ALBUM REVIEW: FLEET FOXES - CRACK UP

FLEET FOXES
CRACK UP
Nonesuch.
Folk, Baroque Pop, Indie Rock.
Listening Format: CD















Oh, Fleet Foxes! It's been too long since I last heard from you! It's been 6 years since the American Indie Folk band dropped their sophomore record 'Helplessness Blues', and I've really missed them. In case you didn't already know, Fleet Foxes are one of the most blissful and euphoric voices in contemporary Folk music. The band are masterminded by vocalist and guitarist Robin Pecknold, whose incredible vocals are surely one of the most vivid and beautiful in the genre. It's almost like he has this ability to take the soulful vocal harmonies of Simon & Garfunkel, and embody them together in one voice. Fleet Foxes have self produced their third album 'Crack Up', but I have to hand it to the mix of Phil Ek, because this is the absolute benchmark for how vocals should sound on a Folk recording. Robin has the perfect amount of reverb on his voice, and he just soars gracefully on every word he sings. This gives Fleet Foxes such an immediately grabbing and recognisable sound that just melts my heart every time I hear them.

Here is the kicker though... 'Crack Up' is Fleet Foxes least immediate record yet. Yes I liked the sound of the record from the first listen, but the actual songs and structure of the album actually took some work to really sink into. Their 2008 self titled debut (it feels like only yesterday that it was released) was very much a Folk Pop record. It is by the far their catchiest album, spearheaded by their breakout single 'White Winter Hymnal' that is so easy to sing and hum along to. 'Crack Up' doesn't actually have a song that screams "catchy" or "hit single" on it. Fleet Foxes have continued a maturity and intricacy in the sound that they experimented with on 'Helplessness Blues'. That album saw the band meddling with progressive touches and sticking multiple songs into the same track. They explore upon this even further with opener 'I Am All That I Need / Arroyo Seco / Thumbprint Scar'. This track doesn't quite feel like three different songs strung into one track though... Maybe they couldn't decide on a title? The song is actually one of the simplest, largely hanging on a single strummed guitar chord that gradually rises and falls like an ocean wave as bombastic strings punch in and out of the mix. Closer inspection of the album booklet reveals stage directions in the lyrics, such as "But I'm all that I nee- / [The band kicks the loner off the stage]" which seems to reveal 'Crack Up' as concept album. If I had to guess, these foxes are taking the "fleet" of their name into a more literal context, by telling the story of a fleet of ships and their travels across the ocean. 

As I said before, 'Crack Up' will take even the most avid Fleet Foxes fans a few full listens to really get on board with. A lot of the songs on this album seem to begin and end quite abruptly. It took me quite a few spins before I started to realise where one song ended and the next began. A lot of the album tends to flow together with little to no pause. However unlike classics albums that do this such as... THE classic album, 'Dark Side of the Moon', there aren't any interludes or instrumentals to help ease those transitions. When it works, it works really well. It's weird that 'Cassius-' and '-Naiads, Cassadies' felt the need to be split into separate tracks when they flow so gracefully into one another. And yet eight minute long 'Third of May / Odaigahara' probably could have split off around the five minute mark as the latter half shape-shifts into one of the more downbeat and melancholic moods, after what could easily have been one of the most uplifting and dare I say it... "hit single" of the album! It actually feels like Fleet Foxes are trying to shy away from an instant accessibility that made their debut album such a warm breeze, but when you play with such gorgeous sounds and brilliant instrumentation, there isn't really any need to be so evasive.

Whilst the album may not have anything that screams a Pop hit, it does still have some absolutely banging standout tracks. The aforementioned '-Naiads Cassadies' (as forgettable as the song title is), is the closest we get to a big singalong. This short and simple ditty is built on a tambourine shake and a pounding kick drum, as Robin spits rhetoric, "Who stole the life from you?" Instead of having a big chorus, Robin simply breaks into waves of ooohs and aaaahs. If it wasn't for the overly complex and inquisitive lyrics, I'd say this one might have you singing along, but you will certainly hum and tap your foot! 'Third of May...' explodes into life from the very first second, sounding so triumphant and passionate. The instrumentation is so rich, with the baroque vocal harmonies lifting the song over treacherous waves and jagged rocks, as sunlight bursts through the clouds and that massive chorus we were craving beams over the horizon. But my favourite song of all comes in the second half. 'On Another Ocean (January / June)' gradually builds with one of Robin's most haunting vocal performances and a brittle wandering piano. Halfway through the song suddenly morphs into this breathtaking electric guitar slacker rock strum that wouldn't sound out of place on a Mac DeMarco record. This simple transformation from stirringly dramatic to super chilled is a moment of true magic, delivering those glorious summery feels that I so craved. Unlike the eight and a half minute 'Third of May...', this is a track that doesn't feel long enough, having me reach for the skip back button! I shouldn't though, as it carries over superbly into 'Fool's Errand' that plays like a march into battle... Except, ya know... wielding acoustic guitars!

