Shackleton & Six Organs of Admittance
Jinxed By Being
Shackleton & Six Organs of Admittance
Jinxed By Being
Boomkat Product Review:
If you went deep on Shackleton and Heather Leigh's incredible ‘Choose Mortality’ LP last year, 'Jinxed by Being' picks up where it left off, swirling Ben Chasny's haunted mantras and tangly riffs around Shackleton's sub-heavy rumbles and illusory, ritualistic rhythms. Genius, genre-bending gear - RIYL Talk Talk, Sun City Girls, Comus, Kluster.
In his dense cluster of solo excursions and collabs, Shackleton’s prog-psych masterpiece 'Choose Mortality' really peeked out into another dimension. On 'Jinxed by Being', he taps another mainstay of the New Weird America movement, propelling Ben Chasny's cosmic folk with seemingly limitless force and direction.
A real back-and-forth, the album doesn't sound overly electronic, but neither does it rattle quite like Chasny's usual output. Shackleton keeps his processes opaque, using woody percussion and faint synth drones and tones to harmonise with Chasny's acoustic sounds, rather than grind against them. On 'The Voice and the Pulse' they lay out a basic framework; Chasny's voice turns into a spectral whisper against digital winds before being swallowed completely as flute sounds appear from the undulating swirl of submerged, metallophone chimes. The duo coalesce further on 'The Grip of the Flesh' where kalimba and acoustic arpeggios flutter around manipulated water recordings, eventually giving way to a damaged industrial grind.
"We live in the ruins, the ones that still remain / the earth has moved on its axis, we still remain," Chasny declares over serrated guitars and phantasmal blips, as the track metamorphoses into a post-apocalyptic chant. On 'Stages of Capitulation', Chasney is dissociated into granular, phased phrases that fizz on top of Shackleton's Talk Talk-axis basslines and dreamy keys. It's an absurd amalgamation on paper, but sounds immaculate on record, and when fiddle scrapes dance with the digitised guitar particles, it signals a new direction for progressive psychedelic music.
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Boomkat Product Review:
If you went deep on Shackleton and Heather Leigh's incredible ‘Choose Mortality’ LP last year, 'Jinxed by Being' picks up where it left off, swirling Ben Chasny's haunted mantras and tangly riffs around Shackleton's sub-heavy rumbles and illusory, ritualistic rhythms. Genius, genre-bending gear - RIYL Talk Talk, Sun City Girls, Comus, Kluster.
In his dense cluster of solo excursions and collabs, Shackleton’s prog-psych masterpiece 'Choose Mortality' really peeked out into another dimension. On 'Jinxed by Being', he taps another mainstay of the New Weird America movement, propelling Ben Chasny's cosmic folk with seemingly limitless force and direction.
A real back-and-forth, the album doesn't sound overly electronic, but neither does it rattle quite like Chasny's usual output. Shackleton keeps his processes opaque, using woody percussion and faint synth drones and tones to harmonise with Chasny's acoustic sounds, rather than grind against them. On 'The Voice and the Pulse' they lay out a basic framework; Chasny's voice turns into a spectral whisper against digital winds before being swallowed completely as flute sounds appear from the undulating swirl of submerged, metallophone chimes. The duo coalesce further on 'The Grip of the Flesh' where kalimba and acoustic arpeggios flutter around manipulated water recordings, eventually giving way to a damaged industrial grind.
"We live in the ruins, the ones that still remain / the earth has moved on its axis, we still remain," Chasny declares over serrated guitars and phantasmal blips, as the track metamorphoses into a post-apocalyptic chant. On 'Stages of Capitulation', Chasney is dissociated into granular, phased phrases that fizz on top of Shackleton's Talk Talk-axis basslines and dreamy keys. It's an absurd amalgamation on paper, but sounds immaculate on record, and when fiddle scrapes dance with the digitised guitar particles, it signals a new direction for progressive psychedelic music.
Boomkat Product Review:
If you went deep on Shackleton and Heather Leigh's incredible ‘Choose Mortality’ LP last year, 'Jinxed by Being' picks up where it left off, swirling Ben Chasny's haunted mantras and tangly riffs around Shackleton's sub-heavy rumbles and illusory, ritualistic rhythms. Genius, genre-bending gear - RIYL Talk Talk, Sun City Girls, Comus, Kluster.
In his dense cluster of solo excursions and collabs, Shackleton’s prog-psych masterpiece 'Choose Mortality' really peeked out into another dimension. On 'Jinxed by Being', he taps another mainstay of the New Weird America movement, propelling Ben Chasny's cosmic folk with seemingly limitless force and direction.
