The Gowi Zone -- Currently Listening: 2022-2023

[mickilennial]

Well, looks like I have some records I need to listen to (sans Singulacra, which I discussed last year when it was in the ALC). Oops. I guess all I can say is my involvement on BEA for a while got prioritized or redirected elsewhere and my listening log kind of fell to the wayside. These things happen, I guess.

Anyhow, it's time for something new.

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Obsidian Arc by Pillorian
Release Date: March 10, 2017
Genre(s): Black Metal, Dark Folk
Origin: United States

This is a eulogy to the greatest American metal band in the genres entire history.

After twenty-five years Agalloch announced their departure as a collaborative project with their final album, The Serpent & the Sphere realizing to a mixed reception by the community at large—but few could see what was coming and when Agalloch announced their disbanding on May 13th it came as a surprise. But The Serphent & the Sphere didn’t feel like that ending, it couldn’t. But Obsidian Arc does.

Despite missing the other principal members of Agalloch (Don Anderson and Jason Walton), John Haughm does an inspiring turn that ultimately feels stronger than anything Agalloch has done since The Mantle. Joined by Trevor Matthews (Uada, Infernus) and Stephen Parker (Maestus, The Will of a Million) I feel like Haughm is re-energized with this new project that could very well turn into another iconic addition to the black metal canon. It isn’t transcendent, but listening to Pillorian makes me think this is not only the curtain call to Agalloch as a project but also a new beginning to the future. Musically there isn’t anything that can be called particularly new or innovative in the formula, but the songcraft itself is still exceptionally strong and Haughm gives his best vocal performance in years. It gives me the impression that I like out of atmospheric black metal yet is fast and doesn’t lack any sort of vigor; it’s the perfect balance of rage, melancholy, and despair—which, to me, is exactly what defines a good black metal record.

And this is a good black metal record.

Favorite Track: “The Vestige of Thorns”

[mickilennial]

Been a good hot minute, hasn't it? Anyway, this morning's addition is the newest from one of my favorite outfits out of the Swiss Alps, Eluveitie.

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Evocation II - Pantheon by Eluveitie
Release Date: August 18, 2017
Genre(s): Celtic Folk Music, Folk Rock
Origin: Switzerland

It’s been three years since Eluveitie released Origins, an album intended to get the Swiss folk metal outfit back on track after a series of changes and setbacks – and the byproduct is thankfully pretty great despite allowing the band’s metal sensibilities to take a backseat to the folk component of the music that I find a lot more sonically interesting than the melodic death metal trappings that were originally the central focus of the band. It also happens to be a change that suits Eluveitie’s new female vocalist, Fabienne Erni, whom takes the place of Anna Murphy following her departure from the band.

Similar in many ways to the first Evocation but accounting for Fabienne Erni’s energy and vocal stylings it just seems ultimately that this follow-up overshadows the first attempt in 2009 by a country mile. Whilst there is little-to-no elements of the metal element, the compositions are utterly fantastic and distinctly inspired. For some this could be seen as some sort of step back, but I’ve always personally found the folk elements of Eluveitie far more creative than just going through the motions with the same Gothenburg trappings that have obviously grown stale over time. I think this will be the beginning of a new era for the folk metal outfit, though I hope they find a good balance of metal ideas and folk ideas with the record that comes after Evocation II. But for now I wager I’ll be listening to this one for a long time.

Favorite Track: “Lvgvs”

[mickilennial]

Decided to go over this one today.

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Substance by New Order
Release Date: August 17, 1987
Genre(s): Post-Punk, New Wave, Synthpop
Origin: United Kingdom

I abhor listening to compilations for the most part, but I feel like revisiting 1987’s Substance. I’m not going to detail a review proper, but I will concede this much: I enjoyed it a lot more than my last listen to this record a few years ago. There’s plenty to like about this selection, but I just don’t enjoy the grooves and textures here as much as other people do.

Joy Division is better.

Favorite Track: “Ceremony”

[mickilennial]

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Appetite For Destruction by Guns N' Roses
Release Date: July 21, 1987
Genre(s): Glam Metal, Hard Rock
Origin: United States

This is kind of boring, not sure why I ever liked this derivative schlock. Just not very interesting or dynamic.

Favorite Track: “My Michelle”

[mickilennial]

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Vanessa Paradis by Vanessa Paradis
Release Date: September 21, 1992
Genre(s): Baroque Pop, Pop Soul
Origin: France

#94 on my Favorite Albums of 1992.

There’s something I like about this one. Vanessa Paradis’ 1992 self-titled was one of the first albums [that I can notice] that was part of the early trendsetters of bringing lush baroque pop orchestration into the 1990s. I connect to the record in the same way I do so to The Cardigans, though this one doesn’t really have the “twee” aspect present at all. They do however have pop-soul trappings that callbacks brill building staples in an attempt to elevate the record.

I think it does a fine job in that regard.

I’ve still yet to fully explore Vanessa’s discography as a result, though as I revisit this random find I still find myself enjoying it wholeheartedly. Though I do worry that too much of the sublime brilliance here is the byproduct of arrangements and production efforts done by Lenny Kravitz and David Domanich.

Favorite Track: “Silver and Gold”

[Yann]

[Yann]

[Yann]

[mickilennial]

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Danger In The Past by Robert Forster
Release Date: 1990
Genre(s): Singer/Songwriter, Jangle Pop
Origin: Australia

Sometimes feels like a Jangle Pop opus with slowcore leanings, othertimes it just feels right.

After putting out 16 Lovers Lane, the Go-Betweens were already legends of the college radio scene due to their invaluable input on defining a musical style that had become known as jangle pop. Robert Forster decided to work on his own album and in many ways it feels greater than any album he had done beforehand. On most days I think this is a better record than even 16 Lovers Lane. One of the best records of 1990.

Favorite Track: “Is This What You Call Change?”

[Repo]