Njiqahdda - "Valsuaarposmiis EP" (2010) [EEE Recordings]

During what appears to be this mysterious duo's busiest year (I count 16 previous releases under the Njiqahdda/Njiijn name in 2010 alone), we see Njiqahdda showing no signs of slowing down. Along with fellow experimental US black metallers Benighted in Sodom, Njiqahdda follows the "quantity and quality" school, because the two can coexist (you just have to be talented).

Running on the heels of their latest and most matured full-length, "Divisionals", we see Njiqahdda adding more and more influences to their music while still retaining their signature "wall of sound" style. Starting on a strummed-acoustic note with "Valsuaarposmiis I", it is very apparent that this duo is moving forward. In 15 and a half minutes, this crushing doom epic slowly builds into a blistering black metal opus with layers-upon-layers of guitars, vocals, and field recordings, reminding us that this still is Njiqahdda. Of course, having to mix things up, we see something reminiscent of a breakdown 8:15 in, a first for Njiqahdda (outside of their awesome Deftones cover on their free, internet-only release "Around the Covers"). Atmosphere has always been Njiqahdda's strongpoint, and "Val. I" is a strong indicator that, though this duo might release more albums than you can wrap your head around, they are masters of ambiance.

Droning into the second track "Savantuu Savoari" we see something entirely new for Njiqahdda: seven minutes of distorted guitars and voice. No drums, no bass, just tremolo-picked walls of ethereal fuzz with /'s signature hyper-distorted voice. This song is very reminiscent, and perhaps an homage, to Russia's "kvlt" Blazebirth Hall movement, where each album would have a guitar and voice piece. "Savantuu Savaoari" lulls the listener into a deep, deep trance, and, though the concept of distorted guitar and voice alone for 7 minutes might seem tedious, the ever-changing textures and odd time signature (the whole track has sort of a 7/4 or 7/8 feel) will keep the listener at the edge of their seat.

Fading in with more acoustic guitars (I'm loving the whole folk-feel of this EP), we are given "Valsuaarposmiis II," which is, in my opinion, one of the best Njiqahdda tracks I've heard yet, and I have most of their discography (which is a feat, I know). Taking a few nods from everyone's favorite, Agalloch, "Val. II" almost sounds like an outtake of "The Mantle" that was covered by Njiqahdda, not that that's a bad thing or anything. The acoustic guitar takes a front seat here and is a constant presence over the distorted guitar backing. Everything moves with a distinct passion that we haven't yet seen in a Njiqahdda recording, that is to say that though Nji recordings in the past have been passionate, it seems that this style suits Njiqahdda the most. It would be very pleasing to see these fellows experimenting more with this folky style in the future (hint, hint, guys!).

While I'm here, I might as well dispel a myth concerning Njiqahdda: though the drums are electronic, it's not a drum machine. Njiqahdda uses an electronic drumkit, or V-drums, meaning that all of the drums on every release up to and including "Valsuaarposmiis" have featured real drumming. Just thought I'd include that, since people seem to love to ridicule bands for using drum machines.

Anyway, "Valsuaarposmiis" is a very impressive and progressive release for Njiqahdda, showing new sides to the beast while still keeping its original core sound. I know I'll be picking up a copy at EEE Recordings, and 10 dollars for 37 minutes of quality music is a steal.

-Jon

Twilight - "Monument to Time End" (2010) [Southern Lord]

Twilight is a black metal band comprised of some of the most prominent figures of the American black metal scene. The lineup is comprised of Wrest, N. Imperial, Blake Judd, Aaron Turner, Sanford Parker, and Stavros Giannopolous. Some of these men have been in bands such as Krieg, Nachtmystium, Isis, Minsk, Leviathan, and the Atlas Moth. Each of these men and their respective bands has created an underground following in their own rights. Twilight’s “Monument to Time End” is sure to create another.

This is not a stereotypical black metal record. By stereotypical black metal, I am referring to Ov Hell’s debut record, where the blast beats goes on forever and the tremolo picking doesn’t end. This record is very well put together. The songs are quite long, but don’t let that deter you. Each song has many different elements incorporated into them. For example, the first track “The Cryptic Ascension” begins with a slow riff and gradually speeds up. The track speeds up due to a very melodic guitar riff and catchy drum beat. This evokes a feeling of happiness and ease as the song continues to flow until the final note.”Convulsions in the Wells of Fever” is the most “black metal” song on this album. The drumming, vocals, and tremolo picking that most fans know black metal for all are present on this track. My favorite parts of this track are the “Isis” sections. These sections happen a minute and thirty seven seconds into the song. There are about 3 to 4 of them intermixed within the black metal texture. The last track “Negative Signal Omega” is quite powerful.  This song has a trance like feeling due to the simple, powerful drumming and the use of voices. The song contains this feel throughout and ends with all of the band members harmonizing vocally. The vocal harmonies add reverence to the trance feel. These harmonies close the track; leaving a powerful and eerie feeling over the listener.

I thoroughly enjoyed this record. It presents a new flavor to a seasoned genre of music. It also keeps the listener actively engaged and interested until the final chord of the last track. Twilight is a black metal super group that deserves a listen from all appreciators of black metal. If you have not listened to the individual projects of each band member, I highly recommend that you check them out as well. Each band member has a chance to showcase elements of their other projects in each and every track on this CD. Overall, I highly recommend this CD to any appreciators of the black metal genre. Not only is it musically interesting and captivating, but it has put a new take on a genre that has been copied time and time again. Pick up a copy at Southern Lord's online store. Enjoy!

