Waking Aida

My goal with 6forty is simple – introduce people to music that they may not know; to pull them away from the mainstream and into the world of the independents. Because, in my opinion, it’s here that the music is most interesting, and definitely the most enjoyable. And if you’re visiting 6forty, then the odds are good that you’re already a fan, or you are open enough to join our team. To that end, Waking Aida has released two EPs that are making my job really easy.

Kamiokande and Hachiko are outstanding records. The songs are blissfully melodic, super tight, and always dynamic – instrumental rock at its finest. I’m going to avoid categorizing their sound since I don’t consider their music to be post, or emo, or math, or any of the other titles that folks are throwing around these days. It’s simply excellent rock music. Kamiokande kicks of brilliantly with ‘Underwater Level,’ a meandering fusion of guitars, bass, drums, and keys that has become my go-to summer song – easy-driving rock that reminds me of (old days) Kitchens of Distinction and the Swirlies (minus the vocals, of course). The pace slows down with ‘Sundances,’ 7+ minutes of interesting tempo changes, looping spoken word samples, and smooth guitars on top of a relaxed beat. The EP ends with the mighty ‘Stanley Ipkiss.’ It’s much heavier than the first two tracks on the record, starting off with quiet electronics, but quickly crescendos with agressive guitars, bass, and a pounding rhythm section that pushes the song, and the EP, to an abrupt, yet solid end. I love it!

The first thing you notice about the Hachiko EP is the outstanding cover art, done by Asphensia. The imagery is a perfect match to the music – bold, and brightly colored. ‘Meanwhile…at Lounge Doom’ and ‘That’s not my trick, Michael’ – the first two tracks on Hachiko – are textbook Waking Aida. Chiming guitars, rock-solid drums and bass, and more twists and turns than a rollercoaster. We get a 50 second rest with the calm of ‘Viewfinder,’ and then the EP winds up with two absolute bangers, ’7:45' and ‘Nothing in Me Disturbs A Thing.’ I find it difficult to describe these songs to someone who hasn’t heard the band – the arrangements are fun and full of hooks, and at the same time, they’re still full-on rock songs that sound best when played extra loud. I’ve been following independent music for a long time, and when I listen to Waking Aida, I’m reminded of many great bands (ex. Tsunami, Swirlies, Lorelei, Lilys) and labels (ex. Slumberland, Taang, Simple Machines) who pioneered this unique style of rock (yes, most of those bands had vocals, but it’s the music that I’m referring to). And I’m even more pleased to see so many great new bands, including Waking Aida, who are taking this genre of music to a fantastic new level. I won’t bother listing the other bands, all you need to do is listen to any of the recent 6forty collections and you’ll get an earful of some of the best music being released at the moment. Kamiokande and Hachiko are two excellent EPs that have definitely found themselves on my best of the year list. I can’t wait to hear more. Click on the links below, turn up the volume, and enjoy the ride! - 6forty

My goal with 6forty is simple – introduce people to music that they may not know; to pull them away from the mainstream and into the world of the independents. Because, in my opinion, it’s here that the music is most interesting, and definitely the most enjoyable. And if you’re visiting 6forty, then the odds are good that you’re already a fan, or you are open enough to join our team. To that end, Waking Aida has released two EPs that are making my job really easy.

Kamiokande and Hachiko are outstanding records. The songs are blissfully melodic, super tight, and always dynamic – instrumental rock at its finest. I’m going to avoid categorizing their sound since I don’t consider their music to be post, or emo, or math, or any of the other titles that folks are throwing around these days. It’s simply excellent rock music. Kamiokande kicks of brilliantly with ‘Underwater Level,’ a meandering fusion of guitars, bass, drums, and keys that has become my go-to summer song – easy-driving rock that reminds me of (old days) Kitchens of Distinction and the Swirlies (minus the vocals, of course). The pace slows down with ‘Sundances,’ 7+ minutes of interesting tempo changes, looping spoken word samples, and smooth guitars on top of a relaxed beat. The EP ends with the mighty ‘Stanley Ipkiss.’ It’s much heavier than the first two tracks on the record, starting off with quiet electronics, but quickly crescendos with agressive guitars, bass, and a pounding rhythm section that pushes the song, and the EP, to an abrupt, yet solid end. I love it!

