Recalcitrant Aesthetics

Liturgy have received much flack from the metal world - most specifically from black metal elitists. From a flat, surface-level perspective Liturgy are a disgrace to black metal; they don't adhere to the 25+ year old genre's sound or intent.  Or do they...

Things change. Black metal set out to be the antithesis of religion, culture, art, and what people considered good music. It was a rebellion that peaked in some very intense moments.  These types of movements are generally short-lived; they either fade out of the picture or are so successful in their method of defiance that they become part of the accepted greater picture of valid artistic expression. A parallel can be seen with the early punk scene, which today has a similar fan-base divide as black metal. Many look at punk as having become a mockery of itself: a mainstream, mass-culture genre that is exactly what it originally set out to defy. Black metal is the extreme and grim younger brother of punk. Black metal was a very powerful movement in music that has become a common-day commodity. It has become an accepted genre of music which pretty much negates its original point. Though some will claim it died, black metal is still around - but it doesn't mean the same thing.  It had risen from the ashes of burnt churches and bloody murders to find its home as the dark heart of the music world across the globe. Its raw, harsh, and abrasive sound has turned into label-name, big budget, professionally produced legitimacy. 

Liturgy embrace this truth, making black metal as spiritual art - defying the genre with which they are associated in a way that transcends many of its fundamental ideologies, yet embraces its rebellious nature. They're creating their own new wave of black metal; their sound is coarse, unconventional, and unforgiving...even and especially to the ears of the black metal elitist. In this sense they have revived the aspects of black metal that had fallen to time and success, but also have let go of its preconceptions and paradigmatic negative close-mindedness.  Liturgy have transcended its hatred and grim nature by affirmation.

The Thrill Jockey double-sleeved, double clear vinyl pressing.

Hunter Hunt-Hendrix's demos laid a foundation that Renihilation then built upon and refined. 2011's Aesthethica sees Liturgy approaching a mastery of their sound, writing and performing as a single breathing entity. Amidst the scraping trem-picked high-register minor and major chord structures - a swirling flurry of remorseless guitar power - thunders a rolling "burst beat" rhythm section. Utilizing Deutsch-like auditory illusions, Shepard Scale effect, and shifting polyrhythms that circle back onto themselves, Aesthethica is progressive and also psychedelic.  The patterns and rhythms elevate you; ever-augmenting droning phrases cycle and climb - eliciting a growing tension of energy until they break, pouring out in a tidal wave of majestic riffing played with sacred intent.  It's intense...and when the intensity of a song subsides there is an enriching silence - a stillness of being.

The screechy, animal screams are a perfect match for the music Liturgy creates.  These are not guttural death vocals - they are shrill and unsettling.  They are not supposed to sound good...this is black metal...black metal in 2011 at that. It ought sound grating even to fans of extreme music. Potentially as bothersome to metal fans are the various moments of Aesthethica when meditative and repetitive layered chanting enter the mix- a fitting contrast to the power and vehemence of Hunt-Hendrix's wails.

What makes Liturgy black metal is not something as simple as image, production quality, or musical key.  They defy all of these things by remaining in alignment with their art and still, even more rightly so, deserve their self-devised genre of Transcendental Black Metal.  Liturgy revive many of the original elements of black metal, but in a new fresh breath. They have brought black metal full circle, now not only defying the original movement and current interpretation, but also those who refuse to move forward...and in an accidental way. They aren't concerned with being "tr00" or "kvlt" - they are expressing a very unique vision with their music. Liturgy have spirit and are uncompromisingly defiant by being so dedicated to serving their creation.

Aesthethica is a profound record and I hope you will check them out if you have not already; it's one of the best metal records of 2011.

Grave Words: The Sound Of Perseverance

I've been wanting to start a retrospective category of posts.  Each would briefly comment on an album which would have to be at least 10 years old - a paragraph or two of the significance of the record.  I've decided to start this series today with a post in honor of Chuck Schuldiner, frontman of Death, who died ten years ago today.

The year is 1998; Death, the pioneers of death metal, released their last studio album.  The Sound Of Perseverance is one of the most impressive metal albums I have ever heard.  From the over-the-top drum intro of opener Scavenger Of Human Sorrow to the intense death screams in the finale - a cover of Judas Priest's Painkiller, each track is teeming with disgusting riffs, majestic leads, mind-bending changes, and percussive black magic.  The Sound Of Perseverance should be held as the epitome for progressive death metal, meeting the perfect integration of technical skill and songwriting.  At just the right moments things shift from elaborate and intricately composed layers into beautifully heavy, melodic refrains and breaks.  Each song is a journey complete in and of itself - the album an omnibus of musical adventure.

