Posts Tagged ‘Earth’

Thraa – Into Earth

Posted: 27 September 2022 in Albums
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2nd September 2022

Christopher Nosnibor

UK duo Thraa consists of Sally Mason and Andi Jackson, whose bio states that ‘Working without the constrictions of a traditionally structured song, this duo improvise around meditative drones, combining Sunn 0))) influenced guitars with soaring vocals. Making single take recordings, they capture an organic sense of sound that has cavernous textures with minimalism at heart.’

In some respects, this debut EP brings us full-circle in terms of drone evolution, and it’s fitting in the most appropriate, and planetary sense. The most successful and celebrated purveyors of drone, Sunn O))) famously took their moniker as a reference to drone/ doom progenitors Earth, who will, in certain circles, be forever remembered for the tectonic grind of their epic second album, Earth 2, from 1993, which contains just three tracks spanning some seventy-three minutes, with nothing but guitar and bass feedback stretching out, crunching along at a glacial pace and carrying the weight of entire continents. It’s hard to believe that this release will ever be surpassed for all that it is, with two of the three tracks stretching out around the half-hour mark with no shape or form, only an endless, grating, grumbling grind. Into Earth connotes a return to base material, a slow collapse, even a decay into compost form, but also hints at a sonic slide toward this territory carved out by the original and definitive drone act some twenty-nine years ago.

Thraa intimidated at the shape of things to come in June with the release of ‘Move Among Them’, which is the first of the EP’s four tracks. It’s swampy, sparse, beginning with an awkward, gurgling, wheezing, a kind of tentative snuffling grunt in the bass region before soaring, sculpted feedback howls and churns metallic—tinged clouds of scraping ambience. It probably sounds like a contradiction on paper, but hear me out: the screeding layers blur into a whirl without definition and tumble into a vortex of abstraction, and in doing so, create the sound closest to that early Earth whorling wall I’ve heard from any other band.

The title track lacks even more overt form, spurs of guitar feedback screeching as it breaks loose from the dense, rippling wall of undifferentiated noise. There are strong elements of Metal Machine Music here, but it’s around the midpoint that a slow, rhythmic piano emerges, along with a haunting understated vocal from Sally that’s half-buried beneath the noise of explosions and / or tidal waves. It’s both dolorous and ethereal, and BIG | BRAVE comparisons aren’t out of place here, either.

Everything coalesces after the subdued scrape and low-end rumblings of ‘Elgon’ on the seventeen-minute finale ‘Over Warm Stones’. Nothing different happens as such: there is only more, in terms of duration, and in terms of atmosphere. The snaking, rattling notes that swell and shimmer provide a sparse, textured backdrop to a quivering, evocative vocal performance.

Into Earth may not offer anything new, per se, but does provide a strong contribution to the canon of emotive, evocative ambient drone / doom which features vocal, which in this instance are essential to the experience, and it’s an experience which is compelling, immersive, heavy as hell and at the same time heavenly, before it collapses into a landslide of feedback that stretches out to the horizon.

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Watch: ‘Stratum’ by Jana Irmert

Posted: 2 May 2022 in Recommended Streams and Videos
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In the magical volcanic landscapes of Lanzarote, Jana Irmert found images for the ideas, moods and feelings that fueled the work on the tracks of What Happens At Night: For me this release is a window through which I could express my thoughts and feelings about our planet in turmoil. Starting out from a point of hopelessness, my fascination with travelling into Deep Time and learning about geologic ages grew. After all, what will be left of us will only be a delicate layer in the rock.“

‘Stratum’, named after the word used in geology for a single layer of sediment, attempts to dissolve time and space, merging the abstract and the concrete. The volcanic landscapes, which are very young from a geological perspective, thereby become a place where human existence plays only a marginal role.

Watch the video here:

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Thurston Moore – Screen Time

Posted: 19 February 2022 in Albums
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Southern Lord – 25th February 2022

For many, the days of the longest, hardest lockdowns are, it would seem, behind us. And yet the shadow of the pandemic continues to hang long as dark; it’s hard to move on and truly put it behind us when life continues to be anything but normal; signage and masks and booster reminders are the new normal, and we face a new normal carrying scars of a personal nature, each and every one of us. Successive lockdowns, periods of isolation, have all affected us in different ways, and we’ve all suffered some form of trauma or psychological damage in living through conditions we’re simply not equipped for.

