The Rock Blogger

A haunting blast of winter
Over the hills of this valley
Tired travelers led astray by the wind
They stake out an impossible mission
Nature’s whispered wrath
Swallows them whole
And a deathly silence follows

Agalloch - Falling Snow

The water pours its embracing arms around the stone
Decay drips from the unquiet void where the ice forms, where life ends
The stone is by the crimson flood, swallowed
The red tide beyond the ebon wound, contorted
My sacrifice bids farewell in this river of memory… a wave to end all time
Red birds escape from my wounds and return as falling snow
To sweep the landscape; a wind haunted, wings without bodies
The snow, the bitter snowfall
You wish to die in her pale arms, crystalline, to become an ode to silence
In the soul of a mountain of birds, fallen
The cascading pallor of ghostless feather
The snow has fallen and raised this white mountain on which you will die and fade away in silence

Photo by Sorina Dragusanu

The autumn chill is setting in and the long nights are slowly creeping over. Orange and brown strewn across the cracked road, menacing grey clouds lurk over the river. A strange quiet is beginning to fall as the sounds outside become more isolated, more distant. In my head are the soft lumbering tones of seclusion, a beautiful resignation.

Nest - The Silvershade Lynx

Agalloch - The Lodge

Ulver - Høyfjeldsbilde

The Morningside. The Wind, the Trees, and the Shadows of the Past. 2007. 5 stars.

This is a stunning melodic death metal album from a little known Russian band. Sounding like a cross between Agalloch and early Ulver, The Morningside blends emotional and melodic riffs with a grey woodland atmosphere and some clean acoustic flourishes. With a great emphasis on extended instrumentals, these songs are massive and progressively composed, conveying a variety of moods in its many steep peaks and valleys.

The guitar work in particular is majestic, with a crystalline production that lets each tight, wiry riff cast an icy sheen. The vocals for the most part are in the form of distant growls, which despite their melancholic tone, complement the epic musicianship beautifully. There are also some clean, sung vocals thrown in the album’s later half, as a calm, reflective voice contemplates the mystery of the wilderness, conveying cool imagery not unlike the cover above.

The Wind…, much like Agalloch’s The Mantle, strikes a perfect balance between heavy metal catharsis and lush atmospherics, carving out a niche of its own (Grey Metal?). It comes over like a cool thunderstorm, first with crashing booms, then followed by a cleansing downpour. If you are a fan of Agalloch, post-rock, or atmospheric black metal, you owe it to yourself to listen to this. It really is a masterpiece.

The Morningside - “The Wind”

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?

Sculptured. Embodiment. 2008. 4 stars.

Sculptured’s latest offering is a solid prog-metal release that features intricate compositions and clear production, integrating complicated guitar riffs, symphonic keyboards and frantic drumming into a cohesive and dense package. While Sculptured’s impressive lineup features Don Anderson and Jason Walton from Agalloch, their sound is completely different, with labyrinthine song structures that dart from guttural metal to progressive passages in an instant, switching between time signatures and moods with surprising transitions.

The band also alternates between two vocal styles, one being the conventional death metal growl and the other being the clean alternative signing that may remind some of Mike Patton’s Faith No More days. The combination of the two is refreshing and consistently interesting, providing a emotional anchor for the spiraling keyboard melodies and cyclical drumming. The complexity of this album is not nearly as overwhelming as other efforts in the prog-metal genre, as the melodies are easily distinguishable amid the madness, making Embodiment an album that is actually fun to listen to rather than being an inaccessible maze of musical layers. The band truly sound like they are enjoying themselves.

Embodiment as a whole is an exciting and well produced effort that remains accessible despite its complexity. I would recommend this to both fans of prog metal (like Kayo Dot, Maudlin of the Well, Mars Volta) as well as rock fans more accustomed to alternative styles.

Agalloch. Of Stone, Wind and Pillor. 2001. 3.5 stars.

Seeing that my review of Agalloch’s sublime White EP is the most read post on my blog so far, I thought it would be worthwhile to visit some of the band’s previous, and hard to find, EPs. Starting things off with Of Stone Wind and Pillor, which is mostly a scatter shot collection of tracks left off their debut album Pale Folklore, we find Agalloch’s more experimental and neo-folk tendencies begin to shine through.

As the great cover art demonstrates, this EP is a testament to untouched landscapes, expressing hard felt desires to abandon the calls of civilization and escape to the dark confines of the forest. While the opening title track is familiar fare from Agalloch, sounding like an unpolished outtake from their more fuller sounding LPs, the two following instrumental tracks “Foliorum Viridium” and “Haunitng Birds” are atmospheric gems, full of ringing acoustic guitars, graceful piano and the cinematic use of choir samples, adding an another layer of complexity to Agalloch’s epic sound.

The EP’s highlight however is the stirring cover of Sol Invictus’ “Kneel to the Cross” which begins with the spine chilling chant of “Summer is a’ coming, arise, arise”, before the band fully immerses themselves in a folksy tale of violent Christian conquest over ancient lands. This song brilliantly captures the essence of Agalloch: organic sounding, ambitious and full of cultural allusions and Gothic imagery. In short, despite its overall unevenness, the standouts on Of Stone are among Agalloch’s most impassioned efforts.

Agalloch. The White EP. 2008. 4 stars.

Hailing from the misty forests of Portland Oregon, Agalloch has earned themselves a substantial cult following with their blend of atmospheric black metal that incorporates folk and ambient elements, producing several critically acclaimed albums and EPs over the last decade. The White EP continues on with the band’s distinguished tradition with a renewed emphasis on the neo-folk aspect of their sound, mostly relying on acoustic guitars, hushed vocals and atmospheric effects to get to black heart of this dark genre.

Taking a step away from the growls and punishing instrumentals often associated with metal, Agalloch’s ambient exercises mark a significant departure from convention. The shift is dramatic without betraying the quality of their past (heavier) work, as the acoustic compositions express Agalloch’s organic approach toward crafting evocative sonic landscapes, focusing on an aesthetic that sets the group apart from their many contemporaries.

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I thought it would fitting to throw up a song that captured the feelings of my commute this morning. The cold, the dark, the long drawn out wait, the hellfire. Well maybe not the hellfire. Anyways, this song from the album The Mantle gave my frustrations a cathartic soundtrack while I watched the snow blow across the dirty suburban roads. Rock on.