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MARROW OF THE SPIRIT

Agalloch

Experimental/Post Metal


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Agalloch Marrow Of The Spirit album cover
3.82 | 162 ratings | 16 reviews | 35% 5 stars

Excellent addition to any
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Studio Album, released in 2010

Songs / Tracks Listing

1. They Escaped the Weight of the Darkness (3:41)
2. Into the Painted Grey (12:25)
3. The Watcher's Monolith (11:46)
4. Black Lake Nidstang (17:34)
5. Ghosts of the Midwinter Fires (9:40)
6. To Drown (10:27)

Total Time: 65:33

Lyrics

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Music tabs (tablatures)

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Line-up / Musicians

John Haughm / Vocals, Guitar
Don Anderson / Guitar
Jason Walton / Bass
Aesop Dekker / Percussion

Releases information

Set to be released on November 23rd, 2010
Distributed through Profound Lore records

Thanks to Conor Fynes for the addition
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AGALLOCH Marrow Of The Spirit ratings distribution


3.82
(162 ratings)
Essential: a masterpiece of progressive rock music(35%)
35%
Excellent addition to any prog rock music collection(38%)
38%
Good, but non-essential (14%)
14%
Collectors/fans only (8%)
8%
Poor. Only for completionists (6%)
6%

AGALLOCH Marrow Of The Spirit reviews


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Collaborators/Experts Reviews

Review by Conor Fynes
PROG REVIEWER
5 stars 'Marrow Of The Spirit' - Agalloch (9/10)

Four years after their last release 'Ashes Against The Grain,' Portland, Oregon based dark metal act Agalloch has finally crafted their long awaited follow-up. Admittedly being an existing, dedicated fan to the band's work, I have found myself consistently impressed by the act's mastery of aesthetic, and sincere ability to make profound, deeply moving and melancholic music. Having delved deep into Agalloch's latest opus, entitled 'Marrow Of The Spirit,' I can safely say that the band hasn't just created an album that will satisfy their salivating fanbase, but a challenging work of art that will certainly stand to be considered one of the band's highest achievements when all is said and done. While their established magnum opus 'The Mantle' may have a greater personal impact on me, never before has Agalloch sounded so dark, heavy, and ambitious as they do on 'Marrow.'

On their fourth full-length bout, Agalloch retains their trademark style of dark, atmospheric and nature-inspired metal, but as always, manages to tweak their sound to set the album apart from the others in their growing discography. While 'Pale Folklore' may be associated with black metal, 'The Mantle' with folk, and 'Ashes Against The Grain' with post-rock, 'Marrow Of The Spirit' is a bit harder to pin down. Perhaps this is because 'Marrow' incorporates equal aspects of each of these three genres in equal portions; in comparison to the other albums, there are segments here that sound like they could easily be on any previous Agalloch recording. What makes the album special is that these styles have been perfectly counter-balanced, so that while the record shares a common mood throughout, no convention of the act's sound is overused.

New to Agalloch's ensemble is the San Francisco based percussionist Aesop Dekker, who's introduction makes an audible difference in the band's sound. A drummer who evidently emphasizes power and aggression over subtlety, Dekker's heavy and no-frills approach to the rhythm gives the band a much heavier and looming sound, whereas the band generally lacked the heaviness typically associated with extreme metal, in albums before.

The album begins with 'They Escaped The Weight Of Darkness;' a calming yet haunting cello piece from guest musician Jackie Perez Gratz, a name that may be familiar through her membership in the avant-garde metal group Grayceon. Over the faint babbling of water and ambient birdsong, Gratz immediately lulls the listener into the vibe of the album; that of darkness, melancholy and haunting beauty. While not remarkable so much as a composition, Jackie's performance is heartfelt, and provides a perfect contrast to the second track on the album, which immediately follows.

'Into The Painted Grey' is without a doubt, the heaviest and most aggressive performance Agalloch has ever churned out. Straight from the mellow cello passages of the album's intro, the music erupts into a fury of fastpicked guitarwork and a wallop of blastbeats. As the unrelenting energy just starts to get overwhelming, everything abates to make way for an atmospheric mellower section of constantly morphing pitch harmonies that slowly builds towards the main section of the track. This track really reminds the listener that at their heart, Agalloch are a black metal band, and this track rings closer to the core elements of the genre than anything they've released in the past. For all of its heaviness though, there is still a great deal of melodic presence here, although it might sound hidden beneath the layers of distortion at first. The force here is undeniable, and while things for from here on will be more mellow, 'Into The Painted Grey' sets the stage perfectly for the rest of the album.