For many creative types, working through the experience has manifested in new artistic output. There’s something about channelling that anxiety into something, even if not direct or specific in addressing the issue, that helps to somehow minimise, contain, or otherwise manage it. Thurston Moore’s latest project, like so many was born out of a lockdown environment, and it’s an exploratory work, in so many ways. A series of instrumental guitar pieces recorded during the summer of 2020, it’s a document of, as the liner notes outline, a period where, ‘as the world confronted the pandemic shutdown and as the people of good conscious stood up against the oppression of racist police oppression and murder.’ It goes on to ask, ‘How much screen time does a parent allow a child? How much screen time does a child need to realise a world which has the means to coexist as a community in shared exchange?’

This feels like numerous issues, simultaneous but separate, have collided to inspire this album, and raises as many questions as answers. Moore is clearly placing his flag alongside Black Lives Matter, and it struck me – and surely many others – that the protests should have taken place when the world, pretty much, was in lockdown. How could this be? This was a moment in time when protest felt impossible. In fact, anything felt impossible. But the murder of George Floyd was a trigger and it marked a tipping point of something far, far bigger for so many. This was about centuries of oppression and division. The scenes aired over the news channels, globally, were electrifying. But how does this relate to monitoring the screen time parents should grant their children? Surely it’s less about the amount of time, but parental control, and the extent to which parents grant their children exposure to current affairs? That said, it’s something I’ve wrestled with myself. As a child, I had no interest in anything on the news; my own daughter, aged 10, is genuinely interested and has her views on our prime minister, our government, and the pandemic, and more. While I feel a duty to protect her from scenes of violence and endless report of rape, murder, abduction, and brutal crimes against women and children, I also feel that a certain degree of exposure to ‘the real world’ is beneficial, just as I’ve come to see that many computer games encourage problem-solving and eye-hand co-ordination. Screen time isn’t all bad if you can get over the generational differences. But.. but… no doubt, it’s a conundrum.

Screen Time offers no answers. As is often the case with instrumental works, there is little to be gleaned from them in and of themselves, and the titles offer little by way of interpretive guidance. The only thing that really struck me about the titles, in fact, is that several share their with cure songs: ‘The Walk’; ‘The Dream’. ‘The Upstairs’ feels like an allusion to ‘The Upstairs Room’ (the title of the 12” EP version of ‘The Walk’; but then again, all of the compositions are ‘the’ something: ‘The View’, ‘The Neighbour’, and these reflect the shrunken worlds we inhabited during this time: four walls, the view from the window, and the TV as the window to the world. There was nothing else but to look, and to ponder. Screen Time is a work of ponderance. It doesn’t have to be coherent, because coherent thought isn’t the state of the world right now. Show me someone who has a firm handle on everything that’s going on and I’ll show you a bullshitter. No-one knows anything, and we’re all just fumbling, stumbling through.

Many of the pieces on Screen Time are short, fragmentary, and sparse, only half-formed, but evocative and atmospheric: ‘The Walk’, a minimal piece consisting of a heavily chorused and echoed guitar trickling a cyclical motif for a minute and fifty-one seconds is exemplary. Elsewhere, ‘The Upstairs’ is a haunting piece led by disorientating, discordant piano that tumbles along.

At times reminiscent of Earth, or more specifically Dylan Carlson’s more recent solo work, Screen Time borders on ambience in its slow, soft unfurlings. The final piece, the nine-minute ‘The Realization’ is almost hypnotic; slow, with deep, resonant notes that reverberate and hover while harmonics chime and soar.

As a listening experience, Screen Time is pleasant, absorbing. I like it. But what does it say? It speaks for Thurston Moore alone, just as any such release can only speak for its composers and performers. That’s ok. When stitched together, in time, all the voices will combine to present the full picture. For now, what simply matters is that each voice keeps adding to the tapestry of documenting the present, a time unlike any other.

