Giles Corey - Giles Corey (Album Review)

 

Giles Corey - Giles Corey

(2011)


My copy: 2015 first pressing boxset on red transparent vinyl by Flenser Records and Enemies List Home Recordings. 


Giles Corey is Dan Barrett’s (Have A Nice Life, Black Wing) attempt at a concept record; one that focuses much more on acoustic guitar and vocal interplay than either of his other two projects. A self-titled release that borrows its name from the English farmer who was tortured to death after being accused of witchcraft, Giles Corey is focused primarily on spirituality and thoughts of suicide. 

“The Haunting Presence” introduces a motif that is later repeated in the closing track; here it is played on piano and backed by foreboding vocal harmonies that pray to the void before lo-fi drum beats and tinney percussive bells jangle with a primitive tone. “The Haunting Presence” also features screaming and piano banging that are meant to be caused by a conceptual contraption called “the Voor’s head device” which confines its wearer to insanity. The emotional madness of “The Haunting Presence” is jarring but effective, the track calms and flows after Barrett’s shrieks as if receding into a coma; Barrett has created a horror movie through audio, complete with his own in-character performance.  

Optimism replaces the fear instilled by the first track as “Blackest Bile” rings out with jangled acoustic guitar and layered vocal humming. The compositions have folk elements while the echoed layers of vocals play more like corrupted church hymns. Barrett ensures nothing ever stays too positive, as the lo-fi production adds crunch and distortion while a melancholy progression often works its way over the brighter chords. “Grave Filled With Books” flirts with catchy indie-rock sentiments briefly before Barrett decides to recede into the darkness again. 

“Empty Churches” features vocal samples that speak about ghosts on a radio before breaking into a slightly gaudy drum beat with synth strings that almost give off a bizarre disco vibe in descending melodies; Barrett ensures dread creeps back in near the end as piano chords drone out. Oscillating organ sets the atmosphere on “I’m Going To Do It” which is a painfully candid look into a suicidal mind. “I’m Going To Do It” then erupts like a volcano before fading to more of the ephemeral mutterings that are heard throughout the record. 

“Spectral Bride” is a drunkenly triumphant folk march with sunny midi trumpets. The best track by far is menacingly calculated dirge that is “No One Is Ever Going To Want Me” which begins with subtle harmonics, chilling organ and subtly impressive vocal harmonies before bursting into waves of cascading instrumentals that jolt listeners from their hypnotized state. Coming off the intensity of the previous track, “A Sleeping Heart” is a soothing lullaby that almost feels romantic with beautiful keys. 

The album closes with “Buried Above Ground” which reprises the melody of the opening track in a more reflective mood. “Buried Above Ground” traverses multiple genres with an oddly cheerful horn passage that then diverts itself into what sounds like a kraut-rock influenced jam sequence with jazz/spiritual elements. 

Giles Corey is an album that drags its captive audience through a wringer of emotions and genres; it is impressively diverse in its representation of depression and mania. Giles Corey suffers at times from its low quality production but mostly Barrett knows how to manipulate recordings to make low-fidelity a feature rather than a detractor. There are odd, clashing segments and at times the vocals are a bit too dramatic or emo, but it truly is an amazing effort that is only improved by the conceptual elements. 

My 2015 pressing sells for very high prices these days (the lowest I saw was roughly 90 USD) but there is a 2020 pressing that you can get on standard vinyl for around 50 USD if you just want the core experience.


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