I remember hearing it for the first time - my jaw just dropped.  I was indeed familiar with Death's previous work, but something contained in this record went just that far beyond what they had done before, which was quite remarkable.  Some feel that it was too polished and showboating - lacking the rawness and harshness of what death metal should be, but I feel that this was the album Schuldiner was meant to make.  Though he continued creating music with Control Denied, The Sound Of Perseverance is his swan song and solidifies his legendary status in the metal world.  I honestly don't know how this record could be any better, or could better represent what Chuck was all about.  If you're into metal and have not heard this record, I highly recommend remedying that immediately.

Here's to an extremely talented and unique songwriter and musician.  You'll never be forgotten, Chuck.

.Bossk

England's Bossk were only around for a few years, but in that time they crafted some damn fine music and earned a cult following (much like their namesake, a bounty hunter from Star Wars). Their two EP's, .1 and .2, are each comprised of two epic tracks of atmospheric post-metal. Bossk's music built on simple structures and patterns, each leading into the next very organically.  Each section was like bringing a pot of water to a boil: clear, calm, and cool tones heat up and begin to ripple and bubble, eventually boiling over in blissful bluesy sludge riff goodness.  These boiling points are primordial and fierce...they speak to you on base level and can awaken great movement.  Hear for yourself...

I've recently hunted down the hard-to-find 2008 double vinyl pressing of .1 and .2.  The 180g heavyweight discs are of very high quality with only one track per side.  The vinyl mastering is tight and tidy - perhaps even slightly on the sterile side, though still far superior to a digital copy in both sonic breadth and granularity.  I am very happy with my purchase, especially for only 9 euros.

Bossk's only other releases were a live/documentary DVD (2008), and a split with Rinoa (2009).  If you're a fan of bands like Isis or Cult Of Luna, your time would be well spent investigating Bossk.  Even with a short-lived career their name still crops up often; dare I say this too soon...they've contributed what will be considered two of the classic must-haves of the greater post-metal genre.  Need more convincing?  How about one of the best album covers of all time...

Lost In The Glare

Lost In The Glare is Barn Owl's latest release and their most cohesive record to date.  Engaging the listener even more so than previous offerings, it narrates a story from beginning to end in which our subconscious is free to assign the setting and symbols.  This will of course differ from person to person, but so too will it differ on each spin for the same listener, never quite setting you down where you would expect based on previous listens.  Each observation of the album is unique in some way - the mark of a truly great record.

Your particular journey may start in the sands of a sun-drenched desert gazing into a blue sky...or perhaps you find yourself waking in the forest as the first rays of morning sun cast through the spaces between bark, limb, and leaf.  It may take you to the top of a dune, gazing into the chill starry night, or down a wooded dirt path you've never traversed to a lost meadow, illuminated by moonlight.  Regardless, the celestial - sun, sky, stars, or moon - and terrestrial -sand, dirt, rock, or brush - are key.  Lost In the Glare provides an experience comprised of this duality of energy and its embodiment as our conscious physical form.

This album transcends the mysterious familiarity of its predecessor and provides its own paradox.  Lost In The Glare is more earthly and human than the ethereal, spacey, and mystic Shadowland - its closer to our natural experience.  As it spins it waivers back and forth between two worlds: the physical empirical micro world, and the metaphysical cosmic macro world.  Age old is the contemplation of the spirit, mind, or consciousness and just how it is connected to our corporeal flesh, blood, and bones: the Mind-body Dichotomy.  We can deliberately deny one or the other, but it never quite works...we feel that we denounce a part of ourselves or our experience.

We can assume a strictly physical world of cause and effect, actions and reactions...but what and when was the initial motion?  How did it happen?  What existed before it?  What is our consciousness?  Physics and science is our ever-changing theory to make sense of what we observe.  Very often a scientific breakthrough changes how we think of the world, leaving us in doubt of the "laws" we typically assume and take for granted.

We can also assume a strictly non-physical reality where everything we perceive is a creation of our mind alone...but then why do we experience life the way we do?  Why do all of our sensations and day-to-day passages of time feel so convincing and believable as an external physical world?  Are the other people we encounter in our lives real or just part of our mind's dream as well?  Why would our mind create a world in which we experience pain, disappointment, and so many unknowns?  If this experience originates in our mind why are we unaware that is case?

