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A shimmering CD brought to us by Florida based Isobella (formerly Akasha). The Akasha release is an atmospheric pop album, full of clean textures and oceanographic layers of sound, complemented nicely with excellently thought out rhythms. It's very much to the band's credit that they stuck with real and not heavily programmed drums, which would have smothered the album with a kind of sterility that seems to be plaguing so much dream-pop these days.
In fact, I can't fault the album at all. From the opening 'Black Hair, Green Eyes', it was readily apparent to anyone with an ear for this sweet soundscaping that Isobella know perfectly what they are doing. If any one remembers how great Siouxsie and the Banshees used to sound, loved the vocal heights of This Mortal Coil, and respected Mazzy Star for their chorus laden simplicity, then Isobella will up the ante one further. I can't do much more than reiterate that this is a great album full of dreamy, atmospheric, simplicity. On songs like 'Garden of Earthly Delights', the melody and dominant key line trades and fades effortlessly with the guitar line, and then back again. The keyboard work is uncluttered, the arrangements sparse but not barren, kind of like a skeletal version of later Cure material (which I feel suffered from a morass of different mixing issues). The other closest comparison I could make (not that it'd be necessary) is a synth version of Galaxie 500 - which is a compliment by any stretch of the imagination. I am pleasantly surprised to find this album making an increasing dent in my listening roster, equally surprised and happy to have found it in my collection in the first place. Cheers Isobella, cheers. reviewed by: Stephen Dohnberg for Burning Ink |
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This is quite good. The kind of music people that know me are gonna give me a hard time for when they found out I gave it a great review. It's very mellow mid-tempo music that still exhibits a stronghold of dynamics. The vocals are pushed to the very back, and blend masterfully with the soothing keyboard. This results in a successfully executed, layered chant effect that is simply unstoppable. Don't get me wrong - if you're a keyboard-a-phobe then you need to stay away from this. But for those that can swing for some beautifully crafted melodies that combine older Catherine Wheel with Anarctica, and slower loopy No Knife, this is for you.
reviewed by: Rats in the Hallway |
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This is, hands down, the best new release that I have heard in 2000. And yet, there has been an amount of trepidation in writing this review. Why, you ask? Well, because the CD is a limited release of 1000 copies on a small label from Florida. For the average reader, your chances of finding a copy of this are quite slim. I found one through an independent music distributor in Atlanta, Stick Figure Distribution, so I was lucky. You might not be so lucky, and that is a shame.
Isobella have seemingly fallen through a time warp. They belong, clearly, in the early 90's British shoegazer scene. They have released the best album in this genre since Pygmalion by Slowdive, back in 1995! It's an album of balanced distorted guitars, droning keyboards, powerful beats, and male/female vocal interplay buried underneath the sheer weight of melody that two guitars and keyboards can create. It is, quite frankly, some seriously beautiful noise! Consider the albums high point, The Sun In Her Eyes. This song features melodies traded freely between the two guitarists and the keyboards. It bounces back and forth, creating a heavenly washed out din that you can just lose yourself in. The simple, repetitive vocals really create a calming feeling as the music swirls around you. That may be the standout track on the CD, but really, there are no snoozers at all here. It is very evenly produced -- all songs really flow together well, and they are all good songs. I am highly impressed, and look forward to hearing more from this young band. So, if you are a fan of shoegazer music (and if you have to ask what that is, then you are not a fan), then you owe it to yourself to try and track this thing down. You won't regret it. Now, even though this album is a limited release, it is possible for you to hear some of the songs. Isobella have, quite thoughtfully, posted three tunes on their MP3.com page. Go there and take a listen. You won't be sorry. reviewed by: EvilSponge |
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Taking their cue from Slowdive and My Bloody Valentine, Isobella deliver an even dose of female / male vocals that guide you through the songs. Granted, some of the tracks could use a little polish, but anyone who enjoys gazing at their shoes will be impressed by the nifty ethereal guitar work and the blurry vocals that spread themselves over the songs like a warm blanket. Super dreamy pop.
