Posts Tagged ‘Om’
Thursday, November 19th, 2009
Hey, ok, this was supposed to be done last December, but instead I was busy pulling together a best of 2008 list for the Washington City Paper. But that just means more perspective, right? So no worries. Anyway, as of now, here is my top 10 list of 2007. Next month, I promise, I’ll have my real best of 2008 list posted, on time (a year late as normal, instead of two).
- Do Make Say Think - You, You’re a History in Rust
In which the venerable post-rock band explores glorious noise, rough vocals, and moments of pure beauty amidst chaos. DMST have never stopped evolving and this is easily their best album yet. It’s also to their lasting credit that they are pretty much the only post-rock band that might actually be considered somewhat unpredictable.
- Aranis - II
Largely acoustic, upbeat, highly melodic, sometimes insanely intricate chamber-rock. No drums or percussion, yet this is some of the most head-noddingly rhythmic stuff imaginable. Composer/bassist Joris Vanvinckenroye is a pretty phenomenal talent, and this one is his finest hour so far.
- Zs - Arms
As far as room-clearing records go, parts of this one rank just below Orthrelm’s OV. This may well be the last of Zs’ overtly progged-out records, given their recent lineup change and a shift towards more minimal, less accessible material. So, Arms is likely to remain my favorite studio album by this band, ever.
- Dälek - Abandoned Language
After the brutal, no-holds-barred noise of Absence, this seemed like a letdown at first. In this case, first impressions are deceptive: the relative calm of this album masks a seething anger and hidden intensity that makes Abandoned Language my favorite album by this cutting-edge hip-hop ensemble.
- Om - Pilgrimage
Not too much metal left in this stoner-metal outfit; instead, it’s a spiritual journey with Pink Floyd’s “Set the Controls For the Heart of the Sun” as a guide. Powerful, intense, and moving, this one is short and sweet and leaves me wanting more every time I listen to it.
- Despised Icon - The Ills of Modern Man
Perhaps the pinnacle of the entire deathcore genre, this album is really just awesome death metal with some breakdowns (and pig squeals) thrown in for the moshers. Catchy hooks and killer rhythmic breaks abound, and the dual growling vocalists grab your attention and never let go. Even if you hate deathcore, you might like this record.
- St. Vincent - Marry Me
Understated and weird, this album from a former guitarist for Sufjan Stevens and The Polyphonic Spree took me completely by surprise with a unique, offbeat charm. Annie Clark’s guitar work is wonderful when she lets it rip, but it’s her voice and her bizarre compositional sense that carry this album. It’s indie-rock with a hint of the avant-garde, and it’s one of the more memorable debuts in recent memory.
- Sleepytime Gorilla Museum - In Glorious Times
So, this is a pretty solidly great album from this uniquely theatrical avant-rock band. Somehow, though, it hasn’t been nearly as memorable for me as either of the albums that preceded it. All of SGM’s albums are basically essential for any fan of heavy experimental rock, this one’s just a tiny step lower than the other two.
- Nadja - Touched
I cannot describe this better than a frequent poster on the 5/8 forums: “Listening to Nadja is like swimming in a sea of declawed kittens.” Yes. So much fuzzed out bliss. Especially on this album, which is far and away my favorite of this prolific drone/doom-metal band’s many releases.
- Thing with Ken Vandermark, The - Immediate Sound
This one falls perfectly into that niche of avant-jazz that I like: it’s “out,” with plenty of wild collective improv and unpredictable solos, but it’s also recognizably jazz, anchored in rock-solid grooves and accessible melodies. Also, it rocks. You wouldn’t really expect anything less from this lineup.
As always, this was hard, and lots of great things missed the cut. One of particular note is Epica’s The Divine Conspiracy. I listened to this a ton but couldn’t quite bring myself to put it on the above list. I’m sure I’ll catch some heat for liking this stuff - it’s like warmed-over prog-metal with a combination of death-metal vocals and beautiful female clean vocals. But damn can these guys write a catchy song. I don’t understand why they don’t get more love in the prog world; there’s tons of bombastic keyboards, epic lyrical themes, and general cheesiness, plus a fantastic lead vocalist and really long songs. What’s not to love, prog fans?
