Rocinate

Album Review

I have a strange relationship with Tulsa, Oklahoma's Ester Drang. Maybe “relationship” is not the right word, but my response to this space-rock band's music has ranged from deep emotional connection to outright boredom. I found Goldenwest to be a charmingly flawed, emotional record that captured what was going on in my life in 2001. Songs like “That's When He Turns Us Golden” and “How Good Is Good Enough?” still resonate with me. But 2003's Infinite Keys sounded less interesting as the band backed away from sonic crescendos for a lighter, more song-based approach. My connection to Goldenwest remains, so I eagerly anticipated Rocinate. This full-length CD was several years in the making. Given the caliber of the other projects its members—most notably drummer James McAlister—had worked on in the meantime, fans had every reason to expect something more ambitious and carefully crafted. That is exactly what Rocinate delivers.

Rocinate combines the moody, multilayered qualities of Goldenwest with the stronger song structures of Infinite Keys. Ester Drang weave together guitars, keyboards, horns, strings, inventive percussion, and layered vocals. Their music occupies territory somewhere among Radiohead, Coldplay, the Flaming Lips, and Starflyer 59, but surprising touches keep it from sounding like an imitation of any of them. Bryce Chambers gives his most confident vocal performance yet, and his voice sits farther forward in the mix than on previous Ester Drang releases. The result is an interesting, sometimes outright fun album that defines the band's sound while pushing it into new territory.

The disco-tinged “Come Back Alive” opens the album with Ester Drang's familiar melodies and liquid guitar playing adapted to a new groove. It slithers along on a punchy horn line and playful beat without losing its darker edge. A 1960s-influenced piano passage, dense drums, and bending strings support Chambers' layered vocals. “Valencia's Dying Dream” begins with a piano and drum introduction reminiscent of Coldplay, but soon finds its own identity as pliable guitars enter. It builds to the biggest crescendo on an Ester Drang release since Goldenwest, with aggressive guitars and pounding drums. “Grave Mistake” is another multilayered gem, pairing delicate background vocals with Latin-style clapping, keyboard warbles, and a mixture of live and programmed drums. The mood is sleek yet sullen. “Hooker with a Heart of Gold” softens the sound with lush strings and an almost 1970s-style melody.

“Great Expectations” sounds like a slowcore song recorded underwater—and I mean that as a compliment. Distant vocals, drones, operatic backing voices, and subtle percussion lead to an extended instrumental ending full of detail. As its chiming keyboards fade, “Everyone Is a Victim” begins with a wailing guitar before turning into a nearly radio-ready pop-rock song. Horn riffs and one of the band's catchiest melodies give way to a brief, powerful space-rock outro. “Smoke and Air” lives up to its title, with a breezy melody and soft instrumentation reminiscent of Infinite Keys; it later builds toward a Motown-like outro with horns and a playful beat. On the instrumental “Caledonia,” McAlister's frantic drumming helps lift an assortment of experimental sounds into a soaring mood.

“White Lies,” the album's longest track, has a lovely melody, lush production, and a Jason Martin-like guitar line winding through the mix. Eventually, it turns into a dark space-rock jam that shows the band's instrumental strength. “Proustian Moments” closes the record with a melody suited to Goldenwest's darker moments. The music threatens to float away, but the melody and busy drumming keep it in focus.

I've waited a long time for Ester Drang to release a CD that matches the intensity and ambition of Goldenwest. I have yet to form quite the same emotional connection to Rocinate, but it feels like the Ester Drang I've been waiting for has returned. Three years of writing and recording have paid off. This is a solid release with inventive arrangements and more than a handful of moments the band should be proud of. Recommended!

— Brent