Nomads - s/t
Record Label: Self-released
Release Date: December 24th, 2012
In most American cities, music scenes are often divided by their respective styles, unique aesthetic, and cultural values - Cleveland is no exception. However, while the larger, more accessible scenes thrive there yet remain shrivels of like-minded artists who stick to their niche with great loyalty to the city of Rock& Roll. Nomads (made up of Elijah Bisbee, Adam Korbesmeyer, and Josh Martin) is a band that exemplifies that loyalty.
While enlisting certain traditional post-rock methods (in the likes of Slint, Tortoise, et al), the trio also takes on the rewarding challenge of presenting new and freshly inspired ideas. With track titles that pay homage to the city that rests on Lake Erie, the self-titled NOMADS is not devoid of the aforementioned influences, yet it stakes a higher approach in the lack of attention it gives to genre-defined boundaries. From the chiming Rhodes on the opener “Moses” to the anthem “Cleaveland on The Square”, Nomads demolishes any sense of predictability, and establishes their entry as one of tasteful timbre and superb production. A looped, nocturnal recording of the outdoors is interspersed throughout the album, often acting as a sonic bridge between tracks. There is a healthy, Bark Psychosis-esque inclusion of grand piano on the journey “Home”, which eventually reaches a height of epic grandeur. By the time it’s over, you’re left wondering how it tapped into your emotions so easily. Bisbee’s guitar playing is both wonderfully harsh and sensitive at the same time. There is no displacement or over-utilization of effects here. This is a new type of offensive dynamic – one that is aware of its surroundings. Korbesmeyer and Martin remain locked & strapped in a rhythm cruiser that employs a mature, tasteful restraint. The 59 seconds of“Settle” bring us back to the album’s intimate beginning progression, only this time it’s a sigh of relief rather than anticipation. “Guardians of The City” is introduced with a blissful drone before channeling its restless energy into a climactic, upward plunge. The closer, “Peace on The Great Lake” has the trio signing off on a note of closure and generous resolution. An adventure that is both energetic and pensive, we are immediately given authorization to travel to deep, surreal places through this fine instrumental offering. Despite its hefty 11 tracks, the album flows freely by way of clever transitions and careful track-listing.
Nomads creates post-rock in Cleveland, and we are appropriately stoked that they do.