Bronze Door
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Bronze
St Sophie's Cathedral, Novgorod
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God every so often I remember that Ember Lab (the ones who made Terrible Fate) have a game studio now where they work with Theophany (the ones who made Time's End) and Rozen (the ones who continue to also make beautiful LoZ covers) on OSTs for their own original content.
Like. Goddamn. Goals for real.
And if this is your first time learning that Ember Lab is a game studio now, I encourage you to check out Kena Bridge Of Spirits
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Six Organs of Admittance — Time Is Glass (Drag City)
Photo by Kami Chasny
Ben Chasny’s latest as Six Organs of Admittance has a track called “Theophany Song,” a hint, if you know what the word means, at why his work is so hard to describe on paper. Theophany, as it happens, means a physical manifestation of god, in a sunrise, in the sound of surf, in the unsettling anticipation of a full solar eclipse (guess what day I’m writing this). It is, by its nature, resistant to prose. Like Six Organs music, theophany involves a subtle, ecstatic lift out of the world around us into an unknowable, ecstatic other place.
All of which is to say that this mainly acoustic set of songs uses the simplest of tools—the scratchy roughness of finger-picked guitar, the whispered ethereality of near falsetto singing, occasional forays into looming amplification—to work its way towards the divine. Songs like “The Mission” and “Pilar” tap a clean, sunlit purity that seems natural but somehow more so. Though familiar sounding, in the clear picking and drifting, slumberous vocals, these cuts outflank earthly serenity and outrun linear narrative. They strive, and arguably succeed, at providing a glimpse beyond Plato’s shadows on the wall.
It's not all peace and pastoralism. The most affecting cuts incorporate a roll and surge and turmoil. “Hephaestus,” early on, gives a foreshadowing, in its glacial build of vibrations, friction-y bowed tones merging with ominous electronic hum, a clacking percussion underneath. It’s never loud—this is tumult you hear from miles away—but you can hear the noise gathering itself, willing itself to take shape. This is a music in the process of becoming.
The beast rears up again in “Spinning in a River,” a track that starts placidly enough in serpentine picking and prayerful murmurings, as indolently pleasant as a drift downstream on a sunny day. And yet, listen to the surge two and a half minutes in, where a blast force of electric guitar frames Chasny’s words about “our dream of spinning around.” It’s an inexorable force on a very movable object, and not hard to make the connection to unknowable, invisible power.
The same sort of thing happens in “Summer’s Last Rays” with its quick twists of Spanish-sounding guitar, its antic, agile, staccato restlessness. The guitar dances a tarentel on life’s surface, as, perhaps, we all do. The sound is layered, frenetic, at least two and maybe three guitar lines chasing each other in the round. Yet about halfway through, a viscous, subterranean sound bubbles up, and the surface warps and buckles. The low-end sounds like cathedral organ, like revelation, like the presence of the divine. Trebly melody skitters over it, perhaps aware, perhaps not, of the forces that undergird it.
The point is that Time Is Glass is lovely music — that much should be no surprise to anyone — but beyond that, it taps into something invisible, deep and important. Is it too much to say that these songs manifest the divine? Maybe so, but let’s stipulate at least that they’re trying.
Jennifer Kelly
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i'm sorry but if you haven't listened to the time's end albums by theophany what are you actually doing with your life
as an example, here's what i'm listening (and getting REALLY EMOTIONAL to right now):
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Biggest take away from today's homily:
We don't know when we will experience that world-shattering and transformative encounter with Christ at the end of the world; we don't know when we will experience the salvific and glorious encounter with Christ at the end of our lives; but we do know that each time we go to Mass, we will encounter Christ, who is preparing us for those future encounters.
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Kramer, Lawrence, ‘The Return of the Gods: Keats to Rilke’, Studies in Romanticism, 17.4 (1978), 483–500 <https://doi.org/10.2307/25600154>
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they should get theophany to do the music for the zelda movie. Like, the surround sound in their music is already so good that I confuse sounds in the songs with ones real life, but imagine how it would sound in a movie theatre specifically built for that sort of thing. I doubt it would happen but man that would just...
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The Israelites Led by the Pillar of Fire by Night
William West (b.c.1793–1861)
Nottingham City Museums & Galleries
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dads across the world: it's not the heat itself; it's the humidity that gets ya!
me, someone whose hands become crypt-keeper-level dry during the winter because of the lack of humidity in the air combined with the chalk from climbing:
Please come and get me, Humidity.
Bring me a respite from the frigid drought.
Grant me reprieve from the icy demons which attack my hands and leave them barren wastelands lonely among winter's endless twilight.
Grace me with the theophanic encounters of spring's verdant fecundity and summer's dionysian calefaction, and moisten up my hands so verily that Ben Shapiro is concerned for my health.
Humidity, please come and get me.
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