Whistle Peak
Half Asleep Upon Echo Falls
Release Date: Feb 14th, 2012
Label: Karate Body Records
The music on Whistle Peak’s sophomore album, Half Asleep Upon
Echo Falls, is opposite from the chillwave genre on the musical spectrum, but
it still might be one of the most intelligently relaxed records I’ve heard in a
long time. The songs mimic the
album cover (shown above) of a boy and girl floating hand and hand down a clear
river. Track after track, the
melodies and calm vocals seem to glide into each other without worry until the
arm of the record player resets and rests safely back in the start position.
This isn’t to say the record lacks emotion, creativity, or
exploration. There is a sonic
journey that takes place from start to finish, a creative thicket of momentary
electronics, circling harmonies, and playful touches that the listener must
travel through to reach the clearing which comes in the form of the album
closer “The Laws,” a song which hits like a warm greeting and serves as a
summary of the journey through the album.
The vocals on Half Asleep Upon Echo Falls really separate
Whistle Peak from any standard name check of influences you can throw at the
band. There is a slight southern
accent that never compromises diction. Despite the slow drawl, every word is crystal clear. The
result is a concentrated, relaxed set of vocals that drives the entire
record. Two members switch off
vocal duties, which is impressive considering the album's cohesive tone from
start to finish. You’d practically
never know it without checking the liner notes.
When this record spins, you’ll find little recording touches
that will make your ears perk up.
It has a lo-fi feel, but some of the instruments still pop through
crystal clear, always juxtaposed by the hazy backdrops. I haven’t heard a record that sounds
like this since earlier Half-Handed Cloud records. One might chalk it up to their use of a 1997 Gateway
computer for the recording to result in such a bizarre but balanced final product.
