This latest offering from Wisconsins Canyons of Static can in some ways be seen as a perfect introduction to the bands fascinating infusion of the distorted melodies of shoegaze with the multifaceted emotional aspects of post rock. Recorded in an attic in one afternoon, the 'Challenger' is a collection of older tracks reworked with new guitarist Nick Elert to document his addition to the line up.
Formed in 2005 by husband and wife Ross and Aggie Severson, this is a follow up to their 2008 release 'The Disappearance' and finds the band on a more atmospheric, experimental plateau embracing a more ambient sound structure than has been found on their previous releases.
Manifesting itself with the wave of guttural drones found on opener 'Columns' and again with the formless yet melodic feedback of closer 'Worn', this ambient experimentation seems to perfectly cradle the record allowing the band to reverted to a more familiar sound on the two middle tracks, which I may add they do with some style.
Flowing effortlessly from 'Columns', title track 'Challenger' oozes a raw blend of surging power masked by a profound fragility, capturing flawlessly the essence of the intensity that Canyons of Static bring to their live shows. Completing the set is the appropriately named 'The Calm', a blissful slice of My Bloody Valentine inspired interplay between the strings of guitarist Ross Severson and the keys of his wife Aggie.
For a band that have been steadily releasing interesting and innovative music since 2006 it is surprising how low Canyons of Static still fly under the radar, whether this is deliberate or not it is hard to know but with 'Challenger' they have created an ideal introduction to anyone who may have missed their older material. And with a new full length album pencilled in for later this year this is a great place to start.
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Manifesting itself with the wave of guttural drones found on opener 'Columns' and again with the formless yet melodic feedback of closer 'Worn', this ambient experimentation seems to perfectly cradle the record allowing the band to reverted to a more familiar sound on the two middle tracks, which I may add they do with some style.
