Even if you went into listening to Drcarlsonalbion‘s La Strega and the Cunning Man in the Smoke with no idea that it was Dylan Carlson of Earth behind it, you’d probably be tipped off within 10 seconds of the opening title-track. The long-running drone forebear’s style is so distinct, his sleepy minimalism so recognizable as it has long been at the core of Earth‘s resounding influence, that there’s just no getting away from it. It seems like whatever the context, Carlson sounds like himself.

And I guess it is the context that’s different, mostly. The surroundings. La Strega and the Cunning Man in the Smoke was recorded as a Latitudes session (see also releases by Blood and Time, Wino & Conny Ochs, The Entrance Band, Bardo Pond and many more), set to tape live in the Southern Studios in the UK — far enough away for the guitarist to be removed from the America in his Americana, if not the Americana itself. Joined by vocalist Teresa Colamonaco (also of London’s Screaming Tea Party) and fellow guitarist Jodie Cox, the seven component songs on the 42-minute full-length take on an English folk atmosphere, the opener pairing loops and feedback volume swells with Colamonaco‘s subdued, semi-spoken delivery while “Reynardine” carries a distinctly Gaelic air and accent.

All three players prove malleable. Colamonaco sings in an almost Scandinavian-sounding accent on The Kinks‘ “Wicked Annabella,” and Carlson‘s foreboding rumble there seems a far cry from the sweetened peaks of Richard Thompson‘s “Night Comes In.” The vocals give a sense of structure to Carlson‘s lines, as does Cox‘s own guitar, but even so, the 13:26 “The Faery Round,” the second track after “La Strega and the Cunning Man in the Smoke,” fills any instrumental or open-structure quota one might perceive for a Carlson release, his guitar offering tonal richness that’s nigh on orchestral as it paints images of the rolling English countryside later to be answered by the urbane impatience of the PJ Harvey cover, “Last Living Rose,” which closes.

After Earth‘s explorations of UK folk traditions on the two Angels of Darkness, Demons of Light albums, it doesn’t seem unreasonable that Carlson would look to push that inspiration further, and though it has its moments of indulgence — how could it not? — his first work under the Drcarlsonalbion moniker engages atmospherically with the calming effect that has been so prevalent in Earth‘s latter-day outings while also giving a different feel for what it is that he does with his guitar. Colamonaco‘s voice is a natural fit, and the penultimate “Little Woman” feels all the more intimate despite its two-guitar dynamic. There are parts of the album where one might miss some percussive aspect, but with a release like La Strega and the Cunning Man in the Smoke, the idea isn’t perfection or elaborateness of production, but rather the raw stuff of human songwriting and performance, and like other Latitudes sessions before it, this one certainly has that. It must be some room they record these things in.

As Earth‘s approach has grown increasingly complex with the additions of cello, horns, bass, etc. over the years, to hear him play as stripped down as he is with Drcarlsonalbion underscores how utterly vital he is to what Earth continues to do and how much he and the sound of that band are permanently intertwined, because just as one can’t hear Earth and not think of Dylan Carlson, one can’t hear Drcarlsonalbion and not think of Earth. That’s not to say the two don’t have distinct personalities between them — Colamonaco‘s presence here is enough to make that true and Cox‘s guitar complements in ways one just isn’t used to from recent Earth – just that the mark Carlson leaves on any of his outings is unmistakable and indelible, and that’s as true with La Strega and the Cunning Man in the Smoke as it has ever been.

Drcarlsonalbion’s website

Latitudes at Southern Records’ blog

You’d have to figure that in order to be Earth‘s longest tour since the band got together in 1990, it would have something like 137 dates scheduled. Nope, 25. Still a solid month on the road though, so kudos to the band for pushing themselves 22 years later to go farther and continue exploring new ground, sonic and geographic.

Aligned with the likes of Eagle Twin, Stebmo and The Body along the way, it’s kind of like a tour of Earth playing with acts influenced by Earth. Can’t imagine that’s anything new for them at this point.

