Empire of the Sea

More often than not, jam sessions between friends turn into unproductive jamming-pizza-into-your-mouth sessions. However, a 2010 meet-up between guitarists Bill Check and Michael Flaherty was quite fruitful, not only marking the beginning of Empire Of The Sea, but producing two songs that were later featured on their debut record Fathoms. “This band came together with the sole purpose of creating stress-free music that brings about certain mind and bodily feelings through the melodies,” says drummer Michael Tyahur. He says the band’s dream is to create more post-rock instrumental music that could eventually be placed in movies, stressing that the financial rewards might be great, they’re still “committed 120-percent to the music.” - Alternative Press

October 02. 2013 12:47AM
By Bill Thomas Weekender Correspondent


Empire of the Sea
‘Ghosts Everywhere’
Rating: W W W W V


“Ghosts Everywhere,” the new album from Wilkes-Barre post-rock foursome Empire of the Sea, is aptly named. Not only is it ethereal and otherworldly, it’s truly immersive. Spectral tendrils of metallic shoegaze blossom out of your speakers like ectoplasm from a medium’s mouth and wrap themselves around you, blocking out everything else.


Par for the course for EOTS. The band came out of the womb almost fully formed with 2010’s “Fathoms,” drowning audiences in cosmic atmosphere tempered with roaring violence. The only minor modification came when EOTS followed that up with the 2012 EP “Skywatchers.” Instead of roaring, EOTS started soaring, ditching vocals entirely in favor of pushing the music itself to greater heights.


In any case, this is a band that started out strong and has only gotten better. Those weaned on mainstream radio rock might not be able to gel with the band’s fully instrumental approach, but for those in love with the pioneering post-metal of Pelican or the cerebral symphonies of Explosions in the Sky, EOTS provides similar head-tripping transcendentalism.


Based on evolving cycles of sound, the five tracks on “Ghosts Everywhere” (all but one of which are named after the four winds, the last sharing its title with the album) progress gradually, introducing new elements with each repetition, until the final result is something very different from its modest beginnings.


The subaqueous and soulful guitar work sends ripples through the waters of reality while aggressive, nonstop drumming crashes authoritatively. It propels the sonic narrative forward and keeps the writhing strands of moody ambience from breaking off into meandering tangents. The result is not music as emotional expression, but as raw emotion itself. Like emotion, it’s something that can be felt very specifically, but is vague or obscure enough to defy verbalization.


In short, EOTS proves once again that great music is its own voice.


Empire of the Sea ‘Ghosts Everywhere’ Rating: W W W W V - The Weekender

More often than not, jam sessions between friends turn into unproductive jamming-pizza-into-your-mouth sessions. However, a 2010 meet-up between guitarists Bill Check and Michael Flaherty was quite fruitful, not only marking the beginning of Empire Of The Sea, but producing two songs that were later featured on their debut record Fathoms. “This band came together with the sole purpose of creating stress-free music that brings about certain mind and bodily feelings through the melodies,” says drummer Michael Tyahur. He says the band’s dream is to create more post-rock instrumental music that could eventually be placed in movies, stressing that the financial rewards might be great, they’re still “committed 120-percent to the music.”
- Alternative Press

Formed in 2010, Empire of the Sea are a four-piece post-rock band from Wilkes-Barre, Pennsylvania. Their latest release is a 4-track EP called ‘Skywatchers’ that clocks in at around 25 minutes. This EP has a lot going on for it and shows a band experimenting with a wide range of sounds and ideas. I’ve listened to this EP extensively over the last two weeks and as I sit here writing this review, I’m still on the fence about how exactly I feel about it.

The best starting point would be to discuss what I do like about on the EP. I really like the chill atmospheric vibe the album presents through the first two tracks. The album maintains a solid flow even throughout its spiraling crescendos build ups in “Mother Hawk” and even through the quick tempo of “Father Owl.” Guitar work is on point throughout the album and is a solid combination of post-rocky distortion textures, power chords and bluesy solo work, which is particularly excellent in “Father Owl.”

