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dieversa · 1 month

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Magenta Agenda.

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solitaryandwandering · 4 months

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when you get this you have to answer with 5 of your fav songs and then tag your mutuals to do the same :) (no pressure!)

Tagged by @wen-kexing-apologist and (I think?) @twig-tea, thanks babes!

I can never conjure up favorite songs in mid-air, it feels wrong every time and I listen to too much music!! So I'll do this knowing I'll inevitably leave out songs I love. I'm putting my Spotify January 2024 playlist on shuffle (I make one every month of songs I'm vibing with) and letting that choose for me.

1 - (Intro) Let's Hope Heteros Fail, Learn, and Retire by Alice Longyu Gao

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I mean, relatable. (Vid has full version and is extremely bizarre, enjoy!) My bro @internetaddict2 introduced me to this and I just love how balls-to-the-wall, unapologetically weird it is, yet it still actually has a pretty neat melody?! Wild.

2 - เป็นไรมั้ย (Would you mind?) by Daou Pittaya

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Nothing about this song is earth-shattering (pretty standard, to be honest), but I do really like Daou's voice. :) It's just a really pleasant song to throw on in the background. Also was not expecting Offroad to show up in the music video out of nowhere lmfao. It's nice to see Daou unencumbered by an unfortunate wig.

3 - Deep Deep Sleep by WOODZ

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Talk about a singer's voice I love! I am so tempted to throw ten more songs of his on here. Another of his songs on my playlist this month, BEHIND, is off his recent single album AMNESIA which is altogether fucking phenomenal. I LOVE how he uses his distinctive voice here, soulful and controlled and ethereal, to match the mood of the song. They use a filter to great effect. It feels like you're flying over water, through the fog, suspended by gorgeous synths, a really satisfying bass, dreamy guitar, and piano. I love this whole EP, actually, and this is the opener!!

4 - You First (Re: Remi Wolf), originally by Paramore

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Another one my brother introduced me to. A cover of a song Paramore commissioned for their most recent album, Remi Wolf SLAAAAAYS IT. Every time I listen to this I feel like jumping up and down it's so good!!!!!!! She was evil for this! Amazing interpretation, no notes. Can you tell I really like rock music?

5 - Replay by Planet 1999

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I just love this little song. It's so fun, so beautiful, so poppy. It's a bit shoegazy and hypnotic. Overall manages to be both nostalgic and futuristic which is exactly the vibe I love! I can play this song on a loop without getting sick of it which is a pretty major feat for me, honestly. I tend to hate repeating music, it grates on my nerves. I need variety!

Bonus!! Because I felt bad for leaving these out (and I had to stop myself from adding ten more so)

I by TAEYEON and Verbal Jint

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Taeyeon's voice, man... and Verbal Jint's verse is actually pretty good, as expected from him.

Who Knows by WOODZ

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I had to. My favorite off this album.

Feelin' Good (feat. Jiselle) by PARK WOO JIN

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Yeah, it's not the best ever, but I really enjoy Park Woo Jin's flow here. And Jiselle's voice is a great addition!

I dunno who else has done this? So I'll just tag @waitmyturtles :) But if you see this and want to do it, let me know and tag me in your post!

#it's me #tag game #i'm so sorry men i trust and emmylou harris for not including you #and to the thousands of other songs i love #Youtube

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themusicview · 2 years

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We Woke Up One Morning, and Fell a Little Further Down - A Godspeed You! Black Emperor Retrospective - Pt. -1: All Lights Fucked on the Hairy Amp Drooling

If you saw this release coming, I straight up don’t believe you.

How could you have seen it? We had been told, over and over again, that the only way we were getting this album was by way of a leak. The band didn't want this on their record, and went out of their way to bury it. This would be fine if the leaks were plentiful, which they were not. Every one was either a fake or a dead end. Users of Reddit will remember the casketjack incident of 2013, a man who claimed to have a tape only to disappear into the ether. The message was clear, we weren't getting it.

Except, of course, we did. Officially, even.

Let me make one thing perfectly clear going into this. Everything that you have heard from the band over the years about this album is true. They have claimed that it isn’t a Godspeed record due to the major diversions it takes from the standard template. However, this is where I deviate. I wouldn’t go quite that far.

