Interview with Dallas from Barghest

For those of you who don't know, Barghest is a black metal band from Louisiana, featuring members of doom heavyweights Thou amongst their ranks. As my review of their new album will tell you, don't expect anything pretty or shimmery to come from these folks. Vocalist Dallas Smith offers insight into Barghest's existence and his thoughts on Barghest's place in the US black metal scene.

Hey Dallas, thanks so much for the interview!

My pleasure. Thanks for the oppurtunity to spread the word of Barghest.

Tell us a little about Barghest: the band's inception, focus, et cetera.

The Band formed in 2006 in Baton Rouge, La. Since the inception, the only focus was to create the aural manifestation of hatred and disdain. Violent and unsettling.. Grotesque and raw.

The "Practice" mp3s that have been floating around the internet have more in common with...I don't want to say "depressive" black metal, but more on the melancholic side, whereas the official "Barghest" release on Big Mountain Tapes and Gilead is much more fierce, twisted, and angry. What caused this directional change?

Well to be honest, it was the product of a young band finding its way. Those tracks did have a sort of melancholy atmosphere, as you stated. I think through that dark and mournful sound ,we  eventually found the anger and hatred to finally be able to start creating what we felt inside of us all along. 

There hasn't been much news about your solo project Arcane Burial, which has yet to release anything physically. Is the project still alive and, if so, are there any future plans for it?

It is very much still alive, just on a lenghtly hiatus. I have been devoting most of my time to Barghest and my other band Nemain. The tracks on the Barghest debut are quite old at this point and we have been in serious writing mode. Regardless, I still have lots of material that I am working on getting released when the time is right. 

With your guitarist Matthew Thudium in the prolific and ever-touring Thou, does this affect the amount of time you would rather spend on Barghest? What are the intra-band dynamics like with one of your guitarists gone so often?

Honestly, it doesnt affect the band very much from a writing standpoint. Matthew and myself both help write riffs but the majority of the writing is done by Jason. 

Your vocal style is very distinct - are there any black metal vocalists you might try to emulate? What metal vocalists do you admire or revere?

Unlike a guitar player or a drummer, there is no real way to emulate your favorite musicians if you are a vocalist. Its such a personal thing and only you can sound like you. With a conventional instrument you are able to learn techniques and ways to emulate your favorite players sound. With your voice it isnt really possible to do that.  Having said that, I really dont try and sound like anyone else. I just know the feelings that im trying to convey through my voice and do my best to make that happen.

As for vocalists that I admire within black metal, I think Hoath Torog (Sargeist, Behexen) is my personal favorite. Outside Black Metal and even extreme metal in general, guys like Dave Vincent, Mikeal Akerfeldt, Jon Nodveidt, Aaron Stainthorpe, Danny Cavanaugh and Layne Staley are all favorites.

People normally read about Louisiana sludge and doom bands, but what is the black metal scene like?

I'm not sure Louisiana HAS a Black Metal scene. There are only  a handful of bands doing anything remotely Black Metal influenced. Theres of course Goatwhore and very few others.

What are your thoughts on the current US black metal scene?

I have always been proud of USBM. It seems to be looked down upon but no one can deny bands like Demoncy, Grand Belial's Key and Absu. Unfortunately, the vast majority of "black metal" from the states these days is absolute shit. Its primarily bands of Pelican fans that heard Wolves in The Throne Room a few years ago and decided Black Metal was the thing to do. Not my thing...

Any closing thoughts?

Look for our debut LP on Gilead Media very shortly. Also look for new releases in the not so distant future. Were also planning a very special tour by the end of the year.  Support real USBM.

-Jon

pulseprogramming - "Charade Is Gold" (2011) [Audraglint Records]

It would appear that today is nostalgic post-punk day here at The Inarguable, and with good reason. Small, Kranky-affiliated Oregon label Audraglint quietly released Chicago juggernaut pulseprogramming's seventh full length LP "Charade Is Gold" earlier this month, and it's pretty awesome. For those of us who haven't heard of this fantastic group, pulseprogramming has been around for at least a decade, centered around multi-instrumentalist Marc Hellner, who us slowcore fanatics might know from Chicago band l'Altra. Perhaps the most intriguing aspect of pulseprogramming's existence is collaborative member Joel Kiske, who handles video and film duties, taking pulseprogramming out of the realm of "just a music group," but rather something more. I've always found the inclusion of a visual member to add to a band's mystique and distinction, much like Justin Graham's haunting and memorable visuals adding to Neurosis's extreme live intensity.

Charade Is Gold recalls the post-Joy Division, early 1980s punk scene, but with a modern sense of atmosphere and dreaminess. Think Souvlaki-era Slowdive covering songs off of New Order's first few albums; dance-infused beats and catchy basslines coupled with dreamy synthesizers and intermingled voices. Each track sounds like a magnificent sunset over a flower garden, but in the least cheesy way possible. Imagine if Portishead wrote "Dummy" while blissfully content instead of morose, grey and frustrated...but with loads more synthesizer. I definitely enjoy how reserved and calm this album is; most newer post-punk bands concentrate more on emotional intensity and less-than-successfully recreating an Ian Curtis-like vocal atmosphere (they normally sound like they're trying to vomit - don't they ever learn?).

pulseprogramming exists in their own little world, and it's working just fine. I can definitely see Charade Is Gold accompanying midday bike rides, reading in the backyard, or just relaxing and thinking of lost time and old friends. It's coldwave without being cold, so I guess we'll call it warmwave. Since post-punk is something that can be approached with hesitation, I can see fans of Sigur Ros or The Album Leaf getting into this one as well, so, please, look into this one!

