ALBUM REVIEW | Waterworks – Nimbus


ARTIST: Waterworks


RELEASE DATE: 20/11/15


Nimbus is the debut LP by Brooklyn-based duo ‘Waterworks’. After collaborating together for years and sharing an affinity for Dub & guitar noise, Jordan Kaye &  James Logue began working on a full-length record that would expand upon the sound of their first EP ‘Precipice’.  Starting with scrawled verses, guitar riffs, and refracted melodies, the duo textures its songs with original loops and field recordings of things such as one of their mothers digging in the garden. Nimbus was recorded, mixed, and mastered in the band’s basement (and wash room, when necessary) and released on the band’s cassette label – Nascent Tapes. 


One minute & ten seconds of electronic drums intertwined with a swirling mass of reverberating instrumental noise announces the opening salvos of Track 1 on ‘Nimbus’ before the menacing tones of Track 2 ‘St Albans’ enters the musical arena. ‘St Albans’ is a shuffling noisy affair with a distinctly 90’s vocal feel throughout the verses until the fuzz appears straddling the chorus parts. A pretty cool song but it ends too soon? Track 3 ‘Altimeter’ is a veritable monster with its addictively immense opening guitar parts & precise drum patterns! At times it shows itself with shoegaze finery & melodic psychedelic vocal effects but the overall alt rock tones keep the track grounded & this in my opinion balances the track perfectly. Track 4 ‘The Well’ swirls in a psychedelic haze and we float on layers of fuzzy reverberating brilliance until its end. ‘City Of kings’ – Track 5, continues the melodic swirling psychedelic trend of the previous track albeit minus the percussion.

As songwriting skills go ‘Waterworks’ are on top of their game as I’m almost lead to believe that the opening parts of Track 6 – ‘Fondo’ have entered the realms of atmospheric post-rock until the heavy fuzzed out guitar parts & subsequent straddling vocal lines burst the serenity bubble to unveil a percussion free almost experimental edge to Waterworks that I wouldn’t have noticed on a first listen. Their next track ‘Mirror’ is melodic with hints of 60’s psych pop while Track 8 – ‘Fader’ opens like a full on pop song but explodes half way through with pounding drums and heaps of fuzz! Track 9 – ‘Ginko’ continues the trend of the previous tracks whilst the cinematic ‘1918’ introduces us to a church organ layered with a swirling reverb laden vocal line to die for. The albums closer ‘Máncora’ is short lived but the band do manage to pack a punch with its one minute and thirteen seconds of fuzz.

As album releases go ‘Waterworks’ manage to pack a heap of like minded musical genres into ‘Nimbus’ that sometimes work together and a few genres that sometimes don’t. It’s an interesting collection of tracks that deserves several listens until you finally figure out whats going on. Yes its atmospheric at times with tiny hints of shoegaze & 60’s psych pop interspersed within an overall 90’s alt rock sound & I enjoyed peeling back its outer layers to find the hidden cinematic gems inside. It’ll be interesting to see what direction the band go in for their next release. Personally Im hoping that they add in a few more layers to the mix if only to accommodate that impressive vocal ability!



‘Nimbus’  is available right now to download via the bands bandcamp page.





Del Chaney

Del Chaney has spent the last three years not only fronting popular Irish Electronic duo Analogue Wave but also dedicating his time to uncovering the best artists in the Unsigned or Small Independent Label based Shoegaze Dream Pop Post-Punk & Post-Rock genres of music from all over the globe & reviewing them for this blog – The Primal Music Blog. His other arm – Primal Radio – has gained considerable respect from bands and promoters alike since its conception in 2013 & has hepled him in actively promoting a genre of music that he is passionate about. Hailing from Dublin, Ireland, he is a keen Vinyl Collector, Tattoo Fan & all round good guy! He is a self confessed music freak & is never far away from a studio console or a turntable.

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