shoegaze / grunge / post punk / noise rock
It’s that special sound of the guitar strings that makes shoegaze so unique – that moment when the pick hits the string and then the sound starts winding its swirling way up the long, thick metal cord. Something similar can be said about the significance of those same strings for a grunge song, albeit here the sound is not winding up slowly and seemingly winding along even after the end of the neck, in many grunge songs the sound is pretty short but robust. You can see the difference clearly when listening to “Loveless” and then to “Nevermind”.
Rarely a band comes along that denies its allegiance to one side or the other, which merely says “Hey, never mind being loveless!” Timelost is one of those rare bands and at the same time they are more. Another example of 2019’s singular position among recent decades when it comes to new sounds and combinations, just think of Witch Trail or Jambinai.
So here Timelost are, now entertain us. The first song already transports a similar vibe - “You’ll never know / How strange I feel / It comes and goes / It’s always there” is a laconic take on a broken relationship and the time lost becomes its drive impersonated by the energetic drums and the quick guitar lines that seem to reach for something beyond its origins. Singer Shane Handal mentions that this is some kind of ongoing motif on the album – relationships and loss, “It’s weird to throw yourself out there to the world and be so vulnerable but it felt honest and real. We wanted to put out a genuine record from the music to the lyrics.” There is something in those good and simple, yet exquisitely shoegaze-grunge songs that goes straight to the heart and makes us want to embrace this duo for all it’s worth. Maybe it’s something like the outro of “Nausea Curtains”, where a few harsh hits on the drum kit end a line of reverberating guitar twists, and the semi-acoustic guitar intro to the following song “Don’t Remember me for this”, where the acoustic-ness is then substituted for some swishing rides of the shoegaze riffs up the neck of Handal’s guitar.
There are some clearly grungey moments on the record like the intro to “The River broke us” which sounds like a meeting between Kurt Cobain’s neck and Dean DeLeo’s strings. This record is much more than one part Set and Setting (Handal) and Woe (drummer Grzesiek Czapla) – it is neither and stands within a new sound realm, one it draws the listener to. Timelost are here to entertain us, no matter the melancholic mood they were in when writing the record, these eleven tracks spread loads of warmth.
Thorsten
Rarely a band comes along that denies its allegiance to one side or the other, which merely says “Hey, never mind being loveless!” Timelost is one of those rare bands and at the same time they are more. Another example of 2019’s singular position among recent decades when it comes to new sounds and combinations, just think of Witch Trail or Jambinai.
So here Timelost are, now entertain us. The first song already transports a similar vibe - “You’ll never know / How strange I feel / It comes and goes / It’s always there” is a laconic take on a broken relationship and the time lost becomes its drive impersonated by the energetic drums and the quick guitar lines that seem to reach for something beyond its origins. Singer Shane Handal mentions that this is some kind of ongoing motif on the album – relationships and loss, “It’s weird to throw yourself out there to the world and be so vulnerable but it felt honest and real. We wanted to put out a genuine record from the music to the lyrics.” There is something in those good and simple, yet exquisitely shoegaze-grunge songs that goes straight to the heart and makes us want to embrace this duo for all it’s worth. Maybe it’s something like the outro of “Nausea Curtains”, where a few harsh hits on the drum kit end a line of reverberating guitar twists, and the semi-acoustic guitar intro to the following song “Don’t Remember me for this”, where the acoustic-ness is then substituted for some swishing rides of the shoegaze riffs up the neck of Handal’s guitar.
There are some clearly grungey moments on the record like the intro to “The River broke us” which sounds like a meeting between Kurt Cobain’s neck and Dean DeLeo’s strings. This record is much more than one part Set and Setting (Handal) and Woe (drummer Grzesiek Czapla) – it is neither and stands within a new sound realm, one it draws the listener to. Timelost are here to entertain us, no matter the melancholic mood they were in when writing the record, these eleven tracks spread loads of warmth.
Thorsten