Be sure to pick up one of the 700 LP pressing here at Audraglint's webpage, and I certainly wouldn't complain if one of you kind folks out there bought me a copy as well!

-Jon

Belong - "Common Era" (2011) [Kranky Records]

It's always a strange when a band changes their style, and, to say the least, Belong's punctuated equilibrium startled quite a few people. For those of you who haven't heard of Belong before this review, their October Language and Colorless Record albums were some of the finest ambiance-centered "post-rock" albums I've ever heard. Naturally, when I first gave their 2011 album Common Era a spin a lengthy 5 years after their last release, I was very surprised to hear they had changed direction in perhaps execution, but, overall, this ambiance that enveloped previous releases is still there.

So, after hearing me babble about the fact that they've changed, I'm sure you, the reader, are wondering, "Well, Jon, how did these people even change? If they're still ambiance obsessed then perhaps you're just being a genre stickler." Well, Mr. or Mrs. Reader, what we have here is a fantastic shoegaze/post-punk album. Everything is dreamy and pensive, reminding me of a lo-fi, slightly warped Disintegration-era The Cure, albeit less bittersweet...and perhaps a bit more danceable. I'm not afraid to admit to tapping my feet and swaying from side to side in my seat while listening to the poppy Perfect Life, which has proven to be one of my favorites off the album.

Am I disappointed that Belong has changed? No, not at all! While changing the way they play, this album is still undeniably a Belong album; it's just more straightforward and accessible. It is absolutely wonderful to see bands bringing back the dreamy, post-punky, "old shoegaze" sound once performed by bands like Black Tambourine or The Chameleons. Oh look at me, I'm sounding like some grizzled old shoegaze fan. Either way, this album was more than just a pleasant surprise and I eagerly await any more material this Louisiana duo has in store.

-Jon

USX - "The Valley Path" (2011) [Neurot Recordings]

Does your dad still have that velvet, tie-dye Grateful Dead poster in a box somewhere in the attic? Maybe a small square of shag carpet you can borrow? ...How about some magic mushrooms? Alright, good, because you're going to need at least these three items for your journey ahead on the intensely psychedelic The Valley Path. Formerly known as U.S. Christmas ("Oh yeah, those guys!"), USX takes their reverb-drenched, kraut-rock inspired to the next level with this one, expanding their horizons ever further with this 39-minute epic. "Oh man, not a super-long concept tune," you complain, but, let's face it; every psychedelic rock band needs a long song, maybe to be a part of some elite permafried squad or something. Instead of a super drawn-out snoozefest like one would expect from a near-40-minute tune, USX presents a rather interesting and enjoyable take on the "trip-out epic."

When I first saw USX live, back when they opened for Neurosis in late 2007, I was completely amazed by their complex instrumentation; three guitars, theremin, noise generators (a la Hawkwind), and keyboards galore, everything worked together in perfect harmony...and everything makes its triumphant return on this album and then some. Drawing upon their already successful cowboy folk-tinged psychedelia (to which I affectionately call "space pioneer folk rock"), USX adds wonderfully lush strings to the equation, adding exponentially to their already rather epic, crescendo-based sound. The movements within this massive album flow together rather nicely, leaving every idea resolved and completed (which is normally a complaint I have for longer tunes, so good job, USX!).

The only complaint I could see people having about this is the fact that the song is so long. Being raised on bands like Camel and Nektar, I've never really had a problem with long songs, but one must remember the ever-dwindling attention span of today's generation; do you think they can handle a 39-minute-long song? However awesome The Valley Path is, I can definitely see precocious youngsters growing weary of its massive length and skipping to whatever else might be on their iPods. Of course, if you are a) perfectly fine with longer tunes or b) going on some spiritual journey and need a companion piece, then you should by all means check out USX's The Valley Path. This epic, yet calming, mammoth of an album is another stepping stone on USX's own path towards becoming one of the "greats." Immense yet not overwhelmingly so, I know I'll be spinning this bad boy for a while.

-Jon

Horseback - "The Gorgon Tongue: Impale Golden Horn + Forbidden Planet" (2011) [Relapse Records]

With the sheer amount of releases under musician Jenks Miller's project Horseback, it is rather difficult to 1) purchase these normally super-limited, obscure releases and 2) predict just what these albums have in store for the listener. The 2-CD compilation The Gorgon Tongue, released just a few weeks ago on Relapse Records, is comprised of two previous, limited albums, namely the long-sold-out Impale Golden Horn as well as the limited-to-100-copies Brave Mysteries tape Forbidden Planet, released later last year. Each half of the double album reveals yet another face to the enigmatic Horseback, yielding results that one might not expect, and yet can logically trace, from their more popular psychedelic metal sleeper hit, "The Invisible Mountain."

Disc one holds Impale Golden Horn, lauded as one of aQuarius Records's top releases of 2007. This beautiful, expansive drone album condenses the hustle-bustle chaos of life and the beauty of existence into 48 and a half minutes of ringing, harmonic glory. The calming, meditative, organic nature of this disc expands into pure sound; guitars mix with organs, drums and low drones, creating a wonderful, ethereal, unforgettable atmosphere. This sonic expansion makes way for the final track, Blood Fountain, the sort of "resolution" to the chaotic, unresolved nature of the album, or maybe even a delayed climax to the ever-growing crescendo comprised of the first three tracks. Blood Fountain, as one can see in the wonderful video presented by Stereogum, is a reserved, quiet "slowcore" song, akin to bands like Red House Painters or Low, but with a much more post-rocky, peal-worship sort of edge, maybe like some of Aaron Snow's projects like Landing or Surface of Eceyon (check those bands out, you won't regret it). Impale Golden Horn is a strong representation of Horseback's more reserved, "pretty" side, which acts as a stark contrast to its second disc counterpart.

