We use cookies to help you navigate efficiently and perform certain functions. You will find detailed information about all cookies under each consent category below.
The cookies that are categorized as "Necessary" are stored on your browser as they are essential for enabling the basic functionalities of the site. ...
Necessary cookies are required to enable the basic features of this site, such as providing secure log-in or adjusting your consent preferences. These cookies do not store any personally identifiable data.
Functional cookies help perform certain functionalities like sharing the content of the website on social media platforms, collecting feedback, and other third-party features.
Analytical cookies are used to understand how visitors interact with the website. These cookies help provide information on metrics such as the number of visitors, bounce rate, traffic source, etc.
Performance cookies are used to understand and analyze the key performance indexes of the website which helps in delivering a better user experience for the visitors.
Advertisement cookies are used to provide visitors with customized advertisements based on the pages you visited previously and to analyze the effectiveness of the ad campaigns.
September 24th sees the release of Five Roses, the widely admired debut album by Miracle Fortress, a Canadian indie rock band lead by Graham Van Pelt. Attracting comparison to artists ranging from The Beach Boys to Animal Collective and maintaining a supposedly melodic swirling beauty throughout, surely it’s a masterpiece, isn’t it?
From the outset, there’s an unmistakeable likeness to My Bloody Valentine. Oh yeah! A direct pulsing beam of sound that drops into a subtle refrain , evaporating back into itself before looping around again. An instrumental teaser for what’s to come. And what comes is every bit as awesome as ‘they’ (Hey wait! Am I part of ‘they’?) said it would be!
As this infectious LP plays, it begs for you to play it over and over, so as to fully infiltrate your psyche, to awaken you, the listener, to the subliminal sublimity lying at the heart of its every openly alluring composition.
Vague vocals sang in a whimsical Hidden Cameras style, ride the acceptably monotonous and repressed echoed sounds of The Field Mice, Curve, Spacemen 3, Reindeer Section and Pale Saints. Entwined into its essence is a strange kind of innocence, a peculiar slant that takes me back to the early career of The Flaming Lips.
Inducing an untraceable source of yearning as it flows freely in its naturally odd and equally soothing way; it really is a strange, sonically sourced creature that you need to let in through the back door! And what the hell, who cares if your mum and dad find out, they wont want to keep it in a box under the spare bed either! With nothing but pleasure and enjoyment to gain from listening to this album, what have you got to lose?