Emma Ruth Rundle – On Dark Horses

Posted: 5 September 2018 in Albums
Tags: , , , , , ,

Sargent House – 14th September 2018

Christopher Nosnibor

Emma Ruth Rundle clearly likes to keep busy. Her career with The Nocturnes crossed over with her joining The Red Sparowes, which in turn crossed with the start of her solo career, which saw the release of ambient effort Electric Guitar: One in 2011, while also embarking with another band in the form of the trio Marriages in 2012. Her sprawling and rapidly-expanding discography is a document of a restless soul, and a spirit who’s not only creative but incapable of taking respite.

On Dark Horses may only contain eight songs, and none of significant length (the album clocks in around the forty-two minute mark, harking back to the days of an album fitting snugly, ideally with just a little breathing room, on one side of a C90 cassette), but it’s got range and intensity.

There are dark, haunting undertones to the dramatic shades cast on opener ‘Fever Dreams’, which bursts loud from between delicate wisps of fractal guitar before taking a more languid and wistful turn around the mid-point. ‘This shit is real,’ she agitates at one point. This shit is also graceful and expansive and powerful. ‘Control’ – one of the album’s real standouts – begins gently, mellow, chiming guitar that’s a post-rock country crossover providing the backdrop to Emma’s lilting country-infused vocals… before the deluge of distortion crashes in like a landslide. And keep on crashing, thunderously, a massive mess of sludgy weight, burying the drums an all but the cymbals, mashing and crashing away in the background. ‘Darkhorse’, too, builds gradually, chimes gracefully, and roars like thunder beneath a delicate vocal.

While any Chelsea Wolfe comparisons have merit, particularly in relation to the front end of the album, Emma Ruth Rundle brings a whole slew of other aspects to the party on On Dark Horses there’s a heavy folk element, both to the music and in Emma’s voice. Then again, post-rock passages yield to blistering crescendos that also draw on the most explosively soaring shoegaze.

When she takes it downtempo, as on ‘Races’, there are deep, sad guitar notes which arc, aquiver with reverb. And across the album, the sense of depth conveyed by the rich textures and the three-dimensional fullness of the sound render the songs with a rare physicality and intensity.

AA

Emma Ruth Rundle – On Dark Horses

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