This album is still Godspeed, bits and flashes of the band we will come to know appear throughout the album, but it is in a half-formed state. Understandable, the band recorded this on no budget with the understanding that this may be their last chance to record anything, but it holds true regardless.

Still, don’t let this previous paragraph fool you, this is a fundamentally weird album. Weird even by the standards of this band which, if you’ve been paying attention, says quite a bit. It is full of little digressions and field recordings that don’t seem to go anywhere, there are folk ballads sung by Efrim, which might excite fans of the side project Silver Mt. Zion, but the lyrics are often rambling and confused, and the singing and lo-fi nature of the recording tend to garble much of the already garbled songs.

The result is that All Lights begins to feel a little bit less like a true Godspeed album and more like an archival release; something along the lines of the Pet Sounds sessions or the Esher demos; a half-formed release that listens like a blueprint of something more interesting to come. You can hear the beginnings of what would become The Sad Mafioso on tracks like the brief Shot Thru Tubes, their experiments in noise with the intro to Three Three Three and the track Beep, and even some tracks that would be completely irrepresentative of what the band would do, like the shoegazy Diminishing Shine. It’s the kitchen sink approach to album creation that can only come from a bunch of weirdos who never expected to get famous.

Truthfully, there is little I can say that would change your opinion of this album. If you don’t know about this, here you go, now you know what to expect. If you do know about this, you probably already downloaded it or bought it. I know I did as soon as I found out. It’s the final frontier of Post Rock, the weird beginnings of one of the biggest, most talented, and longest lasting bands in the genre; for that reason alone, if you’re a fan, it’s worth the listen.

#godspeed you! black emperor #themusicview #review #music #post rock #album #all lights fucked on the hairy amp drooling #a silver mt zion

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beneaththebrim · 1 year

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Brim’s favorite albums of 2022

In reverse order. First EPs, then LPs.

EPs:

10. A Sterling Murmuration | Zoon

Hazy shoegaze, nostalgic and soothing.

9. My Bestfriend’s House | Blue Hawaii

Dance-worthy! Was pleasantly surprised by the disco track at the beginning.

8. graves | Purity Ring

Standard Purity Ring fare, squealing croons atop haunting, euphoric synths.

7. SICK! | Earl Sweatshirt

A return of the meandering depressedcore hip hop we love. Dizzy and ephemeral soundscapes flit in and out like thoughts through an anxious mind.

6. La Ciudad de Dejamos | Fin del Mundo

Liquid guitars against balmy drumwork make for some really nice 90s-nostalgia shoegaze. Music like a cool summer night.

4 & 5. Kris, Perfect Order | KÅRP

Good ole dark Scandinavian synthpop. What would we do without you.

3. Ninety Three | Taylar Elizza Beth

Low key, lush hip-hop featuring Taylar Elizza Beth’s whispery vocals that float between rap and croon.

2. Raving Dahlia | Sevdaliza

Sevdaliza’s back with her signature inexorable smoky ballads. These tracks are a little dancier, a little heavier than those of her most recent album, though, while retaining her unique style.

1. Bloodline | Gabriels

(December 2021) Gabriels singlehandedly bringing back The Blues in the year of our lord 2021, why not? Meticulously vintage, with the agonized, raw-yet-finely-tuned vocal stylings of Jacob Lusk—one of the absolute best vocalists of our age, seriously. Southern gothic sin, baby.

Full albums:

27. Arkhon | Zola Jesus

It’s a Zola Jesus record, which means I like it. But I find myself never getting into any particular moment. Maybe it’ll take more time to sink in, maybe it’s just lacking stand-out tracks to anchor the album. Music like spelunking.

26. Entropy is the Mainline to God | The Veldt

The Veldt comes back rocking and rolling. I was hoping for something more shoegazy like their old stuff rather than the psychedelia-tinged 80’s metal sound they’ve got going here, but hell, it’s groovy!

25. Arrangements | Preoccupations

Previous album was a little one-note, but this one veers into some interesting spaces as it pushes and pulls with the distortion. Jaunty.