These two tracks are good, but Empire of the Sea really start to show their range on the latter two songs on this EP. “Sister Sparrow” brings the tempo down a notch and is a much more ambient track that presents a huge field of sound into a tight package. My favorite moment in this track is when the guitars start to rev up a couple of minutes in. The front guitar layer that roams freely in the higher end of the mix really gives the rest of the distorted layers a strong level of depth and purpose. This track just builds and builds to no end and that’s really one of the bands biggest strengths. The track goes on to make a stark transition and end in a completely different direction than what it built up to.

The first time I heard “Brother Crow”, the EP’s final track, it instantly reminded me of some of the earlier work of The End of the Ocean, particularly their track “We Always Think There Will Be More Time.” Both tracks have this really dreamy after vibe going on for them. This track also has a ridiculously strong build up that should more than satisfy those into the heavier side of the genre.

That being said, this EP suffers from two big flaws that can hamper any release. First, there is the disappointing overuse of cymbals to be found absolutely everywhere on this album. Even during the much quieter, slower build up in the intro to “Sister Sparrow” cymbals crashing completely overshadows the guitar work to the point where the slightly distorted layer is completely covered up and even the main clean layer must fight for its spot in the mix. I’ve never been a fan of bands relying on crashing cymbals just to ratchet up their sound wall and Empire of the Sea is guilty is charged.

Secondly, while the four tracks are technically sound and Empire of the Sea have presented themselves as knowledgeable musicians, the music here lacks defining characteristic to them. I’ve listened to this EP no less than 10 times and to be completely honest I’m not confident I would be able to identify any of the tracks if one of them were to come up if I hit shuffle on my ipod. I think this harkens back to the fact that the band themselves have said their tastes and talents have grown significantly as has their sound. This is something that a lot of younger bands struggle with in their earlier releases.

Still, I think that “Skywatchers” is an excellent starting point for the young band. I have no doubt in my mind that they have all the musical know how to take this band to the next level. Time will tell if they can put all of the pieces of the puzzle together, and I’m guessing that they will.

Available for free on bandcamp: http://empireofthesea.bandcamp.com/album/skywatchers-ep - Post-Rockstar

A recent avalanche and subsequent revival of all things Post-Rock has ensured the style’s borders are almost full to capacity. Despite the increase, and the standard cliches that rise up on popularity’s tidal wave (for example, the copying of influential acts), new bands capable of producing refreshing instrumental music continue to emerge all of the time. History warns us that staying afloat isn’t easy; it’s the tightrope of being just different enough, while still sounding somewhat recognisable so as not to drift into leftfield. On the evidence of Skywatchers and The Voyage, Empire of the Sea are creative enough, and original enough, to keep their heads above water.

No matter where navigation may lead, it’s always best to steer an authentic course and stay true to the original, intended direction. If a band doesn’t have anything new to say, it can be as clearly visible as a hazardous iceberg. The rediscovered rejuvenation almost always rises in the form of younger acts. Empire of the Sea encapsulate that early freedom which made Post-Rock so exciting, except they aren’t anchored by any kind of former glory, future expectation or broken fulfillments.

All of the exhilarating climaxes are here. Free flowing melodies sparkle out in a stream of notes, ensuring that the emphasis is placed firmly on melodic content, acting as a skeletal backbone for the red-blooded drums to rattle over. There’s no pussyfooting; Empire of the Sea dive right in. This fast pace takes the listener aback, and there isn’t a second to get cosy. As a result, predictability falls by the wayside, unravelled like the notes drifting in the sea. Always energetic, always in control, Empire of the Sea also enjoy the most important element – fun. All of the technicalities, riffs and structure, can send some instrumental bands spiraling out of control, trying to insert too much and inflating tracks until they become bloated. All of this potentially transforms the music into an advanced formula of mathematics, when it could be something like: Power chord progressions + driving drums = Post-Rock medicine.

