Anyone who’s been paying attention to the post-rock scene during the past decade is more than likely aware of how prolific RANGES have been during that time; since 2014 the band has released ten studio albums, two live records, and another ten limited-edition cassettes quietly circulated in conjunction with everything else. The LP’s and cassettes have exhibited their explorations of two separate ideas – the former focusing on more traditional, powerful post-rock instrumentation, while the latter lean more into subdued ambient soundscapes. Every composition ultimately has a carefully considered presence that informs the overall concept that permeates the entire RANGES catalog, but to this point the two stylistic approaches have not intertwined. That is, until now, as their new album Cardinal Winds reveals a crossing of these threads, their individual evolutions culminating into an inspired, cohesive whole.
As recently as The Ascensionist one could still see spaces where RANGES were continuing to develop their sense of self and define their sound; there were times when the songs felt more contained, more rigidly structured, more locked into a steady mid-tempo and strictly defined roles. As the songwriting duties expanded across the band members on Babel there was a greater sense of looseness, each instrument having more of a unique sensibility as opposed to simply towing the line for a pre-determined arrangement. That feeling is even more prominent on Cardinal Winds: Mark Levy’s drums are the beating heart of the record, a living, breathing thing essential to the forward propulsion and paramount to the heightened dynamics that make this their most affecting, resonant collection of songs to date. Joey Caldwell’s presence has been felt in full throughout these last two records, and his intuitive feel for moving melodies is central to each track’s dramatic thrust.
RANGES began life as a studio project spearheaded by guitarists CJ Blessum and Wilson Raska, and the early recordings reflect the way in which their artistic sensibilities birthed the blueprint for their basic sound. But the true blossoming of the band occurred once they redefined their roles – Blessum focusing on concept and practical execution, Raska on multimedia and visual content – and gave Caldwell and Levy more space to spread their wings musically. What listeners will find on Cardinal Winds are nothing short of some of the finest post-rock compositions of the moment. Look to the forceful and instantly memorable opener “Abyss,” which begins with one of the band’s heavier refrains before transitioning breathlessly into a towering and instantly memorable melodic hook. Or tune in to “Sojourner,” which leads with a thoroughly entrancing section strangely reminiscent of modern chillwave (an influence that is later seen in the synth elements that give additional texture to the title track), eventually developing toward a soaring second half complete with ethereal choral elements hovering just above the surging finale.
The back half of the record maintains the high dramatic bar with “Solace” - maybe the album’s most powerful offering - and “Deluge,” which is no passive closer, launching itself toward the finish line on the back of a muscular bass line before closing on yet another earworm melody. One can’t forget the brief ambient tracks, which play a small but crucial role as the connective tissue creating a full stop between each song and ultimately drawing everything together. Over the years RANGES have built their reputation steadily as a band fiercely dedicated to their independent spirit, impressively capable of executing large-scale concepts from a small-scale operation, and thoroughly committed to providing fans with a memorable live experience no matter where the stage may be. They’re one of the few bands that can say they’ve consistently gotten better with each successive release, and Cardinal Winds is no exception – an inspired, exhilarating record that reveals them on top of their game as a unit, locked in and resolute as they deliver a career-best performance with one of 2021’s finest post-rock releases.
- David Zeidler (Young Epoch PR)
DISCOGRAPHY
VINYL / CD / DIGITAL
CARDINAL WINDS (2021)
Digital, CD, and LP Vinyl Release
A Thousand Arms Music (US)
dunk!records (EU)
CONFUSION OF TONGUES (2020)
Digital & 3xLP Vinyl Release
A Thousand Arms Music (US)
dunk!records (EU)
LIVE AT POST. FESTIVAL 2019 (2020)
Digital & 2xLP Vinyl Release
A Thousand Arms Music (US)
Post. Recordings (US)
dunk!records (EU)
BABEL (2019)
Digital, CD, & 2xLP Vinyl Release
A Thousand Arms Music (US)
dunk!records (EU)
Bird’s Robe Records (AU)
LeRock Psicophonique (SA)
LIVE @ DUNK!FEST 2018 (2018)
Digital & 2xLP Vinyl Release
A Thousand Arms Music (US)
dunk!records (EU)
THE ASCENSIONIST (2017)
Digital, CD, & 2xLP Vinyl Release
