Fractals in your speakers
The Pattern Theory – The Pattern Theory
Picture an early August evening, where a few clouds of rain try their darndest to spoil an otherwise cobalt blue sky. The temperature is just fine, although the wind is having another mood swing. A couple of leaves fly by and the odd car passes by. It’s quiet but those bits of noise break the zen-like atmosphere. Then it seems they are all orchestrated, keeping a rhythm that beckons you.
This is The Pattern Theory, presenting their self-titled album, full of sweeping instrumental passages full of post rock and dream pop sensibilities.
You only need to yield your emotions to the album opener ‘Pyramid Schemes’, a gorgeous track that starts with an overtly dramatic series of crescendos to get your attention, but then comes in with a soothing arpeggio to heal any wounds occurred. And then beats you again, just to keep you in your toes.
I might be making this album look like a wifebeater. Sorry for that.
However, it actually is a very interesting moment of calm, thoughtful moments mixed together with some jarring (in a good way) time signature changes. From time to time, you’ll be driven to ease by the almost drone-like atmosphere (‘Ideas of fun’) just to have the carpet moved. The songs are like rollercoasters, some made from wood and some made with metal, with the inversion loops playing with the arrangement of your internal organs (swear to god ‘Framed Fields’ is the rockiest pop song I’ve heard in a while, love the math rock bits in it).
So, yes, the pace is like a rollercoaster, but then again, it’s a very friendly one. You can’t help but smile with a couple of peppy ditties that have that certain retro feeling that only music can give you, the memory of long gone relatives, the hiding places you had as a kid (‘Bell Curves’, ‘Chevrons’). This tug-o-war that The Pattern Theory plays with your emotions is lovely.
Sure, you could say to yourself “it’s instrumental, I could have it as background music” and, yup, you can do it without giving two thoughts about it, but this is another of those albums that you might need to set some time apart to enjoy. It actually goes well with Neil Gaiman‘s writings, but stands proud on its two feet just fine.