Disc two, as stated earlier, is the recently-released and super-limited Forbidden Planet, a very different companion piece to the pretty Impale Golden Horn. Forbidden Planet showcases Miller's love for the harsher, blackened side of music, featuring heavily-distorted, super-layered guitar tracks, groaning bass and the distant "thud" of what might be a bass drum. Miller's trademark, effects-heavy rasp makes its triumphant return on this release as well, and yet, while this has the black metal aesthetic and execution, this is something entirely new and unique to Horseback. Having just as much in common with the "Night of the Electric Insects" movement of composer George Crumb's Black Angels suite as it does black metal, we see Forbidden Planet heralding, or rather resurrecting a much more modern, avant-garde world of sonic experiments. It's creepy, it's harsh, and yet it's undeniably cleansing; like you're scraping the insides of your ears with a pumice stone, removing any excess wax and skin that might prevent you from hearing the slightest nuance hidden within the hiss. If you can, you should hunt down a copy of this one on tape for the ultra-harsh experience, but I doubt anyone will surrender a copy just yet.

So, while this double album doesn't really present any new material by Horseback, it is definitely wonderful to see a large metal label like Relapse taking on such unorthodox music as Jenks Miller's extensive back-catalog. I sure hope some kid in a Dying Fetus shirt buys this one due to Denis Forkas Kostromitin's wonderful artwork and completely changes his or her outlook on music. Jenks Miller, through his solo projects, Horseback, and his alternative-country band Mount Moriah, is part of a new wave of young musicians who constantly challenge given musical laws, even set by their own music, and The Gorgon Tongue is a fine example of Miller's unwillingness to conform. Buy this. Buy it now.

-Jon

GOG/William Fowler Collins - "Malpais" (2011) [Utech Records]

So recently there's been a bit of an obsession with the "old west" in the music scene. What with Earth's resurrection, Cormac McCarthy's surge of popularity with the recent generation, and this recent mass influx of "modern Westerns" in American cinema we find more bands adding a bit of the "spice" and "dryness" to their sound. Now, I'm a big fan of anything Morricone-esque, however, a lot of these bands are starting to sound similar; they all draw from that similar, soundtrack-centered sound base. Some fresh air is needed to breathe some vitality back into the scene; something outside the realm of melody that really grasps the essence of what these people are trying to do...enter the collaborative sonic duo of New Mexico resident William Fowler Collins and Arizona native Mike Bjella's GOG.

"Malpais" literally translates from Spanish as "badland" or "bad country" - an area of eroded volcanic rock and uncharacteristic aridity that prevents any sort of plant life survival. Badlands, especially the iconic, eponymous Badlands in the Dakotas, can stretch for miles, leaving nary a slight wisp of green as far as the eye can see (check out the cover for a stirring example) This crumbling, lifeless yet organic hopelessness is echoed masterfully in Bjella and Collins's 5-part sound meditations, dedicated to the Malpaises.


I like to think of this album as a sonic representation of a dust-storm, moving majestically over the badlands. Beginning with the hollow echo of "Fire in the Valley," The lumbering giant slowly ambles across the arid plains and yet it seems distant, as if you've sought refuge in a tent, a cave, your car. It fluctuates in intensity, growing louder and softer. Eventually you are met with with a pulse - is it your heartbeat? Or is it the vestiges of some long-dead native tribe, left to echo across these dead lands? The storm continues, this time much more alien, metallic, with the drum/heartbeat becoming one with the haze...and suddenly it just...stops. You leave your huddle to see that, aside from some dusty residue here and there, nothing's changed, and the pensive, extreme and empty bass of "Of Ash and Wind" leaves you wondering, is this my effect on life? Am I merely a speck of dust in a sandstorm, leaving no noticeable mark on the world? Existential and fragile, you sit and think for a while.

Very much a "headphones" album, unless you have a great subwoofer, "Malpais" is the perfect marriage of William Fowler Collins's subtle, shifting noise with GOG's amplifier-worship drone. Though I enjoyed this collaboration, I do understand people's hesitance towards the droning, noisier side of things, and that's perfectly fine; this music isn't for anyone. For those of you who are brave and patient enough to venture into this more "advanced" side of music, "Malpais" is the thing for you. And for those of us who enjoy reading, be sure to grab your favorite Cormac McCarthy novel (mine being Blood Meridian) and read it with "Malpais" as a companion piece; you will see it with new eyes.

Be sure to see both GOG and William Fowler Collins, as well as pick up this wondrous collaboration, at URMF (or Utech Records Music Festival) in Milwaukee on June 11th, where they will share the stage with such acts as Locrian, Mamiffer, House of Low Culture, Horseback, and many, many more.

-Jon

Blackdeath - "Katharsis: Kalte Lieder aus der Holle" (2010) [Hospital Productions]

So, basically, I scored this vinyl LP at a record store in Chicago upon a pure impulse buy. And boy, am I glad I did.

Blackdeath are a Russian black metal band comprised of two brothers and a female drummer, who have lyrics primarily in German. 

I've heard some of their older material before, and was always impressed by their strange way of making unusual playing styles work for their music. 2002's 'F--king Fullmoon Foundation' was a bit of a sloppy, yet memorable and interesting gem.

This new album showcases their new drummer's excellently executed work, and some awesome scattering vocal work, courtesy of a guy named 'Abysslooker'. It's a bit unusual for a Russian band's vocalist to shout in German, but the raw, cathartic intensity of his voice adds a new dimension to this extremely dark music. 

