From Broken Face
Tuesday, August 25, 2009
Locrian Drenched Lands
Admittedly I didn’t know much about Chicago’s Locrian when Drenched Lands arrived at my doorstep a few months back, but the darkly seducing sounds swept me away within seconds, or at least minutes. It starts slowly with desolate, grainy guitarscapes that moves into a drone that sounds like tumbleweed on its way to burst into fire at any given second. There’s so much energy packed within every segment that it makes me afraid that the involved won’t be able to stay away from the noise crescendo for much longer. But they stick to the tortured power drone for as long as it’s needed. We get shards of feedback from the wastelands and endless loops that seem to be conjured from dark wells, twisting around its own axis in the infinite darkness before briefly rediscovering the white light.
It’s been long since I heard anyone describing alienation in society with the same unrelenting force, but at the same time displaying so much emotion. Most tracks definitely nods in the noise/drone direction while others maintain the magically resonating damaged soundscapery but at the same time pirouettes into something a whole lot more organic. Sure, this is experimental and primitive in its nature but the feedback squalls are presented in such an atmospheric, melodic and even melancholic way that it despite its heavy origins strikes me as very emotional. Drenched Lands is a true masterpiece that manages to sound surprisingly original and it will for sure be on my top ten list when it’s time to wrap up the year.
Admittedly I didn’t know much about Chicago’s Locrian when Drenched Lands arrived at my doorstep a few months back, but the darkly seducing sounds swept me away within seconds, or at least minutes. It starts slowly with desolate, grainy guitarscapes that moves into a drone that sounds like tumbleweed on its way to burst into fire at any given second. There’s so much energy packed within every segment that it makes me afraid that the involved won’t be able to stay away from the noise crescendo for much longer. But they stick to the tortured power drone for as long as it’s needed. We get shards of feedback from the wastelands and endless loops that seem to be conjured from dark wells, twisting around its own axis in the infinite darkness before briefly rediscovering the white light.
It’s been long since I heard anyone describing alienation in society with the same unrelenting force, but at the same time displaying so much emotion. Most tracks definitely nods in the noise/drone direction while others maintain the magically resonating damaged soundscapery but at the same time pirouettes into something a whole lot more organic. Sure, this is experimental and primitive in its nature but the feedback squalls are presented in such an atmospheric, melodic and even melancholic way that it despite its heavy origins strikes me as very emotional. Drenched Lands is a true masterpiece that manages to sound surprisingly original and it will for sure be on my top ten list when it’s time to wrap up the year.
