|The Black Ryder|
|The Door Behind the Door|
The Black Ryder — The Door Behind the Door♦→ Emotivní i majestátní album — ano, jsem zaměstnán vhodným způsobem. Though The Black Ryder’s Door Behind The Door means to create a euphoric soundscape from a variety of textures, it presents a clashing bundle of apathetic vocal performances and sounds, resulting in a murky, forgettable album.
♦→ Color blossoms in abundance on “Throwing Stones,” The Door Behind The Door’s hidden gem.
Location: Sydney, Australia ~ Los Angeles, CA
Album release: 24th February 2015
Record Label: Anti–Machine Machine
01 Babylon 2:13
02 Seventh Moon 5:31
03 The Going up Was Worth the Coming Down 6:09
04 Let Me Be Your Light 6:14
05 Santaria 6:35
06 Throwing Stones 4:56
07 All That We Are 6:08
08 Until the Calm of Dawn 3:58
09 (Le Dernier Sommeil) The Final Sleep 12:12
℗ 2015 The Anti–Machine Machine LLC
By Graeme Marsh | Posted on 18 Feb 2015 | Score: ****
♦→ Formed by a couple of ex–Morning After Girls members — Scott Von Ryper and Aimee Nash — The Black Ryder lean more towards The Raveonettes and Mazzy Star territory than, say, Black Rebel Motorcycle Club like their ex–band, and not least because of Nash’s gorgeously wispy vocals so reminiscent of Hope Sandoval. Her looks are similarly captivating; in fact, The Cult’s 50–something frontman Ian Astbury found himself so besotted with her beauty that he went and married her in Los Angeles during a 2012 US tour when the Aussies were supporting the goth legends. She Sells Sanctuary indeed.
♦→ A debut collection, Buy the Ticket, Take the Ride. surfaced in 2009, and has become somewhat of a cult in itself, an elusive album for collectors, even.
♦→ There was the occasional rockier number present such as To Never Know You but the effort largely focused on the duo’s love for slow–paced, ethereal cuts like Burn And Fade, where guitars chimed against a shoegazey backdrop of beauty and the new album follows on in this vein.
♦→ For the full effect of The Door Behind The Door, simply close your eyes and imagine you’re in a hazy dream, floating through a sea of swirling mist, the ocean gently lapping below your gliding body. The gorgeous Seventh Moon fits the vision perfectly early on, with Nash’s hushed tones carefully caressing you through minimalist yet powerful bliss, tinged with just the slightest hint of gospel courtesy of sublime backing vocals. Acoustic pluckings then open The Going Up Was Worth The Coming Down for another cracking number; this time Von Ryper takes the lead vocal throughout the atmospherically electric cut where the band’s liking for simple yet stunningly effective guitar playing excels.
♦→ The otherwordly experience continues with the brilliant Let Me Be Your Light as slow, swirling psych burns beneath Nash’s almost whispered vocals and subtle yet perfect electric guitar strumming before the song disappears in almost gothic, distorted bell sounds. But then, enter the amazing Santaria: minimalism reigns once again for six minutes of sheer magnificence, the constantly ascending/descending guitar arpeggio reverberating into fruition alongside basic, slow pounding drums and a gentle sheen of shoegaze. It’s Von Ryper on lead again but Nash’s backing vocals complement them beautifully before a wall of electric guitar fuzz and underlying melodic delights take over to lead the track to its superb conclusion.
♦→ Throwing Stones is another cut that makes a significant splash, echoing acoustic guitars marry with Nash’s vocals: “let your love shine on if you want to be free”, she coos before another touch of gospel appears, sounding something like a remixed, toned down Primal Scream track with a guest vocalist. All That We Are delves deeper into psych sounding synths against more acoustics and then Until The Calm Of Dawn tinkles into existence like a gothic fairytale from the mind of Tim Burton where warm strings create atmospheric perfection.
♦→ “The whole idea is that it is a journey where, as a track finishes, one door might lead to ascension, whereas another may be a descent,” claims Von Ryper about The Door Behind The Door. Where all these tracks lead to, though, is closer (Le Dernier Sommeil) The Final Sleep and despite sounding utterly beautiful, at 12 minutes it’s way too long and dampens the overall effect of the album hugely, feeling rather out of place. The title says everything, really: it’s all about tear–jerking, see–sawing, highly emotional strings and its funereal presence is overwhelming, unless you actually enjoy a visit to the crematorium for a service. Perhaps it won’t matter, and the brilliance of what goes before it will carry it home, and people will see the light before the door closes as, final track aside, this is as close to blissful shoegaze perfection as is possible. ♦→ http://www.musicomh.com/
By Ben Kowalski February 10, 2015
By Matt Diehl
What the press has said about The Black Ryder:
STEREOGUM: “Etheral drone, ceremonial percussion, and dead–eyed harmonies carry on together until they build up to someting sublime. There’s never really a climax because the whole thing feels like one overwhelming wave of gorgeous noise.”
THE GUARDIAN: The Sydney duo join the likes of King Gizzard and the Lizard Wizard, Ty Segall, Hookworms, the Wytches and Goat in the new psychedelia movement. Keeping on that theme of door–based preoccupation, Nash and Scott Von Ryper’s debut UK album, The Door Behind the Door, is beautifully slow burning, its grinding guitars and heavy layers of dark, feted romance akin to Spiritualized and the Jesus and Mary Chain.
LOUDER THAN WAR: The Black Ryder have been making a great psychedelic noise for past few months that has culminated in their new album which will be their breakthrough moment. They sound like the greatest band that Creation never released in their golden period and their blissful tripped out indie perfection is quite magical.
PITCHFORK: “To Never Know You” and “Let It Go” will trigger an instant gratification for the heavy–lidded, as Aimee Nash’s vocals coo almost subliminally… And then there are those guitars, where there’s not much in the way of attack and release, but plenty of sustain and decay, every wide–open chord wobbling like it’s embedded in some sort of gelatin”
ROLLING STONE: (included in 50 BEST ALBUMS OF 2010) “Buy the Ticket, Take the Ride is sprawling, slow–burning psyche rock that paints creeping moods with layer upon layer of drony, blissed–out guitars and etheral vocals…. This is the perfect accompaniment to slowly losing your mind (in the best possible way). Don’t come looking for big chorus or bubblegum blurts — just settle in for the long, blissed–out ride.”
NYLON MAGAZINE: “Their music is spiked with feedback the way a murder cocktail is spiked with arsenic, but it’s the dreamy vocals of singer Aimee Nash that somehow turns the band into something more than a trippy daydream of chords. For times in need of mellowness — like Mondays, definitely — we highly recommend turning up your computer speakers and streaming their stuff online. Just don’t forget to breathe.” — (BAND CRUSH)
Press: USA :: Daniel Gill @ Forcefield PR : firstname.lastname@example.org
UK :: Johnny Hopkins @ Triad Publicity :: email@example.com
AUS :: Ashley Sambrooks @ Higher Plains :: firstname.lastname@example.org
USA BOOKING: Frank Riley @ High Road Touring :: email@example.com
INTERNATIONAL:: Harv Weinberg :: firstname.lastname@example.org
|The Black Ryder|
|The Door Behind the Door|