Lost In The Glare is a sonic expression that, perhaps subconsciously, reflects the human spiritual condition and the problematic duality of the very nature of our existence.  Its pieces wander between the warming, white energy of the celestial sky and the heavy, buzzing energy of the Earth.  The former enters through the scalp and crown, and runs down into the lungs, and pulls up to the heavens - a perfect love and presence represented by the synths, feedback, and airy electric guitars.  The latter vibrates and shimmies its way up through the feet and into the belly, and pulls down to the Earth's center - a massive hearth of rock bisecting two intense magnetic poles represented by the strummed and plucked acoustic strings, rhythmic percussion, and gritty electric tones.  We find ourselves in the middle - sometimes spiritual beings in a spiritual world, and other times physical beings in a physical world.  We try to understand our condition as a bridge connecting our two conceptual worlds, but cannot quite see how it all fits.

Without the personal spiritual revelation that reveals the oneness of these seemingly two different worlds we will forever search.  The problem really isn't a problem, but rather an illusion born of our perception of a duality...the problem is the very duality we think we are experiencing.  We are of the earth and of the cosmos - we are of substance and of space - we are of the same infinite fabric of all that is.  With this realization is also one of the holiness of flesh and the sacred observation of time.  Barn Owl's record reaches far and is an absolutely profound expression, and an astonishing work of art.  It's a set of signposts that point to this singularity, and even momentarily touch upon it by use of the gong and a very fuzzed-drenched guitar.  These two provide timbres that resonate with both earth and celestial energies thusly bringing our two worlds together...but it's just a glimpse.  Indeed, we may find ourselves at the end of our story searching in meditation while the answer lay without - lost in the glare.

The Darkest Night Since 1683 - The earth is lit only by the energy of stars.  A dark night is one in which the sun's light

nearly does not reflect at all from the surface of the Earth's moon, nor the light of other stars reach Earth through a thick veil 

of atmosphere, and perhaps some far off interference in space.  Sometimes we forget the grand scale of conditions that

provide the means for our life and ability to sense the world.

None More Black

Record Store Day: a reasonable way to enjoy the Black Friday shopping experience.  This time around I stayed close to home and picked up my goodies "just down the road" at The Toadstool in Peterborough, NH.

Every Autumn I go through a phase when I have to listen to Type O Negative - a mood envelopes me.  There's something about it that takes me back to a particular era in my life, and the sound of TON is a heartwarming and cleansing retrospection that re-energizes my heart; it's a ritual.  There is no other band out there like TON, and there never will be.  Their dry dark humor and over-the-top melodrama masked a truly beautiful core expression - one that provided solace to those absorbed with feelings of negativity, self blame, and emptiness.  They dissolved depression and self-pity by recognizing and embracing the dark extremities of the human emotional scale in sometimes ridiculous and sometimes very intense ways.

Today I am very happy to have in my possession the Type O Negative vinyl box set.  Limited to just 1000 copies and containing all six Roadrunner-released albums on green vinyl, this was the only RSD title that got me really excited.  As soon as I had the box open I had to jump right to Haunted...and oh my, to finally hear this on vinyl is...a holy moment.

The pressing quality and vinyl mastering is quite good; the clarity of sound is beyond what I was expecting to hear - it's almost as though I am hearing these albums for the first time...the songs are the same, but there is a hint of difference in sonic character and a greater depth of clarity.  Each album comes in its own gatefold jacket with brand new liner notes; the original album art adorning the front and back - only now unobscured by the iconic Type O Negative corner logo and album title, giving these editions a classic and clean look...well...as classic and clean as a hairy asshole can look I suppose.  This really is a fantastic tribute to Mr. Peter T. Ratajczyk, one of the most unique and talented songwriters in rock history.  The only thing missing is Dead Again - though since it was not originally released by Roadrunner, I am not surprised; I guess I'll be adding that to my vinyl wish list.

I also left with the Songbook double vinyl by Chris Cornell.  This is a collection of stripped-down acoustic versions of several Cornell originals (spanning his entire career) and a few covers, all recorded live during his Songbook tour.  This may have been worth it alone for the incredible version of Fell On Black Days...

...and I picked up a copy of the only Small Sur album I did not have, We Live In Houses Made Of Wood.  I didn't even know this existed - I can't wait to listen to it.  It came in a lovely recycled cardboard sleeve by Tender Loving Empire - a Portland, OR label and store.  I usually avoid purchasing CDs, but I made an exception for this one.

So...what happened?

