The Waeve - "City Lights"
The result of a galactic collision
Despite that I’m generally running well behind schedule, it’s difficult to forget that the heart of this whole project is about exploration and discovery. So when I read about an artist who sounds interesting, I want to hear how that description translates into music.
In reviewing the list of pending albums earlier this year, I read a snippet of a press release, which Under the Radar states came from a “previous press release” (though I cannot find the original source with certainty). The statement is clearly a finely-tuned marketing effort, but I found it captivating nonetheless, and it must be shared here:
“A liquid meeting of musical minds and talents. A powerful elixir of cinematic British folk-rock, post-punk, organic songwriting and freefall jamming. The WAEVE strikes that magical English folk-rock alchemy of earth and ether. Heaviness and weightlessness. Darkness and light.”
How could I turn away from that?
So here they are, a new powerhouse musical duo in the world of English Folk Rock:
Graham Coxon (55) is a vocalist, guitarist, and saxophonist. He is best-known for his work with Blur, an English Alt/Indie Rock band which started releasing albums in 1991, for which he is lead guitarist and backing vocalist. He has also release eight solo albums and done some soundtrack work.
Rose Dougall (38) is a vocalist and keyboardist. She got her start with The Pipettes and released one album as a member of the trio in 2006. Since then, she has released three solo LPs as an Indie Pop artist.
Combined, The Waeve (pronounced “wave”) is truly everything that the marketing blurb says they are. Other critics have labeled them some mix of Folk/Prog Rock, Krautrock, and Art Pop. This blend soars tantalizingly close to New Wave/Synthwave territory1 at several points throughout the album, as well, so if you’re a fan of synths or you’re into New Wave or any of its spinoff genres, you may find yourself falling in love with this little project. If this is you, check out “Moth to the Flame”, specifically.
That particular song is actually emblematic of the duo’s Krautrock influence, though. Krautrock pulls heavily on electronic and psychedelic influences, among others, lending itself well to atmospheric approaches and styles. But it is, I’m learning, an inherently diverse genre — possibly due to its experimental and avant-garde roots. In an article for The New Statesman, Stuart Maconie writes “…in truth, no two Krautrock acts sound remotely alike. Compare the dreamy synthesiser washes of Tangerine Dream with the alien noise collages of Faust or the psychedelic funk of Can.”2 In fact, it seems that there is only one element which seems to truly unify the genre3 — the “Motorik” beat; that link is to the wikipedia page for that drumbeat, and it includes a sample. “Moth to the Flame” utilizes that beat.
Coxon and Dougall trade off vocal duties throughout the album, as demonstrated on its first two tracks — Coxon sings lead on opener (and title track) “City Lights”, and Dougall takes over for “You Saw”.
Stylistically, the album covers a lot of ground. There’s definitely a core sound here, but it is masterfully manipulated and adjusted to fit each song as though it were custom-tailored. From the upbeat and somewhat aggressive “Broken Boys” to the folksy “Song for Eliza May” to the lamenting verses of “Simple Days” to the dreamy “Sunrise” — every song offers something different from the ones that came before.
I would also like to note that track 8, “Druantia”, has no fewer than four saxophonists. Coxon, himself, plays the sax on six of the album’s ten songs,4 according to the credits. But there are three other saxophonists mentioned, and all three are credited for track 8: Mike Smith, Chris Storr, and Nichol Thomson.
In spirit, this duo reminds me of the albums put out by the duo of Alison Krauss and Robert Plant. Those, too, are sweeping, diverse affairs, though the sound contained in those albums is much different.
City Lights is only the pair’s second album, but their debut was just last year — this is still a very new project, and clearly the chemistry is there. I haven’t listened to the first album, but it received positive reviews; to turn around and release another album one year later with even more favorable reviews is quite a feat.
I really like this album. It’s technically proficient and a compelling listen.
Rating: Blue
They aren’t NEW Wave! They’re THE Wave!
Bolding added to emphasize names of other artists, as is my typical approach here.
There are a few other “common” elements, but they’re more hit-and-miss.
Tracks 1-3 and 8-10.