March 25th, 2011. On Friday night The Toadstool Bookstore in Peterborough, NH hosted another fantastic show. After hours, in the heart of the store a small but inviting space had been cleared and prepared for three acts. The first was Manchester's Megafauna, a once one-man band singing over his home-brewed, elaborate, poppy backtracks, turned full group with the addition of bass, guitar, and electronic drum kit. The band was off to a rough start between technical difficulties and an awkward approach; they attempted to keep time with the original backtracks, which already included percussion, bass, and guitar. After some monitor and level adjustments, Megafauna finally found their feet at the third song. Megafauna's music is eclectic, well thought-out, and lively. Singer/songwriter Ian Hughs holds nothing back - shaking, hopping, and twitching as he belts out his lyrics in an ecstatic manner. Their music is some shade of alt-pop...which I must admit I know very little about. What I can say is that it was certainly a different experience seeing him will a full band, and I found it to suite his music quite well. They rounded out their set with a Siouxsie & the Banshees cover and Brian Eno cover, clearly two of Ian's influences. You can listen to Megafauna on their SoundCloud page here.
Photo from Black Norse's Myspace page.
Up next was Keene's Black Norse - a Sabbath-worshipping, sludgy, stoner/doom duo. Since the show was off to a late start Ben Troy and Ryan Harrison wasted no time diving right in to their set. It had been a while since I had listened to anything like this and it brought a great smile to my face. While there's a plethora of stoner metal bands out there, Black Norse still manage to pull you in and demand your undivided attention. There is an honesty and vital energy present in their performance; the music and expression are the means and the end. At one point, after missing a change, they decided to start a song over again - an example that these guys really are the inverse of pretentious. With just a minimal drum set and an amplified guitar, Black Norse create a full wall of sound - raw and rich with overtones, the less-is-more law clearly in effect. Of course, the guitar is heavily distorted and detuned to somewhere around C, which helped to fill our ears with a healthy spectrum of sound. Bass lines would have been an interesting augmentation, but at no point do any of the songs really beckon for it. No, Black Norse are complete as they are...hear for yourself at their Bandcamp site. Though my recording doesn't do them justice, here's a track from the show...
Photo from Mmoss' Facebook page.
The final band for the evening is something of a paradox to me. Somehow Mmoss channel a bit of the Summer Of Love - a time long before any of its members were even born (or so I speculate) - with a strange ease, and a haunting vibe. The first time I saw Mmoss sealed the deal for me; they filled the old Toadstool music space with an energy left over from the late 60's and early 70's, formerly trapped in some sort of vortex to which Mmoss magically hold the key. These sonic time-travellers do what they do very, very well. When I tell someone about Mmoss they shrug, likely thinking "that doesn't sound particularly original." But without hearing Mmoss, it's not possible to understand what makes them great and unique. Friday's show was another affirmation....Mmoss are Mmoss, and Mmoss are good. In the small space, encompassed by bookshelves and several pairs of ears, the band worked its magic. Their spell simultaneously sent us back in time, but also forward from our nostalgic thought patterns, up to the leading edge of active creation - hence the strange riddle of this exceptional band. Multipart vocal harmonies, eerie twangy guitar licks, lush modulated organ, jangly drum beats, thumping basslines, and smooth flute leads makeup Mmoss's exquisit sonic backdrop. At times they trance you out in a droney, buzzy, heady jam and other times they get you tapping your foot, pulling your strings to put a flower in your hair and dance with whomever is next to you at the moment. Last night they unfotunately played a short set, though quite tasty it was. For your enjoyment, here are a couple of tracks from the show... [Wander]
[Grow Down]
Previously Mmoss' I album was only available as a digital download or audio cassette, but any day now the vinyl LP will be available. You can snag it at Toadstool or online here. Prefer lossless digital audio? Visit the band's Bandcamp site to listen to I as well as two other great tracks, Wander and Another Dream. Also, Moss will be at this year's The Thing In The Spring festival, which you shouldn't miss if you're in the New England area.
I am listening to the Dorian Gray debut EP once again, with a sense of pride knowing that this originated right here in New England. While their Facebook page claims they hail out of Boston, they have no real home base - the members are scattered between New Hampshire and Massachusetts. Dorian Gray play a blend of traditional melodic metal and hook-laiden modern metal...and they play it well. They have also been doing quite well with bookings, opening for Paul Dianno, Death Angel, and Apocalyptica. Not bad, right?
Their EP is impressive. The six songs are well conceived, and refined to a point that one might not expect from a band's first do-it-yourself record. The variety of song style on the EP is a bit more broad than one would anticipate as well, which is refreshing coming from a local start-up metal project. This variety is likely due to a wealth of varied influences and the fact that the songs were penned by different band members. Being a young band, Dorian Gray have not had the time to write much as whole, and though the songs vary in heaviness and form they never stray to the point where you're wondering if you're still listening to the same band. All the tracks have an strong element of melody and thoughtful lyrics, and save for the last track the audio mix is pretty consistent. In a interview with singer and songwriter Myke Havoc I got a peak into the beginnings of Dorian Gray and what they're all about...at least so far.
