When listening to the opening track “Dragon’s Tail” on Void Cruiser’s third album Call of the Void, two questions came to mind. The first is if this band was from Southern California? No, they’re from Finland. The second question is this a reissue of an album released in the mid 90s? The answer is also no. For some reason, Void Cruiser made an album that’s a throwback to 90s alt stadium rock. It’s not an unpleasant album but it is an unsurprising listen.
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Last night I had a dream. I was back in college; it was 1993. I was hanging out at the local used record shop (it was Last Vestige in Albany, if you’re familiar with the area). As per usual I was pouring through the CDs and records and this loud, hazy wash of sound slipped through the air, grabbing my attention. “What is this?” I asked aloud. “Oh, you don’t know Elizabeth Colour Wheel?” a haughty voice responded. Even then and in my dreams folks who work in record stores can be real dicks. Anyway I woke up and realized Nocebo, the band’s debut full length after a number of singles and EPs, has that timeless quality that marks a unique and vital voice in the music world. Continue reading
The coordinates tell you where you need to go, and what you need to know. There’s an abandoned car at the beach, a radio tuned to 2001 and A Fine Day to Exit, the flag in the ground for where Anathema would begin their journey into the unknown world of dark, contemporary music: beholden to no-one but themselves and the vision for what the band could be. Sixteen years and four albums later the Anathema show no signs of giving up the ghost, continuing to explore an emotional tapestry of life on their newest album The Optimist. It’s a beautiful, focused effort that channels a darkness and ultimate catharsis through mood, melody, and a adept touch with with electronics. Continue reading
Nine Circles 