I said that I'd be posting more frequently and clearly I have not.  A few weeks ago my dad was rushed to the hospital and then to surgery due to a ruptured aneurism in his brain.  To say the least, it has been a very busy and taxing three weeks; I have not had the time or energy to keep up with TimbreLeaf as planned.  My focus has been on my family and making sure I am giving whatever I can to support them and to help my father heal from this turn of events.  Any thoughts, energy, love, and/or prayers sent his way would mean the world to me and my family.

My dad Joseph, a man of legend.

I can remember going though my dad's old records and tapes when I was younger - I'd find classic Led Zeppelin, Boston, and Jethro Tull.  At the time this music was a new world to me, but would eventually lead to my great appreciation for classic rock, prog, and metal.  While I was growing up he never judged any of the music I listened to, regardless of how strange or dark it may have seemed to him.  My dad has always been very supportive of my artistic endeavors and has always embraced my creative goals.  I cannot thank him enough for this, or for any of the countless other things has has done for me.  My dad serves his family selflessly, happily, and in a way that only he can.  He is always the man who leads by example, and I have learned so much from him.

My dad enjoys a healthy variety of music; more recently, though he has no idea what any of their songs are about, he has become quite stuck on early Rammstein.  He nearly always has both Herzeleid and Sehnsucht for driving music in his truck.  So while the song itself may seem unrelated or inappropriate, it has its context.  Here's to a continued recovery for the greatest man I know.

You are loved, Dad...I hope to see you on your feet soon ~

A Near-Metal Experience

Boston's Junius have released a new record, to which I am listening at this very moment thanks to my friend Justin Hull who introduced the band to me a couple of years ago.  Reports From The Threshold Of Death is just lovely work: thoughtful and heartfelt, poppy yet heavy, abrasive yet smooth, and most predominantly - full.

The album maintains a wonderful motif of fullness, lightness, and understanding.  Even the heavy parts are somehow ethereal and soothing in a way that I find unique to this record.  Full spectrum sound sweeps through your speakers as a singularity - one comprised from a swirling chorus of voice, airy synth pads, distorted guitar grit, and tidy well-placed percussion.  At times it feels like the epic soundtrack to a surreal and fantastical film, full of astounding otherworldly images.  Vocals are simple and straightforward - void of the gimmicks and trends that seem to infect today's rock genres like plagues.  There is certainly both confidence and maturity at work here; nowhere is there overcompensation or even a single note or beat that does not fit.  Junius are doing what they do, not answering to any particular expectation.

Reports From The Threshold Of Death rejuvenates the listener with a calm clarity.  The deafening silence met at the end of the album is a testament to the richness of its sound...it leaves the listener in content reflection.  There is no urge to respin this record after a complete observation...not because it isn't a great record, but because it is a different kind of great record: one that is whole and complete just as it is - not in need and not in surplus...and that is quite special.

The vinyl pressing is excellent.  I opted for the band's website-only edition which is an exquisitely gorgeous piece of vinyl, which you can see below - a very nice complement to the album's artwork.

Junius have clearly reached new ground, and their footing is sure and solid.  Where their next climb will take them should be very interesting indeed.

A Progressive Inheritance

The new Opeth is a different flavor of tastiness, indeed.  I unreasonably opted for the ultra fanboy limited box edition of Heritage...and although it came with a hefty price tag, I am pleased with the quality of its contents.

All the stuffs

The box itself is reminiscent of those 1960's and '70's keepsake edition LP's.  It's a sturdy, multi-ply slipcase with allover wrapped covering.  Inside are two gatefold pullouts: one housing the 180g traditional black vinyl discs and sporting a really cool holographic rendition of the album cover art, the other jam-packed with extras including a 7" vinyl disc of two bonus tracks, a DVD providing a 5.1 mix of the record and "making of" documentary, a CD version of the record with bonus tracks, a lithograph of the album cover art, a two-sided lyric sheet, and a LP-sized booklet of photos from the studio sessions. 

The holographic album art.

Fancy vintage filters make Heritage look like it's from the right era.

The 33.3rpm 7"

The usual Opeth average of two songs per side...

Lyric sheet & lithograph.

Back of the box.

The pressing quality is equivalent to the best I've ever experienced; edges are smooth, labels immaculate, and the playback is super clean and warm.  This should be the standard for anyone pressing so-called high quality vinyl.  Whoever did the vinyl-specific mastering for Heritage, my hat is off to you.