Openeing for Apocalyptica (photo from DG's Facebook)
Back in 2008 Myke was trying to get his project Straight Razor Halo off the ground when he was asked by a Guitar Center coworker to front the band Zero Point. "I ended up kind of falling in love with it (Zero Point), and sticking with it for a while. We (Zero Point) found Tony (Gravell), the bassist, from Townsend where the other two guys were from. ...He and I wanted to do something different after a while, after about a year and a half of playing same, you know, 8, 10, 12 songs over and over again. We weren't writing enough. We weren't practicing enough. We weren't striving for better shows and we weren't recording anything to the quality that I thought we deserved. ...We wanted different things...I didn't feel that they were focused on the same sort of things that we were. So me and Tony sort of bonded and we decided to start demoing new songs and...that's what (Dorian Gray) kind of came about." (Myke Havoc)
Though Myke had written and reformatted much of Zero Point's material, he left it behind when he and Tony started writing for Dorian Gray. Instead Myke resurrected songs and motifs from his own personal past into which Dorian Gray would breathe new life. Mouth Of Madness, I Cannot Sleep, and Memento were penned by Myke and brought to the band. Similarly, guitarist Axxe Ferrero brought in Strength Within and In Waiting, rounding out the other side of the Dorian Gray sound...the somewhat poppy, catchy side. From there the band acted as a melting pot, blending ideas and influences. "Axxe loves...hairy traditional ragged fighting power metal. That is his thing. He's in Shadows Sanctuary, one of the more long standing local traditional metal bands that still kind of fight the fight. Tony and Tyler, ...they're more into modern (metal)core music...the tech/core stuff...Derek...he comes from more of a classic rock background. ...He and Tyler were forming a more -core sort of band so he got into that stuff. ...He kinda likes rock/metal stuff. Those guys like the harder stuff, I like the more melodic stuff....dark suff. Axxe likes the more happy stuff. Each band member kind of takes artistic license (with their part)...but whoever writes like 90% of it gets credit. Axxe especially loves adding little bits...that kind of sways the direction of riffs. I don't want to be closed off to those ideas." (Myke Havoc) The one song on the EP that was a collaborative writing effort is the first track, Lair Of The White Worm. If it is any sort of sign post as to where they are headed I would no doubt expect to see them on a national tour sometime in the next couple of years.
Bryce Kariger, Myke's former band mate, eventually went on to form Forever The Fallen, and also produced the Dorian Gray EP. Production-wise the EP sounds good but suffers from some minor issues - the most obvious being the programmed drums. Many bands now are using virtual drums in the studio to save time and/or money, or to get a desired sound more easily. However, it does take a considerable amount of time to tweak and "humanization" to end up with something that's not only good, but also unique. The drums on the Dorian Gray EP are certainly not bad; they just sound a bit mechanical and could have been mixed better. When you hear Dorian Gray play live Maskalenko really fills the gap; his live drumming adds a tremendous amount of energy and feeling to the songs that just isn't found on the record. I hope their next recording captures more of a live sound as Dorian Gray absolutely shine on stage. Their live show compared to their EP is like organic homemade soup versus Campbell's in a can. I don't say this to keep you from buying their EP (because you should), but rather to make sure you go out and catch them playing somewhere. Speaking of which, check out the band's Facebok page for upcoming shows, including Wake Up Fest this Saturday in Lowell, MA.
According to Myke the next EP will have fewer songs, but they will be more focused and probably written by the whole band. And Myke, if you're reading...a few more screams here and there please! Just too few on the EP...without going overboard, show us what you can do, brother! ...and let's hear the bass this time! I am really looking forward to seeing where these guys go.
As I write this extremely belated post I am sipping a hemp shake and enjoying the sounds of the new Mogwai record, "Hardcore Will Never Die, But You Will"...both are quite good. I've been neglecting my hipster duties for a few weeks now on account of life being a bit more hustley and bustley than I'd have deliberately intended. I've been thrown into an interesting whirlwind of excess stress at work, part of which left me unexpectedly stuck in Detroit for two days. A warning to potential air travelers: avoid Delta. The good news is that while I sat at DTW for hours on end, I fell in love. Patti Smith's Just Kids is a powerful and beautiful testament: a loving memorial to her friend, lover, and soul mate Robert Mapplethorpe. It begins with a heart-wrenching memory, and even though the reader presumably knows not of the history to be described on the next couple of hundred pages, it makes quite an impact...it is raw and unmistakable. You can absolutely feel Patti's emotions shape-shifted into words, vessels of her transmuted energy; they reverberate with the part of yourself that is ever-present, the core of your being. The book is lush with treasures of poetry. Even in a narrative Patti's way with words is astounding, as I suppose one would no doubt expect coming from one of the greatest rock-and-roll poets of all time. As cliche as it might sound, she doesn't bring her history to you but rather brings you into her history; you become part of it through the experience of the book. The focus of Just Kids is to tell the story of Patti Smith and Robert Mapplethorpe, as only Patti can...but it also somewhat serves as a general autobiography. Patti leaves out large portions of her own experience that are separate from Robert's, which is OK since this thread can found and picked up elsewhere (interviews and other books). She fills in nearly all the gaps left by other sources by detailing the journey on which she and Robert embarked: two somewhat shy but inspired kids becoming two successful, powerful, and matured artists. It is a story that constantly tugs on your heartstrings whilst simultaneously inspiring you as a creator in the world to stop seeing what you are doing as a risk and to realize your true calling. If you are an artist you must read this book.