Pat

The Ocean robbed in Spain

Taken from an official Press Release sent out by Earsplit PR. Please read on:

 

On Wednesday, October 20, 2010 THE OCEAN, who are currently on tour supporting The Dillinger Escape Plan in Europe, were robbed on a highway near Madrid. Said the band in a statement: "Two guys in a black BMW pulled us over with fake police IDs. They asked for our van papers and IDs and wanted to know if we had any money to declare. We were not skeptical at this point, as it is normal in Europe that you have to declare larger amounts of money when you're crossing borders, so we told them we had merch money with us, and the guy wanted to see it. When we showed them the merch wallet, the guy reached through the open window, seized it and ran back to the BMW in front of us, where his colleague was waiting with the engine running. Unfortunately our van and trailer don't match the speed of a BMW, but fortunately it's not allowed to carry guns in Europe, as otherwise we would be in jail now for shooting the guy in the face.

"We are facing a loss of + 6000 euro of merch income of the last days and fees. The exact amount is still to be determined. As some of you may or may not know, conditions on support tours are usually grim. Fees are low and barely cover expenses for van, gas, highway tolls, ferries etc. There is no accommodation arrangements, we've been crashing out on people's floors for weeks. Losing more than 6000 euro is something we simply cannot afford at this point. 

We are asking everyone who is planning to order Anthropocentric in the next few weeks through our shop to help out. You can do so by donating 5 Euro when you place your order. All income generated through this will make the loss smaller for us.

Everyone who donates 5 Euro will receive a copy of the police report and a Thank You card signed by all band members. We would like to thank you in advance for your support!"

You can donate at: http://www.pelagic-records.com/shop

In related news, THE OCEAN will support Anathema on another run of Euro shows in November. Confirmed dates include:

11/09/2010 Rocking Chair - Vevey, Switzerland

11/10/2010 Z7 - Pratteln, Switzerland

11/11/2010 Estragon - Bologna, Italy

11/12/2010 Alpheus - Rome, Italy

11/13/2010 New Age - Treviso, Italy

11/14/2010 Magazzini Generali - Milan, Italy

11/15/2010 Boogaloo Club -  Zagreb, Croatia

11/16/2010 Listhalle - Graz, Austria

11/17/2010 Viper Room - Vienna, Austria

11/18/2010 Diesel Club - Budapest, Hungary

11/21/2010 Akademija - Belgrade, Serbia (Headline Show)

11/22/2010 Randall -  Bratislava, Slovakia

11/23/2010 Rock Café - Prague, Czech Republic

http://www.theoceancollective.com/heliocentric

 

This really fucking sucks, especially for a band on an opening slot of a tour. Please help if you can, I know they will really appreciate it. Check out the above links for more information, and spread the word. Thanks.

-Adam

Krieg - "The Isolationist" (2010) [Candlelight Records]

Krieg; a band who essentially is a line in the sand for many listeners of black metal. Loved or hated, there are not too many who 'ride the fence' in regards to this band. One thing is for certain though, Krieg is one of the most important and legendary bands in the US black metal scene. Harnessing a lengthy discography that traverses all over the map (from straight-up noisy, primitive black metal to more melodic excursions), The Isolationist is the newest addition to the ever-growing Krieg palette.

The Isolationist is a stern practice in dedication to perseverance and a unique, solitary artistic vision. While many of N. Imperial's peers are opting for more commercial ventures, the latest Krieg record essentially spits in their faces. While there are some hints of melodic-ism and experimentation, the album is mostly straightforward in its quest for attaining the goal of filthy, angry black metal. N. Imperial's vocals are in top form, having always been one of the most diverse and engaging vocalists in US black metal, he is very much staying true to form. Guttural shrieks, howls and growls weave in and out of the musical tapestry in a most frightening way. Wrest's bass playing is top notch, fluid and complimentary to the grinding - and at times melodic - guitar lines and Grigg's drumming is extremely solid and in the pocket. This is by far the best/most talented Krieg line-up in their long existence and The Isolationist is surely an example of that. The songs are catchy and unique, without resorting to rehashed popular methods of escape, all while not losing a moment of the grimy brutality that Krieg has been known for and how black metal, in general, should be.

The production is top notch on The Isolationist, all instruments are clearly audible with plenty of breathing room still left in the mix. The production is also brilliantly clean, but leaving enough rawness to keep it from sounding sterile and processed. A perfect production for this kind of musical output. The artwork is also noteworthy, another sparkling gem from Rebecca Clegg that perfectly compliments and fits the recording found within.

All in all, this is an absolutely phenomenal recording, quite possibly the best album in the Krieg catalog thus far. It mixes everything that Krieg has done (and a few things they have not), but has also refined it into an impeccably powerful beast that is ready to storm the metal music world. I truly believe that this will be the album that finally gives N. Imperial and crew the respect and appreciation that they truly deserve. Hell, if Candlelight managed to pick them up and release an album the caliber of The Isolationist, I would be dumbfounded if people did not catch on to it as well. Here's to hoping for a bright future for Krieg and many more brilliant recordings on this level. This album is definitely in my personal top 10 for 2010.

- E.

