http://www.facebook.com/events/319572728095717/
Showing posts with label The Atlas Moth. Show all posts
Showing posts with label The Atlas Moth. Show all posts
Wednesday, February 22, 2012
Arriver LP Listening Party...Tonight!
Stavros Giannopoulos (of The Atlas Moth) DJ's tonight at Ultra Lounge (2169 N. Milwaukee Ave., Chicago, IL 60622) at the listening party for the release of the new Arriver "Tsushima" LP on BloodLust! The event includes drink specials, music and screen-printed poster giveaways!
http://www.facebook.com/events/319572728095717/
http://www.facebook.com/events/319572728095717/
Friday, December 30, 2011
Monday, October 17, 2011
Pitchfork on The Atlas Moth
It is fitting that, after seeing The Atlas Moth last night, who played a triumphant homecoming show, Pitchfork just published an extremely positive review of their new album, with an interesting mention of "Courage"...
"Horse Thieves" is the final and best track on An Ache for the Distance, the second album by Chicago's distorted doom squadron the Atlas Moth. It opens with a pit-of-hell black-metal sigh: Vocalist/guitarist Stavros Giannopoulos sounds as malevolent as Malefic once did on Sunn O)))'s Black One, when the Xasthur leader infamously recorded his vocal parts from inside a coffin that was itself inside a Cadillac hearse. Appropriately, Giannopoulos sings of the end with apocalyptic imagery, a would-be horseman requesting that a "divine mare" help him spread an unspoken plague. "Our light has been eclipsed, the tides washing ashore," he screams, his voice so serrated, his tone so saturated, that the words are barely decipherable. The sound is threatening enough, with words or not. Indeed, even during what turns out to be a fairly indelible chorus, "Horse Thieves"'s voices vacillate between dark, darker, and darkest. It's like a seven-minute history of the progression of black-metal vocals from the basements of Oslo 20 years ago to, these days, high-end recording studios.
But the Atlas Moth aren't a black metal band-- at all. Rather, they're one of a growing legion of bands to use bits of that form-- and, really, everything from stoner metal to psychedelic rock, free jazz to electric blues-- to make militantly adventurous heavy metal. In fact, when Giannopoulos is howling his imprecations during "Horse Theives", he's backed by a slow, stubborn, swaggering blues riff and a rhythm section that has more to do with Mono's escalating brood than Mayhem's shrieking ferocity. Jamie Branch streaks the song's bridge with trumpet hiss, while Andrew Ragin puts down his guitar to add eerie piano jet wash. It all sounds like some awesome, evil vaudeville after-party that, after an impasse, somehow erupts into a sludgy sing-along about a serpent's tongue and staying alive.
Such patent unpredictability and versatility fuel the entirety of An Ache for the Distance, a dense, 45-minute listen that never seems to stop revealing new aspects and assets. The Atlas Moth are an excellent three-guitar quintet as capable of heroic, spiraling leads (see the start of "Coffin Varnish") as they are thick, interlocking lines that serve more as a working matrix for the lyrics, as with "Your Calm Waters". Giannopoulos takes the lead on that track, crying out for a commitment of assistance should he not make it out alive. "Before you climb off, check the pulse/ Bring me back to life," he yells. His call is actually answered by David Kush, the Atlas Moth's sort of hook singer (the liner notes credit him with "clean vocals"). Throughout Distance, he and Giannopoulos trade lines and parts, occasionally creating conversations between hope and despair.
Lyrically, Distance is anchored on old-fashioned worry for the future; as with those blues guitars and rock'n'roll drums, Kush's hooks, which strangely split the difference between Hawkwind and Hot Topics, create tension for Giannopoulos' protestations. They make his bleak seem that much bleaker. What's more, Kush's singing prevents the album's one collaboration from seeming out of place. Mark Solotroff is best known for his work in power electronics as Bloodyminded, but on "Courage", he sings like Mark Kozelek fronting Jesu. The unlikely ballad offers a perfect respite for Distance's general roar and, once again, reveals another capability of the band without squandering too much of the album's propulsion.
