STRANGE RANGER
BIO
In one of the few recorded interviews with the elusive Burial, the producer admitted to spending much of his time walking city streets alone, sometimes in pursuit of an obvious objective, other times because he had nothing else to do. “Being on your own listening to headphones is not a million miles away from being in a club surrounded by people,” he said. “Sometimes you get that feeling like a ghost touched your heart, like someone walks with you.”
It’s a disarmingly earnest sentiment, one that has stuck with Strange Ranger’s Isaac Eiger since he first read it years ago, when the band was just getting started playing house show circuits in and around the mountain West. We are taught to believe that life is made up of a series of arrivals, but it is in the liminal spaces where we most often experience the sublime. Strange Ranger’s transcendent fourth album, Pure Music, was made to be heard in private moments between where you’ve been and where you’re going. Though that Burial quote resonates, these songs have a pulse so strong they’re practically breathing; not touching your heart, but gripping it.
Recorded at a cabin in upstate New York as a blizzard raged outside, Pure Music elucidates the promise of No Light in Heaven, a mixtape that hinted the band was cocooned in a state of near total transformation. Pure Music emerged from the same sessions, and while No Light in Heaven resembles, in places, bygone iterations of Strange Ranger’s sound, Pure Music is easily their most exciting and ambitious work to date because it was made with so little concern for what anyone might expect of them, as if they were a band without history. It's an album that feels out of this time, one that lives in a dimension running parallel to ours.
MUSIC
On Pure Music, Strange Ranger’s new album out on Fire Talk, the band indulges an obsession with Loveless, but they infiltrate any comparison to shoegaze with overtures to disco, house, and experimental pop. The Talk Talk inspired pean to isolation “Way Out” features a moody saxophone, while “She’s On Fire” is only a rock song until just after the midway point, when the drums throb, the snare skitters then snaps, and suddenly, you’re in a sweaty pit of swaying bodies dancing as dual vocals harmonize, “I would have thought the rhythm of the club might lead me somewhere. Pure Music embodies that manic state through interstitial interludes laced with YouTube samples that connect each track to the next so as to submerge the listener in its world, one that rewards catharsis. The alienated might gaze through panes of glass eternally, without breaching the gap between the self and the destabilizing chaos of the world beyond. Riding the train across the East River in the early morning, one witnesses thousands of individual stories, each contained within a glowing square of light, and it's a comfort to know that soon, those strangers will emerge from their solitude to rejoin the city. “Music makes us transcend the feeling of being alienated from or trapped by the world,” the band says. “I want the experience of listening to Pure Music to be euphoric.” Recorded by the band, mixed by Al Carlson and mastered by Joe LaPorta.
Strange Ranger “tap into a reality-adjacent realm, a glitch in the hologram or a break in the simulation” (Paste). Beginning with their cult-classic 2020 mixtape, No Light In Heaven, the NYC-via-Philly quartet departed from their early days of lo-fi indie rock, instead opting for a sound rooted in experimental pop, shoegaze, and electronic music. “Rain So Hard” is scaffolded upon layers of oceanic synths, the trill of a marimba, and mournful guitar. Written while bandmembers Isaac Eiger and Fiona Woodman were in the process of breaking up, “Rain So Hard” captures the romantic loneliness of a late subway ride home. “Any day there will be no more stars,” Eiger sings and Woodman echoes, “How do I get out of this movie now?”
Throughout the last decade, Strange Ranger have been crafting seamless indie music that feels both already classic and precisely of its time. From ‘Daymoon's strains of the Microphones by way of the Pacific Northwest-era indie scene to the dark elation and Cure-reminiscent stylings of ‘Remembering the Rockets’ they’ve become one of the rare standouts of a crop of bands that have managed to grow up with us. More than just a stopgap along that progression, the new mixtape entitled No Light In Heaven holds some of the band’s most experimental and ambitious work yet. Stitched together through a series of sessions at both a house in rural NY and Strange Ranger’s home studios in both Philadelphia and NYC (where Eiger and Woodman moved in 2021], the mixtape possesses something both abstract and astute; the product of a band in transition and a group of people making something effortlessly transcendental out of their new surroundings.
With prior accolades from Pitchfork, the FADER, NPR, Uproxx, & more, Vice has heralded their music as “unpredictable and expansive, a thrilling document of a band with an ever-changing muse,” with “songs that are packed with hooks and an abundance of feeling” (Stereogum). This outpouring of evocative emotion makes the band’s more traditional song structures read like a new breed of pop music in its purest form. From “Needing You”’s effervescent euphoria to string-laden album closer “It’s You,” the record seamlessly fuses together a multitude of genres, where the industrial punch of “In Hell” sits alongside the chopped up vocals and melodic keys of “Get Right Up to the Mic.” The tracklist itself continues in this shapeshifting vein, with the addition of melancholic, drum machine-indebted bonus single “Raver Explanation" in the reissue. It’s another touchstone that adds further dimension to what already sounds like a fully-formulated framework of personal notes and embellishments. It’s also the beginning of a new chapter for Strange Ranger and a snapshot that pushes the boundaries of what rock music can sound like, a continued evolution that has made them one of the most exciting new bands of the late 2010s.
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