The Evening Redness in the West Tour - Celebrating 20 Years of Hex; Or Printing in the Infernal Method Website | Spotify | YouTube | Instagram Over the course of their thirty trips around the sun, Earth has remained diligent in their commitment to monolithic minimalism. The sonic vocabulary may have changed—from their early years churning out seismic drone metal on albums like Earth 2 (1993) to the dusty Morricone-tinged comeback album Hex; Or Printing in the Infernal Method (2005) to the meditative rock approach of Primitive and Deadly (2014)—but the underlying principle of austerity and restraint remains a constant. With their latest album Full Upon Her Burning Lips, Earth purges the layers of auxiliary instrumentation that embellished some of their previous records and deconstructed their dynamic to the core duo of Dylan Carlson on guitar and bass and Adrienne Davies on drums and percussion. In the process, they tapped into the Platonic ideal of Earth—an incarnation of the long running band bolstered by the authority of purpose, where every note and every strike on the drum kit carries the weight of the world. Full Upon Her Burning Lips opens with “Datura’s Crimson Veils”, a twelve-minute opus that adheres to Earth’s 21st century approach with Carlson’s sepia-toned Bakersfield Sound guitars lurching across a barren landscape while Davies punctuates the melodies with death knell drums. It’s a sound that harkens back to the riff-constructed vistas of their Angels of Darkness, Demons of Light albums, but stripped of their ornateness. “It was definitely a very organically developed record,” Carlson says of the process. “I limited the number of effects I used. I always like the limiting of materials to force oneself to employ them more creatively. Previous Earth records were quite lush sounding, and I wanted a more upfront and drier sound, using very few studio effects.” In less capable hands, these kinds of limitations might diminish the aural scope of the compositions, but Carlson and Davies have always thrived on reductive methods. The stripped down approach had another advantage. “I really wanted the drums to be present,” Carlson says. “I felt with previous Earth records that other instrumentation took up so much of the sonic space that the drums were kind of pushed to the side.” This tactic helps highlight Davies’ ability to elevate the drum kit beyond its mere metronomic functions and allows it to serve as an expressive, nuanced, and tonally rich component to Earth’s arsenal of sound. In addition to scaling back on their ranks, Earth altered their previous trajectory by entering into Full Upon Her Burning Lips without a conceptual arc to guide the process, relying instead on their collective subconscious to hone in on the overarching muse as the songs developed. “In the past I’ve usually had a strong framework for an album,” Carlson says. “This one developed over the course of writing and recording. It just felt like ‘Earth’—like just the two players doing their best work at playing, serving the music.” The absence of a pre-existing narrative guiding the compositions meant that the songs were more open and intuitive, often resulting in more terse musical vignettes like the richly harmonic “Exaltation of Larks” or the dreamily itinerant “Maidens Catafalque”.  Yet subconscious impulses gradually created their own subtext for the album. “I wanted this to be a ‘sexy’ record, a record acknowledging the ‘witchy’ and ‘sensual’ aspects in the music… sort of a ‘witch’s garden’ kind of theme, with references to mind altering plants and animals that people have always held superstitious beliefs towards. A conjuror or root doctor’s herbarium of songs, as it were.” The ten tracks on Full Upon Her Burning Lips came together in bits and pieces. Songs like “Cats on the Briar” and “Mandrake’s Hymn” stemmed from a handful of musical phrases and repeating patterns concocted in moments of downtime during their 2017 tour schedule. “Descending Belladonna” came from a live soundtrack project. Other songs came from rehearsals in the months leading up to recording or in moments of divine inspiration in the studio. The record was engineered, mixed, and mastered by longtime associate Mell Dettmer at Studio Soli. Knowing their process and their sound, Dettmer helped harness, shape, and document the songs in a manner that highlights the depth of Earth’s sparse components, capturing hidden dimensions much like the veiled images residing in the Magic Eye prints from the ‘90s. For the patient listener, the cyclical nature of the songs “She Rides an Air of Malevolence” or “An Unnatural Carousel” reveal new forms with repeated listens, with the subtle variations between passes creating a kaleidoscope of auditory activity. “I feel like this is the fullest expression and purest distillation of what Earth does since I re-started the band,” Carlson says in reflection of Full Upon Her Burning Lips. And indeed, anyone that’s followed Earth on their journey will bask in the unadulterated hums, throbs, and reverberations conjured by Carlson and Davies. Sargent House is proud to offer up the album to the world on May 24th, 2019 on 2xLP / CD / digital formats. Steve Moore (aka STEBMO) is a multi-instrumentalist hailing from Seattle, WA. Known as a pianist, with a love for wurlitzers, casiotones and bells, he is also a trombonist and composer. As a studio musician and sideman, he has a resume that reads like a cult top-10 list with artists as diverse as songwriter Sufjan Stevens, jazz guitarist Bill Frisell and the band sunnO))). In the fall of 2005, for the recording of their comeback album Hex, Moore joined the legendary Seattle band Earth at the behest of producer Randall Dunn. With their first studio album in nine years, Dylan Carlson's Earth had begun to explore a new sound -- cleaner guitar tones and more open, pastoral compositions. Moore's trombone and keyboard played a crucial role on the album as well as the tours that were to follow. This sound has evolved over the course of three albums together, reaching a psychedelic pinnacle on 2008's The Bee Made Honey In The Lion's Skull, which also featured Bill Frisell. Southern Lord label-mates sunnO))) asked Moore to join the band for the recording of their collaborative album Altar, with Japanese band Boris, in 2006. In addition to touring the US and Europe, he has also gone on to record two more albums with the band, including the most recent Dømkirke, a live album from Norway’s Borealis Festival. Celebrating a sonic palette as diverse as the artists he's worked with, Steve Moore's self-titled debut album STEBMO is a breath of much needed fresh air into the jazz pantheon. Produced by long time collaborator Tucker Martine, the album is alive with a fresh compositional outlook and the spark created in a one day session with an all star rhythm section. Matt Chamberlain, having worked with everyone from Brad Meldauh to Tori Amos, is one of the most celebrated drummers of our time and he's joined by another heavy hitter in bassist Todd Sickafoose, trusted musical sidekick for Ani DiFranco, Jenny Scheinman and many others. To complete their vision, Moore and Martine enlisted the help of violist Eyvind Kang, providing masterful string arrangements alongside brooding woodwind treatments by Doug Wieselman. The resulting nine tracks are a beautiful and truly original take on instrumental music.