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First Released

Calendar Icon 2011


Genre Icon Post-Rock


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Style Icon Rock/Pop


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Release Format

Release Format Icon Album

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Album Description
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Gangs is the second studio album by the Northern Irish post-rock band And So I Watch You From Afar, released on April 29, 2011 on Richter Collective. All songs on the album are written by the band. Gangs was released to positive critical acclaim. At Metacritic, which assigns a normalised rating out of 100 to reviews from mainstream critics, the album received an average score of 68, based on 9 reviews, indicating "generally favorable reviews." Allmusic reviewer Dave Donnelly referred to the album's sound as "weightier and more abrasive than its predecessor" but criticised that it was "tailored for the stage" which "sacrificed some of the beautiful flow and elegant dynamic." He awarded the album three and a half out of five stars. Writing for the Austin Chronicle, Adam Schragin said that Gangs "spins an enormously wrought piece of work that finally matches the band's inflated aspirations with production values" but called the songs "oddly unmemorable" in his two out of five star review. BBC Music writer Brad Barrett praised the album, summarising it as "an album strewn with the debris of a war march, albeit one laced with smirks and triumphant songs" and noted how it "starts to feel textural as opposed to bludgeoning." Simon Jay Catling of Drowned in Sound rated the album nine out of ten and described its music as "maelstrom of dexterity [that] gives way to great waves of squalled sound."

Text from Wikipedia under the Creative Commons Attribution-ShareAlike 3.0 Unported license.
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Album Review
As important to any album where maximum volume is its central theme is its punctuation. With no vocal lines to emphasise dynamics, Belfast quartet And So I Watch You From Afar have excelled at pushing riffs or motifs to their logical centre stage; a place where few dare to tread in fear of exhausting their audience.
While the songs on this second LP are based around precious few new ideas – many of which can be heard on their 2007 mini-album This Is Our Machine and Nothing Can Stop It, their 2009 self-titled debut album and the following The Letters EP – it's the introduction of a particularly resonant mantra, such as halfway through closer Lifeproof, that brings the barrage of blows an unexpectedly elegant quality. For the most part, though, Gangs is an album strewn with the debris of a war march, albeit one laced with smirks and triumphant songs.
When notes are bent chronically out of shape on Gang (starting never stopping) or when the dub influences and flowing Mellotron-like whispers sneak in on the first half of Homes, the album really starts to feel textural as opposed to bludgeoning. It's here that ASIWYFA reveal possible new paths they will follow. It is within Homes, this album’s centrepiece, that the full range of sonics they've employed since inception really collide into each other. The feedback-soaked fake ending sounds as if you've just spent the last 20 minutes being shelled, the ringing in your ears gradually subsiding.
But while the relentlessness of it could be off-putting, Gangs is laced with syncopation, breathing space, warped tones and – most importantly – a sense of travel, with a beginning middle and end. The waltzy intro on 7 Billion People All Alive At Once is a delightful breather which later blooms into a hearty seafaring gang vocal, while the high-pitched pinball sounds on Search:Party:Animal signal a landmark in the band's orienteering.
There's no getting away from the distortion, the overclocked thrumming strings gushing from the amplifier speakers; but why would you want to? It's what ASIWYFA do best: hyperactive flurries of notes, squealing crescendos, riffs upon riffs with some modulated into glitchy oblivion. The rhythm section anchors it all without dragging proceedings into tedium. The jaunty melodies and jagged incisors savaging them into bite-size shapes remain engaging for the full 45 minutes, proving that the loud and voiceless do not have to sound ineloquent.
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