A real back-and-forth, the album doesn't sound overly electronic, but neither does it rattle quite like Chasny's usual output. Shackleton keeps his processes opaque, using woody percussion and faint synth drones and tones to harmonise with Chasny's acoustic sounds, rather than grind against them. On 'The Voice and the Pulse' they lay out a basic framework; Chasny's voice turns into a spectral whisper against digital winds before being swallowed completely as flute sounds appear from the undulating swirl of submerged, metallophone chimes. The duo coalesce further on 'The Grip of the Flesh' where kalimba and acoustic arpeggios flutter around manipulated water recordings, eventually giving way to a damaged industrial grind.
"We live in the ruins, the ones that still remain / the earth has moved on its axis, we still remain," Chasny declares over serrated guitars and phantasmal blips, as the track metamorphoses into a post-apocalyptic chant. On 'Stages of Capitulation', Chasney is dissociated into granular, phased phrases that fizz on top of Shackleton's Talk Talk-axis basslines and dreamy keys. It's an absurd amalgamation on paper, but sounds immaculate on record, and when fiddle scrapes dance with the digitised guitar particles, it signals a new direction for progressive psychedelic music.
Boomkat Product Review:
If you went deep on Shackleton and Heather Leigh's incredible ‘Choose Mortality’ LP last year, 'Jinxed by Being' picks up where it left off, swirling Ben Chasny's haunted mantras and tangly riffs around Shackleton's sub-heavy rumbles and illusory, ritualistic rhythms. Genius, genre-bending gear - RIYL Talk Talk, Sun City Girls, Comus, Kluster.
In his dense cluster of solo excursions and collabs, Shackleton’s prog-psych masterpiece 'Choose Mortality' really peeked out into another dimension. On 'Jinxed by Being', he taps another mainstay of the New Weird America movement, propelling Ben Chasny's cosmic folk with seemingly limitless force and direction.
A real back-and-forth, the album doesn't sound overly electronic, but neither does it rattle quite like Chasny's usual output. Shackleton keeps his processes opaque, using woody percussion and faint synth drones and tones to harmonise with Chasny's acoustic sounds, rather than grind against them. On 'The Voice and the Pulse' they lay out a basic framework; Chasny's voice turns into a spectral whisper against digital winds before being swallowed completely as flute sounds appear from the undulating swirl of submerged, metallophone chimes. The duo coalesce further on 'The Grip of the Flesh' where kalimba and acoustic arpeggios flutter around manipulated water recordings, eventually giving way to a damaged industrial grind.
"We live in the ruins, the ones that still remain / the earth has moved on its axis, we still remain," Chasny declares over serrated guitars and phantasmal blips, as the track metamorphoses into a post-apocalyptic chant. On 'Stages of Capitulation', Chasney is dissociated into granular, phased phrases that fizz on top of Shackleton's Talk Talk-axis basslines and dreamy keys. It's an absurd amalgamation on paper, but sounds immaculate on record, and when fiddle scrapes dance with the digitised guitar particles, it signals a new direction for progressive psychedelic music.
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Boomkat Product Review:
If you went deep on Shackleton and Heather Leigh's incredible ‘Choose Mortality’ LP last year, 'Jinxed by Being' picks up where it left off, swirling Ben Chasny's haunted mantras and tangly riffs around Shackleton's sub-heavy rumbles and illusory, ritualistic rhythms. Genius, genre-bending gear - RIYL Talk Talk, Sun City Girls, Comus, Kluster.
In his dense cluster of solo excursions and collabs, Shackleton’s prog-psych masterpiece 'Choose Mortality' really peeked out into another dimension. On 'Jinxed by Being', he taps another mainstay of the New Weird America movement, propelling Ben Chasny's cosmic folk with seemingly limitless force and direction.
A real back-and-forth, the album doesn't sound overly electronic, but neither does it rattle quite like Chasny's usual output. Shackleton keeps his processes opaque, using woody percussion and faint synth drones and tones to harmonise with Chasny's acoustic sounds, rather than grind against them. On 'The Voice and the Pulse' they lay out a basic framework; Chasny's voice turns into a spectral whisper against digital winds before being swallowed completely as flute sounds appear from the undulating swirl of submerged, metallophone chimes. The duo coalesce further on 'The Grip of the Flesh' where kalimba and acoustic arpeggios flutter around manipulated water recordings, eventually giving way to a damaged industrial grind.
"We live in the ruins, the ones that still remain / the earth has moved on its axis, we still remain," Chasny declares over serrated guitars and phantasmal blips, as the track metamorphoses into a post-apocalyptic chant. On 'Stages of Capitulation', Chasney is dissociated into granular, phased phrases that fizz on top of Shackleton's Talk Talk-axis basslines and dreamy keys. It's an absurd amalgamation on paper, but sounds immaculate on record, and when fiddle scrapes dance with the digitised guitar particles, it signals a new direction for progressive psychedelic music.
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