In many ways Fifteen, and indeed SPC ECO’s music in general, seems like the latest chapter in an ongoing story, one that was only ever aimed at a more discerning, left-field and underground audience. Whilst many are familiar with where the story line jumps off, a swirl of experiments and musical visionaries embracing new and strange technologies to make new, wholly original music released on small, independent record labels a generation ago, far fewer have kept up with the plot line as the story has moved on. And that is a shame as, perhaps unexpectedly, as those characters in the story have grown up they have become more interesting, more creative, more exploratory rather than less so.
Dean Garcia’s post and parallel Curve career is a CV which demonstrably shows that he has never been someone to rest on his laurels and coast on past achievements. Bands such as The Secret Meeting and more recently SPC ECO prove that he hasn’t lost his sense of musical intrigue, always moving forward as he wanders new and less well trodden sonic landscapes. Volker, the second album from his intriguing collaboration with Polish musical protagonist and multi-instrumentalist/producer/composer Jarek Leskiewicz, sees the pair of them heading into hazy, post-rock minimalism and the quieter echos of shoegazery to wonderful effect.
It is an album which drifts as much as it pulses, skitters as much as it beats, is shrouded in gloom and glitch, in pause and effect and there is a restrained and smoke-like beauty to the music it contains. But this minimalism is in constant flux and flow with more robust and well-rounded sounds and it is this dynamic which creates the charm of the album as it drops down into near silence, reaches for noisy crescendos and explores every combination in between.
Night Crawlers is as tense and scratchy as its name suggests, Is This It wanders between clinical beats and a wall of cavernous industrial noise forged into a melody which seems just outside the range of human senses and Starry Eyes draws a line between the then and now of alternative synth music. And all the time the vocals seem to lurk below the music playing an instrumental rather than a communicative role.
Blurred City Lights is helping to add a wonderful new genre to the modern musical canon, one that sits between post-punk dream scapes and modern ambient pop, between post-rock excess and cinematic delicacy. It revels in space and a whole new and evolving sound palette which doesn’t seek to conform and in not doing so is being picked up by a whole new alternative pop and indie audience.