New SKY BURIAL cd w/Danny Hyde, Jarboe, Anni Hogan, Troum

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New SKY BURIAL cd w/Danny Hyde, Jarboe, Anni Hogan, Troum

Beitragvon fire in the head » 04.10.2012 (16:12)

NOW ACCEPTING PRE-ORDERS (shipping October 17):

Sky Burial- "There I Saw The Grey Wolf Gaping" cd featuring guest appearances by Jarboe, Troum, Danny Hyde (Coil), Anni Hogan (Marc Almond), Bridget Wishart, Johann Eiriksson (Gjoll), Craig McFarlane and Xiphoid Dementia

First 50 orders will come with bonus 3" featuring another track with J. Eiriksson. These will be first come, first serve.

CD: $12 U.S./$15 overseas
CD with limited edition t-shirt: $24 U.S./$29 overseas

T-shirts feature album artwork and are discharge printed on both sides on fine 100% cotton. M, L & XL available. Please specify.

Contact sky[at]collectivexxiii.com for order details.

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Samples can be heard at: http://soundcloud.com/skyburial23 (tracks 6-12 are from the cd)
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fire in the head
 
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Re: New SKY BURIAL cd w/Danny Hyde, Jarboe, Anni Hogan, Trou

Beitragvon fire in the head » 03.11.2012 (14:02)

A couple of reviews:

From Brainwashed.com:

Following three albums worth of long-form drone pieces, Michael Page (Fire in the Head) has instead returned with a suite of more song-like compositions, with a slew of col
laborators, including Jarboe and Danny Hyde. The final product is a diverse, yet cohesive set of tracks that function exactly how an album should.

It is perhaps due to this diverse group of contributors that the album comes across as the most varied I have yet heard from Page. His penchant for elongated, dark ambient pieces is never far from view: even though it is more of a traditional album, three tracks still clock in at over the ten minute mark. The solo pieces, "Shedding the Husk" and "Bone to Beak (The Vultures Speak)" are indeed most in-line with his previous discography, the former especially being a slow-build horror piece of dramatic strings and noisy percussion, rising to an almost ambient peak before falling into brilliant static-heavy industrial banging.

Opener "Incantare" features both Jarboe and Troum, and both make their contributions quite clear. Troum's drone expertise is clearly present in the form of echoy reverb and dense, swirling electronics, but balanced out by processed excerpts of Jarboe's voice, understated and effective. Page, however, is the person who pulls it all together in a complex, constantly evolving composition.

Danny Hyde's contributions, "Carne[val]” and “Fools Circel 9wys" seem to be solo works, and stand out as sounding pretty significantly different than the rest of the album. Both are lo-fi stuttering collages of voice fragments and unidentifiable electronics. The former certainly embraces that carnival music vibe hinted at the title, in the form of dark pseudo-melodies that eventually fall into a chaotic digital noise fest at the end, while the latter ends up going for a more rhythmic structure.

The biggest departure is on "Beyond the Veldt", featuring former Hawkwind vocalist Bridget Wishart (coincidentally Nik Turner was a guest on last year's Aegri Somnia). The heavy reverb and electronic passages are shaped into a melancholy melody, with a stiff drum machine and Wishart’s voice concocting a unique take on a gothic shoegazey piece of music. For me, it is this perversion of conventionality that makes it the centerpiece of a great album.

Previous Sky Burial albums have always been exceptional pieces of dark ambient experimentation and drift, but There I Saw the Grey Wolf Gaping pulls those pieces together into what comes across as a more fully realized album. It is no slight against those previous works, but here it just all comes together exceptionally well.



From Hypnagogue:

Michael Page says that his new Sky Burial release, There I Saw the Grey Wolf Gaping, marks a return to shorter-form work and pulls in inspiration from shoe-gaze, krautrock, musique concrete and more. But while all the work here is solid, it’s the three long(er) tracks, each clocking in at about 10 minutes each, that land with the heav
iest impact. On these, Page showcases the densely packed, frequently ominous sonic sculptures he’s known for. As always, the ride is expertly modulated. “Incantare,” which starts the disc and features contributions from dark chanteuse Jarboe and German duo Troum, opens with long, hypnotic drones. Percussion folds into the mix to bend the sound in an almost tribal-ambient direction. The last keening note from Jarboe fades into a moment of quiet–which is consequently shattered by the heavy dramatics of “Shedding the Husk.” Dirge-like and deadly serious, this piece thunders into the room, then spreads like a consuming shadow. In here is Page’s trademark sonic density, big drones flowing over each other. ”Silence Moves” is the last of the long pieces, crafted with help from Anni Hogan (formerly with Marc Almond of Soft Cell fame) and sound artist Xiphoid Dementia; it rises up with an almost optimistic tone (comparatively), then turns slowly on its axis to become somber and deep. Piano layers in and soon finds itself fighting against dissonant chords that first swallow it whole then let it emerge unscathed. It makes for a great narrative. The shorter tracks are the ones that divert from the drone-based flow. Two, contributed by Danny Hyde of Coil, stand out immediately. Take the trippy ”Carne[vale],” built on a tortured chipset-style sound to create something like a deranged and distorted 80s video game soundtrack. The jaunty sound of it carries Hyde’s nod to the Carnevale atmosphere, but it’s viewed through a skewed, jiggling lens. Toward the end, it breaks down in a jagged act of pure deconstruction. He reuses the chipset sound later in “Fools Circel9Wys,” pairing it against a processed vocal that comes out with a cool didgeridoo-like tone. This one pulses right along. “Beyond the Veldt” takes an interesting turn, with dream-state vocals from Bridget Wishart of Hawkwind working over a hazy shoe-gaze beat. The title track represents the musique concrete portion of the evening, bringing a clash of bagpipes and the squeal and clatter of (what sounds like) trains to wrestle for dominance.

There I Saw the Grey Wolf Gaping is an impressive bit of work, and not just for the number and pedigree of the guest artists. Page has obviously developed a strong name in the dark/noise/experimental side of things and has a solid force of artists at his command. This disc nicely shows what good can come of that. Have a listen.
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