Barn Owl @ O'Briens Pub

September 16th, 2011.  Through the September night chill my good friend Cassandra and I walked a handful of city blocks from where we parked to the micro venue that is O'Brien's Pub in Allston, MA.  In a space maybe a tad larger than twice the size of my living room was contained a bar, corner stage, and makeshift merch table.  The four acts to perform that evening could be found mingling with members of the audience, who were few and fortunate.  O'Brien's was buzzing with a mellow warmth - an anticipating, welcoming, and thankful energy.

Stillborn, the first opener, served us a twitchy electronic onslaught chalk full of amazing transitions - abrupt yet strangely smooth at the same time.  Imagine a time signature, tempo, and key change somehow occurring naturally over the course of a measure or two; it'd be enough to slap you in the face but Stillborn makes it easy...leaving you wondering just how the hell he did it.  Next was Lussuria's dark, ambient, and swelling synthezised soundscapes.  Containing some industrial nods the undertone was cold and grim, but, as two strangers can bond through grief, also presented a gesture of universal connection.  The third opener, High Aura'd, was slightly more organic - one man looping several layers of effects-drenched guitar, hum, and feedback.  An immense repetitious drone stuck to the air in the club as he worked through his set, successfully and gracefully closing the loop from the first two openers to the main performance of the evening.

Barn Owl's Jon Porras and Evan Caminiti finally took the stage and what followed left me in awe.  The sounds found on their records were here impeccably reproduced in raw live spirit.  Layered waves of a weaving sonic tapestry pushed out the walls as we settled in to a growing space.  The fact that this full sound - swirling, shimmering, soaring, and shaking - was being produced by just two men on stage was truly astonishing.  Most impressive was their unbeleivable mastery of feedback.  Barn Owl uncannily induce precise tones, timbre, and squeal as elements of their compositions.

They moved beautifully through their set without speaking nor recieving applause, which was held until the end.   Their eyes closed in focus, bodies swaying and swinging naturally through meditative musical practice, Barn Owl's live experience - much like their recordings - can be both cathartic and transcendentally affirming.  It was evident that Porras and Caminiti were incredibly tuned in to each other during their performance; it was as though they were one creative entity, existing only and continuously as the moment in which their sound became music.  Absolutely astounding.

The Devil's Tongue

I am sitting in my living room and relaxing to the sounds of Talkdemonic's second full length LP, Beat Romantic.  From the opening track one may prepare themselves for a journey into minimalist string simplicity...but then we hear the drums...and the banjos...and the synths...and the horns...and eventually some electronica.

Talkdemonic is Kevin O'Connor and Lisa Molinaro of Portland, OR.  He plays drums, fretted instruments, piano, synthesizer, horns, and implements the electronic elements of their music.  She plays viola and synthesizer.  The "folktronic hop" music they create together is beautifully warming, and smoothly chill; it's energizing and relaxing at the same time - like a slow walk through the woods on a sunny Autumn day, or laying out on the beach at night gazing at the stars and observing to the waves crash.

I was very happy to have caught them at MFNW during my trip.  Rosie and I forged our way into an industrial part of town to The Branx.  With a small bar on the right and a small stage at the far end of the room there wasn't much here save for people...but what it lacked in stuff it made up with character and energy.  The Branx is a unique and fun place to see a show; it makes you feel as though you're at an illegal party hosted in an abandoned warehouse...well, kinda.  Watching Talkdemonic perform was a real treat; the organic vibration of live viola in combination with raw, real drums allowed preprogrammed backtracks to come to life.  Throughout their set the digital and analog world continued to crash in front of us in truly splendid ways.

Video for Mountain Cats

The record holds the same feel - especially on vinyl.  The voila is vibrant and pops out of the mix while the drums provide an earthy and primitive energy to each track - capable of picking things up when needed, but also of slowing the pace back down to a mellow crawl.  A lovely addition of flute is featured on the track White Gymnasium, which I regret to admit I cannot find in a streamable format to link here.  Instead here's Bering, another gorgeous example from Beat Romantic:

Bering

Talkdemonic's fourth record, Ruins, comes out next Tuesday and can be preordered from the bands website, here...and here is a really cool video for the first track, Duality Of Deathening...

A Course In Mindscrew Consonance

From the opening percussion and hand-clapping of Split The Lark to the heavy powertrip and stuttering finale of Width Of The Tunnel, Brainstorm's Battling Giants more than pleases the ear with interesting musical antics and fun ideas...all executed in such a way that appeals equally to the inner child, musician, and poet.  This is some seriously creative indie rock from Portland, OR.

Photo From Brainstorm Facebook page.