Next up is 'The Watcher's Monolith,' which was leaked before the general release of the album, possibly under the guise of a 'single.' If 'Into The Painted Grey' reflected the black metal sound of 'Pale Folklore,' then 'Watcher's Monolith' does the same for the folk leanings of 'The Mantle.' Featuring acoustic guitars strumming behind soaring post-rock derived lead melodies and John Haughm's existential growls, this dark foray is the most akin to their historical material as anything you'll find on 'Marrow.' As my introduction to the new set of Agalloch material, I found myself greatly satisfied first hearing this track, but it pales in comparison to the behemoth that follows.

Having arguably become the most anticipated aspect of the album, the seventeen minute long 'Black Lake Nidstång' has been made out to be 'the definition of epic' by others who have already heard it. While popular opinion isn't always the most justified, this track certainly lives up to the hype it's been getting, and more. An epic, lumbering hymn of doom metal, 'Black Lake Nidstång' is the greatest , most ambitious project the band has ever set to do, possibly only coming in second behind the perfect 'In The Shadow Of Our Pale Companion,' from the sophomore. With a band like Agalloch, one obviously cannot expect a multi-part, dynamic suite in the conventional sense, but a carefully drawn out composition that takes ample time to get going. The track as a whole is immense; each note is given ample time to give the most profound emotional impact, and devastates the listener with the impending feeling of doom the track so effectively conveys. After following a doom metal formula for much of the track's length, 'Black Lake Nidstång' then takes a much unexpected turn into the realm of electronics, creating a beautifully crafted soundscape, before the final crushing finale. Suffice to say, 'Black Lake Nidstång' is hyped for a very good reason; it fits perfectly into the whole of 'Marrow' as it's proud centerpiece, and blows away even a listener like myself, who was already expecting great things from Agalloch's latest release.

While following an epic of such proportion is never an easy task, 'Ghosts Of The Midwinter Fires' succeeds in providing a great experience all its own. As the last of three 'conventional' Agalloch tracks (the first two being 'Into The Painted Grey' and 'Watcher's Monolith,') this is without a doubt, the least challenging part of the album and easiest to enjoy. Beginning with the surreal strumming of a rhythm guitar, the track progresses in much the same way as a work from contemporary dark metal act Alcest would; dreamy, heavily doused in post-rock atmosphere, with a hint of black metal heaviness here and there. Although the darker pieces have since outweighed this one in terms of my personal enjoyment, this was easily my favourite track upon my first few listens to the record. 'Ghost Of The Midwinter Fires' would be a perfect track for an as-yet uninitiated listener to get into the band with.

Closing off the album is the sombre 'To Drown.' Compared to the rest of the album, this is a very subtle piece; being driven again by Jackie's dark cello flourishes. Going in a direction that sounds like a darker version of Godspeed You! Black Emperor, the song is patched with the unsettling whisper vocals of John Haughm, and some lead work that feels a bit too engaged for the terms of such a mellow track. Sharing a very similar sound palette to the introduction of the album, this track is inherently less interesting than those that preceeded it due to its very mellow, almost ambient nature. In any case, the climax of the song sees the cello work of Gratz finally taking a more structured form, leading the listener out of the album's experience and back into silence.

There's no denial that 'Marrow Of The Spirit' is a monster of a work; a thick and towering beast that takes quite a few listens to really sink in. Like all of Agalloch's music, there is a great deal of atmosphere here, as well as a forlorn and existential worldview that certainly won't be brightening one's spirits anytime soon. While being so excited and eager to listen to an album can very abundantly lead to disappointment, 'Marrow Of The Spirit' comes only a shard away from reaching the perfection that 'The Mantle' achieved, and for once, despite my anticipation, my expectations have all been exceeded.

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Send comments to Conor Fynes (BETA) | Report this review (#308090) | Review Permalink
Posted Wednesday, November 03, 2010

Review by Bonnek
SPECIAL COLLABORATOR Prog Metal Team
3 stars The four year wait since the superb Ashes Against the Grain is over. Such long waits tend to inflate expectations and that's probably why my disappointment with this album is so huge. But frankly, there are so many reasons to be disappointed, and by the look of it I'm not the first.