Empire of the Sea display an admirable surety and maturity way past their youthful years. Only formed in 2010, when a jam session later turned into their Fathoms LP, Empire of the Sea may not do anything dramatically different or think too far out of the box, but what they pull off is so well realised and accomplished it becomes difficult not to become a believer. Counteracting the rough, stormy ocean of distortion and the clean, angelic notes of a calm tide, the music is a rainbow of sonic colour. Inspired by an interest in naval history, a sense of the ocean’s expanse exists within the music. Yet, the music becomes so energetic that it almost tears itself away from the imagery of the sea it is attached to, and instead bats the eyelashes skyward, soaring ever higher on American wings of freedom, with only thin, fluid tears falling off the claws of an eagle.

Skywatchers comprises four tracks, all sharing the theme of Mother, father, sister, brother. Hawk, owl, sparrow, crow. The unknown exploration beyond the window. A short burst it may be, but time flies as the sliding notes recur and the tremolo lines blur. The expansive melodies are blessed with a freedom and a ferocity as they glide above cold peaks, the notes shining circular halos in the sun’s light, yet doing little to raise the temperature. Soaring to higher altitudes, Skywatchers is full of optimism and some much needed cool air.

Just over ten minutes long, The Voyage is a tease of a taster, leaving the listener anticipating the next direction. The crystal clean, arpeggiated melodies and percussive waterfalls of “The Cape” splashes crashing cymbals into the lagoon. Effect pedals add a nice touch of chorus here and there, which helps to swim against the tide of familiarity.

The Voyage indicates the speed of the surge; the music sounds cleaner, perhaps preparing the way for their second full length, Ghosts Everywhere, due for release in 2013. The potential is there, along with the spirit of endeavour that helped navigate the early pioneers so bravely into the unknown. Empire of the Sea admirably display a similar bravery, instead of merely testing the waters in true sink or swim style. If they maintain this standard, they’ll leave the ocean behind, and soar ever closer to the stratosphere. (James Catchpole) - A Closer Listen

Bill Thomas, Arts & Entertainment Editor
September 11, 2012
Filed under Arts & Entertainment


If there’s any truth to the old adage that says still waters run deep, then it’s not surprising that the music on “Fathoms,” Empire of the Sea’s nautically-themed 2010 debut, is of a moody and meditative sort. For a follow-up, however, the group decided to shed the maritime trappings of that album, as well as the murky, monolithic ambient-metal style that accompanied it, in favor of something lighter.
Enter the upbeat post-rock of “Skywatchers,” EOTS’ new EP, released just this month.
It’s a sound that soars.
“Me and Bill actually worked together for two years and, whenever we’d go on break, we’d walk around the building and watch the birds flying around,” guitarist Mike Flaherty said.
The “Bill” he’s referring to is fellow guitarist Bill Check who, along with drummer Michael Tyahur and Flaherty’s bassist brother Patrick, comprises the Wilkes-Barre foursome.
Flaherty continued: “We got to thinking, what if there was a family of birds, each from a different species, but all living together?”
The concept allowed the band to create its own mythology on “Skywatchers,” one that in turned allowed them to explore various archetypes through its “bird family.” Each of the EP’s four tracks is named after one of their aviary inventions: “Mother Hawk,” “Father Owl,” “Sister Sparrow” and “Brother Crow.”
The change in EOTS’ musical style is also a direct result of the subject matter. Whereas “Fathoms” submerged the listener in an ocean of atmosphere and sonic textures, the trajectory of the new EP is aimed squarely skyward. The music constantly races toward bigger and brasher crescendos, which only seem to propel the music on further, the intent being to create a feeling of perpetual ascent.
“The songs themselves are not as dark as they were (on “Fathoms”),” Check said. “The best way I can describe it is as feel-good music. It’s like you’re up on some mountaintop looking down at the world.”
In a continual quest to unburden their music and hopefully enable it to rise to even greater heights, the members of EOTS have opted to eliminate vocals altogether, transforming the band into a 100 percent instrumental project from “Skywatchers” on.
The band members admit it’s a drastic change that might alienate some listeners. Nevertheless, they feel it’s the right decision, hoping it will shift audience focus more toward the songcraft of the music itself. It is there, Check said, EOTS differentiates itself most significantly from its contemporaries.
“We like to keep it very ambient but still incorporate a lot of structure within, which is different from most post-rock bands,” he said. “Most post-rock bands will just let seven minutes of guitars go on with this big build-up that ends up dying out. We’re more into using actual riffs and doing something with them.”
EOTS will perform alongside Ethereal Collapse at The Crimson Lion in Wilkes-Barre, on Sunday, Sept. 16.
For more information, find Empire of the Sea on Facebook. - The Beacon

