ALBUM REVIEW: The Architect – eMolecule
A creative partnership borne out of their joint tenure in SOUND OF CONTACT, Simon Collins and Kelly Nordstrum make up the two halves of new prog outfit, EMOLECULE. While Collins and Nordstrum have continued to work with each other on and off through the years, EMOLECULE’s debut The Architect feels like the duo putting an artistic flag in the ground. For the “debut” project of any band, The Architect shows off two musicians with an assured approach and a fully formed musical aesthetic. The two writers’ material is expertly crafted and their styles mesh cohesively, resulting in a generously full – if occasionally too full – record.
Opening with the aptly-titled eMolecule, the record makes a strong first impression. eMolecule is a lengthy number that feels like a voyage unto itself, carefully stepping from the slow and broodingly spacey arpeggios and dirge riffs to industrial, synthesiser-led chaos. The stylistic shifts are weaved together through a common thread of lilting and somewhat eerie clean vocals that keep everything on track. The whole song sets the tone for the rest of the album, with the band focusing on the ethereal and cosmic throughout thanks to drifting melodies and sci-fi tinged instrumentation.
The following track, The Architect picks up the baton proudly. Its heavy guitars and prog-rock panic belie the band’s more accessible side, where a drooping swing of a chorus eventually reveals itself. There’s more than a touch of PORCUPINE TREE to The Architect, and it’s certainly not the only time EMOLECULE stray close to Steven Wilson’s outfit; the thick, rough bass-led groove of Dosed wouldn’t be out of place on Lightbulb Sun, for instance.
It’s moments like these that show EMOLECULE at their finest – atmospheric and oddly catchy. Beyond Belief builds on the same approach, albeit with a modern tech edge that gives way to a euphoric chorus. Prison Planet takes a mellower approach at first, with split-out piano chords playing off of synths and riffs before it all culminates in a fierce march of guitars and memorable vocal trade-offs. EMOLECULE even pivot to an overall calmer sound at several points – the hazy My You has shades of Universal Migrator-era AYREON thanks to the drifting guitars, and Awaken feels almost dream-like in its stripped down, floating atmospherics. It’s clear throughout that EMOLECULE have a knack for hiding hooks under the surface of layered ambience.
Where things become a little more mixed is when EMOLECULE delve into the more experimental, unfurling their lengthier material for the listener. Mastermind seems to be several songs in one and, while nothing feels like a completely abrupt or unearned stylistic switch, it’s a difficult number to get a hold on. The Universal starts off anthemically, but meanders for a good chunk of its time before saving itself with yet another excellent chorus. Moment Of Truth walks a similar path, not really hitting its stride until the uncharacteristically heavy ending coda. That’s not to say that any of these tracks are bad – on the contrary, there are plenty of elements to enjoy amongst all three and they certainly reward repeated listens. However, a little trimming wouldn’t have hurt either.
Still, despite some lulls, it’s the overall tone and mood that keeps The Architect compelling throughout. Between the astral ambience and unsuspecting melodic sensibilities, EMOLECULE have refined a distinctive sound that cements the strength of the creative partnership between Collins and Nordstrom. The Architect is a confident debut and hopefully just the beginning of an intriguing project.
Rating: 7/10
The Architect is set for release on February 10th via InsideOut Music.
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