i think these reviews from LOSING TODAY, SILENT BALLET, SPUTNIK and AP kinda sum it up..:


Ascent of Everest/We all inherit the moon split LP -:



we all inherit the moon 5 song LP
be fair warned
those brave enough to venture here may well require counselling or at
the very least a re-assuring arm around their shoulder and someone
promising that everything will be alright. Hell we’ve bawled ourselves
dry throughout the three showcased tracks of this the debut self titled
mini full length (5 tracks in case you are asking titled ’part I.….part
V’) from the shy eyed trio known as we all inherit the moon. Limited to
just 500 vinyl copies and apparently by all accounts a thing of visual
beauty featuring as it does exceptional art work, inserts and the kind
of attention to packaging detail that these days sadly seems like a
dying trade. Anyhow before we go off in search of a copy of our own and
earmark it for an immediate full review then I feel a deserved word or
two is called for. Measured and elegantly poised We All Inherit the
Moon craft out the most alluring of fragile snow globed montages that
we’ve had the pleasure of hearing in such a long while. Introspective
and delicate the twinkle some ’part 1’ is a sparsely speckled humbling
experience of pining pirouettes and sleepy headed collages all rested
upon a bed of skittering beats and all trained with a classical eye not
so dissimilar it has to be said to the more mellower inclines of Inch
Time. With its beautifully conceived Satie like piano braids the
frosted ’part IV’ offers a refined slice of intimate sophistication
that gently swells and falls edging itself with ease past your defences
only to thaw and blossom momentarily before softly reclining into the
ether. Best of the set though without question is the lulling
lullaby-esque ’part III’ - a wide screen lunatic suite gliding serenely
through the voids peppered daintily by chiming corteges and no doubt
made of the same stuff that holds the stars aloft in the night sky.
Arresting in a word.


We all inherit the moon 5 song LP
Future Recordings post-rock/ambient drone prodigies We All Inherit the
Moon are quietly one of the most elite groups wielding the genre in
modern music.  Not unlike label mates Oriin, the band is fond of silky
smooth lullabies that crawl close to the epitome of beauty.  On 5 song LP,
We All Inherit the Moon sounds confident with their style of fiddling
the ambient drone knobs and produce a creation sure to be a juicy
magnet for meditate-ers and spiritualists everywhere.
"Part I" is 5 minutes of slow-burning mystical ethereality, blending
the captivating simplicity of an off-rhythm line with jumpy drum
spurts.  The track is optimistic and forlorn at the same time, like
someone rejoicing in the desert or a ghost-town.  There is no one else
here, but the joy prompts restrained celebration in the form of such
music.  "Part I" ends on a delicious drone-out, and the listener is
prepared for more of what the band has to offer.  The much welcomed
"Part II" follows, a continuation of "Part I's" ideas with a smiliar
highlight line and dances softly about for less than a minute before
"Part III" interrupts and reveals a new direction.
"Part III" is a deep, majestic complex, boasting gorgeous, drawn-out
synths that finishes its imposing repetoire only to give a sneak peek
into more post-rock gleanings the band is poised to take.  As the
audience, we would expect "Part IV" to reflect the motif "Part III"
utilizes towards its conclusion, but instead, "Part IV" is a delicate,
piano-driven piece that is actually quite aggressive for the album's
nature thusfar.  There is no disappointment however; scathing drones
and romantic drum beats invade "Part IV," making for a listen not
unlike that of previous tracks - it is engaging, haunting and flooring.
When "Part V" ends 5 song LP with a return to an ambient drone
line-of-thought, the record feels startlingly short for its style of
addition by subtraction music (there is not much going on at any time,
so as to bring out the beauty of its core), and listeners are left cold
and ravenous for more.  Nevertheless, 5 song LP is a vinyl
record, complete with an intricate bag and some absolutely breathtaking
artwork, making it a must-not-miss purchase in the world of soft
music.  Relatively unknown bands like We All Inherit the Moon may never
hit the widespread fame Mono or Explosions In the Sky enjoy, but they
certainly rank among the best kept secrets in modern music.


5 song LP
 The advent of electronic instruments has made the task of conveying the
sounds of nature all the easier. Despite that subtle irony that
something artificial can attempt to recreate what is natural, it is
this ability that has caused the rise of ambient artists. Perhaps the
most common allusion to nature in these newfound sounds, especially
with guitar effects, is the sound of the ocean. Countless times have I
listened to music and imagined the regularity of the tide, the moon
pulling and twisting the ocean in a way so complicated that few begin
to understand its patterns. Yet we do, as this young band notes, all
inherit the moon and its powers, and take it for granted.

