The Rock Blogger

The music of the Red House Painters set to scenes from Akira Kurosawa’s Dreams. Whether Mark Kozelek’s music is under Red House Painters, Sun Kil Moon or his own name, it always has a dramatic effect on me. This song can be found on Down Colorful Hill.

Mount Eerie. Wind’s Poem. 2009. 5 stars.

“Show me shapes in the swirling dust…”

Singer-songwriter Phil Elverum (The Microphones) has delivered a powerful release that usurps the traditional folk/lo-fi indie sound with deep, menacing drones and dark naturalism. Elverum’s soft, intimate voice provides a stark contrast against walls of distorted guitars and drawn-out synth lines,drawing the listener down into the waters of resignation. The union between gentle folk and atmospheric “shoegazing” is inspired, presenting an intense melancholic vision that soars overhead and sinks into the ground.

Haunting lyrics call out to the wooded landscape in sadness, longing for depersonalization, turning to the wind, the river and the sky in repose. While we never know the concrete reasons why Elverum’s “heart is not at peace”, we can petition the daunting forests of the Pacific Northwest for an answer, letting nature speak our disquiet for us. The fixed subject is torn apart, strewn across ragged cliffs, leaving mysteries concealed and vexing. Getting lost in these spaces is not a despairing journey however, but rather a cleaning of the slate, a call to cast off our vanity like stones in a stream. The emotional and aesthetic achievements of Wind’s Poem, however understated they may be, should not be overlooked. A masterpiece.

Neofolk , also known as dark or apocalyptic folk, is an underwritten and complex genre that typically features acoustic and classical instrumentals set against themes of pastoral romanticism, folklore, history and occult. Here are several stunning albums that have defined and expanded the genre.

10. Forseti. Windzeit . 2002.

Beautiful use of strings and dark German vocals define this album. The progressions are effective in their simplicity and evoke the calm of the distant countryside.

9. Death in June. But, What Ends When Symbols Shatter? . 1992.

One of the most well-known, influential and controversial neofolk acts to emerge from the British post-industrial scene. The work of Death in June is always moving and morbid, drawing in lyrical imagery from World War II, The Roman Empire, Norse Mythology and other notorious sources. This highly regarded album reamins one of their most brooding and experimental efforts.

8. Nature and Organization. Beauty Reaps the Blood of Solitude . 1994.

A wonderfully cohesive album that draws in Paganistic themes (including a stirring rendition of The Wicker Man song) in fleshing out naturalistic vision. Along with its sweeping neoclassical instrumentation, the album also features mystical poetics from Current 93’s David Tibet.

7. Nest. Trail of the Unwary . 2007.

Finland’s Nest contrats traditional musical instruments with synths and atmospheric samples to retell Scandanavian lore. An adventourous and carefully crafted album that takes its time to seep in.

6. Empyrium. Weiland . 2002.

This was the last, and probably most rewarding, album from Germany’s Empyrium. Their unique neofolk sound remains intact for their final outing, with greater emphasis on atmosphere and dramatic vocal delivery. The haunting German chants, acoustic interludes, piano keys and swelling strings work together in fluid, transcendent compositions, underpinned by swift, subtle drumming. The occasional flute, horn and brass accompaniment is also welcomed and lends many of these songs a certain grandiosity.

5. Vali. Forlatt . 2004.

Even if you are familiar with other bands in the neofolk genre,  this is still worth the effort to uncover. Whereas its contemporaries are often dark, unsettling and mournful, Vali is uplifting and heartrendingly beautiful. Its soothing compositions move with calm patience, letting each arpeggio descend and cello ache  organically.

4. Agalloch. The White EP . 2008.

The White EP is essentially calls for a return to nature, as the songs conjure images of snow covered wilderness (”Birch White”), contemplative seclusion (”Isle of Summer”) and paganism’s worship of the elements (”Sowilo Rune”). The whole experience, made complete with natural sound effects like chirping and rustling, is meditative and comforting, conveying a deep and eternal connection with our natural surroundings.

3. Ulver. Kveldssanger . 1995.

Easily one of the most important and influentual nefolk albums to ever be released. This is a haunting and gorgeous collection of Norwegian folk songs tinged by sinister tones and acoustic chanting. While nearly every album Ulver has done is incredible, they never made another as organic as this one.

2. Tenhi. Maaäet . 2006.

Everyone of these 12 songs features moments of incredible emotional clarity, whether its in the stirring swells of cello, the gently plucked acoustic guitars or the mysterious chanting vocals hovering in the background, Tenhi color their work with subtle mastery, luring you into different shades of contemplation and release. There are many breathtaking parts to take in, like the glorious piano-driven crescendo of Vähäinen violetissa or the mournful, full-bodied string opening of Kuoppa, where you’ll taken back by the stunning and almost operatic lifts in mood and tension.

