In a city often overshadowed by its DC neighbors, Baltimore has quietly contributed to many musical movements. From new wave and hardcore in the Eighties to a rise in the club scene this century, the town has shown a knack for producing forerunners of the tide. A prime example is avant-garde rock band Wilderness.
Their 2005 self-titled debut was an art-rock eruption of spacey atmospheres and explosive sounds. Vessel States (2006) was a lush follow-up, more restrained than its predecessor. After two years of relative silence from the quartet, comprised of vocalist James Johnson, guitarist/vocalist Colin McCann, bassist Brian Grossman, and drummer William Goode, Wilderness has returned to championing the downtrodden.
Their latest album, (k)no(w)here, was written to accompany a visual art performance by Charles Long at the Whitney Biennial in spring of 2008. It crawls along as one epically trippy exploration.
(K)no(w)here begins very quietly with an organ rising from the darkness. Although a buzzed guitar joins the hum, and drums crash in with the half-time, slumber-shaking riffs, the sounds stay reserved. It’s only when vocalist James Johnson offers his warbling and strained yells that Wilderness sound at all wild. In fact, the best parts of this album are the extended instrumental bits.
The modest nature and atmosphere of the music slightly breaks apart with the addition of Johnson’s voice, which brings an undeniable strength.
Throughout the eight songs, Wilderness flow seamlessly between one piece to another. The group builds up and tears down each song as minimally extended riffs eventually become a cathartic release and the cycle starts over. A very invigorating listen with grand artistic merit, (k)no(w)here is a welcomed return for Wilderness.
– Charlie Swanson
Wilderness: www.wildernesssounds.com
Jagjaguwar: www.jagjaguwar.com