Atlas Moth, An Ache For the Distance

Here at, we love Chicago’s The Atlas Moth. Previously reviewed here, here’s the newest wave of reasons why they’re awesome, and why their newest album, An Ache For The Distance, is balls-awesome.

Music like this should give you a good feeling about life in the 21st century, specifically about its tolerance about merging art forms: even 20 years ago, you would never have been able to produce something as genre-mixed as this: best description is emo psychedelic minimalist doom metal.

It’s Pelican, if they got Mortuus (Marduk) and Morrissey (Smiths) to alternate as signers– and then only covered tunes by The Church.

It’s weird as hell and I dig it. And make sure you listen to it on headphones– to hear how the two guitars are at the extreme left and right of the sound field, and how they nearly always play different parts. Their guitar tones are somewhat unique: they use very little gain, but are detuned all the way to B (a fifth below standard).

You get melody (clean vocals alternate with shrieked metal ones), and weight– one guitar usually slogs out a dirgy riff while the other plays a melancholy or angry melody over top it. It’s a fascinating, complex aural experience.

I’m not suggesting anything to you, my impressionable viewers, but I would imagine, hypothetically, that one would do well to listen to this work while chemically-augmented.

Songs? The whole thing is great and works as whole album, rather than a collection of tunes. But if you make me, I’ll cherry-pick you these three: “Perpetual Generations” “Holes in the desert,” and closer “Horse Thieves.”

Go listen, then get it.

[An Ache For the Distance is released Sept. 20.]


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