CRUCIAL BLAST
A duo made up of J. Joshua Philips and someone named Exile, Alethes is the blackest shot of woodland ambience to come out of the Glass Throat camp so far. This six-song album is their debut, issued in a limited edition of 1,000 copies, and it's manifested as a visually stunning 6" by 6" gatefold jacket that folds out to six panels. The jacket is made from some sort of thick, leathery pitch-black card material that has an almost silky finish, on which the eerie artwork and calligrapy-style lettering of the lyrics and sleeve notes are printed in black foil-stamped relief ink. This really looks freaking amazing. On Alethia, the duo are joined by Armin Zomorodi on cello, Nora Danielson on violin, and Markus Wolff (Crash Worship, Blood Axis, Waldteufel) on percussion, and create a grim, minimalist doom-folk from the darkside, a reverse negative image of delicate sylvan psych-folk forming out of slow, atonal acoustic guitar melodies and minor key arpeggios, raw, with the gravelly, raspy voice of some unseen thing reciting ominous, spiritually-contemplative lyrics. A slow moving glide through shadowy nocturnal glades and clouds of shimmering strings, doomed and mystical. Almost like some combination of Neurosis, Comus and Swans performing acoustically as background sounds for ancient pagan rites under cover of total darkness. Another heavily evocative doom-folk document from the GT orbit, grim and doomy enough to appeal to fans of the more acoustic-tinged edges of doom and black metal. Highly recommended!
JUDAS KISS
Alethes is a duo comprising J. Joshua Philips, who also plays in Fearthainne (formerly rain) and Fauna, and Exile, the mastermind of the excellent ritual ambient project Sacrificial Totem. They are joined on this, their debut recording, by several guest musicians – cellist Armin Zomorodi, violinist Nora Danielson, and Markus Wolff of Waldteufel on drums. It's easy to see how this release found its natural habitat on Glass Throat Recordings, the label run by Chet Scott of Ruhr Hunter and Blood Of The Black Owl, as the dank, doom-laden, acoustic folk music of Alethes does share atmospheric common ground with the loamy, forest-floor drones in which Ruhr Hunter specialize. Alethes hail from Cascadia, the Pacific northwest coastal region encompassing Seattle and Portland which is also inhabited by Ruhr Hunter, Waldteufel, In Gowan Ring, Wolves In The Throne Room etc., and all of these bands seem to spend a lot of time lurking in the undergrowth in the dark, dense, rain-drenched pine forests for which the region is famous.
Aletheia, the debut, and thus far only, album of Alethes, was released in 2002. After a short untitled ambient intro track, there are five long tracks, totaling 49 minutes. Slow, somber acoustic guitar melodies are underpinned by dry, low-key drums (bodhran, I think), with the morose orchestral strings adding to the uncanny atmosphere. It's minimal, grim and dark, with minor-key chords following each other as slowly and deliberately as a funeral cortege. Whilst this music is nearly all acoustic, barring a little touch of ambient atmospherics here and there, it’s far from being gentle folk music, having more in common with doom metal projects like Neurosis and Mourning Beloveth, or some of the quieter moments of the Swans. The cello and violin bring to mind the dark chamber music of Amber Asylum, the sparse, hollow drums are like Waldteufel or Blood Axis (hardly surprising, I know), and Joshua Philips' vocals are a hoarse, desultory rasp similar to that of Steve Von Till or indeed Chet Scott. The closest resemblance of all, however, is to Wolfmangler, the acoustic "funeral folk" project of Smolken, the Polish musician behind the experimental black metal band Dead Raven Choir, and if you like Wolfmangler, than you'll have no problems with Alethes. Song titles like "Eostre" and "We Once Were" bespeak a nostalgic yearning for a simpler, more rooted way of life, proud pagan values, and reconnection to the natural environment – "We Once Were" in particular is very close to the famous Burzum song "Det Som Engang Var" ("That Which Once Was"). The atavistic craft of Alethes evokes shadows and decay, gloomy moonless nights and stagnant black pools, the mingled aromas of leaf mould, marsh gas, wet bark and fungus, dappled sunlight through the forest canopy, camouflage and concealment, the eternal dance of predator and prey – music to hunt and gather to.
