While the indie-rock world may be saturated with countless Fiest/Arcade Fire/Interpol clones, you can always depend on prolific veterans like Will Oldham to breathe some much needed life into your local record store. With so many LPs, EPs and singles under his belt, credited to his many aliases, Oldham has established himself as a masterful songwriter, performing gritty and heartfelt tunes that transgress genres and styles.
Try as I may, I just can’t stop posting about the obscure albums I’ve stumbled across online. Some of them are just too good to leave untouched, so here goes. Bathed in Sunlight is a beautiful ambient/post-rock album from Colorado natives Encomiast that features five blissful songs that incorporate an impressive variety of ethereal sounds and instruments.
Transient drones wash over you from the outset of "Pumpkin", as layers of synth harmonies and distant vocals glide across each other in slow, hypnotic movements. Together they create a trace-inducing atmosphere that is subtly executed yet incredibly powerful in its effect. "If the Night Commands It" introduces light percussion into the mix, as soft tabla drums patter away against the deep bass lines before a shimmering guitar sweeps across in a delicate post-rock fashion. The meditative vocals of Ross Hagen gracefully enter, providing haunting lyrical descriptions of some twilight scene. While the musicianship never deviates far from the set patterns, it still draws you into a peaceful dream-like state.
"Laughter in the Storm" is probably the album’s stongest track, as clear tabla percussion again sets the stage for gentle acoustic guitar lines and some stunning flute passages that hover at the front of the mix. Hagen’s sparse vocals return to lend a dark, foreboding touch to the otherwise warm melodies. "My Chariot Awaits?" takes a little while to get going, as it meanders in aimless ambient noise, before finally fleshing out with soothing synth drones and cinematic echoes, reminding me of lonely whale songs or strange rumblings within a subway tunnel. The closing "Evergreen" introduces ominous female vocals that careen across the light soundscape before driving drums crash in, bringing us to a final, glorious crescendo. While this epic climax is not nearly as bombastic as conventional rock fair, its contrast to the rest of the song (and most of the album) is immediately satisfying and demonstrates Encomiast’s deliberate sense of pacing and structure.
Despite its often spare and detached composition, Bathed in Sunlight feels natural and welcoming as they want to ease the listener into a trance with the care and patience of a ancient shaman. Fans of minimalist music, film scores and ambient rock like Labradford will find much to like here. While you may have trouble finding a physical copy of this, as its release is very limited, you may have a chance securing one from the band’s website . Good luck, this is surely worth the effort.
Helsinki’s Moonsorrow have produced a monster of an EP with Tulimyrsky, surpassing the full lengths of most black metal bands with its sheer scope and grandiosity. Running well over an hour, Moonsorrow’s latest redefines what an EP should be, as they produce long, winding epics that incorporate Norse mythology, folk music and historical themes with an intensely cinematic presentation. With what may be the longest EP of the year (if not of the entire genre), Moonsorrow have created a fine masterpiece.
The half-hour adventure that is “Tulimyrsky” starts things off with a dramatic voice-over sample that provides a dark narrative (in Finnish) that establishes thematics in a similar fashion to Godspeed You Black Emperor’s infamous “Dead Flag Blues”. After this mysterious intro, the band throttle forward into a blazing rhythm, complete with thundering blast beats, raging guitars and inspired vocal chanting, showcasing the band’s Viking-warrior aesthetics. Over the course of its gargantuan duration, the song weaves and wanders across massive heights, even dabbling in Medieval sounding acoustic passages and total thrash freak outs. The ride is a raucous one, as the variety of sounds and influences explored really do create feelings of conquest and discovery.
Following this journey is a faithful rendition of Metallica’s “For Whom the Bell Tolls” which is given a raw and seething black metal reinterpretation that doesn’t compromise the sacred integrity of the original version. This is probably one of the most impressive and fitting cover songs I’ve come across recently, as it takes you back to black metal’s thrash roots. After this nostalgic romp, Moonsorrow bring us to two re-recorded versions of earlier demos “Taistelu Pohjolasta” and “Hvergelmir” both epics in their own right with searing riffs and atmospheric synth melodies that strike a effective balance between violent chaos and majestic beauty, conjuring sublime natural scenes not unlike the mountains gracing the cover art. Moonsorrow then proceed to wrap things up with another masterful cover, playing a relentless version of Merciless’ “Back to North”, capturing the blistering energy of old school death metal.
For its impeccable musicianship, folk-tinged melodies and convincing, thematic delivery, Tulimyrsky is one of the greatest metal EPs ever made, shaming the full length efforts of countless other bands in its wake. Now that I’ve heard what Moonsorrow can accomplish with one EP, I’m more than anxious to get a hold of their official ‘albums’ and will be in restless anticipation for their next one. I will also urge you to do the same.
Trent Reznor is on a roll. Just two months after NIN’s epic ambient release Ghosts I-IV , and not even a year after the excellent dystopia that was Year Zero , Reznor has unveiled another full length work - a more traditional sounding album that merges noisy industrial metal with hook-laden arena rock jams, all for free from the band’s website. Presented as a gift to NIN’s loyal fan base who made Ghosts a financial windfall, The Slip is a solid and accessible collection that, while not groundbreaking, still showcases Reznor’s newfound artistic freedom and energy.