The Atlas Moth - "The One Amongst The Weed Fields" (2010) [Candlelight Records]

The Atlas Moth is a Chicago-based band, who over the past few years have really stormed the underground metal scene. With only an EP and full-length under their belts, they managed to catch the attention of Candlelight Records and a ton of new listeners with their incessant touring and unique mixture of doom, sludge, psychedelic and post-metal sounds. This new EP is a collection of cover songs, refined and shot through the kaleidoscope of The Atlas Moth stylistic tendencies.

Featuring cover songs from The Doors, The Mommas & Papas, Failure and Pink Floyd, The Atlas Moth have done one heck of a job injecting enough of their sound into these covers to make them incredibly unique. While many cover albums come off as lackluster and pointless, The Atlas Moth have really combated that to make the journey worthwhile. Each song still retains enough of its original properties to resemble its original incarnation, but is channeled through the scope of heavily down-tuned guitars, howled vocals, plodding drums and dense atmospherics.

The production is raw but clear, creating a harrowing, cloudy atmosphere that really lends itself to transforming these cover songs into borderline Atlas Moth originals. The artwork on this release is golden, a parody of the Metallica 'Garage Days' cover, rife with blank stares and pot smoking, heck, they even made their logo remarkably close to the Metallica one as well.

This is a fun EP to listen to and is done remarkably well. Kudos to these guys for not falling into the cover album trap of creating a release purely for money and/or out of complete boredom, also for not butchering the crap out of the songs. I for one am very much looking forward to their next release, whenever that is. Do yourself a favor and check these guys out the next time they are in your town, I can assure you that it is totally worth the time and money invested.

-E.

Interview with Blake and Brittany of WOLVSERPENT

Over the past 9 years or so, Boise, Idaho, duo Blake Green (guitars, vocals) [right] and Brittany McConnell (drums/percussion, violin) [left] have crushed their fan base under the (silly, yet intriguing) name Pussygutt. Recently changing their name to Wolvserpent for reasons unveiled in the interview, we see an overhaul on the supreme doom heaviness found in their previous releases. As a two-piece, Green and McConnell prove that minimal ingredients can yield maximum results. Having had the pleasure of meeting these two and seeing them live, it is safe to say that the United States doom scene, as I have said before, is going to be perfectly fine in the years to come.


Jon: Hey there Wolvserpent crew! Thanks for giving us the opportunity to interview you!


Blake and Brittany: Of Course


Jon: Cutting to the chase, I have to ask it: Why Pussygutt? Why the sudden change?


B+B: Over the years we have considered changing our name often. We began the group fairly light-heartedly, we didn't take ourselves too seriously. We simply wanted to play music together, then our first show rolled around and a name was needed. Out of the ethereal slime came "Pussygutt"...and it stuck around for a while. It is such a powerful moniker, it served us well. With the new set, record and tour we felt the time was right so we decided to change the name.Wolvserpent is a beast that is part of our personal mythology so it fits. Who knows we might change the name for every record.


Jon: You spent around a year in the studio together working on "Blood Seed." How did this extended work period affect the original Wolvserpent/Pussygutt sound?


B+B: The length of time working on this album didn't really change things much. Seems that most of our records have taken about a year or more to make. "Sea of Sand" took two years and "Gathering Strengths" was hovering, nearly finished for almost a year while we completed "She Hid..." The big difference is that we wrote this set live and ironed it out for about 8 months before even beginning to record.  This was really different for us, documenting a live set. It gave us the chance to focus on capturing the tone of our equipment, the mood of the performance and the ritual of the enactment. This made studio time easier since everything was already written but, mixing was painful. We are excited to have a release that represents what we do live.


Jon: Having never been to Boise, Idaho, I cannot say I've ever been familiar with any sort of music scene there. How does Boise's music scene compare to other places you've been? What's it like to be a metal band there?


B+B: It's depressing and gloomy...isn't that what it's like being a doom band from anywhere? But there are always a few other warriors of the doom to walk the path with - Uzala and Beautician are a few hardened warriors to buff up Boise's ranks. Boise's music scene probably compares well to other places of its size... or smaller. There are a small number of people in various genres working very hard to do what they love. Growing up in a small town you go out to the show that's happening... probably the only show. But you get to hear a lot of different kinds of music and don't get stuck in one scene. It's difficult not having a good heavy show to go to, but we get to draw inspiration from the variety. For us, Boise is full of good friends and a descent amount of people, these days, that support us in what we do locally. There is not a whole lot of music in town that is similar to what we are doing ...we live in a desert, it's hard for any but a few to survive.


Jon: With "drone/doom metal" being a very specified subgenre, how do you feel Wolvserpent is set apart from the rest?


Blake: Having half of the group be classically trained and the other half self taught creates a unique approach and hopefully a unique outcome. Mostly we try our best to be true to ourselves in our music and create with some amount of purity, we get inspired by new and innovative things that we hear but 
shoot to create something unique from within. Everything we do is 50/50 in one way or another.
If you live in the NW and have seen us live you know that we may sound different each time you see us. I think that is unique to a point, our sound evolves and changes but always sounds like it is made
by the same two people. Personally I try not to focus on being set apart....that's something that comes
from the opinions of others after the music is done and you know what they say about opinions.

Brittany: blah, blah, blah a bunch of pretentious crap :) (answering while at work, don't have the capacity to be eloquent or pretentious. "I like to play.")

Jon: How would you say Wolvserpent has evolved over the course of four full-length albums?

