Headwaters

Two and a half years after the amazing Watershed, Opeth are recording their next record. They entered the studio today to begin tracking what will be their 10^th studio release. My mind is somewhat blown that they are indeed up to 10 at this point. Opeth have managed to maintain a particular feel, vibe, and style – even when ditching heavily distorted guitars and death metal vocals for an entire record (Damnation). While this Opeth vibe is ever-present in what they do, they still give each of their records its own life and spirit. Like several children of the same lineage they each bare a family resemblance; even at first glance you can clearly see that they are related – created from the same blood – but also that each is unique and represents a different time and has a different story. More recently, Damnation brought along a maturity of Opeth's less heavy moments. The album owes a great deal to the 60's and 70's, infusing psychedelic rock & folk with classic prog rock inspiration. This collection of synth-saturated songs with clean guitars and only sung vocals doesn't go too far for hardcore Opeth fans, and is surprisingly accessible to many who will never like Opeth otherwise.

Hope Leaves from Damnation:

Ghost Reveries, with a vigor, introduced keyboard and synthesizer as a major component to their sound on a "normal"/"usual" record. Rather than sitting back in the mix adding transparent flavor, which is as far as many metal bands will stretch, this new instrumentation provided key parts, both melodies and harmonies, and even sometimes stole the spotlight from Åkerfeldt's impressive signature riffs. It kind of made me want to hear them cover Carry On My Wayward Son by Kansas...but I am a strange man. Opeth's 9th album, Watershed, marked a balance of elements; the pieces involved in Ghost Reveries can all be found in Watershed, but it all just fits together with more fluidity. Watershed's cohesiveness brings the listener on an active auditory journey; it has a power that brings you in and makes you a part of its story via your attention and observation. The listener is well-rewarded with inspired riffs and changes, unpredictable turns, and layers of intricate and subtle variations on its dissonant motifs. Dare I say that it's impossible to find a part on Watershed that is misplaced, or overcompensated?  Using the best-suited vocal style for each part, Mikael's vocal transitions are more frequent and fitting, demonstrating an increase in confidence. One gets the sense that the whole album was written in a similar fashion, each song taking shape on its own, asking its seasoned creators for what it most needs in order to be the best that it can...and Opeth certainly paid heed. Have a listen to a not-so-ideal quality youtube rip of The Lotus Eater:

At this point it can be a bit overwhelming to think that Åkerfeldt is in fact getting even better and more adventurous at songwriting, which begs the question...what will album 10 sound like? I hope it's strange, surprising, and challenging. The band will be working at Atlantis studios in Sweden, with Jens Bogren reprising his role as sound engineer – only this time the renown Steven Wilson will have his hand in mixing the record. According to the official Opeth website “the new material has been described by the band as being 'good'.” (www.opeth.com)

Five in Eleven for Lamb

Lamb: Lou & Andy

It's been 8 years since Manchester's (UK) Lamb have released a record. They are currently slated for a May 5^th release, aptly titled “5” (this being their fifth album)...though they are already taking preorders for the special edition of the album on CD and vinyl, and are already selling tickets to the launch party performance at the Manchester Cathedral. Why preorder so soon?  Lamb are recording in Andy Barlow's home studio and releasing the record on their own; it's all being funded by fan preorders. To see what you're getting yourself into you can listen to mixes of two new songs on their myspace page: Strong The Root, and She Walks. Part of me hopes that these are both in fact alternate mixes, and Lamb have not yet revealed the true sound of the record.  Still, it is so very lovely to hear Lou's distinctive and luscious voice over Andy's particular blend of sometimes trance-y electronica once again. There is a lot going on in the world of Lamb right now and that is very exciting for us hopeless fanboys that thought they'd never hear new Lamb songs or have a chance to see them perform live again (they did reunite for string of shows in 2009).  In an interview with The Backstage Rider, Lou describes the intent behind the new record as a "...return to the feeling and ethos of the first album. As I said earlier, the rollercoaster ride of our journey...had led us away from the essence of what Lamb was meant to be. The first album had a freshness and purity that was lost along the way and it also had a raw, grittiness that came from a very simplistic way of working. So with this new album we’ve been re-exploring that sense of freshness and rawness and I think people will hear Lamb through and through but with a few surprises all the same." (Lou Rhodes) Go read the whole interview here.