In a recent PA interview Agalloch expressed their disappointment with the 'polished' sound of Ashes Against the Grain. They promised a return to edgier and rougher material. Well, this confirms again that artist shouldn't always be trusted with their judgments of their own work. Marrow The Spirit can hardly be called rough or raw. It's badly recorded yes, but more importantly, it's a monotonous and dull album that lacks energy and bite. The songwriting is cliché, the riffs are tedious, the melodies entirely predictable. I'm afraid this album misses everything that made The Mantle and Ashes Against the Grain into such marvelous works. Worst of all, it doesn't offer anything in return for everything it sacrifices. Really, if you want raw black metal there's plenty of better options.

From that same interview we could learn that the guitar player has been listening to a lot of RPI and Swedish 90s prog lately. Great, so have I, but just don't expect any trace or influence from that music here. Agalloch emphasizes their black metal roots here next to the know gothic influences from Anathema, Sisters of Mercy, Cure and Fields of The Nephelim. But if you would be looking for progressive influences you won't find many. This is a return to roots album abandoning everything that was progressive about their sound. But again, if you want raw black metal there's plenty of better options.

Even the addition of an extra band-member on the drums didn't add anything new or fresh. Quite the contrary, I much preferred Haughm's relaxed and spacious drumming. I can really do without the tedious and formulaic drumming on this album. And his drum sound is possible worse then the playing. Another change is that the clean vocals have almost been abandoned entirely. Why? It was one of their strongest points and Haughm's rasp can hardly be called the band's main asset. It sounds feeble and underdeveloped.

The songwriting is possible the biggest disappointment, with the sameness in the phrasing, riffs and scales, the songs sound like demo-copies of previous work, but clearly without the melodious embellishments and flashes of genius. The long Black Lake Nidstang dares to leave the trodden paths, only to resort to a shameless cloning of Tiamat's doom wails between minute 7 and 10. The ambient droning section and the echo-y guitar bit that follows between minutes 10 and 14 are the best minutes of the album but they aren't very original neither. I'd suggest Ash Ra Tempel if you want a real satisfactory trip in this style.

Agalloch is only a fraction of what they used to be. Gone are the majesty, the chilling beauty, the inspiration, the magic. Marrow The Spirit is an album that goes through the motions, without so much as touching the intensity of The Mantle or Ashes Against The Grain. Strange, for a record that was meant to be so tough.

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Send comments to Bonnek (BETA) | Report this review (#335453) | Review Permalink
Posted Friday, November 26, 2010

Review by EatThatPhonebook
PROG REVIEWER
4 stars After four years, I have to say that it was well worth the wait. "Marrow Of The Spirit" is one of the band's best albums, along with the supreme masterpiece "The Mantle" and the superb "Ashes Against The Grain".

In this album, we find a whole lot of new elements, that weren't present in previous Agalloch releases: for starters, the album has only six songs, (almost) all of them around ten minutes, if not much more. Stylistically, the album has more Black Metal tastes than the previous albums, with faster, pounding rhythms, played by Aesop Dekker, less clean vocals, sung by band leader John Haugm, one of my favorite Black Metal vocalists, thanks to his intense and high picked voice when singing in growl, and to his emotional, haunting vocals when he sings clean. Furthermore, we have atmospheric electric guitars, and acoustic guitars that sound for the first time like a simple enrichment, without playing a distinctive role. Indeed, "Marrow Of the Spirit" is an Atmospheric Black Metal album, which touches of Folk Metal, Avant Garde, Doom, and even Post-Rock. A very rich album, musically speaking, there's no doubt in that.

"Marrow Of The Spirit" is a distorted, rough, but at times beautiful portrait of bleak nature, particularly concerning whitened forests and mountains. These amazing images the band creates can penetrate you strongly, and you can really feel like you're standing there , alone, in the middle of the woods, with your feet touching soft snow, gazing a frozen stream in front of you, with naked trees surrounding it, in a dark afternoon.

These six songs here are all unique, all in their one way; the intro "They Escaped the Weight Of Darkness", a very long and melancholic one, the haunting and memorable "Into The Painted Grey", possibly my favorite song of this album, "The Watcher's Monolith", a sad sounding Folkish Metal piece, with very beautiful moments, the long "Black Lake Nidstang" one of the most complete and epic Agalloch songs, my least favorite "Ghost Of the Midwinter Fires", even though it has some very impressive moments, and strange, Post Rockish "To Drown". These songs create a very complete and eclectic album, which is so far my favorite album of 2010, along with Kayo Dot's "Coyote".

