Written by Nikolai Dineros There is this inherent pressure for concept albums to be atemporal. Perhaps rooted in misinterpretation, the idea of a concept album being similar to that of an odyssey revealing gospel truths of whatever musings its creator has willed into existence. What follows usually is a prophetic candor reaching apocalyptic scales. Dark Horse’s debut album ‘Spirituals’ challenged my idea of a concept album. Behind ‘Spirituals’ is an ensemble from two major players in the underground — and I don’t mean any local music scene. Renowned author and alternative culture connoisseur Karl De Mesa and Ronnel Vivo of the Vivo Brothers fame (known for Basalt Shrine, Dagtum, Sound Carpentry Records, atbp.), among others, join forces to create this brooding experimental doom folk project. The production of ‘Spirituals’ showcases the duo’s mastery of dread. Despite his proclivities and inclination for heavy sounds that demand your full attention, Vivo’s presence in ‘Spirituals’ is more understated than in his previous projects. This time, he plays a complementary role, taking charge in creating the needed ambience that gives De Mesa’s performance the urgency and biblical breadth fitting for an album that is more prose than a technical display of musical proficiency. The name Karl De Mesa is one linked to horror, more so the banality of it in the life of the everyday Filipino. Anyone familiar with his body of work would know his affliction for themes of family and resistance. The album’s single “Comrade Buddha” revisits this common Demesian trope, as explored in his earlier essays found in “Report from the Abyss.” More succinctly, a postmortem reflection of an ideal or a past, more formative self that bore witness to such tumultuous events. Binding spirituality and armed resistance and weaving it into a perturbed hymn is just the cherry on top, further displaying the masterful duo of De Mesa and Vivo. Meanwhile, “I Offer Pslams” finds the author recounting his memories in specific places, paying tribute to his mother in a solemn act of devotion. The album’s denouement, “Airwaves (A New Song of Darkness),” carries an oppressive air that leaves the listener in a claustrophobic state, as supplemented by Vivo’s scornful production work. These are just two examples of how De Mesa reveals himself in his writings; it is no surprise that these characteristics would bleed into his music. And not to mention, “I Offer Psalms” and “Comrade Buddha” are two of the highlights from this album. The other tracks, however, all follow the same pattern: tirades of cataclysmic scales interwoven in layers of cryptic wordplay – some are piercing, some barely scrape the epidermis. With all that being said, ‘Spirituals’ left me with more questions than answers. First, the album did not leave us with a satisfying conclusion to ascertain its connection to De Mesa’s past works, perhaps by design. What does the concept of an album say about the ever-changing state of the artist? Does it hold water when challenged by time and circumstance? ‘Spirituals’ approaches ideas in albums not like the be-all-end-all I may have mistaken them to be. Rather, it takes a larger-than-life concept (that is, De Mesa’s encyclopaedic knowledge of the systemic horrors he grew up with) and shrinks it to the size of a ball — a small yet dense ball. It might take me forever to parse every line, every subtext in Dark Horse’s debut album in connection to what I know of the artists involved in this project, how Vivo interpreted and translated these messages into sound, and how ideas can be tackled and revolved around by artists pursuing such ambitious endeavors. For now, I am satisfied with the knowledge that ideas are temporal. There are no hard-and-fast rules in creating art that stands the test of time — or even if they should. Whether ideas are reflective of the artist’s current state of mind, the connection ends the next time they hold the pen. Support the art and the artist: Spirituals by Dark Horse
Tag: Ambient
ALBUM REVIEW: LIMBS – Everything Under Heaven
‘Massive’ would be an understatement to describe this album. “Everything Under Heaven” marks the third full-length release of the Manila-based Limbs, and it is perhaps their most colossal musical outing yet. Like a steel Eldritch creature you cannot look away from, “Everything Under Heaven” is a record that dwells from the underground to cast its shadow upon all that sit carefree in their comfortable abode to shine light on truths less realized by many unaccustomed to violence. From the album art itself, the band, with their fellow ARPAK artist Mikhail Collado helping them bring their vision to life, depicts a backdrop of an urban locale entrenched in war. Dilapidated interchanges that surpass people in height, silhouettes of mech robots built for war pulled straight from a sci-fi movie towering over all they trudge their path on. Whether it was by intention or sheer coincidence, Limbs was going for something grand on this album that even the title hints at (their use of giant robots to illustrate this is sheer ingenuity), and the music that comes with its packaging delivers some of the best hardcore pieces of the year so far. Originally branding themselves as a screamo band, Limbs’ “Everything Under Heaven” feels more like a mini compendium of the wider punk umbrella than a one-note act. There is something for everybody, and the way the band incorporated these different elements is commendable. Breakdowns come from every which way, complex drum fills fly at break-neck speed, distortions come in full force. It is the rawness of hardcore you would come to expect going into this record, and more. Whether it’s the balls-to-the-walls skramz of “Transactional Rifle”, or the restrained chaos of “Metropolis of Salt,” or the multi-sectioned odyssey that is the title track, there is always a method to their madness. Meanwhile, there are moments of ambient and electronic music thrown across the album as the band exhibits their capabilities as producers, sometimes to complement the guitar-driven sections, sometimes to go along with the loudness of a song, and sometimes to be its own thing (“Second Survivor” comes to mind). Also worth noting are the contributions other artists have made to this album. Pry’s Jem Gallardo makes a major appearance in “Metropolis of Salt” as a co-writer and vocalist. switchbxtch, also known for releasing protest music, especially during the pandemic, also lent a hand. Now I would be remiss to write about “Everything Under Heaven” and not discuss the themes the band explored in the album — rather, the stories the album was built around. “Everything Under Heaven” is centered around the mass injustices of the Philippine government on the poor, spanning many faces of human rights violations and terror-induced state formation in rural parts of the country. It is the underlying, horrifying truth the band tries to bring forth to its listeners. “Metropolis of Salt”, for one, outlines a gruesome image of starvation faced by the poor in the midst of a violent clash with the state’s forces. The single “Hope Belligerent” is more specific with its narrative as it explores the Tinang 83 incident in chilling detail. True to their roots as activists and members of ARPAK, Limbs outwardly express their disdain towards the state and its forces, whether clad in blue or green. Using their art as a conduit, the band not only wishes to bring awareness to the people, but encourages everyone to break free from all moral restraints and share the same burning spite. Like a steel Eldritch creature you cannot look away from, “Everything Under Heaven” is enormous in scale and in essence. It is packed with collaborations, a bevy of musical influences, and songs that will leave you dizzy from all the headbanging you’ll end up doing. Its enormity is ever-so-present in its packaging. But looking past the exterior, you’d inevitably come across the horrors it eagerly wants to tell you. You either look away, or you face them and do your part in this movement for change and for justice. Support the art & the artist: [bandcamp width=350 height=470 album=894523801 size=large bgcol=ffffff linkcol=0687f5 tracklist=false]