The importance of Neurosis to modern music cannot be overstated. They are arguably the most influential heavy band of the last two decades with their gigantic, epic and powerfully emotional music. They bring a level of honesty and sincerity that is often imitated but never equaled. At the heart of all of these ponderous descriptors (epic, crushing, etc) is their often unmentioned song writing abilities. Neurosis is the sum of its parts and on their own the parts are stellar. Steve Von Till’s 2000 debut As The Crow Flies that is being reissued by Neurot Recordings, strips down all of the grandiose layers and delivers a somber, reflective experience. It is a quiet, haunting record just as emotionally engaging and all consuming as Neurosis at its most mighty.
‘Stained Glass’ begins the record with a simple acoustic guitar and Von Till’s trademark gravelly whisper, setting up the subdued atmosphere of the record. Subtle piano chords and a single droning cello add texture to the music and are most effective because of their restraint. ‘We All Fall’ follows and continues further down the path of beautiful folk-inspired music. It serves as both a woeful lament and a dire warning. It is a gorgeous song that manages to sound both ancient and immediate.
By the time the delay-drenched electric guitar of ‘Remember’ begins hypnotically snaking around the repetitive, mantra-esque vocals the timelessness and weight of the music has begun to get more pronounced. This is music written from a place of honest introspection and it demands the same response from listeners. This is the soundtrack for a rainy night when you want to turn inward or for a hike in the woods when the leaves are changing. ‘Warning Of A Storm’ is one of the finest songs I have heard in years. The electronic textures and rich cello serving as a perfect melancholic accompaniment to Von Till’s elegy for the relentless passing of time. Not one-second of its considerable, almost 9 minute length feels out of place or over welcome.
‘Twice Born’ follows and opens the sound up a bit with bright, chiming acoustics guitars and a few additional strings. Some wonderful female backing vocals (supplied by Kris Force of Amber Asylum) accent Von Till’s baritone and are used with the same meticulous restraint as the other instrumentation on the record. The ominous ‘Midheaven’ is the darkest song on the record. It crawls and drags itself along with drudging, brooding intensity until it abruptly stops to give way to the ‘Shadows in Stone.’ The album closer is also the only one to feature any percussion. Subtle use of bass and snare drums underneath the anguished vocal harmonies concludes As The Crow Flies like a funereal lullaby.
As with Neurosis the strength of these songs lies in the undercurrent of pride and self awareness. An album this painstakingly crafted it is hard to look at it as seven distinct songs when they all function as a part of a larger piece of art. If this is a listeners first encounter with Steve Von Till’s solo work the good news is there are two more outstanding albums to immerse yourself in. If you already have this album this is the perfect chance to discover it again. Ten years on it is still as powerful as it was when it was released and will be for decades to come.
