Magnet - 4/03, p.82
"..ANXIETY's shards are intricately arranged....ANXIETY floats on a choppy, satirical undercurrent..."
The Wire - 01/04, p.38
Included in Wire's "50 Records Of The Year "
The Wire - 3/03, p.55
"...It's a different beast from its two predecessors. It possesses an intensity which brings Michael Gira around full circle..."
Mojo (Publisher) - 4/03, p.1024 stars out of 5
- "...EVERYTHING IS GOOD showcases the kind of subterranean folk we might hear bleeding from storm-drains in the post-apocalyptic future..."
Angels Of Light include: Michael Gira.
Personnel: Michael Gira (vocals, various instruments, acoustic guitar, electric guitar, harmonica, piano); Thor Harris (vocals, dulcimer, piano, vibraphone, percussion); Larry Mullins (vocals, Farfisa, synthesizer, vibraphone, drums, percussion); Devendra Banhart, Siobhan Duffy (vocals); Christopher Hahn (electric guitar, lap steel guitar); David Coulter (banjo, violin); Kevin O'Connor (banjo); Eszter Balint (violin); David Garland (flute, accordion); Larry Moses (trumpet); Steve Moses (trombone); Joe McGinty (piano, Fender Rhodes piano, keyboards).
Recording information: BC Studios, Brooklyn, NY (03/2002-10/2002); Palace Seizures, Brooklyn, NY (03/2002-10/2002).
Slouching like a pagan funeral parade towards the genre crossroads between 18th century Appalachian murder ballads and 1970's New York experimentalism comes this third Angels of Light album, a true peak in the vast output of leader Michael Gira. The songs are mature yet monstrous, scary yet heartfelt, sparse yet dense, with hypnotic feedback squalls, primal vocal choruses, strings, guitars, tambourines, chimes, and Gira's rich, deep voice, draping itself over the proceedings like a blanket of poisoned molasses. Tracks balance out between slowly building one-note marches of the damned like "All Souls Rising" and "The Rose of Los Angeles" and quieter moments. "Wedding" opens with a children's choir while the excellent ode to obsessive love, "Kosinski," finds its babbling brook of electric guitar invaded in the second act by Velvet Underground-style violin and rowdy Irish barroom chorus as Gira wails about spying on a woman with beautiful blonde hair. "What Will Come" finds the transcendental anguish reaching its peak with an anguished plea for spiritual deliverance. Like most of Gira's work, this album is fearless in its explorations of the darkened attic heart of man, but this time around he's opened some curtains. In the light of this newfound maturity, all the ugliness turns out to be beautiful after all; even poisoned molasses can taste sweet.