Sometimes the world gets away from you and you have to pack two months of podcast into one episode. So whether your mood swings to the raucous sound of LO! and their new album The Gleaners or the more trepidatious approach of The Ocean and their latest Holocene (both coincidentally on Pelagic The Nine Circles Audio Thing: LO! and The Ocean Were April and May’s Album(s) of the Month!Records) Buke and the 9C staff have you covered with what is sure to be a conversation composed of many, many, MANY words. I mean, it’s over three hours long – I’m assuming this is because of the amount of words being spoken but I supposed it could be something else: maybe there’s some bird calls?
Smoke ’em if you got ’em…it’s another Album of the Month episode of the Nine Circles Audio Thing.
Not gonna lie. Sure there’s been some great extreme music that came out this week (like the latest from Devangelic) but damn if this new Crown Lands albums isn’t some of the best Rush worship I’ve heard since, well…Rush in their heyday, which if you ask was pretty much their whole career outside of the debut and that small blip from Presto to Roll the Bones. So we’re kicking off with a single from the Canadian duo’s stellar new release before diving into the guttural extremity of Devangelic’s fourth album Xul.
From there the 278th edition of the Nine Circles Playlist goes all over the place, as you would expect. We’ve got music from the likes of Rotten Sound, Demonical, and the scorching new cut from the forthcoming Cattle Decaptiation. We’ve got technical progressive death metal from Pronostic and glam from Steel Panther. And in between there’s cuts from Planning for Burial and Chapterhouse, OranssiPazuzu and Gorguts, Lo! and Godflesh, not to mention a host of killer cuts to close things out, including Opeth, Sabaton, Judas Priest, and others.
David Lynch’s 1986 film Blue Velvet famously opens with an image of sublime beauty juxtaposed with hellish ugliness. A shot of a white picket fence with red roses segues into a kingdom of hideous, writhing insects. Black and gold shapes burrow and writhe through moist dirt. Lynch films the insects as abstract shapes struggling for dominance. Lynch wants his audience to know that under this surface beauty lies unknown horrors. The two live in symbiosis and neither can thrive without its opposite. Because it’s David Lynch though, this uncomfortable scene also holds beauty in it. A frightening beauty the viewer cannot ignore. The Gleaners, the latest album from Australian sludge mongers LO!, thrives in similar imagery.