Noisy guitars and hazy production. Combined with driving bass and percussion. Nothing’s Alright, Leave Me Alone hits all the right notes for a modern shoegaze classic.
On first impressions, the aesthetic is brilliantly executed across the work. The slightly muddied vocals soaked in reverb provides the psychedelic, unclear delivery that characterises so much of the shoegaze and dreampop sound.
Somewhere between the obvious instrumentation is the dwelling distortion that create a wave of harmonic tonality in the arrangement. Simple lead work reinforces the progressions while adding melodic decoration to the track.
A common element in works of this style is the simple, almost droning vocal work. Often simple diatonic melodies characterised by their almost lazy drops into sustained melisma. This is one more aspect on the list of things Sunstinger expertly satisfy.
Bordering on the line of powerful anthemic rock and empty fuxx-ambient. The niche gap that these sounds fill is one of familiarity but with a slight warp. Comfortable techniques present dynamic shifts. For example, the stripping away of rhythmic instrumentation and allowing the vocal lead to carry over bass and drums to separate verse and chorus.
What makes this work particularly notable is the blend of instrumentation and its sound design. Gentle acoustic strumming with modulated fuzz falling and rising in pitch behind. The dichotomy of these pieces creates a pleasingly sweet-sounding unified point.
Nothing’s Alright, Leave Me Alone stands shoulder to shoulder with classics of the genre. Even with the obvious quintessential examples, one could comfortably fill a playlist with the likes of Kevin Shieldsand Fennesz without Sunstinger feeling even slightly out of place.
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