Jono Moulds checks out the debut album from Black Lakes for The Rock & Roll Circus. ‘For All We’ve Left Behind’ is released on 22 February 2022.
Hauntingly melancholy but uplifting, 'For All We've Left Behind' is a new collection of music that has one foot placed firmly in the now and the other striding forward in collective hope for a brighter future in the darkest of times. Please welcome Black Lakes and their new album.
Whether we have lost loved ones, deprived from seeing family, or simply missing some of the luxuries we used to enjoy without restriction (restaurants, cinemas, live music), nearly all of us have had to leave something behind following the aftermath of the pandemic. The songs on 'For All We've Left Behind' deal with a wide variety of themes, from loss, to anger at the present state of the world we live in, to finding strength through pain. It is a collection of songs that has been written with the hope of engaging listeners and reaching out to let them know they are not alone.
Emotive, thoughtful, expressive. Black Lakes remind us what it is to be human in the modern digital age.
Black Lakes are: -
Will S. Preston (lead vocals),
Dylan Burris (lead guitar),
Scott Bradshaw (guitar, backing vocals),
James Rowlands (guitar, backing vocals),
Lee Harris (bass)
Dafydd Fuller (drums).
‘Avarice’ sets the wheels firmly in motion, and what an opening song this proves to be, as a heavy riff, and indeed heavy mix of sound, washes over you from the first high octane strike of the first chord/drums and bass intros. First thoughts are that ‘Preston’ possesses a mighty and varied vocal, which is strong on one hand, and subtle on the other as it meanders between a ‘classic rock’ and ‘nu metal’ at various stages. However, in this opening track it’s relentless and unforgiving as it rips through the song from start to finish. Given the songs style (i.e., high on ‘’nu metal’ content), the chorus has great hook to it, as it thunders away. Straight away, it has to be stated that the
production is top drawer as each instrument comes through loud ‘n proud. Great start.
A slow and meaningful guitar piece opens things up on ‘Black Days Come’ that suits the title of the song just about perfectly, as this starts to brood slowly, as the clean acoustic guitar counterpart soon comes in and accents the initial intro. Along with this, the ambience is further enhanced with the occasional strike of a distant tolling bell, all for good measure. This sounds ominous! From this point, the song is joined by both drums and a beautiful lead guitar break; the drums, forming a unique and
intriguing rhythm pattern, which is superb. The vocal arrives, and as per the scape of the song itself, starts off in a very low register, which sets that menacing tone. As we move through the verse into chorus, I was fully expecting more melancholy overtures, but there is a change as the key and chords have an uplifting feel to them, much to my surprise. At the mid-point, there is section where the vocal ‘revs-up’, but only to give some colour to that lower vocal, that features throughout the song.
This is a beautiful, well-constructed track. Loved it.
For the second tune on the bounce, ‘Break the Silence’ begins with a stand-alone guitar part, but not long before we hear the screams of ‘Breaking through the Silence’ as the opening lyrics are laid down. This starts off as a mid-tempo, powerhouse of a tune, with yet more incredibly copious sounding guitar and the powerful rhythm section kicking in. One thing of note (as we are now three tracks in) is the way in which the band have enough writing capability, not to ‘throw the kitchen sink’ into songs but have the sensibility to match the songs meaning with nuances and colours of the songs structure. It makes each tune have that additional interest, along with the undoubted music talent the band possess. This is yet another great example of top song writing, mixed with clever interpretation. A real belter. Class.
Well, they say that things come in three’s and so ‘Death Throne’ opens with yet another haunting guitar piece, which is accompanied by another well thought/executed drum pattern by ‘Fuller’, that has both great technique and projection. As the first verse emerges, that initial guitar piece is replaced by some staggered, high gain chords, as the low register vocal flows over the top, but you suspect that this is going to change soon enough and so it does, as the vocal rises with power and clarity. This section has instant likeability, with its great melody. The song has an ‘Alter Bridge/Mark Tremonti’ vibe to it and fits in perfectly to what has come before. Can’t fault the start to this album. So far, so very, very good.
‘Dissident’ starts off in a similar vein, but only this time, there is either a resonant drop stringed guitar or bass to keep it company. The relative silence is broken quickly though, as more of that saturated guitar comes smashing in, with scintillating force and riffage. I’m loving the quick change between power and subtlety throughout the song, as musical moods interweave at a drop of hat. Once again, there is astute arrangement within the song, which is indeed a big feature on all songs so far to this point. Another top tune.
Heavy, crackling synth along with lighter ‘bursts’ (almost a ‘X-File’ theme music feel) welcomes in ‘Exordium’. Being curious as to its meaning, the dictionary definition states – ‘the beginning or introductory part, especially of a discourse or treatise’ which would explain the song itself, as it runs in at just under two minutes. The tune is highly atmospheric, with many electronic layers and distant vocal that creates said atmosphere. A very short piece, it gives the opportunity for the band to demonstrate yet another musical dimension to their arsenal and certainly locks in that ‘nu metal’ feel.
