Since their first EP in 2016 instrumental 5-piece False Hope For The Savage have been a staple of South Wales’ flourishing experimental music community, balancing reverb-fuelled, ethereal soundscapes with explosive crescendos that have earned them support slots with artists like The Physics House Band, And So I Watch You From Afar and Nordic Giants. On their self-titled debut album False Hope For The Savage hone in on what makes their sound unique with more intricate ambience leading to bigger riffs in a way that both post-rock veterans and newcomers to the genre will find appealing.
The album’s opener Better Things Left Unsaid invites the listener to immerse themselves into False Hope For The Savage’s world with deep, delay-drenched atmosphere. The band uses its trio of guitarists, Edd Clemas, Alex Davies and John Harman, to craft intricate layers of harmony with a clear lead line, there’s a strong sense of urgency and direction to False Hope For The Savage despite all the complexity with each instrument serving a distinct purpose. Unlike the pretentious, impenetrable caricature of post-rock that some listeners may use to stereotype the genre, False Hope For The Savage manage to remain impressively accessible with a straightforward, direct approach to structure and melody.
The track ‘Little Empires’ represents False Hope For The Savage at their heaviest and most honest in a song clocking in under 4 minutes that’s bound to convert even the most ardent post-rock haters. Building the track’s moody feel around a relatively stripped-down, stomping guitar riff, as well as some appropriately energetic percussion from drummer Ray Thomas, Little Empires is certainly on the heavier end of the post-rock spectrum, far closer to And So I Watch You From Afar’s grandiose guitar acrobatics than MONO’s orchestral ambience. It’s a testament to False Hope For The Savage’s ability as songwriters that they can build an instrumental song with this many labyrinthine moving parts that can sound this sincere and catchy.
“It’s a testament to False Hope For The Savage’s ability as songwriters that they can build an instrumental song with this many labyrinthine moving parts that can sound this sincere and catchy.”
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Despite post-rock’s reputation as snooty and inaccessible, False Hope For The Savage keep their debut album direct and to the point in a way that few artists can, acting as a perfect jumping off point for those wanting to explore the genre for the first time. From ‘Archipelago’s’ slower pace and simple melodies to ‘Little Empires’; more traditional rock structure or Highwire’s bouncy, upbeat rhythms, the album both explores the full range of its genre and brings in elements from more mainstream genres that will keep the nerdiest post-rock fan and newcomers to the genre happy.
There’s a real depth to False Hope For The Savage that can be a pleasure to discover throughout the album, beneath the surface of the accessible melodies and ambient soundscapes the band are challenging themselves with complex rhythms and subtly impressive guitar parts. On lead single ‘Cinders’ for example, the repeated lead guitar line that the song builds itself around remains relatively straightforward, keeping a grounded melody to follow, yet the two other guitar parts and basslines from bassist Oliver Myles are constantly changing and moving bringing new dimensions to their deep soundscapes throughout the track. This shapeshifting, swirling void of instruments holds countless subtle parts which, when dissected, stand up on an individual level as well as supporting the track as a whole.
“There’s a real depth to False Hope For The Savage that can be a pleasure to discover throughout the album”
Album closer Stalker is by far the most ambitious track False Hope For The Savage have released yet. An almost 10 minute long opus with a distinctly cinematic feel, ‘Stalker’ would feel right at home in a Christopher Nolan movie or a FromSoftware game with huge, melodramatic swells and awe-inspiring arrangements building around a consistent central melody. A beautifully haunting and intensely memorable instrumental piece, ‘Stalker’ would be best experienced as the soundtrack to majestic views atop a mountain, contemplating life and getting lost in the music.
With their debut album False Hope For The Savage make a tremendous impact, combining complex, intricate soundscapes and impressive musicianship with straightforward, grounded melodies and accessible song structures. It’s a unique pleasure to get lost in False Hope For The Savage’s world and discovering all the treasures they’ve hidden throughout the album, a must listen for all fans of great instrumental music.