More things I liked from 2007:
- Æthenor - Deep In Ocean Sunk the Lamp of Light
- Alamaailman Vasarat - Maahan
- Alcest - Souvenirs D’un Autre Monde
- Baroness - The Red Album
- Between the Buried and Me - Colors
- Car Bomb - Centralia
- Caspian - The Four Trees
- Cato Salsa Experience & The Thing with Joe McPhee - Two Bands and a Legend
- Cephalic Carnage - Xenosapien
- Cline/Parkins/Rainey - Downpour
- The Dillinger Escape Plan - Ire Works
- Feist - The Reminder
- Grayceon - Grayceon
- Carla Kihlstedt & Satoko Fujii - Minamo
- Eric Malmberg - Verklighet & Beat
- Miasma & the Carousel of Headless Horses - Manfauna
- The National - Boxer
- Neurosis - Given to the Rising
- Original Silence - The First Original Silence
- Pig Destroyer - Phantom Limb
- Scorch Trio - Live in Finland
- Soft Mountain - Soft Mountain
- Tin Hat - The Sad Machinery of Spring
- Yakuza - Transmutations
If I think to do it, perhaps a couple “favorite shows” posts will be forthcoming as well (one for 2008, since I forgot to do one last year, and one for 2009). But the top 10 albums of 2008 post is definitely coming soon.
Monday, November 16th, 2009
Well, concert reviews are no longer something I’m doing for the Washington City Paper (just concert photos), and that actually works out nicely because it means I can write about concerts that inspire me right here at this blog, like I used to. The latest in a long list of enjoyable concerts I’ve seen in 2009 was Shrinebuilder last Friday night at Sonar in Baltimore.
I dig the Shrinebuilder record, although predictably I like the parts that sound like Om and Neurosis the best. Lots of folks have been saying that it’s exactly the sum of its parts, and I basically agree. That said, the song “Pyramid of the Moon” is absolutely incredible and in its case at least, I enjoy the parts so much that the sum of them is pretty immense. It goes from sounding like Neurosis into an intense Om-like mantra part into Wino’s juicy psychedelic lead guitar back to sounding like Om but more fleshed out. This is a recipe for awesomeness. Still, yes, the record as a whole is good, but not quite great. (Say a strong 10 on the Gnosis scale.)
Live is a different story. They were fantastic. They played like a real band, not a cobbled-together supergroup. The best tracks from the album were better live; I particularly liked seeing/hearing Wino and Scott Kelly trade off on vocals. Their vocal styles are so incredibly different, but they fit together perfectly in the live setting (whereas on the record I found Wino’s vocals a tad bit annoying). Their guitar styles are also incredibly different, and seeing them live gave me new perspective to how their guitar lines fit together in the compositions. Getting to see and hear Al Cisneros do his thing in a full-band setting rather than the stripped-down context of Om was a real treat, too. His first “aaaaaaaahhhhh” vocal drone in “Pyramid of the Moon” was as powerful as any moment I’ve seen with Om. And Dale Crover on drums? Sick. Of the four members’ “main” bands, Shrinebuilder sounds the least like Melvins, but Crover definitely puts his personal stamp on the music nonetheless.
Cosmo Lee kind of stole my thunder with his review of the band’s L.A. show, the only show they played before the Baltimore show I saw. Go read it. I agree with him. (Also, here are my photos from the show.)
As an aside, one of the opening bands, U.S. Christmas, is a definite candidate for the most rhythmically boring rock band ever to employ two drummers. Seriously, why?
Thursday, October 22nd, 2009
In my list of new stuff that will probably rock, I completely whiffed on one huge release, now out, that I am going to grab ASAP: Shrinebuilder. This is about as super as a supergroup gets, for doom metal fans, with members of bands like St. Vitus, The Melvins, Neurosis and Sleep. I don’t even count myself as a huge doom metal fan, but from hearing the one track that’s up on the group’s Myspace page, I think I’m going to really like this.
