| Founded in
Portland, Oregon in 1995, Agalloch create a style of metal music inspired
by early to mid-1990s Scandinavian bands such as Ulver, In The Woods...,
Katatonia, and Amorphis. These metal influences are merged with neo-folk,
1980s gothic rock and post-rock elements, resulting in an eclectic
expression of autumnal melancholia, misanthropy, solitude and veneration
of nature. The band’s first demo, From Which Of This Oak, was
released in 1997. In 1999, Agalloch released its first full-length album,
Pale Folklore, on The End Records. An EP, Of Stone, Wind, And
Pillor, was released in 2001, followed a year later by the band’s
second full-length album, The Mantle. After two Eps (Tomorrow
Will Never Come and The Grey EP) and a split with Nest,
Agalloch released its third album in 2006, Ashes Against The Grain.
The White EP, issued in early 2008, is the band’s most recent
release. Members of Agalloch are also involved in/have been involved in
Sculptured, Especially Likely Sloth, and Subterranean Masquerade.
Taking inspiration from Scandinavian metal bands In The Woods..., Ulver, and Katatonia, as well as influences from neo-folk artists such as Current 93 and Death In June, and 1980s gothic rock band Sisters Of Mercy, Agalloch create a spellbinding experience of dark, melancholic music through sorrowful lead guitars, plaintive acoustic guitar sections, wintry ambience through beautiful synth arrangements, all contrasted fantastically with the cold bitterness of misanthropic screams, black metal riffs and churning rhythmic currents. The flow of the album, through its careful sequence and intention of epic emotion through brooding passages transitioning into metallic movements, engages throughout as to create an hour-long journey of winter forest isolation. This is beautiful, powerful, and passionate music expressing a longing for the truth of the natural world, and hatred for human endeavors that work in opposition of such a yearning.
Running Time: 62:08 Line-Up John Haughm - Vocals, Guitars, Drums Production: Recorded in Jan/Feb and mixed
in March 1999 at Soundtracks. Engineered by Ronn Chick. Produced by John
Haughm and Ronn Chick.
Agalloch
Tracklisting
Running Time: 28:00
Line-Up
John Haughm - Vocals, guitars, drums (1, 3, 4)
Agalloch "…we are the wounds…" The solemn, cold darkness that formed the core of Agalloch’s 1999 debut release Pale Folklore has blossomed into something far more universal. The irreverent storm of vexatious, hopeless pleadings to a pitiless majority now channeled through sparse chromatic arrangements of a more seamless flow. The elaborate structural formations have been treated with an increased level of patience, giving the musical elements additional breathing capacity. Yet the most conspicuous component of The Mantle is its reflection of natural human development in response to effects of environmental surroundings. The Mantle is reaction to modern existence within a culture that breeds emptiness and has developed an increasing disregard to the beauty and power of nature. Agalloch have observed in disenchantment the acts of humanity in such a climate and turned their gaze towards the within. In this form, the search for true personal meaning, striving for truth within one’s self in a world of deception, is directed towards the spirit, the core of the self. This reflects in the lines "…it washed away in a tide of longing....a longing for a better world…" ("In The Shadow Of Our Pale Companion") and "It is this grandeur that protects the spirit within, from the plight of this broken world." ("I Am The Wooden Doors"). The soul of The Mantle is at extreme odds with present cultural conditions, and formulates itself against this virus in a highly intellectual and emotionally powerful portrayal. However, in the midst of this personal empowering through inner discovery, The Mantle succeeds not in escaping the often cruel effects of human interaction. Desperate and bitter responses to the usual factors of betrayal and abandonment lurk within "You Were But A Ghost In My Arms" and "A Desolation Song". Indeed, the very existence of The Mantle, and Agalloch, depend upon these instances. However, the maturation of these individuals is strikingly clear throughout the duration of this album. No longer entirely consumed with emotional frustrations and misunderstood spiritual complexities, a search has begun for universal meanings while reluctantly acknowledging their existential burden. At its core, this remains a melancholic and bitter work. It is music of autumnal essence and wintry isolation. Yet, unlike previous efforts, The Mantle recognizes tranquility as a realistically achievable plateau. Interestingly, however, is that these moments remain relegated to instrumental passages, particularly "Odal", "The Lodge", "The Hawthorne Passage" and vocal-less events within "In The Shadow Of Our Pale Companion" and "You Were But A Ghost In My Arms". This could symbolize more about vocalist/guitarist John Haughm’s development as an individual; a reaching for tranquil horizons, yet the desire remains silent within him by his own defenses crafted from worldly threats to the emotionally vulnerable. Consistent with previous works, Agalloch once again express, through all facets of their art, a deep appreciation and reverence for nature. The elk statue that graces the cover symbolizes their affirmation. Through the beauty and splendor of nature, Agalloch have found something to believe in, a vindication for being. As this creature has become something of a mascot for the act, they have found truth and purity in the ways of nature, something to hold onto as humanity apathetically bring