A band known to many. A band singular in vision and unity. A band willing to expand and ebb and flow and mix genres. A band that helps others express themselves artistically through their record label Neurot. A band whose individuals members have the same vision, integrity, and strength as the whole does. ( They have a fucking back patch that says “strength and vision” for fuck’s sake).
Steve Von Till, like the band he is part of, needs no introduction, but I’ll give a little one: he is the co-guitarist and co-vocalist of the band mentioned above, and like every other member of the band, he has side project(s) that are his vision of music, catharsis, and expression. Harvestman is the side that loves drone, ambiance, psychedelia and folk, as shown, once again, on the new album “Music for Megaliths.”
This isn’t exactly what people would probably expect from a man that helped create a legacy already, but then again, the members of that band defy expectations. This album is a piece of art, an expression a-washed in effects, and droning profusely, all while having a tinge of folk to it. This album made me feel like worshiping stone monuments in the woods, living off the land, and doing things that Ted Nugent only sings about but never does because he is a precious snowflake and an idiot. (2 things about Ted: 1. He had one good song, which is “Stranglehold,” 2. Never racism or loving the young ladies. Ever. Just no.)
This album is just awesome as a whole, but for those with a peculiar taste. There is drone, but it is more akin to early Jesu than it is SUNN O))), in that there is actually time keeping and drumming and not just percussion for the sake of sound. There is psychedelia, in the way things are composed and the effects are used. Vocals are sparse. This is the soundtrack to The Witcher series of video games, in that it evokes a beautiful time of old gods and experiences with a dark tinge of melancholy and forlorn. It isn’t disturbing in that tinge, but more like a warning that there may be something you aren’t looking for in this beauty, a hidden despair, a price to be paid when you enter, and that maybe there is no way to be ready for it.
Is this album for everyone? Probably not. It is not Neurosis, nor is it his acoustic folk side project that uses the guitarists’ name. It is a drone folk project that is meant to show the artist’s love for psychedelic music through the grand lens of drone. Like I said earlier, it reminded me of old Jesu, with layers upon layers of build up and guitar work, but with less vocals.
Overall, I personally enjoyed this album, but can also see the drone aspect throwing some people aside, as they will automatically hate it. It is a album that is engulfing and grows, brings mild dread in its wake, and offers introspection throughout its entire album. The album is the continuation of experimentation If you like to have some dreadful calm in your life, you should probably give this a listen, as it does not disappoint, leaving you wondering if that tree moved on its own or was it the wind…
It was probably the wind.
REVIEW SCORE: 8/10
RELEASE DATE: May 19, 2017
LABEL: Neurot Records
FAVORITE TRACKS: ” The Forest Is Our Temple” and “Levitation”
FOR FANS OF: Neurosis, Jesu, Synthesizers