24. The Silence in Between | Bob Moses

Bouncin introspective dance music. It’s not original but it’s full of bops!

23. Loom | Uèle Lamore

Earthy yet ethereal blooms of instrumentation. Lovely to listen to, but for some reason lacks memorability.

22. Black Radio III | Robert Glasper

An eclectic tour de force featuring a stellar variety of guest spots atop Glasper’s production. Although a lot of tracks are fantastic, the album doesn’t quite cohere as a whole for me.

21. Once Twice Melody | Beach House

Beach House made a Beach House record, and it’s great. The same subdued, affectionate, dreamy sound we love.

20. 11 | Sault

The only Sault album I liked of the six they released this year ¯\_(ツ)_/¯ It’s excellent though, love the down-tempo jamminess of the instrumentation and the thoughtful, murmuring vocals.

19. Broken Hearts Club | Syd

Vaped torch songs for your local lesbian fuckboy to play in the background while getting down. Syd comes through once again.

18. Only After You Have Suffered | Jamire Williams

(December 2021) Contemplative, choppy jazz with phenomenal hip hop and operatic interludes. “Pause in His Presence” in particular is something else.

17. Kanawha Black | Nechochwen

Indigenous-made atmospheric folk/black metal. Expansive melodies invoking the Appalachian forests meld with the harsh vocal texture to create a space of reverence and awe.

16. EBM | Editors

Delivering on that punchy aughts-nostalgia stadium rock. Head boppin rhythms and gushy pop-punk hooks.

15. Laurel Hell | Mitski

Mellow sounds that swirl around the main maelstroms of the album, cracking at the seams and letting the rawness soak through.

14. Plastic Estate | Plastic Estate

Slick and infectious 80s-nostalgia new wave that you just gotta sing along to. Very special when the singer sinks into a baritone.

13. Cool It Down | Yeah Yeah Yeahs High-energy-yet-dreamy punky indiepop. Some great anthems on this one.

12. Too Much to Ask | Cheekface Cheeky pop-punk that’s like scrolling through a quality twitter funnyman’s feed. Hilarious and full of bops.

11. Exister | The Soft Moon

A cold counterpoint from the California goth scene, starts off slow before cranking up an onslaught of noise that thrums between industrial and darkwave. Angry and cathartic.

10. Ravage | Emilie Levienaise-Farrouch

Haunting and disturbed sounds from the French pianist/composer. A melding of dark ambient that wouldn’t be out of place in a horror movie, with crashing, harsh piano work.

9. Twenty Twenty Twenty Twenty One | Spencer Krug One of the best lyricists of the day, imo, reminiscent of Leonard Cohen. Every tug of Krug’s voice strains with emotion, and every turn he takes with the instrumentation on different albums is a welcome surprise, finding different ways to express his agonized sentimentality.

8. Giving the World Away | Hatchie Earnestly saccharine power-dreampop. Great album with some real bangers.

7. We’ve Been Going About This All Wrong | Sharon Van Etten Warm and husky, sad and poignant folk songs. Van Etten’s voice soars with transcendant emotion.

6. The Runner (Original Soundtrack) | Boy Harsher

Spooky and sleek darkwave, punctuated by a sparkly disco banger. Boy Harsher at the top of their form.

5. Angels & Queens - Part 1 | Gabriels

Jacob Lusk delivering that wonderful vintage, Nina Simone-esque vocal quality, with the opening tracks fast-forwarded from last year’s bluesy EP to some funky 70’s soul. Gorgeous and blue.

4. Ever Crashing | SRSQ

Gushy dark California gothy dreampop. Infectiously synthy, powerful vocals. Lush songs for a heart that’s itching for summers long past.

3. Stay Close to Music | Mykki Blanco

A humble confessional, at times diving back into the idiosyncratic rapping style of Blanco’s more dance-y earlier releases, at times plunging into an ethereal wash of sound.

2. Semblance | MorMor

There is something magical about MorMor’s tissue-paper-delicate voice. Gentle, sensitive, cathartic. Music for letting go when you so want to hold on.

