|Музыка:||Earth and Pillars - Earth I|
REVIEW: Earth and Pillars -- Earth I (2014, Avantgarde)
One of the benefits of sticking to compact discs is similar to
that of the archaeological excavations. The liberation of music industry
in late 80s and the advent of CDs have laed to massive proliferation of
all sorts of oddities that anyone who is not a devoted fan of the
specific genre is unaware of. A decade and a half of unrestrained
publishing left a rich layer of artifacts and curiosities that soon
went forgotten, in many cases quite unjustly so. An inquisitive soul
with a few hours of spare time on one's hands and burden of nostalgia
occasionally stumbles upon pieces like this.
The case in point is the first album of the Italian project
Earth and Pillars, whose cover on the second edition on Avantgarde
music looked a lot like some EP by Agalloch who also have a song
about pillars. As it turned out, this was not merely a coincidence.
The band plays the atmospheric black metal on which West Coast sound
definitely left its imprint, specifically, the early Wolves in the
Throne Room and Velvet Cacoon come to mind. Another obvious point of
reference is the attempts of Vinterriket at playing black metal.
Christoph Ziegler is mostly an ambient (and, recently, neofolk) artist
whose takes on BM mostly reduce to ambient music played with distorted
guitars and, as result, by and large, fail miserably. In a setting with
musicians originally rooted in lack metal, however, this plays out quite well
Likewise, Earth and Pillows also mitigates abstract nature of dark ambient
with more organic textures of post-West Coast, post-post-rock sound.
Being similar to Battle Dagorath in format (the Italians stick to
long buzzing semi-hypnotic excursions) is not as harsh as the former;
perhaps, Italy is indeed warmer than Switzerland. If you like one chances
are you will like the other.
Earth and Pillars are of minority projects in the subjenre that include
more than a single player. The lineup is traditional guitar, bass, and in
this case, a drum machinist. I am very skeptical of electronic drums, but
in this case they are passable as they are buried deep enough in the mix of music
intended to be trancelike that their implementation no longer matters.
The same goes for vocals, which are decent and shifted from the canonical rasp
towards semi-growl more common currently. You see, black metal is evolving, too.
The biggest problem of this album is that, while being good and competitive
(surprisingly so) by itself, it is released about a decade and a half too late,
after a brief revival of the strain of harsh semi-abstract of black metal
at the turn of the century.
To form an independent opinion, proceed here.