Roberto P.’s psychedelic, dream pop, indie/alternative/progressive rock project Borer Treetops returns with new full-length album, Red Dust Storm. And, like past Borer Treetops releases, Red Dust Storm creates melodic sonic environments that inspire humming, and a sense of gravity-free spaces hosting all manner of surreal and sound-reflecting architecture. Ready to explore the latest aural vistas and floating majestic bodies described by Roberto P.’s melodic world-shaping? Let’s hit the highlights.
Wait. Who does what?
Yep, Roberto P. still tackles it all, from dreamy synths to atmospheric, space-faring guitars. Now, if you’re firmly buckled in, we can ignite rockets one through six, and head straight for a still quite mysterious red planet.
Oh. One more thing….
What’s the meaning, the inspiration, behind Red Dust Storm?
Per Roberto P., “I like to think of Red Dust Storm as my first true concept album: it revolves around the idea of a journey through space, towards Mars (where the red dust storms take place) and beyond. Flying past moons and satellites, as we travel further into deep space, things around us are not what they used to be. At the very edge of a black hole’s event horizon, its “photon sphere” particles can either be pulled forever into the unknown, or bounce back to where they came from. Time and space don’t make sense anymore, and we can see everything in a new light.”
Listening, and talking about it (i.e., the highlights).
The album begins with “Take-Off,” the musical telling of our journey’s beginning. It’s a fat, machine-writhing analog-ish synth, and a deep reverb electric guitar further describing the melody. It’s a song-scene showing systems primed for takeoff, a quick ascent through the atmosphere, and the last moment of consistent communication with Earth. Excellent scene-building track!
“Autumn” is a star-glistening acoustic guitar, tune-phasing and bright synth strings, cosmic bodies whooshing by, and a grand synth lead. This song marks an important part of our journey: it’s the promise of a newfound world, but the sudden realization of several perils blocking an arrival.
“Clueless” begins with hard piano and Robert P.’s voice saturated in a big, spacey reverb. It’s slightly Beatles-esque, borrowing from their more psychedelic output. Featuring a glistening, phasing lead, “Clueless” fades into the soundlessness of deep space.
“Grace” is more positive with ringing acoustic guitar arpeggio and rolling conga-esque percussion. And then glistening strings arrive, something between the Mellotron and captured, key-recalled cosmic winds. Roberto P.’s vocals are a little more discernible here; they’re more a lead than a supporting instrument. And with a fat, twisting synth, “Grace” buzzes out its final notes.
“Journey” begins with a wavering and harmonizing Moog-ish synth line. And over top, a glistening acoustic guitar. Robert P.’s voice pervades the burning thrusters of a spiraling off-course satellite; it’s surprisingly relaxed in the cold void from which it booms.
“Phobos” is a little more grounded, at least initially, with its drum and bass beginning. But then distorted synth waves arrive, and a rubbery, delay-touched guitar asserts itself. This one is brief, like a quick musical sketch of Mars’ moon before its image leaves the command center’s viewscreen.
“Same Old Story” begins with a quickly rolling and flapping filter of sound, like control systems spinning up to an agitated state. Acoustic guitar and bass take the lead in a song that perhaps knows the odds – which are quite poor – but through experience, knows exactly what to do.
I’m really digging the rich distorted guitar kicking in; this one, for lack of a better word, rocks. You feel the danger of closely passing asteroids in a damaged, wildly careening ship; the captain struggles to avoid a ring of space debris while barely missing martian mountains in a hasty emergency landing. Excellent track.
“Canals” is a more relaxed affair. Space-pervading acoustic guitar, bass, and quiet percussion lead this melodic piece. But, regardless of its reduced pace, there’s room for melancholy, painting space strings, and a Pink Floyd-ish delayed guitar riff. Awwwwesome track.
Album finale “Landing?,” with its shimmering organ, is the journey-ending denouement this album deserves. It’s short, but within it, speaks to a possible arrival. Or….it reveals another quest, measured in light-years, to an unknown destination brought about by unexpected gravitational anomalies. Has our space-faring hero reached his destination? His home? Is he launched again into a great unknown, but now considers the journey itself a home? Regardless, “Landing?” is an ending, a moment to reflect, and perhaps a new and less frightening era of unending beginnings.
But is it good?
You’re not simply listening to music, you’re in a shuttlecraft making your way to the promised red planet. You’re whisked between planets and swirling stars, piloting a vessel that isn’t especially resilient to the rigors of extended space travel. You’re terrified, unsure of survival, but eventually, you embrace the constant change – you find solitude, finally, in a journey that never ends, regardless of great mechanical resources dedicated to hitting the brakes. You are alone, but there is splendorous creation in this silent vacuum. Red Dust Storm reminds us that being unsure, being afraid, are the precursors to great and lasting change. Recommended.
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BELOW: Listen to Borer Treetops and check him out on SoundCloud, Spotify, Apple Music, Instagram, and Facebook. Please support Borer Treetops by visiting his website and playing, downloading, and/or purchasing his music. And, as always, thank you for supporting real music.
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