1. Pigments | Dawn Richard & Spencer Zahn

Lovely. Sublime. Spacey. Sprawling. Meandering and melancholy pockets of plaintive yearning. Music that takes you on a journey and leaves your heart aching for more.

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theresas-sound-world-blog · 7 months

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Theresa’s Sound World: Track Of The Day

Band: The Suncharms

Based in: Sheffield, England

Genre/s: Indiepop; Shoegaze; Dreampop: Jangle-pop

Track: Daylight is Here

From the album: Things Lost

Label: Sunday Records

Released: 2023

Reviewer: James Shipsides

An atmospheric, cavern-echoed 60s-style drum intro, part Ronettes’ Spector wall of sound, part nodding towards Twee-Indie Sarah Records darlings, The Springfields, stylishly rolls out my favourite tune on the Suncharms’ album, ‘Things Lost’.

A warm, British-Indie guitar riff hazily asserts itself, reminiscent of such UK luminaries as The Charlatans and The Bluetones. Complex, rich bass tones run in tandem, think the groove of Mani of The Stone Roses meets the more mellower moments of Greg Norton of Hüsker Dü.

Ethereal vocals glide and meander, shading in the already colourful sound-gamut, with Shoegazy tones riffing on Ride and Slowdive. The guitar and vocal intwine, wallowing in summery psychedelia with a background pater of drums akin to early Velvet Underground recordings.

Vivid vocal whispers and a chunky sound like Dave Gilmour colliding with Galaxie 500 guitar-hooks as this tune swirls, floating in a radiant sonic glow. A rumbling cavernous drum part once again appears, gently thumping this tune to a close.

The Suncharms have the gift of combining a pop song with plenty of hooks and bucketloads of atmosphere to create a sonically diverse earworm. ‘Daylight is Here’ is no exception and I highly recommend you listen to this and the entire album, ‘Things Lost’ through Sunday Records, on Bandcamp. ⭐️

▶️Listen to the album, ‘Things Lost’ by The Suncharms on Bandcamp: https://sundayrecords.bandcamp.com/album/things-lost?fbclid=IwAR3A0exi95-vyy9ekr0evN5hBLEAVz7dC8lJF95NpgVQcZcSJ9yODHhgjvM_aem_AXTfTd_CEjrGt09nWkKOSLI7WyrD_-e_TFDJNxvnJSmt7TmzntPzkD7O6EtIqvBgjxY

‘Remember to support Independent Bands & Artists by listening & sharing’

James-TSW Alternative Music Bl

#alternative music #underground music #theresa’s sound world #punk #music blogger #music blog #shoegaze #indie #uk #tsw #the Suncharms #Sheffield #dream pop #indie kid #indie pop #Bandcamp

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happymetalgirl · 5 years

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Alcest - Spiritual Instinct

After a short experiment of separating and focusing on the ambiance of their sound, apart from their more metallic elements that formed their signature shoegazy brand of ambient black metal on Souvenirs d'un autre monde and Écailles de Lune, on 2014′s Shelter, Alcest returned triumphantly to their ambient black metal roots in 2016 with the ethereally heavy Kodama. The band’s sound has never been all too complex, layering dreamy clean guitar and fizzy black metal guitars more focused on beauty than heaviness, using black metal to simply provide a means of adding energy to parts of their shoegaze compositions that needed an extra push. On Kodama they captured that essence of their sound as comprehensively as they did on their debut, and this year’s Spiritual Instinct is largely a continuation of that simple, effective enough method of bolstering shoegaze music with black metal and working with varying the concentrations of infusions of one into the other to build a recognizably thick, yet serene, atmosphere.

“Les jardins de minuit” opens the album with the kinds of high, angelic choral vocals that fans of Alcest are certainly familiar with at this point. The song then breaks into a more guitar-melody-driven section that begins with a lot of promise for something that might go beyond the usual balance of heavy and spiritual forthe band, but it ends of staying mostly within the band’s usual bounds and typical build-ups/structures. It’s the kind of song that gets the job done, but

Two of the shortest tracks on the album, “Protection” and “Sapphire”, follow next, with the former playing Alcest’s faster, shimmering blackgaze by the numbers for about six minutes and the latter slowing to a more melancholic, cleanly sung, ambient rock tune, which I think might have been a better addition to the album if the band actually focused on building the tune they started the song with rather than simply diverting to their usual shoegaze so often throughout the track.

