Geist & the Sacred Ensemble, Beyond This Vessel, Moon Glyph, cassette MG68 (2013)
It’s time for some dark and demonic ritualistic psychedelic folk from way down in the fetid, humid swamplands of … uh, Seattle, courtesy of a bunch a-callin’ their selves Geist & the Sacred Ensemble. Lazy drawling half-singing / half-declaiming vocals from Geist himself lead the way and what a trail is blazed by these musical gypsy travellers: a lackadaisical rhythm, simple tribal percussion, stark and sometimes massive guitars, and a generally heavy kind of atmosphere.
The guys swagger through “On the Next Full Moon”, simmering up some Southern Gothic rock dirge drudge drone for the monthly sacrificial lynching ritual to appease an angry Old Testament spirit. The music becomes a bit more urgent and apocalyptic on “Seeker”, Geist almost in supplication to the personal demons and angels locked in eternal battle in his heart for his soul. The guitars change from insistently heraldic and emphatic to soft woozy wash. This becomes “Terraformer” and as the title suggests, the music has indeed metamorphosed from structures based on simple beats, repetition and riff loops to soft desultory, dreamy ambience with rippling guitar notes out front and reverbed guitar wash out over the skies above. Geist’s singing sleepwalk barely holds the track together. Black misty shadows rise from the still green waters beneath the tangle of mangrove and tree roots, a giant reptilian shadow glides through the muddy depths, a deep alien machine starts to rumble – perhaps there is a UFO down deep within the marshes?
“Bird Passage” is a peculiar name for the lethargic ritual conducted by Geist in deadened preacher mode, leading an equally enervated congregation in prayer to their unholy chthonic spiritual masters. Woozy wobbly effects and a solemn acoustic guitar accompany Geist on his journey to whatever passes for spiritual enlightenment and union.
It’s a surprisingly short album for its cassette format – the album repeats over on the B-side (this must be the new trend in recording albums to cassette tape) – and with the songs sort of joined up, listeners could be forgiven for wondering what happened to the second half of the album, unaware that it in fact has sailed right past them. The music is brooding and haunted yet not very absorbing; the vocals tend to be exaggeratedly twangy and drawling and need some real sulphurous fire-and-brimstone passion to capture that full-on prophet-in-the-wilderness apocalyptic quality. There probably should be more thumping hypnotic psychedelic music with the guitars soaring at wild and swerving tangents to create an intense rallying mood in which it should be possible for listeners to fall to the floor shaking uncontrollably, foaming at the mouth, perspiring by the bucket-loads and uttering pathetic little cries that appeal to their dark pitiless god for mercy or delivering warnings of global doom in guttural demon tones.