Album Review: Lowtide - Lowtide

Melbourne shoegazers Lowtide have at last released a full-length LP, and the initial spin doesn’t disappoint.

Opening with the haunting slow burn of Whale, the quartet unfurl an expanse of sound with droning male/female vocal harmonies perched atop guitars that could fill a black hole.

It’s easy to get lost in the dreamy essence of this album, and when the band isn’t gently pulling the listener into darker terrain, a la Faith-era Cure-sounding tunes Yesterday or Blue Movie, they’re switching it up with perkier, more upbeat melodies that burrow into the brain and stay there, such as Held.

Gabriel Lewis has crafted guitar tones that shift from shimmering bell-like chimes to enveloping sonic panoramas. The twin basses of Lucy Buckeridge and Giles Simon don’t feature as prominently in the mix as one would expect – not that this is a flaw – but rather combine to merge with the overall aural tapestry.

It’s easy to get lost in the dreamy essence of this album.

Maxillae Leaving, Seaward is an engaging instrumental that gradually builds from humble beginnings, with bass and drums layered to slowly propel the listener skyward.

Missing History is a track that showcases the band’s knack for penning songs that brim with warm, fuzzy sentiment, while Wedding Ring echoes this positive vibe with an indie aesthetic that smacks of ‘90s nostalgia.

Lowtide have succeeded in making an album that combines all the elements that make shoegaze such a satisfying listen when done right: lingering melodies, dreamy textures and more layers than an onion.