Hunter hunt hendrix biography review

Showtime: Liturgy

Suffice to say, Hunter Hunt-Hendrix and Bernard Gann did not take the stage to a throng chanting "Li-tur-gy! Li-tur-gy!" They emerged, hung their heads, and tore into, um, one of their songs? The booing began soon after. When the first piece was over, not enough time had passed to think, "you dipped your hegemony in my monoculture," before someone yelled, "You suck!"

I assure you, Liturgy did not suck. With no drummer on this jaunt, they were accompanied by pre-programmed patches of "burst beasts," drones, and loops, all of it a low rumble in the mix. Except for a choral number (which worked much better in cavernous concert halls than the ones on the latest album do through headphones) and Hunt-Hendrix's whispery shrieks, the guitars hit my novice/outsider "black metal" sweet spot, achieving a muted hugeness or meditative soupiness, not unlike how I imagine a triumphant church organ for a post-church world might sound. The phrase Hunt-Hendrix recently used to bemoan internet buzz-- "eerie vacuousness"-- is also one of my favorite characteristics of his music. I seriously wanted to shush the complaining fun-horny people around me and tell them to close their eyes and feel it, bro.

A girl r

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Liturgy

(Clicka qua per la versione Italiana)

New York's trio Liturgy, fronted by transgender vocalist Hunter Hunt-Hendrix (Haela Ravenna after switching gender in 2020) with guitarist Bernard Gann, debuted with the EP Immortal Life (2008). Expanded to a quartet, Liturgy released Renihilation (20 Buck Spin, 2009), a collection of brief pieces that wed the sonic stereotypes of black metal (blastbeats, buzzing instruments and psychotic vocals) with the cultural stereotypes of progressive rock (intellectual attitude, high-brow composition). Pagan Dawn is typical of their excessive and relentless screaming, strumming and pummeling. A sort of riff and melody appears in Mysterium before drums and vocals pulverize every human feature of it. The wall of noise does exude emotions, particularly in Beyond the Magic Forest, where the infernal vocals seem to beg for help and the guitar responds with an undulating "melodic" solo. To make sure we didn't miss the point, the album closes with two more harrowing eruptions, Behind the Void and Renihilation, beyond which there is indeed only a vast prairie of fire.

This manic debut was followed by a work of pure madness, Aesthethica (Thrill Jockey, 2011), that further blurred the line between black metal and post-roc

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No Popularity Contest: Extra Life’s Charlie Knockout Interviewed

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