They’re still out supporting Angels of Darkness, Demons of Light II (review here), and the shows start this week, so keep an eye out:

EARTH Prepare For American Fall Tour

Following bursts of worldwide touring in support of their two-part Angels of Darkness, Demons of Light album series, Seattle’s EARTH will embark on their newest tour this week, with a nearly month of live performances confirmed across America.

The most extensive American tour EARTH have planned since their 1990 inception, the Seattle purveyors of the slow-motion riff will traverse the country and back on a twenty-five date run, kicking off this Wednesday, October 24th in Portland, Oregon. Along the way the quartet will take part in the massive annual Fun Fun Fun Fest in Austin, Texas alongside literally dozens of international artists of all genres. This will be the first U.S. tour since they hit the road in support of Angels of Darkness, Demons of Light I in 2011, the band’s set for the tour confirmed to contain a majority of the material from Angels of Darkness, Demons of Light II.

While the band is touring in support of the Angels of Darkness, Demons of Light albums, the EARTH lineup for this voyage will be the touring lineup from the band’s lauded 2008 LP The Bees Made Honey in the Lion’s Skull, comprised of Steve Moore on keys and trombone, Don McGreevy on bass, Adrienne Davies on drums and founder Dylan Carlson on guitar. Support will be provided by Stebmo (featuring members of Earth and more) as well as Southern Lord labelmates Eagle Twin and Fontanelle throughout the journey.

EARTH Fall Tour:
10/24/2012 Rotture – Portland, OR w/ Fontanelle, Stebmo
10/26/2012 Center for the Arts, Eagle Rock – Los Angeles, CA w/ Fontanelle, Stebmo
10/28/2012 Great American Music Hall – San Francisco, CA w/ Fontanelle, Stebmo
10/29/2012 Soda Bar – San Diego, CA w/ Stebmo
10/31/2012 Rhythm Room – Phoenix, AZ w/ Balmorehea, Stebmo
11/02/2012 Auditorium Shores – Austin, TX @ Fun Fun Fun Festival
11/03/2012 Bryan Street Tavern – Dallas, TX w/ Stebmo
11/04/2012 One Eyed Jacks – New Orleans, LA w/ Stebmo
11/06/2012 Will’s Pub – Orlando, FL w/ Stebmo
11/07/2012 The Earl – Atlanta, GA w/ Daughn Gibson, Stebmo
11/08/2012 Grey Eagle – Asheville, NC w/ Stebmo
11/09/2012 Rock and Roll Hotel – Washington, DC w/ Eagle Twin, Stebmo
11/10/2012 Littlefield – Brooklyn, NY w/ Eagle Twin, Stebmo
11/11/2012 TT the Bears – Cambridge, MA w/ Eagle Twin, Stebmo
11/12/2012 Johnny Brenda’s – Philadelphia, PA w/ Eagle Twin, Stebmo
11/13/2012 Altar Bar – Pittsburgh, PA w/ Eagle Twin, Stebmo
11/14/2012 Grog Shop – Cleveland, OH w/ Eagle Twin, Stebmo
11/15/2012 Taft Ballroom – Cincinnati, OH w/ Eagle Twin, Stebmo
11/16/2012 Township – Chicago, IL w/ Eagle Twin, Stebmo
11/17/2012 Township – Chicago, IL w/ Eagle Twin, Stebmo
11/18/2012 Triple Rock Social Club – Minneapolis, MN w/ Eagle Twin, Stebmo
11/19/2012 The Record Bar – Kansas City, MO w/ Eagle Twin, Stebmo
11/21/2012 Marquis Theatre, Denver, CO w/ Stebmo
11/24/2012 The Shakedown – Bellhingham, WA w/ The Body, Low Hums
11/25/2012 The Crocodile – Seattle, WA w/ The Body, Stebmo