Blake: Over the last 9 years or so we have become a more singular mind while writing and playing. Our concepts and skills have developed together. So our output continues to have stronger focus and vision. 

Brittany: We've worked intentionally to become clearer and truer in our sound. Experimentation is still an element but it is used to serve the overall aural experience of crushing beauty.

Jon: "Blood Seed" is only being released on vinyl, and a limited run at that. Though I think it's awesome, why a limited vinyl run?

Blake: Well, a limited run is relative. With the current state of things I think it is nice to get something unique if you are of the few who still support artists by purchasing a tangible product. Also, when they are gone, I would rather attempt to release some new material. We have about three unreleased albums we are sitting on!

Brittany: The vinyl calls and is a merciless master... Some things should remain in flesh and bone, while others can be relegated to the ether. We span the spectrum. It's a limited pressing because we hope that each slab is valued as much by the recipient as it is by ourselves.  

The masses don't need to hear it, those who are searching need to hear it.

Jon: How do you two go about the songwriting process?

Blake: It goes like this. I have a dream of a song and I scribble unrecognizable jibberish on a peice of paper then hand it to Brittany and she writes and plays the entire thing while I record it. heh. :)

Brittany: Song writing is... a continual mystery. We make sound together, we live and meditate and toil, and some pattern comes out of it. I wander around in the murk and muck of unrealized concept. Bleak hears the pattern and draws it down into concrete form. Then we discuss, argue, cajole and reason with one another. Sometimes, like Blake said, it just comes in a dream.

Jon: What would be your absolute dream lineup to play with? Why?

Blake: Man, I don't know if I can answer this question without further restrictions! But it would be 4-5 days of drone, death, doom, black, italian goth and real metal. If there were no restrictions it would also include tibetan choirs, javanese gamelan, russian folk seance and loads of Persian psych.

Brittany: Sitting in the forest for three days and nights of solitude. :) Although, playing with Thorr's Hammer would be epic!...

Jon: And finally, what are your opinions on the modern metalhead?

Blake: Like a metro metal head? My opinion on people is if they are down they are down. If not....fuck 'em. I feel we've been blessed to meet some really down and true people on the road.

Brittany: The metalheads we know are bitchin'. 

Buy Wolvserpent's latest ritualistic offering, "Blood Seed", here.

-Jon

New Vision Éternel Songs and Video Up, and an Exclusive Interview with A. Julien

Vision Éternel is a musical entity born in the mind of Alexandre Julien, who likes to describe his sounds as 'melogaze', but is in plain words ambient post-rock. Hailing from Montréal, Québec, his most recent completed work (March 2010) is his ep titled Abondance de périls, which was reviewed by The Inarguable a few weeks back. His unique take on a guitar-laden concept album breathes new life into the aforementioned genres, and he should certainly be on your list of bands to keep an eye out for!

We are graced with two new songs titled "Narcosis (Thoughts of Sonya Session)" and "Neglection (Thoughts of Sonya Session)" that are as of yet unreleased and exclusive.

In the words of the man himself: "Those two songs were recordings from the album recording session of Abondance de périls. Both were altered a bit from their originals, "Narcosis" coming from the first ep Seul dans l'obsession, and "Neglection" coming from the second ep Un automne en solitude. The original idea was to have these re-recorded songs at the backbone to rebuild a whole new version of the songs; I was going to re-record all the fan favorites from the two first eps as well as some new material, and possibly even some songs from the third ep and contact various musicians to play solos on them. I had already contacted a bunch who had agreed, and most of them were personal friends of mine like Garry Brents of Parabstruse, Jordan Leal of Ethereal Beauty/Bonfires for Nobody, Slo from Smohalla, Camille from Smohalla, Eiman from Eliminator, Darklink from Triskalyon, just to name a few. Only two people ever recorded demos with solos over them, and that was Adam Kennedy of Beyond the Dune Sea and Darklink of Triskalyon, but they were recorded over the original songs, not the re-recordings."

To hear these exclusive new tracks, see below:

  Narcosis (Thoughts of Sonya Session) by theinarguable

  Neglection (Thoughts of Sonya Session) by theinarguable 


We are also pleasantly surprised with a wonderfully dreary and somber high-definition video for "Narcosis", compliments of A. Julien himself: 




Alongside with our revealing of "Narcosis" and "Neglection", Dedicated Records has also announced their latest compilation Palms, by a group called the Great Messengers, a mesmeric gathering of kindred souls intent on telling a story through the medium of music. Vision Éternel had a hand in this story, and offered the piece titled "Start from the Beginning: The Accident", which is the opening sequence for the second act, 'A Rehabilitation, An Incredible Journey'. Seek here. 

                    

The mastermind behind Vision Éternel also unveiled to us a rare and laconic video interview, in which he answers some queries of fans. Featured at the end of the interview is a brand new unheard VE track, as of yet still shrouded in mystery..

He also very kindly answered some questions I inquired of him:

What are the origins of Vision Éternel?

Vision Éternel formed in January 2007 almost by pure experimentation accident. I discovered the power of reverb in the middle of a depression caused by a breakup, and right away took to recording exactly what I felt in late moments of those January nights. At first it wasn't anything I planned on continuing with as it was hidden in my many "visions" (a.k.a. solo projects part of Triskalyon), but when I started working on new material after the fall of the circle, I knew it was something serious.

What provides the inspiration behind the music you compose for this project?