Glass Throat have done their usual impeccable job on the packaging of Aletheia, and kudos is due to Rachel Boaz-Scott, the wife of Chet Scott, who's responsible for all of the label's graphic design. The album is a limited edition release of 1000 copies, and it comes in one of the oversized, 6" by 6" gatefold sleeves which are a Glass Throat trademark, featuring artwork by Markus Wolff and calligraphy by Sarah Jean Head, which is all printed in shiny black relief on thick, satin finish black card. The black card used for the sleeve is really unusual, very tactile and rubbery, and if you have a fetish for black rubbery things, like, erm, a close acquaintance of mine, you'll really groove on this. - Simon Collins
JULIAN COPE
Those of you seeking even darker acoustic music should also have a look for the Alethes album, which features long drawn-out songs, accompanied by the percussion of Waldteufel’s Markus Wolff. This otherworldly sound conjures up the atmosphere of northern oak forests and ritual sacrifice, as opposed to taking the hoary riddle-me-ree route of so much overly Kelticised "folk".
EVENING OF LIGHT
Alethes is a project of J. Joshua Philips, and someone simply called 'Exile'. This is their debut album, released in a marvellous 6x6" gatefold of thick leathery carton, with delicate artwork and calligraphy in black relief. On this dark acoustic album, J.J. and Exile are joined by Armin Zomorodi on cello, Nora Danielson on violin, and Markus Wolff of Waldteufel on percussion.
Dark acoustic is perhaps the best way to describe this album, because it as quite unlike most bands that are normally related to the dark folk genre. Actually, many of the acoustic guitar melodies and chords remind me of a metal approach to music, and in a way, this album could be considered a highly succesful attempt at making brooding acoustic doom metal. On the other hand, I would like to leave this impression aside, because it would be senseless to possibly scare away people who don't have any feeling with metal. This album has a unique style, and many merits of its own.
The proper opener, "dust" is a good representative of the Alethes sound. Obscure, earthy, slow movements on acoustic guitar chords, with low, raw vocals (an acquired taste, to be sure), percussion (sounds like bodhrán) and some fine string arrangements. As my choice of words suggests, the music has a very dark atmosphere, referring at the same time to nightly nature images and the spiritual struggles of the lyrics. The harshness of "dust" and especially "we once were" is compensated by the gentle nature of the title track, with its beautiful guitar/string melody and soft vocals. "eostre" is also a more contemplative, very slow, track with some great melodies. The final track, "a journey to arachne", is a rousing piece with snare march, once more about spiritual perseverence in the sight of a sunken world.
What more is there to say than that this is an excellent debut? It comes warmly recommended to all lovers of dark atmospheric and acoustic music, and openminded folk adepts...(8.5/10)
PUBLIC GUILT
Chet and Rachel Scott have been releasing amazing drone and neo-classical albums (including Chet's own Ruhr Hunter) on their Glass Throat Recordings imprint for the past half a decade or more. Their latest is from Cascadia's Alethes, a new act to my ears, but one that deserves all the attention it gets. Alethes is a dark and somber outfit with songs ranging from acoustic chamber sounds (ala Amber Asylum) to full on acoustic doom. Beautiful melodies and gruff vocals. Some of the Neurosis solo/side projects are a good reference (Harvestman, Scott Kelly, etc.). This is beautiful stuff! HIGHLY RECOMMEND! The first pressing (which we have here) features a 6 panel, 6" x 6" package w/ black foil stamping on an obscure black leathery stock! Perhaps one of the nicest packages yet from Glass Throat, and that is saying a lot as their back catalog is gorgeous!
HEATHEN HARVEST
Much as certain conifers release their seeds in response to the heat of flames : the destructiveness of thes e times causes the release of fertile seeds that generate hope for a time of regrowth ... and as tears may cause vision to blur; their effects tend towards the eventual clearness of vision.
The songs of this first album from Alethes are reminiscent of the fertile forests of the Cascades in which they were created. In these songs one is amongst tremendous ancient trees: luscious from the rains which can seem unceasing at times. On a mossy forest floor beneath clouds: which obfuscate the sun's light, creating iridescent shadows which seen through the forest's canopy can only inspire awe. All around one is aware of the everpresence of decomposition and regeneration. From the fungi that love this semi-temperate rainforest clime to the nurse-trees: decaying stumps from which saplings emerge and thrive.
The album begins with tidal like samples: at once reaching out and turning in on themselves.. These samples provided by Exile of the astonishing black ritual ambient project Sacrificial Totem find their way betwixt each of the five pieces and create a continuum of trancing fluidity in which there is a spectral looming.
The songs of Alethes are arranged around the acoustic guitars of Exile and J. Joshua Phillips (Rain., Echtra, Fauna..) which harmonize tones that entrance: constantly developing in progressions which feel as though they can carry one forever, and are built in strength with the skilled percussions of Markus Wolff (Crash Worship, Waldteuffel, L'Acephale..) , somber cello from Armin Zomorodi, and the grace of the violin of Nora Danielson.
