Dark string arrangements slowly creep in with a gradually growing vibrato, weaving subtly over soft ambient synths, peppered with the deliberate but delicate touches of bass and guitar and the rich, swelling of cymbals – all swirling together into a remarkable yet ominous crescendo of sound. And this…this is only the first track of These Small Spaces – This Patch of Sky’s forthcoming fourth full-length.
The nine-track album takes listeners on a dynamic journey that navigates from eerie, somber soundscapes into gentle tapestries that build effortlessly into grandiose, soaring compositions – creating a sonic masterpiece, where instruments alone create a powerful and universal language.
That stunning instrumental language is composed by This Patch Of Sky’s six members: Kit Day (guitar), Joshua Carlton (guitar), Joel Erickson (Rhodes), Alex Abrams (cello), Sean King (bass) and TJ Martin-Lokey (drums).
“As I’ve grown older, I look back on how music drastically changed, shaped, healed, and encouraged me as I grew up,” reveals guitarist Kit Day. “My goal as a musician is to create music that will be that same influence to others. Music is such a powerful force that we connect with deeply.”
In the spring of 2016, This Patch of Sky made their way from their hometown of Eugene, OR to Seattle, WA where they recorded their latest opus. These Small Spaces was produced and mixed by the esteemed Matt Bayles (Caspian, Minus The Bear, Russian Circles) at Red Room Recording studio in only one week’s time. The album was later mastered by the renowned Ed Brooks (Pearl Jam, Cursive, Pelican) of Resonant Mastering. These Small Spaces will see its release on September 22, 2017 via Graphic Nature, an imprint label of Equal Vision Records. These Small Spaces is the follow-up to This Patch of Sky’s self-titled release (LP, 2015), Heroes and Ghosts (LP, 2013), Newly Risen, How Brightly You Shine (EP, 2012) and The Immortal, The Invisible (EP, 2011).
This Patch of Sky’s music has been prominently featured in numerous movies, documentaries, TV shows and commercials, as well as on some of today’s most popular and highly curated playlists. Syncs include several episodes of Jungle Town on Vice TV, an original score and licensed songs for Russel Brand: A Second Coming, placements in commercials for Petco, Ford Mustang, BFGoodrich Tires and Oakley, and in an NCAA sports documentary series for CBS Sports.
With live performances, the band brings their spellbinding sonic odyssey to life in a powerful and dramatic way, creating an atmosphere that whisks the audience away. The band has shared the stages with the likes of Caspian, So Hideous, Native and more. “Our sets tend to be emotional, almost like a 45-minute soundtrack that doesn’t stop. Once we start playing, we don’t stop in-between songs,” notes Day. “Everything flows together and generally provides emotions of every sort. We’ve had many shows where people come up to us in tears after playing thanking us for putting them through a sort of cleansing process. Since we don’t have words in our songs, we let the listener interpret each song to how they need to interpret it and connect.”
“The album title – These Small Spaces – originally came to us as we were recording demos for the album in our bedrooms, living rooms, apartments, etc. The album artwork based around the album also depicts a girl being confined to a small space who is breaking away and floating upward towards the sky with no restraints. We felt like it represented this album perfectly.”
Wess Meets West infuse elements of Electronic Music and Post Rock to blend otherworldly soundscapes. They have been featured in Paste Magazine, Electronic Musician magazine, Premier Guitar, NPR Morning Edition, CBS, Wrangler, ESPN’s X-Games and most recently, Spotify’s Deep Focus Playlist which has over four million plays. Wess Meets West has been labeled as a “Top Ten Bands from CT You Need to Know” and a “Top Up-And-Coming Connecticut Bands to Check out in 2016.” 2017 Best In State CT New England Music Awards.
Shortly after releasing Monophonic, in September of 2012, Joe Aylward, Chris LaRocque, Nick Stewart, and Steve Aliperta were added to the mix to create an intense live experience with a monstrous sound and an intricate light show. After immediately meshing as band and playing a handful of successful shows in the greater Boston area, the new members began bringing unique song ideas to the table. “With three guitarists and all five band members contributing, we have the opportunity to create huge, atmospheric songs that really push boundaries”, Malley explains. 23:55, the band’s first single written by all five members, tells the story of the end of the world. The song features heavy riffs, melodic leads, and dueling drums that create an eerie tension throughout.
Less than a year after becoming a band, Pray for Sound set out on their first DIY tour, playing 11 shows in 12 days throughout the North East United States. After returning from the tour, the band collectively decided to focus on writing new material for their second major release, Dreamer. Dreamer is a seven song full length clocking in at just over 33 minutes, with each track representing a different dream state. This time around, Pray for Sound took an ambitious approach by experimenting with more synth and keyboard sounds, as well as working with additional musicians to add vocals, violin, and viola. With influences all over the map, Pray for Sound created an eclectic set of songs that express a roller coaster of emotions. Dreamer was originally released digitally, on CD, and on cassette (via Flesh and Bone Records) on July 9th, 2014.
Shortly after Dreamer’s release, Pray for Sound inked a deal with Science of Silence records joining bands such as Set and Setting, If These Trees Could Talk, Junius, and more to release Dreamer on vinyl. The limited-edition vinyl will be available in three color variants: white (200), purple/clear swirl (150), and magenta/clear swirl (150) on November 18th, 2014.
Pray for Sound proudly uses and is endorsed by Fractal Audio Systems and Ernie Ball Strings & Accessories.
From the back of the bar, Ports of Spain instantly scan as a full band, so it’s a shock to discover their mathy shoegaze-pop is constructed by just two musicians . Ilya Gitelman uses octave pedals and loops to play lead, bass and rhythm guitar simultaneously, while Sam Carlson contributes vocals, keyboards and drums. Don’t be fooled — Ports of Spain are not another band that trades directionless loopy jazz odysseys for pure songcraft. Their equipment never gets in the way of their complex melodies. They write actual songs, consistently avoiding complication for the sake of complication. They juggle tons of ideas in every song, creating a noise that’s consistently about to fall apart. That it doesn’t is incredible by itself. Their brilliant songs may seem like a bonus under these circumstances, but don’t underrate Ports of Spain. Even as these two guys spew chaos into crowded clubs, their songwriting is always there to remind you why a grounding in planned songcraft keeps so many of the best bands tethered to excellence. Ports of Spain belong in their company. Ports of Spain have played with bands like Tera Melos, Hospitality, Beach Fossils, Fang Island, Pissed Jeans, Pile, ONWE, Speedy Ortiz, Morning Teleportation, Kal Marks, The Paper Kites, and Solids.