The band are hugely grateful to Phil (editor-in-chief) and the UK's great Sonic Abuse zine for his kind, thoughtful and detailed review of their 13th album, Last Lights. Excerpt below and full article here. Thank you so much, guys!
BIPOLAR EXPLORER - Last Lights
"It’s been a while since I came across a band like Bipolar Explorer, although it does nicely hark back to my teenage years spent leafing through the N.M.E. in search of bands like Spiritualized, Low, and Mogwai. Here, I have an experimental release that is an epic two hours and twenty minutes in length, the airy music weaving a web around the listener and confining them within a world built of gleaming silk. Settle in, this may be a long ride.
Bipolar Explorer are a three-piece band comprising Summer Serafin (vocals, spoken word), Michael Serafin-Wells (vocals, guitars, e-bow, bowed guitar, baritone guitar, bass, Moog Grandmother synth, Yamaha MX-49 synth, organ, sine pad, melodica, chimes, tape loops, percussion, spoken word), and Sylvia Solanas (spoken word, synths, backing vocals). They recorded this epic outpouring live at The Shrine in New York City (NY) and at their house in France. The band took on production duties themselves and the results are impressive.
The opening track, Straitform, is a case in point. Bridging the gap between the traditionally electronic-oriented soundscapes of ambient and the slightly jangly indie-psych of Spiritualized at their most dazed and confused, it’s a seven-and-a-half-minute exploration of rock’s haziest fringes. Not exactly formless, it is closer in intent to the weird perceptual shifts evoked by the title when, as dusk falls, objects start to lose their resolution, the gently droning feedback and wordless vocalisations only dimly discernible in the twilight. As such, it is music best heard with the curtains drawn, the listener simply allowing the ambience to wash over them… into the haunted frequencies of The Light Calls To Us. A short piece, it pairs poetry with the ringing tones of wine glasses in a manner that nods to Pink Floyd’s ill-fated Household Objects project.
The album’s third track, St Nestor’s Day, finds the band bringing the music slightly more into focus for a folk-drone piece that wouldn’t sound out of place on an Angels of Light album. With clean guitar lines, reverb-drenched vocals and what sounds like either controlled feedback or E-bow, it’s a rather beautiful piece of music that contrasts nicely with the ambient drone of Four Saints, Part 1, a slow-motion unravelling that ebbs and flows through the listener’s consciousness, subtly beckoning you into the album’s dreamy core.
If the album’s opening four tracks prepare you for anything, it is for the unexpected and, as Secret Angels Beneath the West Side Highway Overpass ably demonstrates, the band are not done with the surprises. Underpinned by subtle industrial noise and overlaid with found sounds, it has a sense of tension that recalls Hans Zimmer’s near-ambient score for The Dark Knight Rises.
Remember how that film used space and unsettling noise in favour of typical cinematic bombast? Here, Bipolar Explorer use a similar sense of space to create a genuinely unsettling composition that scrapes away at the nerve endings. Thank goodness, then, for the sanguine drone of Behind The Sun, which finds unlikely inspiration in the synth-driven soundtrack Mark Snow curated for The X-Files, quasi-orchestral sounds included.
With the preceding tracks rooted in pure ambience, it’s almost a surprise when The Ides Of March brings the guitars back for a lovely moment of slow-core reminiscent of Low, especially in the way the vocals are layered over one another. It is, however, merely a brief musical oasis on the way to the found sounds of Passage, which sets the sounds of the subway to a light drone that runs into the aptly titled Slow Motion.
This is followed by the truly epic Across The Northern Winter Sky, which brings together ambience, post-rock, and drone for a ten-minute instrumental piece that is simply beautiful. One of those pieces that just seems to drift through the speakers, it marks a turning point in the album, with Halcyon Days returning to the dreamy poetry of The Light Calls To Us.
Next up, the dreamy Turnabout sounds like The Byrds recorded in a giant, metal-walled echo chamber, taking the dreamy psych of the 60s and rendering it lost in a sonic hall of mirrors. This is, however, only a digression and we’re soon back to ambient for That I Wept To Dream Again, which finds voices echoing somewhere amidst the layers of vocals and synth. In contrast, A Better Place strips away the vocal elements for a piece that floats in the same ocean hitherto inhabited by Sigur Rós at their most glacial.
The album shifts focus again as the band dip their toes back into unsettling waters on the short Of Things To Come, which presages the ominous Four Saints, Part 2. Heavy on the drone, with dark poetry at its heart, it leaves the listener feeling twitchy and uncomfortable, only for Anyhow to once again reverse the flow…
With the album’s final third, the band largely opt for shorter songs… The Christmas steps of Two Miles Away and the eerie ambience of Foreign Film showcase a different set of dynamics, leading to the sci-fi synths of Orchestral Moves – another Mark Snow moment, thanks to the plastic orchestra patches with which it opens, although it’s soon overshadowed by the heat-haze beauty of It’s Getting Dark.
