David Eugene Edwards & Alexander Hacke - Triptych

https://www.youtube.com/watch?v=qSGRGtTI8bc&list=RDqSGRGtTI8bc&start_radio=1

#nowplaying #nowlistening #alternativerock #daveeugeneedwards #alexanderhacke #wovenhand #einsturzendeneubauten

Auch in diesem Jahr poste ich wieder meine angehörten Alben in 2025 als Cover. Die Reihenfolge ist rein zufällig und stellt keine Wertung dar.

#Album2025 #AlbumsOf2025 #album #cover #musik #musique #music #rockmusic #rockmusik #alternativerock

019. Détroit "L'Angle"

#rock #BertrandCantat #PascalHumbert #Détroit #NoirDésir #Wovenhand

Songs 2019

https://peterwenz.net/?p=12022

#16Horsepower #2019 #boysetsfire #charlieCunningham #fairToMidland #floggingMolly #johnnyFlynn #kafvka #kalandra #malélevé #monoUndNikitaman #nathanGray #saltatioMortis #seeed #theBaboonShow #theNational #tool #wovenhand

(Replies to this Toot will become comments on the blog - if approved.)

Auch in diesem Jahr poste ich wieder meine angehörten Alben in 2025 als Cover. Die Reihenfolge ist rein zufällig und stellt keine Wertung dar.

#Album2025 #AlbumsOf2025 #album #cover #musik #musique #music #rockmusic #rockmusik #alternativerock

019. Détroit "L'Angle"

#rock #BertrandCantat #PascalHumbert #Détroit #NoirDésir #Wovenhand

The Infinity Ring – Ataraxia Review

By Dolphin Whisperer

The heart of heavy metal music lives in attitude, one of extreme emotions—sadness, anger, exuberance, catharsis. And in increasing trend, modern practitioners often conjure that spirit through atmosphere, which allows metal-adjacent spaces like goth rock and darkwave to strike a chord with those who typically fall for weepy music of crying guitars and mournful vocals. New England-based The Infinity Ring harbors some of these dark sounds that attract lovers of the downtrodden—twangy and folky guitar refrains, post-rock-like swells in intensity and volume—all wrapped up in a smoky and gravel-filled vocal delivery. So even though Ataraxia isn’t metal,1 despite finding home in oft-metal label Profound Lore, its sorrowful swagger threatens to stimulate the same shout and simmer all the same.

With a gothic allure and a somber, neofolk-y expression, Ataraxia carves a path down weeping corridors with a stinging chamber folk ambience and swelling post-rock trajectory. Most importantly, though, The Infinity Ring’s narrative finds the comfort of low, crackling fire on a chilly night in the gravely mic antics of band leader and guitarist Cameron Moretti. His gruff croon and low distortion twang bring to mind the noir character of Nick Cave with the patience and weathered exhale of late Leonard Cohen works. And a sense of intimacy pervades his brooding incantations, with high gain recordings providing a crackle and tickle—a comfort similar to what some find in ASMR recordings. But though the timbre and dripping legato of Moretti’s poetry may wrap like a scratchy blanket on a cold night, its words often ring more harrowing and downcast.

Whether you fall prey to Moretti’s somber lull will still fall in line with whether the stripped and screaming chamber instrumentation provides an interesting enough base. From Ataraxia’s wistful introduction of violin swirling in post-crescendo denouement (“Obsidian”) to its close through the understated swell of fragile piano guidance and drowning string ambience (“The Archway”), the focus of hazy backings and hypnotic refrains drives the primary tether. It takes until the first drum rolls of “Elysium,” about ten minutes into the album, before a sense of classic swinging movement takes hold, and even the lilting rhythmic framework sways against a post-rock guitar gathering, distant clanging bells, and bowed crescendo. And while The Infinity Ring again finds this kind of tempo-pushing jog in “The Drum,” a majority of Ataraxia exists in a chamber-adjacent space that prizes the exploration of atmosphere and texture.

Yet, for an album that exists in this compositionally softer realm, Ataraxia plays less with intense dynamics and more with a focused loudness. As a vocal-forward affair, Moretti’s reverberating croons and scowls take center stage, their higher presence sitting above the fog of acoustic plonks and muted chamber underlays. Whether it’s against the plonky lead of piano (“Nightingale,” “The Archway”), across a Wovenhand-esque strum and kick and rim clack strut (“Hymn,” “The Drum”), or amidst a looping fuzz and minimalist progression (“Revenge,” “The Window”), bassy, breath-heavy murmurings ripple and pulse and pull along these distant soundscapes. Silence as a setup, like an inhale, still finds a place in the quiet-to-calamitous post-rock aura that The Infinity Ring wears at base. But also, like breath, a natural rise and fall defines Ataraxia’s pace, its closing message of “The Archway” embodying that swift, tidal tempo.

As a journey of serene discomfort, Ataraxia walks softly bug neglects to carry that big, bombastic stick. The Infinity Ring, sticking to a diverse sonic palette to achieve its moody goals, functions as a hard-to-quantify collective of unique and thought-out sounds. Walking in a long line of attitude-based artists like Lou Reed and Tom Waits, the path that The Infinity Ring has chosen is weird, entrancing, and, above all, rich with sonic delight. So with Ataraxia, the journey is the destination. And when the mood strikes, The Infinity Ring proves a hard act to ignore.