I was reminded by a review by Brent Burton that appeared in this week’s Washington City Paper. Thanks, Brent.
Speaking of which, I’ll have a review of the new Do Make Say Think in next week’s City Paper… let’s just say my impressions of it changed pretty drastically after I had more than one cursory listen.
UPDATE: Here’s the DMST review.
Wednesday, October 14th, 2009
Been a while. What have I been listening to?
The answer is, “not much.” My appetite for new music has taken a pretty steep nose-dive this year as I’ve immersed myself in photography. My appetite for live music has remained unchanged, though, or even increased a bit. But I haven’t bought all that much new music this year. That said, here’s what I’ve been enjoying recently…
- Anti-Pop Consortium - Fluorescent Black — Anything new from these guys is welcome; I was never all that taken by any of the side projects since their 2002 breakup (not counting the sublime Antipop Vs. Matthew Shipp). On initial listens, this sounds pretty great although perhaps not quite up to the lofty standards of Tragic Epilogue and Arrhythmia.
- Baroness - Blue Record — Just massive, massive praise for this one from metal critics. I’ve listened to it streaming on Myspace a couple times and don’t see it yet. Good stuff but hardly amazing. Red Album - which I loved - seemed more coherent and compelling to me, but perhaps this just needs more listens.
- Do Make Say Think - Other Truths — This on the other hand is fantastic. I’ve had one listen to a pre-release copy and it sounds like an absolute must-buy. Four long tracks in the classic DMST mold: laid-back, melodic, slightly repetitive post-rock that is somehow beautiful, sublime, and never boring.
- Echoes of Eternity - As Shadows Burn — Female-fronted melodic metal whom I first heard on tour with Unexpect; their first album was absolutely laughable, but this is actually pretty decent. Lots more substance here and Francine Boucher’s voice is integrated into the music instead of floating weirdly on top of it all. Still not anything I would call great, but a quantum leap forward from Forgotten Goddess, which is better left forgotten.
- The Faceless - Planetary Duality — Since this young tech-death band has attached itself to seemingly every major U.S. death metal tour of 2009, I’ve already seen them live three times this year. So I figured I’d pick up their record; it’s solid technical metal with a few standout tracks like the amazing “Xenochrist.” Soon enough they’ll be headlining their own tour.
- General Surgery - Corpus In Extremis: Analysing Necrocriticism — One of my new discoveries from Maryland Deathfest this year; this is a solid, if unspectacular, record full of slightly grindy gore/death metal. “Solid, if unspectacular” is more than enough to make General Surgery stand out from a sea of utterly mediocre goregrind bands.
- The National - Boxer — My main discovery from this year’s Virgin FreeFest. I love their laid-back, tastefully orchestrated take on indie-rock, and vocalist Matt Berninger’s deep croon suits them perfectly and sets them apart a bit.
- Om - God Is Good — As it turns out, Om without drummer Chris Hakius is still Om. Pretty solid album spiced up by the appearance of new instruments like tamboura, flute and, in an absolutely genius moment, Mellotron. Check out my review at the City Paper.
- Ra Ra Riot - The Rhumb Line — Melodic, slightly sappy indie-pop, helped by some excellent contributions from a cellist and violinist. Like Cloud Cult but with fewer awkward melodies and vocal lines; this is a really promising debut.
- Shpongle - Are You Shpongled? — This is hardly new, but I found myself spinning it on a long drive recently. Upbeat electronic music, kind of like if Ozric Tentacles just took the techno-ish parts of The Hidden Step or Waterfall Cities, and made a whole album out of them.
- Spunk - Kantarell — I’ve always found Spunk to be one of Maja Ratkje’s more accessible projects. This one is soundscapey, almost relaxing at times, with acoustic instruments peeking in through the electronics at refreshing intervals. I like to imagine that astronauts landing on an alien planet and turning on their radios might hear something like this.