reviewed by: Michael Dammers for Devil in the Woods |
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It’s been nearly ten years since “the Scene That Celebrates Itself” but Isobella are keeping the flame. Devotees of that early 90’s UK sound can’t go wrong here. Pale Saints plus Slowdive with a pinch of early Boo Radleys. It’s not all backward-looking, though. Listen to Garden of Earthly Delights and its almost vocal keyboard line, or the circular Solstice, blending slow textures and rubbery atmosphere with dream staples such as obscured vocals, sustain guitar and trebly drums.
reviewed by: Pretty Bruises |
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Formerly known as Akasha, Tampa's Isobella carve out gorgeous shoegazer sounds that recall aspects of the Pale Saints, Slowdive, and My Bloody Valentine in all the best ways. There is such an immediately familiar quality about the songs that if I didn't know better I would wonder if I didn't hear them first in the background of someone's house sometime around 1993 where they sank into my subconscious. Laura's haze-wrapped vocals and Heath's softly sung vocals are touchingly complementary to one another. The guitars glisten and shimmer amongst analog-sounding keyboards, creating dreamily introspective atmospheres, intimate and cozy like a shared bath by candlelight.
Isobella have a fantastic hold on the concept of pace, allowing the perfect amount of tension to slowly, unobtrusively swell, cresting and spilling over where it must, drifting unhurriedly elsewhere. Blissfully warm melodies to soak in. reviewed by: Andrew Chadwick for Ink 19 |
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The music of Isobella is easily discountable as purely derivative. Even the bands own bio resorts to early 90's "shoegazer" comparisons to describe their sound. The influence of these bands, while certainly present on the album, is not present in a completely unaltered form, however. Isobella adds to the mix of influences like Slowdive and My Bloody Valentine some more straightforward indie rock influences, ulitimately creating something which is, if not totally groundbreaking, at least a pleasant and rewarding listen.
Akasha begins with a very straightforward pop song "black hair, green eyes" featuring muffled female vocals, a pleasant wash of keyboards, and picked guitars, followed closely by the very Slowdivey "yellow"-pretty much your standard "shoegaze tribute band fare" (although very nicely done). As the album progresses, however, these influences are synthesized into a sound very much in line with other early nineties influenced bands such as Antarctica, who also borrow heavily while still producing music that feels fresh and original. The song "Ozreal" is an excellent example of this synthesis, with its Wish-era Cure synths underneath heavier guitar and stronger drums than some of the beginning tracks. This pattern is repeated on the haunting "Carlos Affair" which begins with a near perfect combination of subtle guitars and keyboards, climaxing dramatically, but without too much gimmickry. Overall Isobella's debut Akasha, offers a sound that, although informed by many influences, still achieves a sincerity that is not present in purely derivative bands. Akasha achieves a directness not present in many of today's bands arising from similar influences. Isobella aren't starting any new revolutions in music, but they're definitely adding something to revolutions already begun. reviewed by: Pete Baumann for fakejazz.com |
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I will always have a particular love for Isobella, because this might be the first band that I truly discovered through the wonders of mp3.com. Some months ago I downloaded this track called 'Yellow' (featured on the Dreampop Links Radio) from a band called Akasha and I was blown away by it. And now, the band, now called Isobella, finally releases their debut. And a very good one, mind you.
The band formerly know as Akasha resides in Tampa, FL, and is masterminded by one Shane McLaughlin who, along with Laura, Brad and Heath, built eight songs of intense, seductive beauty and lulling atmospheres. Instead of relying on noise Akasha (the album) pushes into breezy atmospheres. The songs have a unique sense of dynamism and an enveloping sense of fuzziness. When listening to the album, you will probably be able to find a lot of influences there, particularly from the Pale Saints, but there's just so much into it. It's like the best elements of shoegaze and dream pop have been lined up together with a modern twist. The album kicks off with the Pale Saints-influenced 'Black Hair, Blue Eyes' which has a gorgeous build up, and then gets even better when Laura's voice enters and morphs into sugary aaahhhs. I like it even more when 'Black Hair, Blue Eyes' ends and then the before mentioned 'Yellow' kicks in. It's thunderous. It's like planets colliding or being in between an asteroid field. Like the game Asteroids, but in 3D, with Laura's languid, breezy voice orchestrating it all. By the way, her voice may very well be one of the most distinguishable voices in contemporary dreampop. She's is definitely unique. The songs shift in pace and undulates in guitar waves and warm keyboard drones like on Garden of Earthly Delights, to a more upbeat rhythm in 'Ozreal'. Carbon Affair is another standout, hazy track and 'Solstice' is a powerful, great closing song. The album is not perfect, though. There are some minor missteps here and there, but if this is any indication, here we have one of the most shiny promises of today's dreampop in America. reviewed by: Dreampoplinks |
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Isobella is a reminder of all that was right about the early 90s shoegazing scene. Though not as adroit as, say, Study of the Lifeless or early Starflyer 59, Isobella churns and spins out layers of hypnotic sound, reels of long, langorous keyboard lines and guitars that sparkle like constellations. "Akasha" is atmosphere music, the soundtrack for a slow night drive down curvy back roads, dense and transcendent. That the songs lack real variety seems irrelevant, since "Akasha" is best taken as a cohesive whole, one long song that has its weak points ("Garden of Earthly Delights", with its poor keyboard flutes, being the most noticeable). "Akasha" doesn't demand return on the basis of its individual songs, but rather for its sense of mood and setting. Though poor production unwisely buries the vocals (a tragic mistake the band should amend the next time out), Isobella's floating-in-space sensibilities are perfect for summertime starlight slumber.