The music of We All Inherit the Moon certainly fits the name of their
band and debut mini-LP. It's ambient in the sense that it drifts,
almost aimlessly, but has an underlying rhythm to it that connects
everything. The melodies soar without any regard for time signature or
regularity, simply because there isn't any noticeable groove to any of
the album. In fact, hardly any of the album has any percussion at all.
“Part I” uses it – a splash of rim clicks, snare hits, and cymbals used
only to disorient the listener further. “Part IV”, the anomaly of the
album rhythmically, melodically, and harmonically, has an intelligible
rhythm (with drum accompaniment) and melody about it, and might fall
well into an Explosions in the Sky or This Will Destroy You album. The
rest of the album works much like the tide, endlessly growing and
fading, together but not precisely, with each voice having its own
separate path.

Reliant on guitar effects and sparse piano, the album draws its sound from Eluvium on Talk Amongst the Trees
with a tinge of Hammock, but more layered due to the abilities of
having multiple members. Harmonically, the album is quite static, with
most songs based around one chord (in fact, Parts I-III stay in the
same key). Thus, the free nature of the music allows it to thrive more
than anything. Both relaxing and enthralling, its placidity allows the
listener to relax in its atmosphere, but the constant tension and
release created by all the entering and exiting guitar tones is enough
to warrant a close, detail-oriented listen.

Of course, the 19 minute mini-LP passes quickly. Some of their
contemporaries have written songs longer than the entire album. Still,
its brevity is more of a strength than anything, since the few tricks
they have up their sleeve never wear thin. Despite the album's central
tonality and nature, it lacks an intelligible flow from song to song.
The album starts and ends without any real meaning; in fact, “Part IV”
might have made a better closer than “Part V.” “Part IV” is clearly a
high point and place of resolution, entering a territory of familiarity
for the listener. Still, the meandering style, entering and exiting as
it pleases, all helps create that oceanic image.
Stream and download the entire album at www.myspace.com/weallinheritthemoon


We all inherit the moon 5 song LP
I bumped into an old bandmate the other day who happened to be sitting in the same row as me and my mum at Pentangle’s
40th anniversary concert at the Royal Festival Hall, and being the kind
of show that it was, he happened to be with his mother as well -
there’s evidently something about Pentangle which appeals to
middle-aged women and adolescents alike. Anyway, we went for a drink
afterwards to catch up, and as he had recently finished his course at
the Brighton Institute for Modern Music the conversation ended up
revolving around the rather confusing state of the music industry at
the moment, as well as the inevitable guesses as to exactly which
direction everything is going to move towards. I mentioned my own
fairly banal and self-explanatory views that an ever greater emphasis
will probably be placed on self-production and self-management, as well
as a general effort being made to ensure that physical copies of
records are made to feel more personal on the behalf of both artists
and consumers. This is nothing new, of course, and I’m not suggesting
it as a revolutionary solution, but rather one which I think will be
increasingly practised by artists who wish to create a real incentive
for people to buy their records instead of contenting themselves on
downloads alone.
I’m thinking of HORSE The Band’s limited edition of their Pizza EP,
which came in a hand-numbered pizza box on a pizza-patterned picture
vinyl, complete with a menu by way of a track-listing. Gimmicky,
perhaps, but the speed at which these copies of the EP sold out would
suggest that it was a fairly successful move by those pioneers of
Nintendocore. SikTh’s idea of including a hand-signed poster with every single one of the first 10,000 copies of Death Of A Dead Day also springs to mind – I was certainly first in line at my local record store on the day of its release. It would seem that Sigur Rós
have also been attracted to this particular bandwagon, albeit in a
rather different (and, dare it be said, more lucrative) way: anyone who
pre-orders the €65 “deluxe” edition of Með suð í eyrum við spilum endalaust gets their name printed in the book it comes with.
The general idea of all of this is simply that a jewel case with a
shiny paper insert isn’t really sufficient any more. It’s not just
reclusive audiophiles who lust for the days of yore when vinyl was the
only option available – people seem to have started to realise that
packaging and artwork are actually an integral part of the entire
experience of getting a record, and it has taken the absence of such
things in digital releases to bring about this realisation. As Zach
Mills alluded to in his write up of “Part III” by We All Inherit The Moon
(WAITM), this young band would appear to be fully wise to this dawning
awareness. When it was first released, their self-titled mini-LP was
made available through free MP3 downloads or vinyl alone. The latter
comes with a unique etching on the B-side in a hand-sewn, hand-printed
cover with artwork by John Thompson, complete with an
individually signed print of another of his pieces. To decide between
that or five 128kbps MySpace quality MP3s really isn’t the hardest of
choices. Since then, WAITM have actually removed the free downloads,
just to make the decision that little bit easier.
Unfortunately, whether or not packaging and artwork are as integral a
part of the purchasing of a record as I would believe, they are not
quite so important as to render the quality of the music itself
irrelevant (and indeed I can think of a fair few wonderful records with
pretty abysmal artwork – Gore Motel by Bohren & Der Club Of Gore
most immediately springing to mind). I would be somewhat missing the
point of my role here if I were to give in to the temptation to set a
few points aside for WAITM on merit of their artwork alone. It is a
happy coincidence, then, that what lies behind the careful presentation
is a very engaging collection of songs, if a very short one.
We All Inherit The Moon opens in “Part I” with a smattering of Triosk-esque
percussion underneath various effected guitar parts, and continues in
like form for the rest of its duration. The drums are perhaps the most
interesting aspect of this opening track, at times sounding like the
clattering of cutlery in a sink but never so loose as to lose control.
This is no grand statement of an opener, but rather a pace-setter for
the gentle ambience of the rest of the album, all of which seems to
shyly tease at the true height of the band’s aspirations. Perhaps the
clue is in the name, with the subtext of the word “inherit” being that
lunar heights have yet to be achieved. “Part III” again hints at the
potential, yet sounds more as though it would be at home in a 1970s
documentary about space than actually out in the cosmos itself.
At times it feels almost as though WAITM are holding back, testing the
water before fully immersing themselves. About halfway through “Part
IV”, a loud guitar drone suddenly kicks into action, soaring above the
first full drum beat of the record. For a moment it feels as though the
seduction has been thrown out of the window in favour of a more direct
and instantly satisfying approach, but the whole glorious release
quickly fades back into the reservation of the rest of the album. It is
not disappointing in the sense that such a reserved approach is a bad
one to take, but rather in the sense that one almost feels cheated as a
result of having come so close to absolute fulfilment. We All Inherit
The Moon definitely sound like a young band, but in the least
pejorative way possible. I eagerly await their next release and hope
that they continue to value artwork to quite such an extent.


