![]() ![]() Along with the varying degrees of heartbreak on offer, the band do dish out a few more lighthearted moments, like the almost funky, sample-based mellow groover "I Don't Mean to Stare" and the jubilant "Limitless#1 (Joy)." These are fleeting glimpses of sunshine the rest of the record is as gloomy as a gathering storm, only the clouds aren't foreboding, they are beautiful. They have the big emotions and can deliver them in as widescreen a fashion as any group one might care to mention. So is the gentle, jangle pop-meets- Prefab "I Should Have Thought," a song that proves once and for all that the Orchids are more than just an "indie" proposition. "Isn't It Easy," a chamber ballad that comes complete with a slowly building string arrangement, is a fine example of how the band are able to transmit aching sadness without burying the listener in it. Hearing the band, and especially Hackett, dive into a deep pool of murky emotion is one of the great joys of being an Orchids fan, and there are some prime examples here. ![]() Other songs dig right into the torpor and pain, wallowing in the gloom like it's a warm bath. Tracks like "This Boy Is a Mess" (which is one of the album's biggest surprises and calls to mind vintage Echo & the Bunnymen) and "Echoes" have a little bit of forward momentum, putting a tiny bit of bite into the blues. Sometimes there's nothing more heartwarming than singing out your sadness at the top of your lungs, and the Orchids have again provided a soundtrack for just such an experience. As always, their music has a mix of fragility and resilience, and it's made brilliant through performances that are almost painfully tender while at the same time being oddly uplifting. 2022's Dreaming Kind is their third post-comeback triumph, and it features all the things that make the band so great: James Hackett's yearning vocals, John Scally's wonderfully meandering guitar melodies, Ian Carmichael's nimble production style, and above all, the breathtaking songs that capture the beauty and sadness of life. This is a very personal record for us and we're incredibly excited to have it available digitally here on Bandcamp.Since the re-formed Orchids found their stride with 2020's The Lost Star, they've sounded just as unbeatable as they did in their initial incarnation as Sarah Records' resident Scottish dreamers. We also worked with the renowned mastering engineer Alan Douches who brought out the best in Kenny's mixes while retaining the dynamics you hear in the final product. Kenny pushed us in directions we wouldn't have considered and the performances we captured are all the better for it. "Apogee, Perigee" moves effortlessly from crushing rhythms to delicate, intertwined arpeggiated guitars-often within a single song.įor this record, we partnered with producer and engineer Kenny Eaton, recording at his Mystery Ton Studios in rural Maryland. With our sophomore record, we've compiled six songs that explore the theme of isolation and that, we believe, push our arrangements and instrumentation to the extremes: the wall of sound has become more aggressive and anthemic and the quieter passages more delicate and nuanced.įrom the massive, three-guitar assault of album opener, "The Astronaut (Escape Velocity)," to the haunting, suffocating sparseness of the closing "Life in Retrograde," the album weaves together influences ranging from Morricone’s Spaghetti Western soundscapes to DC-infused punk and math rock. ![]()
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