Theologian the chasms of my heart rar
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Rick Re:Action. Raul Antony. Remy Brecht. Matt Johnson. GROT's Stuff. Under this new name, the power electronics and death industrial influences were merged into even darker, more majestic sounds, crafting something that was significantly more atmospheric than his work with NTT, while also reaching into new extremes of experience. On Theologian's latest, The Chasms Of My Heart , this sound is perfected, incorporating more melody and percussion into the long, oppressive dead-world ambience and pummeling electronic doomscapes, and it's one of the best albums that Leech has brought us.
Chasms opens with what may be Theologian's most stirring and evocative piece of music to date, a monumental end-time dirge titled "Abandon All Hope" that starts off as a swirling ocean of blackened synthesizer roar before morphing into the sound of pounding metallic percussion and skull-rattling bass frequencies. At first, it's the sort of pitch-black apocalyptic death-synth heaviness that Theologian has long claimed as its own, but when the layered vocals begin to pour in, soaked in distortion and climbing skyward in a gloriously miserable multi-part harmony above an eerie minor-key hook, this heaviness is transformed into something new.
Bartow's dynamics consist largely of loud and louder, conditions that make hearing much of his music at once a tad exhausting. The four-track format of Comfort mitigates the problem by creating a rather seamless and immersive environment that, though still quite taxing, provides one obvious entrance and exit.
It's possible to think of the slow, grainy lift of opener "Fighting for Nothing" as the takeoff and the noise-decay denouement of closer "In the Moral Leper Colony" as the landing. Chasms , however, jerks between pieces of four and 15 minutes for more than an hour, with the divisions-- and possible departure gates-- more clearly demarcated.
Given Bartow's past and his tendency for lyrical nihilism, it's possible to interpret that draining structure as some broad eschatological statement. That doesn't make the listening itself any better.
What's more, Bartow tends to striate his textures and parts, stacking them in rather large and simple layers rather than stitching them together like more electronica-oriented counterparts Demdike Stare or Voices from the Lake. That impulse is a vestige of his tenure as a strict noise artist, and it decreases the possibilities of repeat listens. That is, after a couple of passes, you've heard most everything Theologian has to offer, at least on Comfort and Chasms.