She Walks:

Some related side-notes...
Andy Barlow is also releasing his own record under the name LOWB on February 28^th, called Leap And The Net Will Appear...and yes you can preorder that too. Andy has several tracks available on his LOWB website as a preview for potential buyers. If you enjoy the music behind Lamb I'd highly recommend checking out Andy's solo pieces; while still recognizable as the electronic backbone of Lamb, his solo work is clearly written with a different intention. Where one would expect to hear Lou, we hear adventurous synth melodies or a guest vocalist. The structure of his songs, each now no longer necessarily accommodating vocals, are a bit more free to roam wherever and however they happen. The similarities to his work in Lamb will surely keep us satisfied until May, when we get to indulge in something we haven't heard in years...an entire album of new Lamb material.

During Lamb's hiatus Lou Rhodes had released three of her own stripped-down, folky records. All three have been astonishingly beautiful.  The first, Beloved One, remains my personal favorite.  It seemingly maintains a perfect balance of professional production without sacrificing each song's straightforward and simple nature.  Although various accompaniment appears throughout the record it never detracts from the core: Lou's guitar and ambrosial voice.  Bloom, Lou's follow-up to Beloved One, is her most production-heavy offering.  Like Beloved One the songs are again very strong - especially lyrically - but this time the additional musicians, instruments, and effects cause the songs to feel much more polished and engineered. While this is a departure from the groundwork of her first solo record, it really isn't a bad thing.  In fact the change of pace is quite nice - Lou didn't step into the studio and just crank out another 'Beloved One'.  A great example, and perhaps the highlight of the album for me, is They Say. Starting out with the basics of just a few sad notes from her acoustic guitar, the song's mood becomes more eerie and brooding as additional musicians join the fray.  Eventually they reach the climax, a storm of dissonance and emotion peaked by Lou's vocal lamentations.  Here's a great live version:

Lou's latest, One Good Thing, is her most raw and simple record; in many ways it is a reaction to Bloom. It was recorded 'live' in Andy's studio in just a few weeks.  Production was kept to a minimum, though at times the reverb, either electronically employed or natural, is just a tad much; once noticed my ear had a hard time letting it fall naturally in the mix. One Good Thing feels so much more intimate than even Beloved One. There is no filter between the listener and the creator; what Lou has written for herself she shares directly with all of us in an open and fearless expression, straight from her heart. Lyrically, Lou is always Lou; the words of her solo albums are a natural progression from that of Lamb, and as always unmistakably honest and full of love. These are Lou's truths which reflect a stillness of being; listening to her records is meditation.

I can't wait to hear 5 and catch Lamb on tour!  So "Remember, remember the fifth of..."...uh...May.

Micah Blue Smaldone / Tongue Oven / Timothy Horgan @ The Toadstool

January 15th, 2011.  Three artists. Three twelve-string acoustic guitars. One small makeshift stage. A handful of locals gathered after hours on the floor amidst the bookshelves of The Toadstool Bookshop in Peterborough (NH - USA). The vibe and volume of these shows has changed a bit since moving into the bookshop from the previously vacant space next door, but they are still intimate and warm.

Opener Timothy Horgan of Keene, NH sat awkwardly on the wooden chair as he performed his beautiful finger-picked instrumentals. The small crowd breathed his music in silence as he set the mood for the remainder of the evening. I found his pieces refreshing and energizing; an honest and straight-forward expression without need for lyrics. A great example would be Speed And Comfort, which you can hear on Tim's myspace page.

Tongue Oven, out of Pioneer Valley, followed suit – a single man playing mostly instrumentals on twelve-string acoustic, though normally seen as a banjo/guitar, violin, cello three-piece. Tonight Mr. Oven, lacking his more sophisticated fretless stringed partners, played many pieces featuring slide guitar and harmonica. His well received set built on the energy of Mr. Horgan's but added a few shots of bluegrass sass. He wrapped things up with an interesting and purposefully out-of-tune ditty, which he also sang.

Micah Blue Smaldone came down from Portland, ME and took the stage last with his trusty and worn twelve-string Guild. Continuing the impromptu theme of the evening he opened with a short instrumental. He then proceeded into a nearly non-stop recital of several songs from The Red River, beginning with Pale Light. Between songs Micah filled what would have been praise and applause with strumming and finger-picking, leaving the audience zero time to send him the thanks they wanted. Finally taking a breather, Micah received his much deserved applause, after which he played a few more songs. Besides the aforementioned Pale Light, in the barrage where A Derelict, Bastard Of Time, The Clearing, and A Drink. I failed to recognize a couple of songs, either covers or tunes from Some Sweet Day or Hither & Thither, his previous records which I have not had the pleasure of attaining. He ended his set with a fantastic cover of The Congos' Fisherman, which he seems to often incorporate into his performances.

