Posts Tagged ‘Thrill Jockey’

Ahead of the release of their debut collaborative album Orchards of a Futile Heaven, out February 23rd, The Body & Dis Fig share potent, affecting new single ‘Dissent, Shame.’

The track’s devastating force lies beyond pure noise or abrasive textures, evoking weighty emotions with a minimalist drone dirge that gradually builds into an enchanting choral passage. Suffused with a raw vulnerability and a longing for catharsis, Dis Fig’s voice searches for escape in the midst of oppressive atmospheres as if determined to find relief from guilt. She elaborates on the track: “It’s about the act of abandonment, and the guilt and shame that comes with it. Running away from something, seemingly towards your own safety, but as your conscience picks you apart the entire way.”

Orchards of a Futile Heaven affirms The Body & Dis Fig as skilled sound sculptors who have an exceptional ability to make deeply affecting music, bracing as it is touching, harrowing as it is awe-inspiring. While sampling has long been essential to each, The Body & Dis Fig deftly meld their differing approaches to sampling and creating extreme sounds until the boundaries are entirely blurred. The group transmute weighty emotions into bristling sonic atmospheres, buoyed by Dis Fig’s ethereal vocals. She elaborates: “I love the balance. You could never connect to just a machine as well as you could a human. Which is why the combination is so potent for me. I don’t want to hide. I think nothing connects you more empathetically than another human’s voice.”

The Body & Dis Fig plan to tour throughout the US, UK, and Europe in 2024. Dates and details incoming soon.

Listen to ‘Dissent, Shame’ here:

The Body & Dis Fig are a natural pair. Each has pioneered instantly recognisable worlds of sound all their own that defy any traditional categorisations or boundaries. The Body, Lee Buford and Chip King, continually challenge any conventional conception of metal, collaborating with myriad artists and from the folk-leanings of their work with BIG|BRAVE to their groundbreaking work with the Assembly of Light Choir to the intensity of their collaborations with OAA or Thou.

Dis Fig, aka Felicia Chen, pushes electronic music into dark extremes, from warped DJ sets to avant production, from being a member of Tianzhuo Chen’s performance-art series TRANCE to being the vocalist with The Bug. The Body and Dis Fig find kinship in reimagining what it means to make “heavy music”. Their debut Orchards of a Futile Heaven is the perfect synthesis of two forces, twisting melodicism and intoxicating rhythms, layering a dense miasma of distortion with intense beats and a soaring voice clawing its way towards absolution.

The two found kinship in their desire to find new avenues to make heavy music that looked beyond tropes of metal and electronic music by merging the two. “I always wanted the heavier stuff but I also didn’t really like heavier guitar music,” says Buford. “None of it really felt quite heavy enough to me. A human can’t be as heavy as a machine.”

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Thrill Jockey – 24th March 2023

Christopher Nosnibor

Wikipedia, and most other sources for that matter, will tell you that ‘Liturgy is an American black metal band from Brooklyn, New York’. The band’s own bio, which explains how their brand of ‘“transcendental black metal” exists in the space between metal, experimental, classical music and sacred ritual’ and that ‘The band is simultaneously a platform for fine art and theology’ is rather more illuminating in explaining how they have vastly expanded their horizons and those of the genre to create a form which is truly unique.

93696 is very much a concept-based work, which is best explained by quoting: ‘93696 is a number derived from the religions of Christianity and Thelema, a numerological representation of heaven, or a new eon for civilization. Hunt-Hendrix composed the album as an exploration of eschatological possibility divided by the four “laws” that govern her own interpretation of heaven, “Haelegen”: Sovereignty, Hierarchy, Emancipation, and Individuation. These laws constitute the four movements of 93696 which act as dramas all their own within the framework of the record.’

And what a record. ‘Epic’ barely touches it. It’s immense in every way, not least of all duration, with fifteen tracks spanning the best part of an hour and a half, this is expansive on a scale akin to SWANS (who they’ve previously supported). It’s also every bit as dynamically charged as latter-day SWANS albums, with tracks anything up to a quarter of an hour in length powering though a succession of crescendos, via sweeping choral soundscapes.

‘Djeennaration’ packs everything in early, presenting eight-and-a-half minutes of frenetic fretwork and thunderous percussion, over which vocals switch from angelic to demonic and back in the blast of a beat. It’s powerful, and quite bewildering in both its force and cinematic scope.

Done differently, this could feel overlong and pretentious, but the execution is so precise and the great ambition so focused on realisation that everything feels remarkably organic and despite making gigantic leaps between passages, changing tempo and tone here, there, an everywhere, it flows. Shuddering slabs of power chords that crunch like quartz while blasts off pure noise tear the air, but as ‘Haelegen II’ shows, with the incorporation of piano, there’s so much more texture and detail than plan fast-as-fuck fret attacks – then, from out of nowhere, things take a turn into folksy post-rock.

