Luasa Raelon - The House Of Flesh (c) 2008 Snip-Snip
Artist....: Luasa Raelon
Album.....: The House Of Flesh
Type......: Album
Source....: CDDA
Tracks....: 9
Genre.....: Ambient
Label.....: Snip-Snip
Catalogue#: snip-snip 55
Encoder...: lame 3.97
Quality...: VBR kbps / 44.1kHz / JS
URL.......: http://www.iheartnoise.com/snipsnip
Tracklist:
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1. No Good Can Come Of This [4:11]
2. Welcome To The House [3:48]
3. Walking Timeless Halls [7:13]
4. Opening Forgotten Doors [4:48]
5. Desperation [4:33]
6. The Grand Ball Commences [3:42]
7. These Rooms Are Alive [4:38]
8. Short Road To Hell [1:28]
9. To The Mountain [5:2]
Total:58 MB /
Release Notes:
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David Reed's latest as Luasa Raelon shares more with his Envenomist
namesake, filled as it is with lonesome and metallic drones. In The
House of Flesh there is no soul and whatever is left in its absence
is a bleak and threatening specter.
A grotesque pile of meat adorns the cover to Luasa Raelon's latest album.
This lifeless arrangement of tissue communicates perfectly the various
tones and distorted synthetic sounds that populate much of The House of
Flesh. Piled one on top of the other, Reed's machines generate a buzzing
mass of atonal filth infused with frigid details. Glacial slabs of sound
creak and grate against each other producing an air of emptiness; one
would expect some substance beneath their surface, but Reed annihilates
anything deeper than the superficial breeze of synthesized sine waves.
The music is abrupt and clinical, sometimes sounding incomplete or sterile.
This compositional approach is, at times, frustrating, but it produces
genuinely desolate music of a frightening quality. Whether or not it is
enjoyable is a different question, however, and I'm suspicious of Reed's
intent on this record.
The album is divided into nine distinct cuts. These pieces begin and
end as individual songs, but I am inclined to believe that each one
was cut from the same extended and unedited work. There are pieces on
the record that feature more distinct qualities than others, but none
of them play host to any of the defining characteristics that typically
set one song or piece apart from another. Songs like "Welcome to the
House" and "These Rooms Are Alive" are distinct enough as movements
but do not sound to me like whole entities in and of themselves.
This amplifies the fragmented, detached nature of the album, but
simultaneously disturbs its sometimes pleasant continuity.
Among these dead noises there are blissful moments, but perhaps Reed
aimed to avoid such pleasantries. Unexpected silences and sudden
fades often end these songs, lending credence to the idea that the
sequencing was designed to make an uncomfortable record all the more
awkward. The House of Flesh can be listened to and appreciated, but
that does not make it a pleasant or enjoyable album. It is an odd
and unquiet record that squirms with a nervous and unsettling energy
and obviates certain customs to which it pretends adherence. Even
for Reed this is a strange and inexplicable recording.