Body, The - All the Waters of the Earth Turn to Blood - LP
At a Loss Recordings

Body, The - All the Waters of the Earth Turn to Blood - LP

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Smoke-colored repress!

Like the best of Eyehategod or Bastard Noise, All the Waters is the rare album that feels truly dangerous… The record itself is a smartly designed simulacrum for the lyrics, recreating the sense of impending darkness by creating a sound that swallows itself… All the Waters of the Earth Turn to Blood is the seldom collapse-of-the-world record that’s actually as disturbing as it wants to be.” - Pitchfork “As the record continues, the beating just doesn’t stop. The choral voices, returning here and there, are the only ray of hope: the Body’s own singing amounts to weedy, apocalyptic howls, barely clearing the din of their processional stomps. It’s an experience, this record, written in big riffs and celestial choirs and digital static.” - The New York Times For 10 years the rumors have slowly spread from the Mid-South through the New England region of the United States of a group, known as THE BODY, declaring war on all they consider "FALSE" through rituals involving solid state amplification and jolting percussion. Their latest addition to the arsenal against the contrived is All The Waters Of The Earth Turn To Blood. The duo has allied itself with the Assembly of Light Choir and members of bands as varied as Bonedust, Callers, Dead Times, Fang Island, Human Beast, Lichens, Made In Mexico, Otesanek, Trtrkmmr, What Cheer Brigade, & Work/Death on their latest. The opener sets the mood for the album. The beautiful and haunting sounds of the Assembly of Light choir kick off for almost seven minutes then breaks into the full force low end ugliness all the while the choir continues to harmonize along with it (a repeating theme on the album). Soundscapes (post-rock, noise drenched, percussive based, loops) form with baritone saxophone, sousaphone, guitar, piano, keyboards, moog, and more, mixed with THE BODY's typical stripped down live arsenal of drums, guitars, and vocals. A post-rock interlude leads to pounding distortion and inhuman wails. Songs drop in and out going from quieter moments of drum machine fueled rhythms with looped audio tracks to full out pissed off dirge. Finally closing the album is the 14-minute "Lathspell I Name You." Slow heavy builds lead to distorted chaos. Distorted chaos drops back to heavy builds. All of it drops out and leads to multi percussive blows with hints of noise always on top leading to Dubin-style screams with haunting harmonies and crashing cymbals. The story is about to end and it isn't going to be pretty.


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