And so, onto the album’s title track, ‘For all we’ve left behind’. Another brief guitar/bass intro leads us quickly into the first verse where ‘Preston’ sings ‘The seas of change wash upon my shore – the man I am is the child I was no more’. A little way through the first throes of the song, a synthetic drum pattern emerges, accompanied by a pristine sounding acoustic guitar. This tune is alluring to a fault, and we are only just over a minute into it, as a complete change of direction is taken, where a break in proceedings brings in a new dimension, that is, a deep synth run forms the predominant instrument leading onto the next section of the tune. Things aggressively build through the mid section though as that high gain guitar is introduced for the first time, which is then the signal for the vocal to rise in unison. A real powerful song, one which is fitting for the album’s title track.
‘Fragments’ begins heavily, but soon resorts to an even heavier and frantic level, as drum patterns go haywire and vocals blitz to keep up with the pace of the song. Quite some start this. With all the frenzy of the opening, the vocal starts off with some great melody lines, well, initially, as it then transforms into something far more serious, with enough angst and ferocity layered into it to make you sit up and take notice. The song’s pace rarely subsides, outside of a brief section, before it ends with the power that it’s shown from the start. ‘Ghosts of our Memories’ has some icy, crystalline like guitar, followed almost immediately by ‘Preston’ showing off some high-pitched support vocal skills.
A mellow and rhythmical beginning draws you in within seconds, as I’m already trying to figure out which way the band will direct it from here. As it happens, the innocence of the song’s genesis, moves into a slightly more guitar driven feel, but as we travel through the track, we rise and fall over several peaks and troughs, all the time experiencing some awesome technical playing along the way.
Next up is ‘Landslide’ as synth and guitar combine for its opening gambit. Heavily induced guitar chords soon swiftly sweep away the calm and tranquil intro, all with the help of those meaty drums and resounding bass. Things calm down briefly for the initial verse section, where it’s just vocal and
synth to keep each other company, but the ensemble soon meet up with a each other as we ‘slip’ and ‘rumble’ toward the mid-section. At this point, it’s worth mentioning that the synth/keys add some lovely background mood all the way through the tune, as the clarity cuts through the deep, heaviness of the guitar and sounds beautiful, acting as a conduit between the hard and soft
elements. Another very strong song on an extremely strong album.
‘The Divide’ has an interesting start to it, as one guitar part initially leads the way, only to be quickly overtaken by a secondary and totally different guitar part, which, has a quick guitar solo added over the top of the latter. The second effusive guitar part is where the vocal leads us into the song, as
‘Preston’ sings – ‘One by one – we fall in’’. This is a mid-tempo song, which merrily winds its way to a sublime chorus, which has bags of melody and depth. There is a very fleeting, but well-placed section, where the band stop, albeit for a guitar and vocal, before the inevitable build up takes back where the song demands, toward that awesome chorus. Great, great song.
‘Verity in Flames’ has a very strong, synth infused opening, as the heavy guitar drives its way in between bass and drums. Powerful indeed!!! But, within the blink of an eye, the power subsides and gives way to the now familiar verse arrangement, where further synth sounds and vocal cover the opening of the song. ‘Fuller’s’ drums (a definite feature at so many points within this album) yet again come up trumps with a unique pattern that really helps push the song and adds so much more
interest and technique to the tune. Brilliant. For the second song on the spin, the chorus captures you on the very first ‘spin’, that is, there is an immediate likable quality to it. This is some track to complete the album with, which has been a delight to listen to.
In conclusion, I must confess that my ‘Rock’ preferences lie within all that is classic, and my listening and influence always tends to drift back to those albums from bygone times. However, I am more than happy to take on board new ‘flavours’ and while carrying out these weekly reviews, I have listened to some new and exciting bands, that have great futures. Black Lakes is most certainly up there in amongst some of the best new music I’ve checked out.
The album is full of invention, both in terms of song writing, and last but by no means least, how they have been structured. I love the contrast that each song offers, where they ‘drift’ between ‘light and shade’ on most of the tracks. The technical ability that lies within each member of the band is obvious (as you journey through these songs) and is plain for all to see. The production is first rate and can’t be overlooked, as it has brought out each song to the best version it can be.
A great album, yes, new music to these mature ears, but nevertheless, top-notch. At the end of the day, this is a batch of great songs. Well done chaps.
Review by Jono Moulds
Order the album "HERE"!!
CONNECT WITH BLACK LAKES:
Official website
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LIVE SHOWS:
26 Jan - The Fleece, Bristol
18 June - Rock & Roll Circus at The Redhouse, Merthyr Tydfil
02 July - Rock & Roll Circus at Bannermans, Edinburgh
03 July - Wildfire Festival, Dumfries & Galloway
Rock & Roll Circus at The Redhouse Ticket Link
Rock & Roll Circus at Bannermans Ticket Link.
Check out the video for "Fragments"
Ceri Davies
Presenter and Co-Director