All inspirations are directly related to a mood at the moment of the recording. In most cases I record VE songs when I'm in a post-relationship phase. So all influences are directly inspired by my loneliness and hope for affection. 

In terms of musical equipment and gear, what would you say you enjoy using most? 

My gear for VE is pretty basic, and I must conclude that it's because I haven't played shows for this band and have not needed to expand what I currently have. On almost every single VE recording I have used my Jackson Kelly, with a DiMarzio X2N humbucker pickup (which I originally picked up for playing thrashened black metal in Throne of Mortality). I use the Boss Digital Reverb pedal as well as various reverb/delay presets on the computer. I'd have to say that lately, what I'm having fun with a bit in my EBow, which is being used more and more on VE recordings.

For physical releases of your albums, what is your preferred medium? Is there any vinyl release on the horizon? 

I love vinyls. I hope that something of VE can be released on vinyl someday, but who knows. I think it will be up to Abridged Pause Recordings ;)

How has living in Montréal affected your artistic side? Do you reside in the downtown area? 

When I started VE I was actually still living at my parents house in New Jersey, though I had spent the previous 6 months in Montréal. I moved back to Montréal in the summer of 2007. I wouldn't say that living here has made any difference in the evolution of the music. I think that simply has to do with the fact of living on my own. Often ending up completely isolated in my apartment. I currently do not live downtown, though I have in the past, and plan on going back next summer. The north shore on the island is pretty boring haha.

How do you go about the recording process? Is it more or less an independent endeavor? 

All recordings take place at Mortified Studios (a.k.a. my computer, Jenny, yes I name all my personal belongings). I'd say that everything VE does in the studio is pretty DIY.

What's the ambient/post-rock scene like in Québec? 

I believe in "Love the music, hate the fans", so I don't go to shows much. But I do know that we have a great post-rock scene. There's a post-rock show at least every other day, in the important smaller venues. We also have a lot of post-rock and ambient labels right here; Alien8, Cyclic Law, Where Are My, Constellation, etc.

Why did you decide to remaster the music video of Love within Narcosis? 

The original music video was filmed on a beat up JVC DV camcorder that my family had bought at least five or six years prior to the shooting. At the time I found it, the first EP was almost ready to be released, and I decided I wanted to make something extra for this band. So I went outside in the cold dusk of February, and I started taking pictures for the album cover, this was with a digital photo camera my dad had. I liked the mood of the lantern and setting sun a lot, especially since I was able to incorporate a bit of the bitter cold outside (even if this was in New Jersey). The next day I got the camcorder and attempted to recreate a similar feeling on video.

That night when I went on my computer to edit the video out, it was one of my first times using Adobe Premiere, so what came out was pretty choppy. As well, my monitor was dying out and the resolution was really, really dark. So the final product was a lot brighter than intended. The gamma was all out of whack. But of course I wasn't aware of it just yet. Later that evening I added it to YouTube, which was still pretty new back then, and the widescreen format wasn't an option back then, and I must have messed up something in the encoding because when the video was uploaded, it looked horrible, in quality, in frame and in resolution. But it was my first video and decided it was acceptable.

It was about a year later that I saw once again the same video on YouTube on my friends MacBook, and I realized just how bad it looked. The entire mood was off, and people just weren't getting the right vibe from it. From that point on I always told myself that I would rework it some day, when it would possibly get released on DVD. Now, almost four years after the making the video, I was working on the video interview (posted above), and I was struck by the desire to fix this whole thing it. It was the perfect moment to get people to rewatch the video. So that's what I did.  

As far as the future is concerned, what are your plans for Vision Éternel as time moves forward? 

Potential 4th EP, but nothing is sure....

Any final words?

Yes, listen to Faith No More! 

Check out VE here, at the home of Abridged Pause Recordings. 
To further satiate your palate, explore these fine selections. 

-Shane

Locrian - "The Crystal World" (2010) [Utech Records]

Chicago's favorite drone band, Locrian, have sure been keeping themselves busy this year. Having already released ANOTHER full-length this year alone (as well as recording a new split and separate collaboration, along with other surprises that will be released next year), this experimental trio shows that quality and quantity can go hand-in-hand. Recently teaming up with percussionist/electronics wizard Steven Hess of such bands as Haptic, Pan•American, and many other various projects, we see Locrian's core duo of Terence Hannum and Andre Foisy "pushing the limits" further than any of us could imagine.


Already this year, with their last full length, "Territories," we saw Locrian utilize a session drummer (Mr. A. Scherer of Colorado doom band Velnias), along various other collaborators, and even flirt with black metal. This time around, we see a different face of Locrian; a much more reserved, ethereal alter-ego last seen on their first full-length, "Drenched Lands", but at the same time "The Crystal World" unveils an entirely different monster, trudging along at a doom pace.


Texture, as it has been for every groundbreaking release in Locrian's catalog, is the key word for "The Crystal Words." This lumbering behemoth features the use of pianos, traditional and treated percussion (including bowed cymbals, a favorite of mine), tape manipulation, synthesizers, many, many guitars, and now Locrian has expanded into the bowed string department. Each of these elements come together in a swirling, otherworldly (perhaps crystal? har dee har) experience. Throughout this album, this Chicago trio ebbs and flows seamlessly between deep, brooding ambiance, distant, rich drones, disembodied howls, swirling psychedelia, and crushing heaviness.