We all inherit the moon/The Ascent of Everest Split LP
The latest Future Recordings project is one that redefines
the theme of its discography.  This time, the "post-drone" label
has brought ambient masterminds We All Inherit the Moon and post-rock wizards
The Ascent of Everest together in a 7 track split that may very well sets the
standard for modern day music from the respective genres.  The aptitudes
of both acts join here to craft an album full of adrenaline rushes and
unforgettable meditations.
The first 18 minutes or so of the album is inhabited by The Ascent of Everest's
Godspeed You! Black Emperor-taught progressive indie/post-rock epics, complete
with vocals, juggernaut crescendos and captivating gypsy-like string
arrangements.  The two tracks penetrate ample grandiose territories, at
times quiet and beautiful and at times, soaring and completely worthy of a spot
on a Lord of the Rings soundtrack.  Each note flows flawlessly into the
next and every instrument plays in a precise, yet emotional manner, creating an
awe-inspiring atmosphere that can be quite crippling if unexpected. 
The incorporation of The Ascent of Everest into the split is really what
stretches the label's discography; their music alone carries the monumental
character necessary to accomplish such a task.  Yet one must be meticulous
in not forgetting to move on past the opening tracks' enchantment, as there is
more to appreciate.  Indeed, We All Inherit the Moon juggle the second
half with equal dexterity and musical knowledge, evolving their strictly
ambient-drone sound on their full-length 5
Song LP to include majestic cellos (as heard in “…and ever. Part III”) and
other twinkling novelties, all the while retaining the concise attention span-keeping
song structures the band excels in writing.
The second half is really as ambitious as the first, though
in a different way – the split allows listeners to track We All Inherit the
Moon’s progression, which is noticeable as they refine their sonic character
into more mature melody patterns and appropriately placed drones and
buzzes.  However, both halves boast intriguing
first-rate definitions of the word epic, and with 7 tracks of “all killer no filler,”
it cannot be emphasized enough how excitingly powerful this split is.  I’ll leave it at “absolutely essential post-rock
music record this year” and let the music do the rest.



