Arbouretum: Coming Out Of The Fog
Coming Out Of The Fog
CD
CD (Compact Disc)
Herkömmliche CD, die mit allen CD-Playern und Computerlaufwerken, aber auch mit den meisten SACD- oder Multiplayern abspielbar ist.
- Label: ThrillJockey, 2012
- Bestellnummer: 1391474
- Erscheinungstermin: 17.1.2013
Weitere Ausgaben von Coming Out Of The Fog
*** Digisleeve
"Coming Out Of The Fog" ist das fünfte Album der Band aus Baltimore um Bandleader Dave Heumann, der einst mit Bonnie Prince Billy in Anomoanon gemeinsame Sache machte. Unbeirrt von aktuellen Rock-Trends geht es ihnen
um poetische Texte und langsamen, kontinuierlichen Aufbau, nicht um die schnelle Befriedigung. Arbouretums Musik steht im krassen Gegensatz zu einer Kultur, in der es mehr um Video-und Track Placement als um Kritik und Diskurs
geht.
Dieses Album ist das fokussierteste und am besten aufgenommene Album bis dato. Heumanns Gesang ragt über seine Gitarrensoli und Corey Allenders knackige Basslines. Alle Songs bleiben unter der 7 Minuten-Grenze. Heumann, Allender, Brian Carey (Schlagzeug) und Matthew Pierce (Keyboard, Synthesizer, Schlagzeug), machen stilistisch da weiter, wo die prägenden Platten "The Gathering" und "Song Of The Pearl" aufgehört haben: bei den schleppenden, coolen Balladen, den "fuzzed-out burners" und der Heavyness, die den der Band eigenen Sound definieren.
It is a well-worn joke in rock circles, "they are big in Japan." Rather than spending their time searching for fame, Baltimore’s Arbouretum has instead concentrated on honing their craft. It just so happens that the muse that guides them is completely outside of current rock trends. Like Richard Thompson’s work from the mid-70s, the band’s poetic lyrics and slow, heavy build are not stuff of the quick fix. Their music stands in stark contrast to a culture that is more about video and track placement than criticism and discourse. As such, it should come as no surprise that they have found success in the United Kingdom, Thompson’s birthplace. Arbouretum has been praised in Mojo 4 star reviews that end with phrases like “It just does not get much better,” a Guardian piece proclaiming that they are “One of the most distinctive voices around” and an Uncut 4 star review calling the music “Dense, thrilling and literate.”
Coming out of the Fog continues Arbouretum’s journey as their most focused and best-recorded album to date. Dave Heumann’s vocals soar atop his guitar solos and Corey Allender’s crunchy bass lines. Arbouretum have reigned in some of their maximalist tendencies, with every song coming in under 7 minutes. Heumann, Allender, Brian Carey (drums), and Matthew Pierce (keyboard, synthesizer, percussion), continue to mine the same breadth of styles made familiar on The Gathering and Song of the Pearl, notably the languid ballads, fuzzed-out burners, and heavier songs that have defined the group’s unique doom laden folk-rock sound.
Throughout Coming Out of the Fog, Heumann’s vocals take on a meditative quality, melodies unraveling effortlessly over Carey’s steady grooves. Syncopated rhythms come to the fore on “The Promise,” building tension, and leading to a climax of synth swells and chromatic guitar lines. Elsewhere, on “Oceans Don’t Sing,” guest musician Dave Hadley’s plaintive pedal-steel guitar lays a bed for some of Heumann’s most impassioned singing set to tape. Spending time on pre-production allowed for a more detailed approach to recording. Carey’s drums were tuned specifically for almost every track on the album, and tape was used to achieve the warmth only found in analog.
When taken as a whole, the lyrical theme of an individual’s relationships and struggles with forces larger than one’s self emerges. In “The Long Night,” a protagonist is faced with a metaphysical blackness, a dark night of the soul. “Renouncer” was inspired by Colin Dickey’s book The Afterlives of the Saints. It references the story of Saint Simeon, who traveled into the Syrian Desert and lived perched on a column for 36 years, living a life of death in an attempt to become closer to God. Bolstered by Heumann’s naturalistic imagery, “Oceans Don’t Sing” reflects on humanity’s powerlessness in the face of time’s steady passing. An exception to much of the record’s darkness, the title track is calming and reassuring, carried by Pierce’s affecting, sparse piano lines. Coming Out of the Fog is a well-crafted thing of beauty, an album that reveals itself more with every listen and whose lyrics take the listener out of themselves.