Rating: 3.5/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Profound Lore Records | Bandcamp
Websites: theinfinityring.bandcamp.com | instagram.com/theinfinityring
Releases Worldwide: March 21st, 2025

#2025 #35 #Ataraxia #ChamberMusic #Darkwave #GothicRock #LeonardCohen #LouReed #Mar25 #NickCave #PostRock #ProfoundLoreRecords #Review #Reviews #TheInfinityRing #Wovenhand

Wovenhand · White Bird
Wovenhand est un groupe de country alternative créé autour de David Eugene Edwards, ex 16 Horsepower. Ils ont travaillé à deux reprises pour le chorégraphe et réalisateur Wim Vandekeybus, pour ses films Blush et Puur.

https://www.aaadmusique.fr/wovenhand-%c2%b7-white-bird/ #2003, #Wovenhand

Best thrift store finds yesterday! The Wovenhand albums were very cheap, too. I couldn't believe my luck.

#wovenhand #rush #NineInchNails

The Old Dead Tree – Second Thoughts Review

By Dolphin Whisperer

The hibernal cool-down of December brings with it the urge to succumb to an early setting sun and frozen morning air.1 And with this desire for thick socks, fuzzy blankets, and warm, spiced beverages no matter the hour comes a call from the gothic and downtrodden. In both those words The Old Dead Tree lives, having waved the dark and morose flag since 1997 inconsistently through a minefield of break-ups and hiatuses. In fact, their 2019 EP The End—also a tribute to one of their founding members, Frédéric Guillemot, whose life came to a tragic end before The Old Dead Tree could grow—stood as an alleged conclusion to their idiosyncratic, sorrowful career. But a tree cannot stop growing just because it wants to, even if it’s old and dead.

Ambition overtook hesitance to allow Second Thoughts to be not a second wind but a rebirth for the French sadbois. While the lyrics still deal with subject matter like personal loss, mental struggles, and an unavoidable malaise for life, a thread of adventure colors the journey with footstep recordings, heavy breathing, clock tower gongs, scattering dog barks, and distant lightning, laying a pleasant, engrossing mulch world around The Old Dead Tree. This living soundscape against founding vocalist Manuel Munoz’s vibrant, weeping crack and croon builds a narrative that doesn’t need to be on the page in front of you to dive straight into your heart. And as The Old Dead Tree cycles through timeless, pathos-drenched passages like the alt-y, breathy yodel of “Better Off Dead” or the sudden mic-distorted, volume-loaded cry that opens “Story of My Life,” it is clear that the dramatic urgency that defined the draw of their past works hasn’t skipped a beat.

More than a reliving of The Old Dead Tree’s past, Second Thoughts appears with plenty of new wrinkles that anchor important energy shifts. In a move informed by his time with melodic death/folkers Arkan, Munoz has brought on a few friends2 to lend tension-building barks to driving stomps and snarling diffusions (“Without a Second Thought,” “OK,” “The Worse Is Yet to Come”). And though that more aggressive harsh vocal stomp serves both thematic contrast and tonal divergence, long-time guitarist Nicolas Chevrollier maintains a twangy, petulant six-string strut that paints the bluesy waltz of Wovenhand in a light equally gothic but triumphantly troubled (“Don’t Waste Your Time,” “OK”). The diversity throughout makes for little downtime across Second Thoughts’ fifty-minute journey.

Despite its excursions into those more novel and often proggier territories, The Old Dead Tree keeps a firm footing in the established goth playbook for several cuts. The tremolo chord overlay that opens Second Thoughts, along with plenty of other wistful riffs, give hits of late ’90s Katatonia/Anathema guitar-forward melancholy that paints a frown long before any words can (“The Lightest Straw,” “Luke”). “Fresh Start,” on the other hand, leads with reverberating piano hits that morph into a throbbing bassline that swells with the mopey dance floor energy of One Second era Paradise Lost—you can take the Docs off the goth, but you can’t truly escape the urge to drag around a good beat. To class up some of the more rote and melodramatic musical conclusions that build with “The Trap” and “Solstalgia,” Second Thoughts invites the gifted cellist Raphaël Verguin (Psygnosis) to lay sullen lines against Chevrollier’s classically mournful melodies. All of this leads to a finale that too feels of the Paradise Lost playbook, albeit more of the lingering Mackintosh guitar wail, but Munoz’s ability to hold a comfortable yet discomforting tune keeps its roots firmly in The Old Dead Tree.

As a true return to the fray, The Old Dead Tree’s updated take on a well-tread but not widespread sound feels as fresh as it does nostalgic. Like a cozy blanket on a shiver-inducing night, Second Thoughts wraps the listener in a believable tale of emotional turbulence and life-informed loss. For those enamored enough by its scattershot, moody shuffle, the highest points of histrionics will hit that deep-seated sadboi within. It’s hard to say whether that same approach lands as a true boon, as some of the lesser moments feel unnecessary on repeat listens. But this sort of episodic narrative also means that you can pick up Second Thoughts from just about any point and let its gothy charms take over.

Rating: 3.5/5.0
DR: 5 | Format Reviewed: 320 kbps mp3
Label: Season of Mist | Bandcamp
Websites: theolddeadtree.bandcamp.com | facebook.com/theolddeadtree.official
Releases Worldwide: December 6th, 2024

#2024 #35 #AlternativeRock #Anathema #Arkan #Dec24 #FrenchMetal #GothicMetal #GothicRock #Katatonia #ParadiseLost #ProgressiveMetal #Review #Reviews #SeasonOfMist #SecondThoughts #TheOldDeadTree #Wovenhand