Liverpool Sound and Vision Rating 8.5/10
There is an eternal key on view when you look at what is Left Behind The Clock. Along with unpaid bills, with the half written reply to a letter that has long since gathered regret and insignificance and the key, half remembered in a world of digital progress and lightning speed responses; to take the time to use the key and wind up the cogs and springs is a simple pleasure that should never be left to chance.
Cascadia Fault line’s look behind the clock sees more than just the reverse of a face, the box of eternal springs and the hope that Time is always true to its purpose, for the band it is the dearest wish that the clock itself is a measure of just how far they have come and the sensual swimming of the tide they have joined hand in hand; a sense of the sensual highlighted by the deftness of the group’s musical ability as it surrounds the voice of Rachael Dunn.
The four track E.P. is one that like the opening title suggests, is full of Grace, the overwhelming sense of refinement that comes from truly winding the clock to a millimetre of the spring’s momentum, no overloading it with an extra turn, no forgetting for a single day that the moment of ritual is on hand, the clock must always be precise, it must keep Time.
In Left Behind The Clock there is nothing left unpaid, there is nothing to frighten the listener, only Time and the beast that marks off the minutes and hours is one that is fully tamed as Grace, Walking Far, Tide To The Moon and Waves are poised to set the listener’s senses free of anything that might see the clock run too fast or creep like a spider in search of its helpless prey.
Rachael Dunn’s voice captivates on the four songs, the substance and the implication of the unrestrained, the free, is arguably observed and the timing surreal and patient.
Left Behind The Clock is always the metaphor for those we find we don’t have the time to deal with just yet, in Cascadia Fault line, dealing with Time is a pleasure as every tick and the tock in between is filled with beauty.
Ian D. Hall