The best music is also usually the most challenging to write about. How do you describe to someone that which is often times indescribable? How too do you try and categorize that which inherently defies categorization? Therein lies the only problem with the new album from Atrina.
Accurate description is the only problem with In Planetary Sugar because it’s an absolutely stunning album in just about every way imaginable and truly does defy easy genre categorization – as Atrina always have. Atrina has been around for a long time, coming and going from the Connecticut music scene, usually emerging with some new awesome material. They’ve been releasing music since the late 90’s, which compared to all the other new music you will hear from CT bands in 2013 seems like an entire lifetime. But sometimes it takes awhile to get the right group of musicians at the exact right moment to make your magnum opus. Front-woman and band mastermind Kelly L’Heureux has done exactly that. That’s not to say previous efforts weren’t up to snuff. On the contrary, 2008’s {beautiful evidence} EP, for example, was exceptional in its own right. However, it stands to be noted that around her she has amassed a stellar line up (Andre Roman on bass, Phil Law on guitar/backing vocals, Dave Parmelee on drums and Ian Kennedy on live visuals) that are able to help her realize her vision of dissonant, angular, potent music that blends and bends influences from genres as varied as doom metal to indie rock to psych rock. But my metal friends have heart. I wouldn’t be writing about this album here if I didn’t think your metal interests wouldn’t be piqued.
Sure, In Planetary Sugar is one of the more beautifully textured releases you’ll hear this year. It shifts moods like the winters here in New England – bucolic and serene one moment yet given to fits of arbitrary despair the next. But just like the winter season this album can become claustrophobic at times, encasing the listener in more darkness than they are probably prepared for and only allowing them fleeting glimpses of cold daylight. Metal fans will gravitate to the thunderous cacophony that dots tracks throughout this album. Certain riffs on here, such as those found on “Janice & Joey” and the title track for example, are as dark and plodding as a herd of ancient mammoths. Yet the ying to that yang is that this same album can hold a track like “Boredom In Detail” which absolutely soars with elegance throughout. Just like the person who finds themselves in a desolate log cabin in the middle of a blizzard and can still come to appreciate the power and majesty of Mother Nature so will the listener find the ability to see the tranquility of these songs no matter how exhilarating they get – however even in their most beautiful moments there is still that darkness and bleakness that surrounds Atrina. This album is the perfect musical example of the universal struggle of the light versus the darkness. It is the sun both rising and setting in an aural battle of the bombastic versus the placid. Need a greater reference point? Try The Gathering meets Jesu, fronted by an young/angry PJ Harvey doing Neurosis and Fugazi covers. Fans of any of those bands or their contemporaries take heed. You can listen to this entire album for free on the Atrina bandcamp page.
*Portions of this article are reprinted with permission from CT.com
Metal Homework:
I recently had a conversation with someone about bands who change their style and sound over time. Sometimes it’s a natural progression, sometimes the band just falls off a cliff so to speak (or climbs the mountain I guess depending on your tastes). When a band does merge into something you’re not a fan of all you can really do is celebrate the albums you do dig. So it is with me and Tiamat. At one point these guys were pretty groundbreaking and a lot of bands, including the mighty Opeth, owe quite a debt to these guys. I highly recommend you revisit their Wildhoney album. I think if you’re forgetting how good these cats used to be you’ll be pleasantly surprised.