One would be hard pressed to overstate Earth’s legacy. The long-running and relentlessly creative Seattle drone unit led by guitarist Dylan Carlson have, over the last 20-plus years, amassed an outstanding discography of influential work – from 1993’s Earth 2, which helped solidify the grooves now inherent to riff rock, to 2005’s Hex: Or Printing in the Infernal Method, which found a reformed Earth infusing their sound with elements from Americana the ripples of which are felt today in indie rock, dark folk and alternative metal. They didn’t do it alone, but they did it. In 2011, Earth followed 2008’s jazzy and defiant The Bees Made Honey in the Lion’s Skull with Angels of Darkness, Demons of Light I (review here), which moved further out of the shadow of Hex, bringing in Lori Goldston’s cello as a major focal point musically alongside Carlson’s guitar, the drums of Adrienne Davies and Karl Blau’s bass, and beginning to shift Earth’s attentions toward improvisation. The 20-minute closing title-track of that album was all improv, and with Angels of Darkness, Demons of Light II (Southern Lord), Earth continue to expand on the ideas they presented in the first half, while also revealing more of the ever-changing band’s personality in this incarnation. Sonic congruencies abound – as one would expect, considering the two parts were recorded in the same sessions with Stuart Hallerman (who also helmed Earth 2) – but Angels of Darkness, Demons of Light II does more than just continue the strain of its predecessor.

Goldston’s cello, again, is in a featured role, and superficially, the two Angels of Darkness, Demons of Light albums don’t vary much in mood or overall tone. Earth’s patience is just as prominent throughout the centerpiece “Waltz (A Multiplicity of Doors)” as it was on “Father Midnight” on I. The drive toward juxtaposition in track titles – songs like “Descent to the Zenith” and “Hell’s Winter” – seems to have dissipated on Angels of Darkness, Demons of Light II, however, as “Sigil of Brass,” “His Teeth Did Brightly Shine” and “The Corascene Dog” are working, linguistically, in another vein. Perhaps it’s ironic or nitpicking to talk about language on an album that’s entirely instrumental, but titles and themes are an important part in how Earth sets the mood for a record or even a single track. One reads the minimalist interplay between Carlson and Blau differently as “Sigil of Brass” opens the album because of the track name. It’s also among the album’s moodiest pieces, and the shortest by nearly five minutes; the last could also lead to one seeing it as an introduction, but there’s enough substance to it to argue to the contrary as it gives way to the nine-minute “His Teeth Did Brightly Shine,” which, however “jammed” it might be – the quotes there to mark the distinction between what Earth are doing here and the usual ebb and flow of guitar-led jamming – still retains some clear compositional elements. If they’re improvising, they’re working from a base of prior construction – a starting point to get them going – and on “His Teeth Did Brightly Shine,” they’re doing so without Davies. As the song develops, that lack of clear drums can leave it feeling somewhat unhinged, but it’s hard to imagine that isn’t what Earth were going for, or at very least, that Carlson was pleased with the outcome when it was over.

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I’ve been waiting for this one ever since I interviewed Earth mastermind Dylan Carlson earlier this year. Though the band’s original intent had been to release two albums the same year, it’s looking currently like Feb. 14, 2012, will see the materialization of Angels of Darkness, Demons of Light II. Nothing like a little drone on your Valentine’s Day.

In any case, here’s looking forward to it, and here’s (in a much more literal way) the news off the PR wire:

The second half of Seattle drone icons Earth‘s Angels of Darkness, Demons of Light is being prepared for release on Southern Lord in North America this February 14 on CD, LP and digital download formats.

Recorded in the same two week session as 2011′s lauded Angels of Darkness, Demons of Light I by Stuart Hallerman at Avast and mastered by Mell Detmer, Angels of Darkness, Demons of Light II carries on in the freely and folkloric vein of the last release and invokes even more improvisational and unrestrained energy than its predecessor.

