Over the past fourteen years Elder has transformed from a doom and desert rock band into one that pulled from just as much psychedelic and progressive rock. Their fourth album Reflections of a Floating World marked a significant transition for the group, as they left behind much of the metal influences from years past in favor of airier guitar melodies and expansive instrumentation that still had some heavier moments but was very rooted in the more adventurous rock genres. On follow-up Omens this transition has continued, with the group now placing a greater emphasis on keyboards as they envelop listeners with powerful yet warm soundscapes. It still chases the almighty riff, but it’s clear that Elder has fully moved into their next stage of life and their latest proves to be just as stunning as the highest points in their discography to date.
Keyboards have been present throughout much of Elder’s material, though they haven’t been a driving force that sticks out as one of the most prominent elements. This has changed significantly on Omens, as not only does it kick things off on the title track, but the keyboard is woven into the soundscapes of all five songs and are featured just as much as the guitars. “Halcyon” is a perfect example of how the two are integrated, as the first quarter of the song lets darker keyboard and bass lines drive things forward as the guitar melodies twist and turn over top of them as if each note is being carried off by the wind. There are still some crunchier tones and heavy vibes that showcase that Elder hasn’t moved completely away from doom and heavy psych, but there’s altogether warmer feeling to the layers that are built up throughout Omens. What’s so appealing about the material is how the ideas are stretched out to their logical conclusions over longer spans of time while still transitioning regularly in a more progressive or adventurous manner. Unlike so many doom or stoner bands who let one riff build to the point of repetition, these guys shake things up much more frequently and songs reach multiple peaks, often reaching an entirely different atmosphere and mood by the end compared to where they started. It’s likely to take a few times through to break through the layers and appreciate some of the individual details, but Elder has hooks to make listeners want to invest that time.
One element that has been constant throughout the group’s material is Nick DiSalvo’s softer singing pitch, which seems perfectly suited for the direction Elder has gone in over these past two records. Where a lot of doom vocalists have gruffer ranges that blend in with the crunchiness of the guitar and drums, DiSalvo’s voice has always had an airier quality to it and here it soars over the layers of instrumentals with ease. This is another area where the music has always had more of a rock quality to it, and there are some psychedelic vibes to the way that each verse seems to ebb and flow along with the melodies, moving along with it and then fading out just as quickly as the band transitions into something different. Given the stretched-out riffs and keyboard melodies there’s a significant amount of Omens’ run time where there aren’t any vocals at all, and this keeps the performance feeling focused and at its peak level of energy.
In some ways Elder has mellowed out over the years and gone towards a brighter overall tone, but this hasn’t made them any less interesting. Their latest full-length has some of their highest peaks and most entrancing melodies to date, with plenty of nuances to each song that will keep listeners coming back time and time again. It’s hard to pin down as psychedelic or progressive rock or even doom as this group has really expanded outwards into so many areas, but it’s clear that a wide range of listeners should find this to be one of the year’s many highlights. Omens is available from Armageddon Label and Stickman Records.
-Review by Chris Dahlberg
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