The Voyages Of The Soul

Whilst Record Store Day last month may not have been everything that I wanted it to be, the day was later ameliorated with the arrival of a very limited edition pressing of Alcest's Les Voyages de l'Âme. I had been patiently awaiting this vinyl's presence in my collection and had been tying myself over by streaming the record on Spotify pretty regularly since its initial release.  This special edition is on 180g gold-colored vinyl and unlike the first pressing dons the original gorgeous album artwork:

Les Voyages de l'Âme is overflowing with beauty to the extent that is just not possible to describe with words; I've honestly been putting off this post because I'm rendered speechless every time I sit down to listen to it.  Les Voyages... is an observation and artistic representation of the eternal part of what it means to be human - our legacy of touching the earth - the immortality of continuous generational knowledge and growth.  This is not just a record, but an affirmation of humanity on a personal, intimate level.  Further, it's a journey that can only be taken after a fall to a low, dark place. Some form of clarity arrives and the ascent begins...the bittersweet rise from the ashes of the phoenix. Some part of yourself is gone - left behind and not to be felt ever again, but with this transformation comes rebirth and the immense energy of an empty canvas.

I can feel my heart break but also open continuously...it could be a very confusing state for attempting to discern its reason or validity. Alcest's sound is the expression of this transfiguration of emotion from anguish and immense sadness to pure love and resolve to light; it's the wavering motion of emotional intensity and the understanding thereof with a clarity of heart. Through most of the record vocals are sung cleanly and comprised of delicate and graceful melodies set atop a strong foundation of varied guitar work and chord progressions. Occasionally brutal howls underly the deliciously lush vocal phrases and drawn melancholic instrumental motifs. Some passages border on shoegaze, others on blackened doom metal...and incredibly there really does seem to be nearly everything else in between at one point or another. Everything fits and flows like a natural and rocky stream - the whole record is delivered smoothly and with an organic confidence. It is also clear that Les Voyages... was meant to be taken as a whole, telling a sort of musical spiritual fairytale - chalk full of the mystery and majesty of life. It's a lonesome and well-needed wander through the wood: a meditation of the heart's song.

Speaking of walks in nature, Alcest has just recently released this lovely promo video for the title track...

The second side of the record opens with angelic choral vocals, immersing the listener in a dream state until blast-style percussion and driving guitars spill into the mix for one of the record's most powerful moments. When I hear this, I can only listen and not help but be swept away...

Les Voyages de l'Âme is easily one of my top picks for 2012; I have fallen in love with it.  All sung in French it is quite the sensuous treat - a sumptuous feast.  If you have not explored this masterpiece of an album yet, you are truly missing out on something quite special.

Meshuggah / Baroness @ The Palladium

May 19, 2012.  I just returned from Worcester, wired from Meshuggah's intense and lengthy set.  I could have done without so much man sweat everywhere, but it was worth it to see all of the headbanging stop and start again every 3 to 10 seconds when the band would change time signatures.  They stuck with mostly newer material but dug as far back as Chaosphere and even Destroy Erase Improve.  To say their performance was tight is like saying the ocean is a bit wet...and although there wasn't much movement on stage apart from Jens Kidman's robot zombie gorilla gesturing, the stage art and lights kept onlookers well entertained.  Tomas Haake's percussive precision had my eyes fixed for much of their set.

Baroness played a well-varied set including a couple of new songs from the forthcoming Yellow & Green.   Despite the lackluster bass-trap sound of the Palladium they were great - vocal harmonies and twin guitar licks were beautifully executed.  It was very cool to see them on this bill between Poland's Decapitated and Sweden's Meshuggah: a break from the brutality to lay down some serious rock and roll.  The crowd responded by dissolving the pit and opting for copious amounts of crowd surfing.

I was hoping to pick up a vinyl copy of Koloss, but Meshuggah had very little music to offer at the merch table - only a couple of CD's and no vinyl at all.  I was happily consoled by 5th represses of both Red Album and Blue Record.  Sure, 5th repress doesn't sound special, but it is.  They're high-grade 45rpm double vinyl editions, limited to ~1000 (Red Album) and ~500 (Blue Record) copies in 2011.  These editions where the ones in my wish list; look at them...gorgeous!

