Astrel K – ‘The Foreign Department’ album review: nostalgia and futurism in perfect balance
THE SKINNY: Sometimes things happen that demand a change, and sometimes things change without your input. Everyone knows that well, that often horrible churning, dizzying feeling as your world shifts and collapses and changes like tectonic plates under you, causing earthquakes in your day-to-day. When that happens there are two solutions; duck and cover, or run, fast, and try to change. For Rhys Edwards – or Astrel K – The Foreign Department is the indie soundtrack to the shakes and the sprint.
I’ve always been curious as to what makes an artist go solo. Edwards is known as part of the cultishly beloved Ulrika Spacek, leading the group on vocals and guitars since 2014. While the band’s sound is perhaps more classically indie and alternative with a foundation in guitars, Astrel K isn’t worlds away. It always begs the question of why not take this to the group. But as I said, sometimes things happen that demand a change.
As Edwards moved country for love and then lost that love after a decade, heartbreak was the shockwave of change forced upon him. The choice to return to his solo project then reveals itself as a kind of attempt to regain some control both in a literal sense of not having to consult a group, but an emotional sense of making a purposeful shift in an attempt to reconfigure.
“It’s a crisis of belief, I’m somewhere in-between,” Edwards sings on ‘Darkness At Noon’ with lyrics that read like a diary entry in complete paragraphs. Much like Edwards’ state, this new record exists in the in-between, too. Or, more accurately, it plays there as the musician stretches out his skills. With the same effortless alternative feel that colours the band, Astrel K as a project has an undercurrent of experimentation that feels more interesting and dynamic. As details like horns and keys weave in and out, there’s a level of theatricality that’s reminiscent of Matt Maltese’s take on indie or Leonard Cohen’s late 1970s musical melodramatics. It at once feels both nostalgic and futuristic, existing in this unique space somewhere between a dingy lounge and a vessel floating in the exaggerated liminal realm of space itself.
By the time the record finished, I had an answer to my question: Edwards didn’t take this to the band because it felt like an exercise to figure it out, change, and try to keep up with the changes. In the in-between, he’s managed to make an interesting, dynamic, and great record as his evident skill and talent hold strong while everything else shifts.
For fans of: Albums that sound like a lounge band floating in space
A concluding comment from Romeo Montague: “Christ, I wish the depths of my bleeding heartbreak sounded this poppy!”
The Foreign Department track by track:
Release Date: March 8th | Producer: Rhys Edwards | Label: Tough Love
‘Heavy Is The Hand’: A bold and promising start as the keys come in heavy and Edwards’ voice weaves us around the ever-changing rhythm. As the guitars kick in, it only gets better as the album is quick to nail down its sonic world. [4/5]
‘Darkness At Noon’: This is such a delicious and eclectic track. The lyrics are written in chunky paragraphs, letting the instrumentation figure out a way to carry it. Taking notes from modern indie and the theatrics of Death Of A Ladies Man era Leonard Cohen, Edwards put introspection in a high production limelight. [4.5/5]
‘By Depol’: This track feels the most reminiscent of Ulrika Spacek, but in a nice way. It feels effortless, as if it just came out in this fully formed existence. But even still, the track maintains the album’s nostalgic feeling as it seems heavy with emotion even if the lyrics are buried under the instrumental. [3.5/5]
‘Brighter Spells’: There are several ear-catching moments on the record that make your eyes prick up and pay attention. This is one of them as the intro bursts to life and the instrumental rattles on. When the whole band kicks in with strings and synths, ‘Brighter Spells’ expands the whole record to a bigger thing. [4/5]
‘Firma’: The first half of this track could be a Goblin creation for a strange scene in Suspiria. As far as album filler goes, this is engaging and weird, actually serving a purpose of colouring the album’s world in a brighter shade of Dario Argento reds and blues. I never thought I’d be considering an instrumental interlude as a top track, but this stands out. [4/5]
‘Birds In Vacant Lots’: With nostalgia nailed down, Edwards moves into future thinking on this glitchy, spacey number. The first half feels like filler again until the vocals get underway with a nice enough track made up of intricate layering. It’s expertly drafted but not as engaging as any of the other numbers. [2.5/5]
‘The Foreign Department’: There’s always a lot of pressure on the title track to deliver, with listeners expecting it to neatly capture the entire record with its various sonic and lyrical themes. Edwards manages it with ease as the theatricality comes back in. It feels like a theme tune for the album, and I’m saying that as a compliment. [3.5/5]
‘C Ya!’: Once again, Edwards makes filler worth listening to. This orchestral interlude, with its fireworks and futuristic details, is so beautiful. [4/5]
‘A Rudderless Ship’: Contrasting the calm of what’s just gone, the musician kicks it up a notch for a danceable moment made of bigger drums and synth builds. As the track descends into glitchy chaos there’s a sense of catharsis like the entire record so far has been building towards it. The final third goes further still as it races, falls, roars and switches up. [4/5]
‘Daffodil’: Edwards’ tracklisting for The Foreign Department is masterful as he knows exactly when to give his listeners some space to process further bombarding them further. ‘Daffodil’ is a delicate and quiet moment that returns to the emotional core of the album before bringing all the bigger, instrumental themes back in. [3.5/5]
‘R U A Literal Child?’: And after all that, we end on a banger. The instrumental here is so fun it coaxes a little toe tap and a hip sway from you. Capping off a great album with a hit, the added horns and band elements bring it to a glorious close. [4.5/5]
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