Monday, December 31st, 2007
Well, so this was my year in shows.
If you count NEARfest as two concerts (which seems fair, since it was two days and I saw five shows), then I hit my goal of seeing 52 shows in 2007. There were tons more I wanted to see, but between playing a competitive sport, spending many spring and fall weekends backpacking, and maintaining a long-distance relationship, it was particularly difficult for me to make weekend shows this year. So all in all I think I did pretty well. Here are some of the highlights — I’m just putting these in chronological order, and not necessarily limiting myself to 10 or anything like that.
- Atomic at Twins Jazz, February 8 (blog entry) — What a great surprise! This quintet plays a very accessible brand of free jazz; it’s really fun to hear Paal Nilssen-Love in particular playing a more straight-ahead style. Twins Jazz was packed with about 80 people who gave Atomic an ecstatic reception. Fantastic, high-energy jazz, a great way to kick off the year.
- The Vandermark 5 at Jammin’ Java, February 16, $12 (blog entry) — Actually this was along the same lines as Atomic: great, explosive energy jazz, also very accessible (I even took three friends to this show). They were a hundred times better than when I saw them in 2006; Fred Lonberg-Holm went from being an interesting addition to a core part of the group’s sound, pushing them further and further “out.” The crowd was kind of lame but the band nevertheless played two very hot sets.
- Zs at The Hosiery, February 26, $5 (blog entry) — This show cemented Zs as one of my favorite current avant-rock groups; before, I liked them a lot, but seeing them live really made their brilliance unmistakably clear. The image of four musicians staring intently at each other and their sheet music, while cranking out some of the loudest and most intricate (yet still aggressively rocking) sound imaginable, is permanently burned into my brain.
- Dälek at Rock and Roll Hotel, March 2, $10 (blog entry) — Speaking of loud… Dälek on record is an intense experience, but Dälek live is something else altogether. This was my second time seeing them, and if anything they were better than the first, if a little less overtly in-your-face.
- Do Make Say Think at The Black Cat, April 1, $10 (blog entry) — The best rock show I saw all year. DMST played a transcendently beautiful set, and I don’t use those words lightly. I love their take on post-rock, which involves a cacophony of instruments making coherent noise, often with one single instrument (an acoustic guitar, or most often electric violin) rising to the surface with a gorgeous, straightforward melody. One of the most purely joyous concerts I’ve ever had the pleasure of attending.
- Brötzmann/Pliakas/Wertmüller at The Red Room (Baltimore), April 13, $12 (blog entry) — A legendary free-jazz skronker teamed up with an extreme metal rhythm section? Yeah, this was probably the most unrelentingly intense show I’ve ever seen. Once I managed to figure out how to parse it, though, I found it enthralling, especially Wertmüller’s drumming, which alone could have given me nightmares if I’d been having a bad day.
- The Dismemberment Plan at The Black Cat, April 28, $15 (blog entry) — DC’s biggest phenomenon since Fugazi reuniting for two shows, four years after their breakup, guaranteed a crazy event, something bigger than just a mere concert. Sure enough, this was something to behold, especially since the band was, bizarrely, at their peak, better than they ever were when they were actually together. I saw better concerts in 2007, I think, but maybe none as memorable.
- Sleepytime Gorilla Museum at The Black Cat, June 5, $12 (blog entry) — The third time was the charm: the first two times I saw SGM I was actually kind of underwhelmed for some reason, but this time they really brought their A game. Maybe it was just my newfound familiarity with the In Glorious Times material, but it just seemed like the band had really mastered their peculiar meshing of theatricality, creepy beauty, and crushing heaviness.
- Alarm Will Sound at the Library of Congress, October 30, free (blog entry) — A very intellectual concert that I also found quite viscerally effective, which is a good combination indeed. This 20-piece ensemble played a series of pieces chosen specifically for their rhythmic complexity, and they pulled it off with gusto. There were some avant-rock type moments here, but the real fun was seeing them play live renditions of a couple IDM songs, music that was never meant to be played by humans.