The album’s longest song, “L'île des morts”, unfortunately does little beyond simply stretching out the quite familiar format of shoegaze and blackgaze ebb and flow that was explored a bit more excitingly on the first track. “Le Miroir”, meanwhile, builds a little more linearly and gradually, but its a welcome change from the predictable or directionless shifts of dynamic preceding it.

The album closes with its title track,which once again just flows through these predictable layers of ethereal clean liturgical vocals and meager ambient black metal sections with not any particularly standout instrumentation, a rather unsatisfying uncreative finish to an already too-standard album.

While Alcest has always been more about cultivating a spiritual escape through their music and creating something more for guiding that kind of escapism rather than fixating on the band’s efforts to do so, Spiritual Instinct still feels a bit too nondescript by their standards and still too unmemorable even for an album of its type. It’s pretty much the definition of background music, but that doesn’t excuse it to low standards for the type of background it’s trying to conjure. It’s effective at the bare minimum of putting together the pieces of a transcendent, bright, welcoming shoegaze/post-metal album, but it takes the band’s well-established elements and sounds no further than that, which is disappointing given Alcest’s stature within this field.

Already forgotten/10

#Alcest #Spiritual Instinct #post-metal #post-rock #ambient metal #ambient black metal #blackgaze #shoegaze #atmospheric black metal #heavy metal #metal #new music #new album #album review

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theam-cjsw · 5 years

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The AM: The Triumphant Return

Thanks again to Nicole for filling in on last week’s AM — having a chance to head down to Montana and take in wonders like Patrick Dougherty's Tree Circus, part of Lincoln, Montana’s impressive sculpture park, which I now absolutely have to return to some day.

I talk about that place a tiny bit on this week’s show, but it’s mostly music that fits the state of mind it gave me—a little contemplative, a little magical, a bit silly, all around lovely. I’m especially digging William Doyle’s new track with Brian Eno, Astral TV’s static-y projection Telex, and a bit of classic Eurythmics, but pick and choose what you want. Stream the whole episode here, or pick your favourite hour after below:

Hour One: Arboreal beauty from Italy, late blooms from Floating Points, synthetic projections from Astral TV, and more early morning loveliness.

Crown Shyness Mattia Cupelli • Underneath

Dans Ma Main(FOXTROTT Remix) Jean-Michel Blais • Dans ma main (Remixes)

Telex Astral TV • Travelling the Circuits

Wavelength Stilz • Hyperspace Drifter 3

Running Teen Daze • lwlvls

know what I mean? Yutaka Hirasaka • Online single

Louie's Saga HydraMental • Synergize Vol.1

Pho Karavelo • The Cookbook Vol. 1

Super Mountain Highway Academy Garden • Little Trip, Big World

Last Bloom Floating Points • Crush

Hour Two: Black Marble’s nostalgic new wave, a lost classic from Bobbie Gentry, looking for beauty in suburbs.

Wrong About the Rain Sandro Perri • Soft Landing

Feels Black Marble • Bigger Than Life

The Idiot Miynt • Stay On Your Mind

Ego Death in Thailand Cuco • Para Mí

Devotion Jay Som • Anak Ko

Thunder in the Afternoon Bobbie Gentry • Unreleased

Taking Chances Luke Temple • Both-And

Street Sweeper Jom Comyn • Crawl

Tusk Possum • Space Grade Assembly

Design Guide William Doyle, Brian Eno • Your Wilderness Revisited

Sonali Iggy Pop • Free

Hour Three: Summery psychedelia from Bananagun, shoegazy guitars from Sunglaciers & Bloom, and other walls of sound to lean on.

