Liturgy, Chelsea Wolfe and Ides of Gemini at The Echo

This past Saturday at The Echo I witnessed a fairly varied lineup of three pretty damn good acts: Ides of Gemini, Chelsea Wolfe, and, headliners Liturgy.

Ides of Gemini is a three piece featuring vocalist/bassist Sera Timms (also of Black Math Horseman), guitarist J. Bennett (also a contributing writer of Decibel) and recently acquired drummer/backing vocalist Kelly Johnston. They play a sort of mellow, doom tinged rock/metal accompanied by the hauntingly beautiful vocals of Sera and Kelly. To put it simply, the performance was excellent, and managed to convey the chilling atmosphere present on their ep The Disruption Writ without any difficulty.

Just as Earth was touring with Angelo Spencer et al, another sort of seemingly odd pairing was occurring; however, as most of you know, Liturgy appeals to a more indie esque crowd, and I suppose Chelsea Wolfe's music does as well. Chelsea Wolfe is a dark blend of experimental sort of folkish indie rock (search for her on Youtube, I’m not the best with throwing around genre tags). Regardless, I was really excited to see her (along with the accompanying band) band play. From the beginning I loved their performance, though I may be a little biased due to the fact that they opened with my favorite song (Advices & Vices) and continued with an great set list. 

I’m sure most of you are familiar with Liturgy, or perhaps moreso familiar with Hunter Hunt-Hendrix’s transcendental black metal proclamations. Now, I’m not fond of those by any means, but then again, let’s just remember what Varg Vikernes recently stated in his essay War in Europe: Part I - Cui bono?: “How can he list all the problems caused by different Jews in our history and yet fail to mention even one of them with a single word in his manifest?” So, to put it simply, if you’ve ignored Liturgy because of what Hunter said, then get out of your shell and listen to Renihilation and Aesthetica, as they are very good, as is their live performance. The intensity of the sound live came out very well, however the intensity of the band members, with the exception of drummer Greg Clark, seemed sort of lacking. 

With that being said, check out some more photos from the show, and links to the full sets are located on at the bottom:

Molested - "Blod-Draum (Reissue)" (2009) [Ars Magna Recordings]

I am sure that my introduction to Molested was the same for most people, "Hey, Oystein from Borknager had a death metal band? Let me check this out". Now, I have had a copy of this album for many years now, but I was recently given the new 2-disc version, lovingly supplied from the elite Ars Magna Recordings. This 2-disc set has the bands entire discography on one release; Blod-Draum, Stormvold and both of their demos. Excellent.

What to expect? Early 90s technical death metal (think less of Brain Drill and more of Ripping Corpse, at least in the regard of it not being shred-wankery) with a flair for experimentation and killer melodies. Its sad to think after reading the liner notes of this album, that the band had gone through so much label drama, because had they stuck it out, I think they would have ended up at the forefront of the 90s death metal scene. Molested were, without question, ahead of their time. Technical enough to keep from being predictable and experimental enough to cause many "what?" moments. A true musical gem to emerge from the scene at the time, not to mention highly under-appreciated.

I am very glad that Ars Magna managed to pick this up for a larger audience, but also to put the original master of Blod-Draum on the second disc. No offense to Mr. Swano, but the remaster of both Blod-Draum and Stormvold are awful. An album that has now become a victim of the incredibly stupid and pointless 'loudness war'. The remaster makes the drums SO INCREDIBLY LOUD that it is almost impossible to decipher what the guitars are playing. What a shame that is, especially considering the amazing melodies that are all over the album. Stick with the original master to actually enjoy the recording (too bad the original mix of Stormvold is not on here too).

Regardless, an absolute must have for fans of 90s death metal or fans of intricate, intelligent death metal. This band and album(s) were truly a historic landmark in the death metal scene at the time. Now that they have a proper reissue, you have NO REASON to not own this album. Complete and utter brilliance. 


-E.

The Makai - "Embracing The Shroud Of A Blackened Sky" (2010) [Halo Of Flies Records]

I am always amazed at the names people come up with to describe music, sometimes it works, most times its just pure silliness. I was told the band The Makai was labeled as blackened neo-crust...umm...sure. I can see the black metal and crust punk influence in their music, but I don't know, I feel kind of silly saying it. I will just keep to metal/punk, which is probably no better, but I hate the new development of having super specific names for everything. Not necessary for me, personally, but I digress...