reviewed by: J. Edward for Shredding Paper issue #7 |
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You may already recognize Brad, Shane, and Laura here from the mesmerizing dreampop of Akasha (the band's original name). When former drummer Heath bolted for the greener pastures of Versailles, the three remaining musicians adopted a drum machine, a new name (Isobella), and a new direction in gazing towards the sky, instead of staring down at their (famous brand of athletic shoes). The majority of the tracks on their debut album were recorded with their former skinsman. They feature a shimmering Pale Saints/hollow Cowboy Junkies introspection, with cascading guitar tones and angelic/ethereal vocal arrangements. However, most of the current interest should be focused towards the pair of newer anthems: the leadoff "black hair, green eyes" with its blend of multi-layered keyboards and chiming guitar runs, and "ozreal" with its nagging Jesus and Mary Chain buzz crunch. Like a few in the post-shoegazing mold, Isobella are inspired to include shards of Velvet-y feedback, Stereolabbish elektronika, and Red House Painters inspired guitar noise to fortify their ways and means. Delightful and heavenly.
reviewed by: Scott Harrell for Focus Magazine |
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Beautiful crashing guitars and lush female vocals with tight drum/bass interaction. This music brings the Pale Saints to mind and makes me glow every time. Isobella are the best thing I have heard since the end of shoegaze and would fit perfectly into that 1990-92 brit scene. If you long for the return of Slowdive, or wish you could hear the Cocteau Twins reinvent "Treasure", then please pick this up. You won't be sorry. 8/10
reviewed by: Mike Turner for The Bee's Knees - Issue 14 |
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I have no idea how this got to me. In fact, it went to my old address and thankfully was forwarded. It's because of discs like this that I enjoy reviewing music. I didn't ask for this, I've never heard of Isobella, yet somehow this is one of the better items I've received as a reviewer. Spacey, ambient and surreal are just three words I would use to describe this CD by Florida natives, Isobella. Reminding me a lot of Slowdive and My Bloody Valentine, this is just what I needed to get my mind off of all the similar indie rock stuff I'd been receiving lately. There is a wonderful mix of circulating male and female vocals, a drum machine, keys, guitars and programming. The remarkable thing about this album is how there is creativity and simplicity mixed together. From my experiences with such bands as Slowdive, they seem to get annoying very quickly. Isobella doesn't seem to do that. In fact, I can actually see myself listening to something like this again and again: sleeping to it, reading to it, or just using it as background music during a conversation. They say they only made 1000 pressings of this, so pick it up while you can.
reviewed by: Reviewed by Kurt Morris for Action Attack Helicopter |
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The best dream-pop gives you the sensation of absolute, enveloping comfort, the kind you only recognize after you have been jolted from your reverie. Tampa's Isobella thrive within this framework, pulling their listeners in with a gentle, seductive tug. Short of drinking a double dose of Nyquil and rolling on a felt-covered waterbed, nothing will match the swaddling sensations found here. While most shoegazer music gets by on the concept of joy through repetition, this quartet achieves the same trance-like qualities through variations on their melodic themes. This is especially effective on tracks like "Carbon Affair", which uses a gentle synthesizer line to cuddle up to the ears. By creating brilliant sonic watercolors, Isobella ups the ante for the shoegazer genre by providing engaging music on which to bliss out.