Crane in the Tiger's Mouth Bananagun • Do Yeah EP

Adrie's Dream Sandro Brugnolini • Overground

Help Me Understand Bloom • Online single

What Can I Do (A Wasted Walk) Cindy Lee • Model Express

Topographe Corridor • Junior

For What Sunglaciers • Foreign Bodies

Your Time Will Come Eurythmics • In the Garden

Something to Do Vivian Girls • Memory

Each Ether Fly Pan Am • C'est ça

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thesinglesjukebox · 7 years

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GRIZZLY BEAR - THREE RINGS [5.00] For the three of you keeping count (one of whom is writing this), we're at 4/5 for 2017...

Joshua Minsoo Kim: Well, it's a Grizzly Bear song. Those against will cry: meandering, hookless, pretty but empty. Those for will declare: spacious, detailed, carefully considered. The beginning immediately brought to mind Radiohead's "Reckoner" which only reminded me that people frequently compare the Grizzlies to Talk Talk. Droste isn't nearly as evocative as Hollis (or Yorke, for that matter) but I'll always give him and his pals credit for doing what they can with vocals so beige. [5]

Maxwell Cavaseno: It feels like an Amnesiac cast-off, dismissed for sounding like Beach Boys trying to make sense of a Einstürzende Neubauten loop. And I mean that in the best way possible. Dubby aimless drums, smooth keys that equally meander, a bunch of sound effects that probably sound great if you're stoned or just generally drained on a weekend afternoon. They might be breathily crooning about showing you their "bad side," but it's fairly harmless. [7]

Tim de Reuse: Ethereal and floaty in its implied tonalities, in its spacious arrangement, in its lyrical content, in its overall structure; in each of those facets it's undeniably pretty but fails to arrange itself into a definite enough form to make a sonic or emotional point, like a half-cadence stretched out to five minutes. [5]

Alfred Soto: The precision with which the rhythm section and guitar riffs syncopate is new to my ears, and at last he's singing like he has something to say -- which, as it turns out, is another end-of-the-affair lament. [6]

Thomas Inskeep: A little baggy, a little shoegazy, a little kindler gentler Loop-ish, with some David Byrne-ian vocals. It meanders, but pleasantly. If college rock still exists, this is firmly in that pocket. [6]

Stephen Eisermann: I've always been pretty good at math, so let me quantify my grade for this song as best I can: (Coldplay + U2) - (occasionally compelling lyrics) x (wall of sound) = [1]

Alex Clifton: Grizzly Bear is one of those bands that music recommendation sites have always told me I should like based on everything else I like, but I've never understood why. I like my indie rock fuzzy and fast, as opposed to dreamy and reverbed to glory. The drumline here is energetic but the rest of the melodic line feels like a weird echo, and the background "mmmmmmm" vocal line drags it even further. It's like a sad disco in a cave. Halfway through, the song finds its groove as a spacey jam session, but that section would work better as an extended outro for a live show. If this were pared down with a more concrete concept, I'd dig it, but I'm left feeling both overwhelmed and empty. [3]

Katherine St Asaph: I have no investment in Grizzly Bear either way, which means I can sink properly context-free into this Jesca Hoop-alike grotto, with percussion thick as mosquitoes and vocals echoing off the walls. [7]

Ian Mathers: I like Radiohead and I've liked the odd Grizzly Bear track, but I'm not sure I needed the latter to start sounding more like late-period the former -- at least for the nicely clattery first bit, before we get to the most momentum-killing middle eight I've heard in months. Nothing here is actively offensive, but maybe that's kind of the problem too. [5]

[Read, comment and vote on The Singles Jukebox ]

#Grizzly Bear #Three Rings

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entclic · 7 years

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Japanese Breakfast - Soft Sounds From Another Planet (2017). Follow up to an incredible debut 'Psychopomp' from last year. Somewhat different from her debut where this record seems to be more polished and refined. Her debut sounded almost like DIY basement tape sound but yet so good! It had rough edges but the songs were so good you forget about the less polished production. This album however is more richer and carries that melancholic, spacey and ethereal atmosphere. Almost dream like and shoegazy. Zauner's voice is just so soothing yet powerful enough to deliver those wonderful lyrics. It's definitely an upgrade to their debut and a move towards more complicated and intrinsic song writing. I feel I'm going to have a very high expectations for Zauner's song writing in the future. This is such a spacey floating feeling album and the mood it creates is just wonderful! #japanesebreakfast #michellezauner #softsoundsfromanotherplanet #indiepop #indierock #shoegaze #dreampop

#japanesebreakfast #indiepop #shoegaze #softsoundsfromanotherplanet #indierock #michellezauner #dreampop

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dieversa · 10 months

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As I realise that I need to take pauses in every possible way, to try to forget at least for a short moment about everything that is happening around and inside me, but… I live in Ukraine.

