The Veils
Time Stays, We Go
Release Date: Apr 23, 2013
Genre(s): Pop/Rock, Alternative/Indie Rock, Alternative Pop/Rock, Indie Rock
Record label: Pitch Beast Records
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Album Review: Time Stays, We Go by The Veils
Very Good, Based on 4 Critics
Based on rating 8/10
Finn Andrews has an extraordinary voice. The sort of voice that no amount of poetic language can truly do justice. Stick the words 'rich', 'husk', 'romantic ache', 'moody', 'mercurial', 'that Tom Waitsy croak Isaac that Modest Mouse has', 'bloodied', 'Buckley-esque' in whatever order you wish, cut-and-paste them around as many times as you like, but you won’t begin to describe those tones that pour from his lips.
Based on rating 3.8/5
Review Summary: Hope I don't go till I felt everything. The Veils came up in the One Tree Hill-era, a time for fashionable indie, with the prerequisite “the” and the handsome, steely-eyed frontman, but their music possessed a far darker, more cracked heart than most of their one-and-done contemporaries. Given the band’s upheaval over the years, the credit for maintaining this captivatingly cinematic ethos has to go to Finn Andrews, he of the Jeff Buckley affectations and Nick Cave influences and incisive songwriting chops to match.
Based on rating 7/10
The Veils have tapped into their slightly darker side for their latest, Time Stays, We Go. The album cover sets the tone immediately (a shot of a house on fire in a field), and the songs continue to embrace darker themes throughout. So it's heavy, but is it any good? Yes, for the most part. This being the Veils' fourth release, they know what type of mood they're going for and how to get it.
Based on rating 4/10
There’s a pretty good case to be made that the Veils’ 2006 release Nux Vomica ranks highly on a list of the most unfairly overlooked albums of the last, say, 10 years. It was a strange joy of an album, a wide-ranging, delightfully over-the-top blend of Nick Cave and Jeff Buckley and Rufus Wainwright and more besides. In the post-Strokes love-affair with all things indie and post-punk, though, that kind of swooning theatricality might have been a tough sell—Cave himself was in a bit of a somber lull at the time, with the sleazebag rejuvenation of the first Grinderman album still a year away.
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