There’s something inherently hypnotic about Nothing Is The News, the latest release from Germany’s Suralin. It’s a record that sneaks up on you, subtly wrapping itself around your senses before you even realize you’re completely submerged. Equal parts ethereal and compulsory, the album channels the rhythmic propulsion of krautrock, the expansive textures of psychedelic rock, and the jagged edges of post-punk into calculated and completely untamed soundscapes worth repeating over and over again.
From the initial notes and beats, Suralin establish a weightless momentum, one that feels like a slow-motion free fall through spiraling, reverb-soaked guitar lines and elevating rhythms. The interplay between melody and dissonance sounds majestic, carefully constructed yet natural, a finely interwoven soundscape that never calls too much attention. Every note, every drum hit, every vocal phrase is placed with precision, yet it all unfolds gradually, like a lucid dream that somehow remains unpredictable. The vocal performance is a centerpiece of this material that hovers somewhere between serene detachment and quietly burning intensity. It’s neither confrontational nor passive. Instead, it exists in a liminal space, guiding the music like an unseen force. The voice is as much an instrument as the guitars and drums, blending with the soundscape rather than floating above it. The result is hypnotic, melodic, distant, haunting, deeply human performance that contributes emotional depth to the album.
The guitars paint vast landscapes that alternate between delicate and explosive sounds. Chord progressions unravel like stories, while harmonies and melodies collide with near-psychedelic effects. There’s a method to the madness, an almost scientific approach to layering textures, feeling deliberate but never mechanical. Whether they’re shimmering in the background or cutting through with rough, angular riffs, the guitars dictate the emotional tone of the record, shaping its peaks and valleys with an intuitive sense of movement. In the meantime, the rhythm section provides an anchor without feeling static. The basslines are warm, intricate, and just heavy enough to provide depth without overpowering. They operate in perfect tandem with the drums, an instrument that exemplifies restraint and precision. The beats are detailed, full of subtle shifts, fills, and syncopations that keep everything moving forward while dictating the underlying groove. It’s a rhythm section that understands space, when to push, when to pull back, when to disappear entirely.
Structurally, Nothing Is The News is a record that demands patience. It’s not an album that hands itself over easily. Rather, it demands full immersion. The arrangements are carefully considere, shifting between hypnotic repetition and dynamic, climactic moments. Suralin understand the power of tension and release, using repetition in a way that builds atmosphere rather than redundancy. There’s an almost cinematic quality in how these songs unfold, as if each track is a scene in a larger, unspoken portrayal. And yet, despite its intricacy, Nothing Is The News never feels self-indulgent. It’s an album that breathes, ebbs and flows naturally, maintaining movement without ever losing purpose. Even in its most sprawling moments, there’s an underlying urgency, a rawness that keeps everything grounded.
Dead post-punk, krautrock, and psychedelic rock fans prepare yourselves for the marvelous craftsmanship included in Nothing Is The News. New details emerge with listening. Hidden layers, subtle shifts in dynamics, tiny moments of brilliance that might have gone unnoticed the first time around. Suralin have crafted a tremendous record. This is music that exists in motion, constantly shifting and evolving, blurring the lines between genre and emotion. Nothing Is The News refuses to be rushed, a release that demands full immersion. But for those willing to dive in, the reward is unquestionably transcendental. Head to It’s Eleven Records for more information about ordering.
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