the goslings .................. wow, selten sowas gehört !!! eine band die stillistisch ein ziemlicher grenzgänger ist .......... macht spass !!! nicht unbedingt richtiger drone .. hört mal rein !!! eine band , wo es mich wirklich freut die endeckt zu haben !!!
This may be the new definition of splendid skronk heaviness. It doesn't hurt that they went analog for the recording -- the tracks were recorded in 2005 on 1/2" tape, perfect for a band driven by large, reverberating avalanches of fuzzed-out drone and feedback -- or that James Plotkin mastered it; this is one of the densest, heaviest, and loudest drone-rock albums I've ever heard. Max and Leslie Soren remain at the core of the band's sound, with her droning, wispy voice buried under piles of slo-mo bass heaviness and shrieking guitar feedback, but this time around they have some guests (three different drummers and Does guitarist Neddal Ayad on two of the album's heaviest tracks, "sanibel" and "haruspex"), which adds some interesting layers and textures (not to mention an actual beat, even though it's frequently obscured) to the swirling sonic chaos. There's still plenty of serious Earth-worship in Max's shuddering death-drone, but without altering the band's basic sound, everything's gotten a bit more focused this time around. (And heavier. Much heavier.) The quality control (one of the hardest things in the drone ethos to get a handle on, seeing as how one man's "trancelike and hypnotic" is another man's "boring and monotonous") has gone up a notch, too, which is always a good thing. The more restrained and psychedelic nature of the band's earlier works is even present on "windowpane," a lovely and mesmerizing respite from the rest of the album's apocalyptic roar. Mostly, though, the album is about overdriven and exploded sound, the kind of sound that translates into something physically oppressive onstage, the kind of sound that can barely be captured (and then only by people who know what they're doing) on recorded media. True fans of drone-doom would be foolish not to own this.
Hatte mir die 'Between the Dead' zuletzt bei Conspiracy bestellt, bin aber nicht so richtig reingekommen, war mir irgendwie zu lahm...entweder passiert da einfach zu wenig oder ich habs nicht gerafft...andere Sachen in dem Sektor gefallen mir jedenfalls um einiges besser...
Hollywood, Florida family/band Max and Leslie Soren have been unleashing their private bouts of punishing ceremonial sludge-gaze for the past half a decade now, and there's been some total titanic highlights (Between the Dead, Grandeur of Hair, etc). But the grunge swamp graveyard they seem to unearth their moss metal from must be profoundly fertile ground, because each new song-cycle they lay to tape is somehow even more miraculously brutal and shimmering and visionary than the one before it. This phenom holds true for Occasion, The Goslings' newest and maybe deepest doom/beauty inquest. Eight thundering masterpieces of molten slime riff majesty, nightstalker drums, and soaring-into-the-sun female vox that crush the earth, bleed, and breathe in humid darkness. Ranging from the Slowdive-meets-Skullflower transcendent descent of "Motorcade" through to the quaking basement funeral of "Little Horn", Occasion is a glorious passage into The Goslings' hidden holy land. Mastered for optimal audio gravity by James Plotkin, and housed in a swank six-panel wallet-style metallic-ink digipak with artwork by the band.
Konsequente Anknüpfung an Grandeur Of Hair und (bis auf den obligatorischen Akustik-Verschnaufer) alles wieder schön im zinnoberroten Bereich - Spitzenkandidat für diverseste 2008er Bestenlisten, möchte ich meinen... ...
DOOMEDSOULS
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10.01.2007 15:57
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