ALBUM REVIEW: On Dark Horses – Emma Ruth Rundle
Combining a beautifully haunting voice with a sense of stark, melancholic fragility, Emma Ruth Rundle is a star in the making. After traversing her way through the alternative scene for a number of years in a multitude of bands, it’s her solo work that has really started to garner praise from those with their ear to the ground, and the anticipation surrounding new record On Dark Horses has been palpable ever since its announcement back in June. The good news then is that this is a work of art that not only lives us to the expectations, but surpasses them on every level.
Opening track Fever Dreams is quite possibly the best album opener of the year, building gradually through layers of atmospheric post-rock to a crescendo that leans heavily on Rundle‘s graceful vocals while providing a platform for the first dose of eerie, shoegaze-influenced instrumentation. This contrast of floating, almost ethereal passages and brutish, distorted guitars is a mix that shouldn’t work, but On Dark Horses never sounds jarring or confused. It’s a record that feels alive, constantly twisting and turning to add new strands to what ends up becoming a genuinely moving experience.
It would be easy to draw comparisons to contemporaries such as Chelsea Wolfe, but while there are flashes of similarity this is an album that feels completely confident in its own identity. Darkhorse in particular is a stunning blend of experimental musicianship and simplistic yet startling vocal lines that lifts this above your standard release and identifies Emma Ruth Rundle as one of the standout musicians, regardless of genre, in the world today.
While it’s difficult to accurately compare this album to any other artist, there are plenty of similarities to MARRIAGES, one of Rundle‘s many other musical projects, with her signature vocal style once again becoming encapsulated by swirling, delicate and often dream-like sequences. There are definitely less uplifting passages though, as although there are undoubtedly some soaring moments present, these are few and far between, scattered in the mix and only being given the chance to occasionally burst into the forefront.
Following track Races strips everything back even further, with Emma Ruth Rundle’s world weariness bleeding through as if a stain on an otherwise pristine musical canvas. One line in particular that stands out; “Sometimes this place is a prison, sometimes a palace”, hints at a mixtures of emotions, from hopefulness and optimism to an unflinching, almost bitter cynicism at the world. The whole album feels like an introspective reflection on past experiences, never shying away from exposing the darkness of the past to the blinding light of the present. Despite always sounding incredibly raw and maintaining a crushing level of honesty, the use of metaphor and imagery throughout is truly outstanding.
The beauty of this record is in its ability to transcend the boundaries of genre and exist as an experiential piece of art; flowing from one style to the next and never allowing itself to truly be defined or pinned down. It’s also a masterful showcase of songwriting, with powerful lyrical flourishes interweaving flawlessly with foreboding cymbal crashes and brooding, doom-laden bass tones.
Picking holes in this record is nigh-on impossible, as each and every element is assembled in such a way that it becomes a vital piece of the puzzle. Whether it’s the flashes of distortion and reverb on Control, the slacker pop opening of Apathy on the Indiana Border or the rumbling backdrop of Light Song, every upturned stone hides an unpolished yet glimmering shard waiting to be slotted into place.
Closing track You Don’t Have to Cry is as captivating as it is emotional; Emma Ruth Rundle‘s voice once again acting as the spellbinding focal point over the top of some measured, restrained instrumental ambience. It’s the perfect way to wrap up the album, stepping away from the shadowy, often smothering self-reflection and emerging into the light, unburdened of the oppressive emotion that’s come before. It feels as if a weight is being lifted off the shoulders of not only the artist but of the listener as well; the connection formed over the course of the record ending with a sense of positivity about the future.
On Dark Horses isn’t just a good record; it’s not even a great one. It is, quite simply, a masterpiece.
Rating: 10/10
On Dark Horses is out on September 14th via Sargent House.
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