As a conclusion, I have to admit that it was hard to get into, since it's very long and not very melodic, thus not easy to remember, but when the taste is acquired, you'll see how good this album is. 4.5 stars.

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Send comments to EatThatPhonebook (BETA) | Report this review (#351542) | Review Permalink
Posted Monday, December 13, 2010

Review by JJLehto
PROG REVIEWER
4 stars I got into Agalloch early summer 2010, and quickly fell in love with what is now one of my favorite bands. So you can understand my excitement when it was announced they were releasing their next album later that year!

When I first listened to this album I was taken by surprise, as many others were. Marrow of the Spirit is much more black metal than anything they have done in a very long time. Maybe not a surprise, after progressively drifting farther from black metal and into atmospheric territory the band makes a return to roots. Still, a bit of a disappointment. At first this sounded like a black metal album, with melodic breaks. However, after listening to album more and more times it really grew on me.

More raw than previous albums, a lot more blast beats and thrashiness than we've seen before. Haughm's haunting clean vocals are largely absent, replaced with his classic rasp. Much of the beloved folk guitar is gone, hidden and just audible under the distortion. While still atmospheric the album has an overall more assaulting feel. This may deter many fans, but please give this album time to sink in.

The album opens with the sounds of a river and birds, while a cello plays over it. The next song starts abruptly, shattering the serene beauty. "Into the Painted Grey" is Agalloch's most intense song. However, while it sounds like a black metal battery, there is still melodicism in the brutality. It takes some listens to really get. Between the bouts of madness is some really nice, melodic playing.

The Watchers Monolith is a post metal song, Agalloch style. Builds and descents, light and dark, always atmospheric (whether beautiful or brutal) and some of the few clean vocals and acoustic guitar you'll hear on the album. A really good song that takes some time to appreciate. It flows right into the next song, Black Lake Nidstang.

This song is worthy of The Mantle, it is one of Agalloch's finest pieces. A 17 and half minute journey that slowly builds and builds, lets you down a bit, then comes back to one of the most powerful moments you will hear. The middle section is beyond words, and when the vocals kick in I almost fell out of my chair the first time. The song gently drifts for a while before going out running. Absolutely mind blowing song. Epic in every sense of the word.

Ghosts of the Midwinter Fires begins with one of the best riffs in Agalloch's discog. Hearing the intro live send shivers down the back of every person at the concert, awe inspiring... but I digress. A song that has it all, really great. My second favorite on the album without doubt. The album ends with "To Drown" which at first I didn't like but also grew on me. Very sparse and subtle, this is pretty much a straight up post rock song! At first sounds like emptiness and noise, but with time you'll see it is really a grand soundscape and powerful song.

Would like to quickly note, Aesop Dekker has taken some flak for his drumming on the record. If you prefer the older style that is fine, but Aesop's drumming is fitting of this album's style, while older drumming was fitting of those albums. While Dekker's drumming is adequate but unspectacular, the same can be said for the drumming in past albums. Virtuosic and show off drumming is not Agalloch's M.O.

A great album, it requires time and listening to fully realize its greatness. Because on the surface it may sound like Agalloch lite and stripped of the essentials, but really it's all still there. The band's maturation continues with Marrow of the Spirit. Dedicated to extreme metal it is tempered with melodicism and patient songwriting.

Four Stars

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Send comments to JJLehto (BETA) | Report this review (#422877) | Review Permalink
Posted Saturday, March 26, 2011

Review by UMUR
SPECIAL COLLABORATOR Honorary Collaborator
4 stars "Marrow of the Spirit" is the 4th full-length studio album by US post black/doom metal act Agalloch. The album was released through Profound Lore Records in November 2010.

on "Marrow of the Spirit", Agalloch play a melodic doom metal/atmospheric black metal hybrid with progressive song structures. A combination that proves quite intriguing. There are 6 tracks on the 65:13 minutes long album. Besides the intro track "They Escaped the Weight of Darkness", which is 3:41 minutes long, The rest of the tracks are each about 10 minutes long. "Black Lake Nidstång" even features a playing time of 17:34 minutes. The latter is to my ears one of the most interesting tracks on the album and a real highlight. It´s a very atmospheric and ambient track that builds towards climaxes. At times I´m reminded of an act like Godspeed You! Black Emperor and even Sigur Ròs.