With this album we see a lot of tempo changes and more interesting rhythmic patterns. There is a lot more lead work that adds a blistering and old school-sounding atmosphere to the already dissonant rhythm chords. Oh! And you can hear the bass crystal clear... excellent. We can definitely note the increasing understanding and mastering of their musical art over the years, and this album seems to showcase all that the band has learned. This is easily imagined to be the brainchild of a band after countless hours of trial and error in riff-writing.

Overall, the atmosphere of this work sounds like a distressed man seeing visions from hell and describing it. One look at the cover art and one can easily gather this scenario. This album is perfect for those contemplative or distressed evenings in which you need something to relate to and obliterate your soul into an enshrouding void that will swallow all the pieces before you can hope to gather them. You know... ever have those nights?

Very dark, impacting, and horrifying work.
Oh yeah, and there's a Summoning cover at the end. Sweet.

For fans of early Deathspell Omega, The Shadow Order, Zyklon-B, and The Ruins of Beverast.

-Elan

Dante's 'Inferno' ain't got nothing on this... 

Necrocurse - "Chaos Carnage Cataclysm" (2011) [Aftermath Music]

Necrocurse is the new band formed by members of Swedish legends Nifelheim and the doomy, gloomy Runemagick. What results is almost unexpected, but makes sense at the same time.

This album is a single, with two songs used as a sample of what is to come.

With a blistering, ominous, and foreboding atmosphere, these tracks breathe a life of thrash and death metal influence into very doom-based riffing patterns. The vocals, as expected, are vile and disgusting (meaning 'perfect' to folks like myself), and there are some excellently executed buildups to some hard-driving riffs.

As much as I am not much of a fan of calling a band 'blackened death thrash', the best way to look at this band is just to simply call it a bare-bones extreme metal band. It offers the best of all kinds of elements of the genres breached, and, might I add, with the experience and know-how to make the patterns really drive home. The songs may not be 'progressive' or 'groundbreaking', but they offer much of a reprieve in times where metal music seems to be spreading itself too thin.

This is an extremely well-played sample of what is to come, and leaves me screaming for more. This is patched-denim-vest-wearing-guy-punching-people-in-the-face-because-he's-drunk-and-proud kind of metal... my favorite.

-Elan

Seriously, buy this thing now. 

A Forest of Stars – “Opportunistic Thieves of Spring” (2011) [Prophecy]

My nerdiness allows me this moment of enthusiasm. As one with a great interest in both the Victorians and theatricality in music I have been eager to check out A Forest of Stars for a long time. I had plenty of opportunities to buy their albums when they were released by Transcendental Creations (The Corpse of Rebirth in 2008 and Opportunistic Thieves of Spring in 2010); but for whatever reason I abstained. Lucky for me, these albums are getting the Prophecy treatment this year with the intent to make them more available to European audiences (May 23, 2011), and in a roundabout way that makes them more available to us greedy Americans...

A Forest Of Stars aptly describe themselves as a “musical attempt to merge the atmosphere and majesty of space with a suffocating darkness and a haunting, ghost-like quality,” which actually sums it up rather well. They understand that the Victorian age was marked by extreme contrasts and opposites (for instance, extreme sexual prudence and rampant child prostitution) and new attempts to experience spirituality outside of organized religion. This last point resulted in what might be called the first “New Age” movement. Coupled with Romantic exoticism it led to all kinds of ghostly rituals and gatherings involving wormwood and opiates. This is essentially the framework for the concept behind A Forest of Stars.

Bouncing fluidly from the bazaar to the séance, Opportunistic Thieves of Spring is full of varying moods welded into a full length devoid of dull moments. “Summertide’s Approach” for instance begins with a lighthearted fiddle and piano ditty, gets dark and ends in a majestic trance—all quite naturally. “Delay’s Progression” throws in some vocoder to excellent effect. And “Raven’s Eye View” shows the unique melodic sensibilities of the band and their ability to write a good hook—in this case a very blackened riff given over to the woodwinds. All of this, of course, for the purpose of capturing that flavor of the exotic and supernatural from a late nineteenth century perspective.

I’m not sure if the “psychedelic” label works for A Forest of Stars, at least not as I understand it. It feels to me like more thought went into the creation of the music of Opportunistic Thieves of Spring than might be expended on the typical “jam” music I tend to think of as being “psychedelic.” Eerie bells, cosmic keys, expressive strings and woodwinds, and atmospheric production (not too clean, not too lo-fi, just enough wash to make it sound big) are all used with calculation and taste. Even the noisy ambient bits such as the one that opens the first track, “Sorrow’s Impetus,” lasts only as long as it should to add color to the song. For this reason even where there might be improvisation each lengthy track feels composed.

One of the more original bands in the modern black metal scene, A Forest of Stars melds a unique fantasy and image with a dense, supernatural sound entirely their own. If, like me, you find the label “psychedelic” a bit off-putting, rest assured it does no justice to this band. Rooted in black metal, but so much more, A Forest of Stars’ Opportunistic Thieves of Spring is an album for stormy summer days... and perhaps a cup of tea.

-Bryan A. Wysopal

A Forest of Stars on Prophecy

Wreck and Reference - "Black Cassette" (2011) [Self-released]

So I'm pretty sure I've mentioned it before on here, but I'm not very into this whole "noise" thing. Yes, I understand and respect the importance of musicians like Masami Akita with his Merzbow project and all of John Wiese's tongue-in-cheek sonic explorations, but, in the end, I can't ever truly see myself sitting down and enjoying it on my own time. However, I absolutely adore elements of noise in non-noise bands. The sonic intricacies of the style add heaps of interest to now-tired genres like black metal, post-hardcore, drone, and, in the case of one Wreck and Reference, doom metal.

