Long time readers of this blog will know that I’ve been a fan of the various doings of The Glitch Mob for awhile now. From first stumbling upon Ooah’s mixes to mixes and albums by edIT, they’ve been on my watch list for awhile. A full-length album for them seemed to be rumored years ago but it wasn’t until recently that they solidified The Glitch Mob has a performing and recording force to be reckoned with. However, as a group known primarily for doing crazy “glitch remixes” of popular songs, how were they going to translate this into an original album? The answer was to go back to basics and methodically compose and perform music as a band.

Drink The Sea is a fully-fledged band album, something you can appreciate for it’s impeccable production, it’s emotional tugging, and for a bombastic arena-sized scope. It’s one of the best albums in recent years to bridge the gap between rock and hip-hop influences and electronic production and performance. Seeing their live show in support of the album recently, one of my thoughts was “these guys should be playing stadiums.” The music is that big and approachable with plenty of flourish and tricks. The film-opening pace of “Animus Vox” arrives in atmospheric haze, slow bass plucks, and distant drums before revving up the beats and synths to present a burly fanfare that speakers can barely contain. It’s a triumphant opening that unfurls with power and grace. “How To Be Eaten By A Woman” sounds scary enough and the music does have some tense moments, especially when it shifts gears from a loud and punchy low-end assault into a light and subtle synth meditation. One of the most impressive songs is “Fistful of Silence.” The familiar buzzing of bass stabs drives the relatively simple beat, but then comes the catchy chainsaw breakdown that leads to some of the most soaring harmonics on the album. Gigantic cymbals crash and a synth struggles to sing through the chaos. The rolling and clapping drums “Dream Within A Dream” fly by in gallop, while the sharp-edged wave of bass hovers and washes in at peak moments. The only guest musician on the album is singer-songwriter Swan who turns in a tweaked and abstract vocal on “Between Two Points” over a lava flow of synth, while beats thump majestically in the background. Closer “Starve The Ego, Feed The Soul” reminds of those psychedelic epics that The Chemical Brothers are so fond of closing their albums with. Heavily effected looping guitars and synths swirl around an ever-evolving drum pattern, reaching for a height it never quite overcomes, hovering just at the edge of complete collapse.

Check out their website to stream the entire album and pick up some goodies.

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