From the beginning, with the tragic, terrifying "Triumph of Elimination," all the way to the end, with the post-rock-tinged, syrupy "Elevations and Depths," Locrian rears its head and proclaims that they are still a force to be reckoned with. Paired with a second disc, "Extinction", a 53-minute meditative drone piece, "The Crystal World" proves itself to be among the best releases of 2010.


-Jon

New Necrite Track on Stereogum!

You heard it right, check out California-based black metal monolith Necrite's new track from their new album, Sic Transit Gloria Mundi, to be released on The Flenser records November 2nd.

http://stereogum.com/543821/necrite-bereft-of-hope/franchises/haunting-the-chapel/

"The latest in a long and inglorious tradition of West Coast cellar-dwelling freaks obsessed with funereal-sounding epic black metal... Necrite does an deft job of combining old-school Scandinavian black-metal drones with the modern French ambient style." - The Onion A.V. Club

 

"...Necrite combine black metal, drone and funeral atmosphere to make one pretty adventurous album." - Popdose

-Jon

Interview with Numinas of KROHM

I discovered Krohm several years ago amidst one of the most gloomy parts of my life. 'A World Through Dead Eyes' seemed to be the soundtrack to many overcast days full of contemplation and brooding. A crushing, depressing, and atmospheric void of an album, it got me interested enough to follow Krohm's progress until we were finally treated to its follow-up, 'The Haunting Presence'. What I didn't know was exactly how long this project had been in existence... already over a decade! 

I had the opportunity and honor of sending an interview to sole creator Numinas, and, due to his recent unleashing of his other collaborative band Vetus Obscurum, I figured I would just see what is to come from this Italian-borne prodigy...

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The Inarguable: After the recent, mindblowing full-length 'The Haunting Presence', I understand you have even more recently released a split with Italian band Tenebrae In Perpetuum. I'm aware that you are of Italian background yourself.

Numinas: That is correct. I moved to the U.S. from Italy when I was 10 years old.

TI: It would be easy for us to presume that your heritage would have some influence in your music, as Krohm seems to be quite a personal project. I have personally never yet been to Italy, but my stays in other surrounding continents have left a mark of inspiration on me.

Would you say that this is true for you?

N: It has been true for me as well. I have visited my home town of Padova many times (which I do once a year) where I always find a particular inspiration while taking long walks down the old parts of town.

 TI: I would also like to ask if your American experiences and/or surroundings have had any sway in your musical journey. I currently reside in Connecticut, myself, and have recently realized that you were from this area for a time. Also, I was wondering if there are any American musicians, both of the metal scene and outside of it, you have found any connection to as far as influences go.

 N: I lived in Connecticut for a short period (about 1-2 years). I don’t think I experience the same type of musical influence from my surroundings in the U.S. as I do when I visit Italy and Europe in general. Living in Seattle I currently find myself being more withdrawn with inspiration coming more from self imposed isolation, long introspective periods and drinking. I have made connections and collaborated with many like minded individuals here in the U.S. (Evoken, Funebrarum, Infester, Drawn and Quartered, M. Nihilist, Abazagorath) who I can now call brothers. Unfortunately most of them are great distances away.

 TI: What are your thoughts on the whole 'depressive black metal' genre tag? I have seen on some websites that your music has been put into this category time and time again. Typically, I see this genre tag as characterizing any black metal with down-tempo work and Burzum-ish vocal styles... but it seems that your sound has proven to transcend any narrow boundary that the genre tag could entail.

N: I appreciate your observation. It’s not that I want to distance myself from this tag as I appreciate many bands in this genre, but I agree with you. Although its aesthetics (audial and visual) remain steeped in black metal I also think that Krohm has outgrown simple categorizations because of the dedication to personal expression that has become a strong part of the music.

 TI: I suppose the question I have been waiting years to ask is this: Where did the notion to create the Krohm project come from? Many will recognize you as being of a rich musical history within the metal circle, but this solo project of yours has proven time and time again to be  very focused and driven in ways that even many bands cannot be. When I first heard 'A World Through Dead Eyes', it struck me as more powerful a record than many full band's hardworking handiworks.

N: It came when I left the band Infester back in 1994-95. I picked up a guitar and found myself spending many hours learning how to play it but what I was really doing was writing actual music and songs. I think this is when I discovered how much I enjoyed formulating and recording music all on my own. It became a very special process for me that I am still fine-tuning to this day. I did in fact dedicate a lot of time to all of my recordings and over time I feel as if I have been able to fine tune my ability to build complementing layers of sounds, which is probably why AWTDE might sounds so full to you.

 TI: Simultaneously, you have also been showing the light of day to your band Vetus Obscurum. After the world was treated to the remarkable debut album, I believe it would be necessary to ask if there are any more future releases for us to anticipate? It has been stated many times that this band was a pre-Krohm project. This gives us the idea that there may be more to hear from Vetus Obscurum that has not yet been released.

N: Yes. Other than Drawn and Quartered I am currently focusing the rest of my time on writing a Vetus Obscurum full length album. That means that Krohm is temporarely on hold until this is done. I have also been entertaining the idea of making VO a full band but it unfortunately it has been rather difficult to find a suitable drummer so far.

 TI: Given how precise and well-thought-out your riffing shows itself to be, it is easy to see why and how you would wish to keep Krohm as a solo endeavor. How is it like to create such vast music by yourself? Are there any tedious processes to overcome when you are your own musical engineer? You have been doing this for over a decade.