The divide between advocates for purity and post-everything blends feels particularly polarized right now-- not just in metal or even music, but in entertainment at large and politics. The Atlas Moth certainly falls into the latter category, churning ideas sometimes considered mutually exclusive inside one relentless package. Importantly, though, it feels neither like a pastiche nor like a pretense. On only their second album, the Atlas Moth have successfully captured a signature, singular mix of ideas and impulses, quickly covering a distance that others waste careers trying to match.
But the Atlas Moth aren't a black metal band-- at all. Rather, they're one of a growing legion of bands to use bits of that form-- and, really, everything from stoner metal to psychedelic rock, free jazz to electric blues-- to make militantly adventurous heavy metal. In fact, when Giannopoulos is howling his imprecations during "Horse Theives", he's backed by a slow, stubborn, swaggering blues riff and a rhythm section that has more to do with Mono's escalating brood than Mayhem's shrieking ferocity. Jamie Branch streaks the song's bridge with trumpet hiss, while Andrew Ragin puts down his guitar to add eerie piano jet wash. It all sounds like some awesome, evil vaudeville after-party that, after an impasse, somehow erupts into a sludgy sing-along about a serpent's tongue and staying alive.
Such patent unpredictability and versatility fuel the entirety of An Ache for the Distance, a dense, 45-minute listen that never seems to stop revealing new aspects and assets. The Atlas Moth are an excellent three-guitar quintet as capable of heroic, spiraling leads (see the start of "Coffin Varnish") as they are thick, interlocking lines that serve more as a working matrix for the lyrics, as with "Your Calm Waters". Giannopoulos takes the lead on that track, crying out for a commitment of assistance should he not make it out alive. "Before you climb off, check the pulse/ Bring me back to life," he yells. His call is actually answered by David Kush, the Atlas Moth's sort of hook singer (the liner notes credit him with "clean vocals"). Throughout Distance, he and Giannopoulos trade lines and parts, occasionally creating conversations between hope and despair.
Lyrically, Distance is anchored on old-fashioned worry for the future; as with those blues guitars and rock'n'roll drums, Kush's hooks, which strangely split the difference between Hawkwind and Hot Topics, create tension for Giannopoulos' protestations. They make his bleak seem that much bleaker. What's more, Kush's singing prevents the album's one collaboration from seeming out of place. Mark Solotroff is best known for his work in power electronics as Bloodyminded, but on "Courage", he sings like Mark Kozelek fronting Jesu. The unlikely ballad offers a perfect respite for Distance's general roar and, once again, reveals another capability of the band without squandering too much of the album's propulsion.
The divide between advocates for purity and post-everything blends feels particularly polarized right now-- not just in metal or even music, but in entertainment at large and politics. The Atlas Moth certainly falls into the latter category, churning ideas sometimes considered mutually exclusive inside one relentless package. Importantly, though, it feels neither like a pastiche nor like a pretense. On only their second album, the Atlas Moth have successfully captured a signature, singular mix of ideas and impulses, quickly covering a distance that others waste careers trying to match.
Tuesday, September 20, 2011
The Inarguable on The Atlas Moth
The Inarguable has posted a great review of the new album by The Atlas Moth. My thanks to Jon for the kind inclusion!
The Atlas Moth - "An Ache For The Distance" (2011) [Profound Lore Records]
Melding spacey sludge with progressive rock (more Pink Floyd than King Crimson) and a love for psychedelic pop bands, An Ache For The Distance is a refreshing take on the "post-metal" genre about which I complain in at least 30% of my reviews. Unlike previous efforts, this album shows The Atlas Moth toning down the blues influence that encapsulated A Glorified Piece Of Blue-Sky for a more melody-driven, dense trip through massive doom riffs, trippy psychedelia, and spine-tingling triple-guitar harmonies. While this is undoubtedly a doom metal album, it is definitely The Atlas Moth's influence outside of metal that truly makes this album stand out. Take, for example, the bizarre, Jesus Lizard-inspired introduction to "Perpetual Generations" or the constant, atmospheric presence of bands like Deftones or The Flaming Lips, merged tastefully with Giannopoulos's blackened shriek and guitarist David Kush's (what a fitting last name) gruff singing voice. Oh, and Anatomy of Habit/Bloodyminded's Mark Solotroff has a powerful voice cameo on the syrupy "Courage"; it's always wonderful to see musicians within the Chicago scene collaborate with such magnificent results.
