Luminous Night

Chasny has souped up his production values, and they’ve never been sharper than they are on Luminous Night, checking everything Chasny has ever done well with unprecedented clarity.

Sequenced beautifully to balance lyrical narratives with haunting instrumentals, it’s another Six Organs of Admittance album...but so much more.

Chasny has completed the move started with "School of the Flower" into a more polished sound and Luminous Night seems to be the finest example from this new period of Six Organs of Admittance.

Luminous Night reflects the yin-yang duality of a player whose axework has feulled Both Comets On Fire's freakout euphoria and the post-apocaltptic spok of Current 93. [Oct 2009, p.101]

While normally "killer flute" and "far-out sitar" playing would feel incredibly counterfeit coming from a white guy based in California, it's his classic roots that keep it all grounded. And this album has both in spades. [Summer 2009, p.93]

It's this combination of the simple and the intricate, the elegant and the forceful, that makes Luminous Night work so well.

A set of sombre fingerpicked fables, Luminous Night’is heavy in spirit. It is cold to the core, as if it’s being played in the long shadow of a tombstone.

This time around, Chasny is clearly interested in writing structured songs with clear lines drawn throughout, with seemingly no concern for the reactions that might ensue from such high production and exacting precision.

Mining everything from traditional English folk music to Middle Eastern atmospherics, it has a hypnotic, blood-pressure-lowering quality that, listened to closely and repeatedly, could induce episodes of involuntary spontaneous de-evolution. In other words, given the proper opportunity, Luminous Night will mindfuck you gently, but thoroughly.