Back in 2018 the band released ‘The Amulet’, a thoughtful, soaring record that seemed to be the pinnacle of their creativity. Logically, ‘Two Dreams’ is the next step, but it’s a different approach. There are more keyboards, more loops, the songs are focused yet freer, and despite all this it’s still recognisably their sound; atmospheric rock, filled with effects-drenched guitars and powerful basslines all lead by Anthony Green’s heavenly vocal melodies. It’s the same type of song, but they have a slightly different approach. They share the same sense of atmosphere and the same delicate beauty. Every song is distinctive, every song feels quality; years of experience mean they know how to carve an effective song, even when trying new things. It’s gently experimental and feels fresh.

Let’s make something clear; firstly, this is a great collection of songs, you could listen to anything here and be impressed, immersed and even moved. Every song merits discussion, every song is doing something different but it’s also slightly underwhelming as an album; the thing that’s missing is focus.

Clocking in at just under an hour, there is plenty of music to sink your teeth into. The six songs, making up part one, ‘A Dream About Love’, is the more delicate and beautiful, with ‘Imposter Syndrome’ setting the tone. It’s solid, possibly even great. This is their new sound, and a firm interpretation of this approach. There’s a rawness and the snapping snare drum hacks a strong emotional beat. By comparison, ‘Gone For Good’ is so delicately beautiful that the sound of fingers sliding across a fretboard is its main refrain. In the middle ground there’s a propulsive energy to ‘Sleep Well’ created by a drum shuffle and gentle keyboard riffs, but it’s at its most immersive on ‘Drift’ which rides along on Nick Beard’s roaring bassline.

The album’s second half, the stronger half, is made up of ‘A Dream About Death’. Broadly similar in structure, it feels like a distorted Rorschach blot of the first, mirroring its form in unusual ways. It’s at its most easy and beautiful on ‘Die On The West Coast’ and the most experimental on ‘Late Nap’ where the stabbing keyboards and its stubborn refusal to stay in one form feel really unusual and yet, it’s Green’s voice soaring over the top that holds everything together. The clearest example is the song ‘Curitiba’ which feels like a butterfly crawling from its chrysalis; what appears interesting, even ugly, becomes striking as it opens its wings.

Circa Survive are over, but Green is still a member of Saosin and supergroup L.S. Dunes – not to mention his solo albums – however this band has been his main avenue of expression and there is an approach to the work here that he doesn’t capture elsewhere. The context is different, more specific, and he sings in a different way so this is a poignant end, and when he wraps his vocal chords around ‘Sleep Well’ it’s hard to think of a better performance. You’ll also notice the way the song dovetails with ‘Discount On Psychic Readings’ as structurally they tread the same ground, albeit one with optimism and one without hope.

Recent speculation about the band’s demise proved to be true, but Green took to Twitter to deny it, so it’s fitting that the overriding theme is death and dissatisfaction. Even on the songs explicitly about love, his lyrics address what he thinks or perhaps wants love to be, not what is it. There is also a notable repetition of the phrase “It’s like I wasn’t even there” during the outro to ‘Discount On Psychic Readings’ making it feel like a persistent denial, and you’d swear it was about the band’s disintegration. Indeed, there’s something quite fitting about a band whose music often had dreamlike qualities saying goodbye in the form of two dreams.

Ironically, there’s a good chance these twelve songs were originally split over two EPs because they didn’t feel cohesive and squashing them together in one long piece means the track order is loose and ineffective. Halfway through, the six-minute ‘Our Last Shot’ gets stripped apart as it reaches the end of its runtime. Green finishes singing, the band keeps playing until everything has fallen away, which would have made the perfect closer to the album, and their career, but no one seems to have thought of that. Instead, we’re left with ‘Buzzhenge’ as the closing track, and although its final refrain begins ‘…you want me to stay’, the music is out of step and it’s a missed opportunity. Shuffle the songs around and you get a more satisfying journey, but as it stands, the album is a series of fractured images, fitting oddly together, making for a slightly disorientating experience. In fact, ‘Two Dreams’ is an almost perfect name for it.

Much like a lover struggling to find the right words to express their loss, ‘Two Dreams’ isn’t sure what it wants to say. It’s a charming yet unfocused goodbye, wandering through memorable soundscapes and bewitching you with its charms. Although it’s an end, it’s a dream you just don’t want to wake up from.