Angels Of Darkness, Demons Of Light II is striking in many ways, not least in the wildly improvised nature of this particular recording. The songs “Sigil of Brass” and “The Corascene Dog” perfectly emphasize how the interplay between the foursome has evolved even further since the first installment. Meanwhile, the track “His Teeth Did Brightly Shine” veers further into an entirely other direction, recalling sounds of the great British Acid Folk generation. This new material brings forth some highly original and deeply mesmerizing tones throughout, at times more hopeful and less dark and death oriented than previous work. Angels Of Darkness, Demons Of Light II is ultimately a completely unanticipated direction for Earth, and a very welcome one at that.

The lineup again consists of Adrienne Davies on drums and percussion (on this release there is more percussion of all sorts), Lori Goldston (Nirvana, David Byrne, Black Cat Orchestra, Laura Veirs) returns on cello, and Karl Blau (K Records, Laura Veirs, Microphones) plays bass. This also marks the first time the band on the record has toured outside of the US West Coast in preparation for the album. As with the first part, it again has truly amazing artwork by Stacey Rozich.

Angels of Darkness, Demons of Light II Track Listing:
1. Sigil of Brass
2. His Teeth Did Brightly Shine
3. Multiplicity of Doors
4. The Corascene Dog
5. The Rakehell

As the creative center and driving force behind Earth, guitarist Dylan Carlson seems to have a permanent seat at the forefront of progressive musicality. For over 20 years (admittedly, with a break in there following 1996′s Pentastar: In the Style of Demons), Carlson‘s droning work has been instrumental in setting the course for bands across a variety of genres, and his influence can be felt in modern psychedelia, doom metal, stoner rock, noise and elsewhere.

Even that’s selling it light. I remember a chance meeting with the dudes from hippie/freak folk outfit Akron/Family in 2008 and all they wanted to talk about was Earth‘s then-new release, The Bees Made Honey in the Lion’s Skull. The level of impact albums like Earth 2, the recently-reissued Extra-Capsular Extraction and Hex: Or Printing in the Infernal Method — the latter the launch-point for what Carlson seems to thinks of as “new Earth” — is inestimable. As Earth have always existed outside the confines of genre or expectation, so too has their reach been limitless.

I’ve already reviewed it, so I’ll keep the ranting about Earth‘s latest album, Angels of Darkness, Demons of Light I, to a minimum. Carlson — once again tasked with revamping the band’s lineup around himself and longtime drummer Adrienne Davies — focuses on heightened melody and improvisation, less layering than there was on The Bees Made Honey in the Lion’s Skull, and by incorporating the warm bass of Karl Blau (already left the band) and the cello of Lori Goldston, the group arrives at a sound both natural and constructed, pastoral and exciting. It is a varied, and frankly, gorgeous record.

We spoke for the following interview for nearly an hour. Carlson‘s voice shares some of the same hypnotic deliberate calmness as does his guitar, and as he spoke about his opinions on physical vs. digital product, Earth‘s rotating cast, the differences between instrumental and vocalized songwriting, the themes at play on Angels of Darkness, Demons of Light I and why his preferences have shifted to playing live over recording, it was easy to hear that the atmospheres affected through his music are a clear extension of the man himself. I hope that comes through as you read.

Full Q&A is after the jump. Please enjoy.

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I’d have done a 2011 list earlier, but honestly, after the massiveness that was the top 20 countdown, I needed a break from all the list-type stuff. Next thing I knew, January was more than halfway over and no predictions had yet been made about what some of the best things to come would be. Just shameful.

This is just going to be a two-parter, and I’m keeping it to five albums on each list for a total of 10 records to look forward to in 2011. If that’s not enough for you, well, stay tuned, because I’m sure there’s going to be plenty more than 10 reviews posted this year. Hell, I think there already have been, so there you go.

The reason these are “the sure bets” is because I’ve already heard them and know they rule. Let’s get to it:

Lo-Pan, Salvador: The Ohio four-piece’s Small Stone label debut full-length has “classic” written all over it. I heard some rough mixes back in December and I’ve heard some less-rough mixes now, and I honestly haven’t felt this way about a straightforward stoner rock record since I heard the first Sasquatch album in 2004. The songwriting is brilliant, the performances masterful and the production stellar. You’re gonna shit when you hear “Chichen Itza” and “Deciduous.”

