LFZ, otherwise known as Sean Smith, has dived even further than usual into his exploration of soundscapes and sound technology on his new album Raveled Veiled Known.
The album combines Smith’s hypnotizing guitar work with sound loops, vintage synths, field recordings, and probably song structures based on numerology for all I know. I mean, the album cover of embroidered art by Smith reflects numerological, tarot, and mystical themes.
I like how the album is bookended with long tracks. The opener, “Extinction Burst,” sounds like a Wall of Voodoo instrumental mixed with a John Carpenter film score and is described in the liner notes as “a characterization of the psyche’s potential to utterly resist change.” It’s all weird synths and reverb-laden guitar flourishes, and it’s all neat for over twelve minutes. In case you need a slightly radio friendly version, “Extinction Burst (edit),” at about half the length, follows it.
“View from Here” was improvised and recorded in one night and uses a lot of tape loops and “…represents themes of being trapped inside the boundless prison of one’s solitary perspective and the peace and madness that can coexist.” I mean, holy cow. LFZ is into some deep water here, and he’s floating on it like a cork while encouraging us to do the same when the water gets choppy.
“Waiting for Esme” is about Smith awaiting the birth of his daughter and the nervous anticipation of such an event. It has the most “normal” structure of the album’s tracks, but is no less full of strange synth effects. The long closing track, “Naturally I Found It Within,” reflects the outward journey that always returns inward – using buzzing guitars and dark wave synths to create moments of chaos and clarity.
It’s a weird, neat record. It’s strange at times, and soothing at others.
Keep your mind open.
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[Thanks to Ryan at Clandestine Label Services.]