After listening to this album nonstop for the past few weeks, I'm convinced that in a few short years we can see The Atlas Moth filling up stadiums, co-headlining tours with Mastodon, and having some sort of major record deal. An Ache For The Distance has that sort of accessibility while still retaining its fresh originality, which is a rare, rare feat in today's music world. This is unlike any other metal out there, and is by far one of the coolest albums I've come across in the few years I've been a self-proclaimed music nerd. This comes out tomorrow, September 20th, on powerhouse label Profound Lore Records, and is deserving of all your money. Be sure to catch these guys on tour throughout September and October with labelmates KEN Mode.
RIP Stavros's moustache.
-Jon
Wednesday, August 17, 2011
American Aftermath on An Ache For The Distance
A great review of the new The Atlas Moth album (which, coincidentally, is playing as I type this) that favorably mentions "Courage," the track that I wrote/sang:
http://americanaftermath.net/2011/08/17/review-the-atlas-moth-an-ache-for-the-distance/
By: Ross Gnarly
The first thing I want to talk about is the amazing guitar work; always melodic, powerful and covered in distortion. The opening track “Coffin Varnish” contains a beautifully orchestrated main riff. Complex and masterful, what else could you ask for? This band obviously plays the stoner metal card and uses it to create odd ambience everywhere possible. Other tracks with exceedingly infectious riffing would be “Holes In The Desert” and the title track, “An Ache For The Distance.” Both tracks are extraordinarily layered and structured. Other tracks such as “Courage” have a different vibe all together. This track contain clean vocals, soft, ambient guitar work and a slow but steady tempo. This track is one that I would call haunting. Not because of the negative or misanthropic vibes because those are not at play (not to me anyway), but because of the atmosphere and overall nature of the song. It’s slow and simple but complex and empowering at the same time.
http://americanaftermath.net/2011/08/17/review-the-atlas-moth-an-ache-for-the-distance/
Review: THE ATLAS MOTH – “An Ache For The Distance”
By: Ross GnarlyThe Atlas Moth is a band that I highly respect. I haven’t gotten to deal with the band a whole hell of a lot, but I have talked to Stavros on a few occasions. He seems to be a pretty stellar dude, so when he told me that the new album would be fantastic; I knew he wasn’t playing around. This album is some serious shit. The opening track, “Coffin Varnish” was released a few weeks ago and ever since, I have been painstakingly waiting to hear the album as a whole. I received it and as soon as it started, I was blown away. Melodic, atmospheric stoner jams. Amazing musicianship all around; every track has an interesting element that equally work together to make the priceless anomaly. This band is truly a staple in stoner metal today and I am honored to listen to their work this time around. I have thought for quite some time that this band had some serious potential and now they have their chance to prove that they are unlike any other band.
The first thing I want to talk about is the amazing guitar work; always melodic, powerful and covered in distortion. The opening track “Coffin Varnish” contains a beautifully orchestrated main riff. Complex and masterful, what else could you ask for? This band obviously plays the stoner metal card and uses it to create odd ambience everywhere possible. Other tracks with exceedingly infectious riffing would be “Holes In The Desert” and the title track, “An Ache For The Distance.” Both tracks are extraordinarily layered and structured. Other tracks such as “Courage” have a different vibe all together. This track contain clean vocals, soft, ambient guitar work and a slow but steady tempo. This track is one that I would call haunting. Not because of the negative or misanthropic vibes because those are not at play (not to me anyway), but because of the atmosphere and overall nature of the song. It’s slow and simple but complex and empowering at the same time.