If I have to say anything negative about 'Crack Up' it is that it tries to be a little more complicated than it really needs to be. It is an admirable thing to want to challenge a listener, but Fleet Foxes actually sound better the lighter and more accessible they are. When they try to be a bit too clever, it can sometimes cloud the sheer passion and honesty that spews effortlessly from their music. But the working of grand orchestral parts and epic scale storytelling certainly shouldn't be dismissed. 'Crack Up' is their largest and most ambitious album yet, full of vivid instrumentation and compelling narratives. Like any good record, it will reward you with repeat listening and gradually unfold like a flower in bloom. Easily a strong album of the year contender. 8/10.

ALBUM REVIEW: CHASTITY BELT - I USED TO SPEND SO MUCH TIME ALONE

CHASTITY BELT
I USED TO SPEND SO MUCH TIME ALONE
Indie Rock, Jangle-Pop.
Hardly Art.
Listening Format: CD










Chastity Belt are a quartet from Seattle, Washington, the home of Grunge, which is ever so slightly channeled in the aesthetics of their sound. This is their third full length album and what I believe is the boldest and most distinct record from the all girl band yet.

Chastity Belt on the surface have a lot of 90s throwback vibes that recall bands like Pavement, delivering slacker vibes with plenty of ragged, jangly guitars and a lo-fi, rough around the edges, scuzzy sound. There are many points where vocalist Julia Shapiro will drift out of key or go slightly flat, but in that magical naive way where it doesn't at all offend the ears, similar to bands like The Raincoats or The Vaselines. Whilst the album doesn't offer much in the way of variation, it does offer lots of heart, and the entire set of songs carries a lot of vibrance and momentum. Even though the production sound isn't particularly bright, the compositions and performances themselves are full of colour. The chiming guitars and hazy vocals in particular add such dreamy and pleasant feels.

From the rockin' opener 'Different Now', to the slowly strummed dirge on 'Used to Spend', the album thoroughly evokes an urgency, rawness and passion that shines the whole way through. Ultimate proof that great performances and heartfelt songs can make up for a lack of technical finesse. Recommended for fans of The Dum Dum Girls, Best Coast and Waxahatchee. 8/10.

ALBUM REVIEW: CIGARETTES AFTER SEX - CIGARETTES AFTER SEX

CIGARETTES AFTER SEX
CIGARETTES AFTER SEX
Indie Rock, Slowcore, Dream Pop
Partisan Records.
Listening Format: CD










Cigarettes After Sex are a Texan formed Indie Rock band who are releasing their proper full length debut album. The band have actually been around for a while now, with their self released demo appearing in 2011 which didn't make such an impact. However their 2012 EP fared much better, with the track 'Nothing's Gonna Hurt You Baby' becoming a slow-burning hit. The band kind of went dormant for quite a few years, but a reissue of said EP last year renewed interest in the band who had started touring once more. Cigarettes After Sex now seem to be picking up their momentum faster than ever before and are starting to see the attention they have been looking for.

For those who have known of the band's work before this album, you'll hear that almost nothing has changed in their sound. Even in the years following that 2012 EP, Cigarettes After Sex haven't added or subtracted anything. Their sound has that 90s throwback that is especially popular this decade. In particular they seem to take influences from the lesser known "Slowcore" movement of the early 90s. Their stark, stripped down and bare-bones sound is especially reminiscent of early Red House Painters and Low records (particularly 'Down Colorful Hill' and 'I Could Live In Hope' respectively). However Cigarettes After Sex are nowhere near as harrowing, melancholic or doom-ridden sonically or lyrically. But the comparison comes from their slow jangly music that is so bare it has nothing to hide. There also seems to be a strong influence of early 90s 4AD acts such as This Mortal Coil and Cocteau Twins too (in fact 'Each Time You Fall In Love' has a very similar sound and melody to Cocteau Twins' 'Pitch the Baby'). Cigarettes After Sex admirably have nothing flashy about their sound. The drums are mostly hi-hat and snare, the guitars slightly reverberated, but their sound is just as raw in approach as it would be on stage or in the studio. Absolutely no studio trickery or effects sound like they have been added in post. In many ways this makes the band sound completely genuine and honest, but such starkness could be a turn off for some listeners.

