Wilderness’
sound is distinct. Distinct in the same sense that you can tell you’re
listening to the Cure ten seconds into a Cure song you’ve
never heard before.
Wilderness have marked their ground. There is no issue of defending territory here however, as it is frequently apparent on their third album ‘(k)no(w)here’ that these songs are only possible with the combination of these four artists. So they have no borders to patrol. They haven’t just stumbled into some so far un-mined corner which anyone could find with a flashlight pointed in the right direction. They have synthesised deeply personal and individual approaches to their instruments (which includes the vocals) and the alchemical result is the finest record I have heard this year.
Wilderness are not incomparable; they have just made their influences their own. Parallels to music from the early eighties occur frequently with this group of four, who hail from Baltimore in the United States. When I play their records, people talk of early U2 & Public Image ltd (specifically referring to James Johnson’s vocals). Colin McCann’s guitar has a searing, incendiary quality that is in some ways reminiscent of the Edge’s style, yet it also incorporates a style familiar to traditional eastern European and Asian instruments like the Bouzouki or Saz. Brian Gossman’s bass is the melodic anchor and is warm and full in tone. Where McCann’s guitar is nearly ever present and often sounds like just one or two open tuned strings chasing a melody, the bass lines are restrained and take equal responsibility for shifts in mood. Without a subtle bass player Wilderness would fall down. The most apparent characteristic of William Goode’s drumming has until now been the primal tom drum thumps. They are still here, but on some songs such as ‘Own Anything’ his refusal to let the cymbals rest without sounding un-hinged or showy is a new string to his bow. Through the intro to ‘Chinese Whisperers’ he follows the oud-like rythym of the guitar riff with intricate taps on the bronze; later in the song he returns to the taps but they are a response, not a mimic.
Earlier this year McCann had his first solo record out (also on Jagjaguwar), under the moniker The Lord Dog Bird. Perhaps this increased his confidence to perform more additional vocals alongside James Johnson. If so I hope this continues. They are un-tethered, wild and achingly passionate in contrast to Johnson’s arresting, eerie and sometimes belly deep hollers; they are one of the best evolutions in the bands sound. Staying on the subject of Johnson’s singing, this record carries most confident performance to date. On a few songs his voice is double tracked and panned which has a curious effect of defining space and creating dissonance on tracks like “Strand The Test Of Time” and ‘Chinese Whisperers’. Perhaps moving from their usual studio in Arlington, Virginia to a new studio and engineer in Los Angeles has encouraged the band to try new techniques.
It seems that Wilderness (like some of the bands on the Constellation Records roster) have absorbed a musical philosophy that is traced back to punk but filtered through a more artistic approach. ‘(k)no(w)here’ was inspired by an invite to collaborate in an exhibition with an artist called Charles Long. The bleed of one song into the other on the record is suggested to be in relation to Long’s work.
I often get the impression that this music is inherently anti-conformist. If Wilderness are inclined to “anti-capitalism” or similar, they have found some sort of musical and lyrical transcendence that prevents them from becoming mired in preaching, or the morose and self-pitying vocabulary of the “burnt-out” activist. Putting their second record ‘Vessel States’ into words, the band state:
“…yearning to communicate has yielded psychic flares bounced from the bedframes, responding is silence... this is our collective strength to cover our heads with the music... play the fool, try to heal, be wary of the clever... vessel states...”
They have also called their music “ultimately a celebration of life”.
‘Soft Cage’ is the most diverse composition of the record. It starts with Johnson’s wordless howls and vocal contortions which have a definite sense of urgency and existential pain. In the hands (or throat) of someone trying to develop their voice as a cheap trick this singing would sound either like a joke or the desperate approach of a primal-scream cultist. Johnson evades these categories and is slightly unnerving in his directness. The tune then elongates into a subtly psychedelic passage of soft rolling drums and a single layer of delayed guitar, softly shattered by a jangling mid tempo riff to a close. It immediately merges with final piece ‘<…^…>’ which rages with such buoyancy that it ascends to an altitude where the instruments (and finally the record) fall away behind you, while Johnson softens his howl to a consistent tone rippled with mourning and devotion. He sounds lost in a mantra of formless syllables where words would confuse his communication, rather than sharpen it.
Wilderness have the ability to inspire me with a sense of openness, space and optimism. It is a reaction to music that I thought I had left behind, or imagined. I have read one or two reviews that describe the group as cerebral; I don’t disagree but don’t let that put you off. It should be noted that before any concepts hit, the music and the vocal performance hold sway and inspire.
I prefer not to engage with a band’s image and internet presence too much when writing about the music. However I will say that the lack of credential flag waving in release information and the absence of an “official” myspace page (and the mock “communities” of fans) are very dear to my appreciation of the music. Their music is reaching a generation that grew up with the option to find out everything about a band at the touch of a button and though they clearly aren’t hiding, every word or image is earnestly placed. Music and life seem far too important to Wilderness to spend it playing egocentric games.
10 / 10
Aww, our very first 10 out of 10. That's it, next time a Cobra Starship album rolls around, I'm using it too!
the idea of a bouzouki is certainly pressing me on to pick this up! whenever i see somebody busking on the street, whoever is with me has to drag me away from donating...
anyhow, great deep and very insightful review.
yeppo theo, we certainly do have to do some dragging.
Yes, we certainly do, I thought I was going to spend my whole day in Whitby with those gypos!!
PS - I've heard nothing from this album, however, it's just been purchased seeing as someone has turned my musical tap off and I'm having a drought (to the extent of listening to the coldplay album I'd bought my dad)... so if it's bad, you owe me.
Wilderness are one of the best post-punk groups going.
You wont be disappointed if you buy this record.
hey cs65dos, ill be interested to hear what you make of it...
I've got an old Wilderness LP - but have read mixed reviews about this, was considering not parting with the quids for this,but think i will now.
I know what you mean David, about the lack of promotion this album's getting. I just hope they're not having distribution issues or anything stupid like that.
I had the good fortune and pleasure of seeing these guys play this piece for the first time at the Whitney Biennial back in March.
http://www.youtube.com/watch?v=L_smKO7vgm4
It was quite a performance, full of the passion, openness, and optimism you wrote about. I'm ECSTATIC this record is out now... to remember that night, and to fall in love with their music again.
What a recording. Wilderness lives!
hey jacob, I realise you're probably in the US, but if anyone reading this hears of a UK tour, please let me via the contact part of this site... don't want to miss it.
I have to confess i downloaded this album on the strength of this review, first listen, i wasnt too impressed, but i stuck with it - and its beauty creeps up on you in an extraordinary way.
Wow, what a recording, Wilderness never fail to disappoint.
Did Chad Clarke produce this one?
Earlier this month, we... Read on
I first met David... Read on
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Gavin Riley
commented 2 months ago
Cant believe what an incredible album this is. Very worthy of its rating.
Gonna have to check their back catalogue out now.