1. Current 93. All the Pretty Little Horses . 1996.

What a divisive album to top off a list! Touching on themes of death, isolation and salvation, David Tibet’s dark lyricism remains fixated on the concept of “The Inmost light” or soul that remains dim and suppressed in the material world. The concept repeats itself across the album, remaining the stark point of reference for TIbet’s ruminations on childhood and fading memories. The gentle lullabies like “All the Pretty Little Horses” and “The Blood Bells Chime” have Tibet carefully drawing us into his disturbing and almost mystical visions of abandoned streets and distant forests, playgrounds for the lost characters of his narrative. The lyrics also carry an apocalyptic tension, with mention of a “smashed god” and lonely Christ figures wandering desolate landscapes. Tibet’s vocals are meticulously annunciated, reading off his poetry with almost religious abandon, expressing a distinct English tone that alludes to the visionary musings of William Blake and Alistair Crowley .

Afterlives . A Ticking Clock I Couldn’t Stop . 2009. 4 stars.

This is a strange, lonesome and intensely personal debut from Connecticut’s William Barett. His project Afterlives consists of haunting lo-fi dirges that move from sparse guitar passages to squalls of droning noise, providing many jarring moments to catch the listener off guard. While it is clear that this album is a loosely knit sample of ideas, there are some stirring gems to found here. "Ever the Optimist" is one of the finer examples of how Afterlives can usurp expectations. Loose, jangly riffs dissolve into a wall of noise as Barett screams over the storm, yearning for hope and resolve in a darkening world.

"Still Lakes " is a stunningly vulnerable piece with distant, weepy vocals and sorrowful acoustic strums that move towards a resonant chorus that pushes the song into slow,  pulsating psychedelia. Sounding broken down and alone, Barett’s voice trembles across the yawning chasms lying between soft percussive beats, as the plodding guitars foretell imminent doom. It’s a subtly powerful song that seeps in ever so slowly, drawing you into the fractured psychology of its author. A clear highlight of this disc.

Songs like "Fireworks" move dreamily along as wiry riffs play hypnotically against harmonized vocals and slow-burning distortion before rising to an inevitable climax. "Distance Runner" follows with spacey atmospheric effects, shimmering post-rock guitars and unsettling vocalizations that buzz in the background. Other experiments, like the cacophonous drone exercises on "Sanderban Tigers" and "I Am the Heroic" provide occasional shocks to the system, shaking off sad stupors with blasts of blind catharsis.

Taken in its entirety, Afterlives’ debut is both brave and perturbed, weaving noisy experimentation with intimate, heart-tugging revelation. While its highlights are distinct, the entire work should be admired for its artistic abandon and honesty. The crackling home-recording aesthetic has offered Mr. Barett a unique vehicle to expose his darkest demons. For those fascinated by the post-rock amalgamations of Have a Nice Life, be sure to track down this brother project.

Afterlives is an acoustic/lo-fi rock project from William Barrett on Enemies List Recordings, the home recording label that produced Have a Nice Life and Nahvalr. This video is incredibly simple but it has an ominous, psychedelic feel to it. I’m looking forward to hearing the debut EP A Ticking Clock That I Couldn’t Stop, which can be streamed on Last.fm

Hala Strana. Fielding. 2003. 5 stars.

Music for a lucid dream. This is a downright remarkable and pleasantly psychedelic folk album from California’s Hala Strana. Fielding encompasses gentle acoustic harmonies, evocative field recordings and touches of traditional Eastern European instrumentals in its stunning musical journey. This album is both mysterious and deeply comforting, as its relaxed rhythms and experimental use of samples creates a warm and intimate atmosphere to get lost in. The subtlety and diversity of the compositions within this two disc set keeps it engaging over many repeated listens, as new details reveal themselves each time. The musique concrète approach makes each song a colorful and intricate collage begging for exploration.

While these pieces cover a lot of sonic and cultural territory, its hardly daunting. It has a dreamy evening vibe to it, making the perfect accompanying soundtrack for laid back tripping. There are a few strange and disquieting moments here, given the eclectic use of found sounds (think Set Fire to Flames meets Six Organs of Admittance) but they add some twists to the winding trail of the entire album.

Fielding stands as one of the most satisfying psychedelic albums I’ve come across. Its sound is undeniably unique and not only showcases stellar musicianship but also introduces the listener to variety of obscure sounds and traditions. As an opiate induced travelogue, Fielding is truly a work of art that belongs in your avant-garde collection.

Vali. Forlatt. 2004. 5 stars.

Forlatt, from Norway’s Vali, is probably the most serene and effective neofolk albums I’ve ever heard. It just happens to be so tragically underwritten. Who is this virtuoso, with their impeccable sense of melody, intricate acoustic guitar work and neoclassical aspiration? I really have no idea. All I know is that this album is a gem worth digging for as it rivals the very best works from the genre, including Ulver’s revered Kvldssanger and the best Empyrium albums.

So what makes this masterpiece such a standout? Maybe its own reluctance to being a masterpiece is key, as its soothing compositions move with calm patience, letting each arpeggio descend and cello ache  organically. Nothing about this album can be called pretentious, overwrought or overwhelming, its performances hold a power that is emotionally resonant and deeply comforting. Its has peace and beauty to it and seems to convey scenes of natural solitude or of a love so sound that it isolates, conceals and protects itself from the harshness of the world.

