The Rock Blogger

Sun Kil Moon. April. 2008. 5 stars.

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.

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.

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.

Current 93 . All the Pretty Little Horses (TheInMostLight). 1996. 5 stars.

The brainchild of the UK’s David Tibet , Current 93 is a prolific act that has evolved from the early industrial scene of the 80s to become neofolk , crafting a unique musical form that blends literary poetry and acoustical elements with industrial and experimental sounds. All the Pretty Little Horses is one of Tibet’s most acclaimed works, taking the listener on an esoteric and haunting spiritual journey.
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(pictures form the show coming soon)

While the final show of Matthew Good’s tour of the U.S. had few surprises, it was still a remarkable feat of perseverance. Succumbing to food poisoning and bouts of insomnia midway through his state-side journey, Matt had canceled several of his shows, including a coveted spot at the South by Southwest festival in Texas, a gig that could have sparked interest from a whole new audience. Despite Matt’s terrible luck of late, he managed to pull himself together for his last stop at Club Infinity in Buffalo, overcoming sleep deprivation to serenade a packed house of eager fans.

Being a continuation of last year’s “Nothing to Hide” tour, Matt took to the stage alone with only an acoustic guitar in hand and immediately launched into a note perfect rendition of “I’m a Window”, the second single from last summer’s Hospital Music. He then proceeded to play through revamped versions of his older material, like the hit singles “Load Me Up” and “Strange Days” as well as most of the tracks from his latest disc, with some candid conversation thrown in for good measure.

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I’m heading to Buffalo to see Matthew Good perform the last show in his acoustic tour of the U.S. I think this will be the 11th MG show I’ve seen since I started listening to Underdogs at the beginning of the decade. In celebration of today’s show, here are my Top 5 Matthew Good videos:

5. Strange Days. Beautiful Midnight 1999.

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Brethren of the Free Spirit

All Things are From Him, Through Him and in Him. 2008. 3.5 stars.

An avant-garde acoustic collaboration between guitarist James Blackshaw and lutenist Josef Van Wissem, Brethren of the Free Spirit play classically inspired melodies that gracefully build and repeat in a hypnotic and psychedelic manner. The album’s 4 tracks delve into folk and minimalist traditions, with layered compositions leading into a sustained and relaxed trances, never pushing towards powerful climaxes or crescendos.

The restrained and meditative quality of the music here is almost religious in its execution, with its meticulous attention to detail and patient movements providing a soft backdrop for intense personal reflection. I first started exploring this album when I was walking alone in the woods by my house, feeling the waves of acoustic guitar build naturally, seemingly mimicking the precise and intricate patterns found in nature. The album’s pastoral nature favors solitary experiences and requires the undivided attention of the listener in appreciating its inner dramas.

While the moods and feelings given off by this record are lucid and well conceived, the album’s short duration (under 30 minutes) and general lack of variety hurts its overall impact. Certainly there are intense and complex moments, but the entire affair becomes quite repetitive if its not taken in within the right context. As far as avant-garde recordings go, Brethren of the Free Spirit are consistently interesting and accessible, if you are willing to find the right setting to listen to it. This is strong conceptual music for the Zen set.

A Silver Mt. Zion. 13 Blues for 13 Moons. 2008. 3 stars.

A Silver Mt. Zion, easily the most celebrated splinter project from the Godspeed You Black Emperor crew, return for their fifth full-length outing, spouting more anarchistic diatribes over intense and dramatic orchestral instrumentation. The gorgeous strings, pulse pounding drumming (courtesy of new member Eric Craven) and searing blasts of electric guitar remain intact and interact beautifully with each other over the four, 13 minute plus epics found here. While the stirring compositions build gracefully, with a greater emphasis on the soaring guitar bursts, the band’s newfound sense of urgency ultimately falls a little flat in its execution and once again, Efrim Menuck’s grating vocals are largely to blame.

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This video was taken from Matthew Good’s 2006 acoustic tour. Israel’s incursion into Lebanon to fight Hezbollah was going on at the time, which explains Matt’s political spiel at the beginning. An interesting song, it exists only in demo form and has yet to appear on any studio release. Here’s hoping. What do you guys think of this song? These are the lyrics in case you can’t make them out.

The Saudis are ever our friends and our allies
The President smokes cigars with their Princes on his lanai
And across the street a mother sleeps with her babys ghost
Wrapped in pink and spotlights

If I was a tidal wave well you know that Id
Rise up and crash your castle gate and leave you high and dry
Disappear you down this trail of busted years to ride the rails and goodbyes

Well my name is propaganda
And my mamas pain is propaganda
If I was a tidal wave
Id let the Union fall
Ya if I was a tidal wave
Id be first against the wall

Back in 1980 Mayor Young he sent the key
To the city of Detroit to praise the best of enemies
Who shook hands with devil, now he runs the DOD
And spends lives

If I was a tidal wave well you know that Id
Rise up and crash your castle gate and leave you high and dry
Disappear you down this trail of busted years to ride the rails and goodbyes

If I was a tidal wave
From coast to coast Id scream
If I was a tidal wave
Id wash this whole place clean

Vic Chesnutt. North Star Deserter. 2007. 4 stars.

I had just recently discovered Vic Chesnutt, the celebrated folk/rock songwriter from Athens Georgia, after learning that A Silver Mt. Zion, one of my favorite post rock bands, lent their orchestral stylings to this harrowing album. Recorded at the now legendary Hotel2Tango in Montreal, Chesnutt’s collaboration, which also includes members of Fugazi and Godspeed You Black Emperor, fits beautifully among Constellation Record’s rustic yet avant garde catalog.

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