Album Type: Full Length
Date Released:
10/6/2014
Label: Profound Lore
The
Atlas Moth – “The Old Believer” CD/DD track listing:
1). Jet Black
Passenger 04:29
2). Collider
03:56
3). The Sea
Beyond 06:07
4). Halcyon Blvd
5). Sacred
Vine 05:46
6). The Old
Believer 04:42
7). City of
Light 05:00
8). Wynona
05:13
9). Hesperian
05:51
10). Blood
Will Tell 04:57
The Band:
Alex Klein |
Bass, vocals
Dan Lasek |
Drums
Stavros
Giannopoulos | Guitars, vocals
David Kush |
Guitars, vocals
Andrew Ragin |
Guitars, synthesizers, vocals
Review:
The
Atlas Moth’s newest album is brilliant and frustrating all at once. The vast
majority of what is presented works remarkably well. The aspects that don’t
work came close to derailing the whole album for me, to the point that I
struggled a lot in deciding what my overall view of the album was. I’ve
listened to this album over and over again, trying to figure out why an album
as beautiful as ‘The Old Believer’ irritated me so much. It’s essentially come
down to a couple of key aspects: certain vocal choices and an over-inflated
second half.
The
album begins with “Jet Black Passenger” a song that almost perfectly captures
everything I’ve just brought up. The song opens with a majestic but melancholy
riff that transitions into a hazy verse. It does an excellent job musically of
setting things up for a riveting apex, driven by Stavros Giannopoulos’
unnerving howl. That apex would have been even more effective if David Kush’s
sorrowful singing been allowed to build to that moment unaccompanied by a more
mid-ranged and reserved croak from Giannopoulos.
That
section of “Jet Black Passenger” represents the primary issue I have with the
album. Kush ’s vocal contributions are
something I’d love to hear more of without having Giannopoulos overpowering it.
He’s mixed more loudly than Kush more often than not when, to my ears, Kush should be the focal point vocally, especially during
the moments that play with softer dynamics. It feels strange to say that for a
couple of reasons. First, I’m not a believer that singing is always preferable
over screaming. Second, Kush isn’t always
perfectly on-note when he sings. It brings to mind mid-period Katatonia;
specifically ‘Discouraged One’ and ‘Tonight’s Decision’, though his delivery is
different. Vocally, Kush reminds me of a more
deep-throated Ronan Harris (VNV Nation), filtered through Jonas Renske
(Katatonia) and Aaron Stainthorpe (My Dying Bride) and even a hint of Vincent
Cavanagh (Anathema). The pairing of this atmospheric, melodic sludge with
vulnerable, almost gothic singing is unique in a genre littered with
sound-alikes, as most genres and subgenres are.
Both
vocalists work well individually; it’s when both of them seemingly battle for
attention at once that makes the album a frustrating listen at times. Perhaps
they’re meant to be complimentary to each other but it doesn’t quite come off
that way. Later on in “Jet Black Passenger”, both vocalists are allowed to have
their own moment to great effect. Kush gets
his opportunity to shine at about the 2:20 mark, and it’s glorious. After that
the song settles into a wonderful, floating psych moment, with Alex Klein’s
looping bass groove steering the ship before giving Giannopoulos’ snarl
takes center stage, which fits the moment just as well as Kush had
earlier. Judicious use of both vocalists separately is an absolute must for
this band in the future, as all too often the two clash against each other -
both sonically and rhythmically - which completely takes me out of the moment.
Perhaps if Giannopoulos wasn’t mixed so loudly in the moments where they do
overlap it would be less of an issue, but his vocals sound so raw on this
recording compared to ‘An Ache for the Distance’ that the effect is even more
jarring than it might have been otherwise.
Moving
away from the vocals, which obviously played a huge role in the big picture for
‘The Old Believer’ in my case; the instrumental side of the album is absolutely
album of the year worthy. The concoction of sorrowful dirge, powerful sludge
and phantasmagoric psychedelia that The Atlas Moth brews is more compelling
than ever before. They have a truly enlightened sense of melody that other
bands strive for, but never quite attain and ‘The Old Believer’ is all the
proof you’ll ever need. I would also be remiss if I didn’t compliment new
drummer Dan Lasek for exhibiting restraint when other drummers might feel the
need to cram an assortment of fills into their work, regardless of whether it
actually works for the greater good. My favorite drummers are the ones who pick
their spots and realize that they’re so essential to a band as its foundation
that being flashy without purpose is a sure-fire way to make sure everything
else collapses as a result.
This
brings me to my second issue, though it’s a far smaller point: the songs start
to run together a bit in the second half. In particular, I think you could
either cut or work elements of “Wynona” and “Hesperian” into other songs, get
the album down to about forty minutes and really get the best this album has to
offer. Even as it is, “The Old Believer” is a musical juggernaut, and there are
very few who could rival its power in 2014. Now, if we could just get everyone
to wait for their turn at the microphone
Words by: Daniel
Jackson
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