A lengthy rumination, East of Elsinore is a seven-minute piece that explores the cold landscapes of Hamlet, with icy guitar figures set against gentle percussion. It’s followed by the shorter Nightships, which once again benefits from poetry delivered in an understated, almost hypnotic fashion. It leaves Guided to wrap the album up with one last burst of dreamy psych, the reverb-riven pop song feeling almost celebratory in execution. A lovely final track, it really captures the sun-kissed wonder that typically feels so peculiar to pop bands of the ‘60s…
Last Lights is an ambitious double album beautifully rendered. For the listener willing to invest their time, there is much to enjoy across the course of the album, and it is largely a pleasure to lose yourself within the warm embrace of the band’s music. Last Lights is a beguiling trip into a world rarely explored, and it is well worth checking out."
-Sonic Abuse (UK), October 10, 2026
In 2022, on the 10th anniversary of the release of the band's second album, OF LOVE AND LOSS, Michael recorded a live solo set of songs from the double-record which was released by Slugg Records as an exclusive digital album on Bandcamp.
On October 26th (the 14th anniversary of OF LOVE), that recording will have a wider release, becoming available on iTunes/Apple Music and all streaming services except Spotify.
It's available now for pre-sale on iTunes and, of course, remains avail on Bandcamp.
The band is hugely grateful and excited to learn that their new album, their 13th - Last Lights - is on the Heavily Played Album charts of both New York/New Jersey's WFMU and California's KFJC.
Entering KFJC's charts at the 17th slot (and #1 new add), the double-album also has reached the 14th slot on WFMU's charts.
Thank you everyone at 89.7 and 91.1!!
The band have released the first video from their new album, Last Lights. It's for “Four Saints, Part 1” and can be seen on the band's YouTube channel.
The band is honored to appear in the September issue of the UK's legendary music journal, The Wire.
Huge thanks to Noel Gardner and the entire crew for the kind words about the group's new album, their 13th, Last Lights, which leads the Avant Rock section in the new issue - at news stands and available online, now. Excerpt below:
“Bipolar Explorer’s Michael Serafin-Wells compares the New York shoegaze group’s latest album to the wall-sized paintings of Gustave Courbet, and to his favoured Clash, Husker Du and Minutemen double LPs. At 140 minutes, LAST LIGHTS is considerably longer than any of them (whether it’s larger than a 20 foot canvas is a question of perspective, I suppose) and while scarcely sounding punky, ample discord is present in a set that builds itself around Serafin-Wells’s multiplicity of guitar textures. “Across The Northern Winter Sky” sounds like Windy & Carl at their gothiest - which is very welcome!
Valuable context also lies in the vocal contributions of Summer Serafin, who co-founded Bipolar Explorer and died in 2011; Serafin-Wells upholds her memory via archived recordings.”
-Noel Gardner, The Wire Magazine (London)
The band is grateful for the very kind words about their new album, their 13th, Last Lights, from Scotland's This Is Darkness. Excerpt below and link to full article here. Thank you, Rich!
“Combining elements of dark ambient, drone, shoegaze, and post-rock, Bipolar Explorer are doing something wonderfully different. Last Lights is one of those remarkable albums that almost impossible to describe – its guitar based ambient / shoegaze sound providing a truly unique listening experience. Fans of music that does something different will absolutely love this, and with 26 tracks to listen to you’ll be in audio paradise for a long time. Gorgeous!"
-Rich Dodgin, This Is Darkness (Scotland)
The band were honored and delighted to provide a guest mix for the great Bleek Swinney for his weekly show on Seattle's KHUH, last night. The program is now available for on demand on Mix Cloud, here.
Hear the band's guest set in the first hour of the show and then stayed tuned for two more hours of this excellent program.
Thank you, Bleek!
The band is hugely grateful to Lars Haur and Fringes of Sound for the incredibly kind words their new album, their 13th, Last Lights. Excerpt below, full article here.
"With their latest album, Bipolar Explorer solidifies their place as veritable masters of the introspective and shoegaze-y. Sylvia Solanas’s deep and whisper-y vocals bring a sense of the concrete to the otherwise ethereal textures brought forth by both her and multi-instrumentalist Michael Serafin-Wells. Even with what we have come to expect from the band, there are still some surprising moments in which the shoegaze vibes fade and we are thrust into a more abstract and ghostly plane, like on “Secret Angels Beneath the West Side Highway Overpass” which feels much like walking through an abandoned corridor of similar aesthetics. The persistent squeak of what sounds like an errant footstep on a hard floor and a general aura of environmental noise without form makes for something haunting and simultaneously peaceful.
But for every strange dark and daunting moment on the album, there are those beautiful and washed out guitar and vocal driven tracks such as “Turnabout,” a surreal and joyously hypnotic track about turning toward the one you love even when the world around you seems to be crumbling and suffering. There are similar themes throughout the rest of the album, most obviously in the lyrics of those tracks that have them. “The Ides of March” touches on a similar themes though it morphs from the perspective of someone being there to someone who is gone forever. There’s a contention throughout these tracks that pokes gently at the idea of finding solace in other people while feeling a wariness and even some kind of weariness about such reliance.
All of this plays out over the course of an incredible twenty-six tracks, making for a rather epic nearly two hour experience. It takes the listener through crowded halls, desolate in-between spaces, and intimate moments of both happiness and sorrow. Coming out with a double-CD of material is impressive as it is, but Last Lights makes it seem effortless and natural, bringing us a spanning and fuzzy picture of what we consider the most difficult thing for any of us to feel - a sense of belonging."
-Lars Haur, Fringes of Sound