Vamping on minor-chord blues, “Descent to the Zenith” proves that you don’t need blown-out Black Sabbath–derived sludge to sound sinister. And this one plays with such brooding moods that it would make a perfect score to a remake of an old horror-western film like Haunted Range. 1-- the first of two thematic albums proposed for 2011 -- that's still the case, but Carlson and longtime drummer Adrienne Davies have succeeded in opening up Earth's soundscape texturally and pushing beyond what was achieved on Bees. That is, check in, not out, and you'll rarely hear four players with as much quiet command. Carlson finds just enough extra notes to create a melody. , In the AllMusic review, Thom Jurek awarded the album 4 stars out of 5, describing the album as "harmony and dissonance coexist[ing] without antagonism, creating a heaviness and tension that are aesthetically beautiful and emotionally resonant. With Angels of Darkness, Demons of Light, Vol. Editors’ Notes After a five-year absence, Earth is back with the two-chaptered album Angels of Darkness, Demons of Light.And it sounds as though in the half-decade between 2008’s The Bees Made Honey in the Lion’s Skull and this recording, Dylan Carlson may have hocked much of his distortion pedal collection. Its scales seem tipped toward the negative space that make the plodding rhythms here incredibly suspenseful, with Lori Goldston’s cello adding palpable texture. And it sounds as though in the half-decade between 2008’s The Bees Made Honey in the Lion’s Skull and this recording, Dylan Carlson may have hocked much of his distortion pedal collection. Cello is introduced as a new instrument, along with the usual ones being used since the album Hex. Carlson pursues a series of chord changes one note at a time; Goldston creates a counter-melody just outside his frame. Blau pushes harder and slower, creating tension and a slightly shifting dynamic as the music intensifies but intentionally never breaks loose; it reveals its considerable power with restraint.  The second part of the album was released in 2012. Not surprisingly the music is at the lower end of the spectrum, instrumentals with repeating patterns, minimalist guitar, slooow dark and brooding - not to everyone's taste - but I love it. This record ir GREAT when played loud throught a good sound system. Blau and Goldston assert themselves against this ever-so-slowly evolving lyric statement and one another; harmony and dissonance coexist without antagonism, creating a heaviness and tension that are aesthetically beautiful and emotionally resonant. The second part of the album was released in 2012. Copyright © 2020 Apple Inc. All rights reserved. This creates a sinister brooding resonance that is underscored when Davies enters five minutes later. The instrument that will come to define this release is not Carlson's guitar so much as Lori Goldston's cello. What takes place for the remainder is an exploration of intonation, space, and melody based on a minor-key blues that transcends the form. Editors’ Notes So hypnotic and textured. Angels of Darkness, Demons of Light, Vol. But the intricacies of this Earth—Carlson's harmonics and harmonies, Davies' careful builds, Blau's unexpected bass maneuvers, Goldston's adventurous versatility—demand attention and immersion. The trio gains traction in minute increases that up the dynamic tension. Gone were the crushing, devastatingly slow, blown-out guitar and bass drones that essentially created the entire post-rock genre. Angels of Darkness, Demons of Light II is the seventh full-length studio album by the band Earth, released on February 14, 2012, through Southern Lord Records.This album was recorded at the same time as its predecessor Angels of Darkness, Demons of Light I. 1 -- the first of two thematic albums proposed for 2011 -- that's still the case, but Carlson and longtime drummer Adrienne Davies have succeeded in opening up Earth's soundscape texturally and pushing beyond what was achieved on Bees. The contributions of new members cellist Lori Goldston and bassist Karl Blau make this possible. "Old Black" opens the set with Davies playing a kick drum, snare, and cymbal, with trancelike precision. " Pitchfork's Grayson Currin also gave the album a positive review, stating "In the 90s, Earth's heavy metal offered an escape, a massive shelter of volume and drone. Earth is one of my favorites discoveries of '12. But even as twangy guitars resonate with Ennio Morricone–style tones, the opening song, “Old Black,” is still heavy and sluggish, thanks in part to tension between drummer Adrienne Davies and new bassist Karl Blau. Angels of Darkness, Demons of Light I is the sixth full-length studio album by the band Earth, released on Southern Lord Records. The following “Father Midnight” exercises even more restraint. Cello is introduced as a new instrument, along with the usual ones being used since the album Hex. Feels so calm yet so heavy and emotional. It began on 2005's Hex: Or Printing in the Infernal Method, and attained maturity on 2008's Bees Made Honey in the Lion's Skull. The album illustrations were created by Stacey Rozich. The new Earth create a more atmospheric music with more arid soundscapes; they explore skeletal yet pronounced layered melodies inside their trademark drones, creating the aural equivalent of vast, utterly empty desert landscapes. 1 represents a further shift in Earth's evolution. It is darker -- even sinister -- and undoubtedly heavier than Bees, but it is more seductive with its mantra-like droning repetition and more elegantly detailed in its textural dimension. Dylan Carlson describes the album as more melodic and riff oriented. 1. With Angels of Darkness, Demons of Light, Vol. Angels of Darkness, Demons of Light, Vol. After a five-year absence, Earth is back with the two-chaptered album Angels of Darkness, Demons of Light.
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