Digital Download


White Sunday

BURIAL HEX Assumption / Ascension with Pentecost

CD album | gg255
Clayton Ruby from Wisconsin, USA, had his first releases as Burial Hex in 2007, although he started making music three years prior to that. His sound can be described as dark ambient or industrial. Burial Hex says he performs “horror electronics to prepare for the final mystery in the twilight of the Kali Yuga,” which incorporate influences ranging from Tangerine Dream to power electronics. He has collaborated with artists such as Zola Jesus, Iron Fist Of The Sun, Kinit Her, Sylvester Anfang II, Skin Graft, Crown Of Bone, Stor, Mumber Toes, and Joshua Norton Cabal. Klanggalerie are proud to present a new album on CD that compiles two albums previously released in microscopic editions only. Assumption/Ascension was a cassette tape (in an edition of 73 copies) put out by Angst Records in 2016. On this powerful offering, vocalist and multi-instrumentalist Clay Ruby and cellist Angela McJunkin gracefully weave through a shocking juxtaposition of kosmische neo-classical and power electronics. In an attempt to depict the mysteries of the Assumption and Ascension, Burial Hex makes a harrowing musical journey that ultimately culminates in a peaceful resolution with a very uncharacteristic piece of monastic folk pastorale. Pentecost was another cassette released in 2016, this time on the Makrame Records label. Recorded live on the Vigil of Pentecost, 2016, this is what Clay says about it on bandcamp: "And I will show wonders in the heaven above, and signs on the earth beneath: blood and fire, and the vapor of smoke. The sun shall be turned into darkness, and the moon into blood, before the great and manifest day of the Lord come." Prepare for a dark ride! Track list: 1. Assumption 2. Ascension 3. Vigil 4. The Upper Room 5. White Sunday 6. Afterfeast. Price: € 9,-/copy incl. worldwide shipping.

The vocal like earlier recordings splits between human and raging, pleading shouts, however the gorgeous classical/folkish instrumentation is very prominent in the mix. There are shifts into more ambient, progressive electronic passages of music. When field recording sounds or live action sounds become prominent it makes for an effective lead when the vocals aren’t present. Acoustic instrumentation and pure vocals end the Ascension. The frequent, unexpected shifts into experimental oddness are there in Burial Hex. The lush, flowing musical passages seem to mix with this in an unaffected way.
(1208 North Fuller Avenue, December 2018)