The Makai; a band with a few releases under their belt, but none as structured or well thought out as this release. An absolutely punishing hybrid of the darkness of black metal, intensity of hardcore/crust punk and introspection of doom. It may seem a bit odd to think of at first, but I can assure you, The Makai makes the sound seamless and completely organic. One thing I have to note about this record is that it is incredibly intense, from start to finish. Not in the "we scream and blast till our veins pop and amps explode" (although there is plenty of that to be found on here), but in the melodic phrasing and dynamics. There is a sense of incredible urgency in every note, every word and drum hit on this album. The urgency really helps what appears to be the conceptual side of the album, seem even more genuine. I am not going to divulge information on the concept, other than to say, get the record and find out for yourself. I also have to give major props on the packaging of the album. Beautiful artwork, a huge poster and book all come included with the record. The book is of special note; beautiful artwork within and all the lyrics included, which really help solidify the conceptual side of the album.

Needless to say, I was incredibly impressed with this album, from beginning to end. Not sure what I was expecting, but this really blew me away. I listened to the album probably 20 times before reviewing it and it got better with each listen. Do not miss this album, because if The Makai keep up this high level of quality on future works, they will be a band to be reckoned with in the US metal scene. Absolutely, totally recommended to all metal and punk listeners.


-E.

Offthesky - "The Beautiful Nowhere" (2011) [Hibernate Records]

I spent this morning driving all over town for coffee, and all I got were detours. 

Needless to say, the drive was a perfect time to give a thoughtful listen to the new Low album. I was convinced that I would be the one fan to think this was their best effort yet. That was not the case. A less than stellar experience segued into another recent purchase- the newest effort from Ulver, which despite the media silence and virtually zero pomp and praise for the record, was a beautiful experience that will somehow make it onto my year end list. Still, I needed something truly refreshing today, as I do most days, to renew my faith in the idea that music is still moving forward.

Then I remembered I was two weeks late in reviewing “The Beautiful Nowhere” by Kentucky multi-conceptualist, Offthesky. 

Truly cinematic in scope, from the first moments of “Surface of Your Sin,” it is clear that Jason Corder is exploring new territory- both within his own catalogue and the canon that encases his contemporaries. Crown him prince- the Bonnie “Prince” Billy of post-drone (am I the first to use the term?), or maybe consider the atmosphere of Kentucky that we have recently seen conjure the genius of likeminded local musicians such as the always prolific Josh Lay and Austin Lunn is in the air, penetrating the soundwaves. Whatever it is, “The Beautiful Nowhere” has all the makings of a true milestone, including its Criterion worthy title, and documents the positive progression of an artist that has now solidified a reputation as a key player in experimental music.

Fans of the backwater sensibilities captured by old Palace Brothers, devotees of artists like Jasper TX and Simon Scott, lovers of the more commercial textures explored by Explosions in the Sky and/or Air’s Virgin Suicides era, can all find something to connect with that will resonate long enough to keep this album on repeat for a long while.

I always feel guilty giving a positive review, because I want so badly to tear down poorly constructed music. But the truth is Jason has shown more than a glimpse of genius with this release. In fact, he has simply proven himself to be the master weaver of textures that I will be wrapping my head around for the next hundred listens. Highly recommended. Favorite tracks: ALL OF THEM.

-R. Loren

Bosse-de-Nage - "ii" (2011) [Flenser Records]

Black metal is weird.

I mean, think about it - a genre based upon the ideals and ramblings of a group of sociopathic, violent teenagers scattered throughout the late '80s and early '90s. This is a genre of music that, for the most part, is centered around the celebration of wrongdoings and closed-mindedness and whose listeners, myself included, ridicule bands who attempt at this music because they aren't black metal enough. I'm sure this little notion is going to piss people off, but think about it. We've long known and accepted these things and we still love black metal. We're a little fucked up, but that's okay. Music is music and ideology doesn't necessarily have to be a reflection of the listener, but there will always be that lingering presence in the background of "Yeah, this album is a culmination of decades of violence and xenophobia. I'm a strange person for enjoying this the way I do."

Embracing the eccentricity of this confused and widely spread genre is California's anonymous sons Bosse-de-Nage. Having lived in relative obscurity for nearly half a decade, with two demos out on Aesop Dekker's Funeral Agency tape label, Bosse-de-Nage was finally brought into the spotlight with their mammoth self-titled album, which was actually recorded in 2007, released last year on Flenser Records. While their releases reflect the West Coast black metal scene as far as execution, the band's "affinity for the bizarre," what with strange, howling vocals and "de Sade-ian" (would that be sadistic? I guess that wouldn't get my point across as clearly) tales of a Marie pissing upon a Count or an anachronistic rant concerning Vincent van Gogh cooking his hand, sets them apart from the rest of their "scene," as it were.

