On their third album, Shivering King and Others, Dead Meadow continues to prove just how apt their name is, crafting vast guitar epics that have all the beauty and strangeness of a frostbitten field at midnight. While both their self-titled debut and Howls From the Hills showed power and promise, they were still defined and confined by the heavy influence of forebears such as Zeppelin and Hendrix, as well as by contemporaries such as Bardo Pond. On this album – which is also their Matador debut – Dead Meadow seems to have found their own voice and pared their music down until it reflects nothing but their essence. The stunning opener, "I Love You Too," proves this immediately: based on a riff that's equally heavy and haunting, it unfolds over seven minutes, ebbing and flowing with squalling solos and Jason Simon's moody, reverb-cloaked vocals.
Film and orchestral music composer Eleni Karaindrou has made a beautiful and moving statement with THE WEEPING MEADOW. A native of Greece, Karaindrou's influences are decidedly European, and within the music, one can hear the stamp of impressionistic composers like Erik Satie, avant garde innovators like Bartok, as well as Greek and Balkan folk forms. Karaindrou's music also traffics in 20th-century minimalism, creating tense, atmospheric spaces that feel empty and dense at once (one of the composer's frequently used motifs involves "patterns" that recall the tingling, polyphonic gestures of Phillip Glass). Although several themes are reprised throughout the album, the combination of ambient textures, folk phrasing (accordions, guitars, and violins figure prominently into several pieces), and lush orchestral work keep the music consistently interesting. The pieces are often set in a minor key, so a somber, melancholic mood prevails yet never feels forced or melodramatic, and the spacious, tasteful arrangements are in keeping with the ECM aesthetic.
The opening tom hits and fuzzbox riffs that start Indigo Meadow give the indication that this is yet another turn on the Black Angels' merry-go-round of stoner rock and neo-psychedelia. However, the third song, "Don't Play with Guns," takes a decided turn with its big pop single hook, and the follow-ups "Holland" and "The Day" follow suit, as songs that are more carefully structured than the usual two-chord repetition that we've grown to expect. Not that there's anything wrong with the sound of bands like Spacemen 3 and Black Rebel Motorcycle Club, but after several albums based on repetition, this is a pleasant, unexpected change for the Austinites.
Bad Elephant Music is delighted to announce the release today of 'Given The Impossible', the new album from London-based progressive rock quintet The Far Meadow. The Far Meadow is the product of several previous collaborations, combining influences from bands past and genres from metal to jazz with a healthy dose of innovation that has produced a distinctive, free-flowing sound. This new album – the first with the current lineup - is a full-blooded expression of this sound, developing many years of musical experience and experimentation into one harmonious whole that encapsulates the intensity of their explosive live performances.
This is the first film of Theo Angelopoulos' trilogy. The story starts in 1919 with some greek refugees from Odessa arriving somewhere near Thessaloniki. Among these people are two small kids, Alexis and Eleni. Eleni is an orphan and she is also taken care by Alexis' family. The refugees build a small village somewhere near a river and we watch as the kids grow up and fall in love. But difficult times of dictatorship and war are coming.