Even if you are familiar with other bands in the neofolk genre, like Tenhi, Empyrium, October Falls, etc., this is still worth the effort to uncover. Whereas its contemporaries are often dark, unsettling and mournful, Vali is uplifting and heartrendingly beautiful. I hope we haven’t heard the last from this mysterious musician.

Photo by Damien Van Vroenhoven 2008

Mark Kozelek. Little Drummer Boy Live . 2006. 4.5 stars .

Yes, I do realize I’ve reviewed two Sun Kil Moon albums on my blog already, but since Mark Kozelek’s blend of folk and slowcore styles is so exquisite and moving, I feel he deserves all the praise he can get, so the mentions continue. What drew me to this double disc set is the inclusion of not only songs from Kozelek’s Sun Kil Moon period (also featuring early incarnations of pieces from 2008’s April ), but also the acoustic renditions of some Red House Painters material had that sparked his songwriting career.

Among the highlights is the haunting "Katy Song" and the slow burning "Cruiser" which find their way into his sets (compiled from shows across North America and Finland), with heart-wrenching vigor. In performances such as these, it feels as if Mark Kozelek is not just pouring his heart out to the crowd, but to every piercing moment that has touched his life. Love and distance, fading faces, cascading light and oceanic mystery are part of his aesthetic language, all spoken with a distinctive, reverberating voice that rings with unflinching emotional clarity.

As a compilation, Little Drummer Boy Live is a stunning illustration of Kozelek’s detailed, poetic lyricism, his quiet but honest guitar playing and the unshakable sadness of his vocals. There are some notable surprises as well, including a cover of Neil Young’s "Rock ‘n’ Roll Singer" and the surprisingly powerful version of "Little Drummer Boy", the classic Christmas song. The collection is not without its faults though, as many of these songs do sound barren, desolate and overlong without any backing instrumentation. The album’s incredible length, in addition to the melancholic air that hangs over it all, is simply intimidating. If you are new to Kozelek’s music, I would recommend picking up this year’s April , which features a full band to flesh out the songs. If you are a seasoned fan however, then Little Drummer is essential and captivating. Even with just a slight introduction to the source material, as I received this summer, the work of Mark Kozelek leaves a lasting impression, and these performances reinforces it all the more.

Mark Kozelek - Cruiser [live]

The Tallest Man on Earth. Shallow Grave. 2008. 4.5 stars.

Sweden’s Kristian Matsson is The Tallest Man on Earth, a finger-picking virtuoso who plays inspired Dylan-esque folk songs. Matsson’s unique, crackling voice, lyrical imagery and complex guitar work puts him head and shoulders above the genre’s current mainstays, delving into a nostalgic and timeless sound. The songs here convey a feeling of weather-beaten discovery, where runaways and wanderers trace highways and open plains.

Accompanied solely his acoustic guitar, Matsson bellows out his serpentine verses with great passion, especially on highlights “I Won’t be Found” and “Where Do My Bluebirds Fly?”. The sparse yet intimate musicianship reinforces this album’s singular vision, drawing you into a darting stream of consciousness. Fans of Dylan, Will Oldham and Neutral Milk Hotel should take note of this release, as it seems to possess that strange magical quality that hides within eccentric, wonder-struck personalities. What The Tallest Man on Earth lacks in originality, he makes up with spirit, leading you into welcoming pastoral landscapes.

The Tallest Man on Earth - It will follow the rain (Live)

Sun Kil Moon. Tiny Cities . 2005. 4 stars .

After being floored by Sun Kil Moon’s latest album April , I was compelled to uncover more gems from Mark Kozelek’s career, finding this impressive collection of Modest Mouse covers. That’s right, Tiny Cities is entirely a covers album dedicated to the Midwest’s indie heroes, and Kozelek successfully takes their soul-searching songs and makes them his own.

At first, I approached this album with caution, questioning the wisdom of doing a covers album, despite already being a fan of Modest Mouse. To my pleasant surprise, Kozelek’s reinterpretations are both radically different from their source material without betraying the intelligence and insight of Isaac Brock’s lyrics. Kozelek turns away from Brock’s wild and often maniacal performance and instead plays his narratives through resigned acoustic passages. When filtered through the warm gauze of Kozelek’s voice, the gentle spirit of Modest Mouse is revealed with greater clarity, calling greater attention to the folksy demeanor and dusty memories that had once been hidden within.

With this approach, the more raw Mouse tunes, like "Tiny Cities Made of Ashes" and "Convenient Parking" are streamlined into short, beautiful displays of melancholy. Kolezek’s use of symphonic production also highlights the epic tones contained within "Space Travel is Boring", using Brock’s material to find darker pools of longing.

Tiny Cities , in short, is a fitting tribute to one of indie rock’s greatest acts, extending the lyrical majesty that has made them so significant. Even for those who have no knowledge of Modest Mouse’s material, this is a stunning example of Kozelek’s unique singing style and soothing instrumental work.