to ruin all that is sacred, shattering pure faith. As mankind continues to technologically progress and the ever-increasing emphasis of social status feeds superficial endeavors, nature has become the sufferer. Agalloch, in their plight to sever themselves from an afflicted species, have wholly embraced what humankind seemingly strive to destroy. The musical accompaniment to these themes is nothing short of astounding. Agalloch have delved deeper into a broader range of sonic elements to enrich their overall expression in quite a fascinating display. The role of acoustic guitars has increased, not necessarily in abundance, yet rather in their significance to not only individual tracks, but the album as a whole. The inclusion of woodchimes, ebow, trombone, contra bass, accordian, mandolin and even found instruments such as the "grim cymbal bell" and "deer antler percussion" splendidly enhance the expressional shades within Agalloch’s music. The metallic currents remain intact throughout, yet no longer can be recognized as the band’s sonic foundation. "I Am The Wooden Doors" and "You Were But A Ghost In My Arms" exemplify these aspects, bitterness and melancholy entwined in cold distance, not in limitation of the music, yet also rendering itself vocally. Hauhgm’s predominately monotone "clean" vocal, used to greater effect here than on past works, portrays the more reflective, thoughtful yet no less compelling features of Agalloch’s evolvement as musicians and individuals. The wretchedness expressed through the bitter vocal shrieks present the agonized emotions vital to the essence of their sound and appeal. It’s a presentation of the struggle between harmony and chaos that is the occupation of human experience. The results are spellbinding. The sonic template here stretches beyond the surface chromatic minimalism. A linear foundation does exist for much of this material, yet this factor does not set limitations for elaborate thematic or musical ideas. Lengthy instrumental passages are frequent, with vocals, although no less a significant component, less of a focal point. The album's first twenty-six minutes, in the shape of 1. "A Celebration For The Death Of Man", 2. "In The Shadow Of Our Pale Companion" and 3. "Odal", is a movement that, upon the arrival of it's finale, leaves the listener simultaneously mentally/emotionally/spiritually overwhelmed and cleansed. The acoustic based intro, complete with "call to arms" percussion, acts as portal into this dimension, setting the affective tone for the following proceedings. "In The Shadow Of Our Pale Companion" is a 14-minute plus journey through bleak inner landscapes, the transcendental guitar leads providing glimpses of the sunlit horizon in the distance. Not so much a song as a deeply moving life experience in sonic shape, equally life affirming and despondent. The 7-minute plus instrumental "Odal" removes the listener from desolate wastelands, guiding through tranquil pathways divided by the splendor of dawn and caress of dusk. Excellent guitar ambiance ignites into a release of Earthly burden, a deliverance from blackness into the abode of inner bliss, then drifts into plaintive serenity. "Odal" is a breathtaking work of art and a monumental musical statement. Thrust into this world on the condition of our ultimate and inevitable death, we are left to question the meanings, or the existence of meanings, within everything that surrounds us. We ponder our purpose here and seek to develop higher understandings of our environment. Reactions are developed towards the functions of the world, relations with other people and the humbling knowledge that we are ever one breath closer to our last. Life in this world can be a cold, unforgiving and bleak journey. We can take what we can from this place, utilize our methods for our own devices, or we can submit to the burden of existence, fall in line with the spirit-draining structure of society until we meet our death afraid and alone, blinded in the façade of warmth and compassion. We can wallow in the misery of life, shroud ourselves in impenetrable darkness and await life's end, arms open as if to embrace the shadows of expiration as a gift of deliverance. We can let ourselves out, escape the wretchedness, the pain of living, the horrors of a new day. The Mantle, even through its grey-spirited dejection and distressed weight, portrays this quest for meaning, the search for true belief. The unbearable conditions of existence cannot be escaped. However, we can get through by finding something to believe in, something to hold onto, to reaffirm our faith. On The Mantle, Agalloch have turned to self-preservation and nature’s grandeur. The Mantle is a deep, ambitious, penetrating work of art. It does not cater to the impatient or to those intimidated by emotionally compelling, thought-provoking artistic expressions. This is music with purpose, a prime display of a beautifully constructed album possessing the ability to dramatically alter the listener’s mental and emotional state during the experience. It is music of high quality, delivered through a rich collection of visions and intentions. The Mantle is a complete package, offering stimulation musically, as well as lyrically and visually. The stark design of the package, in grey, silver and black tones, effectively reflects the spirit of this music and lyrics. Each phase of this work flows seamlessly into the next, creating a continuous stream which takes this far beyond the standard song by song album. This is an experience in the truest sense, requiring no surrounding or threatening distractions, and full soul and mind immersion for it’s entirety.
