by Brett Abrahamsen
Miracle Music is another stunning masterwork from one of the greatest bands of the 21st century—Grails. The cheesy album title is misleading: this is an otherworldly and at times nightmarish listen, albeit one imbued with a sort of religious grandiosity. Hence the opener “Silver Bells,” while having nothing in common with the asinine Christmas song of the same name, does indeed have a ceremonial quality. It’s a mangled and archaic track that brings to mind a procession taking place at the end of the world. The majestic “Primeval Lite I-III” is no less cryptic. “Earthly Life” begins with Schulze-like pulsations before morphing into a poignant Middle Eastern-tinged lament that recalls Popol Vuh. This could be the album’s masterpiece, but the last minute or two is redundant. “Homemade Crucifix” is somewhat livelier - it almost sounds like a Slavic folk song of sorts. The haunting religious quality returns on “Harmonious Living” (another standout), but it’s also melodic enough to recall Grails’ excellent first album, The Burden of Hope. The continuously mutating “Strange Paradise” is another piece which Florian Fricke would have been proud of. “Perfect Etercuss” is more cryptic and bizarre; the ritualistic quality of “Homemade Crucifix” makes a return here. “Visible Darkness” is another moving track that recalls Popol Vuh - with, again, a melodic undercurrent. The cryptic and majestic “Choir Commencement” is a fitting way to close the album.
As a whole, Miracle Music brings to mind Burning Off Impurities and Take Refuge In Clean Living - perhaps the two most cryptic Grails masterpieces. One is also reminded of Black Tar Prophecies - an album which, though not one of their best, drew heavily on obscure sources and had a similarly fragmented and disjointed feel.
“Silver Bells,” “Earthly Life,” “Harmonious Living,” and “Visible Darkness” are perhaps the best cuts on the record, but there’s not a weak song here (“Homemade Crucifix” and “Strange Paradise” are perhaps the weakest). The band shows no sign of running out of ideas, unlike many (all?) of their early 2000’s peers. One could play devil’s advocate and say the album veers too close to the muzak end of the continuum, but the album is too poignant and creative to warrant anything close to that designation. It’s a must listen.