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Blood Fountains, "Floods"
An appropriate coda for the URSK series on Utech, the slew of drone oriented releases from both established (Skullflower, Final) and the up and coming (Aluk Todolo, RST) ends with a new project featuring visual artist Steven Kasner (the SK of URSK) and collaborators including Yoshiko Ohara (Bloody Panda) clashes ethereal and oppressive dynamics to maximum effectiveness.
While the prior works in this series had been largely focused on the more bleak and dark sounds, this work lets in a bit more of the light that had been otherwise obscured over time. The disc opens and closes with tracks that focus on light ambient ethereal sounds that on their own are rather beautiful, but take on an entirely different quality given the distant, haunting vocals of Ohara, sounding like a spirit channeling from other worlds.
Both "Head Found in Aptos" and "Spiritless" mix the dark vocals with heavier guitar riffs that infringe upon metal territory, but are only one part of a much more diverse compositions. The former combines heavier guitar with more ambient riffs, ending with layers of string-like textures. The latter is longer and mixes softer electronics with the deeper metal riffs, but eventually slipping away to reveal unabashedly beautiful tones to conclude the track.
The remaining tracks pull some of the darker layers away to focus on the more ethereal elements. "White Wax Blood" has subtle low frequency elements but gentle, chiming guitar notes that are much more 4AD than Southern Lord. The creepy, dissonant vocals remain, but the other elements of the track overshadow the darkness. Even the occasional dank basement from hell low end doesn’t drag the track downward. "Hemming" mixes gentle guitar strums, backward notes, and light synth work with some more obscure, sinister elements. It’s a disparate combination of sounds that manages to actually come together beautifully.
The closing "Picture of Time and Space/Out" strips everything down to simply the vocals of Ohara and some treatments of them, mixing heavily effected vocals with the pure ones, ending the album (and series) with some sense of closure, as isolated and frozen as it may sound.
Like the Arc series that preceded it, the URSK series of albums curated by Keith Utech has assembled various practitioners of dark, droning sound to wonderful effect, with the known artists doing some of their best work, while aiding in the younger folks getting a bit more attention. Stephen Kasner’s visual art that accompanied each of these releases have been the perfect metaphor as well: dark, grimy paintings, but small fragments of light escaping describes the sound of most of these albums, but this one especially. It is a haunting finish to a memorable set of albums.
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