With their second album, the aptly titled ii, featuring a beautiful Italian-styled minimalist cover, Bosse-de-Nage draws upon their peculiar brand of "Baudelairian" atmospheric black metal and presents five of the most intriguing black metal tunes of 2011. While still retaining their "minimalist" qualities present in previous releases, ii shows Bosse-de-Nage experimenting more with harmonic density; seeing how much only two guitar tracks can do, creating a dense, massive sound that wasn't so present on their last album. While obvious comparisons can be made to other recent California black metal bands, ii features occasional periods of spidery, awkward harmonies, echoing the early 1990s St. Louis post-rock scene where bands like Slint set the stage for damn near every post-rock band ever. No, you won't hear shimmering, reverbed-to-hell guitar leads, rather harmonically interesting, emotive, crisp guitar interacting rhythmically with the bass and drums. ii also marks the return of the sadistic character Marie, whose name was plastered all over Bosse-de-Nage's previous album, this time...oh I'll let the lyrics tell you:

A gentleman offers Marie his hat. She shits in the hat and wears it for three days. 
-Bosse-de-Nage - "Marie in a Cage" (and that's one of the more tame lines of the song)

Just now you're probably thinking, "Wait, so you've mentioned Marquis de Sade, Charles Baudelaire, Italian-styled miniamlism, and Slint in a black metal review? I call hipster bullshit on this one!" and that is the plague of the American scene. It truly seems that any American black metal band who plays anything other than watered-down "war metal" will bear the mark of "hipster," and that is a shame. Yes, Bosse-de-Nage's more eccentric approach to black metal will appeal to the artsier side of the spectrum, but I can't see why your everyday black metal fan wouldn't like it, either. Strange and strong, Bosse-de-Nage's sophomore effort, ii, filled with cold riffs and intrigue, will be in heavy rotation for a good while.

ii will be available on CD and LP this coming September, but you can guarantee yourself a copy and pre-order it here at Flenser Records's webshop. Yet another addition to my "you need a job so you can buy things like this" list.

-Jon

Light Bearer - "Lapsus" (2011) [Halo of Flies/Moment of Collapse/Alerta Antifascista]

Light Bearer's been getting a bit of a bum rap and, when I first listened to their first album Lapsus a few months ago, I, too, found myself among those who were left disappointed by the album. Looking back, it's clear that Light Bearer suffers from people immediately comparing the band to vocalist Alex's former project, the widely popular Fall of Efrafa and, while still grief-stricken with the loss of Fall of Efrafa, it would appear that I got caught up in asking "Well, why doesn't this band sound like Fall of Efrafa." Here I am four months later, coming to the realization that they don't have to sound like the vocalist's former band. It makes me feel sort of stupid that I've come to such a simple, obvious conclusion so late in the game. I mean, aside from the lyrical, vocal, and conceptual direction of Fall of Efrafa, one must remember that he didn't write the music behind his voice, so the insane expectations set for him, aside from the fact that he is the bearer of a fantastic voice, is almost entirely unfounded. Light Bearer is an entirely new entity, a new band with a new stylistic approach, and when I accepted that and sat down with this album, it is safe to say I was more than pleased with the outcome.

Light Bearer's debut full-length, the gorgeous Lapsus, is a strong beacon of light in the post-ISIS atmospheric sludge scene. Focusing on a Milton-esque story of Lucifer's casting from heaven, we see Light Bearer taking an ethereal, post-rocky approach, contrasting against thick, heavy doom. Throughout Lapsus, one will hear striking, almost bright melodies slowly build into some of the most hair-raising, brilliant climaxes. Everything is shining, anthemic, brilliant; it is hard to believe that such a powerful album can exist while still being under an hour's length. Alex's voice, whose bellowing roar is as powerful as ever, is taken to new heights, incorporating memorable clean singing and even lower, animal-like growls. Light Bearer's powerful, almost heavenly doom metal has set the bar very high for future releases, yet I can definitely see them moving forward with the grace and elegance found within the music of Lapsus.

Even with all my praise, I can't say Lapsus is a perfect album. As spine-tingling as it is, at times I find it almost a little too...predictable, like their post-rock passages had been taken directly from the Explosions in the Sky handbook. With the distance post-rock has covered, it is a little disappointing to find bands still gripping onto what is now known as the "standard" or blank slate of the genre. While I do enjoy how they've utilized post-rock stylistically, I hope that in the future Light Bearer will perhaps move away from the "standard" and into uncharted territory.