The sometimes overlapping and/or harmonized vocals ebb and flow, usually crescendoing just in time for squiggly, trilling guitars to writhe in distortion or fuzz, scampering around their favorite scale and crashing into walls of power chord waves.  Rattlesnaking, jangling, and thumping percussion manages to ride along and keep things as "structured" as they'll get.  Brass makes its way into the mix rather randomly at points in the record, teaming up with some synth goodness for the poppy title track.  The anthemic We Are Free resurrects a spirit from the 1960's, while Bottom Of The Sea adds some southern fried, foot-stomping folk-and-roll.  Uh Oh Black Hole! is something like They Might Be Giants performing a traditional Russian dance for the first surfing astronaut brigade.  Impressively, Brainstorm know just when and where to take their songs...nothing here is forced or feels contrived - it's zany not by design, but by nature...and it all works brilliantly.  It's hard to believe this is just two guys (with occasional guest female vocals).

Catchy, inventive, and full of energy, Brainstorm are an exploratory playground of awesomeness...like a rock-and-roll ice cream truck operated by a poetry professor - and it's just as beautiful as it is unusual.  You have to hear it for yourself...

The entire album is available on their bandcamp page here.  It is highly recommended.  5/5

Opeth @ The Palladium

September 19th, 2011.  Opeth's 10th record in not a metal record.  No death vocals.  No detuned, wildly overdriven guitars.  Mikael Akerfeldt has moved on and has been quite frank about it in recent interviews.  Still, there were many disappointed fans at Monday night's show which kicked off the world tour for Heritage.  I was not one of them.

Opeth's change of pace comes at a great time in my life, so perhaps I am just more open to it at this particular juncture.  The Heritage album speaks on its own - its blend of 1970's prog, hard rock, and fusion elements combined with Akerfeldt's caliber of songwriting is a welcome addition to my collection any day.  This turn in Opeth's sound also allowed them to rethink their live performance - they opted to fill the set with oddball songs and "obscure" b-sides, which never had their place when Opeth had to fill our ears with metal and could only select maybe 10 or so songs due to song duration and set time.

Predictable opener The Devil's Orchard was followed by its successor on the record, I Feel The Dark, and then by the classic Face Of Melinda.  But that's where predictability ended, and because of what came afterward I felt very lucky to be seeing the first show of the tour.  From Watershed came Porcelain Heart, which even though was a single has never before been played live.  They followed this with another new track, Nepenthe, before derailing us on an acoustic foray.  "This is going to get strange...", Mikael warned as he tuned up his acoustic.  What came next was a fantastic first live performance of Throat Of Winter (originally recorded for the God Of War 2 soundtrack and recently released on 7" vinyl), followed by a tripped-out rendition of Credence which featured light synthesizer accompaniment, and another first-time performance of a formerly rare Patterns In The Ivy II.  The acoustics were taken offstage and the crowd responded in anticipation and need for a few heavy cuts; "Deliverance" was repeatedly screamed from somewhere far off behind me...boy was that guy disappointed when the next song was introduced as a Rainbow ripoff and tribute to Ronnie James Dio - Slither, a new shorter song certainly stepped up the energy a notch, but just wasn't enough to satisfy the crowd's craving for progressive death metal.  The set was rounded off with an extra lengthy version of A Fair Judgment with an ultra slow doom-laden ending, and Hex Omega.

The set choices really reflect a deliberate shift, and opened up the possibilities for Opeth to play some really interesting songs that never found their way into live performances on past tours.  Further, all of the set's tracks really fit together and create a sense of cohesion between their new sound found on Heritage and their previous work.  Really breaking tradition was the new song Folklore as an encore in place of the tried-and-true Demon Of The Fall.  Maybe I'm the only one, but I had become bored of always hearing Demon as the standard Opeth encore time and time again.  While many others walked way grumbling and moaning, I found myself filled with a refreshing energy and happily soaking in the sounds of new Opeth.  Like the new record, the live performance contained not a single death growl...indeed we're at a crossroad and to make room for the new, some older things, though missed, must be discarded.

Listen to the entirety of Heritage on NPR Music here.

Opeth @ The Palladium Sept 19, 2011 (Photos by Dan Wyatt)

Refresh

I've been on unannounced and unofficial hiatus from TimbreLeaf the last few months.  This has been for several reasons, but primarily due to the slump and/or rut in which I found myself.  It seemed the thought of writing had become a nagging self-imposed expectation I put on myself, and due to lack of time and inspiration this indeed lead it to feel like a chore rather than a love.

