While Public Memory's Robert Toher doesn't quite tear everything down and start over on Demolition, he does make space for new forms of expression on the project's second album. On Wuthering Drum, Toher pared down the dense sonics of his former groups Apse and ERAAS with hypnotic, insular results. This time, his moody electronic collages reach outwards: "The Line"'s ever-expanding electronics introduce the vast scope of Demolition's songs. As on 2017's Veil of Counsel EP, the album's increased clarity gives Toher ample room to play with space and tempos. While Wuthering Drum's linear grooves had a lulling allure, there's no denying that the way "Red Rainbow" shifts from a serpentine crawl to a race through a cavernous nightscape adds excitement to Public Memory's sound. Despite these changes, the otherworldly vibe Toher cultivated on his earlier releases remains intact. His gift for creating moods via decaying textures on songs like the gorgeously tattered "Falsetto" rivals Boards of Canada, another act fascinated by illusions of the past and nostalgia's seductive powers. Frequently, Demolition's harder-edged approach only makes Toher's vocals sound more unearthly, as on "Doorstep," where it feels like he's hovering just above a jittery beat. The album's claustrophobic moments are all the more striking compared to its spacious ones; "Redeemer" is swallowed by sorrow, while "Aegis" envelops listeners in a fog of synths. By the time Demolition closes on a surprisingly optimistic note with "Trick of the Light," it proves that Toher can give more focus -- and more hope -- to Public Memory's music without sacrificing any of its mystery.
© Heather Phares /TiVo