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viewing 1 To 19 of 19 items
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CD
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DC 869CD
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"With Time is Glass, Six Organs of Admittance is captured once again in the intricate tangle of the fretboards, soaring in open skies above. Like lens flare cutting through the speakers; spiderwebs cracking the windshield that holds back all the onrushing reality. Blowing the dust away, cutting a new path for cognition. After 20 years of living on the road in different places, Six Organs of Admittance had returned home to Humboldt County -- a far country, to some, but still part of the world through which creatures of all kinds are moving through and contributing to. And some of them are human. Alone together -- forming connection and exchange out of thought and expression -- no different from the people on the other side of the Redwood Curtain. It was there, where Six Organs had long ago emerged, in the name of everything cycling, of circles that spiral concentrically and remain unbroken, the new music was conceived. In moments, it was as if the future had somehow wrapped around 360 degrees; elsewhere, the systems and patterns inside the writing and recording only became evident later -- like a recognition that cumulus and nimbus clouds which passed through the sky the day before contained familiar shapes. Informing the songs accordingly as he went, Ben picked up on modes both musical and lyrical, threading backward through the time of Six Organs of Admittance. Working on the music and the vocals, then spending some time with them while stepping away from them. Walking the dog and coming back to them. Time is Glass is made of that kind of time. Alone time. Recorded in the visceral environs of home, Time is Glass is sharply focused, even as misty impressionist mountains float through the background. The intuit, passing through wormholes and time, sounding deep then dissolving into the universal. The acoustic sounds ringing, layered suddenly, then clear again. Explosions of a new kind of distortion. Ecstatic melodies. Communing. The space of a day. The space of a season. Time is Glass, and Six Organs of Admittance is here and will be here, again."
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LP
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DC 869LP
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LP version. "With Time is Glass, Six Organs of Admittance is captured once again in the intricate tangle of the fretboards, soaring in open skies above. Like lens flare cutting through the speakers; spiderwebs cracking the windshield that holds back all the onrushing reality. Blowing the dust away, cutting a new path for cognition. After 20 years of living on the road in different places, Six Organs of Admittance had returned home to Humboldt County -- a far country, to some, but still part of the world through which creatures of all kinds are moving through and contributing to. And some of them are human. Alone together -- forming connection and exchange out of thought and expression -- no different from the people on the other side of the Redwood Curtain. It was there, where Six Organs had long ago emerged, in the name of everything cycling, of circles that spiral concentrically and remain unbroken, the new music was conceived. In moments, it was as if the future had somehow wrapped around 360 degrees; elsewhere, the systems and patterns inside the writing and recording only became evident later -- like a recognition that cumulus and nimbus clouds which passed through the sky the day before contained familiar shapes. Informing the songs accordingly as he went, Ben picked up on modes both musical and lyrical, threading backward through the time of Six Organs of Admittance. Working on the music and the vocals, then spending some time with them while stepping away from them. Walking the dog and coming back to them. Time is Glass is made of that kind of time. Alone time. Recorded in the visceral environs of home, Time is Glass is sharply focused, even as misty impressionist mountains float through the background. The intuit, passing through wormholes and time, sounding deep then dissolving into the universal. The acoustic sounds ringing, layered suddenly, then clear again. Explosions of a new kind of distortion. Ecstatic melodies. Communing. The space of a day. The space of a season. Time is Glass, and Six Organs of Admittance is here and will be here, again."
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2LP
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VDSQ 032LP
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Six Organs of Admittance takes listeners through an extended narcoleptic journey on Sleep Tones, an all-electronic double album of new ambient work. Mastered by VDSQ labelmate Chuck Johnson, Sleep Tones was made with a specific effect in mind. These new sounds from the Six Organs universe represent an essential creative shift from one of the great guitarists of the 21st century, showcasing his ever-evolving palate. An antidote to modern overload, Sleep Tones provides a welcome stasis. In its physical manifestation, each side of Sleep Tones ends with a locked groove in case of dream state, with no fear of a needle sliding outside the set mood. These sounds lull through speakers and headphones, creating ideal conditions for consciousness drift. All sounds by Ben Chasny. Mastered by Chuck Johnson. Astro and Sky Photography by Joram Young. Design by SEEN Studios. Gatefold edition with spot UV Gloss; pressed to high quality vinyl at RTI.
