Exclusive Track Premier - "Geneva" - Watford, England's Lakes unveil "The Geneva EP"
"The Geneva EP" to be released on January 25th is perhaps more focused than the previous "Tahoe EP," and Lakes needs much less to say so much more. With Geneva, the UK act brings us 4 new tracks and breathes fresh air into the community. Instantly affecting in it’s captivation, “Geneva” begins in a mysterious 10:8 time boundary brought affectedly to life through a solo introduction of chordal guitar picking. The theme builds over a dozen bars, always introducing slight variants before vocals (surprisingly clear for math rock) project a uniquely poised and expressive universe of human character.
Undoubtedly the strongest force within the growing mix, the vocals elicit the animation of consciousness. This frames the sonic equation as shining god-like qualities warble - as if outcries within the listener’s own mind are being sonically illustrated. “The dreamer and the dream” as the famous saying goes. The 6+4 creates larger cycles within the music’s pulse and breath vs a more common 5+5, opening up the door for Lakes to draw from their library of 6:8 phrasing of which is more naturally rounded being an even integer. The drums jump in at around this same point, cleverly offsetting the percussive rhythm from the initial 1 of the other members, creating counter currents which are employed like a surfer bouncing from wave to wave.
Roberto’s voice is reminiscent of math pop legend "Philharmongrel" in “Geneva”. Not only do both share a similar clarity and what some would call “the Irish warmth”, but both singers engage strong visuals and brim with persona. Essentially they portray having a story to tell and own the role of animating music into something bigger than life itself. The music itself is drawing from similar ideas and balances of complexity and minimal accentuation. It has to be mentioned however that during the chorus of "Geneva" this entire personified aspect is interfered with UK crowd vocals of which are similar to "Signals" and take the man out of the action, dipping back into boyhood. Even more ironic is the music's similarity to "Signals" in its more brisk tempos, exuding more rhythmic diversity and intensity than Philharmongrel. On the math meter they really do fit somewhere in between "Signals," "Philharmongrel", and "Former Monarchs."
The second track “Superior” employs syncopated beats between 3 and 9, ballad composing and sways the heart. Based off layered harmonies, its thick and atmospheric melody can only induce bliss. The rhythm section opposes this track’s inner personality with something more abrasive and less refined, only to fall into a prog-injected 9:8 crescendo.
Perhaps the most math-rock sounding tune of the record, "Victoria" gives the centerfold position to guitar and bass noodling which form into a dance of jazzy acrobatics and bold risk taking. Before the musicians take the song into a spastic direction, poppy riffs encase what is one of the most professional vocal performance in male fronted math rock. Here the vocal texture and delivery is far more like math-pop band "Former Monarchs." The emotions are turned up during this banger, especially when the female vocals drift in, creating a true conversation and dynamic interplay of tone, spirit and attitude. The acoustic version is similar to Hank, Chris (TTNG) & Ellie (Signals) but not so much Tim. It's the best and worst track introducing textural mastery polluted by juvenile emo crowd vocals. Really that's the main difference between this record and the first, they stopped trying to be Tim Collis and found themselves admist their peers. . I know I'll be enjoying these tunes for quite some time. - DeadPoet
Hear their last EP here:
