Continued from 28
old one. Beyond the setting and Gilmour’s
presence, the points of connection are dis-
tinct. A spine-tingling version of “One of
These Days” represents the only song to
have been included in both of the Pompeii
films. Material from Gilmour’s 2015 album
Rattle That Lock is highlighted, including
the somber war protest “In Any Tongue”
and the meditative “A Boat Lies Waiting”
in tribute to late Pink Floyd bandmate
Richard Wright. Standouts from the Pink
Floyd catalog include a riveting run
through the rapturous Dark Side of the
Moon cut “The Great Gig in the Sky.”
Gilmour is in fine voice. At 70, his rough-
hewn tenor still bites into songs like the
recriminatory “What Do You Want from
Me” and effortlessly makes the winsome
ascent of songs like “Fat Old Sun” and On
An Island’s placid “The Blue.” With its
story of self-determination, The Division
Bell’s “Coming Back to Life” offers light
into an otherwise ruminative set. Gilmour
immerses himself in the Syd Barrett tribute
“Shine On You Crazy Diamond,” demon-
strating his immaculate tone and unparal-
leled phrasing on the guitar while playing
melodic passages that drip emotion with
scant need for actual words. Stadium sing-
along favorites including “Wish You Were
Here,” “Run Like Hell” and “Money” are
also played with fire and precision by
Gilmour’s excellent band. The show-stop-
ping “Comfortably Numb” echoes with
majesty and melancholy. All in, it’s a mas-
ter class in top-flight playing and presen-
tation, featuring some of rock’s most
enduring songs.
– Jeff Elbel
jure an assortment of musical genres from
fuzzy, feedback-laden, post-metal to ston-
er, doom and sludge metal in the vein of
bands such as Neurosis, Isis and
Mastodon. However, frontman/guitarist
Stavros Giannopoulos’ vocal shrieks are
an acquired taste. His voice is what will
make it or break it for listeners.
Thankfully, there are enough alternating
clean vocal harmonies to ease the
eardrums a bit, while the instrumentation
is performed with perfect precision and
proves to be the band’s strongest point.
The title track’s militant rhythmic thrust is
a powerful opener, while the mammoth-
like “Galactic Brain” recalls a gruffer
Mastodon, yet it drags on a bit too long.
The stoner rock riff of “The Streets of
Bombay” slowly builds up to a dramatic
climax, decorated with some cool, bluesy
guitar harmonies. The chaotic “Smiling
Knife” grooves and swerves from post-
rock to heavy, sludge/doom metal, while
the mishmash of genres of “Chloroform”
is a great closing track that shape-shifts
throughout its five-plus minute runtime.
Again, those vocals will be the deal-break-
er between the listener’s love or hate for
Coma Noir, depending on ones musical
tastes.
– Kelley Simms
7
9
BILL MALLONEE
Forest Full Of Wolves
THE ATLAS MOTH
Coma Noir
(Prosthetic)
Local metal act The Atlas Moth have
developed into one Chicago's more adven-
turous bands over a decade. On their
fourth album, Coma Noir, the quintet con-
46 illinoisentertainer.com may 2018
(Self)
When indie rock fans name prolific
musicians, they often cite Robert Pollard of
Guided By Voices and the artist’s hun-
dred-plus albums to date. Former
Vigilantes of Love frontman Bill Mallonee
may not have tallied the same numbers
with a mere 80-plus albums and scores of
others songs, but give him time and he’ll
catch up. Quantity is a red herring, any-
how. For Mallonee, the steady work is
about honing and refining, digging deep-
er, and remaining in the moment through
sheer dedication. Forest Full of Wolves is
Mallonee’s first release of 2018. It’s a wor-
thy checkpoint for longtime fans, and a
fine point of entry for new or lapsed lis-
teners. The potency of the album benefits
from Mallonee’s role as town crier and
diviner of the season. Divisive times pro-
duce the redemptive roots-rock sentiment
of “In the New Dark Age (The Best Thing
You Can Do Is Fall in Love).” Mallonee
doubles down on placing value in matters
of the heart with the gentle and winsome
“Love is Always Risky Currency.” Echoes
of Neil Young’s Harvest flutter at the edges