“a simple and brilliant formula has been established; a melding of key influences – Richard Thompson, Crazy Horse, psych – that feels progressive and idiosyncratic while being potently routed in the past.” – John Mulvey, UNCUT live review 2012.
“vintage psych-blues riffs and mid-paced wig-outs that have burst forth from Arbouretum… Heumann has one of the most distinctive voices around, with a unique, heavy-folk feel to his grand, hymnal melodies” – 4/5 The Guardian (UK)
“rough-hewn rock’n’roll that seems custom made to be the soundtrack to some mythical peyote binge in the desert. The guitars are terrifically sludgy, the drums thunderously slow…” – The Observer (UK)
Coming out of the fog, è l’ultima tappa del viaggio degli Arbouretum, iniziato nel 2004 con Long Live The Well-Doer con e proseguito nel 2007 con Rites Of Uncovering, con Song of the Pearl del 2009 e poi con The Gathering nel 2011 e si afferma come il loro album migliore e più significativo sino ad oggi. Il quartetto di Baltimore formato da Dave Heumann (voce e chitarra), Corey Allender (basso), Brian Carey (batteria), e Matthew Pierce (tastiere, sintetizzatori, e percussioni ) sviluppa in questi nuovi brani lo stile unico, unione di folk- rock e psichedelia che da sempre ha caratterizzato il gruppo, dedicando qui una particolare attenzione e cura alla registrazione del disco e ad ogni singolo dettaglio sonoro. Il risultato è un album caldo, coinvolgente e curato che rivela ad ogni ascolto nuovi dettagli di rara bellezza.
Coming out of the fog, che arriva a un anno di distanza da AUREOLA, split che aveva visto la collaborazione di Arbouretum con HUSH ARBORS e due anni dopo THE GATHERING .
Coming out of the Fog continues Arbouretum’s journey as their most focused and best-recorded album to date. Dave Heumann’s vocals soar atop his guitar solos and Corey Allender’s crunchy bass lines. Arbouretum have reigned in some of their maximalist tendencies, with every song coming in under 7 minutes. Heumann, Allender, Brian Carey (drums), and Matthew Pierce (keyboard, synthesizer, percussion), continue to mine the same breadth of styles made familiar on The Gathering and Song of the Pearl, notably the languid ballads, fuzzed-out burners, and heavier songs that have defined the group’s unique doom laden folk-rock sound.
Throughout Coming Out of the Fog, Heumann’s vocals take on a meditative quality, melodies unraveling effortlessly over Carey’s steady grooves. Syncopated rhythms come to the fore on “The Promise,” building tension, and leading to a climax of synth swells and chromatic guitar lines. Elsewhere, on “Oceans Don’t Sing,” guest musician Dave Hadley’s plaintive pedal-steel guitar lays a bed for some of Heumann’s most impassioned singing set to tape. Spending time on pre-production allowed for a more detailed approach to recording. Carey’s drums were tuned specifically for almost every track on the album, and tape was used to achieve the warmth only found in analog.
When taken as a whole, the lyrical theme of an individual’s relationships and struggles with forces larger than one’s self emerges. In “The Long Night,” a protagonist is faced with a metaphysical blackness, a dark night of the soul. “Renouncer” was inspired by Colin Dickey’s book The Afterlives of the Saints. It references the story of Saint Simeon, who traveled into the Syrian Desert and lived perched on a column for 36 years, living a life of death in an attempt to become closer to God. Bolstered by Heumann’s naturalistic imagery, “Oceans Don’t Sing” reflects on humanity’s powerlessness in the face of time’s steady passing. An exception to much of the record’s darkness, the title track is calming and reassuring, carried by Pierce’s affecting, sparse piano lines. Coming Out of the Fog is a well-crafted thing of beauty, an album that reveals itself more with every listen and whose lyrics take the listener out of themselves.