The Echo Show

Release Date
Yeti Lane’s debut album was a pleasantly odd indie pop gem, bits and pieces of psychedelic swirling synth were mixed with with folky interludes to make a largely refreshing debut by a promising Parisian trio. Founder member and multi instrumentalist LoAc Carron left the group shortly afterwards and the remaining band members, Ben Pleng and Charlie B, decided to continue as a duo. It would be easy to predict a drastic change in direction under these circumstances, i was personally expecting some sort of move towards the realm of electro pop that the French do so well. It turns out that Yeti Lane’s master plan was to become a duo that sound like a four-piece. Listening to the album its hard to argue that they haven’t achieved this, the band have crafted walls of synths, loops and general noise which is more reminiscent of Spiritualized than M83. It’s an album that doesn’t even have a particularly European sound (the French accent also seems to have disappeared) aside from the elements of Krautrock which occasionally creep in amongst the otherwise grandiose melodies. A minimal album this is not. All of these factors create an interesting and occasionally lopsided sophomore record. The opening track “Analog Wheel” is just about a perfect rebirth and has a melody which rivals J Spaceman’s Electric Mainline with its mesmerising druggy drone. Certain elements of this style of song writing are scattered throughout the record, all too fleetingly in short untitled interval segments (Track 9 is especially beautiful). I would suggest that an album full of these ideas would make a welcome companion piece to this one (Yeti Lane seem like a band born to work on film soundtracks). It has to be stated that some of the tracks on this record don’t really work: “Dead Tired” has a big Doves (bordering perilously on the side of Snow Patrol) style hook crowbarred into it which just doesn’t fit. Weirdly the very next track “Sparkling Sunbeam” manages to disprove the theory that mixing up such genres is album suicide, it employs pretty much the same tricks (3 parts electronica, 1 part anthemic indie) but manages to straddle them both seamlessly in one on the record’s standout moments. A promising new era may well follow for Yeti Lane.

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