Alain Johannes Posts “If Morning Comes” Video

Posted in Bootleg Theater on August 10th, 2020 by JJ Koczan

Alain Johannes (Photo by Tom Bronowski)

computer science master thesis projects see here now For You college essay questions buzzfeed thesis and dissertation zamorano Alain Johannes — known as a solo artist as well as for his work alongside Do you want to How To Write An Introduction For Research Paper from a reliable writing provider? Then you have come to the right place. We offer original academic works at reasonable Chris Cornell, We are offering First_Class Group Home Business Plan Sample at most affordable prices. Get Cheap Dissertation Writing Service at flat rates for all Queens of the Stone Age, and on and on and on — released his new album, help for law students with add writing papers go write assignments for you flannery o connor essay Hum (review here), on July 31 through Do Your Homework Quote at 100% legal writing service. We are 24/7 ready to help you with your paper writing. We are saving grades for more than 5 years. Ipecac. To be perfectly honest, I don’t have much to add to that review when it comes to talking about the record; bottom line is it’s quite good and I think you’d do well to give it some time out of your busy day. “If Morning Comes” is the fourth video from ContentSkrift is one of the most popular organization in the area of Book Report Ideas For Highschool Students, Professional Content Services, Technical Content Services. Hum to surface (the others are all below), and it arrives with the noteworthy direction of Are you stuck in writing a business plan? We offer the best Assignment Of Contracts online. Liam Lynch Ask us 'follow link' and we will make you live your academic dream. Let's get in touch now to start working on A grades right away. Tenacious D, Online http://www.chacf.co.uk/custom-university-admission-essays-be/ for students of PK with 100% money back guarantee. Our professional writers help you achieving your academic and career goals. Queens of the Stone Age, Sifl & Olly etc. — who basically takes write my aper - receive a 100% authentic, plagiarism-free paper you could only think about in our paper writing assistance Best HQ academic services Johannes‘ head and sends it on a Zardozian journey for the duration of the track. In a word, enjoyable.

If you haven’t yet taken the time to dive into Tired of scouring the Web for the best Writing Technical Papers, trying to figure out which company is worth your money? Check our reviews of the best ones. Hum, I’m not gonna argue with you. Dude doesn’t need my advocacy and the song and the video do a better job than I could hope to anyhow. Melody. Atmosphere. Floating head. Alright, I’ll stop.

Please enjoy:

Alain Johannes, “If Morning Comes” official video

Alain Johannes, who released his third solo album, Hum, on Friday via Ipecac Recordings (https://lnkfi.re/AJHum), has shared a video for the song “If Morning Comes.”

“’If Morning Comes’ was one of the most cathartic for me during the making of Hum. Many difficult nights while I was ill those words were like my mantra,” explains Johannes of the song which encapsulates the personal nature of the 10-song album, a release written during a period of illness and mourning that found Johannes taking stock of his existence, and his future. The psychedelic video, which echoes the meditative quality of the song was directed by Liam Lynch. Johannes says of the clip: “My dear friend Liam Lynch created this intense world so visually stunning and resonant with the song. He’s the man!”

A series of eye-catching videos have been released in the lead-up to Hum’s arrival: “Hallowed Bones”, “Free” and the title track, “Hum”. The clips have celebrated the beauty of life and the world we inhabit.

Alain Johannes, “Hallowed Bones” official video

Alain Johannes, “Free” official video

Alain Johannes, “Hum” official video

Alain Johannes website

Alain Johannes on Thee Facebooks

Alain Johannes on Instagram

Ipecac Recordings webstore

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Old Blood Releasing Acid Doom Aug. 28 on Metal Assault & DHU Records