Crowbar, Sever the Wicked Hand: It’s kind of funny, but Crowbar influenced a whole younger generation of bands and on Sever the Wicked Hand, it sounds like that younger generation has re-influenced Crowbar, or at least reminded them of what they do best. Some of the material on Sever the Wicked Hand is a little fast, but there are some real quality tracks, and at this point it’s been so long I’m just glad they have a new record out.

Earth, Angels of Darkness, Demons of Light I: Part one in a series of two new works by Earth , Angels of Darkness, Demons of Light I (review here) brings cello accompaniment to Dylan Carlson‘s trademark drone guitar, filling out the sound with a subtle and melodic lushness it’s never before had. Earth are never going to be for everyone, but their latest should delight longtime fans and catch a couple newcomers as well.

Weedeater, Jason… the Dragon: Sludge meets swampy Southern blues on the latest record from the North Carolinian outfit which, like Earth, will be released via Southern Lord in March. Their sound is as nasty as ever, but there’s evidence of stylistic branching out in songs like “Homecoming” and “Palms of Opium,” and it’s exciting to hear the band trying new things, especially when they work. Full review is here.

Six Organs of Admittance, Asleep on the Floodplain: I’ve been a nerd for this Ben Chasny solo project for a number of years now, and on his new record, which is due out on Drag City on Feb. 22, the Comets on Fire guitarist does away with some of the psychedelic and/or droning aspects of the last couple albums in favor of a return to acoustic solo-songwriter material. Translation: He’s right in his element. More to come.

Tomorrow we’ll do Pt. 2, which will be full of pure speculation, and thus a lot of fun.

At this point, 21 years into a massively influential career (if the band was a person, that person would be able to drink legally), Olympia, Washington, drone champions Earth are really only comparable to themselves. Guitarist/bandleader Dylan Carlson, whose work has set more ships sailing than did Helen of Troy, continues ceaselessly to refine and redefine Earth’s sound, working with a range of players and adopting conceptual aesthetics on a by-album basis. Earth’s latest hour-long opus, Angels of Darkness, Demons of Light I (Southern Lord) continues a line of remarkably strong outings, started with the band’s 2005 studio revival, Hex: Or Printing in the Infernal Method and continued on both the 2007 Hibernaculum EP of re-recorded earlier material and 2008’s brilliant The Bees Made Honey in the Lion’s Skull full-length. Fans of those offerings will recognize some elements on Angels of Darkness, Demons of Light I, but as ever, Earth have maintained their penchant for subtle sonic shifts that wind up making a huge difference in their overall affect.

Earth’s music is like a sentence that does the work of a paragraph. Joining Carlson on Angels of Darkness, Demons of Light I are longtime drummer Adrienne Davies and newcomers Karl Blau on electric bass (Angelina Baldoz will play live) and cellist Lori Goldston, who makes her mark on the album immediately on opener “Old Black.” A rocker by Earth standards, “Old Black” isn’t so far removed from the Americana vibes of Hex: Or Printing in the Infernal Method, but the bare minimalism of that record is replaced by a fullness of sound brought on by the inclusion of bass and most especially the cello, which runs a naturalistic drone in long-held notes playing beneath the guitar and drums. Goldston runs her own lines for sure, accompanying rather than following Dylan’s guitar as Blau mostly does on bass, and making the songs all the more lush and engaging. The purported concept behind Angels of Darkness, Demons of Light I was a partial paean to British acid folk, and listening to “Old Black” or the closing title track, I could almost hear a Sandy Denny-type of voice over the material, though a song like “Father Midnight,” which follows the opener, is most exemplary of Earth’s own work over the last six years.