We all inherit the Moon 10 song cassette/8 track tape
Scotch Tapes
Okay two things we want to immediately get off our chests regarding this release and I’m only going to say it once so pay attention, and no don’t start thinking that as its in script form that you can re-read back if it happens that what I’m about to say appears slightly of interest because young folk I’ve typed the following bit in invisible type set and just in case that fails its set to self destruct though not before spraying the offender in a coat of un-washable day-glo orange dye, so unless you don’t mind looking like an oomph loompa throughout the summer months - take heed. Firstly - this babe is limited to just 30 hand numbered cassettes and is being released by those ever wonderful people over at Scotch Tapes who regular readers ought to be more than familiar with given we’ve featured a fair amount of their wares during the course of the last few months (alas that ever crucial Tayside Mental Health release is still high on our wants list). In addition - and being the impish souls that they are with their fondness for redundant formats (which as it happens we kinda miss) - there’s also an incredibly limited 8 track cartridge version kicking about. Secondly - hailing from Antarctica (according to their ms page at www.myspace.com/weallinheritthemoon - which we recommend you check out the instant we‘re done here) trio We all inherit the moon have already claimed the honour of near bringing us to our knees with their aching astral arcs way back last year when we cast an eye over their aforementioned my space page (you can read the review in full at http://weallinheritthemoon.blogspot.com/). Of course our deepest regret was not following up our promise to pursue a copy of their ultra limited 5 track debut vinyl full length which if I recall rightly aside anchoring their most desirably lulling suites was possessed of some most attractively eye catching artwork. Since then it seems they’ve busy cobbling together a limited vinyl split release with friends The Ascent of Everest (again we’ll have to try and source in order to fill the lovely little gap we’ve made for it in our record collection) as well as appearing on a Silent Ballet compilation entitled ’the crystal sounds we heard as ice bears’ alongside the likes of the Library Tapes and Danny Norbury.

So that’s the domestics done with then. As to the actual release as said limited to just 30 copies - which incidentally for those of you with a need for such detail our copy being a beautifully sculptured #4 - ten tracks feature within that appear - unless we are very much mistaken - to feature all the cuts featured on those two aforementioned vinyl outings. Side one comprises ’part I - V’ from their debut set, five softly orbiting salutary satellites, all at once frail, fragile, sensitive and spectral, beautified star lit baubles appearing almost suspended and frozen in a moment that dip somewhere between slow core ambience and majestic epitaphs. Magnificent and head bowed these tear stained tenderly framed and fixed opining apparitions hover and shimmer with a distractive melancholic tug as though transmitting forlorn distress calls into the silent ether. Their texture slight and deftly drawn in feint monochromatic shades builds gradually in stature with each passing cut to assume focus, depth and beauty. Opening to the snow globed weightlessness of ‘part 1‘ and ‘part 2‘ - sweetly crushed these sepia trimmed spectres wallow and coo their lonesome serenades amid hazy washes made up of shuffling beats, tantalising keys and the aching dream weave of delicately tethered needling riffs. Shy eyed and hypnotic its with the onset of ’part III’ that the mood slowly begins to turn wherein a more wide screen aspect is procured, cast amid the twinkling swathes as though a cosmic symphony this gem aligns into view, radiant and sleepy headed dispatching its alluring lullaby like charm which to be frank we’d opt to call statue-esque. If ’part VI’ doesn’t get your heart skipping beats then you’ve had it - either that or your totally bereft of emotion, a gorgeously caressed moment of sophisticated intimacy dimpled by the arresting cortege of Satie like key braids which leads perfectly to ’part V’ - which despite its want to withdraw and recline back to its hidey hole is shrouded in all manner of glacial tonalities which on closer inspection appear to be thawing to reveal something desirably quietly jubilant. An absolute treasure by our reckoning.

If anything side 2 - which we’re assuming features their side of the split set with the Ascent of Everest - reveals a growing maturity and confidence in their approach to compositional structure. Still retaining that melancholic underpin, there’s a bitter sweet optimism that shimmers into view within this suite, ‘our hearts forever like the sun - part 1’ is best described as succulent - a star lit night show of glassy swirls of opaque reverberations that shimmer and twinkle in an almost shoe gaze like abeyance. This side of the set pitches perfectly a slow to burn cocktail of elegantly symphonic grandeur with the amorphous snow bursts of fizzing feedback. Here you‘ll be arrested by the glacial drone sculpturing of ’our hearts forever like the sun - part 2’ and the bliss driven intoxia of the classically pitched flotilla that is ’…and ever - part I’ pierced as it is by sun scorched effects glazes. While elsewhere nothing quite prepares you for the humbling and numbing tear stricken and desolate overture ’’…and ever - part 2’ with its tail gating stratospheric feedback fractures and moments of Fripp like riffola. While guaranteed to bring you back to earth the parting ’…and ever - part 3’ may just have a fair few of you requiring some comforting re-assurance as the measured and classically honed string saturated opines unpick your defences with the deftness of a magician’s slight of hand and do their heart breaking damage. Inconsolable stuff. Frankly we want those vinyl releases yesterday.

www.myspace.com/scotchtapesincorporated

Key tracks -

The whole thing of course.