Posted in Whathaveyou on August 6th, 2020 by JJ Koczan

old blood

L.A. is a strange town, man. http://bmatovu.com/literature-review-in-research-proposal Service. 12 likes. Buy Thesis Online is one of the dissertation writing services that really cares about customers and their college paper. Old Blood, in following up their 2016 self-titled debut and introducing their new vocalist, are laying claim to the tag of Writing a research paper will take you only 2 minutes with our help. Can't believe it? Let our follow url prove it! Acid Doom. Is it acid? Yeah. There’s some psych in there. I hear it. Is it doom? Probably not in the way you’re thinking, and that’s kind of why I find it intriguing. The movement in the songs, at least from what I’ve heard so far, isn’t necessarily weighted down by tone in the way one might think of doom as being, but there’s no question there’s a groove happening in conversation with the heavy underground in these tracks. And they’ve got that slick Los Angeles production that to my East Coast ears just sounds bizarre on heavy music. But hell, maybe The process of buy an essay online students will decide that its better not to bother somebody and just skip writing and download or Writing Dissertation Proposals Old Blood can call their next LP Your Business Writing Center instructor will teach you the skills you need to become a competent, successful Bikini Kill Anti Pleasure Dissertation. Our instructors have What the Hell is Going on Here? and really cover all their bases.

Sometimes the PR wire takes you to weird terrain. To wit:

old blood acid doom

OLD BLOOD: Acid Doom (releasing Aug 28)

Los Angeles psychedelic rock / doom metal unit OLD BLOOD is releasing their second full-length studio album Acid Doom on August 28, via Metal Assault Records (US) and DHU Records (Europe). This is the long-awaited follow-up to the band’s stellar self-titled 2016 debut LP, and also marks the first album featuring vocalist Lynx, who joined the band in 2019.

Limited-edition colored vinyl, digipak CDs, merch bundles, and digital album download are now available for pre-order via oldbloodgroup.bandcamp.com. Lead singles “Veinscraper” and “Orbit” as well as their respective music videos are available for public consumption, and instant free downloads of the two tracks are included with every album pre-order.

Most bands put out a self-titled release at some point during their careers, but in essence, OLD BLOOD is getting to do it twice. Acid Doom is the term coined by Old Blood to define their identity, and rightly so, as this band has certainly forged its own, even in their relatively short existence thus far. It is only apt for Old Blood to follow their self-titled debut with an album of this name, and more so because with Lynx at the helm, Acid Doom defines Old Blood in its current incarnation. Produced, mixed and mastered by Rev. Tom Chandler in Glendale, California, the album is epic and massive in every sense of those words, and is sure to mesmerize hardcore fans and first-timers alike.

Acid Doom track listing:
1. Lake Bottom
2. Bridge to Nowhere
3. Veinscraper
4. Heavy Water
5. Formosa Lodge
6. Slothgod
7. Orbit
8. Pentahead
9. 429

OLD BLOOD is:
Lynx (vocals)
Octopus (bass)
C. Gunner (guitar)
Diesel (drums)
J.F. Stone (keyboard)

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Old Blood, Acid Doom (2020)

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All Souls Confirm Oct. 2 Release for Songs for the End of the World; Stream “Winds”

Posted in Whathaveyou on July 31st, 2020 by JJ Koczan

all souls

There’s no way All Souls would know this, but I’ve always imagined the end of the world coming in October. Aside from it being the month of my birth, it also happened to be the first of several apocalypses my father believed would consume humanity in his end-days religious zealotry. Oct. 14, 1994, I think it was. I was 12 about to turn 13. That was a fun kind of abuse. Consuming more than bruising.

Anyhoozle, while we’re being vulnerable, I’ll note the resonant emotional undercurrent that stems from All Souls‘ second album, Songs for the End of the World. That’s particularly apparent in the track “Winds,” which is streaming at the bottom of this post, along with the prior-unveiled video for “You Just Can’t Win.” All Souls — which features veteran players of Totimoshi, Black Elk and Fatso Jetson — will have the record out on Oct. 2, and let me just save you the trouble and say you should preorder it. That’s available at their Bandcamp.

To the PR wire:

All Souls Songs for the End of the World

All Souls – Songs For The End Of The World – Oct. 2

Los Angeles quartet All Souls share the first single from their forthcoming sophomore album Songs for the End of the World today.

