Engine Of Hell

SARGENT HOUSEを代表する女性SSWの4THアルバム!!

CHELSEA WOLFEと共にレーベルSARGENT HOUSEを代表する女性シンガーソングライターEMMA RUTH RUNDLEの4THフル・アルバム! 10年間のレコード制作活動の集大成と言える作品で、荒々しくも繊細、そして冷たさを感じさせるヴォーカルとソング・ライティングは更に際立っています。CHELSEA WOLFEのダークさを感じさせつつも正統派シンガーソングライター的魅力も兼ね備えた作品です。

2020s May Our Chambers Be Full saw Emma Ruth Rundle and Baton Rouge sludge enthusiasts Thou spin doom, gothic rock, post-grunge, and icy black metal into a potent and unforgiving opus. Rundles predilection for pairing ambience and opulence takes a back seat on Engine of Hell, a stark and stormy set that pairs everything down to the essentials. Rundles songs are both remarkably compelling and uncomfortably immersive, stripped of their cavernous reverb and dark finery. Opener Return, one of a handful of piano/vocal cuts that evoke the austere beauty of Little Earthquakes-era Tori Amos, sets the tone with a harrowing meditation on existential angst. Rundle switches to guitar for the commanding Bloom of Oblivion, which tackles themes of addiction and self-worth -- Down at the methadone clinic we waited/Hoping to take home your cure/The curdling cowards, the crackle of china/You say that its making you pure. Elsewhere, the softly fingerpicked and deep-seated Razors Edge tries to soften the discord between fate and free will, while the hushed closer In My Afterlife manages to find catharsis amidst all of the melancholy and midnight ruminations that preceded it. Peppered with the occasional backing vocal or the ghostly drone of strings, the eight-song set feels less like an unplugged session and more like the worlds most intimate house show. Rundle has tempered her sweeping post-rock cinematics with lyrical vulnerability in the past, but Engine of Hell is a braver and bolder beast, as it lays bare the soul of its creator and dares the listener to reckon with it. ~ James Christopher Monger