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LP
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HOLY 1165LP
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Repressed. "Ben Chasny was on a holy roll when he laid down the eleven tracks on Dust and Chimes. It was 1998 and y'all were floating on that Bill Clinton peace-and-prosperity bubble. Meanwhile, Chasny had dropped his self-titled debut LP earlier that year, and the cognoscenti and illuminati were pricking up their ears. Dust and Chimes announced the arrival of a brow-furrowed troubadour whose complex, morosely beautiful guitar playing didn't Basho you over the head with Fahey-isms. The three solo guitar tracks here contain quicksilver skeins of glinting acoustic work, recorded over a decade before the American Primitive style of playing would be of any interest to the indie world. Brilliant darkness and somber ecstasy abound, as Chasny ragas against the machine with a bold inventiveness. Elsewhere one may hear hints of Tyrannosaurus Rex's impish arboreal-folk charm and feathery Donovan-esque incantations -- reverent but not lightweight in the least. Now newly remastered, Dust and Chimes sounds like the work of a young sage wise beyond his tears."
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CD
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DC 616CD
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"THE SYSTEM builds all of the tonal fields, chord changes, scales, and lyrics on this record, creating the framework for the songs with which the musicians engage. Yet THE SYSTEM is open; within the framework, Chasny's own personal aesthetics -- such as the production mode of loud guitars, the order of songs, the editing of length -- were all conscious decisions made to communicate the pieces. The exact same combinatorial patterns used on this record can create infinite results, depending on the choices of the individual. Ben's years of study have produced an operational agent that has not only built all the songs on Hexadic but is also a system anyone can use to restructure their ways of habit. The first thing one notices when listening to Hexadic is how unhinged it all sounds. The album brews and boils with an ominously dark tone in a desolate space, somehow dense with energy, guitar overdriven past the point of sanity, slamming drum accents, vocals cutting through in what seems to be comprised of another, as yet unheard, language. Yet, inside the apparent wild abandon and destruction is a strict internal logic of construction that unveils itself upon listening. This is the majestic dialectic of Hexadic."
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LP
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DC 616LP
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CD
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DC 519CD
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"From the opening red storm of 'Warsawa' to the sentinel strength of 'Even If You Knew' and the sensual lilt of 'Breathe,' the sound on this spaceship is that of a full-tilt rock band. The fun of classic-rock-sized Six Organs of Admittance (with Comets on Fire members in the pit) is evidenced in every molten groove, exhumed and erected like oxidized carnage on 'They Called You Near.' No matter which astral sign guides these neck-throttlers, they're together in every move - sympathetic, telepathic, magnetic. Star-dusted artifacts were even unearthed from the Compathia/Dark Noontide time capsules for autopsies and reconstruction! Mind-blowing re-castings of 'Close to the Sky' and 'A Thousand Birds' are 180 degree turns from the locations of the original versions, as if they never existed."
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LP
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DC 519LP
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LP version. "From the opening red storm of 'Warsawa' to the sentinel strength of 'Even If You Knew' and the sensual lilt of 'Breathe,' the sound on this spaceship is that of a full-tilt rock band. The fun of classic-rock-sized Six Organs of Admittance (with Comets on Fire members in the pit) is evidenced in every molten groove, exhumed and erected like oxidized carnage on 'They Called You Near.' No matter which astral sign guides these neck-throttlers, they're together in every move - sympathetic, telepathic, magnetic. Star-dusted artifacts were even unearthed from the Compathia/Dark Noontide time capsules for autopsies and reconstruction! Mind-blowing re-castings of 'Close to the Sky' and 'A Thousand Birds' are 180 degree turns from the locations of the original versions, as if they never existed."
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7"
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DC 519X-EP
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"Six Organs goes stomping wordlessly into the next phase with heavy gravity boots on. This is full-bore, petals-to-the-metals Six Organs, featuring Ben Chasny backed with his erstwhile bandmates known as Comets on Fire."