Wreck and Reference's "Black Cassette," while using the noise as sort of a buffer, the crackling guitars and sample-heavy synthesizers imbue the recording with a bit of personality that is lost with the "perfect" sound of most modern albums, reinforcing the "human element" in music of which I love so very much. Gigantic, triumphant drums act as the backbone for the loud, fuzzy instrumentation while distant, despondent, disembodied voices fill in the void. Though people can obviously describe this as a slow, sad Shellac or Young Widows, the band that comes to mind whenever I listen to this recording is Connecticut's mighty Have a Nice Life. Everything is gloomy and ghost-like, almost as if the vestiges of an older recording remained ringing in your speakers, haunting the listener with its creaking, lost tones.

So, have Wreck and Reference made the cut with their "Black Cassette"? Well, I certainly have fallen in love with this short recording and am eagerly awaiting anything more they might release. Heck, I'm about ready to shell out the $5 to order this, especially because it is limited to 50 copies; I don't think I'd ever forgive myself for passing this up. For those of us who don't have the money, the mp3s are graciously available for free from their Bandcamp, so be sure to at least give this one a listen!

-Jon

Below - "St. Anthony's Fire" (2011) [Karmic Swamp]

DOOM is at least a 40 letter word.

Most of you should know of Kentucky doom giants Seidr by now; they've gotten reviews all over the internet, attention from Crustcake and Stereogum, and, of course, a pretty substantial full-length release from up-and-coming US label Flenser Records. While all these sites are hyping the fact that Seidr is in fact a Panopticon-related project, which is a good selling point, we see them neglecting the rest of the band's musical repertoire. Little do we hear about guitarist Crow's work with his avant-drone project Wheels Within Wheels, nor, to get on topic, bassist A. Nicholson's 3-piece sludge/doom band Below. Perhaps it is time to shed some light on this pretty awesome, heavy-as-the-fucking-sun project.

I've noticed a recent trend that what is now known as "sludge" has been split into two categories: the happy-go-lucky, bottom-heavy, "funtime" bands like Baroness, Black Tusk or old Mastodon, or the post-rocky, Neurosis/ISIS worship bands about which I ranted in my recent 413 review. Now, I ask you, what happened to the actual sludge bands? With everyone too busy creating textures or sounding more like a detuned "party metal" band, people really have forgotten about the greats. Does this new generation of "sludgesters" know about Grief, Corrupted, or Buried at Sea? The music might be good, but, dammit, I need some mind-numbingly thick and heavy DOOM every once in a while!

Luckily, Below provides a pretty hefty supply of drugged-out cojones with their recent release, "St. Anthony's Fire"; enough to make up for any that might have been lost in recent years. Stretched out over four extra-long tracks, "St. Anthony's Fire" is an exercise in balance, moving between super-heavy, slow-as-chilled-molasses doom and spacey, 70s-tinged psychedelia. Everything about this album just screams power, from the menacingly sharp guitars and heavy-handed drums to the deep, roaring vocals. Even the atmospheric, psychedelic sections, like in the 14-minute closer "Khnum-Khufu," retain the muscular strength seen in the heavy, straightforward sludge parts. Clear your schedule for this one, for it demands your full, undivided attention; I had to set down my copy of Blood Meridian by Cormac McCarthy because I couldn't stop concentrating on the music happening all around me.

Although this album is absolutely fantastic, my one complaint concerns the guitars: while they are SHARP, they aren't really thick enough. A quick bass-boost on the guitar tracks would make this album that much better. Otherwise I really don't have any complaints - we need more albums like this.

The Below crew have graciously shared "St. Anthony's Fire" as a free download, which you can grab from their official download link here. Be sure to keep an eye out on their Facebook page for physical copies, which should be available in the near future.

-Jon

Live Review/Photos - Novembers Doom, Kommandant and more 5/13

Much to my dismay, as well as the dismay of others, Novembers Doom is not a band which tours often. Luckily, when I lived in Chicago (their hometown) I had the luck of seeing them a good couple times, but never as a headliner. I managed to time my flight/Chicago vacation around their hometown headlining/CD release show, however, and I’m glad I did. For those that don’t know, Novembers Doom is one of pioneering death/doom bands (moreso doom originally, and moreso death, now), predating the likes of My Dying Bride and Anathema, 

though, to be fair, their first release wasn’t until 1995.

Anyways, the lineup consisted of all Chicago bands, including death metal band Reign Inferno, Peshmerga (made up of ex Gorgasm members) and black metal outfit Kommandant, and of course, Novembers Doom. Both Reign Inferno and Peshmerga put on a good performance, but the spotlight really shined on both Kommandant and Novembers Doom. 

Kommandant had quite a theatrical performance, to say the least, with band members dressed in military attire with gas masks, as if prepared for war. Novembers Doom were great as always, with a perfect tone, and a great mixture of Paul’s harsh and clean vocals. They opened with Into Night’s Requiem Infernal, continued with Rain, and then proceeded to play the entire Aphotic album (which was just released this month, and is definitely worth checking out!). Aphotic was followed by Swallowed by the Moon and In the Pale Haunt Departure. Personally, I would have preferred to see a set mixed with classics as well as more recent songs, but nonetheless, I was more than satisfied when Novembers Doom finished their set.

So, here are the shots of Novembers Doom and Kommandant, click to see more:

Njiqahdda - "The Path Of Liberation From Birth And Death" (2011) [Pagan Flames Records]

How fitting it is to write a Njiqahdda review shortly after a Benighted in Sodom review. For those of you who haven't heard of Njiqahdda, this hyper-prolific experimental black metal act, hailing from the greater Chicago, Illinois, area, has released albums ranging from Death in June-like neofolk all the way to hour-long drone/noise escapades. This year alone Njiqahdda has released two full-length records and four EPs, and this author knows firsthand that there is no stopping Njiqahdda just yet (be sure to check back in a few weeks for my review of the new Oaks of Bethel double album!).

