Do you hear that sound? That dumb, deep, knocking sound? That’s my head being smashed onto the desk. By myself. Why? Because I feel so stupid that I have not given Wounds of Recollection a listen even though the name was dropped onto me several times before. Now I am sitting here, listening to Warm Glow of the End of Everything and can say for sure: This record will be in my top20 at the end of the year. Blackgaze in the best shape and form possible!
Deafheaven, Lantlôs or Der Weg Einer Freiheit – beware. If you don’t step up your game, this Atlanta, Georgia-based, will push or even shove you off the top of the Blackgaze triumvirate! To know this is only one person who writes and performs these mesmerizing songs makes it even more triumphant. Admittedly, the artist gets a bit of help from friends but when looking at the amount of their contributions, it seems fair to say that he still does like 95% of everything on this new record which seems to be his 11th full-length – at least according to the Bandcamp account.
Why am I being to excited about this record as it is “simple Blackgaze”? Do you remember that moment when Deafheaven came around? When you first listened to Roads to Judah or even Sunbather? That feeling of astonishment, euphoria, of seemingly having found someone who knows your likings and transfers them into songs – that’s the feeling Warm Glow … radiates. It may be a tiny notch brighter than Deafheaven and thus a little closer to Holy Fawn (who took the crown for Blackgaze in 2022!) but do not think it is as Progressive or “light” as some of the newer Lantlôs records. This record is based in Black Metal but Annos, the mastermind behind the project, has pretty likely also listened to a lot of Show Me A Dinosaur and Post-Rock in general as these things are shining so bright on this record. When the third track ”Vacancy” takes its last part with a wonderful melancholic (not depressive) guitar line and some hushed vocals in the background then one feels as if this relationship between listener and musician is a symbiotic one – both can comfort each other simply by being present. And believe me, this record will be present in your everyday listening rounds.
Thematically, the record centers around the idea of a rite of passage – but not on the rite itself, but more on the moments in between, these moments when the rite has not been completed and the transfer or transformation is not yet over. The cover artwork by Thomas Smith does its share to show up these passages – we see what appears to be a high school hallway, the spot where many people have either had their moments of triumph, maybe their first, maybe their only. For other people this place might hold some of their innermost fears, of insecurity, of fear, of despair. All of the latter for various reasons – but one thing is sure: It is a spot we all have an emotional connection to. A place where we made friends or lost some. A place that shaped us, our past, present and future. A place whose details we will surely not forget but can recall whenever needed.
Another reason why this record is so good – it seems like one endless track as each song flows seamlessly into the next one. Here the interlude ”Golden Claws”, which follows ”Vacancy” is a perfect example for it takes the underlying synths and transports them to the forefront and center of attention and gives them so much space one feels as if listening to Maserati, pg. Lost or sleepmakeswaves. When the next track, ”Leo Minor” , starts with its simple pulsating drum patterns underneath the guitar-line ebbing away making room for a near Midwestern Emo-Core song (for only a short while) then one MUST notice how mindbogglingly talented Annos is. Probably he would deny his talent, but believe me – no “talent-less” person could write, record and mix such songs. Hell, not an army of untalented dorks could. There are so many awesome layers to these songs that it likely needs 50 spins to get half of them. Especially the sudden shifts which are happening in the foreground but only there, so that one part of the song remains the same while the other takes its twists and turns on the surface level.
The vocals are the genre-bound mix of screaming and clean singing – but that is also more or less the only “normal” thing on here, but when Annos gives us some clean sung lines, it feels as if he tries to hide some synth or guitar-line even though there is no necessity for it. This indicates that he might harbor some feelings of insecurity not uncommon for our plague and fear-ridden younger generations. Nevertheless, be assured that there is nothing that needs being hidden. This record speaks to and connects with the listener on so many levels that the aforementioned symbiosis will only grow stronger by the day.
If you miss out on this release, don’t complain no one told. I don’t do so, it was my own stupidity! It hurts a lot, but this record will help me get through. Not listening to Wounds of Recollection might end in your head making these sounds! Bump. Bump. Bump.
