Langosta’s new EP Super Nature plays out exactly as the title would suggest. Taken as a whole, the four fierce, yet eloquent tracks combine to present a journey which offers a unique perspective on the sounds of nature.
The trek begins with “Jerry Kreuger”, at the epitome of serenity. Crisp, clean guitar melodies set the scene with just the right amount of echo to suck you into the track. The bass, while fairly minimal on its own, is able to create an intricate dueling effect with the guitar, giving an immense amount of depth to what would ordinarily be a simple introduction. Once you’re roped in, the intensity kicks in as the percussion and overdriven guitars become the driving forces to carry the tune, at first bits at time, but ultimately leading into a melodious wall of screaming distortion. The multiple layers of wailing guitar eventually entwine to establish the most ferocious moment on the entire album. The rest of the track is spent showcasing the band’s virtuosic instrumental skills, particularly with their ability to lock in the guitar and drum lines so tightly.
This trend of smooth, silky guitar melodies continues on the second track, “The Death of the American Beaver”, which begins with some of the more jazzy offerings Langosta brings to the table. The track follows a similar pattern to the first, beginning with calm guitar melodies and leading into much more intense sections. What really makes this track memorable is the use of an almost synthesized-sounding melody which is used a few times throughout the track as a transition method. The first time it’s used it comes off as a pleasant surprise, and later in the track it transfigures into a way of tying the whole song together. The way the track bounces back and forth between clean jazz and brutal heaviness is impeccable, with the intensity being aided by prevalent drum syncopation to keep us on our toes.
The final two tracks are where the bass shines through above all else. “JTCGTHLH” brings back similar ideas to the opening tracks with a sort of dueling feel between the clean guitar and bass, only to kick into another distorted section filled with harsh tri-tones which push this track to the extremes. Even during its heavier moments, this track still hangs onto its cool jazz qualities in the melodies, chiefly aided by the hyperactive bass lines.
The album concludes on “Underwater Level” which has undoubtedly the catchiest guitar melodies on the album. The echoing clean guitar makes a resurgence, seeming to bring the album full circle from the first track. The whole song is calmer and generally slower than what we've come to expect so far, which really drives home the idea of the journey coming to a close. This closing is a triumphant one though, as the final minute of the album is perhaps the most uplifting, with the syncopated rhythms and bouncing bass carry the melody back home. While the tone of the outro is more reminiscent of the heavy distortion we've become accustomed to, it’s still able to bring about a sense of peace and closure to the voyage that is the “Super Nature” EP.