The vocals on the album are mostly raspy black metal styled vocals, but there are clean sung vocals on the album too. In addition to being very atmospheric the music is generally also very melodic. Lots of lead guitar melodies, acoustic guitar sections and layers upon layers of ambient sounds. There are a few blasting sections on the album but the pace is generally mid- to slow and actually the black metal tag is mostly due to the raspy vocals. The band are able to create beautiful melancholic melodies. Take a listen to the reoccuring lead guitar melody in "The Watcher's Monolith" as an example of that.

While the tracks are adventurously structured, and it´s obvious that the band have tons of intriguing ideas, it´s not always my patience allow me to enjoy some of the more repetitive building part of the album. For example I find the intro track, which basically features a single cello playing a melody over nature sounds, to be unnecessarily longdrawn. The closing track "To Drown" is to my ears also too longdrawn and repetitive, but that´s of course an aquired taste, and it´s hard not to give Agalloch credit for being able to create an authentic dark atmosphere (and even the two mentioned songs grow after repeated listens). It is however the four tracks in the middle of the album that I`m mostly impressed by. Probably because the action level on those tracks are generally higher than on the two tracks that bookend the album.

"Marrow of the Spirit" features an earthy and organic sound production which suits the music perfectly. The album was recorded on analog equipment and it´s audible and another feature that greatly enhances the atmosphere of the album and the overall listening experience. "Marrow of the Spirit" took me a while and several spins to really get into, but sometimes patience pays off, and for me "Marrow of the Spirit" is one such case. Agalloch are an act with a sound of their own and I greatly respect that. Combine that with an adventurous approach to writing music, a great atmospheric and organic sound production, and strong musicianship and "Marrow of the Spirit" ultimately comes off as a high quality release. A 3.5 - 4 star (75%) rating is deserved.

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Send comments to UMUR (BETA) | Report this review (#426972) | Review Permalink
Posted Sunday, April 03, 2011

Review by Anthony H.
PROG REVIEWER
3 stars Agalloch: Marrow of the Spirit [2010]

Rating: 6/10

Agalloch are one of the best and most intelligent bands of the 21st century. During my formative musical years, they were the band (along with Opeth) that helped expand my musical perspectives outside of bland metal and into more sophisticated/progressive territory. The Mantle is an absolutely flawless masterpiece, and has remained a favorite album of mine for years. Ashes is a near-masterpiece, as well. My love for this band is paramount, so it goes without saying that I was excited back in late 2010 when I found out that they were releasing a new full-length. I was unsure what to expect, because Agalloch takes a different approach to their music on every album they release. However, I did expect something that would progress the Agalloch sound. Instead, this album is regressive in almost every way. This isn't a bad album, but I never would have imagined blast beats, tremolo picking, and muddy production on an Agalloch LP.

"They Escaped the Weight of Darkness" is an extended intro with nature sounds and cello crooning. This isn't an objectionable track, but it's not particularly special, either. The first half of "Into the Painted Grey" is what really threw me off when I first listened to the album. The guitar riffing is uncreative and dull, Haughm's rasps sound amateurish, and the drumming is mediocre. Fortunately, some well-penned riffs during the second-half redeem this track. "The Watcher's Monolith" improves things. The main riff is excellent, and there are some nice folk melodies. This is also the only track that features any clean vocals. Still, this feels sub-par by Agalloch standards. The seventeen-minute "Black Lake Nidstang" is the definite highlight of the album, and the only track here that comes close to fully displaying the band's talent. An epic post-metal/folk intro leads into whispers from Haugm that eventually turn into grotesquely tortured howls. The best part of the album follows: an ambient section that is consistently interesting and atmospheric. "Ghosts of the Midwinter Fires" opens with an almost Frippian guitar line, and the drum work is actually up-to-par throughout (with the exception of the tired blast beats). This is a strong track, but again, it falls short of Agalloch standards. "To Drown" is a track that could have been much more powerful if trimmed slightly. It's a quiet, minimalistic, folky piece with a few pretty moments that get bogged down in needless ambient noise.

Marrow of the Spirit is not a bad album; actually, it's a good one. My main problem with it is that it could have been so much better. This sounds like a debut album from a promising band; it's almost hard to accept that this is in fact the fourth album from a renowned and widely-respected group. Every track here (with the exception of "Black Lake Nidstang") feels underdeveloped and simplistic, especially when compared to Agalloch's previous work. I didn't want a repeat of previous accomplishments, but what I did want was something that built upon those accomplishments. Instead, the band created a work of intentional regression - what a disappointment. It's an enjoyable album, but it's hard to believe that this is the same band that created The Mantle.

