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What We All Come To Need [Import]

Pelican Audio CD
4.5 out of 5 stars  See all reviews (4 customer reviews)
Price: 5.77 & FREE Delivery in the UK on orders over 10. Details
o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o
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Product details

  • Audio CD (19 Oct 2009)
  • Number of Discs: 1
  • Format: Import
  • Label: Southern Lord
  • ASIN: B002MWXV8M
  • Other Editions: Audio CD  |  Vinyl  |  MP3 Download
  • Average Customer Review: 4.5 out of 5 stars  See all reviews (4 customer reviews)
  • Amazon Bestsellers Rank: 54,350 in Music (See Top 100 in Music)

Listen to Samples and Buy MP3s

Songs from this album are available to purchase as MP3s. Click on "Buy MP3" or view the MP3 Album.
                                                                                                                                                                                                                                                                                                                                         

Samples
Song Title Time Price
Listen  1. Glimmer 7:310.79  Buy MP3 
Listen  2. The Creeper 7:200.79  Buy MP3 
Listen  3. Ephemeral 5:090.79  Buy MP3 
Listen  4. Specks of Light 7:460.79  Buy MP3 
Listen  5. Strung Up from the Sky 5:120.79  Buy MP3 
Listen  6. An Inch Above Sand 4:140.79  Buy MP3 
Listen  7. What We All Come to Need 6:470.79  Buy MP3 
Listen  8. Final Breath 7:290.79  Buy MP3 


Product Description

BBC Review

Four albums into a career that began in 2001, one could be forgiven for thinking they’d got Pelican pegged. Slotting easily into post-something pigeonholes in the past, the Chicago band have struggled to really stand out from the pack of sound-alike outfits they, in part, inspired. Until now, as they’ve come out fighting with a set that pricks the ears like little they’ve done before.

What We All Come to Need is a fantastic, dynamic collection which ups the ante considerably from the band’s previous long-player, 2007’s disappointingly generic City of Echoes. Whereas that album followed a tried-and-tested formula to the letter, here Pelican adopt compositional elements from stoner-rock circles and beyond, slowing their riffs down so that they bludgeon like a cartoon anvil inside a pillow case – softly enough initially, but once the blows have accumulated a delightful dizziness sets it. There’s menace to the band, too, with tracks like Ephemeral layering ominous guitar lines atop each other until the listener either embraces their fate or flees from their home stereo.

With fellow townsfolk Russian Circles largely stripping away the slow builds common in post-rock to instead go straight to the best bit, the gut-churning bombast, the standard for instrumental rock in 2009 is high, especially after so many years of compositional déjà vu. But Pelican successfully reach for said heights, with rollicking riffs interwoven with immense skill and arranged to encircle mountainous percussion, every constituent track a half-speed head-rush of super-amplified euphoria. The control the four-piece exhibit is commendable – there are points where lesser acts would simply step on the pedals and make with the ear-bleeding noise, but Pelican’s restraint and sense of timing is second to none.

Granted, there’s little on show that’s truly original – it’s tough to exhibit brand new ideas in a genre so very dependent on meeting audience expectations: Loud follows Quiet and is in turn succeeded by Louder Still – but the artistry is in the execution, and in songs like the bass-led Specks of Light and the title track Pelican earn A grades for accomplished performances. And there are even some (welcomed) vocals, from Allen Epley of The Life and Times/Shiner, on rumbling closer Final Breath.

After being consigned to rank among the also-rans with their last long-player, it’s a pleasure indeed to have Pelican back where they belong: at the forefront of the instrumental rock field. --Mike Diver

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Customer Reviews

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Most Helpful Customer Reviews
16 of 16 people found the following review helpful
Format:Audio CD
Pelican have been around for 8 years now and this is their 4th album. Their sonic evolution from pummelling riffage on the early EP and Australasia to City of Echoes' more stripped down and textural approach has been topic of discussion of many a heavy music fan. You see - lovers of Pelican's music can usually be separated into two camps; a) the heavy sh-t and b) the swirly psychedelic progressive sh-t. I myself enjoy both aspects but tend to lean towards the heavy stuff. The monstrous riffing on early tracks like `The Woods' and `Drought' is hard to ignore.

With subsequent albums, Pelican have become masters of weaving instrumental guitar passages in and out of one another: of spiralling intertwining distorted melodies up into the heavens where the God of the Almighty Riff nods his approval. Yet, nothing really seems to happen anymore. There aren't any tension and release moments - no big build-ups into cathartic crescendos. Sure, it's fun listening to their riffs bob, weave and uncoil for 7mins at a time but us fickle listeners need a reward at the end of it. The early material was so brutally simple and powerful in it's sheer relentless heaviness that it was cathartic in itself - no crescendo needed - you're already in one my friend. The newer material - particularly their previous album, City of Echoes, sacrificed the simple, heavy riffs for the (actually quite stunning) intricate guitar interplay that they're now renown for. The primal factor has been overthrown by sophistication. Whilst it's impressive and still brilliant music it's just not as engaging as before.

