In the world of post-rock, there are a lot of pretenders to the throne, but few worthy of the crown. The holy trinity of the genre in the USA falls to Russian Circles, Junius and, Pelican. As they have once before in their career, Pelican have teamed up with Allan Epley (Shiner, The Life And Times) to add his vocal prowess to their new EP, The Cliff (Southern Lord). On paper what looks like just a good match, becomes an exquisite exercise in songcraft, self-restraint, and true talent.

The main track ‘The Cliff’ has the best of Pelican’s breed working for it. Quietly epic, building slowly and entrancing you with each cadence. Hypnotic drums fall and rise in time with your breathing and brain patterns. Beating out a compelling rhythm that beckons to you follow like a spirit. The layers of guitars, a Pelican trademark, spinning motifs and head crushing waves. Added to this expert mix is Epley’s vocals which as a much an instrument as the band. If you are unfamiliar with his work, Epley has a voice not unlike a young Mark Lanegan (Screaming Trees/Mad Season). Somber, but full of gravitas and character, Epley’s powerful tones weigh so heavy, it contrasts beautifully with the sunny (for a Pelican song) final stanza.

The other original song on the EP has been termed a leftover from Forever Becoming (also Southern Lord). However, it’s a track so deep and triumphant, I kind of wished they saved it for their next album. It’s like the soundtrack to sports movie, but only for the final montage part. The other two tracks are remixes of ‘The Cliff’. One remix, by Mr. Justin K. Brodrick (Godflesh/JK Flesh) is sans vocals, but enhances the dream-scape aspect of the guitars with synths and adds a heavier bass mix. Their is also an echo effect on the drums that give a surreal sleep-walking feeling to the listener as well. It definitely takes a killer track to the next level. The other track is remixed by Palms (Aaron Harris & Bryant Clifford Meyer). This track revs up the beat quotient, and adds more a dynamic flow than before. The vocals have a great delay loop on them, and some sick backwards guitars too. This release (digital or vinyl) should be enough of a morsel to tide you over until the next full-length.

8.5/10

KEITH CHACHKES