Other than reading in airports and coming home to a very broken car, I've finally set up my turntable again. It's an old belt drive Technics hooked up to a pair of vintage Sony speakers via a Realistic stereo amplifier. I've been spinning alot of Isis, Opeth, Jethro Tull, and Blue Oyster Cult. Rosemary sometimes brings over her Cat Stevens, Simon & Garfunkel, and Joni Mitchell records, which are always welcome. It is really nice to see many new albums are being released on vinyl with free digital downloads. It's a perfect blend for those of us who adore the nostalgia and quality of vinyl records, but also embrace the portability of the digital audio era. I am excited to do a bit of vinyl hunting when my tax return comes in. On the hit list are The Doors' self-titled, Patti Smith's Horses and Easter, Lou Rhode's One Good Thing, and Comus' First Utterance. If you've never heard Comus you're missing out on some very interesting and inspired stuff. Here's a tasty psychedelic treat for you...ripped from vinyl of course...
...so...fucking...good...
Outside of my analog indulgance I've been spinning some Nick Drake, the new and very lullaby-like Radiohead record, the new Mogwai, the The Fountain score/soundtrack, the last couple of Do Make Say Think records, and the Isis/Aereogramme colaboration. I also just found out yesterday that William Fitzsimmons will be playing at The Starving Artist in Keene, NH - a small, homey artists' studio. It is going to be a wonderful, intimate show. If you are in the area I'd highly recommend getting a ticket ASAP. Here's a track from William's forthcoming record...
What's next...
A couple of weeks ago I interviewed Myke Havoc of Dorian Gray, a new New England metal band. They recently released their first EP, which I will be reviewing in my next post with some excerpts from the interview. Hopefully, the fact that I am updating this blog now is a sign that my life is making its way back on track.
Things have been insanely busy. I write this somewhat reluctantly, knowing that this blog is not getting my best at the moment, but also being ok with that. There's some really great things happening in the music world right now...
PJ Harvey's Let England Shake will be available in physical form on Tuesday February 15th. If, like me, you don't want to wait to hear it but also don't want to illegally download it, you can stream the album online for free at NPR Music here. I've listened to it in its entirety twice so far and I am loving it. While it is unmistakably PJ Harvey, it also sounds fresh and inspired. Musically it feels like a merger of all things PJ, and lyrically it may be her most elaborate and focused work. The themes of “Let England Shake” are of a national and global scope, a clear departure from the themes of White Chalk. Each song was born of words and vocal melodies then transformed via composing and adding layers of instrumental components. PJ spoke about the new album, her lyrics, the process of creating the album, and plans for the film version of the record in this fantastic interview with Spinner.
Adele also has an album due this month. On the 22nd “21” marks Adele's second full-length release. Compared to her first album, “19”, one can hear how she is maturing; it is reflected in her voice, lyrics, and songwriting talents which are just incredible on “21.” She certainly owes much to the music of the 60's and 70's, but it is clear that she is paying homage, not riding a trend; Adele's songs are soulful and honest. The official Adele website is featuring new content every day as a countdown to the album's release. You can find interviews, live videos, and behind-the-scenes studio clips on the welcome page. Like PJ's forthcoming album, you can stream “21” at NPR Music here.
Need more? There is a third lovely lady releasing a record this month...Lykke Li. The follow-up to Youth Novels will be available on the 28th. NPR Music apparently dropped the ball on this one, fortunately Lykke has us covered. Several new tracks from the album have been officially and legally uploaded to SoundCloud here. Production on Wounded Rhymes is bigger, cleaner, and stronger than that of Youth Novels. And while a bit more, dare I say, conventional and poppy than Youth Novels, Wounded Rhymes keeps just enough of what makes Lykke's music so charming. It's refined and well conceived, but still energetic, exciting, quirky, fun, and provokes emotion...just what one would seek from a Lykke Li record.
Of course a new album means a tour...which makes this spring something very special. To top things off, not only will we get the opportunity to see the three aforementioned sirens perform across the globe, Kaki King will also be on tour. I am very excited to see her again; I've already purchased tickets for her show at the Iron Horse in Northampton, MA on April 2nd. I caught her last year downstairs at The Middle East supporting Junior and it was amazing: a thoughtful set-list and a very organic live performance. While I am pretty sure appreciating three of these four fantastic femmes puts me awfully close to being considered a hipster I just don't care. Good music is good music...also I don't have a moustache or a tattoo of one.
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 10th 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)
It's been 8 years since Manchester's (UK) Lamb have released a record. They are currently slated for a May 5th 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 28th, 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.
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.
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.
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.