For those of you who are unaware, Lapsus is the first of four chapters in vocalist Alex's conceptual take on Milton's Paradise Lost, which will be continued with the forthcoming albums Silver Tongue, Magisterium, and the closing Lattermost Sword. While Light Bearer is certainly different from Alex's previous efforts as the vocalist in Fall of Efrafa, Lapsus has definitely been a powerful, engaging listen and has definitely broken my sense of expectation. Be sure to order one of the remaining copies, a gorgeously packaged gatefold double vinyl, from Halo of Flies.

-Jon

Aelter - "Aelter II: Follow You Beloved" (2011) [Wolvserpent Records]

The Wolvserpent crew has always been a source of intrigue. As you all know by now, I'm a big fan of the duo of Blake Green and Brittany McConnell's dark, "backwoods"-like doom, with their latest offering Blood Seed working its way onto my Top 10 of 2010. Yet, with my fandom set in stone, I had unknowingly gone almost two years without knowing of guitarist and vocalist Green's side project, the oddly spelled Aelter. Whereas Wolvserpent receives the attention of media outlet Roadburn and labels like 20 Buck Spin or Crucial Blast, who recently re-released Blood Seed as a double album with the previously sold-out Gathering Strengths, Aelter lives in the shadows, relying on limited, gorgeously packaged releases for means of its meager survival. On his own, Green sheds his normally devastatingly heavy style for something more quiet and perplexing; as unique and obscure as it intends to be.

With a subtitle like Follow You Beloved, one would expect something a bit more..."romantic," and, in a way, you'd be completely right. Both Beloved and Follow You carry a distinct, almost loving characteristic that might not come across as clearly in either Wolvserpent or Mezektet (Wolvserpent's collaboration with (a) Story of Rats), while still retaining Green's unique sense of harmony. Immediate comparisons can be drawn to Green's layers of guitar on Blood Seed's opening track "Wolv," though, rather than unsettling and dark, these two track feature something a bit more harmonious and grandiose in comparison.

Looking down, one will notice the "doom metal" tag and, while that is true, what Aelter does doesn't necessarily fly beneath the doom metal banner. With the help of our friends in the ambient and drone genres, and maybe even a little post-rock here and there, Aelter's much more reserved take on the genre, complete with relaxing organs and wavering, ethereal vocals, culminates in a pensive, psychedelic, relaxing listen.

Limited to 500 hand-numbered copies, this 12" record is gorgeously packaged in a screen-printed sleeve with a one-sided poster. Avoid the middleman and order Aelter II, along with other releases by Aelter, Wolvserpent and Mezektet, directly from the artist here at Wolvserpent Records. I've got my eye on the "die hard edition" of Blood Seed on white vinyl.

-Jon

Earth live at The Echoplex

It’s not so often that one witnesses the pioneering band of a genre, but such was the case a couple nights ago, on Saturday the 23^rd. Earth, the pioneering band of drone doom, was playing at the Echoplex, along with openers The Entrance Band as well as Angelo Spencer et les Hauts Sommets.

The first two bands were both an exciting and energetic blend of psychedelic rock. I found that to be a very odd mix of a lineup, but also an enjoyable one as well. Both Angelo Spencer et les Hauts Sommets and The Entrance Band put on pretty great sets, though I’m not sure if they would be something I would listen to regularly.

Finally, Earth prepared the stage, and Dylan Carlson humbly introduced the band, and the opening song they would be playing, which was a short cover, before delving into the opening track off of Angels of Darkness, Demons of Light I: “Old Black.” The atmosphere was perfect, a slow, southern esque dirge of doom, and no flashy, show lights; just the music, and the audience. Although fellow Inarguable writer Jon mentioned that they weren’t the most exciting or enjoyable live band by any means, I found my experience to be quite different. Maybe it was the setting, maybe it was just me, but I really enjoyed every second of it, and next thing I knew it was over.

The set list (with assistance from my friend Matt) consisted of (including a couple of omission), and in no order:

Old Black (off of Angels of Darkness, Demons of Light I)

The Bees Made Honey in the Lion’s Skull (of the album of the same name)

Coda Maestoso in F flat Minor (originally off of  Pentastar, but performed in the style of Hibernaculum)

Ouroboros is Broken (originally off of Extra-Capsular Extraction, but also on Hibernaculum)

Angels of Darkness, Demons of Light I (off the album of the same name)

With all that being said, click to see the photos, and links are at the bottom for the full sets (with much larger resolutions as well).

