A Shoreline Dream – The Silent Sunrise

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A Shoreline Dream – The Silent Sunrise

It’s taking me more than one listen to The Silent Sunrise to completely appreciate everything going on within it. I’m listening to it right now as I type this review, to the LP’s fifth track “Twice Removed”, and to the sound of a band that has been together for a decade now and it is showing, in a spectacularly good way. Ten years of writing music and gigging it has led up to the release of A Shoreline Dream’s fourth album, over a career that has seen them share stages alongside Chapterhouse, Ulrich Schnauss and at least one member of Low, and through various line up changes, A Shoreline Dream has honed and perfected its own sound, resulting in something that requires repeated listening.

At the moment, A Shoreline Dream has two named members – Ryan Policky and Erik Jeffries – and as there are probably more than two musicians actually appearing across the album’s nine tracks (or perhaps there aren’t?) I’ll avoid commenting too much on exactly who plays what. What I will say is that A Shoreline Dream get the overall tone of their music absolutely right, in terms of the studio sound, and that is a lot of what makes The Silent Sunrise the album that it is. Starting with “The Heart Never Recovered”, A Shoreline Dream are making a powerful amount of noise for just a duo, with some cleverly phrased and double-tracked guitar lines providing an already above average song with an added impetus, while the synths blast away in the background. Aware that albums can be made or lost in their first two minutes, Policky and Jeffries bring an added urgency to their own post-rock influenced take on music often known to us as dream pop. Next up is the album’s title-track, a high velocity instrumental that is several shades beyond what I sometimes uncharitably refer to as ‘car advert music’. This also goes for “King Of Your Castle” with its hints of ’80s MTV power-pop gloss; being a song built around one of those carefully picked guitar runs that A Shoreline Dream’s particular trademark and that ends in some evocative synth and guitar interplay.

So far and already sounding somewhat inspired, “Between” takes The Silent Sunrise onto another plateau of musicianship entirely. An instrumental consisting of two twelve-string guitars and some added reversed delay, it is brilliantly effective and brings an extra depth to the album as a whole, providing as it does an intro to probable album highlight “Twice Removed”, to which next track “Break It Again” provides a more measured sounding post-rock influenced response. “Seasons” develops the electro-acoustic side of the A Shoreline Dream sound with a longer sequence of strummed chords and drums, drenched in reverb and other effects that is as least as well-realised a track as “Between”. In its wake, “As The Cold Moves In” brings more of that glossy dream pop whilst the closing “Sunday Afternoon” takes things in a definedly post-rock direction, with thrumming guitars and some energetic drumming ending the album on a note of determined purpose.

For their next album A Shoreline Dream may go further along the post-rock route, and with the sessions for their next releases already underway it does seem that Policky, Jeffries and their other accompanists are on an inspired track, with around a decade of experience to call upon. As “Sunday Afternoon” ends in a spectacular burst of generated noise, I get the idea that there is a lot more to be heard from A Shoreline Dream, sooner rather than later.