Dead Feathers – All Is Lost (2019)


It is as if you are inside a room. Locked and dim. You sit on a single chair facing the images projected by a cinematograph. A little claustrophobic perhaps, and this album plays. With their debut full- length album, All is lost, the young band, Dead Feathers have presented a eerie sort of music to their audience. Scheduled on the 23rd August this year, 10 tracks are in store for their fans and listeners.

The first picture which captures your eyes is At the Edge. Immediately, a faint scent of gothic reeked from the drumming and accented pluck of the guitar. The vocals came with the sort of singing that is narrative. It will prompt you to think of what they were actually planning to execute. Was it a powerful entrance? But there wasn’t much of an impact until by the half of the song. Perhaps if they entered all at once, it would be preferable. The clean and cold vocal tone of the singer was highlighted in With Me. Lyrically, it was lacking, but focused more on the sustaining of notes as a consolation. It was like being in a slow-motion world. Walking on this film strip, this ghost-town of a street going nowhere.
Cordova however, possessed a catchier beat. It contained more bars of power. A notable part was when the bass, drums, and guitar made their fusion. Although I may have somehow noticed a slight disconnection as the album progressed. And to amend for this, in Horse and Sands, there was a resounding completeness. It was more of those legit-like pieces. There was a constant guitar-play which maintained this unison. It could be as if the band met halfway through and for a time had followed a single musical score.

All is Lost, which was supposed to be the main feature, was almost a good piece if not only for that certain remote ring coming from the vocals. Somehow, it did not match the background. It sounded more like the members were parting ways.

From the bass overtones, to the rumble of drums, and ultimately the guitar, Darling Sights could induce an easy sleep. It was the kind that does not quicken your pulse, nor wake you up. And because of this may feel empty at times, but if it was any credit, the setting was still inside this isolated four-wall room.

There was good instrumentation in Smoking Gun, only that the lyrics almost seemed to be spoken and not sung. By this time, I had proposed an explanation for the problem; the vocals were icy and the background generated warmth. Being opposites, they kept missing each other, so much that the vocal exhibitions sounded borderline out-of-sync.
It proved to be apparent in Night Child and Not Ours to Own. There was an aftertaste that the band came from different places and brought forth unalike tunes. An image could be formed but then sooner or later, someone would disturb this attempt.

In this unconscious state, you will wake up to find the remaining traces of an acoustic outro, Found Caravan, as the film stops rolling.

In general, I claim they require more impact. A wider release of emotions could improve the music. They should free more thoughts and meaning into the songs. Except for Horse and Sands, the rest of them passes through your ears unnoticed. There was a lack of connection. Specifically, the vocal melody. I suggest they study how to blend together to create sounds that are capable of sticking to the ears and replaying in the mind. Also, to work more lyric-wise. Unless it’s a particular style they intend to sustain, the vocals must watch the rhythm and colour of the music. Most of the time I was unsure if I was still on a single track. While you hear the guitar doing its job, there will come a series of unrelated yelling and note holds. Perhaps they need to reorder the arrangement. This is only if they do not mean to have their audiences asleep for the lack of appeal. However, since most of the instrumentation is good, there is potential in this album.


Review by Estefan Malgret

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