GoatCraft - "GoatCraft" (2011) [Pale Horse Recordings]

With only nine releases to date since the Under the Capricorn Sky split in 2006 between Bosque the enigmatic Senthil, Texas label Pale Horse Recoridings has quietly provided the underground metal world with some of the more unsettling music available on the market. With releases ranging from the aforementioned split to the grandiose funeral doom of Dictator and the distant, cold black metal of Thra'el and Imynvokad, I was more than surprised to see a project the likes of GoatCraft among their ranks. Of course, with a name like GoatCraft and a cover boasting upside-down crosses, a near-illegible logo and a goat skull, one would almost knowingly assume that this is just another raw black metal band to grace Pale Horse's roster, and yet that couldn't be any further from the truth.

A meditation in fusing compositional styles, Goatcraft's eponymous debut boasts almost an hour of moody, dark, instrumental piano pieces. These distant, gloomy home recordings feature a medium between the technically proficient and the melodically inclined, with  somber melodies that seemingly moan from within otherwise harmonically dense compositions. Though perhaps just as unknown, I can almost draw a comparison to the stark neoclassical piano music of the short-lived Vannvidd, though GoatCraft's music exudes more misery and despair as opposed to Vannvidd's manic, seemingly psychotic temperament.

GoatCraft's complex, moody piano compositions are a breath of fresh air in a "scene" otherwise tainted with basement-dwellers playing dark tones on Casio keyboards. This sole musician's proficiency at composing and performing dark, sensuous music shines a bright light, beckoning talented musicians back into the world of darkwave and dark ambient musics. Hopefully they will follow suit.

For a mere $4, this limited cassette is definitely worth your time and money. Order it today from Pale Horse Recordings.

This is by no means for everyone but those who understand what is presented will find it immensely rewarding.


-Jon

Made of Music: An Interview With Gylve 'Fenriz' Nagell of Darkthrone

Gylve 'Fenriz' Nagell: "Made of Music"

-Editor's Prologue-
So, this year I got a very awesome birthday present: I got to interview FENRIZ of DARKTHRONE.
This man, in my opinion, has always been one of my favorite personalities within the music scene. He is caught in the middle of a music scene that is infamous for all sorts of things that have spiraled out of control, yet, in the midst of the pseudo-mystic, attention-wanting peers of his that litter the many continents, he remains to be true to himself and his values, and casually shows a spirit of love for music instead of trying to get a big head.
Since I appreciate what he has done, and I know he gets many interviews (he estimates later how many), I wanted to do something other than sit there and ask about the 'black metal church burning kvlt' or any of those clichés. Instead, I decided to mostly discuss what makes this guy tick... his history with music itself.

-Elan

View the full post for our massive interview!

Locrian - "Dort ist der Weg b/w Frozen In Ash" (2011) [Flingco Sound System]

Popol Vuh is one of those bands where if you even think about covering it, you better fucking mean it. When I had first heard of Locrian's plans to release a cover of "Dort ist der Weg" off of Popol Vuh's Letzte Tage, Letzte Nachte, that was the only thought truly running through my mind. Yes, all of you know I adore Locrian, as they are probably one of my favorite bands out of Chicago, but when you commit to covering such a "sacred" song in the world of krautrock, it better shine. It's weird to doubt a band you truly admire; I mean, Locrian's the only band who can be Locrian, after all. Who else can effortlessly move about the black metal, noise, doom, post-rock, drone, and psychedelic spheres while still retaining that coherent "We are still the same band" sort of sound? Except for maybe Yakuza, Locrian still remains Chicago, if not the United States' strongest cohesive genre experimenters.

So what is to be said of their take on "Dort ist der Weg," anyway? Well, it sure is different from the original, but that is what I was hoping. While retaining Florian Fricke's immediately recognizable melodies, Locrian brilliantly turned "Dort" into their own masterpiece. This sluggish, dreamy tribute to the great Popol Vuh shows Locrian's textural painting skills at their absolute finest. The fact that they put a cover as the A side of the vinyl is especially interesting, considering cover recordings normally lie in obscurity in the back. It is almost as if Locrian themselves are proclaiming, "This might be a cover, but we have made it ours," and they most definitely have. If you were to show this to a Locrian fan without telling them it was a cover, they would just assume it was just an original without even questioning that. By making it theirs, Locrian's appropriation of Popol Vuh's "Dort ist der Weg" is an appropriate tribute to the original, if not for how awesome it is on its own, but for demonstrating just how far their contemporaries have come.

