SUPERIMPOSER by I THINK I SAW YOU SEE ME

The debut of Vancouver's I THINK I SAW YOU SEE ME is a rousing, panoramic affair that bursts through the confines of its chosen format, the cassette.

The quintet collectively finds the mid-point between proggy intricacy and the brazen heft of so-called math-rock, and departs from there toward uncharted destinations. Guitar asymmetry occupies the foreground for much of the album, imparting both heaviness and a restless danceability, yet there's also a sense of volatile nuance that's ever-present, undoubtedly due to the immersion of its membership in an eclectic array of musics—especially of the improvised variety. The electronic abstraction of experimental music veteran Giorgio Magnanensi cements this impression, providing a destabilizing force with its psychedelic trickles and neon spirals.

Superimposer's twelve-minute final cut exemplifies the band's singular chemistry. First, insistent interlocking guitar figures prod at a molten texture, pushing it to the point of eruption. Then, after a moment of repose, the group converges upon what initially seems like a more relaxed coda, but gradually this unravels to bring forth a turbulent climax.

Tellingly, the album's widescreen ambitions are reflected in three visual counterparts that were produced for its series of titular tracks. These include collaborations with Canadian video artists from across the country: Emma Tomic, Michaela Grill, and Hadis Fard,

Post-rock noise machine I THINK I SAW YOU SEE ME blends reckless, rhythmic cycles and sculpted, melodic noise to build severe abstract forms and multilayered sound distillations.

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