The Red River

I first heard Micah during last year's The Thing In The Spring festival, and instantly fell in love with his songs. His latest offering, The Red River is a truly magnificent record; full of feeling and a haunting vibe, it leaves you craving more after its only seven songs have permeated your speakers. Don't get me wrong, though short the album isn't lacking one bit. In fact it leaves me in a mood where no other record seems fit to follow and I often end up just playing it again. Micah's shows usually include just his voice, a twelve-string Guild which he finger picks, and a couple of microphones, but The Red River features an array of guests including cello, bass, electric guitar, horns, percussion, and additional voice. It may seem over the top for such a stripped-down style, but the additional instrumentation is light and focused on augmenting his original songs. It just works, and works beautifully; fans of the record may not even notice the lack of accompaniment during his live performances. Tonight I was able to pester Micah a bit after the show to inquire about any forthcoming recordings and I am happy to report we should see a split 7” with Big Blood sometime this spring...just in time for Peterborough's annual music festival; hopefully we'll see him again in 2011.

Valley Of Smoke

I feel like I've been missing out.  I only just recently picked up the latest from Intronaut, so this commentary is not really news to most fans of the band.  I've been a huge fan of Intronaut since the release of Void, when I first heard them.  With each new release my thirst for more of their unique style is quenched just enough to leave me satisfied but also entice me to crave more.  Intronaut have a great way of challenging their listeners to want to hear every single nuance and cadence.  I couldn't be more impressed.

The first thing that grabbed me about Valley Of Smoke was the vocals; not only are they much more refined and diverse than in previous Intronaut releases, they now come to the forefront and are perhaps the most pronounced aspect of Valley Of Smoke - a significant change for the band and their songwriting.  Vocals range from gruff growls to clean and soaring multi-part harmonies...and in some instances layers of the two extremes and/or various interpolations.  These songs are more built around the words and the message, rather than the lush and weighted sonic landscape for which Intronaut is known, and which mostly remains in tact.  The difference really is that each song has more definition in and of itself.  Previously, Intronaut records were built on evolving layers of texture and sound, creating space or ambiance...a flowing stream of progressive post-metal that defined an album as a whole, each piece being a constituent but necessary irreplaceable part.  Valley Of smoke manages to retain this airiness and ambiance, and strength as a whole, but also more deliberately and purposefully shapes each song into its own complete point of focus.  The space has been filled with intention and clarity.  In riffs there is more of the same; they are more focused and rely less on dissonance than in the past.  The production of the record also echos this general theme: the stereo image is a bit narrower than Void and Prehistoricisms, and the positional placement tighter.

Intronaut have continued to churn out extremely high-quality releases since their inception, and Valley Of Smoke is no exception.  They have reached a new and different stride with Valley Of Smoke.  Some hardcore metal elitists may be quick to find fault with some of the changes, chalking them up to the influence of more commercially popular bands (Mastodon comes to mind)...but they'll be missing out. While Void remains the most brutal of Intronaut's offerings, Valley Of Smoke signals the band reaching a point of maturity.  As a fine wine improves with age, Intronaut are indeed more flavorful, robust, and sophisticated.

...you should own this record.

Here's a link to a post regarding the subject matter for Valley Of Smoke from Intronaut's official blog: Blogtronaut - The Stories Behind The Songs On "Valley Of Smoke"

Greetings...

It's 2011 and I've decided to be completely self-indulgent and start a blog.  There is really no reason other than my love for music, audio, and the various objects that help us create and capture sonic vibrations.  I have had difficulty relating to many others (...or I should say that I've found that many others have experienced difficulty relating to me) in regard to musical preference and ideals of quality...essentially what makes a piece of music or audio good.  I am hoping the power of the internet may connect me with the few other people in the world who at least sometimes will hear what I hear...and if not, respectfully challenge me to hear it differently.

What can you expect?  Bluntly, my opinion and impressions of records, musicians, audio production, mixing, mastering, sound design, instruments, concerts, musical and recording equipment and technique, and anything else audio-related that happens to interest me in some way.  A forewarning...my sonic palate is complex, so expect to see a post about Feist next to one about Behemoth, and a discussion of accordion next to one on sweep picking.  I realize this makes for a less distinguished blog, subject matter-wise, but I can't help it.

What do I expect?  I yearn for new, interesting, unusual, inspired (and inspiring) music.  This blog will be the vehicle for my research, exploration, and development.  In many ways it'll serve as a reminder to myself to focus more of my time and energy on the things that I love to do.

Happy New Year.  Be well.