The B-side, the blistering "Frozen in Ash," starts off almost in medias res, or right in the middle of the action. Like the most wonderful cheese grater scraping at your eardrum, this harsh, trebley, psychedelic black metal tune howls like a banshee trapped in your speakers, and yet, from the chaos, emerges a peculiarly memorable psychedelic rock jam. Led by pianos with acoustic guitars, lingering distortion and drums taking the backseat, I almost get the feeling of being safe inside, watching a torrential rainstorm pass by outside. Once you view the horror from a safe place, it takes on an entirely different beauty all its own, however terrifying it may be.

I had never thought of Locrian as a krautrock band before, but this "cover" pretty much convinced me. I mean, bands ranging from This Heat to even Grails are considered krautrock, why not extend the definition over to the more metallic side of things? Throughout their discography you will hear echoes of Tangerine Dream, Amon Duul II, This Heat and countless other classics strewn among the ethereal guitars and keyboards, but once they recorded a "doom metal" album, it's almost as if they sealed their classification deal. But then you look at Locrian's discography, and the whole idea of constant reinvention comes to mind, which begs the question "Isn't krautrock centered around definition?" and the answer is a clear yes. When put next to each other, This Heat and Tangerine Dream sound nothing alike, and yet they are placed under the krautrock tag without any fuss from either side. Maybe it's time we bestow the honor upon Locrian of placing them side-by-side with the likes of Neu! or Popol Vuh.

Be sure to get this limited 7" (only 500 copies), set to be released this September, from FlingCo Sound System soon!

-Jon

Persistence In Mourning - "Confessions Of An American Cult" (2011) [Land Of Decay]

Persistence In Mourning leads an interesting existence. As if being a funeral doom metal band from Oklahoma of all places wasn't weird enough already, this low-key one-man project has been featured on split releases with bands ranging from "harsh noise wall" act Vomir to funeral doom's prodigal sons Worship and Rigor Sardonicus. Sole member A. Lippoldt's take on the aging, largely inaccessible genre, injecting heaping amounts of noise, electronica, drone, or whatever else he might feel like including in his amorphous vision for Persistence in Mourning. Though Lippoldt has almost a dozen releases under his belt, Confessions of an American Cult, released May 30th on Locrian's own Land of Decay records, stands as second full-length recordings after The Undead Shall Rise, released in 2009.

With each new release, Persistence in Mourning moves further away from the "funeral doom metal," or even "metal," classification, and Confessions of an American Cult is a testament to the project's evolution into something unique. Where there once were heavy riffs and deep, gurgling vocals are now harsh drones and distorted, maniacal, tortured howls. The once pounding drum machine is all but non-existent, aside from brief stints in "Doomsday from the Pulpit" and "Defector Part I (Outside Looking In)." To classify this terrifying, screeching, near early industrial album as metal would be arbitrary. In fact, there's only one track on Confessions that could even be considered metal, being the industrial sludge mayhem of the aforementioned "Doomsday from the Pulpit"; the rest of the album consists of the swirling madness that surrounds modern cults.

Lippoldt's fusion of the funeral doom aesthetic with drone and early industrial has hit its current peak with Persistence in Mourning's Confessions of an American Cult. This strange, unsettling music experiment is definitely new to my ears and will accompany many late night horror novel binges. Music for serial killing sprees.

Order one of the remaining copies from Land of Decay here.

-Jon

Circle of Ouroborus - "Eleven Fingers" (2011) [Handmade Birds Records]

There is no other band that sounds like Circle of Ouroborus. Hell, half the time they don't even sound like themselves. From their onset, this mysterious Finnish duo made their mark with a unique, almost complacent-sounding take on the "punkier" side of black metal, paying homage especially to the immortal Joy Division. Already prolific in their early days, recent years have shown Circle of Ouroborus releasing near-obscene amounts of work, a good handful by themselves. Delving deeper into obscurity and on a steady departure from black metal with each new release, Circle of Ouroborus has created a sort of "legendary" status about themselves. With recordings on all sorts of formats selling out within mere hours or days after being released, the duo of Antti Klemi and the enigmatic "Rauta" have created quite a bit of demand for their more limited releases (read: most of them). Having heard a good chunk of their recordings (maybe 85-90%? That's a lot), I can safely state that I have been consistently impressed, if not completely blown away by Circle of Ouroborus's recordings.