N: It’s quite a difficult process actually but over the years I have been able to set up certain recording tools at my disposal to simplify it. Going from tape to digital has definitely helped as well as the ability to easily rehearse and build out parts on my own – basically recording and playing back over and over until I get it right. Like most bands, I have songs that just flow and write themselves, while others require more structuring and refining. The worst limitation I face right now is the lack of a real drumset in my studio. I have experimented recording the drums offsite on the Vetus Obscurum EP which has worked somewhat well and if I can make some improvements I might be trying this again on the next Krohm album.

 TI: What do you think of the overall attitude of the black metal scene in modern times? It has undergone many changes, but it seems many try to hold true to its original, debatable intentions. Some people have extremist ideas and extremist attitudes, and some just look up those who do. Some scarcely have any extremist views at all.

N: I’m the type of person that pays very little attention to it. My honest opinion is that talking about extreme views in black metal belongs to the teenagers. The only important question for me is: is your music extreme? When I think of what black metal was or used to be and how it endures, I think about that feeling in the music that expresses a single- minded dedication to evil, darkness, hate and obscurity. If those things are not coming across in the music then nothing else counts.  

TI: Your work has always been quite emotive. Without sounding absolutely weepy and cliché, your sound can often be described as bleak and nostalgic, and, at times, otherworldly. How difficult a task is it to channel what you feel or experience and transfer it into a recording?

N: I think it takes a lot of honest self-criticism. For me, writing songs is like trying to capture ideas and riffs that I would want to be hearing and when I am lucky, they just form themselves out of this desire without premeditation. In fact, my experience has been that the best riffs always come from improvisation and jamming around without the intention to actually write a riff.

 TI: When will we see another new Krohm album? The split album was wonderful to have been released. However, we are now itching to hear even more.

N: End of 2011. Like I said, I am dedicating my time and energy to Vetus Obscurum as I have much to express on that musical level. Although VO is faster, I think Krohm fans will definitely find some common threads between the music of these two projects.

TI: Whereas I would love to speak to you about such things for hours on end, I do realize that there must be a limit to interviews, and on that note, I will bring this to a close.

I would like to take this opportunity to sincerely thank you for your multiple offerings of releases, and for churning out this powerful music throughout the years. 

Would you like to take this opportunity to say anything to the general public?

N: Thank you for your interest and support! Find your true will.

-Elan


For more information on this fantastic project, visit Krohm's official webpage. 

Darkthrone - "Circle The Wagons" (2010) [Peaceville Records]

Darkthrone seems to be getting a very mixed response to their recently altered sound. Many will say 'it's too punky' or 'it's not true enough black metal' or even 'they sound like Saxon now'.

My response? They need to keep doing whatever it is they are now doing.

'Circle The Wagons' is just exactly what I need tonight. Darkthrone have made a career out of not giving a care what the metal world wants them to be. In a sea of black metal sheep, they have proven once again with this album that they had been birthed as lions years before. Lions, I may add, can eat sheep for breakfast. In a world where black metal and its musicians have gotten so extremely pretentious and predictable, it is so refreshing to hear a band who has had its hand in inventing the style telling the modern scene that they can see right through them.

What I find incredible is how Darkthrone has covered everything from death metal to their coined black metal sound, to crust and d-beat influences, and even NWOBHM influence to put the icing on the cake... but they still seem to invoke and portray the same kind of attitude throughout their whole career. You don't even have to read an interview in order to hear it.... their music IS the interview.

With this new album, they charter off into their speed/heavy metal roots in order to get their points across. Their point? Heavy metal is having an identity crisis, and they have been sober this whole time through. (Well, musically, and ideologically, at least. Lord knows these gentlemen love to drink.) They want to say that you don't have to sit around and try to think you are some 'philosopher' just for being into modern metal, and you don't have to follow trends and simply stand there at shows. 

Darkthrone fully endorses the primal, and their sound is the embodiment of it.

One needs only to have a casual listen to a song like 'I Am The Graves Of The 80s' in order to realize this. 

What's more is I love how transparent they are. Darkthrone know and understand that they are legendary, and yet they don't need to try and exalt themselves with some sort of ridiculous mysticism. Not only are we treated with a wonderful, thick, full-color booklet full of lyrics, original artwork, and neat photos, but we once again get liner notes! THIS is what people miss when they just want to download the album. And, also, this is what bands need to try to do... releasing a lame album art with one or two pages of text does not seem appealing when it costs close to twenty dollars. Darkthrone have given us much more than what we pay for with this release. Great music, great introspection, and great packaging.

Might I mention the production is perfectly fine? It's not ridiculously layered or triggered. It's just Darkthrone playing music in their studio, with ample recording equipment, but nothing added or detracted.

The only qualm anyone should have with this record is due to whether or not they like traditional heavy metal or not. And if you don't, this album might not be for you. But if you are tired of people hyping up all of this modern-day haircut metal and wish to look for something that will serenade you and make you want to jump off the walls at the same time, this is exactly what you need.

After a long day at work, nothing beats hearing Nocturno Culto bark 'I Am The Working Class'. 

Thank you, thank you, THANK YOU, Darkthrone.


-Elan

Buy this album, please. Right now. 

