MUSIC MY FAVORITE RECORDS OF 2011
double LP release. Dreamlike. Serene. Eternal. All clichés, yet all so true, as I walked around absorbing the blistering cold, Liz’s music was the thing sending shivers shooting through my spine as whispers escaping through the air from somewhere just around the corner but never truly there. The sheer scope of the notes, this celestial structure made me realize how damagingly lonely I truly was as I shuffled in the dead night utterly irrelevant.
the talent and company this record justifiably stands amongst. Chelsea’s voice will linger in the back of your mind in a fashion that is so reminiscent of black and white silent horror films, a menacing affair enticing with lushes of mystery and slow pacing that keeps you in a state of never ending suspense
This is an enormous 80min exercise in escapism and altered reality is simply wondrous. And makes me realize how stupid I am for missing her performing live. I promise I won’t muck up like that again.
Wow.
Doom metal is a tough place to exist in (thriving as it maybe), due to the initial reaction being split between “this sounds like the stoned riffs of Electric Wizard and Sleep” or “this is drone three ways into next Friday of Sunn O))) and Earth”, leaving much of the bands appear as knockoffs. YOB never had to worry about that for an instance. Everyone who is in the know loves Mike Scheidt. And how could you not? Since embarking on YOB, the band constantly released perfect records that encompassed everything from psychedelic rock to doom metal and everywhere in between. And in Atma, it shows the band’s continued themed journeys of sound deftly combined with all that they have mastered. This ritualistic record benefits from the choir-like vocals of Mike, heavily sustained by the psychedelic (dare I say slightly oriental?) riffs, the down-toned bass and the extremely heavy handed drums, propelled with lyricism focusing on the comprehension of “true self “(Atma in the Sanskrit language), creating a pilgrimage-like journey, both in sheer scope and personal importance amidst the flurry of mystical dynamics.
Initial spin, followed by multiple spins, had me spell bound and intoxicated. What possible way is there to describe this? Noise meets hip hop? Melt-Banana or The Locust with MC Dalek or Gruf on vocals? You really cannot compare it anything, as there is truly no precedent to something of this scale and excellence of execution, which comes as no surprise once you realize Zach “I’ve got 7 drumming hands” Hill has some effect to the project. And his highly experimental drum work maximizes the shrilling effect the MC (who, to this point in time, I still don’t know) gives with his voice, and topic matters ranging from sacrifice to rotting cop carcasses. And if that wasn’t enough, Charles Manson is sampled for great effect. As much as this, in other hands, would seem like a shock and awe gimmick, here it’s delivered with such a demonically obsessed degree, and despite it being an oppressive affair, it still remains a great deal of fun to rhyme to. WE NEED MORE MUSIC LIKE THIS! Challenging, dynamic and invigorating: The Shape of Hip Hop To Come? I don’t know, but you can count me in.
Atma brings forth all the positives of YOB, the rhythmic urgency of the band, the exceptional songwriting, the gripping vocals, all forming a heavy hitter that will be looked back on as a benchmark of the genre. A crowning achievement.
Chelsea Wolfe was queen of 2011 for me (Sorry PJ). And it was truly a typical affair of love at first death howl ushering her album Ἀποκάλυψις (apocalypse). The maddening spark of uniqueness her gripping sound commands made a perfect pairing for the underlining gothic aesthetic, creating a low key but dominating presence simply intensified by her outer realm vocals crises crossed between a staggering area of sounds and genres; from sludge, to blues and encompassing drone and folk as well to good measure. The end result? A peculiar gothic experimental effort that oozes detachment at times but intimacy in others, creating an entrancing affair filled with subtle distortion and sinister crescendos. Comparisons were instantly made to giants such as Steve Von Till, Scott Niblett, and early PJ Harvey, and that simply shows
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Starting with horn crescendo blasting in the distance, the music eerily hums into existence as it rises from an echo, a shattering ominous drone laced traveler pulsing through your ears, overtaking space as it sets out to explore themes of turmoil and sorrow. And yet, for its entire enormity, it’s so distinctly personal with shimmering minimalism, a perfect example of the concept of war VS solider, the crushing brutality and the dire search to maintain sanity by focusing on the most singular basic of emotions and thoughts. Stetson’s methodology of manipulating sound, playing several harmonies all at once using on instrument showcasing such a staggering display of both natural and polished talent. The manner in which the dynamics and harmonies switch and change so fluidly and drastically all at once while floating in a sea of drone and ambient, certainly prove that Colin Stetson is a musician unlike any other. His capacity for sound and imagery is certainly up with some of the finest jazz musicians of all time, and pairing the cascading walls of sound he manufactures with his mastery of circular breathing create an entire soundtrack drawing from the vaults of minimalists composters the likes of Arvo Part and Philip Glass. Meanwhile, the repetitive motifs achieved through Stetson’s circular breathing technique recall some of Philip Glass’s most hypnotic scores. New History Warfare Volume II: Judges is akin to surrendering and sinking deeply into water, losing yourself the further down you go. A truly transcending record.