Njiqahdda has always been one for challenging their listening base with unusual sound experiments, whether it be lengthy drone piece, noise, field recordings, strange vocal styles (listen closely and you can hear a lot of throat singing throughout their discography), but where does one go after taking black metal as far as you think you can? Well, obviously, you push it further, which is exactly what The Path of Liberation from Birth and Death is. This album is absolutely ridiculous, and most of the time I wouldn't even call it black metal. Here we see Njiqahdda forgoing the "majestic" black metal style of which they championed for something much more progressive and, dare I say, technical. There are points on this album where I am almost convinced I'm listening to some lost post-Obscura pre-From Wisdom To Hate Gorguts demos, and others where things get rather Mastodon-y (not that sounding like Mastodon is bad at all). Everything is jagged, phasing in and out of harmony and chaotic dissonance, maybe even jazzy at times.

The track that stands out from the chaos is by far the 25-minute "Universal Form Replaced With Despondent Chaos." This melodic juggernaut is rather reminiscent of the Valsuarpormiis EP, of which I reviewed back in October. This mammoth track features epic, droning guitars, mournful vocals, and, at times, folky acoustic guitar leads. Hell, there's even some theremin on this song! For those of you who are frightened by this new, technical side of Njiqahdda, this track is still rather stylistically similar to older material.

Njiqahdda's use of V-drums (NOT A DRUM MACHINE) has always been a bit of a deal-breaker for could-be fans, but, surprise! This album uses acoustic drums, so feel free to listen to this one without hesitation! I'm sure Njiqahdda wouldn't mind that you only listen to their album with "real" drums, no matter how expensive it is to own your own real drum set (/sarcasm). Fair-weather fans suck; listen to the rest of the discography. Get into this. Now.

-Jon

Forgotten '90s: Cinco de Gatos

Cinco de Gatos ca. 1995

The 1990s set the stage for many a rock band; musicians ranging from young teenagers to older twenty-somethings picked up their guitars with dreams of being signed to Dischord and Jade Tree Records, maybe recording a demo or two, and, if they were lucky, a full-length album for some independent label before fading into relative obscurity, perhaps to be discovered by some college student who picked up their limited 7” record at a small resale shop or dying radio station sale.

One of the most poignant and sadly unknown bands to come from the early 1990s Chicago scene was the short-lived Cinco de Gatos. Only existing for a short period between 1994 and 1996, Cinco de Gatos recorded a demo, El Kitti Loco, a yet-to-be-released full-length entitled Epiphany Wants to Come Home, as well as an EP, Home Taping Is Destroying Hardcore, recorded for their short reunion in 2009-2010. A combination of their short career, a failed reunion in the late 2000s, and the lack of readily-available recordings has proved all but successful for any media exposure, maybe getting a mention in a show review if they were lucky. Being the first in-depth look into Cinco de Gatos, this article will delve into the band's genre and history, discuss both Epiphany and Home Taping, as well as discuss the band's short reunion and what the future holds for the band itself, if there is a future for Cinco de Gatos indeed.

Cinco de Gatos fit into what is known as the “post-hardcore” community, a subgenre of rock music with its roots in the late 1970s/early 1980s. Essentially an experimental offshoot of the “hardcore” genre, post-hardcore's earliest incarnations existed with bands such as Black Flag, whose My War album's B-side is a slow, wretched, noisy affair characterized by vocalist Henry Rollins's pained spoken-word, or The Clash's later experiments with reggae and pop music, or even seminal post-punk band The Pop Group's inclusion of dub, jazz and noise into their bass-heavy, experimental take on punk. The 1990s brought about post-hardcore's pinnacle, featuring At the Drive-In's flirtations with Hispanic rhythms and effects pedal-ridden psychedelia, Fugazi's heavy, funk-influenced rhythms and Glassjaw's overall “modernist” take on rock music in general: keeping a strong rhythm section over which the guitarists and singer perform semi-improvised, avant-garde sonic experiments. Post-hardcore eventually became a blanket term for any band with punk roots or punk influence who just did something different or new with the genre.

OOOAAARDVARK - "The Alpha Compound" (2010) [Mars/Antarctica Recording Co.]

The reviewing gods worked against us at The Inarguable when it came to getting this release done. Having received a copy in the mail (all the way from Australia!) back in October, a combination of forgetfulness on behalf of some former writers and an intense schoolwork schedule on my part made this album sort of push its way to the very back of the review pile (oops *sadface*). Now that school is pretty much out of the way and free time has made its way back into my life, I figure the best course of action should be to finally review this album, so here's to you, Joel. Sorry for making you wait months upon months for this! :/

Hailing from Melbourne, Australia, OOOAAARDVARK (pronounced 'triple owe aardvark') is a 4-piece, female-lead progressive rock band. No, not like your standard Porcupine Tree/King Crimson/Ayreon sort of progressive rock band, instead OOOAAARDVARK brings something different to the table. Under the guise of a groovy, sleazy sort of garage rock band like, oh I don't know, maybe a more talented The White Stripes, OOO draws influence from psychedelic folk band Espers, technical groove metal kings Meshuggah, and, of course, TOOL. To be completely honest, this is probably the most accessible release I've reviewed for this site. It's catchy, it's not too heavy...hell, I wouldn't second guess it if I heard a track off of The Alpha Compound on some random XM radio station. This is just one of those albums where you can really get into it at first listen. I know this (along with Kvelertak's full-length) will be in constant rotation for summer drives with the window down.