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Send comments to Anthony H. (BETA) | Report this review (#513947) | Review Permalink
Posted Saturday, September 03, 2011

Review by Warthur
PROG REVIEWER
4 stars On Marrow of the Spirit, Agalloch dial back the folk a little bit compared to Ashes Against the Grain - it's not that they turn their back on folk metal, there's still aspects of it here, but equally they set themselves a sonic agenda so rich here that folk needs to step over to make room for everything else. With post-rock in the style of Godspeed You Black Emperor blending into Alcest-style "blackgaze" blending into more pure black metal bellows and doom metal dirges, it's a rich feast of sounds, but what's most impressive about it is the way Agalloch are able to assemble it into a coherent whole such that all of these distinct flavours blend into each other and seem to fit together.

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Send comments to Warthur (BETA) | Report this review (#1073955) | Review Permalink
Posted Thursday, November 07, 2013

Latest members reviews

4 stars What happened? In my reviews of Agalloch's preceeding efforts, I wrote, essentially (spoiler alert!) that they were adequate but unexceptional. Then along comes this, a much darker and heavier release ' much closer to their Black Metal origins ' and it's a formula that really works. The musica ... (read more)

Report this review (#1154379) | Posted by stranded_starfish | Thursday, March 27, 2014 | Review Permanlink

4 stars An excellent work. Actually it was first Agalloch album I've listened to, and it took some time to get into its atmosphere. The music here is pretty bleak and cold, a bit of monotonous, but excellently done with some good melodies and sheer winterish atmosphere (which is maintained by slow guitar ... (read more)

Report this review (#857651) | Posted by ole-the-first | Monday, November 12, 2012 | Review Permanlink

2 stars Agalloch gets just about as heavy as I care to go. I like the music, and find much of it very interesting. That aspect of I enjoy. But not the vocals. No, sorry. The sound of the vocals is not so much singing or even screaming (with an occasional whisper), as it is retching. By this I do n ... (read more)

Report this review (#579572) | Posted by Progosopher | Thursday, December 01, 2011 | Review Permanlink

4 stars This new Agalloch album sounds along the same lines as the previous one, "Ashes Against the Grain": a dark, wintery post-metal sound with folk accents. More vocals, perhaps a more chaotic sound and definitely much longer pieces: besides the short intro "They Escaped the Weight of Darkness" (hi ... (read more)

Report this review (#378081) | Posted by Alias | Tuesday, January 11, 2011 | Review Permanlink

5 stars Marrow Of The Spirit takes some listening to understand it's full beauty, just as many masterpieces before it. The album opens with some wonderful cello and nature samples before kicking full blast into, "Into The Painted Grey", hearkening black metal in an Agalloch way. "The Watcher's Monol ... (read more)

Report this review (#340789) | Posted by Nyarlath | Thursday, December 02, 2010 | Review Permanlink

4 stars Agalloch - Marrow of the Spirit. For me this was one to look forward to. I've been a fan of Agalloch since the Mantle and have thoroughly enjoyed Ashes Against the Grain as well. It took me quite some effort to eventualy gain a copy of marrow of the spirit, because i live in europe and we are a ... (read more)

Report this review (#336802) | Posted by jverweij | Sunday, November 28, 2010 | Review Permanlink

1 stars For me this was easily the most anticipated album of the decade. Both The Mantle and Ashes are two of the most original superb albums ever released. I struggle to think of anything else that I have listened to as much as these 2 albums. I almost wet myself upon seeing that finally a new relea ... (read more)

Report this review (#334094) | Posted by Ramma | Thursday, November 25, 2010 | Review Permanlink

5 stars It's good to see that emphasizing their more extreme metal characteristics makes them "amateurish." I never would have figured it out after my own 8 or so play-throughs of this album. What I heard here was the same old Agalloch maturing even further, taking the more extreme metal-oriented elements f ... (read more)

Report this review (#327690) | Posted by arglactable | Saturday, November 20, 2010 | Review Permanlink

4 stars A good returning!I was waiting for a new album from Agalloch because it's my 2nd favorite band.When I learned that they will release new album I was very happy.Of course,I had the belief that it will be very good.Well,finally I am satisfied with the album but not so much.The production is good but ... (read more)

Report this review (#311802) | Posted by Prog Geo | Wednesday, November 10, 2010 | Review Permanlink

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