Generally you don’t really feel like getting your head kicked in. Generally you possibly simply wanna give your mind a swirl. Diminishing, an industrial, ambient drone steel duo, may help you with the later. The brand new undertaking fashioned by Gridfailure genius Dave Brenner and his Texas-based companion in crime, Lane Oliver (Yatsu), affords up a miasma of darkish tones, distorted vocals and dirge-psych landscapes to get misplaced in on their full-length debut, The Unnamable.
All sounds on The Unnamable have been carried out, recorded, and blended by Brenner and Oliver, utilizing all method of vocals, guitars/bass, keys/synth, percussion, area recordings and extra. Mastering was dealt with by Dan Emery at Black Matter Mastering (Kool Keith, Steve Von Until, Thetan). The Unnamable is ready for launch on deluxe cassette and all digital platforms June 16. Discover preorders at Anti-Company Music right here and at Diminishing’s Bandcamp right here.
In lieu of a quote from the band about its debut full-length, we’re providing up a track-by-track narrative from each members (beneath the Bandcamp participant).
Oliver: “An Vacancy” opens the report on a nihilistic notice. The “narrator,” if you’ll, muses on the futility of existence. It’s a theme that seems repeatedly on the report, however it’s also a theme that’s purposely contradicted in some passages. The push-and-pull between pessimism and the need for which means flows all through The Unnamable to seize the emotional turmoil of existential crises.
Brenner: The gnarled moans and dismal rain on the entrance of this set the demoralizing temper for all the album. Lane wrote 99% of the album’s lyrics round a central theme and this one units that up proper from the beginning. Lane performs important guitar and synth, I deal with vocals plus guitar, bass, synth, results, area recordings.
The Rats I’ve Fed
Oliver: The track is about giving your self to issues and other people with out correctly caring for your self. It’s concerning the burnout and misery one experiences when boundaries aren’t established and maintained. It’s concerning the darkish aspect of “selflessness,” which is a subject touched upon later within the album as nicely.
Brenner: This track actually encapsulates the core tone and idea of the report; it was the primary track we launched once we introduced the album. Lane on important guitar, I provide percussion, keys, and results, and we each deal with vocals.
That Sinking Feeling
Oliver: “That Sinking Feeling” touches upon these moments of existential dread one experiences when reflecting on mortality. Is there life after dying? Do we actually wish to know if there may be? We push it to the again of our thoughts, however these questions at all times return. In distinction to the opening observe’s overt nihilism, this observe is about being confronted with uncertainty.
Brenner: This was one of many first songs we put collectively, again once we have been nonetheless engaged on this as a collaboration between my undertaking Gridfailure and Lane’s prior undertaking, Really feel Happiness. He ended that undertaking once we had this report closely underway, in order that’s once we determined to make this a brand new band and we leaned into pushing it into some new instructions as its personal undertaking. That is essentially the most harrowing emo track ever. Lane on vocals, guitar, and synth, and I play acoustic guitar, some percussion, and pedal results.
No Hearth, No Fanfare
Oliver: The subject of uncertainty returns on this observe. Right here it’s assumed that there isn’t any heaven or hell. What occurs after dying, if something in any respect, can’t be comprehended. The “narrator,” nonetheless, nonetheless needs that some type of an afterlife exists. They specific their need to see a lifeless cherished one once more, and ask stated cherished one to information them over to the “different aspect.”
Brenner: We share vocal duties once more on this one. Lane hits the observe with a barrage of improvisational guitar, and I play bass, keys, percussion, and coat all of it in some caustic pedal results.
Oliver: Athazagoraphobia is the concern of forgetting somebody, one thing, or being forgotten. The latter is the theme of this track. It’s about attempting so desperately to do one thing important together with your life earlier than dying, however in the end being erased by time. This matter is touched upon once more within the remaining observe.
Brenner: The regular pulse-type beat gives a slow-motion rhythm of regular erosion; it by no means picks up or utterly diminishes. Sharing vocals, Lane handles guitars and I create the rhythm part/arua with bass, percussion, keys, results. An actual bummer.
Oliver: Very similar to “The Rats I’ve Fed,” this observe speaks on the darkish aspect of selflessness. It’s about neglecting your self to assist others in want since you really feel you don’t deserve the identical remedy.
Brenner: We initially named this track “Selfless,” however we simply thought it was too Godfleshian and we modified it on the final minute. That is one other early observe that ties closely into the general theme of the report. Lane does the vocals on this one in addition to guitar, I provide bass, percussion, and the general aura of dread.
Brenner: The one instrumental track on the album, it nonetheless thematically ties into the woe and despair of the report. We initially selected the title of this track because the identify of the band however it was already taken by one other group. Lane on guitar, I play bass, analogy synth, and naturally some powerelectronics scourge.
Oliver: Now we arrive on the title observe. “The Unnamable” refers back to the unknowable state of existence, or non-existence, upon dying. The “narrator” ponders their inevitable dying and the way they’ll by no means be prepared for it. Identical to in “No Hearth, No Fanfare,” they specific the need to see their lifeless family members once more. They wish to expertise some kind of afterlife. They need their life to have meant one thing. The title of the track and album is taken from Samuel Beckett’s novel of the identical identify. The opening and shutting traces of the title observe are lifted from the textual content.
Brenner: The album doesn’t actually have an apex or peak; the ultimate track looks like a little bit of a breaking level, however right here we’re on the next-to-last track and at this level the stress that begins at the start of the album has not ceased in any approach. If the listener makes it this far into the report, they’re seemingly experiencing a suffocating sense of dread or anxiousness. Lane and I each contribute the vocals and various kinds of synth, Lane additionally provides guitar and a few piano, I throw down the beat and results.
The End result of Years of Self-Abuse
Oliver: This track is about losing years of your life tearing your self down. It’s about attempting to make up for that misplaced time by doing one thing worthwhile and significant, however in the end succumbing to the delusion that point has run out for you. It’s about that vicious cycle of self-abuse that’s laborious to interrupt.
Brenner: The breaking level; an explosion of pained vocals gas its dirge. I bear in mind practically passing out and having a headache for hours after recording vocals for this. There is no such thing as a completely satisfied ending to this album, no precise launch of rigidity, no decision, and the stress at this level is crushing the muse of this narrator’s being. Sharing vocal duties once more, Lane handles guitar, I provide analog synth, some xylophone/bells, results, and area recordings.