Simultaneously sparse and claustrophobic, youthful and mature, familiar and experimental; every note is precisely and perfectly placed, but there is an overall sense of spontaneity that leaves the impression that anything can happen. A trio of DC veterans, including a member of 90s art-punk outfit Pitchblende, Imperial China have produced a remarkably confident and exhilarating debut, following in the footsteps of their hometown forebears while simultaneously striking out on their own and expanding the possibilities. In recommending this album to friends, the best genre I’ve been able to describe them with is the frustratingly imprecise post-post-hardcore. It may not be perfect, but I think it does a suitable job of conjuring their brand of spacious, patient and arty post-punk, embellished with electronic textures, but also not afraid to break loose and rock out.
Beginning to end, I really, really enjoy this album. There is, however, one criticism I have to get out of the way: the vocals aren’t great. The thing is, the band has taken this potential negative and made it work. This possible fault is negated by the arrangement of essentially every song. Vocals are never the focus on this album, except at points where their fragility is to the advantage of the song. Brian Porter’s vocals generally sound shouted from a distance, merely embellishing the songs without overpowering or taking center stage. Songs are generally based around a solid groove in bass and drums, with the guitar and electronics almost commenting on the main groove and providing an interesting counter-point.
“All That Is Solid” opens the album with a simple beat on kick drum and a splash cymbal, soon to be accompanied by a skittering, unresolved guitar riff. This central groove is built to an eerie, claustrophobic high before everything drops away, soon to be replaced by the bass that will propel the rest of the track. Angular guitars battle across channels as the bass holds the stage and Porter yells through the center of the madness. Continuing through the busy, but wonderful “Bananamite”, foreboding “A Modern Life”, and enervating “Corrupting the Integrity of the Grid”, the stand-out track on an album with no weak moments arrives with the unusually placid “Go Where Airplanes Go”, which is also the lead single. The atmospheric synth textures and demure vocals provide the only moment of pure calm and beauty on the record.
While it may not be entirely ground-breaking, Phosphenes shows that Imperial China are a confident, exciting group prepared to step out into their own, with a bright future ahead of them. They’ve created a constantly exciting, vital record that seems primed to inspire creativity and passion in its listener. This is not meant to be background music to be accepted quietly, it demands and deserves your full attention.
Track List:
1. All That Is Solid
2. Mortal Wombat
3. Bananamite
4. A Modern Life
5. Corrupting the Integrity of the Grid
6. Invincible
7. Go Where Airplanes Go
8. The Last Starfighter
9. Letter of a General