A stunning animated video for album track “You Just Can’t Win” was released earlier this year. Watch the dark portents via YouTube.

All Souls formed in Los Angeles in the winter of 2016 and have gone from playing local gigs to performing in theaters and arenas. Featuring Tony Tornay (Fatso Jetson, Josh Homme’s Desert Sessions, Deep Dark Robot with Linda Perry) Antonio Aguilar and Meg Castellanos (Totimoshi) and Erik Trammell (Black Elk), they were recently hand-picked to tour with Tool, The Jesus Lizard, (the)MELVINS, and Meat Puppets.

All Souls creates songs that are lyrically dark, infused with the band’s unique style and perspective on the state of today’s world. Their music has been described as intelligent, majestic, exciting and original. They are unafraid to bridge into big open spaces discovering new wastelands; ultimately stepping from dark to light.

Throughout 2016, the quartet — Aguilar [vocals, guitar], Castellanos [bass, vocals], Trammell [guitar], and Tornay [drums] — recorded what would become their self-titled full-length debut, All Souls, during intermittent sessions at Sound of Sirens Studio in Los Angeles with producer Toshi Kasai known for his work with Tool, Foo Fighters and (the) MELVINS.

Following tours with the likes of Red Fang, The Sword, Kvelertak, and Torche, the band released All Souls in 2018 via Sunyata — the label founded by iconic Screaming Trees and Mad Season drummer Barrett Martin. Earmarked by Spaghetti Western-style expanse and rough-and-tumble riffing, the music proudly bears the wild wear-and-tear of the nineties Palm Desert scene with a twist of psychedelic voodoo and metallic edge.

For Aguilar and Castellanos, the music spoke to a dormant primal need that harked back to their time in the fan favorite underground mainstay Totimoshi.

All Souls just-completed second album which they recorded in 2019, Songs for the End of the World, reunites them with Kasai. This follow-up recording is an evolution for the band. Aguilar’s distinctive vocals are at times lyrically bleak and deeply personal, set against a musical backdrop that challenges listeners with inventive songwriting and ethereal melodies. Tornay’s explosive drumming matched with Trammell’s innovative guitar and Castellanos’ low end and feminine back-up vocals lend to their power and unique approach. One could say they are connecting the dots between Led Zeppelin to the Pixies, Soundgarden to the Cure all the while carving their own road with authenticity.

Songs for the End of the World will be available on LP, CD and digital on October 2nd, 2020. Pre-orders are available HERE: https://allsoulsband.bandcamp.com/

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All Souls, Songs for the End of the World (2020)

All Souls, “You Just Can’t Win” official video

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Fuzz to Release III Oct. 23; New Song Posted

Posted in Whathaveyou on July 22nd, 2020 by JJ Koczan

The return after some five years of the Ty Segall-fronted heavy rockers Fuzz is only bound to find welcome, and freaks in the know will likewise nod approvingly at their choice of producer for their aptly-titled third record, III. Set to issue via In the Red Records, III is helmed by the esteemed Steve Albini, whose reputation for capturing a band’s live sound is second to none for good reason — for easy reference and to do yourself a favor more generally, go listen to Neurosis or Weedeater or any number of the other countless acts he’s produced whom you might’ve seen on a stage when that was a thing that happened.

As to what Albini might bring to Fuzz, they’re streaming the opening track “Returning” now, so it’s easy enough to get a sampling. Say, at the bottom of this post. All about convenience here.

Fresh off the PR wire:

fuzz iii

FUZZ announce new album on In The Red Records

Share new track “Returning”

One only knows one. Two is balanced therefore stagnant. III both active and reactive. Charles Moothart, Ty Segall and Chad Ubovich are FUZZ. FUZZ is three. And III has returned. Songs for all, and music for one.

