Over the past couple of years The Impending Adorations has moved into sharper focus via quick succession of albums beginning with 2012’s ‘Gestalt’, then ‘Intentions’ and ‘Further’ in 2013. What began as a purely artistic concern for writer Paul McLaney picked up traction when a series of songs from the those records picked up strong B-net support despite never officially being “released’” This in itself sparked a re-evaluation of how music is consumed in the modern age.
Those first albums were a collision of synth textures, layered harmony vocals and manipulated found sound. Taking its cue from luminaries such as Burial but moving in a far more organic direction in regards sound choice the music garnered a raft of stellar reviews.
In a recording career spanning 20 years Paul McLaney has plied his craft in a variety of musical guises; from solo folk orientated works (The Prayer Engine, The Shadows of Birds…, Edin, Diamond Side), to the pop/rock excursions of Gramsci (Permanence, Object, Like Stray Voltage), his collaborations with Rhian Sheehan, Module, Concord Dawn, Epsilon Blue, Magik Johnson, Counterstrike, Anika Moa, High Rankin et al to the strict electronica of the initial Impending Adorations releases.
‘The Best Is Yet To Come’ is the first in a series of planned singles for what Paul now sees as his primary musical outlet. It is also heralds the arrival of Andy Lovegrove into the producer’s chair. The aesthetic of the project has expanded to include a greater scope for live instrumentation alongside the primary electronic textures. A whole raft of some of New Zealand’s best musicians make up the ranks of the group; Jeff Boyle, Richie Pickard, Marika Hodgson, Marcus Lawson, Hummel, Andy Keegan, The Auckland Gospel Choir, Dan Hayles.