The Rock Blogger

One of GYBE’s greatest accomplishments, from their Slow Riot For New Zerø Kanada EP (1999).

Beautiful, orchestral post-rock that still remains unrivaled in the genre.

Empyrium. Where at Night the Wood Grouse Plays . 1999. 4 stars .

Germany’s now defunct Empyrium have crafted a gorgeous neofolk album in the same vein as Ulver’s Kveldssanger, complete with classically inspired acoustic melodies and haunting, Gregorian inspired vocals. While albums embracing acoustic instrumentals and forest imagery are becoming increasingly common in underground music circles, Where at Night is so succinct and convincing in its vision that its beauty is hard to match.

The sound created by the soft guitar arpeggios is sweeping and majestic, making songs like "A Pastoral Theme" and "Abendrot" deep and relaxing exercises. Most of the album is instrumental with the exception of a few tracks like "Many Moons Ago" and "Where Shadows Grow Longer" where the deep, almost religious sounding chants weave narratives of mystical forests and enchanted encounters with their inhabitants. The result of pairing almost ancient dynamics with acoustic songwriting is almost unnervingly successful, as these graceful tones will send chills down your spine.

For a twilight journey into the heart of the wilderness, Empyrium is the guide of choice, as they create a rich atmosphere that rivals the darkest black metal records without the brutal musicianship. The only downside to Where at Night is that its far too short, clocking in at around 30 minutes. Just as the melodies are sucking you in, the experience fades off. The sun rose a little too early I suppose. Despite its short duration, Empyrium’s opus remains a masterpiece of refined instrumentation.

World’s End Girlfriend. Hurtbreak Wonderland. 2007. 3.5 stars.

WEG is the solo project of Japanese virtuoso Katsuhiko Maeda who produces lush post rock songs tinged with neoclassical and break beat flourishes. Unlike WEG’s collaboration with Mono (see here), Hurtbreak Wonderland avoids sounding mournful and instead relishes in hallucinative fantasy, conjuring an Alice in Wonderland type of narrative as suggested by the astounding cover art.

The songs here are instrumental but are far removed from conventional rock dynamics, opting for wild pairings of melodic strings and intense electronic beats, creating a swirling experience similar to the work of Venetian Snares. Songs like “Birthday Resistance” and “100 Years of Choke” move from pleasant, classically inspired compositions into bombastic freak-outs, creating dramatic transitions that are often dizzying in their execution. Most of the album carries on in this fashion, as gorgeous piano, harp and brass fills are layered over the vivid drum and bass patterns.

Hurtbreak Wonderland is an incredibly detailed and eclectic album that consistently sounds organic and fresh, coaxing the listener to wander in its blossoming passages. Despite its technical prowess, some of the movements tend to drag on in spots, leaving portions of the album sounding unfocused. Maeda occasionally manages to anchor everything with his propulsive beats, but the surge of strings and keyboards is in constant lift, leaving some unresolved tension between the elements. Despite the often confounding juxtapositions here, Hurtbreak Wonderland is a beautiful and original record that clearly breaks new ground in the post-rock genre. The cornucopia of instruments and noises used here leaves plenty of room for continued exploration. In short, WEG has created a deep and dreamy effort that begs for multiple listens.

Birthday Resistance

Stalker (1979), directed by Russia’s late Andrei Tarkovsky, is one of the most bizarre and fascinating science fiction films ever made. It concerns a mysterious patch of Soviet countryside known only as “The Zone” which has been decimated by some mysterious happening, and quarantined off by the Communist government. All who venture into there disappear forever. Yet a handful of brave souls, lured by The Zone’s supposed promise of granted wishes and revelations, are led by ‘The Stalker’ into the abyss. The film is incredibly slow and long but possesses a hypnotizing power, as the unreal cinematography, locations, music and pacing fills you with existential dread and longing. The film is so open-ended and perplexing that its almost spiritual.

The following are two stunning clips that feature some of Eduard Artemiev’s haunting minimalist music that sets the tone for the unraveling psychological drama. If anyone knows where I can find the soundtrack for this, it would be greatly appreciated.

Entering the Zone

The Pool Sequence

Zebulon Pike . II: The Deafening Twilight . 2006. 4 stars .

A brilliant album from this underwritten Minnesota band. II: The Deafening Twilight is the epitome of progressive metal, somehow managing to capture the crushing bass rhythms and distortion of doom while still thundering forward with epically technical energy. Zubulon Pike are as awe-inspiring as post metal acts like Pelican or The Russian Circles, but they sound like they are having the most fun, changing tempos and reveling in fuzzed out riffs across these 5 monstrous songs, the longest being the 20 minute "Ashes of Xerxes, Breath of Titan".

The captivating pacing of this album is reason enough to give it a spin, as wiry guitar riffs spiral in tense, climatic cycles, evoking the dark astral sides of Isis and even Tool. There’s no vocals though, this is strictly an instrumental affair, making it a perfect metal album for post rock fans fond of Mogwai and Explosions in the Sky.

Overall, a wickedly fast and complex effort that is able to maintain direction and energy across its psychedelic marathons. The album’s cataclysmic sound might become emotionally draining across its hour plus duration, so come into this album prepared for long and immersing trip.

October Falls is the project of Finland’s Mikko Lehto, who creates haunting acoustic folk songs reminiscent of Ulver’s black metal trilogy. While the guitar melodies, accompanied by delicate piano and martial drumming, are stunningly beautiful, they also convey a dark woodland atmosphere, as this video reveals. Despite looking like something I would have made in my second year of Film School, this clip really captures the mood of October Falls’ excellent album Marras (2005). It’s easily one of the most impressive neo-folk albums I’ve come across.

One of the early animation projects of Trey Parker and Matt Stone, long before South Park.
It’s a rather inspiring little short centered on how one’s life should be played as a free flowing song instead of being driven towards a final, climatic note. Surprisingly powerful stuff.

Agalloch recorded this beautiful cover of Sol Invictus‘ “Kneel to the Cross” on their Of Stone, Wind and Pillor EP (2001). Does anybody know which album the original appears on?

“Modern World” from Apologies to the Queen Mary. 2005

Wolf Parade’s long awaited follow up to 2005’s acclaimed Apologies to the Queen Mary , will be arriving June 17 courtesy of Sub Pop records. There is no definite title for the new album yet, but early rumors suggested it would be named Kissing the Beehive . Maybe the band got cold feet after Pitchfork made fun of that title, I’m not sure, but we’ll know soon enough.

The tracklist:
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Kayo Dot ’s upcoming Blue Lambency Downward is one of the most anticipated records of the year, continuing on with the band’s fusion of jazz rock with intense metal and avant-garde compositions.

Truly one of the more inspired and original post-metal acts around, Kayo Dot is sure to have another masterpiece on their hands come May 6 (close to my birthday too, hint hint). To tide you over until then, here are two of the new tracks, performed live last month. Thanks to ArchivesKey, whoever you are, for posting these on YouTube.

Note: because Kayo Dot’s songs are so long, one of these videos gets cut off prematurely. There is still a lot there though, so its worthwhile.

Blue Lambency Downward

Right Hand is the One I Want