Mexican duo Lorelle Meets The Obsolete return with their fourth album, ‘Balance’, released via Captcha Records and Sonic Cathedral. ‘Balance’...
https://driftrecords.com/products/lorelle-meets-the-obsolete-balance6450610628Lorelle Meets The Obsolete - Balance//cdn.shopify.com/s/files/1/0161/8690/products/SCR115_large.jpg?v=1504815189//cdn.shopify.com/s/files/1/0161/8690/products/SCR115_medium.jpg?v=15048151894.99GBPInStockLorelle Meets The ObsoleteBoxing Day SaleEverything In Stock at DriftLorelle Meets The ObsoleteRock, Psych & GarageSALE2016Sonic CathedralMexican duo Lorelle Meets The Obsolete return with their fourth album, ‘Balance’, released via Captcha Records and Sonic Cathedral. ‘Balance’ was recorded by the band at their home studio, before being mixed by Cooper Crain (Cave, Bitchin Bajas) at MINBAL in Chicago and mastered in Melbourne by Mikey Young (Total Control, Eddy Current Suppression Ring).
The title track and opener blows away the layers of dusty psych from 2014’s ‘Chambers’, the duo’s previous album, to reveal a sparse and spare sound, embellished with new wave keyboards that wouldn’t sound out of place on one of the early Magazine albums; ‘The Sound Of All Things’ is a mini-epic, opening with a two-and-a-half-minute soundscape, before roaring into life; ‘La Distinción’ is a driving drone-rocker, not dissimilar to ‘What’s Holding You?’ but with the addition of a surprisingly soulful chorus. Lorelle Meets The Obsolete count Robert Smith, Mani and Sonic Boom among their fans, but the most enthusiastic is Henry Rollins. Here’s what he said about ‘Balance’: “It lives up to its name by achieving a balance between fuzz and clarity, nuance and throttle. The mix, which is incredible, utilises the brilliance of the component parts of each song, with a subtlety and dexterity that is not nearly as frequent in the albums that came before. It feels more like there was such an accumulation of captured dreams and their interpretation, that eventually it filled an album.”