THE NOIR DALIS – NOIR DALIS (Album Review)

Take the imagery of ethereal vibes, otherworldly feelings and an overall distinctly calm atmosphere- not quite zen, but not quite entirely chaotic either and mix them all up. You’re likely to get a result that aligns with The Noir Dalis, an innovative duo that seamlessly blends the rawness of garage rock with the haunting and ghostly spaced feeling of post-punk, shoegaze as well as psych rock. The duo comprises of the multi-instrumentalist and vocalist Carlos Bojorquez and the drummer and co-songwriter Linda Ventura. They embody a unique sonic landscape that captivates listeners with immersive soundscapes as well as intricate melodies.

The release that we will be analysing today in this review is technically their debut album, a self-titled album called ‘NOIR DALIS‘. It was released in January of this year, drawing inspiration from acts such as Spacemen 3, The Brian Jonestown Massacre as well as Love and Rockets. The album promises a distinctive fusion of pulsating bass lines, intricate drum patterns and ambient jangly guitars. The first single from the album, ‘Strawberry Jones‘, was also recorded at the renowned Joshua Tree Studios under the tutelage of acclaimed producer Tommy Dietrick (director of the Desert Stars Festival) as well as Jared Artaud of The Vacant Lots. The track is significant, acting as the precursor to their exploration of sound, earning them a reputation for their approach and stylistic niche.

Upcoming releases include the intended self-released 7-inch single titled ‘RISE’, featuring tracks such as ‘Enterrado Vivo’ as well as ‘Tierras Sombrías’. Let’s find out if this release matches the compelling description and artistic intent of the artists.

The opening track, ‘AWAKE’, starts off with delicate tambourines as well as distinct rhythms and melodies within the guitars and the drums. The vocals, as with the rest of the album, are pretty reverb-ed and delayed, typical of most shoegaze acts. Because of the artistic intent, I will let the element go as-is, but I do think some sort of further mastering is required to make the vocal track a little more ethereal instead of ‘dated’. Then again, I get the feel that the ‘dated’ness of the mastering within the track is intentional, almost as if it were a ‘The Smiths’ track from the 80s. It’s pretty predictable.

The second track, ‘DESPERADO’, has more variation within the lead melodies of the guitars, and the vocalist’s vocals shine a little bit more with experimentation. The beat is constant, and steady, but I have to say, I don’t necessarily hear anything experimental or distinct from post-punk and shoegaze acts. It is a very proficient replica of structures of compositions within the genre, but it’s lacking a new variable to refurnish the act into this current age. I will say, in the chorus segments of this song, the guitars do add more life to the song with a slight contrasting melody panned towards the left. Interesting use of panning towards the end.

The third track, ‘STRANGE CARS’, definitely packs a tougher punch than the previous songs, coming in with a more intense edge. The palpable energy from the guitars and the drums (the drums boast a good tension between the beats, helping to increase the feel of anticipation within the song). Thus far, I think this song is the most interesting just because of its compositional intent- when it comes to darker, edgier songs, often, you can get away from compositional quirks because the strength of the track fills in the gaps where one would expect something else. In this case, it is a masterpiece. All the guitar tracks are layered in a wonderful fashion, and the main vocalist’s vocals in the midst of the key of the song reminds me of a lot of darkwave songs, even going in the direction of Siouxsie Sioux’s style.

The fourth track, ‘HATE’, repeats the percussive quirks of ‘AWAKE’ while switching the melodies for a more mid-90s acoustic ‘shine’ moment. There’s a certain timbre within subgenres of rock that embodied this feel within the time period that I mentioned, and this song definitely emanates that. It has a storyline-like structure, which would definitely appeal to some people. It has waves of nostalgia embedded within the song itself- reminiscent of songs from ‘Sonic Youth’ when the topic at hand was more jarring. I think this song is definitely worth a listen for inspiration.

The fifth track, ‘BREAK DOWN’, evokes the feel of post-punk itself through the introductory motif as well as the cadence of the drums itself. I’d say, the introductory part of the song could’ve been mastered better to help give the song a more dynamic feel instead of a slight ear fatigue due to how slightly repetitive the front part is. However, that is from a compositional perspective. If I were to judge this from the ears of a recipient, I would expect this segment to be powerful and possibly hype the listener up- and in that case, this song definitely delivers. I have to give the guitarist credits for the slight off notes in this track, giving the song musical variability.

The sixth track, ‘MILD ATTACK, is quite tantalizing with the way the bass in the song sounds. It draws you in to the song even without the rest of the instruments coming in. I’d also say that this track is one of the better-mastered tracks, as there is enough space for all the instruments to shine and create a dynamic listening experience instead of the elements attacking you all at once. This song once again, recreates the ‘Siouxsie Sioux’-esque dynamic, with the cadence of the drums and the vocals. The best part of the song is how the main melodic motif syncs up with the bass- it is very deep, mysterious and palpable. I almost wish that part would last longer throughout the song. I also really like the dark undertones throughout this whole song, even when the other guitars have a ‘brighter’ element.

The seventh track, ‘ELEVEN’, starts off with a groove that actually reminds me of 60s psychedelic tracks. It is definitely quite distinct. This song morphs two of the best elements of the entire album- percussion as well as the bass. It expands upon the mysterious motif and also delivers on the promise of sparkly, jangly guitars (honestly, in my mind, it almost rings through like a golden thread.) I get the feeling that this song would have the most universal appeal. It is dynamic, without going too well into each end of the spectrum. A good pattern of mastering is established at this point of the album, with the shakers and the guitars panned well enough to bring out the dimensions of the track.

Last but not least, ‘STRAWBERRY JONES’, the last single off of the album, starts off bold in both percussive and harmonic elements. A feel of anticipation builds up in the song, before the vocals come in. However, the vocals aren’t the star of the track, it’s honestly the melodic guitar. I love the slight rock ‘n’ roll twang of the motif it constantly plays. I like the tempo of the song, and the groove of the song. My only critique is the lack of motivic variation throughout the song, with recognisable changes only towards the end.

All in all, I think this album is a wonderful attempt for a debut album. There are only minor details that require tweaking before The Noir Dalis emerge as a riveting act, capturing ears, hearts and minds. I can’t wait for their next release.

Score/Good: ‘NOIR DALIS’ is a wonderful attempt at a debut album, with a proficient level of performing up to the standard of the artistic intent they have set for themselves. It is an album that definitely boasts songs worth listening to. It is dreamy, dark, and captivating.

[We rank singles, EPs, and albums on a scale of Poor, Mediocre, Good, Excellent, and Outstanding]

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