Posts Tagged ‘Sargent House’

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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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

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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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.

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Emma Ruth Rundle – On Dark Horses

Chelsea Wolfe has shared ‘The Culling’, the final and most expansive single from her upcoming album Hiss Spun. Stretching out to six minutes, the track begins with a tense atmosphere of foreboding, slowly growing into a dense mass of guitar, bass, electronics, and drums.

Of ‘The Culling’, Wolfe says, “I’m at odds with myself, exploring different characters, comparing war stories…desperation, withdrawal, clarity, disgust, grief. There is a sense of feeling like a vulnerable mess, but giving into that and turning it into some kind of beautiful decadence; becoming stronger through accepting the mess of yourself…accepting that you’re this feral creature full of instincts, cycles, rage and love.”

She also defined the four words she repeats at the end of the song:

Flux – movement, flow

Hiss – positive life force

Welt – brutality of life

Groan – sensuality, death

Listen to ‘The Culling’ here:

Hiss Spun, Wolfe’s sixth album, is out September 22nd on Sargent House.

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Hot on the heels of their 23rd full-length album release, Dear (Sargent House), Japanese power trio Boris are this week embarking on a European tour, also to commemorate their 25th anniversary as a band. To mark the occasion, we’re sharing a live version of new album track ‘The Power’, capturing Boris in their element.

You can watch it here, with full dates below…

BORIS 25 ANNIVERSARY/DEAR TOUR DATES

03/08 – Moscow, Volta – RU
04/08 – St. Petersburg, ClubZal – RU
05/08 – Vienna, Szene – AT
06/08 – Katowice, OFF Festival – PL
07/08 – Leipzig, Naumans – DE
08/08 – Berlin, Lido – DE
09/08 – Jaromer, Brutal Assault – CZ
10/08 – Munich, Backstage – DE
11/08 – Frankfurt, Das Bett – DE
12/08 – Lausanne, Rock Altitude – CH
13/08 – Ieper, Ieperfest – BE
15/08 – Cologne, Underground – DE
16/08 – Hamburg, Hafenklang – DE
17/08 – Bielefeld, Forum – DE
18/08 – Amstelveen, P60 – NL
19/08 – Bristol, Arctangent Festival – UK
20/08 – Dublin, Whelans – IE
21/08 – Cork, Cyprus Avenue – IE

23/08 – Belfast – Limelight – UK

25/08 – Helsinki – Nosturi – FI

Full details of their US tour dates can be found on the Sargent House website.

Chelsea Wolfe has announced the release of Hiss Spun, her sixth album, upcoming via Sargent House on 22nd September 2017. Additionally, Wolfe has some remaining European dates, and has announced an extensive Autumn tour of North America. A full list of dates is below.

Following her acclaimed 2015 album Abyss, Hiss Spun is at once dynamic, heavy, and raw.  Recorded by Kurt Ballou (Converge), the album was conceived as an emotional purge, a means of coming to terms with the tumult of the outside world by exploring the complexities of one’s inner unrest. “I’m at odds with myself,” she explains. “I got tired of trying to disappear. The record became very personal in that way. I wanted to open up more, but also create my own reality.

Hiss Spun features prominent guitar contributions by Troy Van Leeuwen (Queens of the Stone Age, Failure) throughout the album, and a guest spot from Aaron Turner (Old Man Gloom, SUMAC) on the song ‘Vex’.

By way of a taster, she’s unveiled ‘16 Psyche’. You can get your lugs round it here:

 

 

Chelsea Wolfe Live Dates:

14/6 Malmö, SE – Babel w/ Christine Owman
17/6 Clisson, FR – Hellfest
19/6 Antwerp, BE – Trix w/ Moon Duo
18/8 Las Vegas, NV -  Psycho Las Vegas

North American tour:
28/9 – Santa Ana, CA – Constellation Room
30/9 – Los Angeles, CA – The Regent Theater
2/10 – San Diego, CA – Belly Up Tavern
3/10 – Tucson, AZ – 191 Toole
4/10 – Phoenix, AZ – Crescent Ballroom
6/10 – Austin, TX – Paramount Theatre
7/10 – Houston, TX – White Oak Music Hall
8/10 – Dallas, TX – Kessler Theatre
10/10 – Nashville, TN – Exit/In
11/10 – Atlanta, GA – Aisle 5
13/10 – Chapel Hill, NC – Cat’s Cradle
14/10 – Baltimore, MD – Baltimore Soundstage
15/10 – Philadelphia, PA – Theatre of Living Arts
17/10 – New York, NY – Irving Plaza
19/10 – Cambridge, MA – The Sinclair
20/10 – Montreal QC – Le National
21/10 – Toronto, ON – The Opera House
22/10 – Detroit, MI – El Club
24/10 – Chicago, IL – Metro
25/10 – St. Paul, MN – Turf Club
27/10 – Denver, CO – Bluebird Theater
28/10 – Salt Lake City, UT – Urban Lounge
30/10 – Seattle, WA – The Showbox
31/10 – Vancouver, BC – Venue Nightclub
1/11 – Portland, OR – The Wonderland Ballroom
3/11 – Sacramento, CA – Ace Of Spades
4/11 – San Francisco, CA – The Regency Ballroom
* Youth Code will open all North American shows