A Thousand Arms Music (US)
dunk!records (EU)
AND THE PEOPLE CRIED OUT FOR A KING (2016)
Digital & 7" Vinyl Release
A Thousand Arms Music (US)
THE GODS OF THE COPYBOOK HEADINGS (2016)
Digital & Limited-Edition CD Release
IF I WERE THE DEVIL (2015)
Digital Release
NIGHT & DAY (2015)
Digital & CD Release
BONHOEFFER (2014)
Digital & Limited-Edition CD Release
SOLAR MANSIONS (2014)
Digital & Limited-Edition CD Release
ABSAROKA (2014)
Digital & Limited-Edition CD Release
CASSETTES
PRELUDE III (2021)
Digital & Limited Edition Cassette Tape Release
X (2020)
Digital & Limited Edition Cassette Tape Release
XI (2020)
Digital & Limited Edition Cassette Tape Release
VIII (2020)
Digital & Limited Edition Cassette Tape Release
VII (2020)
Digital & Limited-Edition Cassette Tape Release
VI (2020)
Digital & Limited-Edition Cassette Tape Release
V (2019)
Digital & Limited-Edition Cassette Tape Release
PRELUDE II (2019)
Digital & Limited-Edition Cassette Tape Release
IV (2018)
Digital & Limited-Edition Cassette Tape Release
III (2018)
Digital & Limited-Edition Cassette Tape Release
II (2018)
Digital & Limited-Edition Cassette Tape Release
I (2018)
Digital & Limited-Edition Cassette Tape Release
PRELUDE (2017)
Digital & Limited-Edition Cassette Tape Release
HIGHLIGHTS
"Seven Sisters" featured as the soundtrack for Polaris Snowmobiles' promotional video Born For More (2018)
"The Greater Lights" from The Ascensionist is featured on the Spotify curated playlist Deep Focus (2017)
The Ascensionist selected as the 36th best post-rock album of 2017 by Post-Rock Reddit, the 40th best release of 2017 by the Arctic Drones Listeners Choice Poll, and made the New Music Explorer Best Post-Rock Albums of 2017 and the Arctic Drones 50 Favourite Albums of 2017.
"Kingdom" from And the People Cried out for a King featured as the soundtrack for Polaris RZR short (2017)
The Gods of The Copybook Headings album selected as the 10th best release of 2016 by Post-Rock Essentials, the 9th best release of 2016 by Post-Rock Discovery, and made the Arctic Drones 50 Favourite Albums of 2016
Various releases licensed as the soundtrack to Polaris' Online Ad Campaign (2016)
"Silence in the Face of Evil Is Itself Evil" from Bonhoeffer featured as the soundtrack for Adam Brummond's short film "Tronkyin" (2015)
Hosted the Solar Mansions album release and listening/viewing party at the Museum of The Rockies' Taylor Planetarium (2014)
PRESS
"[The Ascensionist] is terrific. I went on a journey. I love when a post-rock album isn't generic and when you close your eyes you can feel a story happening and every time you listen the story is slightly different."
- MATT KESSLER / TOO MANY RECORDS / (Watch Full Review Here)
"Through it all, the quartet demonstrates great fluidity, the result of playing so many shows. The band has always been solid, but The Ascensionist is their most energetic and endearing to date. It’s as if they’ve already reached the summit as pilgrims and returned as guides."
- RICHARD ALLEN / A CLOSER LISTEN / (Read Full Review Here)
"The Ascensionist is right to the point. Well written songs, each with a strong focus on memorable melodies that burns right into the listener’s mind. It’s hard to pick favourite songs off The Ascensionist, the whole album is just put so well together and the flow of the album makes it a sin not to listen to it as a whole."
- SOREN HARTVIG / NEW MUSIC EXPLORER / (Read Full Review Here)
" ["And the People Cried out for a King"] is akin to This Will Destroy You’s “Moving on the Edges of Things” in terms of heralding a new sound. This next album is bound to be Ranges’ “Tunnel Blanket” and I look forward to this new album more earnestly than I ever have before."
- AARON EDWARDS / ARCTIC DRONES / (Read Full Review Here)
“The Gods Of The Copybook Headings” is still about lush soundscapes and calming melodies, and it inspires inward thought more than physical release, even in its most aggressive moments. It is music that feels designed for quiet moments alone – whether it be standing atop a peak looking down at the world after a long hike, or sitting on the back porch at twilight, Ranges excels at crafting soundtracks for contemplation."
- DAVID ZEIDLER / ARCTIC DRONES / (Read Full Review Here)
"I love ["The Gods of The Copybook Headings"]. I love Ranges. I’m afraid to call this the culmination of their talent, because I’m sure they will only get better."
- AARON EDWARDS / ECHOES AND DUST / (Read Full Review Here)
"Ranges is a band that pushes the conceptual envelope and expands on ideas across mediums."
- JOSEPH JAMES / WILL NOT FADE / (Read Full Review Here)
"Playing with a skill ahead of their years and a clear aptitude for song writing, their masterful efforts incomparably encapsulate the best qualities of ambient post rock."
- KNIAL SAUNDERS / GOLDEN AGE REVIEW / (Read Full Review Here)