Tracklisting
Running Time: 68:25 Line-Up John Haughm - Acoustic and electric guitars,
percussion, vocals Session Musicians: Ronn Chick - Synths, bells, mandolin Production: Recorded in several separate sessions between Nov '01 & April '02. Engineered, mixed, & mastered by Ronn Chick. Produced by Ronn Chick & John Haughm.
Agalloch Dubbed "The Grey EP" due to the all grey-shaded, no text packaging, this release features reworkings of "The Lodge" and "Odal", two instrumentals from The Mantle. Apparently, this completes a trilogy beginning with The Mantle, continuing with the Tomorrow Will Never Come 7" and concluding with this recording. "The Lodge (dismantled)" functions upon the basic riff idea from the original Mantle version, replacing the acoustic with the electric, translating the piece into a full-band performance. In this extended interpretation, the band allow melodies to develop above the framework, traversing through peaks and valleys, ascending and descending, fluctuating through emotional highs and lows, before arriving at a thunderous intensification, dissolving into drones of feedback as fragments and embers falling to the Earth. This is an extraordinary exercise in Agalloch’s ability to manipulate emotions and thoughts within the listener. This EP is worth tracking down for this piece alone, an essential experience for anyone who has ever been moved by this band’s work. The second track here is a Nothing (J.William W.’s ambient/experimental/noise project) remix of the beautifully stunning "Odal". "Destroyed and rebuilt" by bassist J.W.W., this is a quite strange interpretation. It bears very little to no resemblance whatsoever to the original on the surface, though further concentrated listens manage to reveal familiar elements. Listening to this is akin to wandering through a dark, dank corridor within a rusted steel construction, uncertain of a way out. It’s the sound of structures, of all forms, breaking down, crumbling slowly to nothingness. Certainly not as "easy" a listen as "The Lodge" reworking, yet maintaining a level of interest left for darker, deader moments.
Tracklisting
Running Time: 20:59 Limited to 1000 copies. Line-Up: John Haughm - Wall of enigmatic frequencies left (Track 1) Don Anderson - Wall of enigmatic frequencies right (Track 1) J. William W. - Foundation frequencies middle (Track 1), Destruction and Rebuilding (track 2) C. Greene - the framework (Track 1) Production: Track 1: Recorded at Jackpot studios by Larry Crane, July 2003. Mixed by Ronn Chick. Track 2: Recorded at Perfection Of Silence, Aug. 2003. Mastered by Ronn Chick. Agalloch Distant wisdom of the withdrawn-yet-aware, Agalloch’s music is the sonic representation of the reclusive spirit who, through the attentive observation of the nature of linked events, has gathered through experience all that is required to form an operative understanding of the way this world is going. No delusions of saving the world, as the world is beyond saving. The world is on a determined course of progression towards annihilation. If our dreaded intuitions are accurate, and these are indeed our last days, then let us admire the abundant beauty of the natural world, and seek a connection with that beauty which the machines and systems of man are rapidly devouring. It is the love that comes from the understanding and appreciation of the eternal process of nature that leads one to turn away from the societies of man, the designs of which are opposed to natural process. "Earth to flesh, flesh to wood, cast these limbs into the water" There are three distinct stylistic components to Agalloch’s music, each of which serves as portrayal of a specific emotion vital to Agalloch’s worldview: black metal, neo-folk, and post-rock. Metal is the foundation of the band’s approach, with the primary influence coming from the early-to-mid 1990s metal from Scandinavia that incorporated folk music. Ulver’s first disc, Bergtatt, as well as the first two full-lengths from In The Woods... are particularly inspirational to Agalloch’s sound. The melancholy metal of Katatonia’s Brave Murder Day and Discouraged Ones has also made an impression on Agalloch’s melodic choices, which tend towards the sorrowful or brooding. The neo-folk influence shows itself in the acoustic guitar sections appearing in many of the band’s songs, usually accompanied by subtle tribal percussion, in the conjuring of pagan ambience. Sol Invictus and Current 93 are the bands most quickly coming to mind during these moments, as well as traditional folk from Northern Scandinavia. The post-rock influence has taken a much more significant role on Ashes Against The Grain than it has on past works. This influence has always been part of the band’s formula, but now it works towards the definition of certain passages as part of the character of a song. Godspeed You! Black Emperor, who excel in the art of emotional suspense and release through climactic rises and falls through untraditional usage of rock instruments, is the most obvious influence in this component. The working in of post-rock elements has provided Agalloch’s music with a different and refreshing emotional dimension as well as assisted in the shaping of this band’s unique identity. Vast atmosphere is produced through spacious guitar riffs, wide-open melodies and emotional guitar leads. Rhythms are ordinarily straightforward, often choosing a simplistic foundation for the melodies to soar above. The drums seem restrained compared to past efforts, and the result is the band’s least