Short and sweet, thats how I would describe Loma Prieta’s Last City . This Oakland CA band plays speedy hardcore/screamo jams with impressive technicality, running through time signatures and epic melodies with incredible ease. As the mathematical riffs swirl around cymbal crashing and rapid fire rhythms, the howling vocals provide the emotional release for all the tension that’s built up. The occasional piano melody and gentle guitar parts help balance things out as well.
As these tunes move at feverish pace, most of them clocking in at around 2 minutes, it comes on like an adrenaline rush, leaving you in a state of shock and exasperation as you wonder what happened to that lovely and mellow post-rock guitar passage. Oh that’s right, it was destroyed under a barrage of drums and screams. But that’s ok, this is a screamo album after all and its focused on angst-ridden catharsis, throwing raw emotionalism like red paint to a wall.
Lyrical themes? Hard to discern at first. The phrase ‘Last City’ recurs, so this, along with the general tone of the album, tells me that has something to do with urban alienation and escapism. ‘The name "Loma Prieta" itself might be a reference to the devastating 1989 Loma Prieta earthquake , so maybe the anguish here is about wanting it all to fall down - or maybe they’re just observing it - either way its a fitting name.
I would recommend this to fans of any kind of punk music, well except that radio-friendly bullshit, as its hardcore attitude and complex musicianship will give your day a quick and brutal shot of energy. While its very short, and the vocals could have been a little more understandable, its still an entertaining and refreshing listen.
Follow the Loma Prieta link above to be taken to their Myspace page, where you can find links to listen to this album for free.
In a perfect world, Sun Kil Moon’s Mark Kozelek would be just as well known as Neil Young and Eddie Vedder, capturing the imagination of the rock world with his chilling baritone voice and remarkably descriptive songwriting. Until that happens, Kozelek will remain an unsung icon of the indie universe, as he produces heartbreakingly beautiful folk-rock masterpieces like April, an early contender for album of the year. With Sun Kil Moon, Kozelek has lived up to and extended the legacy he built for himself with the shoegaze/rock band Red House Painters in the 90s, further developing the slow, brooding sound that once made them so endearing.
In April, Kozelek remains in a deeply reflective mood, drawing the listener into his dark pools of memory, vividly illustrating scenes of dusty city streets, night skies and small towns where love had once blossomed. While I won’t go into too much detail here about the lyrics, as my descriptions can’t possibly capture the alluring spirit that hides within them, but I can tell you that they are indeed moving and will be sure to stir romantic visions of long lost muses, moments and longings.
The pleasant sounds that wrap around these tales are slow and soothing, with gentle acoustic guitar work moving most of these songs into haunted personal spaces. The structures themselves may seem simple from the first listen, fitting within comfortable folk conventions, but they slowly unfurl into dynamic and rollicking jams complete with warm electric riffs and entrancing rhythms. On tracks like “Moorestown”, you can hear more elaborate elements being introduced, like strings and accompanying vocals, fleshing out the cathartic drives within the songwriting. The result is immediately effective, luring you into the band’s perfectly nostalgic and stoned daze.
While individual songs feature little variation between guitar patterns and pacing, they serve as a calm backdrop for Kolezek’s stirring vocals. While they remain deep and sad, almost droning on like another instrument, they rise up at just the right moments to showcase the man’s undeniable passion for his craft and lyrical content. You feel as if his entire life is here, encased within these 11 tracks.
While some may take issue with the extended length of these songs, as several of them stretch over 7 minutes, I believe these moments require the time to carefully reveal themselves, fully immersing you into Kolezek’s melancholic state. Its actually quite amazing to hear just how effortlessly these songs become full fledged epics, without delving in exaggerated progressions or symphonic excess. Aspiring songwriters should take note of Sun Kil Moon’s balance of restraint and release as they push their meditative sound to surprising heights with brevity.
While I could get personal here and explain how April stirs my emotions, and try to describe the distant images it carefully sears into my brain, I feel embellishing here will only distract you from forming your own impressions as you hear Kolezek’s graceful narratives. If you are searching for an album to connect with, to explore over time and to dream to, April is as honest and comforting as they come.
A Perfect Circle’s Billy Howerdel returns with his new solo project Ashes Divide, providing a logical extension to where his last efforts left off. With APC closed up, and Maynard James Keenan occupied by Tool and his own (disappointing) Puscifer project, the technically savvy Howerdel has been left to own devices, allowing him to step out of the shadow of his former band mate. While Howerdel is more than a proficient guitar player, providing the organic, jangly riffs that made many APC songs so compelling, his vocal abilities and songwriting had yet to reach the limelight. Until now. Read More »
“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.
San Francisco’s The Drift specialize in chilled out, emotional post-rock that is heavily influenced by jazz and dub traditions, crafting a warm and boisterous sound that should please fans of Tortoise and Toronto’s own Do Make Say Think. Relying on tight interactions between the trumpet, synths, wiry guitars and offbeat drumming, the melodies on their sophomore album Memory Drawings are instantly captivating.
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.
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