‘A spine-tingling powerhouse track that overwhelms at every turn.’
Intro to Another Sky
I am sure that like me, there are many artists and many tracks that you can listen to again and again. However, if you’ve never heard the music of Another Sky I shall give you a warning: It’s completely addictive. Consisting of
the unique sounding vocals delivered by Catrin Vincent alongside her bandmates drummer Max, bassist Naomi and guitarist Jack, each track is one you could put on repeat for hours. Honestly. Compare their debut ‘Forget Yourself’ with their latest EP release ‘Life was coming in through the blinds’ and you’ll soon hear what I mean. However, if I had to choose just one, the evocation-filled ‘The Cracks’ from that stunning EP would be it.
Emerging from the silence, synths begin to soar skyward and bend their way into your mind. It’s essentially one sound but what a sound it is. Anticipation-filled simply doesn’t do it justice and emphasising this even further, the first of many cross-rhythmic ideas enter and fuse with pounding drums. It is indeed one of the most dominating, yet carefully crafted beginnings to a track I have ever heard and pushing the introduction to the max, the initial sequence alters to direct us to the opening lines.
Bringing a tone that balances inferred pain with instant connection, Catrin’s vocal effortlessly engages us. Calling to us with the lyric ‘Bits of spring’ the level of intrigue is immense and with synth lines panning and swirling in a free-form manner, it’s almost unsettling. But you can’t help but listen. Impossible to musically pigeon-hole, the sound gives you everything you could want and surrounding you further with lyrical echoes and reverb you want even more.
Being as powerful as it is within these initial sections, the instrumental focus shifts from sporadic to sustained beauty. Moving harmonically underneath the lyrics, deep synths keep the tonal centre in place while softer drums maintain the energy. Resulting in our attention being drawn to Catrin’s vocal even more, it makes for a pre-chorus that offers space and perfectly holds the sound back for the pounding chorus.
Energetically resurging, the drama of the opening returns and joined with a multitude of interweaving themes, it teases us with the overwhelming sound we are to conclude with. Here though, the sound is refined, controlled and suitably moving. Led by soaring melismatic and syllabic settings of the line ‘The cracks let the light in,’ it gives us an appropriate glimmer of forthcoming elements of the track.
Turning to the second verse, the balance of restraint and sporadic ideas wonderfully reflect the lyrical content. While feeling sparse in comparison to the chorus, the change is one that again brings Catrin’s vocal to the forefront. This time though, the level of musical understanding is, well, on another level. Delivering the line ‘All hail the age of chaos’ it would seem to be, and indeed it is, a brilliant juxtaposition. However, in planting that imagery in our heads, the hectic bass riffs which follow enhance that very line and set up the more dominating version of the pre-chorus. However, we are soon to get a short breather from the musical domination.
Contrasting in every possible way, the chorus this time takes on an acoustic form. Given the power of the track until now, it is possibly the last thing you would expect. In fact it wouldn’t even cross your mind. However, working as well as it does, it touches you and moves you in a way that’s as unexpected as the sound itself. On it’s own, it’s a magical moment full of beauty. But, in directing us to a spine-tingling finale, that magic transforms into a sound that’s completely overwhelming.