Sennen is truly artful at fading melodies into each other. In addition to the normal setup of drum, bass, and guitars, the band also has a trumpet, which compliments the other instruments nicely. In that respect, certain portions of Automatic Writing sound similar to other brass-tainted post-rock bands, such as Foxhole and We vs. Death (a fellow Dutch group). Like their contemporaries, Sennen allows the brass section to take the lead for short periods of time before disappearing entirely, and almost unnoticably; it is a little garnish on an already well-constructed track.
The opening track, "Redshift," starts in an incredibly sedated mood, which was not unpleasant, but to be honest I was slightly worried Sennen was going to play random percussion over a repetitive track for the whole EP. However, they soon proved that they own real instruments, and the rest of the track does not disappoint, as rich melodies take center stage. "Redshift" has everything from sparse keyboard parts to guitar riffs to a beautiful harp-like trill that evaporates almost as soon as it begins. Each shift in instrumentation or melody comes easily, but not predictably. For example, Sennen returns to the opening motif during the middle of the track, but the variation employed makes it difficult to catch. This effect creates a familiar feeling to the track, even though different sounds are used to construct the melody. Later in the EP Sennen utlizes this trick with much success. Additionally, I cannot tell for certain what it is the band has sampled to play backwards during certain stretches, but I like it, as it exemplifies the subtle nature to the EP.
Even after a wonderful opening, Automatic Writing does not falter in following the precedent set by "Redshift." "Arcus Glider" carries a languid, melancholy message all the way up to its ending. The trumpet sets the mood here, but the guitar and bass are really what carries this idea along. All the while, the percussion marches the song onward. Even during the periods where Sennen picks up the tempo, the band never loses the overall theme of the song and leaves the impression of excitement with an inevitable fall.
Finally, "Hearsay" begins with a hint of summertime, playing a trumpet that is reminiscent of cicadas. This is merely setting the scene for the rest of the song, a superb opus that seems to be constantly increasing in energy throughout, until they have used up every microjoule they had. The bass really shines on this one, alternating roles between driving the track and accompanying the melodic guitar. Unfortunately, in the final measures, "Hearsay" switches to heavily distorted guitars for the focus and loses a lot of what made it interesting. The ending also seems to come far too abruptly for all the effort that went into the rest of the track and needlessly compromises the crisp, creative flair that marked the majority of Automatic Writing.
Coming away from this EP, the listener can tell it was put together with care. Every song mixes well into the whole, yet has its own identity. It would be nice to have more of a trumpet presence throughout Automatic Writing, since that is an uncommon instrument in post-rock, and when it is used it is done quite well. Then again, it is hard to blame them for their subtlety, because the tracks are good enough overall that anticipation never becomes a factor in the music; Sennen crafts its tracks intricately and purposefully, and the listener is never given an incentive to sneak a peak at upcoming sections. Actually, after the sudden cutoff on the final track, I was left unsatisfied with the brevity of the EP more than anything else. I don't think I need to mention that is hardly pejorative.
-Loyal Hobart Tingley IV