“At the Dawn of the Universe, at the Edge of the Old Man’s Eye. At the Point of Creation, at the Birth of the Very First Light”
On the fourth album by Seattle’s Hypatia Lake entitled “Ouroboros”,we are invited to take a cosmic journey. A journey in which the entire fate of the Multiverse, rests on the shoulders of one human being, a character in the town of Hypatia Lake, whose name is Rose Marie. The album guides the listener through fantastic battles between beings like “The Keepers of the Great White Lodge” and their dark counterparts in the “Black Lodge”, conversations with Archangels and an Omnipotent Nine Eyed Rose, and the Harbinger of Doom- the dreaded Star Eater. On the previous album, “Angels and Demons, Space and Time”, Rose Marie made her first appearance, in the song “Her Tears are the Footsteps of Angels”, in which she is wisked away by a light from the sea as her husband pleads on the shore for her return. The story continues to develop in the song “The Patterns of Orion” in which the scene of a great cosmic battle is outlined. Following in a similar vien of storyline detailing as in the relationships of their previous albums “Your Universe, Your Mind” and “…we shall call him Joseph”, Rose Marie’s descent from her true nature, that of limitless light as an Interdimensional Space Queen, into the human body habitating Hypatia Lake, is shown to have the effect of bringing on a Universal Armagedon. This, in fact, is 2012 for Hypatia Lake.
Produced and Engineered once again by the audio wizard, Scott Colburn (Sun City Girls, Yesayer, Animal Collective, Arcade Fire) and mastered by Ed Brooks at RFI, this album is their most raw, intimate and realized work. Recorded and mixed in only 10 days, with minimal overdubs and studio trickery, it sounds like a rock band playing songs together in a room. Pulling strongly from 70s rock influences like Sabbath and Hendrix, while keeping a modern sonic sensibilty, it truly showcases their talent at evolving from record to record. While most of the “shoegaze” sound present on their earlier records has been traded in for older influences, it is still safe to describe much of this record as “My Bloody Sabbath”. The record is still as diverse as their others. The heavy riffage of “Star Eater” is highly contrasted to the sonic cinema of “The Eclipse on the Horizon has the Wings of a Demon”, which pays more tribute to Ennio Moricone than anything else. The bluesy grit of “White Raven, Black Sun” sets itself against the wailing rain of bending guitars in “Only the Queen”, while timid acoustic moments present themselves in songs like “Prophecy”.
Sonically sound, lyrically imaginative, and outstanding in presentation, this is the boys at their finest moment as it should be, after all, it’s the end of the world.