The album has a few really strong songs, kicking off with 'K.' which is as strong an opener as their best known hit 'Nothing's Gonna Hurt You Baby'. As I said before, they sound EXACTLY as they did when they released that song 5 years prior. Greg Gonzalez's androgynous voice is just as bittersweet and inviting as always. Perhaps the true star of this record. His vocals are just so warm, emotive and passionate without really even trying. He rarely feels to the need to elevate his voice or push his vocal chords in anyway, always revelling in a laid back, chilled out hush, much like the band as a whole. Cigarettes After Sex are a band that never introduce a heavy riff or even a loud build up in their songs. Their music is almost calculatedly brittle and laid back, like the band sat down the entire time they wrote and recorded these songs. Single 'Apocalypse' is another huge hitting and emotive song that was effectively released as a promotional single. I particularly enjoy 'Flash'. A rare time where the band mix up the formula a bit. The song revolves around a beat similar to Massive Attack's 'Teardrop' and shows a dub influenced bassline.

The problem with Cigarettes After Sex being so strictly chained to a specific sound is that the album really lacks any variation. Even if I think back on Red House Painters' debut as a sonic comparison, they also had a fairly strict vision for their sound and approach, yet still managed to hit us with a curveball with the brilliant 'Lord Kill the Pain', a faster tempo song reminiscent of REM. All ten tracks on this album have almost the same approach, structure and aesthetic running through them. I feel like even just one or two curveballs or surprises would have benefited this record. After multiple listens, my excitement for this record started to wane. Their 2012 EP lasted 18 minutes long and was built on 4 incredibly strong tracks. But transitioning over to an entire full length record and keeping the same strict aesthetic has made for a much more difficult listening experience running at 45 minutes. Unless this is your absolute favourite band or sound in the world, enjoying the entire duration is going to be tough. In fact the longest and slowest song 'Opera House' is the lowest point on the album.

'Cigarettes After Sex' is ultimately a solid, passionate and very focused debut. The band have clearly made no compromises in their sound and their vision and delivered more of exactly what made their 2012 EP so popular. There are a few genuinely stunning tracks, and they certainly have a down to earth sound and delivery that will hopefully tug at your heartstrings. But I can't deny that I really wanted to like this album more than I did. It really is a one-dimensional affair that just about pulls through into moments of greatness, although the overall consistency of their EP was better. If you are new to this band though, it's definitely one I would recommend. They are certainly one of the more interesting Indie Rock bands I have heard this decade. For a debut full length, it just about works, but I'd like to see this band think more outside of the box in the future and take me to different places with their sound. 7/10. 

TOP 25 LIVE PERFORMANCES OF 2016

Let's get the obvious out of the way. I can only count bands I have seen live in the flesh. Since I am based in Manchester this will mostly be the area covered. I've easily seen over 100 bands this year so here are the performances that knocked me sideways in 2016!

HOUSEWIVES - Gorilla, Manchester

25. DUKATALON
Rebellion, Manchester

The Noiz Alldayer ended up overrunning by about 2 hours, and this band that came all the way from Tel Aviv, Israel had waited patiently to play, finally coming on at 2am and devouring what was left of the crowd with their insanely high energy Sludgy Hardcore. They played with a real menace and their drummer was pumping up the crowd between each song, commanding them to get moving. The show ended in a fantastic stage invasion that saw nearly the whole crowd take to the stage in a moment of sheer bliss.
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24. RICK ASTLEY
HMV Manchester

I'm not Rick-rolling you at all here. I had practically no expectations when I arrived at this show, but Rick Astley really blew the crowd away, not necessarily with his songs (although a finale of 'Never Gonna Give You Up' was obviously incredible) but through his sheer passion and excitement. The man had a really good funk band behind him and delivered an incredible vocal performance. But it was his stage charisma, his fantastic sense of humour and the fact that he looked like he was having the time of his life on that tiny stage that really made this performance special. I'll never say a bad word about this man.
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23. JOHN CARPENTER
Victoria Warehouse, Salford

