A U R O R A

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The previously mentioned “Nolan” takes an Eastern turn, and mixes in wind chimes beneath a gale force surge. Many, such as ‘Nolan’, with its colossal rave synths and blistering distortion, have an epic, widescreen feel, which Frost offsets with intricate detail and quiet, ominous passages. Frost enlists the services of drummers Greg Fox (formerly of Liturgy) and the legend that is Thor Harris of the Swans, plus multi-instrumentalist Shahzad Ismaily. Final track “A Single Point of Blinding Light” might be the most appropriately titled track released this year. This album is more vibrant than its cover suggests, existing more in the prismatic ice crystals refracting light in that mist.

Pitchfork may earn a portion of sales from products that are purchased through our site as part of our Affiliate Partnerships with retailers. A little divot marks the end of our coast and the start of penultimate “Sola Fide” whereupon we are brought right back into the fray. Ben Frost was born in Melbourne, Australia, before relocating to St Ives at the age of 20, where he made a series of sculptures exploring the nexus between man and landscape. Collaborators Greg Fox, Shahzad Isamily and Thor Harris (of Swans fame) reinforce A U R O R A's computer sheen with real sweat and blood. Just last year we had Tim Hecker’s claustrophobic Virgins and Gesaffelstein’s warped take on American hip-hop on Aleph.This briefly romanticised and simultaneously scorned moment passes into the dark void of “The Teeth Behind Kisses”, a much simpler and more terrifying beast in its limited instrumentation, powered briefly by cymbal slaps and distal, echoic bells before slowly circling into a quiet, juddering and menacing hole of barely there drone. The 103 third parties who use cookies on this service do so for their purposes of displaying and measuring personalized ads, generating audience insights, and developing and improving products. Frost and his contemporaries have toyed with the definition of a “song,” but these tracks might take it too far. It’s album art depicts a man cowering behind a pack of wolves in a heavy flurry of snow, illuminated by the glow of a truck’s headlights. With Fox and Harris’ clannish beats melding with Frost’s flirting, teasing electronics, the track erupts in a firecracker of yearning bass and disjointed synth melodies, “Diphenyl Oxalate” and lead single “Venter” soon morphing into a single unforgiving ambush.

He is less omnivorous here than on By The Throat, which drew on about a dozen genres, but here his limitations – no doubt at least partly down to the circumstances of writing – do nothing to lessen A U R O R A’s impact. The material on this site may not be reproduced, distributed, transmitted, cached or otherwise used, except with the prior written permission of Condé Nast.

Fittingly, it’s this final track, and not the pyrotechnics of 'Venter' or 'Nolan', which sounds most savage: it’s the untamed, unleashed and explosive finale, as Frost unleashes every musical sinew and leaves the speakers quivering.

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Secant' is perhaps the record’s darkest moment, and the one which comes closest to capturing the sheer menace of By the Throat or the taut high wire of Theory of Machines, puts precision tooled industrial drum blasts next to chiming bells and a flashing swirl of tormented feedback.