Philips's vocals: which constitute the majority of the vocal output for this release enchant sad laments for times lost and waiting to be uncovered.. yet with the need for an acute awareness of the fragility of these times.. times out of balance.. they call forth the inescapable necessity of hope and strength rooted in the eternal traditions of the sun / wind / rain / soil / and vision..
The final piece for the album: "A Journey To Arachne" speaks these pertinent words:
" as we ascend to the heights
to see a world in decline
we shall not fall through this trial
but only continue to climb..."
One cannot help but feel the passion shared through these works, and hope that it can provide the strength to sustain us through these times of tremendous hardships..
Blessings be to Glass Throat Recordings: Chet Scott (Ruhr Hunter, Elemental Chrysalis, Blood Of The Black Owl..) and partner Rachel Boaz- Scott (who provided graphic design) for finally bringing these recordings to us all, and for presenting them in astonishing oversized black upon black tripartite 6" x 6" x 6" gatefold packaging adorned with the amazing artwork of Markus Wolff and beautiful calligraphy of Sarah Jean Head.
ABSOLUTE ZERO MEDIA
The simplistic beauty of this release is what makes you want to talk about ALETHES. Lets start off with the amazing oversized leather bound case, a 6 panel digipack. Its black leather with darker black embossed text and art on it. That alone should make you want it just for the packaging, but the music is even better to these ears. It very much reminds me of a Steve Von Till solo work, as it has the same vibe and husky vocal style with the warm acoustic guitars, violins, ritualistic percussion and just a feeling that the Gods are watching over the making of this release every step of the way. There are industrial interludes, that just make the release even more interesting to me as well. If you are a heathen or just believe in the heathen way of life, then this is a mandatory release to own. If you can just respect well done acoustic based folk music, with a ritualistic edge then its a must own as well. I think your getting the picture. Glass Throat with The End & Jester records are labels to admire, enjoy and recieve every release they want to give to the world. I never do this, well very rarely, but this is a 5 out of 5 star release. Get it or miss out....
AURAL PRESSURE
This debut release of Alethes, recorded in 2002, is a folk gem of digression from familiar styles of medieval or pop-a-long sing-song. The latest release from Glass Throat Recordings expands the repertoire that gyre's around Chet W. Scott's Ruhr Hunter, by taking a more humanist interaction with nature in questing the spiritual realm above.
Flailing a sinister inveigling of guitar, cello, violin, and percussion, Alethes serve their platter of dark and at times minatory folk of a mostly non-traditional styling, with a sparse and haunting procession. The discerning ear may hear shades of a non-distorted Neurosis feeding the dark and recondite trail, especially in J. Joshua Phillips voice that growls and grates libations. Morose guitars hang pendant beside melancholy cello and violin above the sacral fires that swirl memoirs of vision-inducing smoke. The percussion pads softly, muted toms that serve to underscore the string elements. The play of dynamics, of piano and forte, truly mark Aletheia's saturnine sound with the verisimilitude of a live performance and of musicians who feel the pulse of music, its swells and its lows. All tracks are protracted save for an initial ambient praeludium and for the most part the instrumentation is familiar song to song, leaving the lachrymous songwriting as cicerone – though this is not to say that Alethes compose depressed and lamenting ballads, if anything there is a certain élan deriving from sedulous composition in the music's apport.
As with Glass Throat Recordings most recent output, Alethes shares a similar mien when it comes to packaging and level of artistic oversight involved. A digipak, with digifile type CD button to affix the disc, made of extremely thick, double-layered black satin card embossed with silken filigree of creeping vine and unique calligraphy to present lyrics and liner notes. Aletheia is a sumptuous oversized package that nests well with other Glass Throat products.
