Posts Tagged ‘Earth’

Lindy-Fay Hella & Dei Farne – Hildring

Posted: 1 December 2021 in Albums
Tags: , , , , , , , , , , , , , ,
0

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’!

AA

GDOB-30H3O1-001.pdf

Earth – Full Upon Her Burning Lips

Posted: 8 May 2019 in Albums
Tags: , , , , , , , ,
0

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.

AA

980483

Sunn O))) – Life Metal

Posted: 22 April 2019 in Albums
Tags: , , , , , , , , , , , , , , ,
0

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.

AA

919042

Listen: ‘The Colour of Poison’ by Earth

Posted: 16 April 2019 in Recommended Streams and Videos
Tags: , , , , , ,
0

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.

EarthFUHBLCover3000xloresforannounce--1

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
Tags: , , , , , , , ,
0

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

EarthFUHBLCover3000xloresforannounce--1

Markers – Heaven In The Dark Earth

Posted: 27 January 2019 in Albums
Tags: , , , , , , , , ,
1

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.

AA

Markers

Listen: ‘Scorpions in their Mouths’ by Dylan Carlson

Posted: 7 March 2018 in Recommended Streams and Videos
Tags: , , , , , , , ,
0

Oh yes…. Known first and foremost as the lynchpin of instrumental band Earth, Dylan Carlson has become one of alternative music’s most ambitious pathfinders. It seems beyond appropriate, then, that Carlson’s new solo endeavour is titled Conquistador. The five-track record channels the indulgent drone of Earth while traversing uncharted sonic terrain. Listen to the album’s first single, ‘Scorpions In Their Mouths’.

,

AA

DylanCHollyCarlsonlores--1

Dylan Carlson by Holly Carlson

The Bug vs Dylan Carlson / Bong – Heaven, London, 12th April 2016

Posted: 16 April 2017 in Live
Tags: , , , , , , , ,
0

Christopher Nosnibor

Heaven may not be a venue one would immediately associate with heavy, heavy noise, but tonight it’s packed with a broad demographic that only a show as genre-smashing as the line-up would be likely to draw.

Bong are only just setting up their kit five minutes before they’re due on stage, but despite the absence of a proper soundcheck, they sound every bit as mighty as they ought. The Newcastle trio take their time, grinding out power chords with endless sustain without mercy during a half-hour set that contains just a single track. Epic is indeed the word. For all the leaning toward the doomy, droney low end, the guitar packs a crackling treble hit, which balances the sound against the shuddering, throbbing bass and the megalithic drumming, each thunderous beat registering individually on the Richter scale, crashing heavy through the 20bpm dirge with stutters and pauses to maximise the impact of each stroke. Their thirty-minute set consists of just one song. And this is precisely the way it should be: the band use the allotted time to fully demonstrate the expansive nature of their sound and compositions. This is heavy, grinding two-chord dredging pushed to the max and is designed to simultaneously batter and hypnotise the audience, and they deliver it beautifully.

Bong

Bong

If the reality of the studio realisation of Concrete Desert, the collaborative project which saw The Bug’s dubby dancehall stylings drawn out into infinite regressions of reverb as they collided with the dark drone of Earth’s earlier works felt somewhat restrained, and at times bordered on the ambient, in a live setting, the dynamics prove to be altogether different. Perhaps The Bug’s input felt somewhat muted on the release, as Carson’s murky, chiming ambient drones dominated he sound. Sure, the stealthy, bulbous bass and clacking beats, paired with quavering guitar notes which occupy the album’s grooves are atmospheric, but it often feels somewhat cautious, even subdued. Live, however, it’s an entirely different proposition and it feels far more like an equal partnership.

On the surface, the pair exist – and perform – in entirely separate, personal spaces, despite sharing a stage. The Bug – aka Kevin Martin – and Dylan Carlson, representing Earth, stand apart, separated by a wall of equipment: Martin is surrounded by banks of electronic gadgetry and stands focused on his Apple laptop for the majority of the set, while Carlson stands, side-on to the audience, one eye on Martin as he cranks out deep, seething drones and sculpted feedback squalls of noise.