Æðra – The Evening Red (2010) [Naturmacht Productions]

I unearthed this project in the obscure depths of Myspace over the spring. I was really impressed with the demo tracks that were posted on the page. So I got in contact with Erik Lagerlöf the man behind Æðra for this review he is a very nice guy. You might be wondering how where the name comes from and how to say it. Well it is of Icelandic Origin meaning ‘higher, more exalted’ Æðra (I'th-ra):
æðri - adj comp. These projects musical elements are like Gothenburg Metal to Atmospheric Black Metal with tons of Progressive and Melodic over tones.

Track Listing:

Mist On the Surface

That Which Never Dims

 Twilight’s Last Breath

The Sparrow Hawk

Veins Of Life

Horizon

Isdagen

The Evening Red

The album opens with ethereal like water follow with ambient strings that are like a epic intro to a power metal song with a women’s voice whispering something I can not make out. The transition into the heavier part of the song [Mist On the Surface] is perfect with double bass triplets and the guitars hum along with the bass drums Then goes into a Gothenburg Metal like structure that to sound like Dark Tranquility and Amon Amarth. This Opening track is very epic in all kinds of ways the vocals are prefect, the chord progressions with the synths and many melodic leads. The guitar work is fantastic it is the first time I have heard down tuned seven strings in a style of Gothenburg Metal that also combines Atmospheric Black Metal.

The second track [That Which Never Dims] this track brings out some of the Atmospheric Black Metal elements while the Gothenburg and melodic elements hold strong and do not over power the other elements. The guitars also really get into the low B string on this track also tons of fantastic drum parts.

The track half way through goes into a slowed down new age type of clean guitar melody then the track builds up and explodes into back into the heavy melodic part once more making this one of my favorite tracks on this album.

The third track [Twilight’s Last Breath] brings out the best of the Gothenburg influence with the melodies and the drums making it the fastest track on the album. This track reminds me a lot of Dark Tranquility’s Damage Done album. It’s a very short track only just over the 4 minute mark. There is a lot of fantastic leads on the track. The keyboard lead as the guitars die down has the high light of the song.

The fourth track [The Sparrow Hawk] This is a very atmospheric song with its open string riffs and open string leads and guitar harmonies, lots of blast beats and hits and rhythms. There is also a very nice flute solo in middle of track the flute solo really fits because it has a ton of reverb and goes right along with the whole note guitar riffs and drums. There is a ultra clean guitar melody after hearing this part it won me over because I think these parts really bring out the power of the atmosphere of the tracks the epic classical piano piece that follows is very nice as well but I think there could have been a better transition into the heavy part that comes after that. It is interesting how the end of the track going all out into a melodic black metal structure as the track fades out with dark ambient atmosphere sounds. Great track.

The fifth track [Veins Of Life] takes off where the last track left off with dark ambient sounds and new age ethereal over tones. This is a instrumental track lasting only 57 seconds. It has a wonderful choir and deep drones.

The sixth track [Horizon] This is an 11 minute epic monster! It starts with a clean guitar melody for a bit then the bass and male choirs come in with very nice acoustic rhythms the heavy intro comes right in with the ethereal synths. This track is full of pure atmosphere and heavy riffs. It only reminds me out great Swedish musicians are. This track has female vocals on the slower ballad part. The female singer is amazing her voice is just magical! The structure of the ballad part has some very epic like folk melodies just before it goes into the heavy part. The solo really shows off Erik’s talent as a guitar player and the lead tone he chose is great. This song most of the way through is really an epic ballad which I personally think that is great! This song is the best off the album pure originality on this track.

The seventh track [Isdagen] this is a very progressive sounding song for the Gothenburg Metal style. The riffs and drumming and melodies really blow me away on this track. There is a slower part with a classical guitar melody and a nice flute solo makes it have more of a folk felling. But the calmness needs violently as the double bass come in and the heavy part returns with rhythms centered on the double bass. The outro of the acoustic guitar in reverse was really cool I would have loved to hear more of that through out the track!

The eighth and final track [The Evening Red] Is like a very nice Opeth sounding intro with acoustic guitars and drum fills, and heavy riffs. Then goes into a acoustic part then transcends into the heavy part. This is a very progressive and melodic closing song for the album. There is some good folk influence floating around in this track as the acoustic guitars play through out most of the song.  This track is very impressive with its dynamics and structures and progressions. There is a beautiful acoustic part with the drum playing along. The closure of the song enters a heavy part with the monster screams of ‘The Evening Red’ being yelled. Then as everything comes to a close the one last faint acoustic guitar melody ends the track with a beautiful close.

Final Thoughts: This project and album is 100% originality it takes melodic death and atmospheric black metal and creates a whole new genre I am not sure what to call it. The dynamics of the album are wonderful as well. It is extremely melodic, has great guitar work, the drums are pretty good to for Acoustica Beat craft they sound really real, as for a debut album it is mixed and mastered professionally,  

Great vocals both screamed and guteral, and a beautiful though short female vocal line it would have been better to have heard more of her voice on this album. I am really impressed this album I thank God I found this band and unearthed a fantastic gem.  KEEP AN EYE ON THIS BAND. I highly recommend this album once it is released!

Æðra @ Myspace http://www.myspace.com/aethraofficial

Æðra @ Facebook www.facebook.com/pages/AEdra/115176761865112

Æðra @ Last.fm www.last.fm/music/Æðra

Æðra @ Reverbnation www.reverbnation.com/Æðra

-Bjørn