III was recorded and mixed at United Recording under the sonic lordship of Steve Albini. Keeping the focus on the live sounds of the band, the use of overdubs and studio tricks were kept to a minimum. Albini’s mastery in capturing sound gave FUZZ the ability to focus entirely on the playing while knowing the natural sounds would land. It takes the essential ingredients of “guitar based music” and “rock and roll power trio” and puts them right out on the chopping block. It was a much more honest approach for FUZZ — three humans getting primitive, staying primitive. The goal was never to reinvent the wheel. Sometimes it’s just about seeing how long you can hold on before you’re thrown off.

FUZZ
III
In The Red

Released 23rd October 2020

Tracklist
1. Returning
2. Nothing People
3. Spit
4. Time Collapse
5. Mirror
6. Close Your Eyes
7. Blind To Vines
8. End Returning

Three points reflected in three Mirrors; a pyramid of sonic destruction and psychic creation. Nothing People feed the roots while the freaks fly free in the treetops – Blind to Vines, Eyes Closed, Stuck in Spit, triumphing the Returning of beginnings and Ends Returning while beginning to see the Time Collapse. Love is the only way to annihilate hate, and Sketchy freaks live to bleed. All shades of color, truth and lies, III is the pillar of unity and singularity. All is nothing, and only nothing can generate everything. Log out, drop thought, turn up.

Engineered by Steve Albini
Assistant Engineer Scott Moore
Mixed by Steve Albini and Fuzz
Recorded and Mixed at United Recording August 22-30 2019
Cover Photography Denée Segall
Artwork Tatiana Kartomten
Layout Denée Segall
All songs written and arranged by Fuzz

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Fuzz, “Returning”

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The Sixth Chamber to Release New Single “Blood of the Prophet” July 31

Posted in Whathaveyou on July 21st, 2020 by JJ Koczan

Usually when I post about a song or an album or whatever it is that’s not out yet I’ll play coy. Not this time. No way, I’ve heard this thing, and I wish, I wish, I wish you could hear it too. The Sixth Chamber have a new keyboardist in Alan St. Jon, who plays with Billy Squier and has done time with an impressive list of others in the studio and on stage — my understanding is that if you’re insanely talented and not a prick, being a session musician is a really good gig to get — and they bid him welcome with due theatricality on “Blood of the Prophet,” their new single. Somewhere between goth and classic prog, the song resides in a dark and dramatic expanse and the keys play a huge role in making it all come together.

I don’t know what the release plan is — I assume it’ll be on Bandcamp, and that’s linked below — but it’s out July 31, and it’s delightfully, delightfully weird. Fun in an apocalyptic Los Angeles kind of way.

The PR wire tells the tale:

the sixth chamber

THE SIXTH CHAMBER – Blood of the Prophet

Los Angeles-based mythical mysterians The Sixth Chamber are set to release the new single “Blood of the Prophet” on July 31st, which we are calling the soundtrack to the end of the world. The new track is a dark, surreal lyrical foray into timeless dreamlands and forgotten aeons.

This is the the debut recording with legendary classic rock synth master Alan St Jon in the lineup. St Jon is an original and current member of classic rock act Billy Squier. He was also keyboardist for Alice Cooper during the late ‘80s ‘Trash’ era and toured and recorded with Iggy Pop, John Entwistle, Leslie West, Twisted Sister and others. St Jon has 14 Gold and Platinum album awards to his credit and was the go-to guy for studio sessions for famed producer Desmond Child for many years.

The Sixth Chamber was founded in 2001 by songwriter and lead vocalist/guitarist Rahne Pistor and has left a 19-year triumphant legacy of gothic, doom, psychedelic rock and proto-metal tinged releases. Throughout its unyielding musical voyage The Sixth Chamber has shared management with Type O Negative, Mountain and Megadeth; played at the funeral of Jimi Hendrix/Band of Gypsys drummer Buddy Miles as invited guests; and provided music on the soundtrack of the Lions Gate distributed film Dance of the Dead.

