Posts tagged "heaven"
Heavenly Beat - "Complete"By: Jerod Greenisen
“PROMINENCE” is the 2nd full length in as many years from John Pena. Using Primitive Radio God’s “Standing Outside A Broken Telephone Booth With Money In My Hand” as a sonic touch point John built a new album from the ground up utilizing chopped/sampled drum breaks and, for the first time, some non laptop based keyed instruments(piano, mellotron) along with H.B. main stays classical guitar and steel drums. - Captured Tracks
Heaven's Gate - "Drone"by: Jerod Greenisen
This is a new track from those behind Sweet Bulbs; now with a few more member addtions they are called Heaven's Gate. They bring you their self-described genera of "powergaze". Check out "Drone" available for free download below.
Written by: Nathan Gerdes
We’ve heard it all before “the perfect summer album,” “sounds like a great day at the beach!” The Black Metal genre has not typically produced anything of the like– until now. Summer music is often described as “light,” “breezy,” and “fun,” however more akin to a summer that humans can relate to; Deafheaven’s new album Sunbather is heavy, sprawling, and emotional. While Black Metal may focus on cold, ugliness, and evil, Sunbather invokes feelings of warmth, beauty, and joy. With Sunbather, Deafheaven shows the world that even Black Metal has room for dynamics as opposite as fire and ice.
Sunbather takes influence from a variety of genres, from the abrasive playing style of Black Metal, to the hidden hooks of Shoegaze, and the dynamics and pure visceral ecstacy of Post-Rock. The common thread between all its various influences is the importance of atmosphere. Tremolo-picked Black Metal guitar leads run through Shoegaze effects, and quiet, slower sections break the monotony of blastbeats. For listeners unable to see the appeal of screamed vocals in metal music, this album may find success at increasing tolerance. While not an instrumental album by any means, Sunbather takes a shared cue from both Black Metal and Shoegaze and uses vocals not as a focal point, but as another layer of musical texture. Seamlessly transitioning through four epic compositions (each stands at over 9 minutes long) separated by three less-structured interludes, this album does not ask you to pick and choose your favorite songs or riffs, but instead invites you to let its warm, cathartic atmosphere wash over you as you listen.
Despite the relatively fluid nature of its structure, Sunbather has plenty of musical moments that stick out. The lead track “Dreamhouse” opens with guitar melodies that qualify as true earworms, and the outro to the last track, “The Pecan Tree” stands as one of the heaviest parts of the record, despite eschewing the blast beats and fast tempos that hallmark the album’s most metal moments. Similarly, the most affecting moments of the album are when songwriters George Clarke and Kerry McCoy combine their diverse influences in unexpected ways – See the screaming in the background of the melodic, drumless break partway through “Vertigo,” or the double-kick drumming that inserts itself into a down-tempo, Shoegaze-y section of “The Pecan Tree.” Sunbather is at its best when it tosses the unexpected at a spaced-out listener.
Vocalist George Clarke says Sunbather’s album cover is meant to evoke the sensation of staring into the sun with your eyes closed, and that the name “Sunbather” was chosen for its sense of idealism and humanity. This feeling is not only accurate, but also extends far beyond the cover. Warm and inviting, relaxed and unhurried, contemplative yet joyous, with Sunbather, Deafheaven’s latest release is rewriting the rules for both Black Metal and “the perfect summer album.”
“What We Done?”, the opening track ripples in minimally allowing the reverberant vocals to be distilled in their honesty and personalization that Stelmanis sets forth. Olympia then erupts into a clash of percussive dance beats that become the driving force through each track. Instead of letting the heaviness of the lyrics or pleas in “Forgive Me” saturate the record with sadness, electronica and classical beautifully blend together into a playful demeanor. The tonal quality of the vocalists seep flawlessly between the light and dark emotions evoked.
Most of the record is intoxicated with dance pulsations until “You Changed My Life” exhales as an emotional relief. It halts to a minimalist make up of trickling piano keys and a confession that is soon forgotten amongst attacking drums and burlesque instrumental that simmers throughout the end of the record to leave a lasting impression.
