Rosetta’s Quintessential Ephemera
Back in 2014, Rosetta announced the addition of a fifth member, Eric Jernigan of City of Ships. I wondered exactly how this lineup change would affect the band. Rosetta is a band that has, for the better, stuck to their core sound throughout the years. Through stellar composition, they have managed to make minor changes, yet make a record that doesn't quite sound like the last. I personally didn't see the addition of another member to be nothing more then an asset to their live performances, but upon listening through Quintessential Ephemera, I was shocked to notice that the band really did utilize this newest member while, once again, sticking to what makes Rosetta so great.
The new record boast a more positive direction in sound, as opposed to the gloomier The Anaesthete. After all the struggle leading up to that album, the response from fans fueled a new fire in Rosetta that spills over into this new offering. Most notable are the guitars. Eric joins in on Matt Weed's signature guitar work; the both dancing around each other in a swirl of post-rock dissonance. It's exactly like the Rosetta guitar work you know and love, but Eric and Matt subtly complement each other in those spacer moments in a way that hasn't been accomplished by Matt alone in the past. The additional guitar work also plays into Dave Grossman's bass parts. Sometimes the second guitar will relieve Dave of his usual rhythmic duties to allow him some freedom to play some stellar bass parts or help him along with the rhythmic sections to add to the moment.
Probably more important to me is the drumming done by one of my favorites in the game, B.J. McMurtie. His signature drumming style is most certainly in play, but he also takes a part in creating this more positive feel, playing with more cymbals and high-hat then normal. It helps put less punch into the overall sound, really complementing the focused tone of the record. Even when he is playing his normal snare work, it feels more gracefully then ever. Electronics play their part too. Mostly used during the intos/outros of the songs/record, they add a small bit of detail to the songs. In contrast to the normal oppressive noise Rosetta dishes, they instead use sounds that add a little haze and lace some piano into the mix as well. This all is finally cemented by the mixing and mastering of this record. Done at Machines With Magnets (Colin Marston's recording studio), the record just sounds kind of light in regards to past records. In a good way. The heavier moments certainly punch enough, but the record has that post-rock feel to it; like something you can lay back and zone out to with a smile on your face.
All in all, Rosetta once again deliver a record that fans will enjoy immensely. It has all the elements that we know and love, while putting a positive spin on the writing and really creating a detailed soundscape unlike past work. Looking into the possible future, I can't help be excited. Going on their 12th year as a band, it is evident with this release that the band isn't opposed to playing with their sound a bit. With Eric's position in the band being totally open, who knows what could happen in the future. All that can be said is I hope the band continues to evolve the way they have.
-The Apologist