The breadth of sound that can be encompassed by the ‘drone’ moniker is rather large. Consider sounds ranging from Earth and Brian Eno (at times) to Lou Reed’s Metal Machine Music. Timbres range from sweet to rich and full, to harsh and indigestible. It is the all encompassing nature of drone that makes it a fickle friend in the world of music. It is easy for bands/performers to fall prey to what I would like to call sitting-in-a-bedroom-fiddling-around-with-a-guitar-and-some-effects-and-maybe-a-keyboard-while-bored-one-night syndrome. By this, I mean that sometimes drone albums end up sounding like they were recorded in one night while someone was playing around with his new effects pedal and thought he had made something cool. I understand the desire to create music that is not reliant upon melody, time signature, pacing, or any other traditional constructs, but I am a firm believer that all good music has a purpose. I find this purpose to be lost in some lackluster drone recordings that are merely experiments of sound and nothing more. While Aarktica does not fall wholly into this category, there are elements that seem not as refined as others. However, In Sea has many positives that must be praised first.
Opener “I Am (The Ice)” is a wonderful mix of strumming guitar post-rock with thick dark drones rounding out the sound. The song has movement, but it definitely sets the tone for the rest of the album. The listener gets a sense that this album is going to be something along the lines of drone or ambient, but there is the possibility for something more, as exhibited by the relatively vibrant guitar line amidst the drone.
“Hollow Earth Theory” is a surprising song following the opener, a rather cut and dry drone falling pray to the ‘syndrome’ piece “Lymz.” Fairly safe chord progressions played on the guitar introduce a vocal line that is melodic and rather pleasant. Reversed guitar tones add a reminder that this isn’t a pop album, but overall the sound is mellow and straightforward. In the context of the rest of the album ,this song, while pleasant, really sticks out in a way that is not really good or bad, it is just there.
“A Plague of Frost (In The Guise of Diamonds)” has perhaps the opposite sound to the 'syndrome' mentioned above. This droning piece has a definite beginning and end – the first steps to establishing purpose. The timbres are always morphing, yet layers add movement and life to the ongoing drone of the song. Waxing and waning complexity solidify a more purposeful intention beyond just playing some cool sounds on the guitar. The sound is overall robust yet minimal.
The abrupt ending of many of these songs betrays some elements of the ‘syndrome’ mentioned above. After an obvious effort has been put in to making a song full of rich layers and timbres, it would be wise to finish with matching effort to finalize and complete that idea. All too often, a song ends with what is clearly just a decision to stop playing as a quick fade completes the track. Three songs in a row, “Onward,” “Young Light,” and “Autumnal,” among others, end in this way, and it leaves an unfinished emptiness to the album. Even the slightest resolution of idea or even more drawn out, meaningful fade would add just enough polish to solidify In Sea as a whole.
Aarktica walks a fine line on In Sea, skirting close to the realm of inconsequential fiddling, yet for the most part, each song accomplishes some sort of goal and justifies its existence. Some tracks on the album shine while others leave me questioning their reason for being included in the lineup. However, In Sea has some excellent multi-layered and multi-textured songs that more than make up for its minor shortcomings and complete a well rounded and continually evolving album.
-Greg Norte