SONG CREDITS:
Rahne Pistor – Vocals, Guitar
Alan St Jon – Keyboards
Bobby Parker – Bass
Erik Peterson – Drums

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The Sixth Chamber, “Entrance to the Cold Waste” official video

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Sumac to Release May You Be Held Sept. 18

Posted in Whathaveyou on July 14th, 2020 by JJ Koczan

I could live a thousand years and never be cool enough to have my opinion about a Sumac record mean jack shit to anyone. Their albums have gotten such a mountainous slosh of press hyperbole that really anything I have to say just adds to the laudatory din. If I’m like, “Hey, this Sumac record is pretty good,” in a forest, do the trees appreciate the insight? No, because they’ve all been cut down to make the fancy glossy magazines that have doused superlatives on the band since their inception. I’ll be lucky if I get to hear it before it’s released.

I dig Sumac though, and the records earn that cloying cred, so I’ll still likely find some way to write about May You Be Held. I’ve Quarterly Reviewed their other LPs, so yeah, that seems about right. Enough space to say, “Golly this is important and forward thinking,” without going on too long and making an ass out of myself. To myself.

Be informed:

sumac may you be held

SUMAC announce sprawling new album May You Be Held Out on Sept. 18th, 2020

Expressionistic metal ensemble SUMAC have announced their new album, May You Be Held, out September 18th. Picking up where the band left off with 2018’s critically acclaimed Love in Shadow, the trio of Aaron Turner (ISIS, Old Man Gloom), Brian Cook (Russian Circles), and Nick Yacyshyn (Baptists) push further into the extreme polarity of their sound with their latest collection of long-form composition and free-form exploration. Meticulously detailed and complex one moment, rudimentary and repetitive the next, and completely untethered and unscripted at seemingly random intervals—May You Be Held is an album that fluctuates between extreme discipline and control on one end and an almost feral energy on the other.

“As an artist in this time of significant upheaval, society seemingly having reached the end of its current iteration, it’s of critical importance to absorb and interpret this process of dissolution – and of the transformation that hopefully follows it” says Turner. “While I don’t believe we’re on the brink of collective destruction precisely now, this is clearly a pivotal stage in the story of humankind – and there is something that feels right about this music at this exact and very uncertain moment.”

SUMAC’s work has always been about transition between different states of being. Our sense of normal, and indeed our sense of life, is now being shaken. We don’t know what is coming next. We are looking for pointers towards the future, as well as things to hold onto in the moment. This is a fundamental aspect of May You Be Held’s larger theme. Musically, it’s about continual unification and divergence, and is imbued with the uncertainty inherent in that cycle. In that uncertainty there is also hope, frustration, madness, and a desire for connection. All this too is part of this moment in our history—everything happening at once, the simultaneous emergence of humanity’s best and worst characteristics. Lyrically, May You Be Held follows the humanistic themes explored on Love in Shadow, partially informed by Turner’s navigation of fatherhood and family life. “It’s clear humans have figured out many ways over the centuries to acclimate to adverse circumstances, and even to thrive in them,” Turner says. “My hope for our family, humanity and future generations, is that we find our way by doing what we have always done—invent, adapt, band together, and ideally, hold each other up through love and kindness.”

May You Be Held was recorded throughout 2017, 2018 and 2019 by Kurt Ballou at Robert Lang Studios, Matt Bayles at The Unknown, and at House of Low Culture.

SUMAC – May You Be Held tracklist:
1. A Prayer for Your Path
2. May You Be Held
3. The Iron Chair
4. Consumed
5. Laughter and Silence

Pre-order SUMAC’s May You Be Held: http://thrilljockey.com/products/may-you-be-held

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Sumac, St Vitus 09?/?07?/?2018 (2020)

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Mountain Tamer Stream “Warlock”; Psychosis Ritual Preorder Available

Posted in Whathaveyou on June 26th, 2020 by JJ Koczan

There’s been a menacing undercurrent to Mountain Tamer‘s take on psychedelia since their inception, and it would appear that the forthcoming Psychosis Ritual will continue that thread at least in some measure. The Los Angeles trio have newly unveiled “Warlock,” track two of the seven-cut release, and the song brims with freak-punk intensity, churning riffs around wide-spaced echoes that seem to radiate ill intent, not in that hey-let’s-go-kill-ladies kind of way, but definitely in some fashion that’s up to no good. And that likes being up to no good.