The savage squall of ‘Before I Knew the Truth’, released as a single a few weeks ago distils the potent force of the entire album into four and a half flooring minutes. There are some brief – and strange – moments of respite, such as the quavering woodwind tones of the brief interlude that is ‘Red Crown II’ and the delicate keys of ‘Angel of Emancipation’, and they’re most necessary, as the majority of 93696 is a force beyond nature.

The fifteen-minute title track is nothing short of an absolute monster, and as much as it’s n obliterative squally, it’s also a dynamic and wide-ranging sonic and cerebral experience, culminating in a vast orchestral sweep that’s nothing short of stunning.

This does feel very much like an absolute pinnacle and a definitive and exhaustive – and, it has to be said, exhausting – statement. Transcendental indeed.

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Following the announcement of their monolithic new album nature morte, out February 24th, Canadian trio BIG|BRAVE has announced an extensive European tour for spring 2023. The tour includes performances at Roadburn Festival, Donaufestival and Desertfest, among others. The trio’s first nature morte single "carvers, farriers and knaves" captures the album’s striking balance between expansive atmospherics and direct emotional drive, guitar and vocals twisting atop thundering drums to create one of the most bracing and relentless pieces in the band’s ouvre.

BIG|BRAVE are an elemental trio who harness an earthen heaviness composed of distorted and textural drones, austere bombast, and Wattie’s heart-rending voice. Like recent collaborators The Body, BIG|BRAVE is at the forefront of reconfiguring the landscape of heavy music. The trio brandish sparseness and density like weapons, cast tense atmospheres with languid tempos and mutate feedback into eruptions of enveloping tempests. nature morte sharpens BIG|BRAVE’s ferocity and expansive sound into emotional elegies for the disenfranchised, wringing abstracted textures and pure fervence into songs of unfathomable mass.

Those dates in full:

BIG|BRAVE spring 2023 EU tour dates:

Apr. 9 – Hamburg, DE – Hafenklang
Apr. 10 – Copenhagen, DK – Loppen
Apr. 11 – Malmö, SE – Plan B
Apr. 12 – Oslo, NO Blå
Apr. 14 – Helsinki, FI – Kuudes Linja
Apr. 15 – Tallinn, EE – Sveta Baar
Apr. 16 – Riga, LV – Noass
Apr. 18 – Vilnius, LI – XI20
Apr. 19 – Warsaw, PL – Voodoo
Apr. 20 – Poznań, PL – Dom Tramwajarza
Apr. 21 – Berlin, DE – Urban Spree
Apr. 23 – Tilburg, NL – Roadburn Festival
Apr. 26 – Nurnberg, DE – KANTINE (beim Künstlerhaus)
Apr. 27 – Dresden, DE – Ostpol
Apr. 28 – Krems, AT – Donaufestival
Apr. 29 – Zagreb, HR – Kset
Apr. 30 – Bologna, IT – Circolo Dev
May 2 – Piediripa, IT (MC) Dong
May 4 – Busto Arsizio, IT – Circolo Gagarin
May 5 – Bulle, CH – Ebullition
May 7 – London, UK – Desertfest
May 9 – Manchester, UK – Soup Kitchen
May 10 – Glasgow, UK – Stereo
May 11 – Newcastle, UK – The Lubber Fiend
May 12 – Liverpool, UK – IWF Substation
May 13 – Norwich, UK – Voodoo Daddy
May 14 – Birmingham, UK – The Castle & Falcon
May 15 – Leeds, UK – Brudenell Social Club
May 16 – Bristol, UK – Dareshack
May 17 – Brighton, UK – The Hope & Ruin
May 18 – Brussels, BE – Ancienne Belgique

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Liturgy has shared the single ‘Angel of Sovereignty’ from their upcoming album 93696, out March 24th, 2023. The piece showcases Liturgy’s boundless ambition towards transcendence through rich compositions untethered by traditional rock constructs. Comprised almost entirely of a children’s choir, the track is unmistakably the work of Liturgy, building tension through an evolving round whose chords grow more dense and textured.

Liturgy transcends the traditional parameters of what constitutes a rock band. Founded by Ravenna Hunt- Hendrix, Liturgy is a part of a shared discipline of composition, art, and philosophy that thrives on exploring the spaces between. As an ever-evolving practice Hunt-Hendrix has incorporated elements of black metal, art rock, opera, and trap production into the musical language of Liturgy while engaging with transcendental, theological and eschatological theory through lectures series’ and art installations. A profound sense of yearning and emotional depth weaves through the Liturgy’s dense layers and anchors the project’s increasingly complex and innovative work.

New album 93696 is the purest synthesis of the diversity of Liturgy, a sprawling and monumental double album exploring religion, cosmic love, the feminine, and metamorphosis while manifesting the ecstatic with breathtaking grandeur. Listen here:

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Photo Credit: Jessica Hallock