$2,215
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50
backers
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Funding Unsuccessful
The project's funding goal was not reached on Fri, April 27 2018 5:44 PM UTC +00:00
LandingBy Landing
First created
LandingBy Landing
First created
$2,215
pledged of $6,000pledged of $6,000 goal
50
backers
0seconds to go
Funding Unsuccessful
The project's funding goal was not reached on Fri, April 27 2018 5:44 PM UTC +00:00

About

Would you like to own a copy of our first LP, Oceanless, with bonus tracks on vinyl? Now's your chance to help make that happen.

Here's what Pitchfork said about Oceanless in their 8.0 review:

"Fuzzed-out drone-pop gets a bad rap from some quarters because it doesn't seem difficult to play. People suspect that post-My Bloody Valentine shoegaze is more about shopping than musicianship, in that the skill lies in knowing which pedals to buy. Hell, guitar feedback in its most elemental form doesn't even require the player to, well, move, if you get right down to it. It's not a coincidence that the metaphors typically deployed for this kind of music are passive-- things like drifting, gliding and floating.

But Sonic Youth's enigmatic Silver Sessions taught us that overdriven guitars tend to make an unholy racket when left to their own devices. Turning feedback into something the man on the street can call beautiful requires careful manipulation of the never-ending electromagnetic stream. Notice that the seemingly passive verbs used above to describe shoegaze imply a subtle interaction with natural elements like water and wind. Movement here is a matter of channeling the base-level forces in a desired direction. I've always suspected that this had something to do with why Flying Saucer Attack was labeled as "rural psychedelia"; David Pearce has spent his musical life dirtying his hands in distortion's black earth.

Connecticut's Landing inhabits that amorphous space where time itself expands and contracts according to a delay pedal setting, and dream pop blurs into dream proper. Groups like Stars of the Lid and E.A.R. have wandered this same misty plane in search of the perfect drone, but Landing incorporates Bardo Pond's jam aesthetic into the journey, imparting a welcome communal feel to their lengthy, meandering compositions. Landing's effects-heavy guitar sound will not seem new unless you've been trapped under something heavy since 1992, but on Oceanless, they give convincing demonstration of why it has endured.

The title of their second full-length has to be a joke, considering many guitar lines seem like heavily processed, six-string interpretations of whale songs. Like Windy and Carl's Depths (Landing have done a split record with the pride of Dearborn), these pieces unfold many fathoms down, in the slow motion required by immense pressure, allowing each ripple of sound to be examined in detail. Its six songs total more than an hour, and two of them stretch past the 20-minute mark. Possibly because the pieces never strive to be proper "songs" (a couple of whispers aside, it's an instrumental album), they never seem overly long, and most develop nicely from faint drones to epic crescendos and back again.

This flair for drama is best exhibited on "Are You Gone to Vast Arc Hues?," a live piece recorded in a Provo, Utah coffeeshop (near where the band was formerly based). The opening drone whines like a siren, and then a melodic bass inspired by Galaxie 500 folds in, followed by an elongated implosion of guitar feedback. As the piece builds, the loose drumming becomes a key element, lending a slightly unpredictable pulse (another Galaxie 500 pointer?) that fits with the barely controlled howl. Around the ten-minute mark, the piece hits a long patch of pure shoegaze bliss, as overtones cluster and multiply like bacteria in a petri dish, and a dense fog of pure pink noise threatens. The song fades out slowly over several minutes, as the voices of the café eventually reclaim the space.

Elsewhere, Oceanless hearken back to the more restrained, earthy sounds of earlier Landing records like the Centrefuge EP. "Structure vs. Chaos" is an exercise in reverb and delay, as twin guitars serve mainly to set a variety of echoes in motion, and the resultant melodies seem both accidental and quite beautiful. "How Did You Feel?" represents the dark end of Landing's expression, with a sinister bassline reminiscent of Joy Division's "Transmission" (because of the tempo, it reminds me a lot of Low's cover), harsh guitar drones, and buried vocals that never approach comprehension. This black moment is the exception. Through most of Oceanless, I feel the ascension of the best drone music, the blissful high that comes from slowly converting force into movement. -Mark Richardson"

Landing
Landing

Risks and challenges

There's no risk to this project. We have experience pressing records (Daron ran The Music Fellowship for over a decade) and we'd love to get this reissue project up and running!

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  1. Select this reward

    Pledge $25 or more About $25

    Buy the album

    Oceanless on double LP with gatefold sleeve.

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    Pledge $30 or more About $30

    Oceanless double LP with Extra Goodies

    Oceanless on double LP with gatefold sleeve, pins, stickers, and access to rare live recordings from the Oceanless era.

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  3. Select this reward

    Pledge $50 or more About $50

    Oceanless double LP with Extra Goodies +

    Oceanless on double LP with gatefold sleeve, pins, stickers, rare live recordings from the Oceanless era, and access to our complete digital Bandcamp catalogue.

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    17 backers
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Funding period

- (30 days)