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Lindy-Fay Hella & Dei Farne – Hildring

Posted: 1 December 2021 in Albums
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By Norse – 26th November 2021

Christopher Nosnibor

Hildring is the second album by Wardruna vocalist Lindy-Fay Hella with musicians Dei Farne. It’s been a long time in the making, with ‘Taag’ dropping as a single back in the summer of 2020. But what is time when the world is off its keel and the world is spinning at a different pace, one so rapid we’ve lost touch with our innermost selves? Lindy-Fay Hella and Dei Farne connect with a past world, a time before technology: not necessarily a more primitive time, but a time in which there was a closer connection to earth and nature, and also to the inner self, the core spirit.

‘Hildring’ is the Norwegian word for mirage, and it’s fitting, for despite the solid, tribal percussion that dominates the sound, paired with solid, chunky basslines, the remaining musical elements are fleeting, flitting, mellifluous, transient, impossible to grasp a firm hold of.

That isn’t to say the album is all airy atmosphere and no substance: quite the opposite, in fact, there’s a sturdiness and density to the richly layered compositions, and it’s a very fine balance of the seemingly separate elements, namely the solid, and the ethereal and airy. The drumming is immense, ribcage-rattling, rousing. There is a wonderfully rich, earthy quality to Hildring. In keeping with Wardruna’s quest to explore Norse cultural and esoteric traditions by delving into ancient history and mythology, so in this collaborative project Lindy-Fay Hella continues that focus. The sound is modern, but the album is deeply evocative as echoes of the ancient resonate forward through every note, and you feel the aura of generations past around your being as you listen. It resonates in ways beyond expression, beyond lived experience. It’s deep, and it’s powerful, and strikes a resonant chord from the off with the percussion-led title track, where soaring vocals and a driving bass melt together amidst spacious waves of sound, and it sets the bar and the form.

In something of a shift from the overarching style, ‘Insect’ feels rather more overtly electronic, with skittering glow-worm flickers flitting hither and thither, but it’s still packing a rare emotional intensity.

‘Compositionally, ‘Briising’ is minimal; drums, bass, sweeping, droning synth, and incidental cymbals accompany a balanced, inwardly-focused vocal performance. There’s a menacing, growling vocal that is again otherworldly, and if not scary, then unsettling. ‘I return to fire’, he repeats in a dark, gravelled monotone.

‘Taag’ goes big on the expansive sound, and it’s sweeping, immense, immersive. It’s bordering on the grandiosity of post-rock, and propelled by urgent drumming. Elsewhere, the sparse, looping synth of the appropriately-titled ‘Otherworld’ is relentless and resonant.

Throughout, Lindy-Fay’s vocals are outstanding, and the album showcases her remarkable vocal dexterity. Often light and airy and floating and soaring above all layers of human perception, Hildring is magical, mystical, beautiful, majestic, and powerful. There, I managed to not to use ‘epic’!

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Earth – Full Upon Her Burning Lips

Posted: 8 May 2019 in Albums
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Sargent House – 24th May 2019

Christopher Nosnibor

Once more, Earth continues to evolve. The band that singlehandedly created a genre it has now long left behind, and which began as a duo, is a duo once more and returns with another album which in many ways resembles much of their output from over the last decade or so, but which in so many ways is worlds apart.

Listening to each album as a sequential progression, one ay be forgiven for thinking that much of Earth’s output post Earth 2 has mined a similar seam, notably since their post-millennial return, but also in particular since the Angels of Darkness albums, which marked a shift in the approach to composition. “In the past I’ve usually had a strong framework for an album,” Carlson says. “This one developed over the course of writing and recording. It just felt like ‘Earth’—like just the two players doing their best work at playing, serving the music,” adding, “It was definitely a very organically developed record,”

It’s perhaps the process which informed and led to the creation of Full Upon Her Burning Lips which is key to the latest transition. “I limited the number of effects I used. I always like the limiting of materials to force oneself to employ them more creatively. Previous Earth records were quite lush sounding, and I wanted a more upfront and drier sound, using very few studio effects.”

