Earth recently reissued an album of early recordings, A Bureaucratic Desire for Extra-Capsular Extraction. Groundbreaking and baffling at the time of its original release, it marked the band as pioneers of a distinctive sound that continues to bloom; with each new studio album, they evolve. Openness to and experimentation with sound and instrumentation ensure Earth’s ability to remain consistently interesting and undoubtedly unique.
The most recent sonic shifts are driven, in part, by...
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Earth recently reissued an album of early recordings, A Bureaucratic Desire for Extra-Capsular Extraction. Groundbreaking and baffling at the time of its original release, it marked the band as pioneers of a distinctive sound that continues to bloom; with each new studio album, they evolve. Openness to and experimentation with sound and instrumentation ensure Earth’s ability to remain consistently interesting and undoubtedly unique.
The most recent sonic shifts are driven, in part, by changes in line-up and instrumentation: joining guitarist Dylan Carlson and drummer Adrienne Davies on the recording are cellist Lori Goldston (Nirvana, David Byrne, Black Cat Orchestra, etc.) and bassist Karl Blau (K Records, Laura Veirs, Microphones, etc.). The touring band will feature Carlson, Davies and Goldston,with Angelina Baldoz on bass.
For its new album, Angels Of Darkness, Demons of Light: I, Earth returned to Avast studios to work again with producer Stuart Hallerman, producer of many iconic Northwest recordings, including the seminal Earth 2.
Heavy, lush and melodic, it draws inspiration from folk-rock bands like the Pentangle and Fairport Convention, and the North African Tuareg band Tinariwen. It is deeply textured, interlaced with fluid, nuanced improvisation. Angels acknowledges Earth’s jazz-infused Americana of 2008’s The Bees Made Honey In The Lion's Skull as well as their singular, epic, glacial heaviness.
The long, droney arc of Angels’ tracks maintain a mysterious surface tension above its mysterious churning waters. The instruments weave in urgent dialog; the guitar snarls, whispers and roars, the drums loom like a mountain range, the cello howls and the bass answers back. They reveal both epic fullness and highly crafted counterpoint. In Carlson’s words: “To me we’re less Wagnerian and more Debussy-like now.”
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