- Om at Rock and Roll Hotel, November 13, $10 (blog entry) — I guess I must just like really, really intense concerts. This one had it all: incredible feats of tension-building, wonderfully effective individual performances, high-wire drama, and above all, a sense of spiritual searching of the sort that I like to think listeners must have experienced at late-60s Coltrane shows.
Honorable mentions go to Magma, Richard Pinhas, Wilco, Aussie Floyd, Nelly Furtado, Epica, Cowboy Junkies, and Dhafer Youssef, all really great shows but perhaps a tiny step down from the above. The most disappointing show I saw was probably John McLaughlin, but then again I think I just don’t like fusion very much, so maybe I shouldn’t have been that surprised. Isis and Mastodon were also pretty terrible, the former being particularly disappointing as I saw them put on a great show in 2006.
I’m not sure I’m going to try quite as hard to see every concert I possibly can in 2008, for financial reasons if nothing else — but 2006 and 2007 definitely have awakened a certain passion for live music in me that I don’t think is just going to go away. I’ve already started making a list of interesting 2008 shows…
Sunday, December 9th, 2007
This best of 2006 list was extremely challenging to come up with, if only because I’ve begun listening to new music at an even greater rate, and I just had a lot more to choose from this time around. The list below is one that, perhaps more than any other best-of-year list I’ve done, I feel could be significantly different a year, a month, or even a week from now. That said, I am definitely glad I waited a year to do this one, as I hadn’t even heard 40% of these albums by the end of 2006.
Before we get started, if you’re curious, my best-of lists for 2005, 2004, 2003, 2002, and 2001 are also available on this blog. Now for the main attraction:
- Newsom, Joanna - Ys
Head and shoulders above the rest, Ys could be my favorite album of the decade, not just the year. Newsom’s voice, lyrics, compositions and harp playing are bewitching, and I’ve been listening to Ys regularly for the past year and never get tired of it. I expect this to be a long-lasting classic, and unlike many critics, I don’t use that word lightly.
- Tanakh - Ardent Fevers
I’ve become fairly indifferent to most new indie-rock out there, but this group plays an endlessly interesting meshing of styles that transcends genres. There’s post-rock and ambient music influences as well as straight-ahead melodic songwriting, and there are some wicked scorched-earth guitar solos to boot. Music that’s difficult to describe and pigeonhole is often very appealing to me, and Ardent Fevers is a perfect example.
- Zs - Buck
Perhaps the most interesting avant-rock band operating today, this live album shows the power that a telepathically tight ensemble playing formally composed, wickedly difficult music can have. A must for anyone interested in dissonant, rhythmically complex modern music.
- Decapitated - Organic Hallucinosis
Speaking of rhythmically difficult, this band’s nerdy death metal is occasionally jaw-dropping in its technicality, which makes the recent death of their drummer in a car crash all the more tragic. I was all stoked to see these guys live, but the death of their drummer and hospitalization of their guitarist was too much for the band to handle and they promptly disbanded. One of the saddest stories in music all year (2007, to be clear). RIP Witold “Vitek” Kieltyka.
- NeBeLNeST - ZePTO
I guess I do still like prog. ZePTO is the only original prog album on this top 10 list, though admittedly it’s no namby-pamby symphonic fairy tale. This album sees the French quartet dip into avant-garde waters; their music has always been dark, dissonant and amorphous, but never quite to this extent.
- Univers Zero - Live
Notable for many reasons, not least that it’s the first official live release for this 30-year-old band, but also because the performances are simply top-notch. “Xenantaya” especially absolutely comes alive compared to the studio version, and the inclusion of older pieces like the classic “Toujours Plus à l’Est” is a wonderful surprise.
