Landscape From Memory

Landscape from Memory is Rival Consoles first album in three years, which is a longer gap than usual for the prolific artists release schedule. Ryan Lee West went through a period where he didnt feel any creative inspiration, so he essentially had to fall back in love with making music. The album was partially constructed using previously rejected audio scraps, and some of it was created on the road rather than in Wests own self-built studio. He experimented with unconventional recording techniques, placing an emphasis on microphone-recorded sounds and analog textures. The tracks often feature vibrant synth melodies and crisp drumbeats, as well as woozy, displaced sensations that transport the music into an otherworldly realm. Opener "In Reverse" gradually builds up from a simple melody and flickering acoustic guitars, developing more complex beats and trancey synths. "Catherine," a love song to Wests partner, has a slower, dubstep-like rhythm and expressive melody that eventually soaks in a dramatic synth haze. Several other tracks have an underpinning of shoegazey distortion, particularly the woozy "Coda," but the melodies still clearly shine through. The harpsichord-like shimmer of "Gaivotas" cuts from breathtaking edits to delicate guitars. "Nocturne" slows everything down and basks in a dazzling, starry sky. "Jupiter" is a floor-mover with crackling, shuffling beats and a fuzzy synth lead that gradually gets more intoxicating. "In a Trance" is one of the albums brightest, most euphoric moments, while "If Not Now" is more patient and reflective. "2 Forms" is a slowly sweeping waltz with some unexpectedly jarring bass. West saved "Landscape from Memory," the song that reignited the creative flame for him, for the last track, and its easily the highlight, building up a gorgeous, comforting melody until it arrives at a pulse-quickening beat, then nestles into sleep. West is skilled at making electronic music that feels remarkably human. His songs sound composed and crafted in a natural environment rather than generated by computers, yet they can be transcendent and spacy as well. ~ Paul Simpson

Landscape from Memory is Rival Consoles first album in three years, which is a longer gap than usual for the prolific artists release schedule. Ryan Lee West went through a period where he didnt feel any creative inspiration, so he essentially had to fall back in love with making music. The album was partially constructed using previously rejected audio scraps, and some of it was created on the road rather than in Wests own self-built studio. He experimented with unconventional recording techniques, placing an emphasis on microphone-recorded sounds and analog textures. The tracks often feature vibrant synth melodies and crisp drumbeats, as well as woozy, displaced sensations that transport the music into an otherworldly realm. Opener "In Reverse" gradually builds up from a simple melody and flickering acoustic guitars, developing more complex beats and trancey synths. "Catherine," a love song to Wests partner, has a slower, dubstep-like rhythm and expressive melody that eventually soaks in a dramatic synth haze. Several other tracks have an underpinning of shoegazey distortion, particularly the woozy "Coda," but the melodies still clearly shine through. The harpsichord-like shimmer of "Gaivotas" cuts from breathtaking edits to delicate guitars. "Nocturne" slows everything down and basks in a dazzling, starry sky. "Jupiter" is a floor-mover with crackling, shuffling beats and a fuzzy synth lead that gradually gets more intoxicating. "In a Trance" is one of the albums brightest, most euphoric moments, while "If Not Now" is more patient and reflective. "2 Forms" is a slowly sweeping waltz with some unexpectedly jarring bass. West saved "Landscape from Memory," the song that reignited the creative flame for him, for the last track, and its easily the highlight, building up a gorgeous, comforting melody until it arrives at a pulse-quickening beat, then nestles into sleep. West is skilled at making electronic music that feels remarkably human. His songs sound composed and crafted in a natural environment rather than generated by computers, yet they can be transcendent and spacy as well. Like some of his other albums, though, Landscape from Memory runs a little too long, with a few of the slower, less exciting tracks seeming unnecessary. Thats not to say that it all sounds samey or lacks inspiration, however, and the records best tracks are exceptional. ~ Paul Simpson