I continue to be amazed by The Veldt’s ability to similtaniously shimmer yet saunter, chime but groove. How do you even do that? On the one hand they play with sounds which seem built of almost intangible, ethereal qualities, the stuff of stardust and dreams but the clever part is that they then bolt those fey and ephemeral vibes on to soulful and sultry rhythms, pulsating beats, raw post-rock guitarwork and infectious boogies to fashion the perfect blend of texture and solidity.
Whilst there are undeniable parallels with a whole raft of challenging post-punkers, timeless progressive trailblazers and modern day sonic explorers, what keeps the band tied to the real world, rooted in something more structured, is the soulful, R&B undertones and the ability to mix unreconstructed and unabashed grooves with these more gossamer and floating sounds. I can’t think of any other band who walks a more perfect line between such seemingly unconnected worlds.
And proof of just how original a path they do walk is demonstrated by the calibre of the people they attract to work with. People like A.R. Kane’s Rudy Tambala, New Kingdom’s Jason Furlow, the godfather of soundscaping Robin Guthrie and Carlos Bess of The Wutang production team all adding their not inconsiderable skills to the mix and production of the record.
Yes, you can tell a lot about a band by the company it keeps and such associations speak volumes, but it is their mercurial and singularly unique sound, one which evokes old soul records as easily as it does dense walls of shoegazery, which draws such icons to their flame, and rightly so.