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<\/a>Until now, A Sunny Day in Glasgow was a band that dealt in fragments, ephemeral melodies concentrated upon for mere moments then tossed into the aether before moving on to the next. Scribble Mural Comic Journal<\/i> (2007) and Ashes Grammar<\/i> (2009) were whimsical fever dreams, but as their titles suggest, were made with base elements or unfinished thoughts. They were visionary, but disjointed to a minor fault. That\u2019s not to diminish their impact, they just felt like a band building towards something even more grand, expansive, and distinctive.<\/p>\nIn our hyper-connected universe, four years without an album is a lifetime, but it\u2019s precisely that lengthy retreat that makes Sea When Absent<\/i> (Lefse Records) such an ambitious and profound statement. It\u2019s an album that is bursting at the seams with melody from the first blast of \u201cBye Bye, Big Ocean (The End).\u201d That kinetic energy doubles as the band barrels into \u201cIn Love With Useless (The Timeless Geometry in the Tradition of Passing),\u201d the pitch-shifted refrain so ecstatic it clips into the red. A Sunny Day in Glasgow is still a heady mix, taking the noisier tendencies in shoegaze, especially the grotesque bent of the Swirlies and the most crystalline of dream-pop a la the Cocteau Twins, to an ultimate tilt. Yet this time around, lead Glaswegian Ben Daniels weaves much of that influence into his own kaleidoscopic perspective, barely giving one texture time to come into focus before careening into another saccharine earworm. Sea When Absent<\/i> was constructed in parts, with members exchanging ideas across time zones, and that patchwork of tones and voices gives the album its whirlwind feel. Unlike on previous efforts where the stitching showed, Sea When Absent<\/i> is absolutely seamless, and its unwieldy nature now defines the band.<\/p>\n
It would be too easy to tag Sea When Absent<\/i> as simply \u201ctwee,\u201d though Daniels does prop up a lot of the record in aesthetically pleasing modern rock motifs. Synths and guitars co-exist like \u201980s Top 40 manna on the precious \u201cMTLOV (Minor Keys),\u201d falling somewhere between OMD\u2019s \u201cIf You Leave\u201d and Nu Shooz\u2019s \u201cI Can\u2019t Wait,\u201d but it doesn\u2019t sound like either. Much like Gang Gang Dance, A Sunny Day in Glasgow are a polyglot that pulls from every angle imaginable. \u201cCrushin\u2019,\u201d for example, melds the computer-world programming of Japanese citypop, with the deep beat-driven groove of \u201990s R&B and caps it off with some Prince Rogers Nelson\u2013esque shredding. \u201cDouble Dutch\u201d is equally neon-tinted, with looped arpeggios and an earthquaking low-end. For the duration, even among the somewhat drifting wash of \u201cNever Nothing (It\u2019s Alright),\u201d Sea When Absent<\/i> shifts shape, spins the FM dial, and revels in a sensory overload of joyous pop. If this isn\u2019t an album of the year contender, I\u2019d love to hear what is.<\/p>\n","protected":false},"excerpt":{"rendered":"
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