Post-rock has been around enough to inspire nostalgia, which is ironic considering the fact that the genre is still going strong. This nostalgia kicks in when fans hear music that exemplifies the “classic” post-rock sound: drums, bass, guitars, and occasional dialogue samples, sculpted into the loud-quiet-loud mold. This is exactly what we get on the debut album from When Clouds Collide, whose defining feature is that its two members sound like four or five. It’s a tough time to be entering the field, but it’s clearly in the duo’s DNA. One imagines the boy in the Twisted Sister video being asked what he plans to do with his life and responding, “I wanna post-rock, then leaning back for a thoughtful strum on his electric guitar.
This is clearly an album for classic post-rock fans. Even post-rock’s middle period, in which violins and glockenspiels rose in importance, is ignored here. When Clouds Collide cares little for genre experimentation; they simply want to do what they do well, and in this they succeed. Their sound is full – they avoid self-indulgent interludes and solos – and their songs possess propulsion. In a concert hall, the reverberations would likely fill the room, drowning out conversation and evoking the euphoria of layered instrumentation. Touring with two, however, may be a problem. If guests are invited, the climaxes should bring attendees to their feet. Closer “In the Wake of Collision”, the second longest track at just under six minutes, contains the most memorable riff and the album’s best overall sense of development. After the breakdown, one yearns to hear the riff return, doubled in power, and it does exactly that before returning to pre-conflict levels.
We’re Just Making Sound may not be groundbreaking, but it’s satisfying, and those who miss this sound will be happy to have it back. (Richard Allen)
Release date: June