Written: 27th August 2024
Now over twenty years into their existence, God Is An Astronaut return with their eleventh full-length studio album, Embers. The band’s brand of instrumental post-rock has found much favour, reflecting their ability to combine distinct influences into a cohesive and compelling whole.
Embers, as with each of their albums, is a collection that reveals more with each listen and as the first delicately picked guitars of opening track Apparition steadily build, God Is An Astronaut invite listeners on another audible odyssey. Apparition moves through several sections following the relaxed opening, taking a darker turn as sitars, swirling synths and reverberating guitars build vast, complex atmospheres. Both expansive and immediate, it is a fascinating opening to the album which sees God Is An Astronaut displaying their love for eclectic pieces.
Falling Leaves, a reflective journey on the brevity of our existence, begins with cool guitars reminiscent of lazy outdoor evenings backed by the setting sun. God Is An Astronaut are masters at allowing tracks to develop naturally and nothing throughout the album feels rushed or forced. As other instruments join, it is like something that has caught your eye coming steadily into view. At eight minutes long, it is the second longest track on Embers and during the central section, precise drums and pulsating basslines create a hypnotic groove that propels the track forward. While clearly a track that marks the passing of time, with its development from the simple to the more complex and back again, there is also a depth of optimism within each note.
Similar in length, Odyssey initially finds the trio conjuring intricate melodic structures that are steeped in lamenting grace. Interwoven, gossamer like guitar lines dance around each other with a refined precision as ethereal, ambient synths create a sense of harmony and balance. As the track reaches the three-minute mark, the band stretch their muscles and the progressive side of their music bursts into life. Exhilarating guitar motifs take centre stage as shamanic rhythms and instrumentation keep pace with a relentless drive, creating a sense of urgency and intensity in one of the most exciting passages on the album. Heart Of Roots adopts a more brooding, introspective feeling during its opening. With a mesmerising bass guitar motif taking the lead, guitars and then piano accompany the exquisite work from Niels Kinsella. This resolves into a simply beautiful section of thoughtful piano and a distant but haunting guitar. Highlighting the band’s songwriting ability, Heart Of Roots echoes the feel of a traveller in a futuristic landscape unsure of his next destination.
Embers, the ten-minute title track, unfolds little by little, navigating through a myriad of phases and emotions. Opening with dark ambience, the piece creates a wraithlike soundscape, threatening but never fully showing its hand. As it develops, drum and bass lock into an absorbing groove, while chimes weave elaborate patterns above. Lloyd Hanney’s percussion is inventive as the mood changes and interlacing shredding riffs, melodies and dynamic crescendos bring a touch of menace, electrifying energy and cathartic release to the album. After a temporary reduction in volume and tempo, sci-fi tinged synths focus the attention and Embers prepares for its final ignition and vibrant conclusion. This is delivered through soaring guitars, thumping percussion and colliding sounds of controlled chaos that leaves us breathless.
The multi-faceted Embers servers as something of a buffer between the first four and last four tracks of the album. Much of the more ambient and fragile material is to be found in the second half. Realms is deeply immersive, thought provoking and mysterious throughout its almost five-minute running time. Layers of gorgeously grandiose synths induce visions of slow, celestial travel and the drawn out passing of the eons. Gently shifting chords allow the listener to bathe in the soothing waters of the track. In contrast, Oscillation is restless, disconcerting and powerful. At times, the Kinsella brother’s guitars amalgamate in a maelstrom of sound, eschewing the calm and comfort of Realms for an exploration of hostility and release. A shorter, central segment gives some respite from the turbulent journey but soon returns to a more dissonant, angular approach; the trio continue the feeling of unease, a testament to their compositional skill. Prism and album closer Hourglass find God Is An Astronaut revisiting more ruminative territories complete with some enthralling cello embellishments from Jo Quail. The latter of these – contemplative and melancholic – is a sumptuous piano-led piece that unfurls over six wonderful minutes, each more exquisite than the last.
Embers is far more diverse than the deliberately meditative Somnia and is an album that demands repeated listens to unearth all that is on offer. Seamless transitions between phases demonstrate a profound understanding of musical storytelling, making Embers an engaging and interconnected journey. Fluidity in styles allows the band to explore a wide emotional spectrum that reflects the complexities of human experiences. Ranging from dreamlike and psychedelic to progressive and shamanic, God Is An Astronaut have produced an album with excellent production qualities that needs to be felt as much as heard. Balancing the immersive with the expansive, Embers is beguiling from start to finish.
Embers is released on 6th September 2024
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