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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