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Perhaps the most striking thing about Earth’s A Bureaucratic Desire for Extra-Capsular Extraction — which combines the band’s 1991 debut EP, Extra-Capsular Extraction with cuts from their 1990 demo previously available as bonus tracks from No Quarter’s 2001 reissue of 1995’s Sunn Amps and Smashed Guitars Live (you get all that?) — is that if it came across my desk today and I popped it in for review, it wouldn’t be at all out of date. I wouldn’t call it innovative, or laud it for how it will change riffy drone forever, but this kind of stuff is most definitely still being made. It goes to show that whatever the venerated Olympia, Washington, outfit get up to, they seem to be ahead of their time. Certainly they’ve continued to prove that throughout their career, from the low frequency noise of Earth 2 in 1993 to the beginning of a new era with 2005’s Hex: Or Printing in the Infernal Method. Even now, as main songwriter and guitarist Dylan Carlson prepares to enter his 21st year operating under the Earth moniker, the push is still toward innovating and refining the creative process.

I don’t doubt that it was a bureaucratic desire that led to the album’s being reissued, perhaps by Southern Lord, perhaps by Carlson or the band wanting to mark the 20th anniversary of some of this material, but whatever it is, the new visitation of Extra-Capsular Extraction finds it no less relevant for the time passed. In fact, given the trail of influence Earth has left behind them, they’re probably more relevant now than they ever were at the time. Nonetheless, the “bureaucratic desire” is also obviously a play on the two-part piece that makes up half of the original EP, “A Bureaucratic Desire for Revenge.” On both “Part 1” and “Part 2,” Earth prove they were ahead of the game entirely, evoking an atmosphere that not even Godflesh would come close to touching for some years yet. Carlson, joined in Earth at the time by bassist/percussionist Joe Preston (Melvins, High on Fire, Thrones, etc.) and bassist Dave Harwell, provides landmark riffing that’s slow enough (especially compared to most of what was coming out of their geographic region at the time) to be called drone, but still somewhat groove-based. Sabbath heads and experimental geeks would have been on it, but the grunge kids must have shit their pants.

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As if there was ever a bad time to be on the West Coast of the US, when Earth and Wolves in the Throne Room roll into town, life must seem especially sweet. Trapped in the perpetual gray of a Jersey Spring, I wouldn’t know, but I can only imagine it involves the stripping away of clothes and the giving away of vast sums of cash. And hoverboards, dammit.

Our dear friend the PR wire confirms the varying levels and interpretations of paradise:

Earth have joined up with label mates Wolves in the Throne Room for a week-and-a-half long West Coast tour for this April. The string of dates will also include opening support from cellist Lori Goldston, who will also be part of Earth‘s live lineup for the tour.

Earth have been finalizing material for their next full-length to be released on Southern Lord Recordings by early 2011, and will be showcasing some of these new songs on the tour. The Earth lineup on these dates shall consist of:

Dylan Carlson – Guitar
Adrienne Davies – Drums
Karl Blau – Bass
Lori Goldston – Cello

Wolves in the Throne Room have just completed their first Australian tour, alongside French doom unit Monarch!, and will appear alongside Shrinebuilder at a special one-off East Coast appearance in New York City tonight.

Earth / Wolves in the Throne Room / Lori Goldston April 2010 Tour:

4/14/2010 The Oak Street Speakeasy – Eugene, OR
4/15/2010 Noctrum – Eureka, CA
4/16/2010 Slim’s – San Francisco, CA
4/17/2010 Brookdale Lodge – Santa Cruz, CA
4/19/2010 Ché Café – San Diego, CA
4/20/2010 The EchoPlex – Los Angeles, CA
4/22/2010 Rotture – Portland, OR
4/23/2010 Neumo’s – Seattle, WA
4/24/2010 Capital Theatre – Olympia, WA with special guests Mount Eerie and Ô Paon

Because it?s gorgeous out, and because it?s Friday, and because I?ve got an interview in 15 minutes (you?ll find out with whom on Monday), and then after that I need to make my way down to Red Bank in summer Friday evening Parkway traffic, I?m thinking throwing up the review I?d been hoping to might not be in the cards immediately. Maybe later on. In the meantime, here?s a video of drone lords Earth playing a new song in Germany. It?s pretty pastoral sounding, which is a good thing for them.