DSCF8335

The Bug vs Dylan Carlson

Volume matters, and can so often prove to be integral to the live music experience: and this is loud. Proper, seriously, loud. Martin begins by sending bibbling waves of electronica out in juxtaposition to Carlson’s screeds of guitar: before long, it’s a veritable sonic tsunami as thunderous bass and violent blasts of percussion crash against a wall of relentlessly dense multitonal noise bleeding in every direction from Carlson’s fretboard. The bass frequencies – and gut-churning volume – are something else. Confetti glued by static electricity or other means to the venue’s high ceiling after being blasted out during the venue’s famous club nights shower down on band and audience alike as the thunderous vibrations rattle every molecule of the building’s interior fabric as well as my nostrils, my trousers and every inch of my flesh.

Many of the compositions are unrecognisable in relation to their studio counterparts, so radically reworked and so much more up front are the dynamics. This is no stealthy, sedate recreation of the album but something way more attacking and pure in its physicality. This is one of those sets which builds in intensity – and seemingly in volume – as it progresses, and toward the end, the pair drop a colossal slow-burner with slow, deliberate drops of bowel-shuddering bass frequencies: a single note resonates through the floor and the solar plexus for what feels like minutes, and the effect is utterly immersive and all-encompassing. The security guy in front of me, blocking the stairs (Heaven has a very strange arrangement of stairs up to the stag and only limited security at front of house, which is welcome), is clutching his ears despite waring plugs, and while it’s an uplifting euphoric experience which plasters a huge grin on my on face, it’s not hard to fathom why this much bass, and this much guitar, at this kind of volume, would cause discomfort. Because actually, it hurts. And that’s the best thing about it, because this is how it’s meant to be.

FOUDRE! – EARTH (OST)

Posted: 7 February 2017 in Albums
Tags: , , , ,
0

Gizeh Records – 17th February 2017

Christopher Nosnibor

FOUDRE! describe themselves as ‘a telluric drone quartet’. Composed of Frédéric D. Oberland (Oiseaux-Tempête, The Rustle Of The Stars, FareWell Poetry), Romain Barbot (Saåad, I Pilot Dæmon), Grégory Buffier (Saåad, Autrenoir), Paul Régimbeau (Mondkopf, Extreme Precautions, Autrenoir), and featuring ‘electric chimeras’ by Christine Ott on ondes martenot, they’re effectively an avant-garde drone supergroup. And EARTH is their third album.

Said album is in fact a soundtrack, scored as a live audio accompaniment to the motion picture of the same title, an experimental film directed by Singaporean artist Ho Tzu Nyen. Of the film, Ho Tzu Nyen explains, “We see the site of an unknown disaster, the debris of history that constitutes the story of Earth. Upon the site, lay fifty humans oscillating between consciousness and unconsciousness, life and death. Sometimes, one of them emerges into the foreground – clutching a fist, batting an eyelid, or weeping for his neighbor. At other times, these figures recede from the light, losing their individual shapes to form a gigantic organism, breathing in unison, pulsating like a jellyfish, though their journey across Earth.”

The concept is strange, alien, and the soundscapes forged by FOUDRE! are very much within the realms of the eerie: dark, ominous, tense, essentially preoccupied with conveying a sense of the unknown, the unknowable; the unseen and the unseeable. As Mark Fisher discusses in The Weird and the Eerie, what renders a work ‘eerie’ is the tension, the fear of the unknown. The revelation or the breaking of the tension is the moment at which eeriness ends. There is no end on EARTH beyond the end of the sound. There is no resolution, and the creeping strangeness simply hangs in the air as the silence encroaches.

The creeping fog of the ten-minute ‘Still Life’ opens the album by opening a portal to a strange, dark landscape. Precisely how strange and alien is indeterminable by sound alone, but the mind’s eye conjures shadows, half-light, a dense, sulphuric atmosphere. Willingly or otherwise, you are transported, and are now in the moment, and elsewhere. Geography is, after all, a state of mind. On ‘Goliath’ shrieking, ghoulish notes, disembodied and strange howl and hum as rapidly oscillating synths simmer to a jittery edginess beneath.

An ambient soundtrack, detached from its visuals, becomes a vessel into which the listener, by a certain sense of necessity, pours in their own meaning. Abstractions take on meaning simply by virtue of the way certain sounds and frequencies resonate in the lister’s mind, stirring subconscious recollections and sensations which lack clear definition. The elongated drones gradually turn, vaporous and ethereal, twisted and thick inspire reflection and projection: you empty yourself, casting your uncertainties into the sonic vortex, to find your emotional fragilities offered back in return. This is a film soundrack – and one performed and recorded live, as the rapturous applause at the end reminds us – but in the space between, this becomes your soundtrack. Immerse yourself. And see the film if you can.

 

Foudre - Earth

Older Entries