 IAN KENWORTHY

1. Glassjaw – ‘New White Extremity’

Any fan of the band simply couldn’t ask for a better opening track for the first full-length release in 15 years, an absolute abominable banger of a tune! [Gary]

2. Thursday – ‘Autobiography of a Nation’

‘Full Collapse’ had such a huge impact on  my playing. I love the chord progressions and shapes on this album and I think a lot of this influence still comes out in my writing 15 years on. It was hard picking one track, but this just edges as a stand out for me. [Dave]

3. Bear vs Shark – ‘Catamaran’

This song is just an absolute lesson in fast punky melody and vocal delivery. Just love the random jump in tempo after one line it hits you like an uppercut. [Seán]

4. Sparta – ‘Guns of Memorial Park’

The big tom rolling and ambient production just gives this track a really melancholic tone that I love with really catchy vocals of the era. [Seán]

5. Radiohead – ‘Airbag’

On a personal level this track is a big driver behind the type of atmosphere and sound I aim for when writing. [Brett]

6. A Perfect Circle – ‘Judith’

‘Mer de Noms’ is packed with great lead work that is not to fussy, also a massive influence on my playing once again! [Brett]

7. The Mire – ‘Stone Devils’

The final track from the album ‘Glass Cathedrals’ is huge and emotive; post-metal at its finest! [Mark]

8. Alexisonfire – ‘Grey’

I got in to Alexis quite late and I think I prefer them at their weirdest. I love the muddy guitar tones and vocals on all of ‘Dogs Blood’, and the spooky reverb and feedback lead lines on ‘Grey’ are awesome. [Dave]

9. Circa Survive – ‘House of Leaves’

Best secret track ever… just when you think it couldn’t possibly get any more massive, it does. Atmosphere up the yin-yang! [Gary]

10. Hopesfall – ‘The Bending’

Hopesfall are one of our biggest collective influences and this track encompasses the true awesomeness of the early ’00s sound that we love so much. [Mark]

With more than a decade of experience between them, Circa Survive are an engine that functions perfectly. Each member’s stunning performance on this record proves the quality of the individual parts, but the real power is in the synergy that’s created by each piece working harmoniously together.

The guitars of Colin Frangicetto and Brendan Ekstrom provide the fuel for the entire record, their beautifully selected chords and lead lines creating a wonderfully ethereal atmosphere that underpins each of the ten tracks. Opener ‘Lustration’ dances excitedly with vibrant chords before Steve Clifford’s expertly timed rhythm-change alters the dynamic completely, softening the mood. Clifford’s broad spectrum of drum patterns adds versatility to the record and plays a vital role in changing the direction of each track, adding unpredictability and freshness to each composition. Nick Beard injects a swelling of bass at the midway point with ‘Stay’ and ‘Rites of Investiture’, coming in just at the right time to build power and momentum into the album’s closing stages.

As expected, Anthony Green’s iconic vocals shine throughout, but there’s a freedom and energy to his voice on ‘The Amulet’ that makes this performance particularly noteworthy. The beautifully considered verses of ‘Premonition of the Hex’ bring fresh melodic arrangements that counter the ferocity of ‘Never Tell a Soul’, showcasing one of the widest ranging vocal displays we’ve heard from Green in some time.

The core of Circa Survive’s sound has always remained the same, but each record has a distinctive atmosphere and philosophy which sets the aesthetic of each. ‘The Amulet’ feels like the most comprehensive collection of everything the band has done to date, with a fresh, ethereal veneer layered over the top. It makes for one of the most enjoyable and addictive Circa Survive experiences since the benchmark-setting brilliance of ‘On Letting Go’. The lyrical theme of the record hints at finding comfort in uneasy situations and, though there might be plenty of reasons to feel discouraged by what’s happening in the outside world, ‘The Amulet’ provides a wonderful moment of escapism and a timely reminder that there’s beauty to be found.

MARK JOHNSON

The track is taken from their upcoming sixth album, which is set for release on the 22nd September via Hopeless Records.

photo: Hayley Rippy

Showing no signs of slowing down, ‘The Amulet’ is the most cohesive and energised the band have sounded for many years, drawing on their experience as a unit to create a perfectly balanced, addictive record. If you haven’t done so already, the warm, soothing tones of ‘Premonition of the Hex’ should convince you to pre-order the record, via this conveniently provided link.

It is the title track from their upcoming sixth album, which is set for release on the 22nd September via Hopeless Records.

photo: Hayley Rippy

The song is from the band’s upcoming sixth album, ‘The Amulet’, which is set for release on the 22nd September via Hopeless Records.

photo: Hayley Rippy

It is the first single from the band’s upcoming sixth album, ‘The Amulet’, which is set for release on the 22nd September via Hopeless Records.

photo: Andrew Swartz

It has been 14 years since the reformed Sunny Day Real Estate released ‘The Rising Tide’, and longer since the original incarnation of the band, featuring bassist Nate Mendel, released ‘Diary’ and ‘LP2’.

After rumours of new material back in 2009, the band have now confirmed they are releasing a split with Circa Survive on Records Store Day (19th April) featuring one new track from each band.

‘Lipton Witch’, the new Sunny Day Real Estate track, will sit alongside ‘Bad Heart’ by Doylestown residents Circa Survive.

The release will be limited to 2,400 copies on burgundy vinyl and 100 clear copies.

It’s called ‘Violent Waves’ and will be released on August 28th. You can download ‘Suitcase’ using the widget and read a statement from a band in this article. Listen to ‘Suitcase’ at http://circasurvive.com/.

“Greetings All!

Circa Survive”

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