Posted by: liberacesequence | February 4, 2009

Art Collectives: Lansing-Dreiden (part II of III)

LD Banner II

Remember the last post? I mentioned that this band(see above) did not play live shows let alone tour. Well, apparently they birthed an entity known as LD-Section II, where touring is a must. In fact, that is all they do. To my knowledge, neither Diego nor Jorge (the theorized actual singers of the band) participated in the live performances. That’s besides the point though, because this article is about their second album, The Dividing Island. Before we can actually begin, witness this promotional video for the song “A Line You Can Cross.” After you imbibe the video,  you will then be ready to experience the rest of this meticulous investigation.

This is the first “single” off of the album, and it was a great choice. What makes this a great choice? Just carry on throughout your day and take notice to that fact that you are humming its melody  and soon you will be whistling it. Before you know it , when no one is looking, you pretend you’re one of the  lead singers that ironically resemble Milli Vanilli. As long as no body is around, have fun; ride it out. However, if  the clown appears and starts instructing you to mimic shapes, then you should probably be concerned, because you might be  actually be suffering from some form of dementia. In other words: this song is pretty good, but is not worth the hallucinating the presence of a monochromatic clown (seen below).

Clown = Not Worth it

"Mimic the shapes!"

Their second album, The Diving Island, adheres to the “concept album” rubric more closely. Their songs all seem to represent divisions, lines, dichotomies, the notion of singularity (one), dualities (two), and pretty much anything pertaining to an island that happens to be divided. The lyrics are dressed in as much or more obscurity than its predecessor. Also, like its predecessor it  employs the style/genre shifts. One could argue that the shifts on this album are more erratic, but that’s not the path that this article is going to take. Instead, as a break from the colloquial approach to music criticism, I am going review this album track by track.


1. “Diving Island” An appropriate name for the first track, but it does not completely set the tone for the album. In fact, this track stands alone, as it is the only allusion to this variant of the late 60’s classic rock style. Even in the first moments of the song, it deceives the viewer, as it somber tom-heavy post-punk intro progresses. Then, you are hit with the tube-driven guitars, which change the streams into heavy, albeit beautifully sung, rock opus.

2. “Cement to Stone” This song is where the album picks up. When I heard the slightly off-kilter guitar melodies, I was immediately mesmerized. This melody is then further complimented by the occasional pitch bending of the keyboards. This song is truly psychedelic without being completely retro. Note the use of “completely,” because there is evidence to support the  instance of psychedelic nostalgia in this track; however, the final product of the song diverts from the common psychedelic approach. The diversion can be noted in the production of the vocals and the incorporation of keyboard textures not present during the psychedelic heyday of the 60’s and 70’s

3. “A Line You Can Cross” This song is one of the several standout tracks on the album. The infectious keyboard hooks and the calypso-inspired dance break-downs deliver an unstoppable music force. This song also reveals the existence of two singers, unless, the singer can vary his or her voice effortlessly from high to low. When the deep voice starts, it is synonymous to David Bowie’s  deep croon found on tracks like “China Girl”, etc. Then the singing switches from the low into a high anthemic chorus. The switching of the singers strengthen to the album’s concept, as they represent a divide or dichotomy from each other. Are they agree or disagreeing? as the name of the album indicates, they are in conflict with one another. Hopefully, they will resolve their differences before they tour, or they could hire people to tour as them. But who would want to do a thing like that?

4. “One for All” This track can be defined by one word: smooth. Words alone,however, can only do so much to describe this song, so  listen and experience the smoothness for yourself.

5. “Two Extremes” This track is beautiful and is sequentially arranged in the album almost perfectly, as it calms down the listener (provided that they listen to every song in order). An associate of mine used this song to score the ice cave scene in one of his travelogues, which is a perfect metaphor for the track. The ice cave in its ethereal splendor embodies the wispy, airy mood of this song. Also, it is indicative of an early 80’s synth pop influence, which is the most used motif of the band. There similarity between this song and the early work of Orchestral Maneuvers in the Dark. The heartbeat-esque drum pulse and the several synth layers resemble music from the early half  of O.M.D’s compendium.

6. “Part of the Promise” This track takes the album to another level. It employs a truly schizophrenic approach to song writing. The best part about this instance is that it is able to sound schizophrenic without sounding  haphazard or spastic. Another bridge that this song crosses is the bridge, which elaborately links synth-pop in to pure rock & roll. The keyboards sound as if they are coming out of an amp that stands lonely in an abandoned factory, which blend well into the several guitars layers throughout the song. The skittering beat facilitates this bridge, as it also allows for the ghostly keyboard melody to appropriately compliment the crunchy guitars. The guitars are another topic of conversation. It seems as if the guitarist could not decide on which effect to use, so he used all of them. The complete product is unlike anything else, and as you would imagine their vocals, as always, finalize the package, thus rendering the song an entity that uniquely corresponds to Lansing-Dreiden.

7. “Our Next Breath” This song dips into another variant of the classic rock genre. There is one peculiarity that jumps out from this song, which is the time signature. Specifically, the time signature as it relates to melodically chopping guitar riffs. Also, the dynamics of the song (the balance between loud and quiet) are handled in way that sets this song apart from its classic-rock influences. It almost seems as if the drummer is quickly switching to soft mallets effortlessly whilst the guitarist plays  either plays softly or loudly corresponding directly to the drummer’s dynamic. It is an interesting take on a classic-rock genre.

8. “Our Hour” This song seems as if it actually came from the 80’s almost as if this was contemporaneous with the songs of Simple Minds, The Associates, and the likes of those. The bass line and the broodingly deep vocals are things to pay attention to in this track.

9. “Symbol of Symmetry” This is a transition track between the surround songs, which deceives the listener of what’s to come…

10. “Dethroning the Optimyth” How anyone could write this song is beyond words. In fact, it can be classified as crazy. It seems to unite 80’s bell synths with Metal-riffage. Black Metal groups have been mixing keyboards for years, but the chaos that ensues in this song is at times indescribable. Why don’t you listen for yourselves!

And now I leave, stumped in a fantasy metal stupor… (to be continued)!

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