- Om - Conference of the Birds
There’s only one transcendent song on this album, but then there are only two songs total. The 16-minute “At Giza” is an absolute triumph of repetitive, trancey, spiritual metal, still the best thing this band has ever done. In concert, three separate people exclaimed after this song that it was a “religious experience.” They may be overstating the case, but not by too much.
- Yo La Tengo - I Am Not Afraid of You and I Will Beat Your Ass
Everyone’s favorite noisy indie-rock band gets back to the noise! The opening and closing epics on this album are the classic feedback-drenched workouts that, as much as their poppy vocal numbers, helped give this band their reputation. The best thing they’ve recorded since the glory days in the mid-90s.
- Espers - II
I was a latecomer to this acid-folk group, and this was my introduction to their music. Greg Weeks, formerly of New Sonic Architecture fame, and Meg Baird combine to make some of the most evocatively edgy folk music I’ve heard. Mellow Candle comes to mind; these guys possess an equally formidable melodic sense (and their vocal duets are equally as wonderful), but their vision is way darker.
- Satoko Fujii & Natsuki Tamura - In Krakow In November
I love Fujii’s quartet albums and like her orchestra works, but it’s in a solo and duo setting that, in my opinion, she really shines. Her melodic sensibility is simply beautiful, and that really comes through in this recording with trumpeter/husband Tamura. “Morning Mist” is pure distilled beauty, but the whole record is a delight.
I seem to say this every year, but 2006 was a pretty damn good year. I suspect this will be true for every year as long as I continue keeping up with a wide depth and breadth of new music. Certainly 2007 — in which I bought more albums released this year than ever before — is shaping up to be fantastic. It’s certainly a good time to be a fan of underground, experimental music.
Just to prove the point — and this is probably a bit excessive — here are a bunch of other albums from 2006 that I really liked. Four or five of these could easily have been in the top 10 if I’d been in a slightly different mood.
- Aghora — Formless
- Christina Aguilera — Back to Basics
- Amon Amarth — With Oden On Our Side
- Atomic — Happy New Ears!
- Michaël Attias — Credo
- Tim Berne — Livein Cognito
- Iva Bittová — Superchameleon (DVD)
- Boris — Pink
- Peter Brötzmann, Marino Pliakas & Michael Wertmüller — Full Blast
- Burial — Burial
- Nels Cline — New Monastery
- The Core — Blue Sky
- The Coup — Pick a Bigger Weapon
- Damsel — Distressed
- The Decemberists — The Crane Wife
- Enslaved — Ruun
- From a Second Story Window — Delenda
- Nelly Furtado — Loose
- Genghis Tron — Dead Mountain Mouth
- Isis — In the Absence of Truth
- Isis — Clearing the Eye (DVD)
- Isis & Aereogramme — In the Fishtank 14
- Glenn Kotche — Mobile
- Magma — Epok II (DVD)
- Loreena McKennitt — An Ancient Muse
- Mogwai — Mr. Beast
- Simon Nabotov & Tom Rainey — Steady Now
- Nightwish — End of an Era (DVD)
- NIMBY — Songs For Adults
- One Shot — Ewaz Vader
- Peeping Tom — Peeping Tom
- Radio Massacre International — Septentrional
- Sunn O))) & Boris — Altar
- Justin Timberlake — FutureSex/LoveSounds
- Unexpect — In a Flesh Aquarium
- Uzva — Uoma
- The Vandermark 5 — A Discontinuous Line
- Yakuza — Samsara
- Dhafer Youssef — Divine Shadows
- Zaar — Zaar
There you have it. I’m planning a couple other posts, coming towards the end of the month, recapping my 2007 without actually doing a top 10 albums list, since, of course, that’ll be coming in a year. But I do want to talk about my favorite concerts of the year, as well as discuss the continuing evolution of my music tastes (in this case, this year saw me listening to more extreme metal and free improv than ever).
