Gnod’s previous full-length, 2017's Just Say No..., was a feast of gloriously thuggish and focused brutality, but it was bit of an outlier for the shape-shifting psych collective from Salford. Consequently, I was a fool to expect Chapel Perilous to continue along the same lines, as Gnod is an entity in a constant state of explosive reinvention. There are a couple of lingering shadows of Just Say No's aesthetic in Chapel Perilous's lengthy bookends, however, as this album partially took shape as Gnod were touring in No's wake. For the most part, Chapel Perilous is a completely different animal though, deconstructing the band's more hostile side into something a bit more seething, sprawling, indulgent, and experimental. That makes this release more of an uneven, fitfully inspired detour than a great album, but it still manages to kick open a few new doors in decisive fashion.
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Sarah Davachi's first album for Sean McCann's Recital Program imprint marks yet another intriguing stage in the evolution of her expanding vision, beautifully blurring the lines between drone, psychedelia, and neo-classical composition. Composed primarily for mellotron and electric organ, Let Night Come On often resembles a time-stretched and hallucinatory re-envisioning of a timeless mass or requiem. There are certainly some nods to Davachi's earlier drone-centered work as well, yet the most stunning pieces feel like achingly gorgeous classical works that wandered into an enchanted mist where time loses all meaning and all notes dissolve into a gently lysergic and lingering haze after being struck.
Having sat on these tapes for far too long, I felt that it was a good time to revisit them in light of Stelzer's newest works (reviewed here) to more fully recognize this legendary artist’s work. Dawn Songs is a pleasantly succinct piece of music that covers a nice gamut of sounds while Normal Bias is a sprawling, magnificent set of six tapes that feels like an "everything plus the kitchen sink" type release where everything just happens to be golden and indispensable.
In his two most recent works, Howard Stelzer branches out to less aggressive, more subdued sounds, while still heavily staying faithful to his core roots as a noisy manipulator of all things cassette. His work with long-time friend and long-time collaborator Brendan Murray shows a wide variety of approaches and styles, while A Strange Object is largely him at his most focused and meditative. The two tapes may seem vastly different at times, but make for excellent complements to one another.
Following the Idle Chatter's label curated tape set Transparens by Wren Turco, the label has released another, similar project, this time by Drekka's Mkl Anderson. Again consisting of three artists, each contributing their own tape (Drekka, Pillars and Tongues, and Skrei), there are a multitude of different experimental sounds and approaches here, blending traditional with electronic instrumentation on this trinity of albums. Like the label’s previous collection, each artist’s work differs greatly from one another others, but the big picture is a series of works that complement one another splendidly.
Liz Harris's Grouper project has taken on quite an unusual and fascinating trajectory over the last several years, transforming into something that feels like a slowly unfolding series of poetic postcards from a ghost. Grid of Points, the most recent window into Harris's soul, continues to further distill the stark and tender fragility of 2014's Ruins, unfolding as a 22-minute suite of gorgeously ephemeral piano sketches that blur together to weave a hypnotic spell. I suppose the word "sketches" conveys a somewhat unfinished aesthetic, which is not far from the mark, as these sessions were unexpectedly curtailed by a bout with high fever. In a deeper sense, however, that fever was providential, as these pieces are perfect in their spectral elusiveness, evoking (as Harris herself puts it) "the space left after matter has departed, a stage after the characters have gone."
Shane Broderick's (Corephallism, Twodeadsluts Onegoodfuck) latest project in some ways strays away from the ethos of his other projects, but not so far as to be unrecognizable. Namely, Soaplands showcases more of his interest in modular synthesis and electronics. This self-titled EP has a nuanced and dynamic sound, but one in which he cannot help but burst out into some of his more noisy tendencies, resulting in an all-too-short burst of electronics, distortion, and even a fair bit of good old fashion screaming.
I was completely blindsided by this second release from unlikely collaborators Machinefabriek and Dead Neanderthals, as Smelter transcends the sum of its parts in absolutely crushing fashion. Anyone familiar with Dead Neanderthals' explosive blend of extreme metal and free jazz will be unsurprised by the heaviness of this album, yet this is something new and different, taking Rutger Zuyderveldt's nuanced drone aesthetic and blowing it up into a scorched and seismic force of nature. While it admittedly derails into an occasional lull at times, such moments are short-lived and easily forgotten in the face of such a viscerally howling onslaught of blackened sludge. At its best, Smelter feels like being bulldozed by a glacier that was shaken loose by a torrent of smoking and bubbling lava.
Ohio legend Mike Shiflet has unquestionably had a lengthy and fascinating career as an experimental guitarist and electronics specialist with a multitude of diverse, exceptional releases since the early part of the century. This year, however, he has embarked on his most ambitious project to date. The Tetracosa series is an eight part, 24-hour-long project being released monthly in three hour segments, with the first four currently available. While it seems at first a daunting project, it is anything but, and so far it is an exceptional piece of work that is engaging on a multitude of levels.
It has been roughly four years since Dunn last surfaced with his sprawling Kyle Bobby Dunn and the Infinite Sadness triple LP and he clearly spent some of that long hiatus reassessing and rebuilding his woozily dreamlike vision: "The Searchers" is likely the single most gorgeous and perfectly distilled piece that he has ever recorded. The unenviable task of trying to follow such a bombshell fell to hapless fellow ambient-minded guitarist Wayne Robert Thomas, who understandably gets eclipsed a bit. Thomas's languorous "Voyevoda" has a quiet beauty of its own, however, making this release a fine introduction to his work. In fact, Thomas's piece would have been perfectly suited for a split release with Dunn at any point in history before now. On this release, however, it is relegated to dessert after the main course, as "The Searchers" is an instant classic.
