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There are two main differences between SUN AWAKENS and previous Six Organs albums: Chasny is joined on this disc by drummer Noel Von Harmonson, whose work is more spare and muted than the percussion on previous albums. And the album ends with a 23-minute track, the aforementioned "River of Transfiguration," which features almost every sound imaginable, and plenty of unimaginable ones too. SUN AWAKENS is truly a disc only Ben Chasny could have made.
From the clear, sunlit tones of "Torn By Wolves" to the exhausted drone that ends the epic "River of Transfiguration," SUN AWAKENS is the type of sonic vision quest that fans of Six Organs frontman Ben Chasny have been looking forward to. The seven tracks on this disc cover a great deal of ground, but they all share stellar production values and Chasny's consistent inventiveness. There is more fingerpicking on this album and less singing than is typical of "freak-folk" releases. And what vocals there are consist largely of chants or Chasny's delirious falsetto, as on "Black Wall."
Six Organs of Admittance: John Connell (vocals, ney); Noel Von Harmonson (vocals, drums).
Spin (p.87) - 3 stars out of 5 -- "Even if the scenes are all in his head, Chasny paints a vivid enough picture to give anybody the chills."
Q (p.118) - 4 stars out of 5 -- "It's hugely rewarding. Far removed from the hippy sensibilities of some new folk, Sun Awakens reverberates with a satisfyingly sinister beauty throughout."
Alternative Press (p.224) - 4 out of 5 -- "'Bless Your Blood' reveals Chasny's resonant tone on the acoustic guitar and his ability to wrench gloriously melancholy chord progressions..."
Magnet (p.108) - "THE SUN AWAKENS utilizes standard ban formations but in intriguingly unconventional ways."
The Wire (p.63) - "It's a set that feels constructed for the pre-digital era, when vinyl ruled....Over a bed of lava-like low end drone, Chasny spins out webs of acoustic and electric guitar."
Mojo (Publisher) (p.102) - 3 stars out of 5 -- "[I]t introduces tripped-out electric guitars to Chasny's homespun palette, running the stylistic gamut from taut, Richard Thompson-like flurries to Sonny Sharrock sound blizzards." Six Organs Of Admittance Sun Awakens Songs | 1. | Torn by Wolves |
| 2. | Bless Your Blood |
| 3. | Black Wall |
| 4. | Desert Is a Circle, The |
| 5. | Attar |
| 6. | Wolves' Pup |
| 7. | River of Transfiguration |
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Sun Awakens Review
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Purchase Sun Awakens CD To buy, Click on price to add to cart | Shirley Horn I Remember Miles CD (1998)
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I REMEMBER MILES won the 1999 Grammy Award for Best Jazz Vocal Performance.
This stunning album is Shirley Horn's loving tribute to her friend and colleague, the legendary late Miles Davis. Davis was so taken by Horn's first album EMBERS AND ASHES that he forced The Village Vanguard to let her virtually-unknown trio open for him during his 1961 run there. Their friendship and admiration for each other's music lasted through the years, and Shirley Horn's 1991 recording YOU WON'T FORGET ME, was one of the last recordings Miles Davis made.
Horn selected mostly ballads from Davis' Columbia Records catalogue for her tribute because, as she explains in the liner notes, Davis liked her to sing ballads, and ballads are Horn's specialty. She can slow down time in a unique and spellbinding way. Her sultry and smoky vocals are intimate and conversational, relying on odd metered timing and silence, rather than volume, to make an emotional point.
This album's knock out punch is the epic (over 10 minutes long) "My Man's Gone Now" performed in an uncharacteristically (for Horn) abstract style with a double rhythm section and Roy Hargrove ...
| | Six Organs Of Admittance School Of The Flower CD (2005)
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The music of Six Organs of Admittance is gauzy, lilting, and gently psychedelic. Centered on the quietly mesmerizing acoustic-guitar patterns of Ben Chasny (Comets on Fire), SCHOOL OF THE FLOWER, the band's Drag City debut, plays like the soundtrack to the nebulous zone between sleeping and waking. The initial avant-garde drum clatter and white noise of "Eighth Cognition/All You've Left" gives way to a quiet murmur, and Chasny's under-the-radar singing floats in, sounding somehow comforting and ghostly at once.
The rest of the album follows suit, from delicate ballads like "Words for Two" to such alluring, John Fahey-inspired ...
| | Band Of Horses Everything All The Time CD (2006)
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EVERYTHING ALL THE TIME is the debut release on Sub Pop from Seattle's Band of Horses. Matt Brooke and Ben Bridwell have abandoned the melancholic slow-core of their previous band Carissa's Weird for a brighter, more straightforward indie rock sound with obvious roots in Neil Young's ragged folk and progressive indie bands like ...
| | Ghost In Stormy Nights CD (2007)
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Every Ghost album tends to feel epic, whether they're getting heavy with droning psych-rock, indulging in avant-noise experimentation, or mellowing out with spiritually ...
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| | Joanna Newsom Ys CD (2006)
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It shouldn't be a surprise that an artist as stridently unconventional as Joanna Newsom would make a second album that overturns all the expectations established by her first. While Newsom's harp, highly poetic lyrics, and distinctive, child-like voice will be familiar to fans of THE MILK-EYED MENDER, YS takes Newsom's art in a new, startling directions.
The quaint, self-contained folk portraits of the debut are obliterated here in favor of sprawling epics that recall sea shanties, Homeric myths, and progressive rock. Newsom's words are still highly literate and evocative, though they seem more narrative and symbolic than the surreal expressions of MENDER. The album is graced by string arrangements from Van Dyke Parks which create a swelling, dramatic counterpoint to Newsom's performances. Production assistance from indie-rock titans Steve Albini and Jim O'Rourke helps make this stellar effort one of 2006's most provocative releases.
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| | Eddie "Lockjaw" Davis Blues Up & Down CD (1961)
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Digitally remastered by Kirk Felton (2000, Fantasy Studios, Berkeley, California).
Like hip-hoppers, bebop musicians can be incredibly competitive. When rappers get together in a club and engage in microphone battles, it becomes a form of musical sportsmanship -- and the same can be said about bop competitions. In the 1940s and 1950s, bop was famous for its saxophone battles. Dexter Gordon versus Wardell Gray, Sonny Stitt versus Gene Ammons, Phil Woods versus Gene Quill, Zoot Sims versus Al Cohn -- those were only some of the friendly tenor or alto battles that took place back then. The term "saxophone battle" was also used to describe the relationship of Eddie "Lockjaw" Davis and Johnny Griffin, who co-led a two-tenor quintet from 1960-1962. But the big-toned saxmen didn't see their relationship as a battle or a cutting contest; they liked to think of it as an exchange of ideas. However you describe their relationship, they complement each other beautifully on Blues Up and Down. Released in late 2000, this hard bop reissue combines two sessions on a single CD: 1960's Griff & Lock and 1961's Blues Up and Down. The hard boppers enjoy a strong rapport throughout the disc, which contains ...
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MC Shan's album debut wasn't a success, despite the presence of one justifiable ...
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