Since my last June post - besides working on the house - I've entered my 31st year, bought a Martin DC16-RGTE, read several great books, resigned from my job, and took a long vacation in Portland Oregon.  Autumn is fast approaching and I am embracing many changes in my life, attitude, and creative endeavors; my trip to Portland was a culmination of this harvest.  Rosemary and I timed the trip to coincide with MusicFestNW, five days filled with a wide variety of music of local and national acclaim.  You can expect to see a short post about the trip soon.  Other than the myriad of music at the MFNW, this summer I've ventured out to see Soundgarden, Bon Iver, and a few local shows at the Toadstool.

Soundgarden July 10th 2011 (Photo by Andrew Bruss)

I've done some soul-searching, meditation, and healing...and feel ready to get back to TimbreLeaf.  My vision of TimbreLeaf has changed a little; since I haven't posted at all in regard to music equipment and technique I plan to drop that idea.  It may resurface in the form of another blog, but for the time being I want to center my attention on one thing and grow TimbreLeaf into what I want it to be.  I plan on posting more and making pieces shorter - get my thoughts out and move on.  Posts will probably shift to music that is new to me and stray from well-known acts altogether.  The format will be much the same: reviews, links, and pretty pictures of vinyl.  Thank you to those who read and/or follow TimbreLeaf; your time and comments are very much appreciated.

Cheers ~

The Thing (Part II) or Why Late Is Better Than Never

At this point I am writing this in an effort to clear my pallet for future posts.  As you may have noticed I have been absent from TimbreLeaf in the last couple of months.  I'll explain more about that later...for now please enjoy the startling conclusion of The Thing In The Spring...

One of the best shows at this year's Thing was held Saturday Mat 14th at Harlow's Pub: a wonderful place to be for great food and great taps.  Harlow's often hosts blues and rock bands, and sometimes the occasional foray into reggae or even things as cool as Balkan/Klesmer/Gypsy/Bellydancing (The Underscore Orkestra which appeared just last Friday).  These performances by Coke Weed and Mmoss were ones I just couldn't miss.  Rosie and I procured the perfect small pub table in the center of house surrounded by the eclectic barrage of quirky beer signs, obscure personalities, adverts, and other art adorning the walls and ceiling of the establishment.  With a beer already in my stomach Coke Weed took the stage to fill our ears with their throwback blend of chill, reverb soaked ditties.  With both male and female vocals, often in duet form, Coke Weed's songs are melodically strong and rich with mellow but fun textures.  Named after perhaps both the most famous upper and downer, the band energizes your spirit to dance...but in a stoned, shoe-gazing sway.  Like and unlike a darker, psychy She & Him, Coke Weed, rather, are inspired, thoughtful, and a pleasure to experience live and on record (sorry Zooey, I do love you very much, but it's the truth).  I hope Coke Weed are not displeased with the comparison...or more truthfully the contrast as it is.
"Not My Old Man" by Coke Weed (Uploaded by The Walkmen)
 
Mmoss are no strangers to the TimbreLeaf blog.  I've been greatly enjoying their vinyl release of i quite a bit in recent months.  Their last performance at the Toadstool was a short one; for The Thing they played a complete and masterful set.  I will'n't belabor this...Mmoss are a mind-blowing phenomenal paradox of a band.  Born out of their era, they create the perfect music of a by-gone day with such impeccable skill and natural talent you just cannot not like them.  Lush organ chords waver in and out between telecaster secret agent alchemistry and catchy vocal melodies...think a psychedelic rock & roll super group from 1968.  Mmoss did not disappoint at Harlow's, in fact this may have been my favorite performance from 2011's Thing.
Another Dream by Mmoss 

Sunday saw the last show of the festival return to the Peterborough Historic Society for Goddard, Giraffes? Giraffes!, and Kayo Dot.  Goddard, a three-piece from Worcester Massachusetts, brought me right back to my junior high school days.  With a dress code, attitude, and stage presence straight from 1994 - in a really great way; I can imagine them having opened for Tool or Henry Rollins back in the 90's.  This post is actually well timed as Goddard have just released a new record, Bishop, which is available on their BandCamp page...and it is fantastic.  Their music has just the right parts grunge, groove, and grit; each third of the guitar-bass-percussion triad complements its opposite and adjacent quite naturally.  Hear for yourself...

