Since its March 1st release, The Vanderbuilts second album entitled What We Forget has only grown. You may want to take a listen to see how they created a sequence of well-weaved together musicianship. Whether you go for the whole or focus on the softer elements in comparison that feature an authentic approach to writing each instrumental and lyric with clean-cut love, this LP can take you further on down the road where with worldly intention, visions arise in a beauty that can only be set in stone.
Take a break from the usual ear splitting catastrophes we admire and bring to light the fact that lead singer/guitarist Sam Kogon, Dave Riddell (multi-instrumentalist), Max Newland (bassist), Aya Yamamoto (violinist) and Greennan Milliken (drummer) have possibly formed the perfect equation. The touch of having a violinist can change the routine of a usual number of arrangements. Because let’s face it when you hear a violin, many people think of classical music. But if you can use a violin in dark electronica band, you can certainly reap the rewards for converging bass and drums. I hardly talk about cover art but this one caught my eye. As a simple admirer of off the wall sketches, this cover, with its prehistoric animals that tend to look a bit unreal and yet exactly what you’d think you see in the night, comes across as brilliance. Not only does this album deliver but also as you progress through it, each song becomes a bit longer than the first. They somehow capture an exact amount of space in-between the doors and windows that play on our existence every waking moment. The Vanderbuilts have not only received wonderful praise, but in return they have achieved wonderful, as well as a philosophical genre.
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