Earth
The Bees Made Honey in the Lion's Skull
Southern Lord
Reprinting in the infernal method
When Sunn O))) came along with the GrimmRobe Demos in ’99 and bit Dylan Carlson’s dope-drone steez so hard and so reverentially—simultaneously reviving interest in the then-defunct Earth while (initially, at least) usurping the bass/guitar/no-drums/no-vocals power-drone formula Carlson and bassist Dave Harwell had marshaled with such sternum-rattling efficacy on Earth 2—Carlson was provided with an opportunity to return to the stage and studio with a pre-fab cult following and a burgeoning musical legacy. But because Sunn O))) had started doing Earth 2 better than Earth did in the first place—they had literally stolen Carlson’s thunder—the guitarist was forced to reinvent himself (in this sense, Sunn O))) actually did him two favors). And he did so beautifully: In 2005, Carlson recast himself as a master shaman of sepia guitar tones and dark Americana (not to mention a student of Neil Young’s Dead Man soundtrack) with Hex, or Printing in the Infernal Method. Last year’s Hibernaculum completed the transformation, hauling Earth’s old material out for a Hex-style makeover.
With The Bees Made Honey in the Lion’s Skull, the pendulum has begun to swing back: Carlson is now taking cues from his Sunn O))) pupils, bringing in guest musicians like Naked City guitarist Bill Frisell (who appears on three tracks) and bassist Don McGreevy (who had up until now been utilized only in a live capacity) to expand Earth’s sonic palette. But much like Sunn O)))’s second release, 00 Void, Bees is essentially a series of effective but less compelling variations on its predecessor’s theme. All of Hex’s atmospheric hallmarks are present and accounted for—Carlson’s drowsy, crepuscular twang; Adrienne Davies’ methadone drums; organist Steve Moore’s tasteful jazzy accompaniment—but there’s a weird sense of complacency this time around that makes it seem like maybe they’ve already moved into a new psychic headspace. Clearly, the band has already made this particular mise-en-scene their bitch. Carlson’s desire to go out gracefully (at some point) is palpable—hence Hex’s creation in the first place—but you can’t quite see him riding off into the sunset, in a blaze of glory or whatever, on this one.
—J. Bennett