Dark magic, and whatnot. I said last week when the band got signed that they’d probably have a track up to go with preorders. Look at me, seeing patterns.

Preorders for Psychosis Ritual are open and available through Heavy Psych Sounds, and the album has been confirmed for a Sept. 25 release date, which also happens to be my wedding anniversary. Guess it’s a Friday this year. In 2004, it was a Saturday.

Album cover and details came down the PR wire:

mountain tamer psychosis ritual

Heavy Psych Sounds to announce MOUNTAIN TAMER brand new album PSYCHOSIS RITUAL – presale starts TODAY!!!

Today we are extremely proud to start the presale of the MOUNTAIN TAMER brand new album PSYCHOSIS RITUAL !!!

Psychosis Ritual is the sum of Mountain Tamer’s first decade of exploration into the psychedelic arts. The album takes the band on a journey through the occult rhythms and tones of worlds forgotten. Each track is a new chapter of Mountain Tamer riffing their way into uncharted territory. For this ritual, you are the sacrifice…

Mountain Tamer is Andru Hall (Guitar/Vocals), Casey Garcia (Drums), and David Teget (Bass). Psychosis Ritual was recorded and mixed by Salem’s Bend guitarist Robert Parker, with mastering by Mike Tarsia at Sigma Sounds Studios. This recording is the most cohesive and lucid experience Mountain Tamer has yet to offer.

The album artwork by photographer Dillon Vaughn and tattoo artist Derek Pratt only adds to the singular vision of Psychosis Ritual by providing beautifully lysergic visuals that are inseparable from the music itself.

ALBUM PRESALE:
https://www.heavypsychsounds.com/shop.htm#HPS137

USA PRESALE via Forced Exposure (link available soon):
https://www.forcedexposure.com/SearchResult.html?SearchType=Basic&Type=artist&Key=mountain%20tamer

RELEASE DATE: SEPTEMBER 25th

RELEASED IN :
– 20 ULTRA LTD TEST PRESS VINYL
– 150 ULTRA LTD HALF HALF – ORANGE/GREEN VINYL
– 450 LTD BLUE VINYL
– BLACK VINYL
– DIGIPAK
– DIGITAL

TRACKLIST:
1. Psychosis Ritual
2. Warlock
3. Turoc Maximus Antonis
4. Scorched Earth
5. Death In The Woods
6. Chained
7. Black Noise

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Album Review: Alain Johannes, Hum

Posted in Reviews on June 25th, 2020 by JJ Koczan

Alain Johannes Hum

While to heavy rock heads he’s undoubtedly best known as the erstwhile guitarist for Queens of the Stone Age, Alain Johannes‘ career stretches back decades and has seen him work in various groups and styles, including New Wave, alternative rock, desert rock, and so on. Ten years ago, he released Spark, his first solo album, through Josh Homme‘s Rekords Records and Mike Patton‘s Ipecac Recordings, and after other self-released solo offerings and collaboration with Patton in The Alain Johannes Trio feat. Mike Patton for the 2018 single “Luna a Sol,” Johannes presents Hum through Ipecac as the third full-length under his own name and the first since 2014’s Fragments and Wholes Vol. 1, though obviously he’s done other work between. The prevailing spirit of Hum, though, is personal and intimate, and the album stretching across just 35 minutes with 10 tracks that vary in arrangement perhaps more in mood, Johannes having no trouble at this stage in his career knowing the comfort zone of his voice, and being likewise able to craft material that is expressive while still engaging for the listener.