There was a lot of controversy about the arrangement and venue of this show, which sadly does taint the gig a little. I'm going to try and brush this aside and focus on the actual performance, which I thought was great since I managed to get there early and actually get a good spot in the room. It was incredible to see John Carpenter, the Horror maestro in the flesh with his excellent band that play on his 'Lost Themes' records. Not only did he play some of the best tunes of the two solo records, but of course many of his greatest film themes. Hearing the likes of 'Halloween' and 'The Thing' in the flesh was awe inspiring. Carpenter had a crazy charisma on stage and one of the best highlights was when the whole band put on sunglasses during the performance of 'They Live'. There were also scenes from each film playing on a big screen behind him, so that atmosphere was just right, and I had chills for almost the whole performance!
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22. ACxDC
Rebellion, Manchester

The news that US Grind/Powerviolence legends ACxDC are calling it a day became twice as sad after witnessing just how astonishing this band are live. They must have blitzed through about 50 tiny tracks, absolutely seamlessly with full on rage, venom, sweat and agony. There was no time to catch your breath as the band just raged and battered through blistering, lightning fast song after song. A blur of utter chaos and madness that was as beautiful as it was terrifying!
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21. SPACE WITCH
Rebellion, Manchester

This band don't come around my way often enough, but whenever they do it is an unmissable spectacle. As you probably know I have a bit of a fetish for Extreme Metal bands that implement electronics into their sound, and Space Witch are at the forefront of this in the British Metal scene. Psychedelic tinged droning Sludge riffs bludgeoned the Manchester crowd over their heads, as piercing electronics added deep, spacey textures to the mix and taking their sound to the next level of the spectral ether. Mindblowing from start to finish, seriously one of the most exciting bands in the UK right now!
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20. DESTRUCTION UNIT
Islington Mill, Salford

Without a doubt the loudest performance I heard this year, even with ear plugs in, this was painful and left my ears ringing. With a drummer, a bassist and about four guitarists crammed into the tiny Islington Mill stage, their sound was bigger than the entire venue. The aptly named Destruction Unit powered through pounding Garage Noise Rock with so much sweat and menace. The massive wall of tremolo guitars was intense and agonising... And EAR DESTROYING!
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19. MONO
Gorilla, Manchester

The majesty of seeing Alcest would have been more than enough to cover the ticket price, but we still had an epic MONO performance to enjoy. Equally as stirring as Alcest before them, their instrumental rock often started soft and melodic and built into loud, thunderous climaxes that were intense and overwhelming to the senses. True magic from the heart of Japan!
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18. ALCEST
Gorilla, Manchester

It's not often that you need to bring tissues to a Metal show but the double impact of Alcest and MONO would certainly reach deep into the souls of Metalheads. Alcest played a wondrous, dreamy set of buzzing shoegazy guitars, sweeping melodies and harmonious vocals, with a few shrieking Black Metal parts for good measure. Alcest really hit the sweet spot with a momentous performance.
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17. CONJURER
The Alma Inn, Bolton

The crowning kings of another incredible Riff Fest lineup, a free annual Metal festival in the heart of Bolton. Conjurer are a seriously wild bunch and a stage can barely contain the energy and immense heaviness of this band. As their set goes on these lads get angrier and more explosive to the point where the band and the audience can barely take it any more and the wheels fall off!
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16. HOUSEWIVES
Gorilla, Manchester

This was my first time seeing and even hearing this mysterious English Drone/Noise Rock band. They played in near darkness with strobe lights blaring as they played what seemed like one giant 40 minute composition of super atonal rock that almost felt like an incredibly minimalist and deconstructed version of Joy Division, complete with noisy saxophone and deranged screams. It was such a regimented and tense performance. This band had an entire crowd hanging on every note and even when they just jammed one note for 5 straight minutes it felt like the most intense thing that ever existed!
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15. UNDER
The Boulevard, Wigan

Under are a menacing and creepy Doom Metal/Drone Rock kind of hybrid band that have built an exceptional reputation over the year for their jaw dropping live performances. I've probably seen them about 10 times this year alone and they just get better and better. Under constantly change up their setlists, hinting at a well of new and unreleased material, so every performance of theirs feels fresh, exciting and unpredictable. This was the last time I saw them in 2016 and I am incredibly excited to just be a part of their wacky journey, just as a member of the crowd!
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JOHN CARPENTER - Victoria Warehouse, Salford

