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Jan 27, 2021 Web Exclusive By Dom Gourlay

One of those modern-day music quandaries that remains unanswered is why aren’t Still Corners much bigger than they actually are. Now approaching their 15th year of existence, the duo—Tessa Murray and Greg Murray—can lay claim to having been one of the most consistent acts of the past decade.

Ever since debut long player Creatures of An Hour landed exactly 10 years ago off the back of a bunch of well received singles and EPs, they’ve become something of an anomaly as far as both the music press and record buying public are concerned. While comparisons with the likes of Broadcast and Stereolab probably hindered as much as helped them in the past, they’ve gone on a path entirely of their own doing. Setting them apart from any of their peers past or present.

Equally revered by the shoegaze, indie pop, and psych rock communities, Still Corners manage to traverse all three without making any their permanent homes; which is undoubtedly one of their most endearing qualities. While its predecessor Still Air was written in more affluent times, The Last Exit was brought to a sudden halt then given new impetus by the ongoing COVID-19 pandemic. Indeed, this could have been a very different album had their original release schedule not been decimated by the early stages of lockdown and uncertainty that ensued as a result. Instead, it provided a means for inspiration that saw a bunch of new songs reveal themselves before making the final cut for the record.

Lead single “Crying” was one of the last songs to be finished for the album, and while not exactly a massive departure from Still Corners’ dreamy soundscapes of yore, it proved to be a strong and sublimely hypnotic opening gambit. The title track itself completes the band’s road trilogy that initially dates back to “The Trip” off 2013’s Strange Pleasures. Picking up where the second part, “The Message,” left off in 2018, “The Last Exit” provides an intuitive opener for the box of delights contained within.

Sonically drifting between graceful ambience and somber chamber pop, The Last Exit hits several peaks throughout its eleven pieces. Whether it be the elegant synth pop of “White Sands” or fifties-tinged blues rocker “It’s Voodoo”. Elsewhere, “Static” and “Till We Meet Again” deal with the isolated constraints of lockdown while cinematic closer “Old Arcade” leaves the door open for their next sonic departure into pastures new.

As with all Still Corners previous releases, The Last Exit is another exquisite voyage into its creators’ enchanting landscape that’s both mesmerizing and timeless. (www.stillcorners.com)

Author rating: 8/10