17 October 2023: Steven Wilson; Dengue Fever; Music for Haunted Asylums

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The Harmony Codex is the seventh studio album by British musician Steven Wilson, released on 29 September 2023 through Virgin Music Group.[4][5]

Background

The record was first announced on 29 August 2023 with the release of lead single "Economies of Scale".[6] Since then, the tracks "Impossible Tightrope", "Rock Bottom", and "What Life Brings" have been released as singles.

The album is said to be "a genre-spanning collection that opens up like a musical puzzle box" and musically more complex than Wilson's previous album.[7][8]

Along with the release of the standalone record, a three-disc limited edition featuring a collection of bonus tracks under the name Harmonic Distortion.[9]

Recording

Steven Wilson supposedly worked on the album "in a studio tucked inside a garage of a North London townhouse", piecing together the tracks with remote help from collaborators Ninet Tayeb, Craig Blundell, Adam Holzman, Jack Dangers, and Sam Fogarino.[10]

Review

by Brendan Schroer CONTRIBUTOR (257 Reviews)
October 4th, 2023 Review Summary: Steven Wilson: A Feature Film Presentation

Let’s start this off with a quick exercise. First, I want you to take a listen to Steven Wilson’s 2013 opus The Raven That Refused to Sing. Even if you’ve heard it many times before, just take a moment to re-absorb that vintage prog majesty once again. The elaborate bass lines, the lush mellotrons, the jazz fusion tinges… yeah, that’s good stuff. Now that you’re done with that, let’s fast-forward to 2021 and revisit The Future Bites. The electropop sound, the (attempted) social commentary of the lyrics, the cold sparse atmosphere… now, that’s a stylistic 180 if I’ve ever heard one. Obviously Wilson was building up to the style found on The Future BitesTo the Bone definitely primed the pump for that – but when jumping straight from one end of his catalog to another, it’s enough to give one whiplash.

More than anything though, To the Bone and The Future Bites served as a message to his fans: expect the unexpected. For every elaborate prog number like “Luminol” or “Raider II”, there might be a dance-pop tune like “Permeating” or a bluesy rocker like “Eminent Sleaze” to catch you off-guard. And it’s this type of thinking that got me extremely curious about what Wilson would bring with The Harmony Codex. After all, what stylistic turn could he make after going all-in with the pop and electronic influences?

Well, Wilson did the best thing he could in this situation: take what actually worked on the previous record, and expand it into a more sprawling, cinematic experience. And he seemed poised to fully take advantage of this direction both aurally and visually, as the video for lead single “Economies of Scale” features two people dancing in a large chapel space with impressive choreography, shot entirely in one take. Oh, and Wilson himself makes a cameo appearance! See if you can spot him. Meanwhile, the music itself is just as grand and engaging; Wilson creates a complex tapestry of layered vocals, as the skittering Radiohead-style percussion gives the ornate instrumentation some grounding and tension. More than anything, “Economies of Scale” served as an excellent bridge between The Future Bites and the rest of The Harmony Codex.

Of course, much of the record delves even further into this sweeping musical territory. The other big single, and the one that Wilson really wanted people to be hyped for, is the 11-minute “Impossible Tightrope”. And how many lyrics do we get throughout this lengthy excursion? Three lines. That’s all we get. The rest of the track is an ambitious exercise in worldbuilding, including (but not limited to) the following highlights: wailing sax lines, cold post-punk-esque guitar leads, jazzy keyboard breaks, and a beautiful ambient section in the middle to cap it all off. And it’s at this moment that I realized something: The Harmony Codex as a whole is basically an olive branch between the traditional and modern prog sensibilities of Wilson’s solo career (granted, I suppose we already got this earlier on with Hand. Cannot. Erase., but still…). 

While “Impossible Tightrope” might be the best example of that bridge, it’s certainly present elsewhere too. For another extended tune that exhibits this middle ground extremely well, we get the highly atmospheric title track. The guitars and synths drone on hypnotically as Wilson’s wife Rotem provides some lovely narration to flesh out the ambiance of the piece. From then on, it’s mostly a suspenseful post-rockish buildup for the rest of the song… simple in concept, but strong in execution. Still, this is not to say that Wilson’s abandoned that more tender, singer-songwriter side of his DNA, as cuts like the pensive alt-rocker “What Life Brings” and the emotionally gripping ballad “Rock Bottom” prove. The latter is especially notable because it marks the return of longtime collaborator Ninet Tayeb, as she and Wilson embark on the first duet together since 2017’s “Pariah” – and, as always, Tayeb brings the house down with her raw, passionate delivery.