WORM GEAR
This album is so simple, and yeah so absolutely stunning. It's a small miracle that these elements haven't been assembled with this kind of power and breath before. Alas they have not, at least not in anything that has found these ears. Alethes play a primitive style of Dark Folk, that at its core shares more with a Doom Metal release than anything from the Neo/Apocalyptic Folk circles. Simple acoustic guitar, deliberately played with a forceful hand, old world ritual percussion supplied by Markus Wolff , and tasteful, recessed violin and cello round this out. Vocally, it features an earthy groan, that bares a noticeable similarity to Steve Von Till, but is certainly not without its own dynamic. Joshua Phillips and Exile are the two primary creative forces behind the project both of whom are involved in a myriad of other obscure projects known to haunt the back country of the Northwest, Sacrificial Totem & Rain among them. There is a raw and rustic quality to this when combined with the droning cadence that gives it an air that is truly unique, and ultimately "heavy." Were you to imagine these songs played through a distorted wall of amps rather than on acoustic guitar they would level you. The dreary progressions with the almost muttered vocals and calculated dirge of a pace makes for an engrossing and hypnotic listen. It is difficult to really pin down what the magic of "Aletheia" is. There is no superfluous melody or layers and details that wrap you up, but the sincerity and girth of this record is beyond question. It is perhaps the simplest epic I have ever heard. To wrap this up, the packaging is appropriately gorgeous. Packaged in a 6x6 gatefold in a heavy (truly) matte black paper that has the feel of suede to the touch and all text and graphics applied in a black foil stamping. I don't know if I did this record justice here, but suffice to say, this is most recommended. - Scott
AQUARIUS RECORDS
While the world of indie underground rock continues to fawn over the new free folk movement, Feathers, Banhart,Vetiver, Brightblack, Fursaxa, Faun Fables, Espers and the like, out there, deep in the forest, a similar breed lurks in the shadows, one that shuns the light, and the magazine covers, and the collaborations, choosing instead to pursue their own muse, perform their own rituals, create their own sonic magicks deep in the shade of the wood. Their music is of a much darker hue, drawn from a much more mysterious source, and the results aren't fuzzy or shimmery, they are chaotic, ominous, intense and intensely emotional, a modern folk by way of Comus, via the Wickerman, but without any frilly folk trappings, instead the sound is magical yet murky, morose and moody, a strangely hauntingly creepy crawl. Such is the music of the duo known as Alethes. Doom laced pagan rituals assembled from strummed acoustic guitars, tribal percussion, and growling gravelly vocals. Imagine some impossible mix of Kiss The Anus Of The Black Cat, Comus, Swans, Der Blutharsch, Woven Hand and an acoustic Neurosis. Gorgeously nihilistic, a somber and shadowed forest folk, lilting and lovely but always with some haunting uneasiness lurking right below the surface. A world of stygian shimmer, of doomic desolation, of blackened beauty. Truly stunning. A Gorgeous black glossy print on oversized, fantastically tactile rubberized six panel deluxe fold out sleeve...Wow.
NORUNN MAGNA
The old adage "good things come to those who wait" can definitely be applied to this much anticipated project. The debut album from Alethes is truly an astonishing piece of music. In a time of ever-quickening technology, it's refreshing to hear something that harkens back to a time of simplicity and beauty, where simplicity WAS beauty. Yet even with the limited use of modern technology, the album still has a feeling of antiquity. Not to mention the troubling tone of awareness, something mostly lost in modern man. A sort of desperate plea for help in these troubling times. Yet amongst the bleakness is a growing ember of hope. Truly the testament of a soul lost and re-found. I can not possibly thank them enough for giving me reason to use my stereo again. Please pass on my deepest gratitude to these brothers of the flame.
MUSIQUE MACHINE
Altehes debut album comes across as an earthy mix of Acoustic Neurosis & tribal downbeat folk rippling with beautiful and dark forestall undertones. This is music of the elements and their spirits. Worn by wind, born from fire, buried and resrected in black forests. Striped down and barren, but often embellished and illuminated by cello and violin. It seems detached from our time and culture, this is music of a superstitious and deeply dark religious forest dweller's.
Released on the great Glass Throat label- home of the amazing Ruhr Hunter. Packed in similar impressive fashion to the new Ruhr Hunter- in a large sized black rubberised card, with black on black printing. This does share some of the similar dank tree woven air as Ruhr Hunter- but this is a lot more striped down, construction more on repetitive and gloomy strummed Pattens of acoustic guitar. Bleak and often ragged vocals intone hymns to huge dark earthy gods. This is music of fear, sacrifice and old ways. On offer are six tracks, that follow in similar fashion to each other, but that's not to say it gets boring or stayed- it keeps one attention though out. Your mind locked in the autumn shade of yellowing trees for it's running time. Dreaming of old forestal settlements- carved leering spirit god faces cut into each doorway, ritual bonfire's cutting the winter night skies, woollen gowned figures draging back fresh kill- leaking blood, reddening the snow covered forest floor.
Really for any fans of bleak folk or earthy real music. And of course if you enjoyed the Ruhr Hunter and enjoyed his bleak folky elements you'll like this.
