The balance between dissonance and beauty is a trait present in nearly every type of music. It’s one of those elements revealed when you cut to the very core of what makes music so fascinating. We crave that dichotomy; the ugliness that makes the melodic parts even prettier and the prettiness that makes atonality so gratifying. When a band can master this the sense of satisfaction is practically intoxicating. The Goslings, which consists of husband and wife guitar duo Leslie and Max Soren, did this effortlessly within a style of music (the noisiest doomiest metal you ever did hear) where attributes like “beauty” and “fragility” don’t often come up.
This will be the legacy of Grandeur of Hair, an album so pretty you won’t mind the inevitable tinnitus it causes. Though it did get some coverage (including a 5/5 review from us) it still seemed to fall under the radar for most people. While still not considered anything of a classic, it has enjoyed a very steady rise in popularity since its 2006 release, and deservedly so because the music on here is fucking incredible.
It’s not that Grandeur of Hair was anything overwhelmingly original (you can easily hear the main influences: Earth, Sunn O))), and My Bloody Valentine), but what Goslings do so incredibly well, and on this album better than nearly anyone, is push their music to a near-chaotic breaking point while always being in complete control. When you least expect it some gorgeous melody will develop in the haze of feedback, easing into your consciousness as if it were always there. These are truly songs too, and every time you think they will break into formlessness, the Sorens pull themselves back into tight focus. One of the great moments on this record comes from the monolithic “Croatan.” The noise on the track seems uncontrollable and right at the songs peak when the guitars, drums, and Leslie’s vocals are all going at full force the entire sound seems to bend into one crushingly muscular guitar hook. The song is like a musical bungee jump.
One of the record’s great surprises comes from the dynamics that Goslings play with, exemplified on “Golden Stair,” a relatively quiet song that picks the perfect moment to become brutally loud. But the biggest surprise on this album comes from Leslie Soren’s voice which is as dynamic as the guitar work. She manages to move from ethereal airy vocals to a sneering growl with ease throughout, though the album ends where it should with “Dinah,” her most beautiful vocal track — for the first time her voice sounds vulnerable.
That line between the hideous and the beautiful is where such interesting music lies. Just look at the album artwork above (which from a distance has a gentle smooth quality to it, but upon closer inspection seems scrawled out); it is both pretty and ugly. The Goslings blurred these lines with such masterful ease and Grandeur of Hair remains the best proof of that.
