What’s old is new again. Things usually come full circle but I expected this to happen the previous decade…unless the previous one focused on something differently altogether? Regardless, while the UK’s Seefeel has a history that began back in the 90s as part of the shoegaze movement, the group did pivot away from the genre, finding a much more comfortable home through its more electronic-based sound. It was a quick evolution in its sound that has remained relevant to this day as shown with the release of the expanded Pure, Impure (expanded) EP (Beggars Banquet) release that made everyone take notice.

The band expanded release includes not only the original Pure, Impure release but also its More Like Space and Plainsong EP releases, all of which were released in 1993. These were and remain stunning pieces of work filled with loops, effected guitars, the occasional vocal, and extraordinary rhythms. The band has since reformed back 2008 with guitarists Mark Clifford and Sarah Peacock the remaining original members, along with Lida Kazuhisa and Shigeru Ishihara. The songs remain impactful but it’s the AFX (Aphex Twin) mixes of the “Time To Find Me” tracks that have always left me in awe.

JANE INC. – A RUPTURE A CANYON A BIRTH

Life sometimes tosses you lemons so what are you supposed to do with them? Nah, fuck that lemonade, paint that shit gold and sell them for a profit marketing them to those who believe it’s real, right? It’s the American way. My train of thought was lost somewhere between lemons and gold and the connection to where I was going seems to have somehow gotten lost in translation somewhere. No matter, we’re here now.

Trying to understand where A Rupture A Canyon A Birth (Telephone Explosion Records) is heading, just might be an obstacle I can’t get over. The 80s saw the release of some of the best dance/house music you could ever imagine so at the start of the release, this piqued my interest by Jane Inc. This is the new project by experimental U.S. Girls’ Carlyn Bezic and while this might show a hint of interest, the release comes across a bit disjointed. “Reborn (On The Dancefloor)” pulls out that dance rhythm which she sings atop of as keyboards drop sporadically throughout. Ok, I get it. It definitely has that Chicago/NY spin but in a 90s mainstream kind of way that might appeal to some. Not a Deee-Lite but maybe a Real McCoy fan. There’s a bit of a difference. “Elastic” takes a much more house-induced approach with its continuous rhythm and keyboard work that’s consistent throughout. Bezic hit every right note here and just might have you dancing the way Tortured Soul makes me dance. And then, the mood and direction shifts altogether.

“Freefall” is an easily accessible joint you might hear on the radio as you’re turning the dial, tuning into mainstream hits from over 25 years ago. Its catchy rhythm is undeniable, embellishing upon it with guitars to keep the electronic bassline in check. It dates itself though and will make you forget you’re firmly planted in 2025. “Keeping It With Me” is a nice change of pace though, still with the same nostalgic feel but the sound is rich & full. Bezic’s voice is inviting on this unrequited love song. But as the album progresses on, her identity seems to get lost. “The Braid,” with its keyboard wash and ill-placed percussion just doesn’t sit right. Like a Catholic church song, it seems to drone on. And on. By the time you get to “Continents Shift” you might feel lost because it doesn’t sound like the same artist that created “Elastic.” And when you get to “Levelled,” I’m not sure I get how this shifts to a spoken-word rap delivery. It doesn’t make too much sense.

While I don’t want to spend too much time on this, A Rupture A Canyon A Birth isn’t something that comes across as very relatable. It’s fine to have more than one thing but you also have to be able to connect the dots, and here, they don’t form into something recognizable.