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Archive Album Review: Anywhere by Anywher

Self-titled LP from ANYWHERE - is the collaborative project of Christian Eric Beaulieu (Triclops!, Liquid Indian) and Cedric Bixler Zavala (The Mars Volta, At The Drive-In) – is a stunning piece of psychedelic rock, with slight leanings towards Pink Floyd at times, you will find yourself hypnotised and entranced by each track. There are surprises with every track, with twists and turns making it impossible to guess the direction of each track.

It was hard to know what to expect from this album. When Cedric Bixler Zavala is involved you know not to anticipate a normal run of the mill affair. At times it is extravagant and outlandish frantic drumming and fast paced acoustic guitars give it a unique feel. What it does well is not descend into an anarchic or pompous matter. Whilst at times sounding slightly chaotic it is refined and structured.

The album begins with a electrical feedback and a set of bongos before a pounding drum track kicks in, flamenco-esque acoustic guitars come in, another electronic interlude signals the start proper of “Pyramid Mirrors”. This is the first glimpse you will get of some fantastic guitar work that shapes the album. With track 2 “Rosa Rugosa” you get the first taste of former Sleepy Sun member Rachel Fannan’s haunting vocals. Her beautiful voice adds another subtle texture. It’s the first real big stand out track on the album. It has a chilled, space like quality to it. You could cut it in half at the 2:30 mark and have two very different songs – you’ll find this is a common theme through out. All of a sudden a track will take a different direction and tempo, it works perfectly though.

Track 3 “Khamsin” begins with some ear splitting electrical drone, before going into a psychedelic folk style. Bixler-Zavala’s vocals are light and dreamy – do not expect any At The Drive-In style vocals. “Dead Golden West” features Rachel Fannan again and unsurprisingly it’s a peach. Title track “Anywhere” delivers superb guest vocals from Mike Watts again this adds a new dimension, hypnotic and emotional Watt’s voice is complemented perfectly by the guitar work. Penultimate song “Shaman Mantra” is the best song on the album. It’s subtle and careful, vocals are secondary to the emotive guitars and keys. Album closer “Infrared Moses” is the most upbeat track on the album. Its fast paced, angry acoustic guitars challenging against the cacophony of frantic drums.

On paper many elements of this album shouldn’t work together, it works perfectly though. Don’t listen to this album with any expectations; ignore all contributors’ previous work. It’s superb, and a necessary purchase for a discernable music lover.

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