Today Eurorock is off, albeit via the interweb, to Frederikshavn on the Danish coast to have a listen to spectral noise-rock quartet Salli Lunn.
The reason is that their long awaited debut album Heresy & Rite, on Australia’s Hidden Shoal label, has been receiving a lot of enthusiastic attention. The band which formed in 2001 includes members of The Late Parade, Death By Kite, and Amber.
Having found the space to concentrate on the Salli Lunn project they have delivered a debut that is alive with creative individuality. There is a deceptive precision to this work which is further enhanced by Jonas Munk’s expert production.
Heresy & Rite unravels a web of creative ideas. It is akin in many ways to a complex building project where the completed floorplan can only be guessed at before finally appearing as fully operational labyrinth of organised space.
If that sounds somewhat clumsily and far fetched then a listen to this 45 minute, eight track, album is well advised. Its complexity challenges definition with tracks that are often built on a simple, yet compelling, platform upon which is added building blocks of texture and unexpected twists and turns to deliver a totally intriguing end result.
Chiming guitars over the ever shifting, twisting, pulsing, and impressive drumming of Line Gronbech help create a maze of possible directions which prove impossible to second guess.
Some simple, yet memorable pop fuelled melody gives way, in wanton acts of deconstruction, to dark layers, unsettling atmosphere, and a myriad of alternatives.
On the one hand the album is expertly crafted with a machine like precision. Yet on the other it sometimes melts into near free form territory before rebuilding the blocks to revisit its original theme. All of this underpins Lasse Skjold Bertelsen’s compelling and distinctive vocal presence which is a combination of distantly semi automated, sometimes unnerving, and yet always engaging.
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