The guys from Barn Owl are seemingly always working on something. Just recently John Porras released Black Mesa (review imminent), and Evan Caminiti will soon be gifting us with Night Dust. Important Records have tied us over with the heavenly droning enchantment that is Portraits.
This vinyl has been sitting, neglected, in my record bin now since its release in January (could it have be that long?!). Portraits was actually tracked more than two years ago in winter of 2009 by members and former members of Root Strata, Terentel, Higuma, Date Palms, and Barn Owl - and utilizes a fine array of musical instruments. I've finally set aside some music meditation time to give her a spin, and now I'm kicking myself in the ass for not getting to this sooner. Portraits is an amazingly energizing record with a depth of introspective atmosphere. At start our ears perk at the initial sitar (or perhaps tambura) drone, augmented by occasional sweet, ghost-like chimes. Soon following, layers of instrumentation from electronic oscillator to bass clarinet form a collective movement which is eventually peaked by smooth ringing gong hits. Side B opens with an earthy multi-voice chant, leads us carefully to a place of inner presence, and ends in a waking and reverberating subterranean rumble. Though it does feature some electronics, all are analog effects and real tape loops, providing a very warm and lively sound.
The packaging is a textured screen printed chunk of thick cardboard folded in half, which houses a quality vinyl disc. At $15 and limited to 500 copies, I highly recommend Portraits for those into atmospheric drone and to those seeking meditation music.
I was not aware that this record existed until Jon Porras mentioned it to me last autumn during the Lost In The Glare tour stop in Allston, MA. Garden Sound was a one-off collaboration project by Barn Owl (Evan Caminiti & Jon Porras) with Dewey Mahood and Jed Bindeman of Eternal Tapestry. When hunting down the quite limited pressing of Black Summit, I surprisingly stumbled upon a like-new copy which I purchased for fifteen American dollars. A great find.
Knowing both the sound of Barn Owl and Eternal Tapestry, Black Summit sounds pretty much like one would anticipate...and this is not a bad thing in the slightest. Dewey and Jed are here providing ET's garage psych rock foundation - even steady beats and percussive accents to repeating guitar motifs and variations on thereof. Barn Owl fill in the gaps with drone and feedback, topping off the mix with light touches of entrancing chiming nuances left to ring out.
The record exudes a mystic atmosphere - not overbearingly dark, but heavily foreboding. As the observer it is often easy to feel as though you are on the edge, waiting for the break, fall, or spill to take take you to a plateau of resolution. This may be because, though relaxed, there is often more going on than at first glance. The three guitars overlap, complementing and augmenting each other in a way that embraces the leading edge of presence...something often experienced in good improvisation; Black Summit has a bit of that live vibe. You can feel each piece working to carry things through from one section to the next quite naturally...but also that it could have happened in any number of ways. The percussion seems to effortlessly reel things in and keep it grounded - from getting too drawn or too stagnant. The second track (found below) is the heaviest and most immediately intense of the four, in which each element is more narrowly focused on creating a particular and singular whole sound movement.
I'm very happy with my purchase. Black Summit has made a lovely and unique addition to my collection.
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.
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.
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.
I've been told I have developed a spending habit. Clearly not true, though over the last few weeks I've been augmenting my vinyl collection in various ways. While this post proves, indeed, that I am more hipster than you, it also proves that I am nowhere near as hipster as this person.
Deliciously swirled, translucent, vinyl discus.
I've recently retrieved some old favorites from storage at my parents' house. These gems have been in waiting, faithfully counting the days in the closet of my old bedroom until they see the light once again. The most note-worthy among them are some original pressings: Master Of Puppets (Metallica - 1986), ...And Justice For All (Metallica -1988), The Number Of The Beast (Iron Maiden - 1983), Powerslave (Iron Maiden - 1984), Sad Wings Of Destiny (Judas Priest - 1976), Blizzard Of Ozz (Ozzy Osbourne - 1980), and March Of The Saint (Armored Saint - 1984). Listening to these classics has been a real treat of nostalgic delight.
I've also been hunting for some very particular titles...records that mean something special to me. Comus' First Utterance is a very unique and inspiring album. It's been repressed a few times since its first reralease in 1971, but always in short quantities; it sells quickly and immediately goes up in price when stock diminishes. My 180g copy is from Rise Above Records (Relics). I think it was a failure of a grey/white swirl, but I like it that way - it adds to the charm and oddness of this strange record. As you can see the artwork is very 70's and just gorgeous. The quality of the pressing is quite good as well; the audio sounds very clean and robust.
In a previous post I linked to a Youtube rip of Song To Comus. Here's Drip Drip...
Lou, oh, Lou. I would love to track down a vinyl copy of Beloved One if such a thing exists, but in the meantime I have managed to snag a copy of Lou Rhodes' One Good Thing. It still seems to be floating around on the internet in various places for around $16...get yours while you still can. This record sounds quite a bit different from its digital counterpart - perhaps partly the product of vinyl mastering. The end result, to my ears, is a more smooth and mellow mix; the additional instrumentation and reverb feel more organic.
Opeth's Deliverance and Damnation...I purchased both of these at In The Moment Records, a locally-owned shop in Brattleboro, VT that specializes in vinyl. These two albums were recorded at the same time, July through September of 2002. I was a Senior at Ithaca College when they were first released and I very much associate that time of my life with these records. They inspire within me creation and excitement for new opportunity. Here and now they are found on 180g double LPs. The first disc of Deliverance only contains two songs (one per side)...now that's how you do it! The 1970's prog/psych vibe of Damnation is a wonder to observe on vinyl.
