Van Houten - ‘The Tallest Room’ review
Van Houten by Sarah Oglesby
In recent years, there's been a notable resurgence in Shoegaze, and its enveloping all-consuming wall of sound. Maybe it's revival mirrors the tumultuous state of our world and its uncertain future, or maybe it is just because music comes in waves. What remains indisputable is the ascendancy of Leeds-based Van Houten, who find themselves riding the crest of this wave. This Friday marks the highly anticipated release of their debut album, The Tallest Room, a labour of love seven years in the making.
The Tallest Room is an album sculpted by time, delving into the battles and darkness that vocalist/guitarist Louis Sadler has endured, and the journey towards moving on. Sonically, it forms a tapestry of the band's influences. Rooted in the sonic overstimulation of Shoegaze, it expands beyond, incorporating elements from far and wide early psychedelic influences clash with dark dissident post-rock. Van Houten has deftly harnessed these influences with the guiding hand of Alex Greavges, known for his work with fellow British Shoegazers bdrmm. The album demands a darkened room for immersion, inviting listeners to let its waves flow over them. With each listen, it unravels more intricacies, becoming a part of you until, like me, you're enamoured and fixated on Henry Beaumont’s bass playing.
The album unfolds with “Black And White,” a predominantly instrumental piece that sets the tone for the rest of the album with its encompassing, swirling nature. Sonically, echoes of The Piper at the Gates of Dawn era Pink Floyd resonate, mingling with tones that, despite any Yorkshire pride that the band might feel, undeniably nod to The Stone Roses at their trippy Madchester peak. Lachlan Banner's drums act as a steady guide while Sadler and his fellow guitarists, Jake Ribton and Ewar Barr, along with keys player Jake Wrigglesworth, weave in and out amidst a psychedelic haze, punctuated by Sadler's mantra-like screams of “I don’t know.” It’s a perfectly immersive introduction to an album as dark, expansive, and captivating as The Tallest Room.
We're then treated to the early pre-release singles “Never Did Come Back” and “Coming of Age,” both of which have been on heavy rotation during our radio show. “Never Did Come Back” stands out as one of the rawest tracks on the record, stripped back instrumentally yet somehow more powerful for it. It poignantly reflects its lyrical content, as we empathize with Sadler's struggle, feeling the weight of his battle with mental health.
If “Never Did Come Back” encapsulates the sinking feeling of grappling with mental health, “Coming Of Age” serves as its antithesis. This track is about overcoming fear and anxiety, and realising that perhaps you're not as lost as you once thought. The juxtaposition of these two tracks creates a blur within the album, mirroring the tumultuous journey of anyone who has grappled with mental health; it's never a linear path but rather a tide constantly ebbing and flowing, requiring us to find our means of coping and processing.
As the album unfolds, it whisks you away in a whirlwind of sound, captivating you as Sadler exposes his innermost darkness for the world to witness. By the album's conclusion, if you don't find yourself overwhelmed with emotion, I genuinely worry for you. Van Houten embodies raw emotion. Midway through the album, we encounter one of my highlights, “Note To Self,” a track that epitomises pure rawness.
Following “Note To Self” is “Only Wanna Be With You,” a surprising departure for Van Houten as it delves into the realm of a love song, albeit in their distinctive style. It captures the ephemeral essence of an intense relationship, here one moment and gone the next, as Louis Sadler croons, "Wouldn't have it any other way, cos if it's win or lose - I just wanna be with you, I only wanna be with you." It's intoxicating, feeling much longer than its brief runtime as I'm consumed by Beaumont's bass lines.
Speaking of Beaumont, if you're not enamoured with his bass playing by the time the penultimate track “Head Straight” hits, you soon will be. His bass exudes a natural fluidity, becoming an integral part of his very essence. It's the kind of bass playing that inspires you to dust off your own instrument and join in the jam.
Concluding the album is “I Let You,” an epic track among epics. While most tracks on the album hover around the four-minute mark, this one allows you to immerse yourself in eight minutes of everything the band excels at: swirling ethereal guitars and keys, grooving basslines, pulsating drums, and haunting, pained vocals. It's the perfect conclusion to the album, allowing everything to wash over you in a wave of emotion.
With The Tallest Room, Van Houten have crafted a poignant debut that stands as a testament to the time invested in its creation. It's a haunting yet enchanting listen; initially, you're swept away by the swirling instrumentation, hypnotic basslines, and the rhythmic pulse of the drums. Then, Sadler's vocals draw you into the depths as he introspectively dissects his inner battles with mental health and more.
The Tallest Room from Van Houten is out 22 March via Clue Records / EMI North and available on all good streaming platforms. You can catch the band on tour across the UK this March to May.
