2023-10-17 11:05:10
Rippedda one-man shoegaze project from Kiev, proves themselves through their debut album Maybe in Another Life? with only a short start as a true model student from the venerable Slowdive-School.
Admitted: Maybe in Another Life? is released after just 30 minutes of playing time with the feeling that the album is missing something; that it is much more a test of talent than a fully formulated, perfectly formed work.
Less because the celebrated epigoneism, with its load of reference that explicitly shows the influences of classic shoegaze majesty, does not lay any false trails with regard to eclectic originality, but rather because the individual songs tend to represent rather meandering sketches that are wonderful in their sound aesthetics and atmosphere emerge as completely coherent, all-round goal-oriented copies.
But if the strengths of Rippedd grab it, and this happens over long stretches of the plate!, yes then it gets stuck Maybe in Another Life? a simply great genre exercise that already has so much potential, beguilingly engaging and absolutely convincing.
The more introspective moments in particular turn out great. The completely decelerated, somnambulistic contemplation of the ambient post-rock Somewhere in the Past approximately. The longing wandering of Spaceships, whose gentle streak flirts with the noise feedback. On the other hand, the sublimely sad beauty of, which ends far too abruptly Concept of Doubt or the folklorically plucked interlude that flickers like peaceful morning dew Sleepover Shuttleas well as the epilogue phase emerging from the warm, soft and gentle majesty in the somewhat halting sequencing Echo Turya as well as the piano-dominated title song end credits. Hardly any less graceful The Cure-Gothic sea atmosphere, exemplarily washed out in the reverb and reverb, spreading its melancholy over the thinly clattering LoFi drums Thoughts.
But even those moments in which the dynamics are tightened more stringently do little wrong: when Serenity of Wind brisk, airy and light, chooses a decidedly lively introduction with latent acoustic flair over the ethereal veils of sound, I’m Here really powerful and powerful pop contours over the elegiac-transcendental surfaces, or the grippy one I Forgot Your Name first between Haunted Youth and The Pains of Being Pure at Heart positioned, only to almost dissolve in the middle into the idleness of electronic interference.
Strictly speaking, all of this may not be earth-shattering or exciting – but it is already timeless and promising in such a familiar way that there is something incredibly satisfying about it. You can round up without hesitation.
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