Earth’s guitarist and sole permanent member, Dylan Carson, is a totemic figure who has cast a huge shadow across the American underground. Earth 2: Special Low Frequency Version’s influence pretty much set the scene for a whole genre of music. For those who haven’t heard them, imagine Slayer playing those demonic riffs with the mogadon speed of Avant Garde minimalist composer Lamonte Young. Deep, droning fuzz and monolithic riffs played at a pace that can only be described as glacial; this was revolutionary stuff, and a million miles away from the general output from Seattle scene, who by dint of his living arrangements, he had been lumped in with. Earth were a different proposition altogether. Sunn O))) even went as far and named a track ‘Dylan Carson’ on their first demo tape, such was the massive influence he had on their sound. Greg Anderson repaid the debt later by signing the re-invigorated Earth to his Southern Lord record label.

When Earth returned in 2005 (after 9 years in the wilderness) with their comeback album Hex: Or Printing In The Infernal Method, you could not have helped but notice that they had gone through somewhat of a dramatic stylistic change. Although they retained the discipline, poise and control of their earlier avant-metal albums, now they had been reborn as sun-bleached dustbowl troubadours, who seemed to essay Americana in a sound so different to anybody else. Droning distorted guitars had been replaced by a chiming clean tone, with drumming which was more spacious and jazzy. Visions of wilderness outposts and oxidised machinery living in a timeless abandoned frontier came to mind.

Recently, there has been another more subtle, yet profound shift in the development of Earth’s sound. Improvisation had started to work its way into the mix. Carlson and (his good lady wife) Adrienne Davies (who has been Earth’s drummer/percussionist since Hex) formed a new incarnation of Earth, which now includes cellist Lori Goldstein (perhaps most famous from her stint on Nirvana’s Unplugged album) and bassist and small label maven, Karl Blau. After heading out on a tour with neighbouring black metallers Wolves In The Throne Room, the band immediately entered the studio buoyed and honed from the live performances. Both volumes of Angels of Darkness, Demons Of Light were culled from these sessions.

Whereas the first volume of Angels Of Darkness… was a bleaker affair, volume II is lighter and more ethereal in tone. Starting with the spare ‘Sigil Of Brass’, where slo-mo guitar arpeggios are undercut with Goldstein’s cello, a sense of Carlson’s interest in folkloric and mystical themes make their way to the surface. Earth have always been a band who have recognised the dramatic power of leaving space within their music, and on this album in particular, what is left unsaid adds to the feeling of creepy uncertainty. The standout track ‘His Teeth Did Brightly Shine’ is spectral, and conjures that Pentangle and Incredible String Band eeriness with startling panache. Here you can hear the band stretch out and communicate with each other, presumably a result of coming straight off the back of a tour. ‘Multiplicity Of Doors’ is a mournful ballad that creeps at a funereal pace, but never outstays its 13 and a half minute running time. ‘Corascene Dog’ glowers, whilst album closer, ‘The Rakehell’ has a fuzzy groove that borders on the same funk slow burn territory that Isaac Hayes used to prowl. OK, its hardly the O-Jays, but it does feel a lot different than the rest of the sessions, and is an unexpected and welcome twist to end this excellent two-parter. It leaves expectations running high for where Carlson and his merry (!) band’s muse will take them next.