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Released on February 23, 2015 via Southern Lord
Whilst I always welcome every Pelican release, The Cliff EP is a curious entity. Taking a track from their 2013 album Forever Becoming, adding two remixes and an unreleased track is something of a stopgap, but these four tracks combine to provide a neat collection of tracks that fans should hear. I’ve been one of those fans for many years, always impressed by their muscular instrumental rock and I find them a great live band, though I’ve read (unfair) reviews and comments that suggest otherwise. Pelican’s stock took a turn for the worst with me though with Forever Becoming, there just wasn’t enough about that album to intrigue.
So we’re reminded of that album with ‘The Cliff’, here in its original form, with vocals from Allen Epley (Shiner, The Life and Times), a fairly robust song that sounds like one of those downer Soundgarden tunes. Epley’s drawled vocal blends well with the swirling guitars and the track comes across as a song as opposed to some vocals over a Pelican instrumental. I often think that Pelican’s brand of less is more instrumental would be better placed with vocals and this song provides validation of that thought.
It was the remix of ‘Angel Tears’ that Justin Broadrick did many years ago that got me into Jesu and all of the associated side projects. It was a truly epic remix and whilst Broadrick’s take on ‘The Cliff’ might not have the same replay value, it is certainly a worthy listen. Familiar circular guitars loop over an industrial distorted snare popping drumbeat. Ethereal keys swirl a warm drone while a deep and dirty sub bass growls in your ear. This is definitely a Broadrick track, totally owned and restructured, the original virtually unrecognisable. That’s what you want from a remix though, rather than some intricate tweaking of the masters. Excellent.
The Palms remix is a sprightlier affair with the drums given a rework that is almost in the realms of dub. Epley’s vocals are clipped and looped into a ghostly ether of echoes. This remix manages to do what Broadrick’s does, restructuring the original’s insular vision into something much more widescreen.
Finally, unreleased track ‘The Wait’, bookends the EP, beginning as a reflective lament with hefty drums over clean picked guitars. Much is made of Larry Herweg’s drum technique, but I like his style, only complicated at times, his sparing, less-is-more approach is effective mixed with Pelican’s guitar work. The track powers up into heavier tones halfway through, slow grinding grooves where shifting slabs of earthly riffs push and pull. At its end, the track culminates in some melodic lead work that leaves you feeling euphoric and warm inside.
As I said, this EP might not win over new fans for Pelican, as the strongest tracks are ultimately adverts for the remixers’ capabilities. But if you are a fan of the band, then I’d advise adding this to your collection, it’s definitely a little tread back onto the road of redemption for me.