The first thing you notice about the Hachiko EP is the outstanding cover art, done by Asphensia. The imagery is a perfect match to the music – bold, and brightly colored. ‘Meanwhile…at Lounge Doom’ and ‘That’s not my trick, Michael’ – the first two tracks on Hachiko – are textbook Waking Aida. Chiming guitars, rock-solid drums and bass, and more twists and turns than a rollercoaster. We get a 50 second rest with the calm of ‘Viewfinder,’ and then the EP winds up with two absolute bangers, ’7:45' and ‘Nothing in Me Disturbs A Thing.’ I find it difficult to describe these songs to someone who hasn’t heard the band – the arrangements are fun and full of hooks, and at the same time, they’re still full-on rock songs that sound best when played extra loud. I’ve been following independent music for a long time, and when I listen to Waking Aida, I’m reminded of many great bands (ex. Tsunami, Swirlies, Lorelei, Lilys) and labels (ex. Slumberland, Taang, Simple Machines) who pioneered this unique style of rock (yes, most of those bands had vocals, but it’s the music that I’m referring to). And I’m even more pleased to see so many great new bands, including Waking Aida, who are taking this genre of music to a fantastic new level. I won’t bother listing the other bands, all you need to do is listen to any of the recent 6forty collections and you’ll get an earful of some of the best music being released at the moment. Kamiokande and Hachiko are two excellent EPs that have definitely found themselves on my best of the year list. I can’t wait to hear more. Click on the links below, turn up the volume, and enjoy the ride! - 6forty

I have to admit that when I saw the name 'Waking Aida', I pictured some kind of emo-pop act with fringes at impossible angles. These fears were, however, allayed within a few seconds of hitting 'play' on the Hachiko EP.

Straight away, I'm struck by the vibrant energy of the band. Where some instrumental contemporaries may sound bloated and directionless, the mood is heady and stirring. Though they use familiar dynamics to evolve the mood of songs, they have a bounce which keeps things buoyant. I imagine they are a blast to hear live. 'Meanwhile...at Lounge Doom' is accentuated with bright repeating guitar motifs and harmonic plinks that guide us into an ocean of squealing noise. 'That's not my trick, Michael' is a messier affair, all jarring time changes and cacophonous cymbal crashes. Lacking any kind of thread, it sounds like an aimless jam, instruments blindly humping each other. It's only a small blip, and sort of compelling, in a “What in god's name?” way.

'7.45' is back on the money, a swirling vocal sample is enveloped in feedback before a strident tempo kicks in, with the signature clean guitar line. The woozy romance swells to a thrashed, distorted conclusion. 'Nothing in me disturbs a thing' caps off this enraptured, upbeat fistful of tunes with a springy breakbeat and cascading guitars similar to Heat vs Light.

Waking Aida bring colour and warmth to a genre searching for fresh modes of expression. If you head on over to Waking Aida's Bandcamp page, you can also have a listen to three brand new tracks, which add sparkling afrobeat groove to their broadening palette. - Beardrock

I have to admit that when I saw the name 'Waking Aida', I pictured some kind of emo-pop act with fringes at impossible angles. These fears were, however, allayed within a few seconds of hitting 'play' on the Hachiko EP.

Straight away, I'm struck by the vibrant energy of the band. Where some instrumental contemporaries may sound bloated and directionless, the mood is heady and stirring. Though they use familiar dynamics to evolve the mood of songs, they have a bounce which keeps things buoyant. I imagine they are a blast to hear live. 'Meanwhile...at Lounge Doom' is accentuated with bright repeating guitar motifs and harmonic plinks that guide us into an ocean of squealing noise. 'That's not my trick, Michael' is a messier affair, all jarring time changes and cacophonous cymbal crashes. Lacking any kind of thread, it sounds like an aimless jam, instruments blindly humping each other. It's only a small blip, and sort of compelling, in a “What in god's name?” way.

'7.45' is back on the money, a swirling vocal sample is enveloped in feedback before a strident tempo kicks in, with the signature clean guitar line. The woozy romance swells to a thrashed, distorted conclusion. 'Nothing in me disturbs a thing' caps off this enraptured, upbeat fistful of tunes with a springy breakbeat and cascading guitars similar to Heat vs Light.

Waking Aida bring colour and warmth to a genre searching for fresh modes of expression. If you head on over to Waking Aida's Bandcamp page, you can also have a listen to three brand new tracks, which add sparkling afrobeat groove to their broadening palette. - Beardrock

Next up, Waking Aida, a Southampton based four-piece were mind-blowing. The instrumental post-rock champions were gripping from the very first second of their punchy performance to the very last one. The lack of vocals was more of a benefit than a detriment and the astonishment of the audience showed in the nods of approval and excited shouts as the band cleared the stage for the main act of the night.
- Releasethebeats

Next up, Waking Aida, a Southampton based four-piece were mind-blowing. The instrumental post-rock champions were gripping from the very first second of their punchy performance to the very last one. The lack of vocals was more of a benefit than a detriment and the astonishment of the audience showed in the nods of approval and excited shouts as the band cleared the stage for the main act of the night.
- Releasethebeats