By Bill Thomas, Weekender Correspondent
Aug 28

It starts small, just a ripple in the water. Then, ripples become waves.

That’s how it was for Wilkes-Barre post-rock foursome Empire of the Sea. Before there was a band, there were just two friends, guitarists Bill Check and Mike Flaherty, jamming out together in their spare time. Soon enough, the noise they made attracted others, namely drummer Michael Tyahur and Flaherty’s bassist brother Patrick. Soon, EOTS was formed and the full-length album “Fathoms” was released.

That was back in 2010. Since then, EOTS has been on hiatus, its members’ attentions divided among various other music projects. Anyone who’s ever dropped a pebble into a pond knows, though, that one ripple follows another. Now, EOTS is back and, this time, its members say it’s here to stay.

“When we first started, it was basically just a studio project,” Mike Flaherty said. “It was my brother Patrick who motivated us to bring it back. He really brought it to life as an actual live band, and we have a serious routine now, practicing and whatnot. This band is the main focus for all of us now.”

On Sunday, Sept. 2, EOTS will play the 11:15 p.m. slot at The Keys in Scranton as part of the 7th Annual Steamtown Original Music Showcase. What’s more, the performance will double as a kick-off for the release of the band’s latest album, “Skywatchers.”

Out of the water and into the air, the new EP sees EOTS leaving behind the nautical themes of its predecessor in favor of an invented mythology featuring a family of four birds — Mother Hawk, Father Owl, Sister Sparrow and Brother Crow — for whom each of the album’s four tracks are named.

“The whole concept of the band originally came out of the fact that I’m a big fan of naval history and literature. The music on ‘Fathoms’ reflected that,” Flaherty explained. “For ‘Skywatchers,’ we wanted a more upbeat approach, something that sounded lighter, airier. That’s really where the new theme came from.”

An even more striking departure from the status quo established on “Fathoms” is the band’s new approach to vocals. That is to say, there aren’t any. While “Fathoms” featured Flaherty singing on almost all of its eight tracks, the emphasis of “Skywatchers” is squarely on the music itself.

Describing the band’s sound, Flaherty cites instrumental rock groups like Russian Circles, Pelican and Explosions in the Sky as influences. At the same time, he feels EOTS has an advantage over many ambient music artists, in that the band stresses the importance of structure in its songwriting, rather than relying solely on atmospherics.

Still, Flaherty acknowledges that EOTS’ decision to perform as an instrumental group may be a barrier for some audience members.

“It puts us at arm’s length,” he said. “We can’t get into certain places or play certain venues because our music doesn’t fit a type. I feel like if people just tried to be a little more open-minded, it would give musicians like us a chance.”

Hoping to win over local audiences regardless, EOTS is offering the EP as a free download through the group’s Bandcamp.com page, in addition to selling “Skywatchers” in CD form.

“We just want to get the music out there so people can enjoy it,” Flaherty said. “We write it ourselves, we record it ourselves. We put everything into these songs. We just want people to hear them.”



Read More http://theweekender.com/stories/Empire-of-the-Sea-takes-to-the-air,197897#ixzz29bzM9OYY - The Weekender