There’s a specific range where his voice is absolutely perfect for this environment (“Neptune Beaches,” most of “Where the Ocean Meets the Sky”). For me, the primary perpetrator of this threat is none other than Tyrone himself, and his clean vocals. What isn’t enjoyable, on the other hand, cracks the kaleidoscopic vision that Clarity Came with a Cool Summer’s Breeze magnificently conjures. Furthermore, an unfettered sense of curiosity and wonder brings distinct and endearing personalities to these songs, and makes even the most awkward phrases somehow enjoyable. There’s an undeniable charm that anchors all of the disparate approaches and stitches them together such that even the longest songs fly by. While it may appear disjointed or chaotic at first blush (“Kundalini”), it only takes one or two more spins before the logic behind the madness reveals itself. Every revisit brings out new details, like the cool little synths in “Neptune Beaches,” the beautiful layering of strings in “Patience in the Garden of Fire,” or the unsettling atmosphere of “Where the Ocean Meets the Sky.” Additionally, the songwriting itself is an especially intriguing experience. It simultaneously captures the rawness of Ved Buens Ende’s blackened wiles without sacrificing any of the brightness in the horns, the smoothness of the woodwinds, or the thrumming of the bass and pounding of the drums. Minimal compression, sumptuous guitar and drum tones, an incredibly vibrant mix, and an immersive soundstage conspire to create one of the most pleasurable listening experiences I’ve encountered this year. Clarity Came With A Cool Summer’s Breeze by ARKHETHĬlarity Came with a Cool Summer’s Breeze’s greatest achievement lies in how immaculately Tyrone and company put it together. No matter how you may slice it, one thing is for certain: if weird is your favorite flavor, then Clarity Came with a Cool Summer’s Breeze is flavor blasted. It’s therefore difficult to shoehorn Clarity Came with a Cool Summer’s Breeze into any general category, which conveniently puts it square into avant-garde territory in Ken‘s infallible head-canon. Although built upon the back of black metal, Arkheth’s fourth album is refreshingly light and fancy-free, exploring an alien world of psychedelic electronics, jazzy brass, poppy prog verses, and bizarrely catchy choruses with all kinds of song structures. With an expansive stylistic gamut to manage, it’s bewildering that Tyrone not only concocted a compelling compound with it, but also condensed it into a tight and twisted thirty-seven minutes. In its wild ways of whimsy, I catch whiffs of everything ranging from Ved Buens Ende, Blut Aus Nord, Vulture Industries, and even The Beatles. So pick up a fresh pouch of your finest ‘shrooms and your most reliable trip-sitter, and let’s get weird.Įven for I, Voidhanger, Clarity Came with a Cool Summer’s Breeze is a hallucinogenic odyssey of unreal proportions. Recruiting the help of Glen Wholohan (alto and tenor saxophones, bass clarinet), Tarquin Halls-Corbett (additional guitar and vocal work, and bass guitar), Prophanant (second guitar on “Psychonautica”), and Hunter McDonald Gerrand Rogers (string orchestrations on “Patience in the Garden of Fire”), Clarity Came with a Cool Summer’s Breeze clearly represents an ambitious undertaking. The Australian one-piece, masterminded by one Tyrone Kostitch, returns four years later with his fourth opus, entitled Clarity Came with a Cool Summer’s Breeze, and graced with a cover as flamboyant as the last. Somehow I forgot, despite that obnoxiously bright and colorful artwork. Apparently, we’ve reviewed Arketh before.
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