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CD
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DC 453CD
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"Comprised of ten blissful, primarily acoustic tunes, a delicacy wafts forth from Asleep On The Floodplain, the new album by Six Organs Of Admittance. After 2009's sonically dense Luminous Night, Chasny returned to the familiar environs of home recording to sculpt and assemble this batch of jams, freeing himself from the restrictions and deadlines studios might normally impose upon a song. Thus creating a living nest in which this material could grow and breathe, the album took longer to complete but sounds effortless -- and bright with light. Much of Asleep On The Floodplain draws on imagery from Chasny's youth, a time spent in Elk River. 'Dawn, Running Home' remembers sleep-overs in a friend's tree-fort and the subsequent morning return to Ben's own house. He wrote 'Above a Desert I've Never Seen' while bed-ridden for a week. 'Hold But Let Go' was meant for a film, but never used. Maintaining Six Organs' penchant for cameos, Elisa Ambrogio Magik-ally contributes to 'River of My Youth.' The theopoetics of Catherine Keller resonate on 'S/Word and Leviathan'; while Gaston Bachelard's poetics of reverie are felt throughout the record."
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LP
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DC 453LP
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CD
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DC 409CD
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"Through dark days and glowing nights, Six Organs of Admittance continues to step to the far rim of the world with purposeful strides. Indeed, new horizons are visible throughout Luminous Night. Be it in the face of spiritual crisis or catharsis, Ben Chasny as Six Organs refuses to stagnate, or to evolve in predictable fashion; in response, he keeps moving on. This is the first Six Organs of Admittance albums with such a lengthy gap between it and its former number. In the past two years Chasny has kept busy writing this new epic, moving house to Seattle, composing soundtracks for novels and movies, and touring constantly in America and Europe (with bands like The Dead C and OM) as well as being invited by legendary post-metal group Neurosis to play their Beyond The Pale festival in Belgium. Six Organs of Admittance is such a singular experience that it is sometimes easy to forget that Ben was the lead guitarist in Comets On Fire, as well as a songwriter and guitarist for Current 93's Black Ships Ate The Sky album and half of the pan-Pacific psych-folk duo August Born. But clearly, Chasny knows heavy, having grown through times of heavy and times of light. And in answer to the question what's heavier, a pound of rock or a pound of feathers, Six Organs of Admittance has devised this for Luminous Night: a pound of rock covered with a pound of feathers -- twice as heavy, but feathery light to the human eye. With Luminous Night, Chasny's working with some heavy dudes, like producer Randall Dunn and Eyvind Kang, whose sound on viola shines with a guiding glow throughout the album (both Dunn and Kang contributed their talents to the outré arrangements of the recent Sunn O))) album). The other invaluable contributors to the album are Hans Teuber on flute, Tor Dietrichson on tabla, Matt Chamberlin on drums, and Dave Abramson on percussion. Occupying their spots with care, they've collaborated to create something rich and vibrant, aching and new, in the world of Six Organs of Admittance. The arc of Luminous Night is wide as the sky, commencing with a stirring instrumental evocation of the Greek myth of poor Actaeon before flowing into the vocal, the vengeful, the ancient, the divine and celestial, scored with guitars, bass, viola, flute, tabla, electronics and synthesizer, as well as a buried-in-the-rain-soaked-earth-of- Seattle-then-exhumed four-track cassette that formed the basis of the instrumental 'Cover Your Wounds With the Sky.' For its blanketing sound, Luminous Night draws inspiration from such cinematic sources as Jodorowky's El Topo soundtrack and the scores of Kurosawa's samurai films, but is at the same time music that could only have come from the singular sound world of Six Organs of Admittance. What is it about the man that buries his sound in the ground? He has faith in the earth, for one. When we think of Six Organs of Admittance, we think of a man with six-string ambitions, a rambler with mystic beliefs and dark electric visions. It's a big universe and we're only human, which basically means that we've got spirit and that we're going to die. But until then, we live. Six Organs of Admittance has lived to tell about it on Luminous Night."
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LP
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DC 409LP
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2011 repress. LP version.
