot wait to see these guys live, and I greatly anticipate their next release.

-Joseph Sannicandro
- Joseph Sannicandro, thesilentballet.com

I have been enjoying the self titled release from Slow to Wake for the last several weeks. The band is from Brooklyn NY and it shows. EJ Fry and Christopher Hoffman are joined by Don Chase, Rob Woodcock, Skye Steele, Shane Rettig, Nick Burcher to bring an incredibly rich mix of instrumental rock and free form jazz. Strings and mallets play a big part in the compositions, most notable is the prominent use of cello.

There is an almost operatic feel to this release — but don’t let that scare anyone off. What I mean by that is that the compositions are big and grand with lots of dynamics and do not conform to any kind of set pop structure. Sure, that can be said of most jazz pieces but Slow to Wake gives us much more. The opening song, “Eol” is very big and dramatic. A slow electronic start that weaves between the left and right speakers gives way to a strong drum and bass line that is accented with a smooth cello melody line that rises to a wonderfully, screechy crescendo. The syncopated break comes next with a very symphonic and dissonant build complete with strings and horns.

The drumming and bass on this album is first rate and the interplay between the rhythm section and the guitar and strings is amazing. I also really like the way the band blends electronic and organic instruments together. They are clearly using some very phat analog synths — at least it sounds that way to me. The only thing that I would like to hear on this record is perhaps some vocals along the lines of maybe Massive Attack. –Chris Walcott fakescience.com

- Chris Wolcott, fakescience.com

REVIEW OF CD SLOW TO WAKE

By Alessandro Bonetti, Kronic (website), Italy


It is rare to encounter these days a group who takes a musical direction outside of the established mold. This is certainly especially true when we speak of post-rock, a form of music that is “tormented by existential crises.” For many devotees of this kind of music, this niche has little new to offer, since it is chained to a rigid pattern that doesn’t leave room for the evolution of that sound.

However, after hearing this cd, I find that things have changed. So, it was a big pleasure to discover a group that is capable of making music that is intellectually stimulating. A group like Slow to Wake, a quintet from Brooklyn, can also make an album which is difficult to listen to for those who are not initiated to this form of instrumental music.

Mixing classical and electronic instruments, they paint nine abstract pictures, characterized by a pronounced dynamic. We find ourselves in front of instrumental rock with a soul that is clearly jazz, where repeatedly the structured sounds gently touch the improvisation, which is well sustained by the talent of the musicians. Its complexity makes for a cd that is edgy and obscure, shaped by the intensity of the violin and cello. The choice of these two instruments is particularly pleasing, intertwining a dose of drama to the fleeting melodies.

The debut of Slow to Wake may pass unobserved by some but will give great pleasure to those who will let themselves be tempted by a most original proposition.

This is for lovers of new sounds.
- Alessandro Bonetti, Kronic.com