14. CAINA
Fuel Cafe, Manchester

Hands down one of the most extreme things I have ever witnessed. In what sadly looks like one of Caina's very last shows, the duo performed incredibly loud with dense layers of noise pedals and cold synths grinding away as the two screamed at the top of their lungs. Vocalist Laurence Taylor was terrifying, topless with a balaclava and cuts on his body. He got right up into the faces of the crowd, screaming nihilistic words and wrapping the microphone cable around his neck like a noose. This is what happens when a band take the performance aspect all the way up to 11!
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13. THE RIVER VERSUS
Rebellion, Manchester

Few things put as big a smile on my face as when I am watching The River Versus. They tantalise the Prog Rocker inside me with their virtuoso fusion of Neo-Classical verging on Post Hardcore. TRV are still a band that I am championing and sadly they don't quite play as often as I'd like or quite get the acclaim that they so sorely deserve. This band have the ability to leave newcomers completely speechless and the atmosphere at one of their shows is full of sheer joy and awe. Just go listen to them and never miss them live!
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12. SVALBARD
Damnation Festival, Leeds University

I was so excited to see Svalbard perform once again and they certainly didn't disappoint. In fact they just get better. It feels like the band are continuing to perfect their craft, delivering emotively resonant Blackened Hardcore with so much passion, energy and raw feeling. Playing in front of a packed out Damnation stage may well have been their biggest crowd and most defining show yet.
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11. FULL OF HELL
The Ruby Lounge, Manchester

This US band absolutely knocked me sideways. Bouts of lightning fast, brutal Grindcore suddenly evaporated into 0bpm electronic drones that were deafening and very intense, bringing a huge tension. The way Full Of Hell combine the slowest and fastest of Metal genres is really something special, and the way they switch between the two seamlessly is not only incredibly tight, but completely fucks with the audiences head. Absolutely astonishing.
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10. MAX RICHTER
RNCM, Manchester

The master of modern Ambient Classical performed his 'Blue Notebooks' and 'from SLEEP' albums in full with an ensemble and vocalist. Truly one of the richest and most beautiful performances I saw this year, with every note and instrument travelling through my body. It felt like a healing process and was incredibly moving.
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9. DEATH GRIPS
Manchester Academy

Perhaps the most anticipated show of the year, that sold out in mere seconds. Death Grips slammed through all of their best discography highlights, with MC Ride's maniacal grunts, Zach Hill's pounding drums and Flatlander's noisy synths sounding supreme, with so much energy and violence. This will remain one of the most talked about shows of the year.
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8. CULT OF LUNA & JULIE CHRISTMAS
Damnation Festival, Leeds University

To think that these musicians said they didn't get time to even rehearse properly is absolutely staggering! I think many who attended Damnation Festival in Leeds this year will agree that this performance was the crowning achievement of an already magnificent festival that seems to get better ever year. With about 7 people on stage, Cult of Luna absolutely pummeled the Damnation main stage with crushing, dense and emotionally draining riffs and textures, Julie Christmas was a bundle of energy, dancing, moshing and belting out powerful vocals. An absolute marvel from start to finish that we may never see performed again.
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7. AUTECHRE
Old Granada Studios, Manchester

The first time I saw Autechre live I didn't enjoy it so much, but I think it was let down by a poor sound and venue choice. No such problem this time as they performed in pitch darkness in a massive room where you could hear every blip, beep and rumble perfectly. They played a continuous hour long piece of music that was rather slow and doomy, with lots of discordance and alien textures. The lack of light allowed the music to really enter my body and take over my thoughts. Things got metaphysical and even though this band have no lyrics and use total discordant sounds, there was much emotion and expression.
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6. STEVEN WILSON
02 Apollo, Manchester

The master of Prog treated us to a 3 hour performance. In the first half he played the entirety of his fantastic 'Hand Cannot Erase' album, synced up to a film that ran on a big screen above the band with amazing visuals, helping to tell the story behind the lyrics. His band was incredible, including Marco Minnemann on drums and Dave Kilminster on guitar. The second half showcased songs from his latest release '4 1/2' and songs from his previous albums including a tear-jerking rendition of 'The Raven That Refused to Sing'. He even threw in some stunning Porcupine Tree songs, including 'The Sound of Muzak' and 'Lazarus' which he dedicated to David Bowie who had only just passed.
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5. SHOBALEADER ONE
Gorilla, Manchester

This quartet is a side project of Tom 'Squarepusher' Jenkinson, where he focuses solely on his virtuoso bass playing. This is one of the tightest bands I have seen perform all year. The music they played really reminded me of 70s Blacksploitation Funk. There were some seriously infectious grooves going on here, but with techy and jazzy parts thrown in also. A few renditions of Squarepusher classics were also performed. The band all dressed in black cloaks with masks on that had neon lights on them. How on earth they managed to perform to such a level was wearing them is anyone's guess!
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4. YOB
The Ruby Lounge, Manchester