What We All Come to Need definitely continues in the same vein as City of Echoes - textural, intricate and generally shorter track lengths.
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1 of 1 people found the following review helpful
4.0 out of 5 stars Powerful 8 Dec 2012
Format:Audio CD|Verified Purchase
I have never heard of the group and only discovered them when I Googled a reference to them in a book I was reading. I liked the fact that the albun only has one vocal track, the weekest in my mind. Best played loud.
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5.0 out of 5 stars A fiver well spent! 7 July 2014
Format:Audio CD|Verified Purchase
This is the first Pelican album I bought and really was a bit of a shot in the dark. I like Isis and Cult of Luna so at a fiver I thought I would give it a go. 5 well spent! Its superb. Mind blowingly good. Not as dark as Isis but heavy, absorbing and atmospheric. Just one track with vocals. The rest is instrumental. Highly recommended.
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5.0 out of 5 stars best album 28 Oct 2012
Format:Audio CD|Verified Purchase
i think this is the best album of pelican . Amazing music , flows through your ears like water . i recommend it to anyone who likes instrumental music
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Most Helpful Customer Reviews on Amazon.com (beta)
Amazon.com: 3.9 out of 5 stars  19 reviews
11 of 11 people found the following review helpful
4.0 out of 5 stars Solid new album from the kings of HEAVY 28 Oct 2009
By bkhage01 - Published on Amazon.com
Format:Audio CD
Wow. Another excellent release from Pelican! What We All Come To Need surpassed my expectations, and it was hard for me not to give this album a full 5 stars, but I don't do so lightly. If I could give quarter or half stars, this would probably come in around 4 1/4 or 4 1/2. The songs are absolutely incredible, and show Pelican continuing to move in a new direction (in the same vein as City of Echoes and the Ephemeral EP). They definitely do not have the same, slow sludge sound that they mastered on their self-titled debut EP and Australasia, but that certainly isn't a bad thing. They still possess all the heaviness of their previous records, but have expanded it by adding new sonic tools to their arsenal. The drumming is much more noticeable (as it was on Ephemeral) and adds faster rhythms to the mixture, and the guitar riffs are very complex - some of the best of their career. As it seemed to be with their approach on City of Echoes, they absolutely pack as many nasty licks into each measure as possible.

The album opens with a bang on "Glimmer," slowly building up soundwaves and then crashing your eardrums in waves. Fans might notice that the track "Ephemeral" was actually present on the EP of the same name. In the past, Pelican has released different versions of the songs for their EPs, and then presented a trimmer, more cut-down version of the track on the LP. However, this version of "Ephemeral" appears to be nearly the same track, although it does sound ::slightly:: different, as if they maybe re-recorded it for the LP. But the difference is not as pronounced as the EP and LP versions of "March into the Sea" for example. The track "An Inch Above Sand" was actually released on the split 7" with Young Widows on the Temporary Residence label as part of Young Widows' 4-part split series (also excellent). However, unless you have a USB turntable handy, that track was vinyl-only. So it's nice to have it in this format as well. And trust me: there is plenty of new music here to go around. Check out Pelican's Myspace page - they're streaming the entire album right now if you want to listen to it before purchasing it.

The most notable moment on this album is the last track, "Final Breath" which represents a completely new musical attempt from Pelican, because it actually has vocals. Sung by a guest performer, Allen Epley, the lyrics are great. It was a little difficult to listen to at first, because Pelican held out so long without doing a song with vocals. However, after listening to it once or twice, I find that it is a great finale to the album. This is not an attempt at selling out, and it certainly does not throw Pelican into the mix with other screaming metal bands. The words are actually sung, not growled or screamed as one might predict. However, the lyrics blend amazingly. Also featured are guest performances by Aaron Turner of Isis (guitar), Ben Verellen (bass), and Greg Anderson (guitar).

