Solilians 'Angels Of Darkness, Demons Of Light' (the song) is an astounding revelation. Video copilot plugins for after effects cs4 free download. One of the most illuminating / enlightening pieces of improvisation ever to swirl through air. Schardy81 I really love this album is so different then anything else I've ever heard. Very deep and relaxing. The ambient materialism of Angels of Darkness, Demons of Light II presents a similarly weird, irregular surface upon which, unevenly pressed, a codex of dark ecstasies and florid circumlocution lies — traceable by touch, cogent in dreams, the fibers of its text bear the weight of a psychedelic meisterwerk. It conjures images of fossils, of.
Earth – Angels of Darkness, Demons of Light 1
Southern Lord: 2011
Angels of Darkness, Demons of Light I, an Album by Earth. Released 7 February 2011 on Southern Lord (catalog no. Genres: Drone, Post-Rock. Rated #522 in the best albums of 2011. Featured peformers: Adrienne Davies (drums, percussion, writer, producer), Lori Goldston (cello, devices), Dylan Carlson (electric guitar, devices, writer, producer), Karl Blau (electric bass guitar. With Angels of Darkness, Demons of Light, Vol. 1- the first of two thematic albums proposed for 2011 - that's still the case, but Carlson and longtime drummer Adrienne Davies have succeeded in opening up Earth's soundscape texturally and pushing beyond what was achieved on Bees. Angels of Darkness, Demons of Light I is the sixth full-length studio album by the band Earth, released on Southern Lord Records. Cello is introduced as a new instrument, along with the usual ones being used since the album Hex. Dylan Carlson describes the album as more melodic and riff oriented. The second part of the album was released in 2012.
As your speakers are crushed by the first riff of 'Old Black' – the opening track on Earth's latest, Angels of Darkness, Demons of Light 1 – images begin flashing across your brain. Instantly, your mind takes you back to the old West. Tumbleweeds, whiskey, and gunplay are some of your first thoughts as your brain jumps from a saloon, where a violent fight has broken out, to a dusty prairie where you see a strong, hunched figure in the distance.
It's your run-of-the-mill cowboy. But he's not grinning sarcastically or trying to look tough. He's barely capable of standing. He's lurching, at best, and he plummets to the dirt, fists first, only to push himself back up to continue his trek. There are bullet holes all over his jacket and he's bleeding badly, barely able to breathe without coughing up a bit of blood. And he hits the ground again, only to stumble to one knee before you rush to his side. The cowboy looks at you, coughs twice, and begins waxing on his current state of pain and anguish.
And just like that, you're immersed in the sounds of Angels 1. It's Earth's first album since 2008's immense and critically acclaimed The Bees Made Honey in the Lion's Skull. And like that record, Angels 1 follows the band's sonic progression made evident on 2005's Hex. It was that project that brought forth Earth's new sound and style. It also marked the return of Dylan Carlson, who, if you don't know, is the man behind Earth. Prior to Hex's release, the band hadn't released anything since 1996's Pentastar: In the Style of Demons, an affair very much in line with their origins in soul-shattering, droning doom metal.
To be fair, Carlson was beginning to show his movement toward slightly more straightforward rock there. But he would soon run into drug and legal troubles, which resulted in his taking considerable time off from music to focus on fixing his personal life. Nine years later, Hex hit us all like a ton of bricks with its country music influences and less distorted guitar work. And as Carlson and company continued recording, his music kept on growing and expanding on the drone doom sound that he pioneered early in his career.
Now, that's not to say Earth's music has all of a sudden become entirely accessible and palatable for your every-day music listener on Angels 1. The songs are all longer than seven minutes, with the title-track closing the album at 20-plus minutes. And amidst the cleaner tones it's still got some heaviness that might turn off some of you. But there's a lot more traditional musicianship along with more focused songwriting throughout Angels 1. That can be partially attributed to Lori Goldston, whose cello playing adds a frazzled haunting vibe, especially on 'Father Midnight'.
