Emory’s Biggest Music Nerds
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Asheran - Dvne (2017)
Author: Easton Lane
From return to cataclysm, from arrogance to retribution, from crimson to viridian—these are the contours of Asheran, a conceptual work of science fiction told through the shimmering progressive, sludge, doom, and post-metal. As Dvne’s debut full-length album, Asheran establishes not only the band’s identity but also its narrative universe, introducing us to the Asheran—a people who return to reclaim their ancestral home after a self-imposed exile in which they searched the cosmos for a greater purpose. What follows is an apocalyptic conflict between the technologically advanced Asheran and the stewards of the planet—their brethren—who turn to the very thing they swore to leave buried to save themselves from the Asheran’s invasion.
Musically, Asheran blends many of contemporary metal’s most acclaimed innovations—the noisy weight of sludge, the melodic flavor of bands like Mastodon and Baroness—animating sparse lyrics with atmospheres so clear you can smell burning forests and hear the screech of machines. Given the band’s name, it isn’t surprising that their work is greatly inspired by Frank Herbert’s ‘Dune,’ a legendary work of climate fiction that reflects the environmental issues at the heart of Asheran.
Juxtaposing serenity with carnage, faith with hubris, Dvne narrate this conflict in a galaxy far removed from our own with theatrical flourishes of growls and clean vocals—opting to construct the physical and historical environment through lyrics and embodying emotion through instrumentation.
There isn’t much more you could ask from the music on Asheran, and if you consider the delicately crafted lyrics too, you’ve got a near-perfect album on your hands. The record rewards repeat listens with its endless nuances, creating a simultaneously minimalist and maximalist story. Asheran established Dvne as one of the most promising bands in metal, while 2021’s Etemen Ænka sees that promise delivered tenfold.
To boil down Dvne’s millennia-spanning story to one lyric, I’ll quote the closing refrain of “The Crimson Path”: “From hubris arise all kingdoms Through hubris kingdoms fall”
IX - RENT STRIKE (2018)
Author: Klara Nitsche (musical chairs)
an incredible folk punk/rock opera concept album that follows fantastical themes of journeying towards sobriety. incorporating instruments such as the banjo, piano, guitar, and unique vocals from singer-songwriter John Warmb, IX sonically swells through 9 tracks to pull the listener (you!!) through adventures of remorse, anger, acceptance, and relief. heavily inspired by Tolkien, Warmb’s lyricism and musical composition on IX carefully balances the comfort of escaping into fantasy with cuts of relatability as he reminisces on his past struggle with heroin addiction. listening to this album feels like riding a horse across open plains and striking up a campfire before venturing into some grimy cave to Battle. tastefully paced, IX arcs to a satisfying end with my favorite track: To The West!! this album was my first introduction to RENT STRIKE and remains one of my favorite works at the moment. if you find yourself enjoying this album, check out the rest of RENT STRIKE’s discography! they have a knack for blending together sci-fi and fantasy themes with anti capitalist ideology, a really great exploration of contemporary punk music and the DIY scene. happy listening!!
Bricolage - Amon Tobin (1997)
Author: Kiran Berger
In experimental drum and bass, there are not many artists more prolific than the Brazilian musician Amon Tobin. With his 1997 record “Bricolage”, Tobin places his artistry in niche intersections between jazz, drum and bass, and EDM. Bricolage creates a warm feeling of coziness and comfort, while still tucked in the experimental and frantic melodies and drum and bass patterns scattered throughout the album. The opener “Stoney Street” and midpoint pickup “The Nasty” show Tobin at his best though, and feature brilliant jazz sampling paired with Tobin’s expertise and experience over the drum machine. Amidst the genre’s modern association with wild raves and light-speed beats, Tobin’s Bricolage reminds us of the slow, hypnotizing power of drum and bass.
How Big, How Blue, How Beautiful - Florence + the Machine (2015)
Author: Easton Lane
The first word that How Big, How Blue, How Beautiful brings to mind is majesty—sheer, breath-taking majesty. At no point on this record are Florence Welch’s commanding vocals anything less than rapturous, anchoring an ark of disparate musical styles through the hurricane that is heartbreak and the heartbreak that is existence. On How Big, How Blue, How Beautiful, Florence turns an eye outward and an eye inward, reflecting optimistically and pessimistically on just how big this world is.
Between theatric drama, tragic love, and hopeful renewal, the record’s first four songs are a perfect run of soaring emotions and spiraling instrumentals. It’s impossible to resist singing along, even though Florence’s stunning vocals put an imitator to shame. This first run culminates in “Queen of Peace,” a symphonic anthem featuring creative lyrics and unforgettable similes. With just 10 words, Florence creates the image of a boat sailing off the edge of the world as the sunset fades from the sky.
The momentum generated by the opening suite slows as the varied mid-section introduces itself, but that isn’t to say the remaining songs aren’t special in their own right. From the dancing euphoria of “Delilah” to the cathartic sermon of “Caught,” Florence’s vocals continue to shine like illustrious gems.
“Third Eye” and “Mother” close out the album with the emphatic stomp of “Queen of Peace,” cementing ‘How Big, How Blue’ as a cohesive journey through life on Earth. “Mother” is unrivaled, breaking the pop status quo with prominent drumwork and desert rock guitars. In “Mother,” it seems as though Florence reaches for Earth’s vaulted ceiling in a celebration of life, becoming the rain, the trees, the dirt—embracing nature itself.
Though not every song hits as hard as “Queen of Peace,” How Big, How Blue, How Beautiful, is a vivid window into the mind of one of the most singular modern artists, accented with lush instrumentals and gripping vocals. Sometimes the best way to reconcile life’s sadness is to embrace it, to wear it as a reminder of how curious it is to be human.
Maps - billy woods & Kenny Segal (2023)
Author: Kiran Berger
My album of the year so far, billy woods continues his run as an elite experimental hip-hop artist. Compared to his intricately conceptual “Aethiopes” of last year, and this duo’s last full-length record “Hiding Places” in 2019, Maps is far more varied and lyrical, with woods’ impressive rhyme schemes and word choice cementing him as a fascinating, yet anonymous voice in underground hip-hop. Maps is an escape from woods’ frequent political and social commentary, and instead focuses on his life on the road post-COVID. As distant airplane announcements and spooky, turbulent production from Kenny Segal electrifies the dread-filled, humorous and complicated mind of billy woods, we’re left wondering if there is anything his brilliant lyricism can’t accomplish, and what messages he has in store for us next.