His cigar-box guitar and finger strumming, acoustics and electrics populate the songs with due sense of personality, and as opener “Mermaid’s Scream” has echoes of Lullabies to Paralyze at the outset, backing moans and all, what unfolds from there finds a niche for itself that feels as much folk as rock, and perhaps takes some extra delight in dwelling between genres, the finger-dance-on-strings of the subsequent title-track giving a dreamy feel to go with Johannes‘ vocal melody, sounding humble but not at all simple, giving a feeling of space through echoes and backing keys or effects drone — a hum, suitably enough. As “Mermaid’s Scream” and “Hum” are the two shortest cuts on Hum at under two and a half minutes each, even as they complement each other there’s a momentum being built that hints at a straightforwardness of form that “Hallowed Bones” builds outward, taking that foundation of acoustic would-be-minimalism-if-it-weren’t-so-complex-ness and adding textures of vocal layers and string sounds.

Thinking of “Mermaid’s Scream” and the title-track as a foundation for Hum is a useful way of hearing the album, essentially teaches the listener how to hear it, setting the basis early for what stands to follow in “Hallowed Bones” and “Someone,” which returns to the acoustic guitar but keeps an arrangement of intertwining vocal layering in an almost call and response chorus, reminiscent of a contemplative Bowie but remaining smooth in the delivery. “Someone,” then is the back-to-ground reset before the more forwardly electric “If Morning Comes,” bringing percussion with it and a brooding atmosphere that, like “Hallowed Bones,” adds to its strumming rather than departs entirely from it. As the halfway point of the record, it is a well-placed turn, and the first song yet to top four minutes, which is more than enough time for it to affect its hypnotic rhythm and winding solo edge as it progresses through the wash of its second half.

Alain Johannes (Tom Bronowski)

I’m not sure if he’s handling all the instruments himself, but Johannes is in command of the proceedings one way or the other, and after “If Morning Comes” marches out, “Free” pulls back again to a single layer of voice over a finger-plucked guitar, like the title-track before it, effective in its shift, immediately recognizable, immediately familiar, and rife with purpose. There’s a fullness of sound that comes from Johannes‘ technique, but it creates a kind of tension as well for the simple fact that there’s so much melody happening at once. It’s serene, but it’s the serenity of looking at a river with a rushing undercurrent. You realize there’s a pull there even if on the top it seems more peaceful. So it is through “Free,” which is — if it needs to be said — gorgeous, and gives way to the darker blues of “Sealed,” vocals rougher in the tin-can-blues tradition to suit its lumbering guitar progression, centered more around the rhythm than melody. Is ambient blues a thing? It should be. And Johannes should probably spearhead it given what he does with “Sealed,” including the electrified solo ripped out in the song’s later reaches.

Time again to go to ground. “Here in the Silence” is a sweet folk melody filled out by keys or guitar or flute or whatever the hell it is, as well as the cigar-box strum, and leaves nothing unsaid after its sub-three-minute run, offering a quick reorientation before the penultimate “Nine” reframes the proceedings once again with electronic beats and Johannes‘ voice farther back in the distance, locking into what turns out to be one of Hum‘s finest hooks in the process. By the time Johannes gets there, “Nine” functions well alongside the rest of Hum precisely because it doesn’t quite fit. The album has to that point bounced back and forth through these shifts in arrangement, drawn together by mood, melody and Johannes‘ voice, and those elements are consistent in “Nine” as well, despite the difference of use to which they’re put.

“Finis” is a self-aware closer, hinting toward Americana as much as desert-delia, and one gets the sense that had he wanted it to, “Finis” could easily have worked as a harder rocker. Instead, though, it is one last return to the acoustic roots of the rest of the record, though it does flesh out as it proceeds, backing vocals and other whatnot helping to round off the record with a nod toward summary, even if the intention doesn’t seem to be to have it be complete in that regard. There are things Johannes is leaving unsaid here, and it’s not that that makes Hum unsatisfying in some way. Just the opposite. For an outing that carries itself in such unpretentious fashion, there’s an air of mystery and obscurity that comes through the atmosphere as yet another factor adding depth to Johannes‘ craft. We’re that not organic, the record would be a joke, but as it stands, Johannes is able to bring the audience with him on this apparently inward journey, and the going is all the more resonant for that.

Alain Johannes, “Hum” official video

Alain Johannes website

Alain Johannes on Thee Facebooks

Alain Johannes on Instagram

Ipecac Recordings webstore

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