Set to be released in the next few weeks, Eleven Fingers is a clear, almost calculated culmination of Circle of Ouroborus's erratic genre experiments. While still as raw and muddy as their more recent releases, one can make out the more scathing, traditional black metal influence seen on the MatterEther tape or the split with New York's Roman Cross, but this is undoubtedly one of their more atmospheric, melodic, "post-punky" albums for sure. From the moment labelhead R. Loren received the recordings for this album, he would not stop telling me that the guitars sounded like keyboards and, until I heard Eleven Fingers for myself, I had sort of doubted him... but he's absolutely right. The riffs are there, don't get me wrong, but the way they're recorded gives them a strange, almost gothic vibe, like one would hear on a Lowlife album, albeit less crisp and infinitely more mournful.

Circle of Ouroborus's vocals have always been a bit of a deciding point for people. I've heard them compared to "a depressed Homer Simpson" or "some drunk guy who happened to stumble into the studio," but I've always been drawn to their charm. Yeah, they aren't necessarily on key, but the overall do-it-yourself, "amateur" vibe that consumes this album calls for this sort of vocal style. Everything is laid back: the drumming never leaves a mid-paced crawl, guitars meander, creating gorgeous, harmonic walls, and the vocals never leave their sluggish comfort zone. As I said earlier, this album oozes complacency; Circle of Ouroborus is really the only band that I can honestly describe as "comfortable black metal," if I can even call them black metal anymore. Yes, you can call them "black metal" solely due to their previous releases and the occasional burst of harsh vocals, but in the end Circle of Ouroborus is clearly something new, unique and different. Find me another band that sounds like Circle of Ouroborus and I will call BS immediately.

As they have so many times in the past, Circle of Ouroborus has completely floored me with Eleven Fingers.  I've heard the phrases "best album of the decade" and "my favorite album of the past twenty years" thrown around and I almost have to agree. Unlike other bands who stick to the black metal norm with slight experimentation and call themselves "the next evolutionary step in black metal," Circle of Ouroborus quietly ascends the genre, swiftly filling CD, record, and tape racks with their revolutionary music.

Be sure to preorder the Eleven Fingers LP, along with releases from one of the coolest label rosters I've ever seen, from Handmade Birds here. It is imperative that you own such an important record.

-Jon

Heinali & Matt Finney - "Ain't No Night" (2011) [Paradigms Recordings]

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Birch Book - "Birch Book EP" (2011) [Les Disques du 7ème Ciel]

B'ee's music and I go way back. I believe I was 15 or so when I first began to discover folk music and an old friend sent me Birch Book's "Volume 1" CD (though I've seen it go by "Birch Book" just the same). At first I sort of neglected it, finding sole musician B'ee's use of the mouth harp a little too unnerving, but, over time, I found myself revisiting the album, suddenly knowing all the words. Maybe Birch Book wasn't so bad, after all. With albums few and far between, each Birch Book release is something to be cherished and at which to marvel.

Having spent the past year or so in France, B'ee took this opportunity to record a small homage to his new home, translating various songs from his previous album, "A Hand Full Of Days," into the gorgeous romance language. B'ee's voice, due to the French language's softer consonant sounds, is absolutely beautiful and at its calmest ever. "Son du Soleil" (Son of the Sun) makes nods at French musical culture with its use of the concertina, a smaller scale accordion, along with his droning, Americana-folk: a reminder of his origins. Perhaps I never noticed it with the original, but "Les Feuilles Mortes" breaks into the jazz standard "Autumn Leaves," which, due to its subject matter, is absolutely perfect for Birch Book's autumnal music.

I don't think I will ever leave a Birch Book release underwhelmed. B'ee's songwriting remains as strong and solemn as ever, while still retaining that memorable "catch" that hooked me six long years ago. These beautiful folk lullabies could calm even the most savage beast. Be sure to purchase this gorgeous 10"/CD/Patch here. 22 Euros might be a little steep, but Birch Book is definitely worth it.