Despite all of this praise, I can’t help but feel as though something’s missing here. It might have to do with the overall lack of these more self-contained, concise moments, but the aforementioned worldbuilding could stand to be reined-in at times. While the extended, sprawling pieces are neat from a conceptual and atmospheric perspective, they also make The Harmony Codex more emotionally distant at times and – dare I say – even a bit hollow. I did mention earlier that “Economies of Scale” was like a way of connecting The Future Bites and The Harmony Codex together, and this does apply to some of the other songs as well. Unfortunately, that also comes with the former album’s baggage – whether it be in moments of questionable songwriting, dull vocal inflections, or an overly synthetic vibe.

Still, this shouldn’t deter Steven Wilson fans from checking out The Harmony Codex, as it’s a huge step up from its predecessor. If anything, this is basically the direction he should have gone in immediately after To the Bone, as it seems like a logical development from that record’s electronica-tinged prog-pop style. In any case, this is essentially Wilson’s “cinematic” album, and allows him to play around with a wide variety of fun styles and experiments using that theme. It’s sprawling, it’s immersive, it’s widescreen, and – most of all – it’s a sign that our favorite(?) modern progger still has plenty left to say, even over 30 years into his illustrious career.


 

Dengue Fever is an American band from Los Angeles who combine Cambodian rock and pop music of the 1960s and 70s with psychedelic rock and other world music styles. Their most recent album, Ting Mong, was released in September 2023.
 

Dengue Fever's sixth full length studio album. In Khmer folklore, a Ting Mong is a decoy or mannequin, similar to a scarecrow, used to fight away evil spirits and plagues.

credits

released September 15, 2023

Chhom Nimol - Vocals
Ethan Holtzman - Keyboards
Zac Holtzman - Guitars and Vocals
David Ralicke - Brass and Woodwinds
Paul Dreux Smith - Drums and Percussion
Senon Gaius Williams - Bass Guitars
Alex Lilly - Background vocals

Produced by PauL Smith and Dengue Fever

Recorded and mixed by Paul at Dos Leones, Burbank and Campo Viejo, Pipes Canyon

Additional recording by:
David at Nickel Jones Studio, Los Angeles
Senon at The Shoebox, Los AngeleS
Spencer Lere at Deckhouse Studios, GlendalE

Mastered by Reuben Cohen at Lurssen Mastering

Artwork by Imiri Sakabashira 

 

The fascination with abandoned haunted asylums is a topic that has captivated the interest of many people over the years. There are a few reasons why these locations tend to hold a certain allure. First of all Asylums have a rich and often dark history, which attracts those interested in exploring the past. These institutions were built during a time when mental health treatments were not well understood, and the conditions inside were often deplorable. The stories of patient mistreatment, unethical practices, and the overall eerie atmosphere make for compelling narratives. Abandoned asylums, with their decaying buildings, broken windows, and overgrown grounds, create an atmosphere of mystery and suspense. Also they have become the subject of numerous urban legends and ghost stories. Over time, these tales have contributed to the notion that abandoned asylums are haunted by the spirits of former patients or the ghosts of the past. This connection to the supernatural adds another layer of fascination for those interested in the paranormal.

The talented musicians showcased in this compilation have meticulously crafted their aural creations with the explicit intention of transporting listeners into the captivating realms of the abandoned asylums. Through their musical artistry and skillful composition, they have harnessed the power of sound to evoke a sense of wonder and immersion, inviting audiences to embark on a sensory journey into these haunting and mysterious places.

credits

released September 14, 2023
Our thanks to Raffaele Pezzella for providing a promo copy of this release.
REVIEWS

Avant Music News
avantmusicnews.com/2023/09/17/amn-reviews-various-artists-music-for-haunted-asylums-2023-eighth-tower-records/

Ver Sacrum
www.versacrum.com/vs/2023/10/music-for-haunted-asylums-by-various-artists.html

Bizarre Chats
bizarrechats.blogspot.com/2023/09/music-for-haunted-asylums-eighth-tower.htm


Published by Eighth Tower Records
All tracks previously unpublished except "The Hall".
Curated and mastered by Raffaele Pezzella (a.k.a. Sonologyst)
Cover photo: Real Casa dei Matti, Palermo, founded in 1824.
© 2023. All rights reserved

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