House Of Lull . House Of When (studio album) by Alexis Marshall

"There are no waves, only ocean."
- Claude Chabrol

First I heard of Alexis Marshall's solo release I preordered a copy. I was blown away by Daughters 2018 LP and followed Alexis's poetry too, which I think stands pretty strongly on its own. This isn't a Daughters record and if you go into it expecting a more 'rock' orientated sound, even 'rock' by Daughters extreme definition, you'll be disappointed; or, better, You Wont Get What You Want.
The album is carried on the backs of Alexis's vocal performance, a few atonal horns and percussive 'instruments' of indistinguishable origin. Half the album I can't tell whether the drummer is playing a drum-set or a garbage can. That's far from a criticism - the experimental sounds littered throughout the album are interesting and always seem to peak the attention of the ears. The lyrics seem spontaneous, as if they only came to the artist as he was being pummeled by his own horrific creation of instrumentation. Alexis engages the audience with trance inducing paranoid chants. Mantras akin to a doomsday preacher having a manic episode. This music is wholly anti-melody and I love it!
The album begins with the track titled "Drink From The Oceans . Nothing Can Harm You" and if that caustic piece of advice wasn't enough to prepare you for the listen, Alexis starts the record off inviting you to join him jumping across the rooftops. This song is an excellent little taste of what you're in store for, but everything it offers is further improved upon in the second track, which follows a similar trajectory, only increasing the intensity.
It's a talent on it's own to successfully create such atmospheres as you'll find in this record, the challenge is that this vibe or mood - more common in extreme music genres - is typically relieved by cathartic guitar work. Alexis isn't a guitarist. What he brings to the table is more likely to be found at a hardware store than a guitar-center. This is interesting in terms of experimental sounds throughout the work, but where it falls short is its ability to release that excess of anxiety and frustration.
Perhaps that's the point, that night never comes. We're in constant expectation, existing on the edge of this fear. There is no relief throughout the album, and the reprieves seem more like sullen acceptances of doom than ones at peace with the impending nightmare to be found in the next track.
There are moments of calm here though and, unfortunately, they're where the artist is most lacking. Track six and nine are quieter pieces that rely more on the words themselves than Alexis's performance or the arrangements, but Alexis doesn't come through on these tracks. Both songs are dull and utterly not worth repeating, though I do enjoy the oddness of noise.
Overall, I would say this album is a success, there's something hypnotic about taking that feeling of uneasiness and slowly cranking it. This isn't rock music - it's the most twisted left-field experimental singer-song writer offer we'll probably get all year, if not the next as well.
I wish there was more music like this but then it probably wouldn't come from such a genuinely terrifying place. Alexis could improve the more subtle aspects of his poetry but otherwise this is an exciting release and I hope it's only the first taste of what's to come.
"The past is like an anchor." Alexis cries before diving into these dark polluted waters of suspended fear and angst.
Songs worth mentioning:
Hounds in The Abyss - I mentioned this one before but would like to clarify just how well it captures the feeling of something closing in on us, a horrific secret hiding just beneath all the bland mundanity.
(EDIT: Perhaps the house we're in is our body, and 'lull' is the boredom taking over. Then 'when' is?..)
It Just Doesn't Feel Good Anymore - My favorite track on the album and the point at which Alexis challenges your willingness to sit through this entire work. The most insane song I've heard all year. Sounds like a free jazz interpretation of a foreman panicking over a megaphone during a factory evacuation. One more time, INSANE!
Religion as Leader - One of the things that makes this album exhilarating is the willingness of the artist to approach songwriting in such a free format. This best comes to fruition on Religion as Leader and the track previous Youth as Religion - they're the same exact song and yet the two different approaches give such an extreme variations of mood. Reminds me of a Cohen quote "Jesus taken serious by the many,
Jesus taken joyous by a few." The two approaches showcase an excellent dichotomy of the reliance of a sick man on God.
Open Mouth - This song is excellent at capturing dread but I have to admit there's a piece of me that wishes for some nightmarish guitars to close the track.

OVERALL SCORE: 80/100

EDIT: I'd like to mention my appreciation for Lingua Ignota's backing vocal contributions throughout the album. Specifically on Religion as Leader where her violent shrieks push the song to whole new level of desperation. Terrifying!