(thrilljockey. com)
,,Die Doom-Folk-Stoner-Rocker aus Baltimore finden Gefallen an Zügelung und liefern ein Album ab, das sich gut für den Einstieg in ihre Welt eignet." (musikexpress, Februar 2013)
,,Für Fans klassischer, beseelter Rockmusik ist dieses mit jedem Hören weiter wachsende Album ein heißer Tipp." (Audio, März 2013)
,,Diese Viererbande hat für das britische Magazin „Mojo” „The #1 underground album of the year” und für das „XLR8R”-Magazin „the best doom folk record of all time”. Absolute Meisterwerke wie “Renouncer”, “The Promise” oder “Easter Island” sowie die abgehangene Ballade “Coming Out Of The Fog” lassen an derlei Lob keinen Zweifel aufkommen!" (Good Times, Juni / Juli 2013)
Dieses Album ist das fokussierteste und am besten aufgenommene Album bis dato. Heumanns Gesang ragt über seine Gitarrensoli und Corey Allenders knackige Basslines. Alle Songs bleiben unter der 7 Minuten-Grenze. Heumann, Allender, Brian Carey (Schlagzeug) und Matthew Pierce (Keyboard, Synthesizer, Schlagzeug), machen stilistisch da weiter, wo die prägenden Platten "The Gathering" und "Song Of The Pearl" aufgehört haben: bei den schleppenden, coolen Balladen, den "fuzzed-out burners" und der Heavyness, die den der Band eigenen Sound definieren.
Product Information
It is a well-worn joke in rock circles, "they are big in Japan." Rather than spending their time searching for fame, Baltimore’s Arbouretum has instead concentrated on honing their craft. It just so happens that the muse that guides them is completely outside of current rock trends. Like Richard Thompson’s work from the mid-70s, the band’s poetic lyrics and slow, heavy build are not stuff of the quick fix. Their music stands in stark contrast to a culture that is more about video and track placement than criticism and discourse. As such, it should come as no surprise that they have found success in the United Kingdom, Thompson’s birthplace. Arbouretum has been praised in Mojo 4 star reviews that end with phrases like “It just does not get much better,” a Guardian piece proclaiming that they are “One of the most distinctive voices around” and an Uncut 4 star review calling the music “Dense, thrilling and literate.”
Coming out of the Fog continues Arbouretum’s journey as their most focused and best-recorded album to date. Dave Heumann’s vocals soar atop his guitar solos and Corey Allender’s crunchy bass lines. Arbouretum have reigned in some of their maximalist tendencies, with every song coming in under 7 minutes. Heumann, Allender, Brian Carey (drums), and Matthew Pierce (keyboard, synthesizer, percussion), continue to mine the same breadth of styles made familiar on The Gathering and Song of the Pearl, notably the languid ballads, fuzzed-out burners, and heavier songs that have defined the group’s unique doom laden folk-rock sound.
Throughout Coming Out of the Fog, Heumann’s vocals take on a meditative quality, melodies unraveling effortlessly over Carey’s steady grooves. Syncopated rhythms come to the fore on “The Promise,” building tension, and leading to a climax of synth swells and chromatic guitar lines. Elsewhere, on “Oceans Don’t Sing,” guest musician Dave Hadley’s plaintive pedal-steel guitar lays a bed for some of Heumann’s most impassioned singing set to tape. Spending time on pre-production allowed for a more detailed approach to recording. Carey’s drums were tuned specifically for almost every track on the album, and tape was used to achieve the warmth only found in analog.
When taken as a whole, the lyrical theme of an individual’s relationships and struggles with forces larger than one’s self emerges. In “The Long Night,” a protagonist is faced with a metaphysical blackness, a dark night of the soul. “Renouncer” was inspired by Colin Dickey’s book The Afterlives of the Saints. It references the story of Saint Simeon, who traveled into the Syrian Desert and lived perched on a column for 36 years, living a life of death in an attempt to become closer to God. Bolstered by Heumann’s naturalistic imagery, “Oceans Don’t Sing” reflects on humanity’s powerlessness in the face of time’s steady passing. An exception to much of the record’s darkness, the title track is calming and reassuring, carried by Pierce’s affecting, sparse piano lines. Coming Out of the Fog is a well-crafted thing of beauty, an album that reveals itself more with every listen and whose lyrics take the listener out of themselves.
(thrilljockey. com)
Rezensionen
,,Die Doom-Folk-Stoner-Rocker aus Baltimore finden Gefallen an Zügelung und liefern ein Album ab, das sich gut für den Einstieg in ihre Welt eignet." (musikexpress, Februar 2013)
,,Für Fans klassischer, beseelter Rockmusik ist dieses mit jedem Hören weiter wachsende Album ein heißer Tipp." (Audio, März 2013)
,,Diese Viererbande hat für das britische Magazin „Mojo” „The #1 underground album of the year” und für das „XLR8R”-Magazin „the best doom folk record of all time”. Absolute Meisterwerke wie “Renouncer”, “The Promise” oder “Easter Island” sowie die abgehangene Ballade “Coming Out Of The Fog” lassen an derlei Lob keinen Zweifel aufkommen!" (Good Times, Juni / Juli 2013)
- Tracklisting
Disk 1 von 1 (CD)
- 1 The Long Night
- 2 Renouncer
- 3 The Promise
- 4 Oceans Don't Sing
- 5 All At Once, The Turning Weather
- 6 World Split Open
- 7 Easter Island
- 8 Coming Out Of The Fog
