Salvage the illusion of once mint gardens
Before a violet peeling showed teeth glowing,
Horizons fleeing, lilacs swaying
When it takes you, you’ll be remembered
Young and kind for all time
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WASHED IN PRECIOUS BLOOD | anoctivaga
Inspired by “THE SACRED LINAMENT OF JUDGMENT” by Lingua Ignota
instagram // store // link.tree
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Did you see Mylets' Instagram post about an abusive environment at Sargent House? Really hope Chelsea is OK.
Yes I did!
I wasn't sure if I should share it here because Chelsea is not involved with SH anymore. Much love to everyone speaking out, I hope Cathy will take accountability for her actions.
Here's Henry's post
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8/29/23.
The Armed (Detroit, Michigan) are at it again. I actually didn't know "Perfect Strangers" was released until I read the review in Pitchfork. The album was given a stellar review - so I listened. After a couple of minutes, I switched - I was convinced (after only a couple minutes) that the new album wasn't for me.
Last night, I gave it a full listen and bam! Wow - this is so good. It isn't at all like my normal listening fare, but at the same time it has elements of everything I love about music. This time around the vocals remind me more of Julian Casablancas (The Strokes) and the music can be a bit more "shoegazey" (think Erik Blood). But The Armed are trying new things and the results remind me of the late 90s/early 00s Flaming Lips.
Sargent House is again releasing this. You cannot get a physical copy on Bandcamp. You'll have to go to the page set up by the band/Sargent House.
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David Eugene Edwards — Hyacinth (Sargent House)
David Eugene Edwards has been exploring the abyss for a couple of decades, first in 16 Horse Power, later as Woven Hand. Both outfits took the darkest, most murderous elements of Americana and wed them to a howling industrial racket, the intensity breaking sometimes, unexpectedly, for bouts of lyricism or antic flights of heel kicking. Hyacinth is Edwards’ first album under his own name, but it will require no adjustment for long-time fans of his work. The looming sense of dread, the nightmare visions, the echoing voice, the pounding, crushing drums, it’s all here again and, as always, overpowering.
“Seraph,” for instance, forms out of an ominous buzz and drone, a smoke and haze with bells ringing in it distantly. It kicks up into an industrial furor, eventually, thunderous drums punching out unfathomable rites, Edwards voice echoing through apocalyptic caverns. It sounds nothing at all like Current 93, but still that’s maybe the best comparison, two artists who firmly believe in and can envision heaven and hell.
There is, perhaps, a shift towards more acoustic forms. “Howling Flower,” despite its violent and evocative name, lets shimmering textures of unamped guitar unspool and lingering vibrations of fiddle hover. Edwards’ singing is, regardless, ritual and dramatic, a baritone suited to prophecy but surrounded by gentle, rustic sounds.
Edwards is well known as a fundamentalist Christian, but his lyrics here dig into classical Greek imagery. In myth, Hyacinth was a musician beloved by multiple gods and ultimately destroyed by Apollo. It’s a cautionary tale, perhaps, for players good enough to attract divine attention. The title track is full of dramatic, visually striking metaphors, polytheistic certainly, though hard to parse.
Like all of Edwards’ music, Hyacinth is strong stuff, exciting and moving if hard to get a grip on. If you need a reminder that Americana need not be ingratiating and strong religious faith may not be a comfort, look no further. This is dark and powerful music.
Jennifer Kelly
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And if I ever manage to get out, it’s all this waking life - just drags me down. A life spent uneasy, in pieces, always in pieces here. A life rent completely, release me away from fever dreams
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Russian Circles - Gnosis (Gnosis, 2022)
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