Friday, November 16th, 2007
At first, I thought the pairing of post-rockers Grails with stoner-metal gurus Om was a weird concert double-bill, but as soon as I showed up at Rock & Roll Hotel on Tuesday night and the former began their set, it became clear that this was in fact quite an inspired pairing. Both of these bands take a fundamentally rock style and add to it distinct Eastern influences — in Grails, it’s the acoustic guitar scales; in Om, the overwhelming Eastern mysticism that dominates their lyrics and overall approach.
I’ve never been blown away by Grails — with every one of their albums, including the new Burning Off Impurities, I feel like there are some really great moments, but they are separated by long stretches where nothing is really going on. Seeing them live only reinforced this impression, although the great moments were pretty freakin’ great. Unfortunately, the acoustic guitar parts kind of got drowned out in the louder sections, especially with their drummer pounding madly away (too loud). One of the band members was wearing an Ash Ra Tempel t-shirt, and I felt at their best this band evoked a kind of meditative mood that reminded me of classic Krautrocky ambience.
Om’s live performance also reinforced my impression of them based on their recordings. This band’s albums are meditative, heavily repetitive, stripped-down stoner metal, just bass, drums and vocals that are chanted more than they are sung. Somehow they manage to be mystical in a neo-hippie kind of way while simultaneously being heavy as fuck. Live, they pulled off this unlikely marriage of stylistic elements impeccably. Bassist/vocalist Al Cisneros is one intense-looking dude, staring into space the entire show as if he was being chased by demons no one else could see; and drummer Chris Hakius was all over the place, the driving force of the duo much of the time, weaving and bobbing his entire body even during the passages where his playing was mostly minimal.
They played four songs, I think, which lasted for over an hour. The clear highlight was an absolutely transcendent rendition of “At Giza,” my favorite piece of theirs, from Conference of the Birds (a brief excerpt of this song is on their Myspace page). The majority of this song is quiet and meditative, although in concert Cisneros’ bass was crushingly loud even in the softer sections. When the climax hits, Cisneros kicks in the distortion and Hakius starts bashing, the effect is unbelievable. The closing to this rendition of the song was just as awesome: the volume dwindled gradually, and Hakius ended the song by slowly reducing the volume of his drumming, tapping his cymbals delicately long after Cisneros had stopped playing, as the entire crowd listened in total, enraptured silence. When it ended I felt compelling to jump up and down screaming my brains out. That doesn’t happen very often.
They ended with “Bhima’s Theme” off the new Pilgrimage, but sadly this was ruined by excessive volume levels. On record, the middle section of this song is incredibly slow and quiet, just Cisneros’ bass playing quietly as he chants his mystic lyrics without accompaniment. Live, the bass was way too loud, killing the near-stillness that the quiet section evokes on record. Still, when the loud section kicked back in — distortion cranked and Hakius beating out a killer rhythm — the effect was awesome. I can only imagine how powerful this would have been if the quiet section had been properly quiet.
I was pleasantly surprised at how many folks showed up for this show. The crowd was pretty thin for Grails, but it seemed like the club, which fits 400 people in a pinch, was almost full for Om. Who knew that stoner metal had such an audience in DC?
Tuesday, October 30th, 2007
On a whim, and because lately I’ve found myself listening to more and more metal of all kinds, I just subscribed to Decibel Magazine. I’ve never actually even read a single issue, but I know Adrien Begrand writes for them and I like his work, so there was at least some inkling that I might like this publication. Also it was way cheaper than paying import rates for Terrorizer. Anyone a fan (or not) of this magazine?
More concert reports will be coming soon; I still need to write about Yo La Tengo, and last night I saw Robert Fripp, and tonight I’m going to see Alarm Will Sound (a 20-piece chamber group that plays interpretations of, among other things, some techno artist that named a song after a Mr. Bungle piece, Aphex Twin, and more expected things like compositions by Ligeti and John Adams), and tomorrow I’m going to see Bill Frisell. Whew!
One quick note about my current listening: the new Om album, Pilgrimage, is completely and utterly kicking my ass. Doom/stoner metal at its best. Can’t wait to see them live with Grails — I’m more excited about that show than I have been about anything I’ve seen in the past few months.