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2CD
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DC 383CD
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"The double-CD epic called RTZ (named after the button on a Tascam 484 that 'returns to zero') fashions several lesser-known pieces from Six Organs of Admittance's early years into a massive prismatic arc, colossal and organic like some wonder of the ancient world. How could it be otherwise? Even when existing as only one half of a record, as many of these pieces once did (and still do, somewhere), Mr. 6OOA (Ben Chasny, y'all!) leans into the eternal -- letting the winds of Time scar his face and the light of All There Is burn his skin black. Grandmaster Chas has sacrificed the body for his music time and again over the years. RTZ is an iridescent chimera infull flight, viewed through stained glass. Cataloging these early non-album excursions requires a bit of leg-(and mind)work. RTZ travels back to the dawn of this century to locate 'Resurrection,' half of a Time-Lag split 12' with Charalambides. 'Warm Earth, Which I've Been Told' is half of a Mental Telemetry split CD with Vibracathedral Orchestra and Magic Carpithans from 2003. 'You Can Always See the Sun,' was part of Three Lobed Recordings.' 'Purposeful Availments' subscription CD series in 2002. And 'Nightly Trembling' was released way back in 1999 in an edition of 33 copies, all given away for free! That's some spiritual shit right there. Combined with a never-before-released extended piece called 'Punish the Chasm with Wings' from pre-millennial days and you've got yourself a deep, DEEP box set, crammed into a double CD. Rich with excursions to exotic musical climes and rhythmic with prayerful chants from the dark shadows of the earth, RTZ uses strings and bells, riffs both warm and icy, glowing lead guitars, massed voices and the pure, open air for its mantras and rituals. As the title alludes, these old sounds were forged in that bastion of personal expression, the four-track recorder. When a man can record a few feet from his bed, he becomes more inclined to render his nocturnal intuitions. And when that man is Ben Chasny, he can use those remastered (but still good and dusty) early recordings to attain the ultimate goal. We should all be so lucky. Oh wait, we are -- now that we've got RTZ forever, and more."
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3LP
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DC 383LP
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Triple LP gatefold of long out of print and limited 4-track bedroom psych from the early years of Six Organs Of Admittance.
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CD
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DC 348CD
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"Shelter From The Ash features a most fluid combination of electric and acoustic Six Organs of Admittance styles. Chasny went into the studio with the songs both in his mind and also demoed out, a different way of working than in previous sessions. Sure, improvisations were still a big part of the sound; within the song structures, they create dynamic sparks from the other side of the inspiration. Additionally (if you must know), standard tuning played a part for the first time in history -- but don't worry, this doesn't mean that Six Organs of Admittance has come in from the drone-storm -- far from it! The man who was once 'Torn By Wolves' in an unknown key is now 'Coming To Get You,' no matter what it takes -- with a tuning any man could play, but few would use as he does. The session was conducted in the glamorous confines of San Francisco's Louder Studios, where so many bands have had their hard and heavy essence redefined. Six Organs of Admittance was no exception. Additionally, the session featured such luminaries as The Magik Markers' Elisa Ambrogio, The Fucking Champs' Tim Green and Chasny's Comets On Fire bandmate Noel Harmonson and gadabout-to-the-stars Matt Sweeney pitching in. Six Organs of Admittance has been a collaborative ground in the past, and what happened here is what always happens: an organic oneness, a record very comfortable in its many skins."
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DC 348LP
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CD
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DC 312CD
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"Listening to The Sun Awakens back-to-back with its predecessor will provoke a different response. There's a few treats, sure. As a matter of fact, it's all treats to our ears. But it's not all happy beans, just so you know. As a matter of fact, it's the darkest Six Organs of Admittance yet. In addition to titling songs cheerless things like 'Black Wall,' and 'Torn by Wolves,' Ben's brought a bit more electric guitar into the mix to help bring out the darkness. Tim Green is behind the board making sure that everything sounds rock-solid, and the acoustics are brilliant, almost blinding. Side one is a six-song circle where waves of guitars build and beauty is betrayed by madness...in the prettiest possible way. Side two is a trip down the droning 'River of Transfiguration.' The inspiration here is Hermann Nitsch. You might hear Popul Vuh as an influence too, as well as Hapshash and the Coloured Coat. Overall though, Six Organs of Admittance doesn't believe in the critical myth that an artist who flirts with the obscure needs to consolidate their experimental tendencies into more and more listenable music in order to expand the envelope of what pop music can be. He don't believe in a linear aesthetic trajectory either."
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DC 282CD
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"This is the first Six Organs of Admittance record to be recorded in a studio. No computers were harmed (or used) during the making of this record. Free-jazz sensation Chris Corsano contributes drums with the greatest sympathy. It's a fantastic new album, as just a fraction of a listen will reveal. The highly prolific Six Organs of Admittance returns with a sixth or seventh album, School of the Flower."
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viewing 1 To 19 of 19 items
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