Solkyri - Cranebrook

​Solkyri

Cranebrook
Bird's Robe Records; 2025

TOP ALBUM

​By ​Dino DiMuro

Solkyri is an instrumental post-rock group from Sydney, Australia who call themselves “four quirky friends with an obsession for writing songs with a lot of feel and reverb.” Their new EP and fifth studio release is called Cranebrook, an ambient excursion featuring strings, synthesizers, pianos, glockenspiels and the metallophone. The title “Cranebrook” was inspired by their childhood suburb in Western Sydney.

The band members are Adam Mostek, Andrew Pearsall, Nicholas Hall and Ryan Fitz-Henry. Fitz-Henry is last on the list, but first in duties: he not only plays, but hand-built the studio where recording and mastering were performed, as well as producing and mixing. Because of the lockdown, the band started brainstorming via zoom sessions and found themselves in a new direction, both musically and thematically. The string section plays a huge part in these compositions and was arranged by Monique Turner (violin/viola) with help from Mitra Ahmadi (violin) and Tim Mahony (cello). 

The band explains: “This album is quite the departure for us, as we are known for writing blazing post-rock anthems. Inspired by the work of Nils Frahm, Olafur Arnalds and Ben Frost, we have always wanted the opportunity to explore a more intimate and refined sound. At times it’s really slow, but it allows for moments of reflection, a chance to stand still and most importantly, to rest.” For me, this album recalls side two of Brian Eno’s “Discreet Music” (the strings side) or even “Music for Airports”. Discovering the group’s Bandcamp page is like stumbling onto a fully functioning country nobody else has discovered: this album is available in so many formats, it takes forever to scroll down to the tracks!

“Wherever We End Up Next” begins with a cloudy mixture of strings and synths. Though a tad unstable, a sweet and simple three-note theme emerges from the fog and slowly envelops the listener. As if driving through a cloud, the fog dissipates to make room for solo piano, then returns with even more power by adding picked acoustic guitars, glockenspiel and more detailed strings. Though always with a slight edge, this track ultimately has a mellow effect akin to David Bowie’s “Moss Garden.” With a similar melodic construct, “I Guess I’ll Be Leaving Now” begins with hammered tones against a roiling synth background, taking form before gradually dissipating, then regrouping again. A simple acoustic and cello duet fills the middle section, then morphs into a lovely quartet arrangement. 

“Autumn Mould” has a video to itself, which starts off by sounding like a distant 16mm projector with an optical soundtrack. Musically the track begins with throbbing pulses, again coalescing into something more melodic and beautiful step by step. The video follows along with trippy, colorful patterns that occasionally suggest people or birds in three dimensions. The melodies here are a bit more sophisticated, while remaining basically cyclical. For those wanting to cut to the chase, this may be the best place to start!

“1804” is the shortest track at just two minutes, and the instant surprise is that we hear a drum kit for the first time, clomping away behind a background of cycling tones and virtual motorcycles. It’s a sci-fi Disneyland kind of track that ends just a bit soon. “You Coward! (Shamles II)” immediately follows, and also has a very literal video attached where you get to see the band and strings at work, along with some of the real-life sounds of their environment. This is another rich track in the tradition of “Autumn Mould” and is fascinating both to hear and watch. I can’t tell if the visuals are causing this but this feels like the most intricately composed and arranged track of the bunch. “Where The Quiet Can Hide” concludes the EP with one more taste of live drums joining the classic Cranebrook sounds.

It’s funny to encounter a band for the first time when they’re doing something completely different from their usual, but the skill Solkyri show here certainly would apply to their full career. For mellow enthusiasts or those that love strings in a modern context, I fully recommend!

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