The Thing Returns

I am very excited for this year's The Thing In The Spring.  In about four weeks I'll be spending the weekend in lovely downtown Peterborough filling my ears with a variety of sounds, and enjoying the hopefully gorgeous late spring weather.

This year's lineup is brilliant: Mmoss, Death To Tyrants (!!!), Brown Bird, Coke Weed, Klessa, PG Six, Woods, Nina Nastasia, Daniel Higgs, Tongue Oven, Ouroboros, Mail The Horse, Rock Flint Contemporary Ensemble, and David Kontak.  As usual on Saturday there's *broke: The Affordable Arts Fair featuring dozens of local artisans hawking their wares for cheap.  Is that not enough?  How about a music documentary mini festival, breakfast and cartoons at Harlow's Pub, a bunch of free outdoor sets, and an after party?  Go get your tickets here!

Poster art by Ryan Wilson

Jackpot!

I spent the day walking around Salem, MA with my Grandmother.  After asking at a few places we found the unassuming shop named The Record Exchange.  With no website and located well outside of the downtown and wharf areas, this place is quite the lovely hidden gem.  I was lucky to have enough time before they closed to walk away with a serious record haul.

All three classic Boston releases.  All first pressings.  Don't Look Back and Third Stage don't even look like they've been played.  These are not rare by any means, but in this condition are a very unusual find.

This copy of Patti Smith's Easter is an original and while the sleeve is quite a bit worn the vinyl disc is near mint!  The copy of Dream Of Life is also a first pressing and looks unplayed.

Cat Steven's Numbers: A Pythagorean Theory Tale.  The sleeve is worn, but complete with story book and inner sleeve; the disc is in very good condition.  A very interesting concept album featuring sides zero and one...very cool.

I brought all of this home for $37.  The Record Exchange just made my must-visit list.

Grave Words: ...And Justice For All

It can sometimes be easy to forget how Metallica became a household name in the music world.  In recent years they've been the punchline to many jokes and the whipping post for much public ridicule.  This can leave a bad taste in anyone's mouth (or ears).  I certainly have not been keen to spin a classic Metallica record in a long while.  Today I got the urge and have been reminded that while they have not released a great record in many years, their legacy really is undeniable.  The fact is that who Metallica are now has greatly affected how we remember and perceive who they once were.  We can easily forget their three album rise to making it big and just how much impact they had on other metal musicians who then went on to do amazing things of their own.  How crazy was the speed thrash anthem Metal Militia in 1982?  How heavy was the apocalyptic nuclear doom opener Fight Fire With Fire in 1984?  How epic and orchestrated was the fan favorite Master Of Puppets in 1986?  It's not difficult to take them for granted after years of exposure and eventually excessive radio play.

Clear away your preconceived notions of Metallica, what they were and what they are.  If you can, forget you've ever heard them and then sit down and listen - really listen - to ...And Justice For All like it's the first time you've heard it.  It's 1988 and your mind is about to be blown.  These guys pulled out all the stops and made a truly uncompromising record.  No one was telling them what to do, and even if they were it's clear that no external input was heeded.  All bassless jokes aside, the production of the record was very tight, clean, and dry; it was quite harsh and gnarly for the eighties and reset the notion for what heavy music production could and would be.  Some say it was too clinical, but what I hear is a reflection of anguish and a stand in what otherwise may have been defeat.  AJFA is seeping with bitter, cold loss - there is no doubt in my mind that the music and sonic mood reflect the grief over the loss of bassist Cliff Burton in 1987.  There is a hard stifling of tears here, and a strong resolve to move on with a record that was as unconventional as it was commercially successful.  This record saw Metallica at the height of their technical skill and performance ability...and though many metal musicians today far surpass this level of skill, it was quite an innovative and impressive display in 1988.  I remember seeing these guys on the cover of nearly every guitar, drum, and metal magazine in the months, and even years, following its release.  This record reminds me of why Metallica was (and is) huge.

My original European pressing.

From the brutal opening track, Blackened, to the beautiful masterpiece To Live Is To Die and lightening quick double-kick-laden closer Dyers Eve, ...And Justice For All provides an ample amount of angsty sociopolitical lyrics and vocals, metronome-tight guitar licks, furiously pummeling drum fills, and progressive song structures and changes.  I am reminded that there is still space in my heart for classic 80's Metallica, and I am glad to welcome it once again.