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The Dark Aether Project — The Gentle Art of Firewalking
((Not on label) DAP003, 2002, CD)

The Gentle Art of Firewalking Cover art

This is the third release from Adam Levin’s ever-changing Dark Aether Project. How much is it changing? Well, Levin is the only member returning from 1999’s Feed the Silence, once again performing on Warr Guitar and a host of other instruments as needed. The music is all written by some combination of Levin, guitarist John McCloskey, and drummer Allen Brunelle. The angular riffs recalling King Crimson are still here at times, but this album is the most balanced and free from influences I have heard yet; rather than being the rule, such riffs are contrasted with cool, moody atmospherics and instrumental rock-outs, some in the post-rock vein. The lyrics are serious and often on the personal side, eschewing the tendency of prog bands towards ham-fisted sentimentality or forced irreverence. Jennifer Huff adds a much-needed dimension, with her often strikingly vulnerable vocals; this album shows DAP and Levin balancing contrasting elements against the unrelenting machismo that was always present before. The only quibble I have is that the simultaneously sung and spoken vocals in the final track “Embers” sometimes seem to stumble into each other in a distracting way. This is the most powerful release yet from one of Levin’s projects, and hopefully he keeps this line-up together for a while, because I think there is plenty more good music in them yet.

by Sean McFee, Published 2002-09-01

All too often progressive influenced bands are earmarked for the airplay abyss, just on the edge of anonymity as in the case of Adam Levin’s group, The Dark Aether Project. The five-piece band has been evolving from humble beginnings since their first 90s album by working to refine their own sound niche and identity. Safe comparisons to King Crimson don’t fit as well as they used to for their latest work. The group now seems to veer closer to a strange hybrid of Black Tape for a Blue Girl’s nod to romantic Goth (especially on vocal tracks), crossed with subdued chops hinted at by Trey Gunn’s recent sonic-based restructuring. However the band prefers less frantic grooves, as heard on the album’s title track. This is the direction the SF Bay area cult group New Sun could have ventured had their twin lead guitar attack been based on an integrated approach. Lead guitarist John McCloskey is under restraint most of the album and at times reminds me of lead guitarist Mike Holmes (IQ) or Ian Crichton (Saga) as on “3rd Degree.” Jennifer Huff’s lead vocal is largely breathy jazz and fits in well with the arrangements. The album’s most aggressive workout is on “Sparks Fly” which is like a Rush jam session if Jordan Rudess happened to sit in. For a group who is holding the fort down in Baltimore, I’m thankful we have regional acts continuing on despite an un-supporting mainstream musical environment.

by Jeff Melton, Published 2002-09-01

Filed under: New releases, Issue 25, 2002 releases

Related artist(s): The Dark Aether Project

 

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