Of course, being a stoner band, there will also be elements of doom metal encompassed in their sound. This can be found in the track “Horse Thieves” and it has a much darker vibe than the aforementioned “Courage.” The vocals are shrill shrieks of terror and dismay. The guitar work is slow and smooth, as always covered in distortion. As always, the band expresses nothing but amazing musicianship and song structuring. The vocals on “Horse Thieves” are tortured and cryptic at the beginning before leaning more towards a black metal approach. Amazing.
Once more, The Atlas Moth has given me more than a few reasons to love an album. Everything this band has put out in the past has been spectacular and now with this album under their belts, it is obvious that they will not be calling it quits anytime soon. This is, in my opinion, The Moth’s best work yet. When this album drops, snatch it up. It must be heard by the masses. Unbelievable all around, this band can do no wrong.
Rating: 10/10
Monday, April 18, 2011
Tonight in Chicago
Friends and local heavyweights The Atlas Moth (guitarist/keyboardist Andrew Ragin engineered the forthcoming Anatomy of Habit LP) play on an intense bill tonight at Beat Kitchen with Doomriders and Floor.
Monday, June 21, 2010
Weekend Recap
My weekend is your month, or some such Lou Reed-ism. I only have a moment, or two, but I wanted to type a few words about the weekend's shows... The whole thing far exceeded my very high expectations. Saturday night at The Empty Bottle was marked by a sell-out/capacity crowd, a really great range of sets overall, a brutal performance from Nachtmystium [whose new album has been stuck on repeat at my place for a few days now... the only thing to dislodge the new Indian Jewelry], and Eyehategod not only playing their groundbreaking first album from start to finish, but then playing a heap of other songs. How the hell do they do it? I had a successful appearance with Plague Bringer, playing synth [yes, the new little Korg Monotron] and doing vocals on their newest, unreleased track. Kenny did our live sound again, which made the whole thing that much better. Major thanks to Greg and Josh for asking me to join them live again... I had an excellent time with them, as before! It was a totally epic night, to say the very least. Yesterday at Reckless went so unbelievably smoothly -- and the potential for meltdown -- this had all been planned via e-mail, telephone, and down-to-the-wire conversation -- quickly became a moot point, as everyone focused on the task at hand, slowly building up layers and layers of sound [synth, bass, guitar, FX...] and voice that lead to a dense and crushing fog of noise that surrounded the crowd. Mike, Joey, Ryan, James, and Isidro all handled their shit as if we all play together on a regular basis. I could not have been more pleased by how we turned "Ten Suicides" into something more... and how that song has developed a life of its own, in a way, with the "naked voice" (a cappella) style, multiple versions with Jason Schuler from Cadaver in Drag, and now this beast. I was also really pleased to see such a great turnout - on Father's Day - and after a VERY late Saturday night blow out. My thanks to everyone who came out to support! Thanks also to Jim Magas for the great PA set-up/live sound support, Dave and Chris at the store for their organization and willingness to host us, Emily at the Broadway store for getting the ball rolling, and Dylan at the Downtown store for the initial hook-up. At one point during the set, I saw smoke out of the corner of my eye and I thought, god damn it Joey, you can't smoke in this store... but then I looked over and he did not have a cigarette... I thought that I had imagined it, but I was later told that the smoke had billowed from one of the speakers. Fuck! We had a great post-show afternoon/evening around Wicker Park, with various friends, and then last night's show at The Empty Bottle was another full-on barn-burner... I only managed to catch the tail end of Yakuza, unfortunately [sorry!]... The Atlas Moth was heavy, raging, and fantastic - tight as hell... Nachtmystium totally slayed again - the new line up is a devastating live force... and then Eyehategod - no surprise, really - played an even more intense set than the night before. Granted, their second album has a different force/velocity to it, but christ, it was such an insane set! It was great to have them in town for two days and to be able to hang out a bit, play the in-store, etc. Cheers to all of them, but big fucking love and thanks to Mike and Joey for all of the extra energy, enthusiasm, and effort to FINALLY make this noise thing happen, after discussing it for years, literally. Great to meet and hang out with Ryan, too! The Guilt Of... CD is just a few weeks away...
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