So, if you want a fun, rocking album with progressive twists strewn about, I'd say approach this album without hesitation; you'll be bobbing your head in no time. Stream/download the album here, but I'd recommend picking up a physical copy here just for the amazing art book, featuring photography by Georgian artist Sophie Berdzenishvili.


-Jon

Benighted in Sodom - “Reverse Baptism" (2011) [Solitude Productions]

Ah yes, more Benighted in Sodom. Those of you who have been with us from the beginning know that BiS mainman M. Thorn keeps himself rather busy. Alongside Njiqahdda, Benighted in Sodom is at the forefront of this newer wave of hyper-prolific, distinctly original-sounding black metal from the United States. Drawing upon equal influence from both black metal stalwarts Sargeist and notable darkwave acts Lycia and Dead Can Dance, Benighted in Sodom's dreamy, beautiful-yet-gloomy atmospheres remain unmatched in the "depressive black metal" community. M. Thorn's constant recording has led to a specificity in his sound, enough to the point where one can almost instantly tell that Benighted in Sodom is playing. Of course, this sort of "stagnation" could spell the end for a band stylistically, the mass influx black metal bands (who all happen to try to sound like some band from the Pacific Northwest) seen in the United States these past few years calls for a band to be easily recognizable and unique in order to survive.

So, yes, this is another Benighted in Sodom album and, yes, we see M. Thorn bringing the project closer toward his darkwave side. Does this make the album boring and "samey"? Not necessarily. I mean, I wouldn't push this specific on someone who has already crafted their opinion of Benighted in Sodom as it isn't the best "jumping off point" for a prospective fan, but for weathered fans like myself this is a rather enjoyable album. If you still aren't sure, grab this one for the song "Try to Forget Us" alone (it's my favorite).

Be sure to order a copy from Solitude Productions!

-Jon

413 - "Path to Hocma" (2010) [Self-Released]

The term "post-metal" as a genre has really stagnated. What's that? The band utilizes detuned guitars with soaring, ethereal leads? Good job, you're doing what Neurosis has been doing since 1993. Let's be fair here: some of those NeurIsis worship bands are cool and all, but there really isn't anything super original about it. Sometimes late at night I find myself checking out some post-metal band that a friend recommends me. After a while I'll forget which band I'm listening to and go to my iTunes, wanting to switch to the next track on the ISIS album to which I was sure I was listening. It's like people have forgotten the prefix "post-" essentially means a furthering of a style; an avant-garde take on the original genre, making something new. So, needless to say, when I received an email from post-metal band 413 from the Basque Country, I was sort of hesitant to really take it in. And you know what? I regret my hesitation. 413's "Path to Hocma" is one of the most intriguing metal albums I've heard in a while.

413 is the bass-centric (you won't find any guitars on this album!) project solo musician David Pisabarro. Taking cues from the usual hardcore, sludge and post-rock, we also see 413 incorporating traditional musics of the Basque country and film music to create a dichotomous, angular-heavy-meets-expansive-and-pensive sound. At times sounding like a progressive hardcore band like Shai Hulud, while at others almost reminiscent of progressive jazz doom trio Stinking Lizaveta, the genre-hopping seen throughout this album kept me at the edge of my seat. Pisabarro is obviously a very talented songwriter and orchestrator. On this album you'll hear choirs, triumphant brass, and intriguing keyboard textures to complement the low-end, fuzzy layers of bass.

Perhaps the coolest aspect of this whole album is that it is absolutely FREE, both digitally and physically (to obtain a physical copy, fill out the email form with your address!). A rather bold move for such an obscure band, but the free-media approach to gaining recognition and support is something that hasn't really been embraced by the greater metal community and is something that I happen to enjoy (not only because I'm a poor college student). Pisabarro wants to share his music with the world, even at his own expense, which is something for which I hold immense respect.

Be sure to donate some money, however minuscule the amount, so that David will be able to create more music!

-Jon

Horseback/Locrian - "New Dominions" (2011) [Utech Records]

When I first heard about this collaboration from one Jenks Miller (sole member of Horseback), I about crapped my pants. I had been a fan of Locrian for a few years (check out my review of their last album here and a video interview here), and Horseback's "The Invisible Mountain" LP reissue was a fresh memory, so young, excitable me was overcome with joy and a newfound impatience...and it's finally here!

This collaboration is a complete goldmine of textures, ranging from the to the harsh, desolate, and creepy sounds of "The Gift" to the lush, pretty, and awe-inspiring drones of "Epitaph." Ever the experimenters, this four-part collaborating team effectively demonstrates each band's duality through these two songs. We all know Locrian are no strangers to the dark and noisy (especially those of us who saw them open for Agalloch in Chicago), but for those of you who haven't heard Horseback's material outside of the two full-lengths, this is a great jumping off point for Mr. Miller's back-catalog.

Interestingly enough, the making of this post is the first time I've ever seen the artwork for this fantastic one-sided 12" (the other side is an etching!). The fantastic Denis Forkas Kostromitin's hazy, uneasy style fits this collaboration perfectly; it is intriguing and perhaps even comforting, but there is a lingering feeling that you just can't take. A bad taste in your mouth, if you will; growing, menacing.

Turn off the lights and let this envelop you.

This release, and many others, will be available at Utech Records Music Festival in Milwaukee this coming June 11th!