Baroness finally rereleased their first two EPs, First and Second, on vinyl in the form of one 12" disc. This is Baroness before the multi-part harmonies...in fact these two EP's are more abrasive and metal than anything else they've done. That said, while they lack some of the signature characteristics of Red Album and Blue Record, they do contain the necessary elements that make Baroness what they are...brilliantly awesome.
In my last post I mentioned Barn Owl...my order from Thrill Jockey Records came in. Along with Ancestral Star I also ordered Eternal Tapestry's lastest, Beyond The 4th Door. Both of these records are guaranteed to chill you out rather nicely.
Ancestral Star, Barn Owl's third album, is a lush and layered drone, teaming with minimalist beauty. Here's a sample that I believe speaks that which my words cannot...
Beyond The 4th Door has been my introduction to Eternal Tapestry and I am quite satisfied - their third record provides a vibrant soundscape of psychedelic garage ambiance. These guys do what many other bands try to do, but they do it right...and rather fantastically well. The disc is a really cool translucent yellow/black swirl that can be seen in detail in the first image of this post.
Last Saturday, April 16th, was Record Store Day - a true holiday for us analog music fanatics. Rosie and I woke up early to drive out to In The Moment for when they opened specially at 9am. I had three titles as my top priority, all of which I am very happy to report are now within my possession. This first is the new Between The Buried And Me, The Parallax: Hypersleep Dialogues, which I shared in my last post. The RSD exclusive pressing of 1000 copies were 180g colored vinyl records (mine is clear, as you can see below). According to an interview with Paul Waggoner, Hypersleep Dialogues is part one of a two-part concept. No word yet as to when BTBAM plan to release the second volume or if it has yet been recorded.
The next disc on my hit list was Neurosis' Sovereign rerelease, limited to 600 copies. The vinyl is a 180g disc in a light violet (pink?) swirl. Sovereign, which has been long out of print, was originally released in 2000 as an EP - though its four songs, recorded in the same sessions as Times Of Grace, clock in at around 33 minutes. It will be released again shortly on regular black vinyl and CD by Neurot Recordings.
Finally, what would RSD have been without an Opeth single containing a song that has only ever been released in a video game soundtrack? The Throat Of Winter is not what I was expecting at all. The song is an acoustic jam with a 70's vibe, and offers quite an interesting listening experience. Hear for yourself...
The 7" disc (yes disc) contains just the one song on one side. What's on the other side? A laser etched Opeth logo of course!
So with all of these recent purchases you may ask what's still on my vinyl short list? The new Storm Of Light for sure, some Decemberists, the new PJ Harvey, Bloom by Lou Rhodes if I can track one down, Obscura's Omnivium, Soundgarden's Badmotorfinger, Isis' Wavering Radiant, and lots and lots of Patti Smith! Oh..and this. ...so...styluses at the ready..."VinylinumHabitus!"
Rather than boring you all again with another long-winded tribute to just one artist or record, I've decided to change things up a bit and offer some quick suggestions for your listening enjoyment...
Grails - Deep Politics
I am quite taken with the new Grails record. In fact, I've been in 70's psych-/prog-rock throwback heaven since it came out. In a time when "retro" rock bands have become yesterday's fad, Deep Politics brings us back to why we use the word "classic." Records that stand the test of time, no doubt, find their way to the hardcore music lovers of every generation. No one can scoff at a child or teen picking up Dark Side of The Moon or The White Album at the record store...they can only nod in respect and confirmation. Deep Politics is like Pink Floyd's Spaghetti Western film noir wet dream...and who doesn't want to find out what that sounds like??? Here's a sample from the record, perhaps my favorite track...
Grails have always had a particular approach and sound, and Deep Politics isn't a huge jump in any single direction, but it's definitely different and clearly a more refined body of work than previous efforts. In years to come it may not be considered a classic, but for me it channels the energy and life of a "classic."
Obscura - Omnivium & Cosmogenesis
These two records are death metal must-haves. Obscura, from Germany, play a brand of technical death metal that involves fretless bass antics, insane arpeggiated riffs, impeccable clockwork percussion, and lyrics centered around various philosophical -isms. While Cosmogenesis is a more impressive display of techchnical skill and seemingly incorporates complexity for complexity's sake (or perhaps showboating), the songs of Omnivium are more varied, focused, and accessible. I have been impressed on many levels with Obscura; if you are or were a fan of death metal, or perhaps appreciated bands like Death and Cynic "back in the day", you should certainly check these guys out. Here's Vortex Omnivium...
The riff @ 1:04 is just too good.
Barn Owl
Barn Owl are new to me, and I've been enjoying them so much I put in an order for the repress of their Ancestral Star record over at Thrill Jockey Records. Barn Owl is a duo comprised of Jon Porras and Evan Caminitia from San Francisco; they create transporting soundscapes by elegantly blending drone, noise, ambiance, and overtones. This song, from their The Conjurer record, is called Ancient Of Days, and is one of the most beautiful things I've ever heard.
Be sure to look for Barn Owl's new record, Shadowland, out this Summer Solstice.
Between The Buried And Me - The Parallax: Hypersleep Dialogs
BTBAM just ninja'd up on me and decided to release an epic "ep" tomorrow. This is the record I've been wanting them to make for a while...three tracks, each around ten minutes long and filled with nothing but the best of BTBAM...a record short enough to be extremely focused and deliberate, but long enough to provide ample audial substance to its listener. If you were to group White Walls and Swim To The Moon along with these three tracks you would have the perfect album. Between The Buried And Me manage to be technical, melodic, poppy, progressive, metal, and hardcore all within a few minutes. I'm not sure what to say so I'll just let the music speak for itself. Here's the whole record...
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.
