From Bandcamp, “After a decade of silence, LUX INTERNA return with their fifth album "New Wilderness Gospel.” More than just a collection of songs, the album is the centerpiece of a larger, immersive world woven from sound, text, and image. With "New Wilderness Gospel,” LUX INTERNA evoke a fragmented narrative set against the desolate highways, shadowy Appalachian Mountains, and bone bleached deserts of an America at once raw and mythic. The songs hum with the crackle of unseen voices and the weight of the past bleeding into the present. Prophetic whispers travel through power lines; the silence of the desert swarms with spirits; the deep forest night yields to the presence of an even older darkness. Musically, "New Wilderness Gospel" presents a spectral tapestry – woven from the deep twang of desert blues, the ghostly echoes of Appalachian folk and gospel, the eerie shimmer of psychedelia and post-punk, and the raw intensity of American Gothic balladry.”

The album has nine songs, and “Dark Fire/Revelator” is first. The opening tones remind me of the spirit of the 1960’s, but it forays into a darker sound, with thick bass notes, violin, and tense drumming. It does meander a few minutes too long, however. “Over the Timberlines” has a gentle but dark opening sequence, and song moves slowly on a breeze. The combination of both male and female vocals works well with the solemn sound. “Like Wolves” has a bit of a swing to it, and the grey skies lighten a little. For me, it has a combination of traditional Rock with some modern elements of Post Rock. Americana for sure. The vocals are still quite solemn, but there is hope in this song. “Into Night” has hushed tones, acoustic guitars, and plenty of strings, which always add to the soberness of a song in my opinion. When I listen to this song, the daylight slowly fades, and the night canopy descends.

“No Arrow” is a heavy, blues-based song, that reminds me of people sitting out on their porch in the summer in the deep south. Time seems to pass slowly, and the heat never lets up. “Old Blood Blues” takes sadness and melancholy to another level. The vocals barely register, even though the singer has the will. “I stood by the highway and waited alone” is an example of one of the lyrical lines. “Her Wilderness” has a hastier sound, fueled by a faster pace, some banjo notes, and the steady beating of drums. Layers are added to the sound, including a heavier bottom end, along with fuzzy guitar distortion. “Selva Oscura” is the final cut. It revels in the blues for the first few minutes, and the spoken word brings the themes back to nature once again. “Something is coming with the winds tonight,” she prophesizes.

The deep blue colors and forest landscape of the album cover hold some of the keys to the sound on the album. It might be a reminder of the power of nature, or even its importance. It could be a warning of what happens if humanity continues down the path of destruction. The really intriguing part of the album is how the band fuses a sound from the past with hints of the future. For me, it’s a slow burn, but the more I listen, the deeper the connections.