rhythmically interesting work. The climactic builds through the aforementioned post-rock elements are perhaps this album’s most emotionally gratifying moments. "Limbs", "Fire Above, Ice Below", and "Our Fortress Is Burning...II - Bloodbirds" each benefit greatly from these elements. The band exhibit excellent directional composing in which a song’s essence gradually evolves towards a beautiful blossoming. Reptilian growls mingle with disconsolate singing, yet the band are prone to lengthy instrumental sections, with the vocals acting as occasional commentator on compositional themes. The acoustic guitars are not as prominent as on past works, and restrained in duration. The production is cleaner than previous recordings, which gives this music a polish that seems alien to its nature. Such gloss of sound works against the raw truth of this music, which, from its core, bleeds pure feeling. Ashes Against The Grain is more charged, "heavier" than past albums from the band. Part of this is due to the cleaner production, which makes for a less organic sound. Also, there are less folk sections. The acoustic guitars have less of an articulated presence than before. As a result of this, the music loses something in the way of that cabin-in-the-woods ambience so gloriously portrayed on earlier works. For sure, the music is powerful in its atmosphere and emotion, though this time the power arrives from more electric sources. Perhaps in conjunction with this development in sound, the conceptual personality of this album is one of dismay rather than sadness. Where on past works Agalloch bitterly grieve in emotional isolation, here they seem to have taken a more objective account of the state of a world that is corroding from within. The feeling is one of impending apocalypse. "The god of man is a failure Masterful use of dynamics in representation of the emotional fluctuation of existence, where anxiety and calm wrestle over control, though Agalloch acknowledge the human as in need of becoming anti-human for the purpose of connection with the natural world. There is a profound affection for the endless wonder of natural forces, source of the process of life, and environmental beauty. References to natural elemental balance is often used as symbol for a balance within the individual in the striving to reach the full extent of each vital capacity. It is the recognition of the reality of natural process discovered in forest solitude where a spiritual relationship with nature can be fostered. Through this connection arises the embrace of death as provider of existential purpose, the death that modern society disregards to eliminate the discovery of any meaning beyond commerce. They curse death through their denial of it in vacant movements, refusing the bravery in facing the reality of death. Their apathy disguised as serenity is the source of their estrangement from the vast potential of what life can be. "The god of man is a failure", indeed. There are a few missteps here that keep Ashes Against The Grain from reaching the completeness as a work of entirety achieved by previous works. "Falling Snow", while certainly a solid song taken as an isolated track, does not work with the rest of this album, as its up-tempo foundation gives it a character unlike that of the album as whole. It is similar to the fantastic "Hallways Of Enchanted Ebony" from Pale Folklore yet lacking the transcendental melodies that make that song special. "Falling Snow" would have been best left off of the album completely, saved perhaps for an EP, while the short ambient instrumental "This White Mountain On Which You Will Die" should have been expanded, as its atmospheric essence deserves more time to truly manifest and would serve as a compelling bridge between "Limbs" and "Fire Above, Ice Below". The ambient/noise track that closes the album, "Our Fortress Is Burning III - The Grain", is not interesting enough to warrant closure to this album, especially following the passionate final moments of "Our Fortress Is Burning II - Bloodbirds", which would have been the most effective manner in which to end this disc. This last track should have either been reworked to make it a more interesting listen or left off of the album. It adds nothing to the experience of the disc, though it strives for an apocalyptic ambience. Also, the artwork in the CD booklet is the band’s least visually stimulating yet. Past efforts have included wonderful imagery that assisted in the listening experience, yet here the band have come up short in this department. The album’s best moments, in terms of compositional arrangement, atmospheric grandeur, and emotional force, arrive in "Fire Above, Ice Below", "Not Unlike The Waves", and the first two parts of "Our Fortress Is Burning" which together say the most important things lyrically and musically for this album. Despite the album’s faults, it remains an engaging listen, and within its most powerful moments there can be discovered a beauty of flowing musical expression that rewards the listener with a memorable experience. 8/18/07 Tracklisting: 1. Limbs Running Time - 59:49 Line-Up Johnn
Haughm - Vocals, Guitar, Drums Session Musicians Ronn Chick - Ebow, piano Production: Recorded during the last month of 2005 and mixed, edited, and mastered during the first months of 2006 by Ronn Chick. Produced by Ronn Chick, Haughm & Agalloch. Agalloch Discography From Which Of This Oak demo (First Light Of
Dawn, 1997) Ashes Against The Grain (The End, 2006) The White EP (Vendlus, 2008) |