"Painful Like" is a great track off this record and is available for free download below. Click the Polaroid to check out Austra in Studio K. Also, Austra will be stopping through Minneapolis on September 1st at the Triple Rock Social Club.
Written by: Abbie Gobeli
Toronto sextet, Austra struck deep chords in their 2010 debut album, Feel It Break and have finally unleashed their darkness in this second full-length. Lead vocalist Katie Stelmanis reveals that Olympia is her first confessional record addressing the beginnings and endings of relationships along with her friends’ struggles. Olympia is a slow-rising dance tide that elevates you above the mucked up life situations that surface lyrically.
Deafheaven - "Dream House"
"Dream House" is what college radio should sound like; the occasional nine minute black metal jam. Deafheaven is getting some rave reviews for their most recent album Sunbather, and Radio K has a track for free download.
Don’t be fooled by their opening song “Heaven,” which starts with a leg-kicking, hair-shaking tune, because Pomegranates opens up to their soft side by the time track five, “Something Everybody Wants,” comes around. The following songs, “Letters” and “Dream,” reminisce with a slower, retro-80’s sound. After the urge to sway back and forth with a lighter (or a smart-phone app of one), the tempo picks back up for “Lost Lives.” Heaven closes with a piano ballad, accompanied by electronic instruments with lots of delays and echoes.
Pomegranates certainly shines with their new release. The album is perfectly laid out with its consistent sound and cohesive style. They excel in combining classical instruments, such as piano, and mixing in synthesizers, electric guitars, and studio produced sounds. The vocals are unique due to their variety; some songs have the singers harmonize in a Beatles kind of way, and other times, it’s a one-man-show of simplicity and emotion. You’ll find that Pomegranates successfully explores different genres and decades of music. “Sisters” makes you want to wear raggedy T-shirts, and “Night Run” will put bubble gum and Scrunchy stores out of business. Each song is full of character, but all of the songs together are what make the album complete.
Pomegranates is composed of four members: Jacob Merritt on the drums; Isaac Karns and Joey Cook with vocals, guitars, keyboards; and Curt Kiser on guitar. They began in 2006, and their first album was released in 2009. Since then, they have managed to produce an album every year. The members reside from Cincinnati, Ohio, and they went on tour earlier this year.
Bear In Heaven
I Love You, It's Cool
I Love You, It’s Cool, out on Hometapes, begins gravitating toward that blissful black hole oblivion I mentioned and really draws the listener in with the second track, “Reflection of You.” Imagine yourself as Alice in Wonderland falling in that darned tree after chasing that darned bunny, but instead you descend twinkling and repeatedly singing, “Dance with me,” with John Maus. Walking through the hollowed universe, you are then greeted by Corey Heart in darkness, and sunglasses. Upon first listen, you’ll understand, but after two or three more listens, the similarities you first observed disappear almost completely. “Sinful Nature,” is up next, my favorite song on the ten track album attributed to the catchy riffs, or perhaps the wave-like sound making a visible impression on my dancing techniques. There’s that black hole again. “Cool Light” may leave you hanging and your grooving will suffer, but all is well again once “Kiss Me Crazy” begins. Jon Philpot (awesome last name, by the way, even more so as a tea drinker himself), who first formed the group as a solo artist, shines his vocals best in this number. “World of Freakout” has an incredible buildup mid-song keeping your ear follicles on the edge of their eardrum and leads into “Warm Heart.” Oddly noticeable, the synths made me want to march for an electronic instrument army with reverb megaphone in hand. Second to last, “Space Remains” seems to hail from the dada movement with layers beyond layers almost sounding too overwhelming for taste, but the title leaves room for interpretation. Closing the album with six minute track “Sweetness & Sickness,” an almost haunting echo feels as if it were circling you as your body leaves the other end of the black hole, fittingly.
Tracks from I Love You, It’s Cool may come off too spacey or psychedelic as individual songs for some, so I suggest listening from beginning to end, and surely an adventure is to be had in that world of ‘space’ you used to describe its sound. As a whole, the album felt more mind stimulating and sound-rich than any other album I’ve heard in 2012 thus far. The album is out now on Hometapes.
Written by Leah Garaas, Radio K volunteer