The war is still going on. It is scary to realise the exact forms of horror to which we have become used and how much pain and despair are bound up in the routine life of the common Ukrainian.

To be honest, the wave of support that came over me was like the sound wave of my favourite shoegaze. Despite all the pain, fear and anger - gratitude overwhelms me.

Thank you to each and every one of you for your words, reposts, understanding and empathy. It greatly helps me not to lose my mind.

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dieversa · 8 months

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for @abstract-challenge

Shooting through something

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dieversa · 4 years

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In my Othr World I

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dieversa · 4 years

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A Glimpse of Twilight

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dieversa · 4 years

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The Forest IV

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dieversa · 4 years

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#photo #photography #photographer #ArtPhoto #ArtPhotography #photographers on tumblr #artists on tumblr #diversa #dieversa #haze #hazy #flowers #flower #Shoegazy #ethereal #shoegaze #yellow #planet

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happymetalgirl · 5 years

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Boris - LφVE & EVφL

This band was supposed to be retiring after their sprawling 2017 effort, Dear, but given the band’s notorious prolific nature (and the fact that they stated that they recorded enough material during Dear’s sessions for several more albums), I kind of figured that wouldn’t be the last we’d hear from them, and lo and behold, here they are again.

An intentionally comprehensive and career-encapsulating release, LφVE & EVφL does at least somewhat span the trio’s vast and varied catalog, with the opening cut, “Away from You”, taking on the spacier shoegaze sound that characterizes some of the more un-ordinary (or not drone/doom metal) albums in their discography like Attention Please, New Album, and Urban Dance. The song itself is a soothing, ethereal experience that showcases how far the band have come with their tangential endeavors into this style.

The second song “Coma” time travels back into the second phase of the band's evolution as they were incorporating brighter, shoegazy textures into the Earth-inspired sounds of drone metal, while the subsequent “EVOL” takes that drone tendency even further, longer (to sixteen minutes), and more meditative. These songs highlight the band's contribution to expanding drone metal into new, more ethereal territory.

“uzume” dips right back into the classic drone metal the band began their career on (with the aptly named Amplifier Worship and single-song LPs like Absolutego and Flood) in a shorter format that doesn't really advocate for that era's appreciation.

The band pay homage to their forrays into doom territory on albums like Dronevil and Noise with the slow, brooding “LOVE”, whose unsettling falsetto harmony sections may actually be the most terrifying thing on the whole album.

“In the Pain(t)” serves as a short ambient guitar break after all the crushing doom and drone preceding it before the closing track, the eleven-minute-long “Shadow of Skull”, finds the band finishing with the expressive, harrowing, and crushing doom metal that characterized Dear. Along with their basking in the resonance of modern sludgier guitar feedback, the band's elongated liturgical vocal mantras help draw the song out to its lengthy finality. While not a very compositionally ambitious piece and more of an extended bow-out for the album, the song does serve its intended purpose well.

This album is impressive in how, again, comprehensive it is for a band with as colossal and very multifaceted of a discography as Boris' while still mananging to make all their many stylistic shifts flow in a complimentary manner that highlights the band's strengths in a short amount of time (for them), which could easily have backfired and ended up being distracting and disjointed, so major props to the band for that. I don't know if the band compressed the material from Dear into this album of if this is all new material, and I don't know if they are still planning on retiring soon. But if they are, I would say that this is a fitting and quality note to end on that captures and honors the band's legacy.

Boris/10

#Boris #LφVE & EVφL #Love & Evol #new music #new album #album review #metal #heavy metal #drone metal #doom metal #ambient metal #post-metal #post-rock #ambient rock

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