Giraffes? Giraffes! are apparently the hot ticket item.  The duo from western Mass have accumulated quite a healthy following, even in far-from-home regions.  Though G?G!'s two members have been involved in various solo and other musical projects and styles, their set was comprised of their latest spastic, tumbling instrumentals.  Aided by phrase looping effects and synthesizer they constructed and demolished riffs and structures throughout each piece, layering subtleties and bridges to connect the dots.  Outside of the Harlow's show The Thing crowd was most densely populated and animated during this set - my socks were indeed rocked clean off.  Recently G?G! rather successfully persued funding for their new record via Kickstarter.  Hopefully we can expect it out soon?  Try this on from their last record, More Skin With Milk-Mouth, which can be purchased here....
"When The Catholic Girls..." by Giraffes? Giraffes! (Uploaded by amystafford)

Kayo Dot (Maudlin Of The Well in a previous, more metal life) is a large group from New York consisting of horns, guitars, percussion, bass, and vocals.  They were last up and the crowd thinned out considerably.  I get it...Kayo Dot are not conventional by any means and while I enjoy the band quite a bit, their live performance at The Thing could have been better.  In contrast to the last time I saw them they opted to focus on their more ambient cuts - horns droning, bass chiming natural harmonics, and somber drawn out vocals.  Folllowing G?G!'s set this felt just a tad flat energy-wise.  The highlight was their finale - cresendoing and instense, it ended with pots-and-pans calamity eventually and reluctantly giving way to a meditative silence and peace...this is what makes Kayo Dot great.

This year's Thing was more formal and put-together than last year; everything about it was stepped up a notch.  I am very impressed with the talent and names that were brought to a small place, but I personally enjoyed last year's Thing more.  This is probably primarily due to my personal experience; last year nearly everything I heard was new to me and that was something that I enjoyed immensely.  There also seemed to be more experimental performances and collaborations which were not only very interesting, but also something you couldn't see anywhere else.  I am hoping for a more mixed experience next year - some big names, and perhaps some local one-off collaborations.  My suggestion....a 48 hour local music mashup - combine willing members of several local bands to write songs 48 hours before the festival and then perform at the The Thing alongside the bigger names and established acts.  This would be very cool.

With all that said I am beyond amazed and impressed with Mr. Gagne and the rest of The Thing's crew.  From the average attendee's perspective it may not seem like the tremendous amount of work that it is.  I feel indebted to those who put this festival together.  It's one of the big events of the year that I look forward to with great excitement and I hope the tradition carries on for a long time to come.  Thank you to everyone who was involved and to all the musicians and artists who contributed.  You are all what makes Peterbough, NH a great place to be.

*Broke: The Affordable Arts Fair is coming back this November 26th and I strongly recommend checking it out if you are anywhere near the Monadnock area.  Cheers!

Shadowland

Lately I've been immersing myself in the genres of drone, psychedelic, trance, and ambient rock.  At the forefront within this blend of genres, for me, is Barn Owl as they have indeed been keeping me in awe. Yesterday, from Thrill Jockey, I received an early copy of their new Shadowland EP, due Summer Solstice - June 21st.

Shadowland's cover art complements its music quite beautifully.  Evan Caminiti's painting depicts a marbled grey and white orb shrouded in a mesh of cottony purple clouds - perhaps the moon enveloped by the shadows within our earth's night sky...or perhaps another world somewhere in the depths of the universe, unknown to us save for its soundtrack which we are about to observe. The vinyl disc is a wonderful clear/white swirl, which adds to the mystique of the record's artwork.  This is one of those records that begs the listener to prop up the sleeve for viewing while it spins on the turntable.  So what do we hear?  Shadowland finds Barn Owl in a darker, much more mysterious place than perhaps they were when writing Ancestral Star.  Shadowland focuses its drone and repetitive elements in a way that creates a paradox of a world - one that is equally as warming and inviting as it is cryptic and eerie.  It has an amazing transporting quality to it; we find ourselves somewhere we never dreamed could exist, but that is also somehow a familiar place of our past...something from long ago that we only somewhat primordially understand.  Synths chime, sweep, and float through layers of guitars and piano whilst an indeterminate buzz collects at the bottom.  There is a duality of tones at work - some elevated, shimmering, and airy, others screeching, droning, and grounded.  The title track features a fluttering, wavering pitch warble that will catch you at just the right moments.  Yes this record is quite agreeably palatable and savory to the ears and soul.

All that said, I am a bit disappointed in the pressing quality.  I've cleaned the record and my stylus a number of times but still hear several pops and cracks throughout playback.  Also, some imperfections on the edge of the disc can be easily found.  Luckily Thrill Jockey has a habit of providing free digital downloads along with their vinyl.  Barn Owl also have a full length album due on September 13th, called Lost In The Glare...I can't wait.