Elsewhere, though, Carlson's immense guitar remains the focal point of Earth, from his echoing strokes on the chilling-yet-gorgeous 'Descent to the Zenith' to the brighter, rising tones of the title-track. Yet, his licks are at their best when accompanied by finely juxtaposed, gruff bass riffs, such as on 'Hell's Winter'. There is also ample emotion being evoked across Angels 1‘s hour-long run time. It's an extremely dark, brooding affair that brings to mind the aforementioned battered and bruised cowboy. That cowboy, in the case of the album, is Carlson, who has been suffering from health-related issues. He has said in interviews that it's likely his personal trials have made their way into his songwriting, which is why an air of mourning can be heard here.
The fact that he's able to convey that much feeling across a fully instrumental piece without resorting to crescendos, bright guitars, or other cheap emotive tactics says a lot about the record. Even if you're frightened by the longer-than-long track lengths, the heavier guitars, and the lack of vocals, Earth's latest album deserves your attention.
4 out of 5Look. Before I write any further I want to go on record as being a ‘fan' of Earth. I've genuinely enjoyed their music and followed their evolution with interest and enthusiasm over the years. When they dropped so much of the out and out ‘drone' thang on ‘Pentastar', I still dug it. When they added a drummer, I still dug it, and when they went full-tilt wide-open plains dusty hat Americana I really embraced the change.
‘Hex' was a great record, and ‘Live Hex' really brought out a lot from that music, thanks to the trombone and keys of the fabulous Steve Moore. 2008's ‘The Bees Made Honey…' was a subtle progression with an expanded palette that really opened Earth's soundworld up…but…now we have ‘Angels Of Darkness, Demons Of Light 1' and I have to say, it does feel like a stagnation rather than a further progression.
I realise that this puts me into a minority and makes me deeply unpopular but, you know, I've had a bit of time to really get to grips with this record and I can honestly say that it bores me.
There, I've said it. Sorry folks but I find it deadly dull.
Darker in tone than its predecessor, with a more ‘naturalistic' feel and sound to the production and a grittier guitar tone at times, it seems that the slight changes in sonics and atmosphere are the only real differences between ‘Angels…' and the music that preceded it. New bassist Karl Blau is more prominent than previous bassists, his warm bass tones adding a nice punch to Dylan's minimalist guitar strokes, but cellist Lori Goldston is a poor alternative to the keys and trombone of Steve Moore, mostly being woefully low in the mix, hovering on the edge of hearing.
Carlson has described the music contained herein as being ‘less Wagnerian, and more Debussy-like now', which I can understand, to some extent, but to my ears it just means that any sense of overt dynamics or subtle bombast has been replaced by a more ambient approach – this album tends to just ‘happen', it drifts along in a haze. Not much really leaps out of the morass and sticks in the memory, I'm afraid.
‘Old Black' contains a very eastern-sounding wah-wah section that I find very reminiscent of latter-day Soundgarden, think the more low-key ‘psychedelic' touches on ‘Down On The Upside', and also oddly reminiscent of Sun City Girls epic ‘Ghost Ghat Pass' on their majestic imaginary-world-music opus ‘330,003 Crossdressers from Beyond The Rig Veda' – partly down to that eastern sound and partly down to the skirling cello sounds behind the guitar having a touch of Eyvind Kang to them.
Demons Of Darkness Olivia B
‘Father Midnight' lazes along like a very sleepy river, punctuated by languid jazzy chords, and thick with warm bass. ‘Descent To The Zenith' shimmers with a coating of univibed guitar, and ‘Hells Winter' is pretty much more of the same but with the univibe turned off. The title track closes ‘Angels Of Darkness…', emerging from a miasma of womb-like bass and subtly-applied guitar, unfolding ever so slowly over twenty minutes and ultimately going nowhere. Apparently this track is mostly improvised and heralds a direction that will be carried on into ‘Angels of Darkness, Demons Of Light 2', but, it saddens me to say, I very much doubt I'll stick around to hear it.
Angels Of Darkness Demons Of Light Ii
This record plods and trudges along and basically functions as sonic wallpaper. It does not build to anything nor reach any kind of conclusion, just drifts along in a narcotised haze. I'm sure many, many people will dig it for that reason alone, but for me it does nothing. Sorry folks.
Label:Southern Lord
Website: www.myspace.com/earthofficial
Scribed by: Paul Robertson Aashiqui 1990 songs download.
