The Northern Sky, Ablaze
River Runs Like Jewels
Sleep Like The Dead
Sanguine Futures opens with a slow crawl; the burden of winter crawling across your back, reaching around your throat, grayed hands with frayed nails grip tight and pull you into an isolated realm of blissful purgatory. You’re only 2 and a half minutes in and creatures are crawling out of shadows and your breath is hanging heavy.
John Kolodij has crafted an auditory trip into territories that feel untouched, unmoved by a human hand, packed with ethereal and earthly blackness; a deep and dense wood, a coal-black night, tarry centers where you find the solitude of 100 year old weeping willows.
This is not an album crafted to simply listen and reflect, this is heavy slabs of flesh and blood, moaning, bending, warbling to life, groaning out and sucking you in. Shades of Scelsi and Penderecki collage and wind into spacious suites, built atop a foundation of heavy Köner-styled concrete. It’s beautiful, but there’s a lingering fear of the unknown, and you could lose your leg at your next step. It’s breathtaking and beautiful, but you’re always careful not to trip too far into these skeletal treescapes.
There’s deep, rusty veins running to the heart of Sanguine Futures, pumping a dark crimson fluid, driving the machine to keep humming. There’s a clicking film projector casting images onto a sheet of ice. We feel it, it’s thrust into the very energy that motivates us; a feeling of love, of life, of solace, of hope and pain and fear and joy and sorrow. This is a span of sounds and tones and textures, weaved together as a lifeforce. An album this isn’t, an entire affair, spanning our first to dying breaths. Heavy, spacious, frightening, and welcoming; all at once.
On Sanguine Futures, Kolodij was aided in arranging by Type Records’ John Twells, who also produced and mixed the record at Seventh Door Studios in Massachusetts. Trumpet by the renown Greg Kelley. James Plotkin mastered. Simon Fowler did the beautiful artwork.
Edition of 300.
“[High Aura'd] operates at a slow and meticulous pace, with his sequencing decisions and the juxtapositions/developments contained within each track firing on all cylinders. Really a fantastic, highly focused and strikingly engaging debut release by a project from which I expect great things.” – Alex Cobb, Experimedia
“TIP: Dont overlook the new High Aura’d LP… on my top list for this year so far for certain!” – Jeremy Bible, Experimedia
“Tracks patiently run their course and then slowly fade into other tracks against a backdrop of grinding concrete, industrial giant steps, and screams frozen in time. [High Aura'd] isn’t all horror film ambience, though — the best moments are saved for a few dense rushes of hymnal melodies that sweep in under the radar” – Matt Parish, The Boston Globe
“Sanguine Futures, marks [High Aura'd]‘s first full-length endeavor under the name and is as meticulously composed and sequenced as one hopes for when a promising project crosses over from the ephemeral world of limited cassettes to the relative finality of vinyl.” – Max Burke, Visitation Rites & AdHoc
“The material finds the Boston-based [High Aura'd] exploring a more diverse range of moods and dynamics in the recording’s six pieces, even if the tone is often bleak and funereal. Listening to Sanguine Futures, one quickly realizes that aficionados of Twells’ own recent work should find Kolodij’s appealing, too.” – Textura
“Music that is written so that it brings the listener into the world of its compositional structure is very important, and this album accomplishes that feat; moreover, it adds to a long list of experimental releases of the last number of years which demonstrate artistic integrity and an absolute faith in its style.” – Jordan Anderson, Foxy Digitalis
“Sanguine Futures seems to tell us a story of possibilities, a story of both the dark and the light, and what could be made of both. It is also a story of heart and faith – faith in what, I can’t really say. But there is something – it seems to say – better than this. There must be, right? A million possibilities, if only because this can’t be everything; the idea that this is it is just too much to handle. This is a great record to relax and unwind with; when the day is done, put this on your turntable and take the journey, and be prepared to wonder what might have been, and what still might be” – Hammer Smashed Sound