Perth is located along the banks of the River Swan River In western part of Australia. From that city the band Tangled Thoughts Of Leaving now flowing freshly. The music from the Perth band demands that the listener devote their undivided consciousness to the experience. Vocals are scarce – but this is not background music. By way of a piano-led amalgamation of prog, post-rock, jazz, noise, metal and classical film soundtracks, Tangled Thoughts Of Leaving have crafted something of their own: sometimes intensely heavy, relentless and epic; at other times fragile and intricate.
The sonic concepts for No Tether emerged in the wake of performing Yield to Despair (2015) live There were some tonal mine shafts in the vein of Yield that, after playing the record live repeatedly, the band felt there were greater depths to explore – longer doom passages and darker, feedback-driven tones. But the overriding feeling in the band was that there was a tangent to be taken, with faster, more free-form compositions. The addition of Paul Briggs on guitar also drove this transition. The recording process for No Tether was approached as a cycle of continuous writing, recording, review and re-recording.
One of the central concepts to the sound of No Tether, is to never trust the riff, to never let it settle – as soon as the riff and the beat forms, Tangled are willing to de-construct it, change its form and fold it back on itself. This is evident through the post-metal beat-down of The Alarmist, the drone of Cavern Ritual and the wild prog of Binary Collapse – as soon as the central riffs and beats are presented they are subtly morphed on each subsequent re-presentation.
Some songs were recorded live with minimal overdubs – the improvised interplay of drums and piano on Inner Dissonance and the wild drum and distorted bass grids of No Tether are the best evidence of this – with other pieces meticulously pieced together in long recording sessions.No Tether is also a record of its environment. The soundscape presented by the record – the sounds of frogs, trains, birds flying past microphones – are all drawn from the environment directly outside Studio Sleepwalker’s Dread in North Dandalup, Western Australia, where the album was written and recorded.
The artwork for No Tether was once again produced in collaboration with Sydney artist Teo Treloar. During the writing and recording of No Tether, various pieces from Treloar’s series, Another Grey World, were placed around the studio, setting a visual tone for the record. The cover image and Treloar’s repeated study of Dürer’s Melencolia polyhedron in various drawings reflected the approach the band was taking with No Tether; in the mechanical sense with angular riffs being constantly morphed and represented in different forms, and in the emotional sense, reaching out to capture an unobtainable and somewhat unexplainable feeling.