A truly mindblowing performance from the US Doom trio. Guitarist and vocalist Mike Sheidt is mesmerising on stage. His guitar playing looks effortless, whether he is churning out massive slabs of Doom or clean, emotive arpeggios, and he pours so much passion into his vocals. The performance of 20 minute "ballad" 'Marrow' was something really special, completely captivating an entire room into stunned silence.
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3. EMPLOYED TO SERVE
Damnation Festival, Leeds University

Truly one of the most angry, visceral and energized performances I've seen all year. Mathcore maniacs Employed to Serve showed us how to fucking BRING IT!!! Like this was a "COME AT ME BRO" meme in it's most literal and musical entity. The stage was like a warzone and there was some seriously crazy pitting, crowd surfing and stage diving as they tore into the Damnation crowd with a relentless barrage of aggressive screaming and jagged staccato riffs, that ended in the destruction of a bass guitar letting out it's final battle cry (and I was lucky enough to catch a piece of it thrown into the crowd)! ISS BYOTIFUL!!!
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2. SLABDRAGGER
The Alma Inn, Bolton

In this very special one off performance, Slabdragger performed the entirety of their new album 'Rise of the Dawncrusher', and it was a FREE entry show! Damn! The packed out crowd were truly knocked sideways by the loud, crushing and technically mind blowing riffs. Constant twists and turns looked seamless in these 10+ minute epics. A true testament of great musicianship, high energy and sheer headbanging delight!
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1. KAMASI WASHINGTON
Manchester Academy

Damn, this was more than a show, it was an experience, a journey, a transformation! Kamasi Washington and his insanely talented Jazz band are more than a band, they're a family unit. With most of the players having grown up together as kids and learning their instruments from a young age, and it really shows. This band is beyond tight, and have a spiritual chemistry together on stage. The show was full of raw talent, insane musicianship, fantastic storytelling between the songs, and a lot of emotion too. 'Henrietta Our Hero' left people in the audience in tears. This was not only the best live music experience I had this year, but one of the best shows I have ever witnessed!
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KAMASI WASHINGTON - Manchester Academy

#326: KO_PLUNE - AUDITORY ATLAS

2016
Indie Rock, Alternative
Self-Released

Ko_Plune are an Indie Rock quartet from Southampton who have built up a diverse sound. "Auditory Atlas" is the debut self-released EP, containing 5 tracks. Right from the bat on opening track "Rare Error" I can hear a lot of elements to their sound. In particular the synergy between the guitar and bass player are very tight indeed. Ko_Plune weave dreamy clean guitar arpeggios over slightly jazz leaning drums. Their frontwoman Courtney Gray has a lovely vocal tone that completes a beautiful and ethereal vibe on what is my favourite track of the EP. The near 7 minute song is lead by vocals for the first half, but concludes with a wonderful instrumental jam where the guitars almost sing themselves. This track shows slight Progressive Rock inflections.

Second track "Panda" is a more uptempo rocker with more emphasis on groove and punchier vocals. This song could easily be a lead single or be played on the radio. Perhaps this track isn't as ambitious as the wonderful opener, but it serves well to give the EP better pacing. Certainly a lovely uptempo song. "Hydra" is another standout track for me that sees a return to the dreamier guitar interplay of the opening track, with vocals more atmospheric than outright rocky. Closer "Machiatto" sits somewhere between their sleepy clean guitar sounds and their more upbeat and choppy Rock tracks. For me the only track on the EP that didn't really work was middle track "Red" which goes into full on rock out territory with an Americana influenced guitar line, that has this slight off-key melody that doesn't quite sit right. I could see this track being a fun one at a live show, but I think I prefer Ko_Plune when they  are at more relaxed pace, allowing for them to explore more textural space.

For a debut EP this is a very solid start that is well produced and recorded. The vocals and guitar in particular sound great and I can see that Ko_Plune have their own personality shining through in their songs. "Rare Error" is a truly spectacular song, and I think the style of this song could easily be taken into further directions. It felt like the more uptempo songs were sacrificing their progressive side, but Ko_Plune have proven that they can flirt with different styles and make them gel. "Auditory Atlas" is a fine launching pad for a band still finding their niche, and I predict Ko_Plune will know which areas to expand upon for their next outing. 7/10.