1. To Bury 02:54
2. The Places You Walk 05:05
3. The Divide 06:38
4. Into A Sleep 04:07
5. And The River Ran Dry 01:13
6. Keep Your Weeds 05:50
7. Ehjä 08:17
8. The Four Of Us Are Dying 03:59
9. Psyar 08:33
In the time since their debut release, Jex Thoth’s entire line-up has changed, save for the eponymous frontwoman. Despite this, there’s a remarkable continuity style in their releases, hinting at Jex’s total dominance over the band’s sound. Lush, mellow and haunting soundscapes, sinuous, melodic guitar lines and a certain folksy, ritualistic vibe – all the same elements are in place, and looming large over all of them is that voice, surely one of the finest in the whole female-fronted doom/occult rock scene.
Personally, I find Jex Thoth’s sound just a bit lacking in edge – I prefer her Sabbath Assembly project – but there’s no denying that this album is a fine collection of songs. To my ears, it lacks something in the quality of the individual songs, with nothing approaching the majesty of ‘Warrior Woman’ or the sprawl of the Equinox Suite, highlights of the debut album. Indeed, the first two tracks seem to flash by before they have time to fully develop, and this seems to be the case again with a later song, ‘The Four Of Us Are Dying’. The ominous strains of ‘The Divide’ are a highlight with its keening organ and ultra-doomy guitars. ‘Keep Your Weeds’ is another stand out, with a mesmerizing vocal and gorgeous interwoven guitar and organ lines. ‘Ehja’ is possibly the centerpiece of the album, an extended, traditional doom-influenced track that provides Jex with ample space to weave her shadowed tales.
‘Psyar’, another epic track, closes out the album. Its overall atmosphere is mysterious, velvety and darkly inviting, with an epic guitar solo, yet somehow the specifics feel a bit too static, a little lacking in granularity, and that’s the charge I’d level against the whole album. It’s superb mood music, great for lulling yourself into a sort of psychedelic-spacey-paganistic trance, but there aren’t enough memorable tunes or stand-out instrumental passages. It’s a fantastic backdrop, but the details often don’t really resolve on close scrutiny. It’s still a fine album for what it is, of course and might even be one of your favorites of the year if you’re not looking for what it doesn’t offer and are into all the many pleasures it does contain.
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