Wer von NEUROSIS sowie den Nebenprojekten der einzelnen Musiker nicht genug bekommen kann, darf sich freuen und sollte aufpassen. Denn Steve von Till, Sänger und Gitarrist bei NEUROSIS, wird mit HARVESTMAN am 19. Mai ein neues Album veröffentlichen. Sieben Jahre nach „Trinity“ wird der Nachfolger „Music For Megaliths“ via Neurot Recordings erscheinen.
Hier die originale Pressemitteilung:
Neurot Recordings presents the fourth full-length recorded document from HARVESTMAN – one of Neurosis vocalist/guitarist Steve Von Till’s solo ventures – with the impending release of Music For Megaliths.
As with prior HARVESTMAN and other solo releases by Steve Von Till, Music For Megaliths sees the artist handling a wide array of instruments and approaches, including vocals, electric and acoustic guitars, bass, synthesizers, hurdy gurdy, effects, and more, fully performed, recorded, and mixed at his own The Crow’s Nest studio in Northern Idaho. Neurosis’ Jason Roeder also provides drums to the album’s fifth track, “Levitation.” The seven sonically and mentally expansive tracks were mastered by James Plotkin, and the album completed with artwork by Thomas Hooper.
Confirming the album for release on May 19th, Neurot has unveiled the artwork, track listing, and more for the exploratory new album, with audio samples and more to be released in the coming weeks.
Music For Megaliths Track Listing:
1. The Forest Is Our Temple
2. Oak Drone
3. Ring Of Sentinels
7. White Horse
“Ruins, monuments, and ancient sites of worship are multi-sensory experiences – at once residues of the sacred, the parchment on which the passage of time has been inscribed and templates for imaginative reconstruction, spaces in which to invest and immerse, to trade your bearings for an inexhaustible state of transition.
Over the course of three albums, Steve Von Till has, under the guise of HARVESTMAN, provided the sonic analogue, casting his net for what might have been and yet still be. Both a personal meditation and a tuning fork for the most ancient and enduring of resonances, his latest album, Music For Megaliths, further expands his journeys along the sonic ley lines that run between folk, drone, psychedelia, the “kosmische” outposts of krautrock and noise: not as an act of eclecticism, but of divination, giving voice to an underlying continuity that binds them all.
Recorded over a period of several years in the dawn hours of creation, Music For Megaliths is an aggregation of moments and recordings that have allowed themselves to spell out a greater whole. Utilizing repetition, manipulation, and modulation, it’s a hallowed frequency dial that ranges across the pulse-regulated drone of “The Forest Is Our Temple,” revving up like a generator powered by arcane currents, the blissful gaze of “Ring Of Sentinels,” “Sundown”’s ominous waves of interference and “White Horse”’s rite of dissolution and regeneration, nomadic and devout. Music For Megaliths is a crossing over, whose multiple routes are testament to a singular and sensuously dilated vision.”
– words by Jonathan Selzer, 2017