While many of these songs contain vocals from Laura and Heath (no last names in this wonderland), they are tangential, serving merely to add another layer to the super-soft sounds. This vocal approach leaves the audience with the task of creating meaning from the music -- but with songs this rich, perhaps it's best simply to let your mind wander. One touchstone the band provides is the Twin Peaks-influenced "Great Northern," the title of which refers to the hotel at the center of the defunct but funky television series. This sly tribute will delight those who enjoyed Julee Cruise's vocal work on the series. Elsewhere, tracks like "Ozreal" pick up the tempo, but the results remain hazy, shimmering like a distant horizon. Isobella have made a real step forward in shoegazer music; I suggest you turn on this record and turn your eyes to the stars, for you're about to hear something wonderful. reviewed by: Ron Davies for Splendid |
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I have a huge love for music that can lift the hair on your neck with beautiful and dreamy songs. It's been a long time since a band like this has crossed my path, and Isobella has made that a reality again. Formally known as Akasha (they use a different name due to a member leaving the band, but since they recorded together on this release they used the old name for the title).
To compare Isobella to other bands I would say they're in the vein of My Bloody Valentine and Slowdive, two bands which will forever be in my heart. Isobella's songs are dreamy, slow moving pop songs with the intention to transport you somewhere. The band's combination of male/female vocals and instrumentation is brilliant, and they know how to write songs well enough to keep your attention (which is hard with this kind of music) . Some music can get dull and a lot of times even the good bands become stale to listen to, however this CD has been in full rotation since I've received it. I'm happy there's new music that can do what so little is able to... and that's affect you. Thank you Isobella and I look forward to your future releases. reviewed by: JK for Slide the Needle |
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A shimmering CD brought to us by Florida based Isobella (formerly Akasha). The Akasha release is an atmospheric pop album, full of clean textures and oceanic layers of sound, complimented nicely with excellently thought out rhythms. It's very much to the band's credit that they stuck with real and not heavily programmed drums, which would have smothered the album with a kind of sterility that seems to be plaguing so much dreampop these days. In fact, I can't fault the album at all. From the opening 'Black Hair, Green Eyes', it was readily apparent to anyone with an ear for this sweet soundscaping that Isobella know perfectly what they are doing. If any one remembers how great Siouxsie and the Banshees used to sound, loved the vocal heights of This Mortal Coil, and respected Mazzy Star for their chorus laden simplicity, then Isobella will up the ante one further.
I can't do much more than reiterate that this is a great album full of dreamy, atmospheric simplicity. On songs like 'Garden of Earthly Delights', the melody and dominant key line trades and fades effortlessly with the guitar line, and then back again. The keyboard work is uncluttered, the arrangements sparse but not barren, kind of like a skeletal version of later Cure material (which I feel suffered from a morass of different mixing issues). The closest other comparison I could even come to (not that it'd be necessary) is a synth version of Galaxie 500 - which is a compliment by any stretch of the imagination. I am pleasantly surprised to find this album making an increasing dent in my listening roster, as equally surprised and happy to have found in my collection in the first place. Cheers Isobella, cheers. reviewed by: Stephen Dohnberg for Baydomain |
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Strangely this collage of dissonant sounds comes together as a whole to create an intoxicating work. Focused around scraps of keyboards torn from vintage and contemporary newspapers, magazines and books, Akasha is a statement of post-shoegaze drone pop evidenced to be bubbling under music fashion today. Rules in piecing together this collage were learned from headphone sessions with the likes of My Bloody Valentine, 18th Dye, Can, Pale Saints, as well as Stereolab (if for no other reason, their key drones circa Jenny Ondioline). Hearing a bit of Cocteau Twins would not be embarrassing as drums become drum machines, and guitars become waterfalls on Akasha. Now a trio, having lost drummer Heath to Versaille, Isobella shed their Akasha moniker to mark the transition away from the quartet of collage artists. With scraps of musical ideas, determination, and the know-how, scraps can be recycled and rearranged to bring new life to canvases as well as onlookers. I can't wait until the next exhibit opening.
reviewed by: Keith York for Mod Magazine |
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