Not since 2005’s Hex have Earth release an album of such an overtly conventional album-format, with ten tracks on offer here. That’s where the concession to convention ends, though: Full Upon Her Burning Lips does not contain ten concise, crafted, three-and-a-half minute pop tunes (although a large portion of the compositions do sit within the three-to-five-and-a-bit minute bracket), and commences with the twelve-and-a-quarter sprawler, ‘Datura’s Crimson Veils’, which begins tentatively, a guitar motif built around chiming harmonics and the tones in between as the notes sustain and decay. And then it moves into the epic, rolling repetition that soon yields to meandering but always returns to its starting point. The drums don’t drive it, but simply hold time the sedatest of ways.

Being an Earth album, it is instrumental, and the structures are based around protracted cyclical repetitions than any overt verse-chorus demarcations, or any separations of passages or movements, instead pursuing indirect paths toward a distant horizon.

‘Descending Belladonna’ has almost a Shadows twang to its glow, granular guitar unfurlings. Unexpected? Yes, but also no, as somehow it sits comfortably and feels completely natural. And again, this is perhaps the clearest indication of how Earth have evolved, and continue to do so.

‘She Rides an Air of Malevolence’ is the album’s centrepiece, another epic spanning over eleven minutes: there’s no real air of menace, and far from being dark or menacing, the focus remains firmly on tonality and texture, the notes peeling an drifting, interacting as they do so, the strolling bass maintaining a respectful distance while adding depth and a certain drive.

There’s no escaping that the pieces here are – as is always the case with any Earth release – variations on a thematic template, an, if I’m not mistaken, played in the same key and also very much at the same, deliberate tempo. But this is, in fact, integral to the experience, both of the album and Earth as a musical entity. Everything is so gradual as to be almost beyond the senses, which are continually lulled into a sort of fugue state by the soporific undulations and sedate – or sedated – pace. With the music this stripped back, it does come down to tempo and tone, the interactions between sounds, and with Full Upon Her Burning Lips, Earth reaffirm that less is most definitely more.

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Sunn O))) – Life Metal

Posted: 22 April 2019 in Albums
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Southern Lord – 26th April 2019

A new Sunn O))) album is still an event, even after all these years as the leading exponents of droning doom, a field now crowded with imitators and influences. The sense of ceremony is a major factor: Sunn O))) appreciate and command ceremony in every aspect of their exitance. As good as so many who have emerged to follow in their wake may be, there really is only one Sunn O))). The thing with Sunn O))) is that while they very much do mine deep into their self-made seem, each release offers something different, a variation on that consistent sameness.

And so it is on Life Metal that co-founders Stephen O’Malley and Greg Anderson set themselves a production-orientated goal for realising their immense sound, namely to have their playing captured by god himself, Steve Albini. The story goes that Steve took the call, and said ,“Sure, this will be fun. I have no idea what is going to happen.”

The resulting four tracks, which evolved through time in rehearsal, and with collaborative input from Anthony Pateras, Jóhann Jóhannsson collaborator Hildur Guðnadóttir, guitarist / bassist Tim Midyett, and live mainstay T.O.S bringing Moog action, were laid at Albini’s legendary Electrical Audio studio, and the end product (at least on vinyl) is pure analogue, with an AAA rating.

And it certainly brings the band’s earthy qualities to the fore: the richness, the density of the speakers vibrating in their cabs as displaced air emerges as sound in its most overtly physical manifestation is all captured in a way that conveys the immersive, all-enveloping experience of being a room with the band. As is also the case with Swans and A Place to Bury Strangers, the intense volume isn’t a gimmick but a necessary part of the sound and the experience. Some frequencies simply don’t exist at lower volume, and tones resonate against one another in a certain and quite different way when everything is turned up to eleven and then maximum gain applied. And the effect is transcendental. And whereas its predecessor, Kannon was comparatively concise, with its three tracks clocking in around the half-hour mark, Life Metal goes all out on the expansive, the four pieces running for a fill seventy minutes.

It begins with a distant rumble, before, after just a matter of seconds, the first chord crashes in: thick, dense, so distorted and low-registering as so almost collapse under its own density. But from the slow-crawling swamp-heavy ooze emerges individual notes, the makings of a melodic lead guitar line, and from the darkness radiates a gleam of light. Feedback… soaring notes… grandeur on a galactic scale. And then… Guðnadóttir’s voice. Detached and somehow simultaneously clinical yet emotive, assured yet utterly lost, it possesses an other-worldliness as it drapes dimensions across a simmering drone forged from a lattice of layers reminiscent of sections of Earth on Earth 2.

