The gist Fourth album from Mexican duo Lorelle Meets The Obsolete sees them take things down a notch The music Lorelle Meets The Obsolete return with a more dreamy, spaced out collection compared to their last record, 2014's rougher-round-the-edges Chambers. Lorena Quintanilla's vocals are lighter and sweeter than ever before, and the overtly synth driven melodies are often punctured by Alberto González' unobtrusive dashes of wailing, fuzzed out guitar. This new sound is perfectly encapsulated in opening track "Balance" which wonderfully utilises a one note keyboard backing whilst the instruments at the forefront mix up the dirge of old with the elaboration of new. A fine balance indeed. Don't get me wrong, in many places on this LP, the vocals are still almost incoherent (more of an additional instrument than a way of conveying deep lyrical narratives) and the way the music is recorded still sounds as organic as ever, it's just that the songs have been given more breathing space and a the brakes have been applied. Occasionally, such as on the beautifully restrained "Father's Tears", the "psych" elements kind of disappear altogether in favour of a more cinematic, synth led sound which suits the duo just as well, if not more so, compared to their more familiar remit. Overall this is the welcome sound of a band attempting to mix things up a little, and doing it with aplomb. Listen to "Waves Over Shadows" - a bobbling and inconspicuous little ditty which shows the band's more sensitive and relaxed side (apart from the minute or so of lovely feedback in the middle). For anyone who liked Gwenno's Y Dydd Olaf, this will probably appeal to you.
Ivan The Tolerable
Lorelle Meets The Obsolete