The special edition, available exclusively at Southern Lord, includes a bonus DVD and is limited to an edition of 2000. I would recommend picking up a copy of this version while they're available. These guys are arguably the hardest working musicians in the business, releasing an EP or an album at least once a year, as well as extensively touring. I would highly recommend seeing them in concert if you get the chance, especially since they tend to play with other excellent bands from the Hydrahead and Southern Lord labels, and they keep their prices on everything way down to make it affordable for everyone. Great release!
7 of 7 people found the following review helpful
5.0 out of 5 stars A Warm, Huge, Expanding Installment 29 Oct 2009
By Ryan Smith - Published on Amazon.com
Format:Audio CD
I love this album. I loved it since the first melody hit my ears. I've followed Pelican since about 2004-2005 and they quickly became one of my all time favorite bands with The Fire In Our Throats...(their 2nd full length LP). From Fire In Our Throats to City Of Echos and now What We All Come to Need there is a clear progression in quality. The recording quality and delivery has never been better. The mixing has never been better and the drums and bass have come up to make the whole experience more cohesive. Content wise, I feel every Pelican album has its ups and downs. I never expect to love every riff and every minute because there's so much. I get the same experience listening to jazz. There's just so much to hear in every song (there always is) that some parts are gonna stand out among others. Also Pelican have been delivering soul jarring melodies on guitar since Austrlasia, and nothings changed. Thank god the guys haven't run out of ideas, it is apparent that this cd contains equally as many astounding parts as any previous release, with a whole new, warmer feeling. Just look at the album art- this isn't a billowing, lofty first release (Australasia) it isn't a sky blue, fresh, crisp and invigorating album (Fire In Our Throats)- nor is it manganese-black drowning and destructive with shimmers of delicacy thrown in (City Of Echoes) - this is a warm and inviting album. It is all encompassing, the heavy parts grab you rather than hit you hard. It is a great experience. My favorite tracks are Glimmer, The Creeper, Strung Up From The Sky and Final Breath. This is a 5 star band. They're classic. Every release shows a different state of music, but really neither is better or worse- there's just early and later. It's rare to find a band where every album is worth listening to, but here you've found one.
4 of 4 people found the following review helpful
4.0 out of 5 stars instrumental rock that avoids wanking 9 April 2010
By Scott Hedegard - Published on Amazon.com
Format:Audio CD
Pelican are one of a few bands out there creating real instrumental music in the rock world, most instrumental music being jazzier stuff. Not including individuals like the Most High Jeff Beck, so much instrumental rock has been nothing but exercises in wanking that may showcase phenomenal speed and dexterity, but turgid songwriting capabilities.
In the early '60's, instrumental rock had its heyday, where bands created real musical pieces, not just lead guitar work. In fact, until the Beatles came on the scene, if you wanted guitar rock, you had to check out the Beach Boys, Dick Dale and a number of other surf bands to get what you were looking for. Perhaps the Ventures were the most successful of the instrumental bands, who finally received their induction to the Rock and Roll Hall of Fame recently.
So what does this have to do with Pelican? Actually, plenty. Although Pelican is a very heavy outfit, they have wisely crafted a sound that is about the song, and there is no lead work whatsoever on "What We All Come To Need". Like their predecessors, they favor atmosphere and groove, creating a CD that non-musicians can dig as much as any wanker out there. While this reviewer hasn't been familiarized with the band's influences, it's a safe bet they've paid attention to the early '60's period, where, in the case of Dick Dale and The Ventures, words weren't necessary.
Guitar is the bedrock of all rock music and Pelican give that hallowed instrument the attention it deserves. Heavy enough to satisfy the most obnoxious headbanger, yet melodic enough to appeal to a broader audience, which they deserve. A little tempo variation and a lick or two would spice it up, though, as long as they refrained from overdoing it.
1 of 1 people found the following review helpful
5.0 out of 5 stars If you are gonna own one pelican album, this is it! 6 July 2010
By Jason A. Sykes - Published on Amazon.com
Format:Audio CD
I am listening to the vinyl version of this and whatever that other guy says about the mastering is absurd unless he was already listening to an inferior copy on mp3 or cd. I think this is the best work Pelican have done and I am in absolute love with it. The problem with most metal/post-rock albums is if you aren't careful it can turn into background music and not even notice its still on. I listen to a ton of this type of music and what we have here is really interesting this recording seems to juggle very well between being atmospheric and being at the very forefront of your attention; this is the type of sound that keeps you interested. It's great because it grabs you and demands that you listen to it actively. This is fantastic I decided to listen to it before I wrote this and just side 1 of 4 is tough to even concentrate on what I am writing its so powerful.

Either way, this music can speak for itself. Grab your favorite drug or listen to this sober it will be a worthwhile trip I promise.
1 of 1 people found the following review helpful
4.0 out of 5 stars Like the record, not the recording 25 Feb 2010
By Paul Dippolito - Published on Amazon.com
I can't agree enough with the reviewer above who takes issue with the mastering of this record.

I like Pelican, and I think there is plenty in this record to hold the listener's attention and interest, regardless of the production. But I hope that artists will take this issue to heart and remember that the room in which the recording is made is a part of the identity of the recording, it needs to be respected because the ear hears music in the context of an (imagined) visual space.

Flattening out the instrumentation levels to artificially maximize the audio assault gives this record a claustrophobic feel, and compromises the finished product.

That said, it's a worthwhile record, and I recommend it.
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