Yeah, it’s a silly name and a silly concept, but we’re doing this thing again. Further explanation for those who need it here.
Quite a while ago — way back at the beginning of 2014 — we shared some news about a new Today is the Day album, but then somehow totally dropped the ball on actually writing about the album itself once it came out later that year. But now seems like a good time to rectify that: this week the band has kicked off a North American tour to celebrate the twentieth anniversary of the landmark album Temple of the Morning Star (and a whole slew of dates have been added for this fall as well), plus there’s a brand-new documentary called The Man Who Loves to Hurt Himself which recently had its world premiere and should soon be made available aux masses.
So you can find information about all that stuff if you scroll down into the comments section. But first, a look at that 2014 album, Animal Mother.
Salutations. It’s Monday, and I just don’t have the energy for any of the wisecracks or silliness these things often start with, so instead I’ll just jump right into introducing today’s topic of conversation. It’s been a long time coming, but finally I’m getting around to writing about these two albums which were each released in late 2013, and which each subsequently found their way into the top ten of my Top 13 of 2013 list. Yes, that particular list did contain a total of twenty-seven albums, technically speaking, but still that’s no excuse for a delay of more than two years before getting some of these reviews done — particularly considering the exceptionally high quality of the material found here.
The two albums in question were the first to be released by two different groups of musicians, all veterans of fairly well-known bands: first, Corrections House is a conglomoration of Mike IX Williams (Eyehategod), Scott Kelly (Neurosis), Bruce Lamont (Yakuza), and Sanford Parker (Minsk), with some of the lyrics contributed by the phantasmatic “minister of propaganda,” Seward Fairbury; and Lumbar is a project led by Aaron Edge (well-known as a graphic designer, who worked for Southern Lord Records for several years, but also a guitarist and drummer who has been part of literally dozens of groups, including Brothers of the Sonic Cloth), with the addition of Mike Scheidt (YOB) and Tad Doyle (Brothers of the Sonic Cloth, formerly Tad).
In each case, I think you’ll find — as they say — that the finished product shows each collective to be more than simply a sum of its parts. But even if that wasn’t the case, looking at the particular parts involved, those would still be pretty lofty sums, no?
Well, the long weekend is over (for a large number of readers: yesterday was Memorial Day in the U.S. and Spring Bank Holiday in the U.K.) and it’s time to return to boring, mundane reality. I’m sure it’s much more of a system shock for those of you who attended Maryland Deathfest this weekend. I’m still jealous of how many awesome bands you got to see over the past several days, though, so I don’t feel bad for you. For the rest of us, I’ve got some more music to share, which comes from some more bands that we missed out on seeing this weekend. This split LP, issued by Southern Lord several months back, serves as a nice little primer for two excellent sludge/doom bands — Noothgrush (who performed at MDF Saturday, 24 May) and Coffins (who were there Friday night)…
If you’ve come here expecting a discussion of classic literature or descriptions of Chinese peasant life, I’m afraid you will be disappointed. But that’s somewhat appropriate because disappointment is one of the major themes of the story I’m about to tell you.
However, the title of this article (which I’ve stolen from the book pictured here) is intended to illustrate a comparative concept: that to the extent that there is a “Good Earth,” it logically follows that there would exist a “Not-So-Good Earth.” Bear with me, it’ll all make sense soon enough. Probably.