Frameworks - Loom
Release Date: April 29, 2014
Record Label: Topshelf
Some could argue that this style of emo/post-hardcore/"the wave" is starting to be over saturated by a multitude of bands trying to be the next Touché Amoré or Pianos Become The Teeth. But it's hard to take that argument seriously when an up-and-coming band like Frameworks puts out a record that's as stunning as Loom, the Gainesville, Florida, quartet's Topshelf Records' debut.
Those who don't follow this section of the scene will be the first to declare Frameworks to just be imitating more established bands, but when you dig beneath the surface of Loom, you'll hear an interesting array of dynamics and tempos that will differentiate the band from the rest of the pack. Produced by Jack Shirley (the man behind some of the heaviest records you've heard in the last 12 months, including Deafheaven's Sunbather), Loom begins with a jangly, acoustic intro ("Disquiet") before launching into the explosive title track and laying the groundwork for the album's eleven tracks. Luke Pate's pummeling screams are laced with traces of melodic emo throughout, while Matthew Horner loses his mind behind the kit.
The progress that's been built off the band's previous two EP's, Every Day Is The Same and Small Victories, might be what's most impressive about Loom - the sonic refinement and improvement demonstrated by Frameworks will undoubtedly capture the ears of many. Shirley's to thank for that, as his production best fit Pate's aspiration for a "raw but bright-sounding" record. Check out "Mutual Collision" for example, as its jazzy rhythm section (Ryan McDonald's bass work is exemplary) nicely balances out the mathy time signatures courtesy of Cory Fischer and Andrew Nicholl. And when the song's early guitar-frenzy seamlessly swells into swirling crescendo, it becomes abundantly clear why the band chose Shirley to helm Loom. The sensational "True Wealth" is built off luscious distortion, while "Splinters" is paced by an abrasive but spirited punk beat before breaking down into a colossal aural beating - both tracks covered with Shirley's fingerprints.
There's nothing "same-y" about Loom, as the album spans various ideas and tempos. A dark and relentless bruiser like "Rosie" fits right next to the ambient aggression of "Affordance." The juxtaposition of different moods and sounds is vital to any successful post-hardcore album, and Frameworks achieve that and more on its first full-length. And if Loom's closing track, the stunning "Agreeable Thoughts," is any indiction, we should be expecting even bigger things from these Floridians. At four minutes and twenty-four seconds, the track begins with pensive guitar chords before flowing into a dreamy haze of crashing riffs, clashing cymbals, and Pate's unmistakeable yelp. "Agreeable Thoughts" is an unconventional finale - a heavy resignation from all noise of the previous ten tracks.
The ominous purple clouds on Loom's cover is a telling summary of the music heard within: its pretty,royal tint serving as a distraction from the oncoming storm ahead. This brings about the incredible realization that Loom is just the band's first full-length, even though it sounds like a band's third or fourth album - a testament to the band's ambition and skill, which will ultimately place Frameworks in the same room with genre-pillars Touché Amoré, Pianos Become The Teeth, and La Dispute.
nice job of showing why people should to add frameworks to the stable of bands they return to most in this genre, rather than treating them as some sort of novelty. this record is very, very good but it takes time to appreciate the intricacies.
hope they get some cool tours and get these songs out to the most people possible.
also nice linkage in the paragraph about jack shirley