Finding herself dismayed and feeling powerless to the world’s continual downward spiral, Emma Ruth Rundle wanted to create an uplifting and hopeful album for her sixth studio recording, These Killing Times. The downbeat and minimalist arrangements of last album Engine of Hell only feature momentarily here as a full band return to help. Drummer Jess Gowrie (Chelsea Wolfe), saxophonist Patrick Shiroishi, guitarists Nick Reinhart (Tera Melos) and Gina Gleason (Baroness) and longtime friend Troy Zeigler convened at Emma’s house to rehearse. Eventually they hooked up with Sonny Diperri (My Bloody Valentine, Trent Reznor) to record this deeply emotive collection.
Opening song ‘Powerless’ spirals on a warm piano loop as Emma’s voice soothes before switching to a siren wail as a wall of raging guitars tumbles around her. An utterly beguiling midsection oozes songwriting class as Emma spins out a web of melodies. This happens a lot over the course of the album. Ending with a blowout of soaring vocals and a tsunami of crushing guitars, ‘Powerless’ is a perfect synopsis of Emma’s sounds to date. ‘God’s Picture’ features delicately whispered vocals and finger picked acoustic guitars, string squeaks included. The dexterous piano work is classy and sets up a languid atmospheric. When the drums clatter and the guitars roar it’s like being abruptly woken from an idyllic dreamland.
Clanging church bells herald the bumping percussive groove of ‘Anvil’. Piano and acoustic guitar fight for airspace as the hefty drums point towards the epic soar of the chorus. A host of ghostly voices and sounds echo in the distance creating a spooky ether. Emma’s voice mixes with the sounds as she uses it as an instrument, the melodies flowing with sublime effect. The swirling motif of ‘Catherine Wheel’ is luxurious sounding and once again Emma’s voice swerves with extraordinary beauty. Unlike so many of today’s critically acclaimed vocalists, every sound Emma makes sounds natural and unforced, despite spanning an outrageous range.
I’m always amazed at the huge sound Emma creates with her music, even when the distortion is turned low. The seismic hum found in ‘Don’t Delay Heaven’ will reverberate around your head. The level of detail in the underbelly of these songs is a marvel and they’re truly astonishing in this track. ‘Enough’ drops a choppy beat from the off as a bending acoustic riff creates a hypnotic groove. Emma assumes an enchanting witchy persona as she slides and glides with a stunning vocal. I’ve got this far into my review without mentioning Emma’s prowess as a guitarist. The twinkling patterns that flicker like fireflies in this song are beautiful and expertly played.
‘Human Kindness’ growls like a caged beast with guitars that could open the ground such is their depth. Yet Emma approaches her vocals with a delicate tenderness. The myriad sounds that rise up tease and coerce her to join them, but she resists, delaying the eventual release. There’s a strange alchemy at play on this song as ghostly voices swirl and conjure up an almost revolting belch of screaming guitars. Emma becomes immersed in the cacophony. Truly mesmerising. Album closer ‘Oceans of Time’ is a tender piano ballad that aches with a fragile beauty yet has a euphoric feel to it. Reverbed voices swoop as the song fades to silence and it’s a perfect ending to what is yet another stunning body of work from Emma Ruth Rundle.
On These Killing Times, Emma fuses her two prime writing styles to incredible effect. My preference is for her noisier outings, but the swells of volume during this album are pitched perfectly. The restraint for instrumentation until the last moment, encourages some mighty howls from Emma and it’s such powerful music. Yet another incredible collection of finely written songs crafted together with rich instrumentation and wondrous detail.
