![]() ![]() “Another Tomorrow” particularly emphasises the use of repetitive lyrics – within the confines of its bouncy, clipped synths and drum patterns – that talk of better and brighter days to come, the prospect of overcoming the trials and impositions of today as we move forwards to become stronger. The others featuring Sarah, “Another Tomorrow” and “Without A Plan”, are quite different though, both with distinct A Certain Distance vibes to them in their synth flangings and fluted arpeggios. Later on, “By This Sound” repeats some of the same sentiments again but in a more careful and measured way, worried about the course of their relationship as metaphors of driving are summoned, both seemingly reluctant to take the reins in troubled times, preferring to keep a steady course in the safe beats and gloss over slightly melted and tired obfuscation. “A shame that we’re/ Not you or me”, the final sung words note that they’re just not as good as the sum of their parts. Pieces like the rework of Electronic’s classic “Get The Message” virtually right off the bat assay suggestions of trouble in paradise between the sugary beats, Sarah’s clear voice and John’s dulled echoes that sing of the woes of keeping things together, the pains of being apart but the fundamental disparities within the two that so drive them to be. The fact that John has made this his most vocally active record to date I think is very telling in its own right half of the tracks here are vocally lead which is very unusual, and most of them feature the soft tones of his wife Sarah, and all seem to have a faint undercurrent of John’s own dulcet tones forming a delicate, if precariously imbalanced, duet. ![]() It’s immersed in romance and complex relationship drama in amongst its heady rhythms and it’s never referred to, which I think is a crippling shame since after many careful listens it clearly has a great deal to say. ![]() I’ve read a lot of reviews regarding this album and what bothers me in all of them is how they refer to it as a principally EDM record due to its Microhouse and Ambient Techno roots, yet none of them, and I mean literally none, seem to touch on the obvious deeper emotional implications of this record. It’s no secret that John McIlwain’s Lusine project holds a pretty special place in my heart, and another review of an all-time favourite from him is coming soon, but for now we find ourselves concerned with the careful excitations and dramas of his most recent record The Waiting Room. As always, we get more than we bargained for in its guardedly emotional 50 minute span. ![]()
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