Drag City released a new installment from psychedelic folk pioneer Ben Chasney on August 21, 2012, entitled Ascent. He has been recording under the moniker Six Organs of Admittance for over a decade now, and this time out, offers up typical mysticism wrapped in a package of space travel and cosmic resonance.
More band-oriented than any of his previous works, the influence of working with groups like Comets on Fire and Rangda is felt substantially here. While I appreciate the evolution of Chasney’s style over the last decade and a half, I find myself missing the quiet, droning, meditative acoustic work that was the hallmark of the outfit for the first half of its existence. Ascent is more like a rock album than the previous dozen albums. But fans are mightily used to experimentation when it comes to Six Organs, and should be pleased with this record.
The band, a slightly reorganized Comets on Fire, does play well together, and the opener, “Waswasa”, is a dynamic, riff-based jam that evokes the familiar noise and chaos of Chasney’s electrified solos. Recorded live from the floor in Louder Studios by Tim Green, the LP sounds fantastic and the players mesh beautifully. Simultaneously clean and dirty, loud and subtle, Six Organs and Green have stepped their game up from The Sun Awakens (Drag City). And “Waswasa” has the perfect psychedelic drive to set the stage for a real Ascent.
Second track “Close to the Sky” has a nice mellow feel reminiscent of “Blue Sunday” from The Doors, but after five minutes the cyclical bass groove begins to wear. Chasney seems to be comfortable in a band setting these days; the drums, bass, and rhythm guitars fill the frequencies while his solos arc overhead. Earlier recordings highlighted Chasney’s acoustic folk-raga style, and fans of old-school Six Organs might find some of these tracks a bit diluted. Chasney relies on his bandmates a bit too heavily and some tracks lack the direction of earlier Six Organs.
The best example of this is “One Thousand Birds”, a re-imagined oldie from the Six Organs classic Dark Noontide (on Holy Mountain Records). The original has nothing but clattering percussion and one gloriously stringy acoustic guitar until an electric squall discharges and takes it to the next level. Ascent‘s version spreads the parts between more people without adding to the complexity and impulse of the song. And Chasney’s iconic voice, usually used like such an integral instrument, falsettos on top of the music and doesn’t sell the message like the original.
Fans of the droning profundity Six Organs uses to warp us through the interior maze will be happy with “They Called You Near”. It’s a deep, murmuring, dark space that drips down the brain stem with layers of guitar and noise supporting Chasney’s chant-like vocals. The acoustic coda is beautifully clean (both recording and performance) and melds with the slow Side A closer, “Solar Ascent”.
Side B is a four-song mix of familiar styles starting with the aforementioned “One Thousand Birds”. The dreamy, lilting “Your Ghost” gives way to a rocking entreaty to burn memories (“Even If You Knew”) that makes it past the seven-minute mark without getting old. And the finale, “Visions (From Io)” is a gorgeous slow jam that blends science fiction and magic to send us out into the world in a cloud of oneiric bliss.
The packaging of the LP is one of the slickest in the Six Organs collection. The cover hints at the sci-fi narrative Chasney has in mind for this record, while the back cover is a forthright magical symbol. This dichotomy works for the record and the themes can be seen across Chasney’s career.
Six Organs has always been about Ascent, both inner and outer. The simple liner notes (including lyrics) are printed on a lovely dot matrix one sheet. Though I haven’t heard the digital version, I’m betting fans will be happy purchasing the vinyl version, which is a great value for less than $20. Not the best Six Organs record, it’s still light years beyond most contemporary music.