-Jon

Grayceon - "All We Destroy" (2011) [Profound Lore Records]

Grayceon; a name I have heard tossed about for years now, but never really went out of my way to listen to them. Unless I am held at gunpoint to discover new music/bands, I do not even bother wasting my time. This is one of the few cases that I am not entirely glad I never listened to the band in question. When asked to review 'All We Destroy', I had no real idea what to expect. I have heard the 'progressive' tag thrown around when describing Grayceon, but knowing how much certain tags are thrown around without proper attention paid to their usage, I thought nothing of it. Progressive is perhaps the only word that can be used to describe Grayceon's sound, they hope around so many different genres/styles that no one singular tag can be used to describe their sound. 

I would say that Grayceon is a metal band, but there are a lot of rock tinges in their sound as well as, again, progressive music. One issue with a lot of progressive music is that in all its pseudo-technical wankery, emotion is completely lost. The ability to craft songs is also lost in the pit of trying to be as technical as one can, ending up in what sounds like loads of uber-practiced scalar runs and drum frenzies, as opposed to actual songs. Grayceon manages to craft actual songs, with hooks abound, without losing their edge of technical proficiency. My attention was captured in full while listening to 'All We Destroy', which to me, is a great signifier of strong craftsmanship. Passionate (and very well executed) vocals, complex guitar/drum patterns, melancholic cello work and fluid bass playing make 'All We Destroy' the brilliant work that it truly is. There is no shortage of talent on this recording, that is certain. Every member performs flawlessly and with painstakingly emotive density. The production is of note here too; in an age of over-produced, glossy and above all, STERILE production techniques, 'All We Destroy' is overwhelmingly organic and incredibly clear at the same time. The production compliments the music in complete harmony.

Grayceon's latest offering is nothing short of brilliant, so much so that I plan to check out the rest of their back catalog in full. I am completely impressed by the musical genius that is 'All We Destroy'. Contender for top ten albums of 2011? You bet your ass it is.


-E.

Despise You / Agoraphobic Nosebleed - "And On And On..." (2011) [Relapse Records]

Grind and more grind. Safely put, there is no shortage of grind on the newest offering from both Despise You and Agoraphobic Nosebleed. Both are nasty and hostile as can be, as listeners of grindcore can expect. Grind is not known for beauty or even technical ability. Its much more of a hybrid of hardcore punk and death metal, with more emphasis on intensity than ability. There are plenty of bands who pull the tech-grind card and do it well, but its more of an atypical sort of sound for grind.

Despise You; very adherent to the old guard of grindcore. Punishing riffs, blasting drums, screamed hardcore-ish vocals and incredibly short songs. Again, more emphasis on intensity than technicality. The Despise You half of the split is very much like an old-school hardcore record played at 1000 miles per hour. Political and rebellious lyrical content is abound on their half of the record. Confrontational as can possibly be, both in sound and ideals. This will tear your head off. 

Agoraphobic Nosebleed; legendary drum-machine fueled grind insanity. AN is nowhere as straight forward as Despise You. AN mix thrash, doom and punk into their furious brew of grindcore. Some ripping soloing, courtesy of the master - Scott Hull, can be found as well. Experimental grind? I would not know what else to describe AN as, especially considering the amount of technical dexterity on their work. Angry? Yes. Furious? Yes. Going to convert non-grindcore listeners? Probably not. Brutal, memorable and awesome nonetheless.

Not for those who have yet to find their taste for grindcore. For grind freaks, like myself, this album will deliver in full.


-E.

Leucosis - "Pulling Down The Sky" (2011) [Self-released]

This stirring album cover is by far one of the most poignant and heartbreaking photos I've ever seen. The story of Cosmonaut Vladimir Komarov, whose immensely disfigured remains make up the charred mass in the lower left-hand corner, is one of betrayal, fear, and...space. Komarov was one of the first Cosmonauts in space, in the time of famed Cosmonaut Yuri Gagarin, and in a freak (?) calculation accident his space capsule. hurtled through the atmosphere, his body and the mechanics of the ship melting and merging into the mass of organic matter and metal you see before you. Click here for NPR's in-depth report on Komarov's death and the Soyuz Capsule incident, as well as a haunting recording of Komarov's final, utterly helpless moments, screaming "You've killed me!"

"Tracked live, mixed & mastered by Leucosis under Japan's poison rain at Firecracker Studios, Santa Cruz, CA" reads the liner notes for West coast black metal trio Leucosis's first full-length "Pulling Down the Sky," an hour-long adventure into deep space, the certainty of death, and the story of Vladimir Komarov, whose terrified screams can be heard in the second track "Approaching Lucidity."

"West coast black metal? All that stuff sounds the same," you might say, and, in some cases, yes, Leucosis does fit into the Weakling-eque post-2000s West coast scene, and yet there is something entirely different about their execution. Take, for example, the aforementioned "Approaching Lucidity," which completely oozes doom and almost Tribes of Neurot-like tribal psychedelia. These 8 songs (3 of which are ambient interludes which are all under 2 minutes long) meander between crushing doom metal ("crushing" really is the only word I've found that can accurately depict non-groovy doom metal - we journalists need to find a new word), spacey psychedelia, and passionate, not-too melodic black metal, sometimes taking on an almost Deathspell Omega-like atonal/melodic dichotomy.

So, Leucosis might not be the most original band to come from the West coast, but if you want a good, memorable black metal band that strays from the whole "forest" and "paganism" nonsense with which everyone seems to be obsessed, I highly recommend that you check out Leucosis. "Pulling Down the Sky" is full of raw passion that a lot of black metal bands really seem to lack nowadays, rather trying to emulate the flavor of the week. If you've got $5 to spare, definitely look into ordering this one, and maybe check to see if they have any copies left of their "Movements to Breathe" EP, from Leucosis at leucosis.band@gmail.com.

-Jon

PS) Sorry about my lack of presence here. If you don't check the Facebook page, I'm completely swamped with schoolwork, but I'll be free soon!