The process of deciding what single to drop before a musical release is an inevitable dilemma for many artists. Whether it’s finding the right song or deciding how many to release, there are an endless number of variables to navigate.
For a smaller EP, one might question whether it’s worth sharing a single at all. Dropping one single for a four-track EP reveals a quarter of the ideas expressed on the project. Delivering two is unconventional, giving away half of the entire vision and leaving little to the imagination. Releasing three? Pure madness.
But in the case of The Orchestra (For Now), an art rock band from London’s “Windmill Scene,” “mad” is a fitting compliment. The seven-piece group, which formed in 2023, released their debut studio EP, “Plan 75,” on March 28. On it, four songs come together for a running total of 22 minutes. Three tracks (totaling 17 minutes’ worth of material) were dropped beforehand, a bold risk that paid off by getting their daring sound some well-deserved traction.
With seven members, the band subverts the traditional rock band lineups of guitar, drums and bass. They work in keyboards, violin and cello, adding textured layers and dynamism to their music. Between their instrumental lineup, angsty vocals from Joe Scarisbrick and blend of art rock, progressive rock and post-rock, comparisons to other artists in the “Windmill Scene” are inevitable but should not detract from the newer band’s successes.
Take the beginning of “Escape From New York” — the project opener and only song not released beforehand — as an example of the band finding their own stride. Wistful acoustic guitar blends with the string instruments, imbuing pure optimism. It would work as the perfect score for a panning exposition shot in an adventure video game as you take in the inconceivable surroundings. The feeling remains even when Scarisbrick starts narrating in a drawling murmur about forgotten good times.
As the track progresses, electric guitars and aggressive drum patterns blast their way in as Scarisbrick’s vocals morph into emphatic yells. The self-indulgent attitude he brandishes, with lines like, “I’ve been through all of Zadie Smith’s books / I am very well read” is reminiscent of the early writing style of Black Country, New Road, with the instrumentals drawing many similarities as well. Towards the end, dense instrumentals start to drown Scarisbrick’s voice in the mix, but it’s a satisfying finale, nonetheless.
The band wastes no time getting into “Skins,” a fast-paced track that details a disjointed, existential narrative. The electric instrumentals convey a sense of movement and despair, matching Scarisbrick’s powerful delivery. The dramatic lyricism stays prominent, with him announcing, “I’ve been sunken / Like a bloody fool,” vocals quavering all the while.
Throughout the album, the band often switches between loud and fast instrumental passages with everyone playing, and slower moments where only one or two members take the stage. “Skins” does a wonderful job showing that dynamic, often making multiple switches within a few seconds to build tension.
“The Strip” is the most intense track on the project, veering into post-hardcore. Outside of a string-led section, electric guitars steal the show, tearing their way through the track with unmatched intensity. The rush of noise makes for an anxiety-inducing experience, but one that you can’t help nodding your head along to.
The lyrics thread a more direct narrative this time, detailing someone getting murdered and the rush to detach from the scene of the crime. Scarisbrick sings incredibly close to the microphone, allowing his yelled vocals to instill a claustrophobic feeling.
The grand finale and debut single from the band is “Wake Robin,” an eight-minute art rock opus. Upon release last year, it instantly put them on a map as an artist to look out for, and for good reason.
The track weaves together a plethora of instrumental patterns, led by either the guitars, drums, strings or piano. Some are meditative post-rock moments that steadily build, while others have Scarisbrick singing alongside Erin Snape, the cellist, whose lighter vocals provide nice contrast. All of the main instrumental rhythms are wildly addictive and can get stuck in your head for days.
It also manages to be the most interesting lyrical endeavor on the EP. It centers around a decaying relationship, with Scarisbrick pleading, “Thеre’s no use in shouting at me, hold my hand instead / And the death-defying stunts that get us out of bed.” But there’s plenty of descriptive imagery and pop culture references to things like BeReal and Jubilee YouTube videos that make the track stand out.
The ability of The Orchestra (For Now) to release a project this memorable, in a genre already occupied by a plethora of artists in their local scene, is a testament to their wild creativity and instrumental prowess. Only time will tell how they will exceed expectations next.
Rating: 4.25/5