I can always rely on Ryan Bisset (aka Halftribe) to deliver an album that totally speaks to me. Also, a label (Dronarivm) that includes Brock Van Wey (bvdub), is likely to present a joy. Backwater Revisited is definitely that. Most of this summer Halftribe (along with Warmth – Wildlife) have soundtracked my sleep over the summer.
Backwater Revisited, the 4th album by Halftribe, unsurprisingly comprises instrumental landscapes underpinned by lightweight drones. It follows hot the heels of 2018 For the summer, or forever, which was one of the musical highlights of 2018. It’s fair to say a Halftribe release is much looked forward to at Jaykits HQ.
Backwater Revisited kicks off with Tuning Out, which immediately evoked memories of my teenage (late teenage) years and particularly a Creation label act called Sheer. A simple pulse, a repetitive growl, a piano layer and distant vocals create a dark but enticing opening. What follows, over the course of the remaining 12 tracks, is pure beauty. Drones, stretched whispering vocals, keys and softly plucked, heavily filtered guitars predominate as is perfectly evident on More than Autumn.
The entire album never feels hurried. There is always this feeling of space and, despite the relatively repetitive nature of some of the tracks, it never feels overly long. The track lengths are kept to a minimum, only breaking through the 6 minute barrier when the album goes Off Kilter. Curiously, this track really reminds me of I’m not in Love by 10CC. You can make your own mind upon about that. Ideosyncrasy, changes the key but not the mood. It is darker but still maintains the feel overall. I could wax lyrical about the remainder of the tracks on Backwater Revisited but they are primarily variations on a theme. This is no bad thing at all, as for soundtracking sleep there are no surprises. After all, even Dark Side of the Moon has Money to shake the listener from their stupor. Interestingly, the least effective album track is the title track. There is little to lift the drone that forms the basis of this piece. A special mention should go to the fluttering keys of Kaja and the majestic closer Linear with the sound of the dawn chorus.
This will no doubt feature in many end of year lists. It’s already in mine.