We Set Signals // ORDO [First Spin]

Band: We Set Signals

Location: Brisbane

Release: Ordo

Date Of Release: 25th September

Genre: Post Hardcore

We Set Signals are at it again with a new release in ‘'Ordo'', another musical testament to their continued evolution in the post-hardcore sound stream. With fearless diversity, the band has pushed their own musical limits further by incorporating tried and true tropes in conjunction with their own flavour to produce a record you don’t want to miss

"Ordo" starts off with an interesting little number in ‘Give Me a Sign’, a dominantly electronic track that leans quite heavily into tastefully auto-tuned vocals. I’d normally have a gripe with this, but it fits in the context of the song and its musical composition as a whole. The take-no-prisoners, balls to the wall attitude of ‘We Want You’ may have suited better as an opener, but the route that WSS have taken may prove smarter from a marketing standpoint in the long run.

As the album goes on, it becomes increasingly obvious that We Set Signals were quite intent on a ‘less-is-more’ approach to the song writing, and the simplistic tactic tends to be both the album’s most approachable quality as well as one of its biggest drawbacks.

"Prior to Ordo, I hadn’t been exposed to much We Set Signals, this was a more than satisfactory introduction to get me onboard their hype train."

Ordo is out now via We Are Triumphant.

In terms of inspiration, I may be a little biased to liking this album due to the obvious BMTH flavour spread throughout. 'Meet Me at Starlight Drive-In' has a breakdown build up bearing a striking resemblance to 'wonderful life', one of the singles off their last release, "amo". It's a cheeky nod (amongst others) and shows that while We Set Signals have some very apparent influences, BMTH and beyond, they are putting enough of their own spin on it so that obvious and immediate comparisons aren’t drawn between these other bands as it took me a while to pick this particular instance out.

From a production stand point, everything kind of feels like it’s on a leveled plateau from start to finish when there were a couple of opportunities to place an emphatic exclamation point to transition between, or start, or finish, particular sections. I felt this way in moments on a couple of other tracks, but 'Terminus' really stood out and left me longing for more, especially when the main riff and punchy breakdowns were done so well. A little extra oomph and dynamic contrast would have taken it to that next level.

Nu Shit


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