‘Troubled Air’, which features Pateras’ pipe organ work heightens the impact of volume as well as the ceremonial, ritual undertones which run through every Sunn O))) composition. By turns beauteous and beastly, shifting between moments of monumental grace and churning discord.

The nineteen-minute ‘Aurora’ goes low and slow, a single chord hanging in the thick, muggy air for an eternity until it twists out of shape and becomes a whine of feedback. And then it goes lower and slower still. The suspense builds between each chord, which elongates out to a droning sustain, and when the next lands, it’s with the force of an imploding black hole. Because Sunn O))) don’t do things on a small scale or in light: instead, they amplify darkness until it goes beyond critical mass to become all-consuming.

It ends abruptly in a peak of feedback before a deluge of grinding guitar, overdriven and distorted to a point beyond devastation hits like a tsunami to open the twenty-five-minute closer, ‘Novae’. Again taking clear cues from Earth 2, it’s a heavy drone that occupies the full sonic spectrum as howling strains of feedback whine over bowel-rupturing lower frequencies. Nothing much happens: it doesn’t need to. This is about taking a concept and pushing it as far beyond its logical end as possible, something Sunn O))) have effectively made a career of. And it still works.

And if ever a single album encapsulated the fundamental concept of Sunn O))), Life Metal would be a strong contender.

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Listen: ‘The Colour of Poison’ by Earth

Posted: 16 April 2019 in Recommended Streams and Videos
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Continuing to stoke the anticipation revolving around their mighty return to the studio and stage, legendary duo Earth have shared another snapshot of their forthcoming LP Full Upon Her Burning Lips. Coupled with a stark black-and-white visualiser, the five-and-a-half minute dirge ‘The Colour Of Poison’ is packed with Earth’s thematically meditative, sonically immense hallmarks and marks a return to heavier territories.

Immerse yourself in ‘The Colour of Poison’ here:

Their ninth studio album, Full Upon Her Burning Lips, is due out May 24th on Sargent House.

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Earth — On Tour w/ Helms Alee:

May 24 Seattle, WA @ Neumos

May 25 Portland, OR @ Doug Fir Lounge

May 28 San Francisco, CA @ Great American

May 29 Los Angeles, CA @ The Echo

May 31 Los Angeles, CA @ The Echo

June 1 Phoenix, AZ @ Rebel Lounge

June 2 Albuquerque, NM @ Sister

June 4 Austin, TX @ Barracuda

June 5 Dallas, TX @ Club Dada

June 7 Houston, TX @ The Secret Group

June 8 Baton Rouge, LA @ Spanish Moon

June 10 Orlando, FL @ Wills Pub

June 11 Atlanta, GA @ The Masquerade

June 12 Carrboro, NC @ Cat’s Cradle

June 14 Richmond, VA @ Gallery 5

June 15 Baltimore, MD @ Otto-bar

June 16 Philadelphia, PA @ Johnny Brenda’s

June 18 Somerville, MA @ ONCE Ballroom

June 19 New York, NY @ Le Poisson Rouge

June 21 Pittsburgh, PA @ Spirit Hall

June 22 Detroit, MI @ El Club

June 23 Chicago, IL @ The Empty Bottle

June 24 Minneapolis, MN @ 7th St. Entry

June 27 Denver, CO @ Marquis Theatre

June 28 Salt Lake City, UT @ Urban Lounge

June 29 Boise, ID @ Neurolux

Listen: ‘Cats on the Briar’ by Earth. New album, ‘Full Upon Her Burning Lips’ and tour dates announced

Posted: 6 March 2019 in Recommended Streams and Videos
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Earth announce new album, Full Upon Her Burning Lips, to be released by Sargent House on 24th May 2019. Ahead of this, they’ve unveiled album track ‘Cats in the Briar’, which showcases the evolved sound of the band – now stripped back to core duo of Dylan Carlson and Adrienne Davies, and so resembling, albeit with different instrumentation, their first iteration.

