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- Summary: The fourth full-length release for the Portland, Oregon-based metal duo of Chip King and Lee Buford features contributions from Maralie Armstrong and Providence's Assembly of Light Choir.
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- Record Label: Thrill Jockey
- Genre(s): Pop/Rock, Heavy Metal, Experimental Rock, Doom Metal, Noise-Rock, Sludge Metal
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Top Track
| Shelter Is Illusory | |
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| have tried have also longed and have always wanted out a maze of gardens walled and doors guarded absence, avoidance towards humans towards... | See the rest of the song lyrics |
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Score distribution:
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Positive: 12 out of 12
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Mixed: 0 out of 12
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Negative: 0 out of 12
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MagnetApr 15, 2016No One Deserves Happiness is even better [than One Day You Will Ache Like I Ache]. [No. 130, p.53]
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Mar 15, 2016In declining to meet expectations, the Body have gotten free of the potential pigeonholing that plagues both them and the genre at large, providing something so utterly resigned, hopeless and, above all, barren; the most exciting bits on No One end up heightening the frustration and disappointment we crave more and more with each listen.
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Mar 15, 2016Despite the misery that inspires and thrives within their suffocating work, the band shows a remarkable sense of vitality, inspiring to longtime and new fans alike.
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Mar 15, 2016Even with the album's graceful inclinations, it still sounds as bleak its title, but the way the Body combine disparate components into their brand of mutilated "gross pop" is truly fascinating.
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Mar 15, 2016The Body has always been obsessed with feelings of consuming futility, and in kicking free of conventional structures and following Wolpert's lead, they've come closer than ever to their truest selves on record.
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Under The RadarMar 15, 2016Chip King and Lee Buford of experimental metal band The Body wring all manner of blackness from percussion and guitar, with all controls pushed into the red. [Jan/Feb 2016, p.54]
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Mar 25, 2016The experience is nothing less than fully immersive by the time we’ve made it through “Shelter Is Illusory,” the closest the album gets to true pop (aside from Armstrong’s co-written “Adamah”), replete with a gorgeous quasi-operatic upward-searching chorus from Armstrong and a keening processed-strings backing.
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