Not named after the entrance to our building (or maybe it is?) Into the Depths of Hell is the second album by Joshua Burnside following the runaway success of his debut Ephrata. The Irish folksinger incorporates elements of electronica and world music into his steady brew creating a brooding and expansive brew. Into the Depths of Hell muses on the suffering we humans inflict on each other on a daily basis.
Vinyl LP £15.73 001G
Black vinyl LP on Attic Things Records.
- Only 1 copy left
Limited Vinyl LP £15.73 001H
Limited edition, indies only white vinyl LP on Attic Things Records.
- Coloured vinyl
- Indies only
- Limited edition
CD £11.99 001F
CD on Attic Things Records.
It is a shame that I must compare Joshua Burnside’s second album ‘Into The Depths Of Hell’ to Bon Iver. Burnside is a folk musician who integrates electronics and auto-tune into his practice so you can see, I really had no choice. Joshua, if you are reading this, I’m sorry for being so lazy.
Lazy because Burnside is drawing on a completely different folk vernacular to Bon Iver, and lazy because the electronics and the auto-tune are not nearly as present as when Vernon uses them. Indeed on some tracks, like the jaunty piano number ‘Will you Go Or Must I’ these flourish are entirely absent.
Burnside is Irish, and plays in that folk tradition. His voice lithely embellishing simple and catchy melodies with mournful fiddles as its companion. A less lazy comparison might be to Lankum, who also invokes Irish folk. Though in comparison to the Dublin band Burnside’s music is positive and cheary, despite what the album name and artwork would suggest. ‘War On Everything’ which after a hilarious opening featuring a stadium ready drum fill, settles into a pleasant Arcade Fire-ish groove.
The best moments though, are those when Burnside does the Bon Iver thing. ‘Driving Alone in the City at Night’ features some really interesting vocal work as different Burnsides appear and disappear in harmony with each other. Opener ‘I Saw The Night’ sees Burnisde at his most experimental, which somewhat missells the album. Drones and field recordings and distorted drums make for a wonderful and strange sonic palette. It’s a shame it’s somewhat undercut by Burnside underwhelmingly rhyming ‘night’ with ‘right’ with ‘light’.
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