Leather Bath – Nature’s Crackling Fire CD Leather Bath, Inc. 2019
Anarch Peak – Vitarium CD Chondritic Sound, 2019
The common thread between these two releases is Greh Holger (of Hive Mind and the Noisextra podcast), who collaborates with John Weise as Leather Bath, and separately with Rodger Stella (formerly of Macronympha, Mother Savage, etc.) as Anarch Peak.
In turning attention to Leather Bath first, they seem to have been active since around 2012 with a clutch of releases, yet Nature’s Crackling Fire is the first album proper from the group. As might be suggested by the album title this can be described as experimental noise and musique concrète, with an underpinning drone framework. Two lengthy tracks feature, the 23-minute In Temporary Suspension and 17-minute Hunter Horn. Although the musique concrète descriptor is used, this is by no means stuffy or academic in tone. Likewise, with reference to the ‘noise’ descriptor, the sound is ‘detailed’ rather than loud, meaning there are tons of close-up micro-tonal sonic textures throughout. There is considerable depth, with various tonal elements sitting far off in the background, offset against the upfront elements, while speaker panning is also used for surround-sound immersion. In Temporary Suspension exudes an open tonal quality, with lots of space to breathe between the sound of stone, wood, and metal which is creaked, bowed, struck, and scraped. Hunter Horn differs from the first track with a greater focus on droning elements, scrabbling textures, and treated horn elements, while field recordings provide further natural and human resonances. Later the track involves a metal-on-metal tonal workout and echoed footfalls, which are dragged to their conclusion with animated windswept drones.
Moving on to Anarch Peak, the first thing to be noted is the psychedelic sci-fi style artwork that adorns the six-panel digipack. This sci-fi angle is reinforced with some abstracted surreal text included as part of the digipack. Sonically speaking, Greh handles the synthesizers and minimalist metal-derived inputs, while Rodger mans the theremin – by listing that instrument alone, it should be clear that Anarch Peak are not dealing with a harsh / junk noise approach. Two longform tracks make up Vitarium, the 37-minute Alpha in Dissent and 33-minute Driftglass. In the opening to Alpha in Dissent the atonal synths and theremin drones slowly unfurl, while some subdued metallic clatter is noted far off in the depths of the mix. Like an ebbing and flowing tide, the track slowly builds and recedes over extended passages. Not being chaotic or loud, the track does build up a certain bulk and tonal weight through the middle and later sections, where discordant wailing textures sit at the middle to lower end rather than resembling a high-pitched squall. In the last third, some doom-addled sub-orchestral synth melodies appear and sweep the track’s mood in a completely different direction, more into sci-fi territory (perhaps akin to being slowly dragged towards the event horizon by the gravitational pull of a black hole). Driftglass differs by being tonally fragmented and fragile, with subdued wonky tones, minimalist crackling textures, and low-level static, while a melodious organ-like drone slowly appears to provide focus and forward movement. The middle to back end of the track sonically articulates intertwining corkscrew spirals, while the final movement uses metallic tones in a stilted rhythmic fashion.
Neither of the albums are overly dark, but each is characterized by being experimental or artistic in tone in their own way. The material across both albums is animated and varied, with each making for a detailed and engaging listen. The above descriptions should clearly indicate whether either or both albums will be to your liking.