In addition to scaling back on their ranks, Earth altered their previous trajectory by entering into Full Upon Her Burning Lips without a conceptual arc to guide the process, relying instead on their collective subconscious to hone in on the overarching muse as the songs developed. “In the past I’ve usually had a strong framework for an album,” Carlson says. “This one developed over the course of writing and recording. It just felt like ‘Earth’—like just the two players doing their best work at playing, serving the music.” The absence of a pre-existing narrative guiding the compositions meant that the songs were more open and intuitive, often resulting in more terse musical vignettes like the richly harmonic “Exaltation of Larks” or the dreamily itinerant “Maidens Catafalque”.  Yet subconscious impulses gradually created their own subtext for the album. “I wanted this to be a ‘sexy’ record, a record acknowledging the ‘witchy’ and ‘sensual’ aspects in the music… sort of a ‘witch’s garden’ kind of theme, with references to mind altering plants and animals that people have always held superstitious beliefs towards. A conjuror or root doctor’s herbarium of songs, as it were.”

Listen to ‘Cats in the Briar’ here:

Dylan Carlson is also undertaking a succession of solo dates around Europe, including the UK, which are as follows:

MAR 21 Newcastle, UK @ The Cluny

MAR 22 Bristol, UK @ Rough Trade

MAR 23 Manchester, UK @ Soup Kitchen

MAR 24 Birmingham, UK @ The Flapper

MAR 26 London, UK @ St John of Bethnal Green

MAR 27 Brussels, BE @ Botanique

MAR 28 Lille, FR @ La Malterie

MAR 29 Duisburg, DE @ Explorado Museum

MAR 30 Berlin, DE @ Cassiopeia

MAR 31 Prague, CZ @ Futurum

APR 01 Vienna, AT @ Grillx

APR 03 Munich, DE @ Feierwerk

APR 04 Lausanne, CH @ Le Bourg

APR 05 Zurich, CH @ Bogen F

APR 06 Paris, FR @ Sonic Protest Festival

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Markers – Heaven In The Dark Earth

Posted: 27 January 2019 in Albums
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God Unknown – 22nd February 2019

Cristopher Nosnibor

The first sound is a murky, rumbling boom. Then silence, before another eventually follows. The stage is set, and it’s in darkness. The atmosphere is oppressive and laden with an air of uncertainty. What lies ahead?

When the first song proper, ‘In Amber’ arrives, it feels like a weight being lifted: the delicate, supple guitar notes cascade and hang in the air with room to breathe. The mellifluous tones unfurl softly. Sonically, there are certain parallels with recent Earth recordings and Dylan Carlson’s solo works, in that the compositions on Heaven In The Dark Earth are simple, sparse, and focus strongly on the tonality of the clean guitar sound.

This shouldn’t come as a complete surprise: Jodie Cox, who makes up one half of Markers, featured on Earth’s 2014 LP Primitive and Deadly. Along with Jason Carty another member of the London math rock scene in the late 90s / early 00s, the duo made a conscious decision to abandon all of the trappings of rock to produce something raw, honest, and with a are sense of focus.

The text which accompanies the release explains at length how the project is ‘an expression of their deeply seated need to challenge themselves in their natural inclinations through a radical departure from genre music and an attempt to exploit more nuanced musical realms, along with less obvious aspects of their artistic personalities. Having stripped their sound to the bare minimum by eliminating vocals and rhythm section, they are compelled to focus on every single note produced by their instruments. That, in turn, enables them to discover a whole new range of structural possibilities and, ultimately, achieve a higher degree of emotional expression’.

It’s in the exploration of structural possibilities that Markers place the greatest distance between themselves and Carlson / Earth: whereas the seminal Seattleite emphasises the power of cyclical motifs and repetition, Cox and Carty create compositions which slowly evolve, spreading forth like verdant tendrils in the freshness of spring.

The contemplative, considered, even hesitant string picks often reverberate for an age, and evoke simpler times way back in the mists of time, an arboreal world before the advent of cities and industrialisation. It’s evocative, not of anything specific, but conjures a vague sense of nostalgia for something just out of cognisance.

The sweetness, the light, is interspersed with brief interlude pieces which are darker, more ambient. These contrasts render the expansive explorations of string against fret all the more uplifting in their purity, and make Heaven In The Dark Earth an album which brings everything its title suggests: an album to explore, but also to bask in as light overcomes darkness not by force, but through purity.

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