Stream the entire EP from Les Disques du 7ème Ciel here:

Birch Book by Les Disques du 7ème Ciel


-Jon

SONG REVIEW: Subterranean Disposition - "The Most Subtle Of Storms" (2011)

Though your average fan would normally not expect it, Australia's metal scene is rather powerful. Home to such cutting edge bands as Portal, Mournful Congregation, Ne Obliviscaris and countless others, the late 2000s have shown this distant nation pulling its own weight. My earliest experience with Australian metal happened to be with a lesser-known death/doom band by the name of InSomnius Dei, whose album Illusions of Silence I spent the better part of a year trying to find. I sort of forgot InSomnius Dei after five years of silence, but, while browsing the Doom Forever Forever Doomed forums, I came across former vocalist Terry Vainoras's newest project, Subterranean Disposition. After speaking with him, he wasn't really ready to share the entire album with the press just yet, but I was given the opportunity to review the mammoth "The Most Subtle of Storms," which he had made public. Mind all of you, I've never done a single track review, so this should make for an interesting read, eh?

Much like his previous projects, Subterranean Disposition is a death/doom metal band with some ambient influences thrown in here and there, leaning more towards the crawling, funereal side of things. "The Most Subtle of Storms" has it all: crushing riffs, deep growls, ethereal harmonies, unadulterated emotion; all the things I look for in a more melodic death/doom project. Of course, there are little nuances here and there that really do set Subterranean Disposition apart from the others. Around 6:45 into the 14 and a half minute epic, Vainoras includes a rather new-age-sounding saxophone track. Not a jazzy saxophone like you might hear in a Ved Buens Ende or Sigh song, but something much more melodic and calming, acting as a much more unexpected textural companion to the quiet guitars.

Unfortunately, there are some elements here and there that I don't super enjoy, but can definitely stomach. The "robot" voice strewn throughout the song can get a little tedious, but I suppose it's better than having some obnoxious, overzealous soprano half-vomit all over the otherwise pretty awesome song like many death/doom bands have done in the past. It's not terrible, but the hollow digital echo can get obnoxious as the track plods along. Also, from around 10:45 to 13:30 there is nothing but samples of waves crashing against a shore. I'm sure in the grand scheme of the album it makes sense, but when you can only listen to one track the idea of spending three minutes listening to ocean samples can get a little annoying. At least the samples let up and leave the final minute to contemplative, more atmospheric clean guitars that slowly fade into nothing.

Overall, despite its faults, I did enjoy listening to "The Most Subtle of Storms" very much. It presents a very strong case as to why I will have to get Subterranean Disposition's self-titled debut whenever it might come out either later this year or early on in 2012.

As a bonus, you can stream the track right here!

 The most subtle of storms by Subterranean Disposition

-Jon

Wolfmangler - "They Call Us Naughty Wolves" (2010) [God Is Myth Records]

'Drone' and 'folk' are terms that are thrown around far too lightly. In the metal scene, it's almost like adding any sort of non-electric instrument, like acoustic guitar, constitutes a 'folk' element in the music.

Alright, you humppa-yoiking debutantes, here is a lesson for you.

Wolfmangler is a side project of D. Smolken from Polish weird-black-metal-noise-thing project Dead Raven Choir, another awesome project in many means. I am not going to say I have been following this project for a long time. I haven't. This was his last album made under this moniker and this is all I have heard so far.

But what I am hearing is absolutely fantastic. What we have here are somber, deep-rumbling bass textures with passages of violin and cello being played over it. Whispered vocals and occasional light percussion are splattered through, tastefully. Ominous, foreboding, somewhat tribal, and melancholic, THIS is what folk-tinged drone is about. And guess what? This isn't boring drone! There are fifteen tracks, all under 7 minutes long each, and are interesting tracks all on their own amidst each other. And, they get even more intense and interesting as the album drags through. It's almost like chamber folk for a new generation.

The atmosphere actually somewhat reminds me of a bizarre mix of James Newton Howard's score for 'The Village', and Wongraven, Satyr's old ambient project.

With crystal clear production, a hypnotic and dusky sound, and a unique atmosphere, I will go ahead and say that this is actually on the verge of influential. This is probably one of the absolute coolest albums I have heard in a long time. 

The only complaint I have about this album is that I am not outside in the woods listening to it. This is wonderful atmospheric texture music that demands your undivided attention.

Want to know something awesome? This album is actually containing a lot of covers of old classic standards by Ella Fitzgerald and the like. It's such a bizarre concept but works SO well. AND it comes with screen-printed women's underwear with a drawing on it, for those of you with bizarre girlfriends.

Please, do yourself a favor and buy this album.

-Elan

Lux Divina - "From The Tomb To Nature's Blood" (2009) [Ars Magna Recordings]

This is the first full length album from Barcelona, Spain's Lux Divina. 

I don't know a whole lot about this band, as they seem to have come out of nowhere and released this album after a series of EPs and demos. 

However, I have to say I was extremely surprised at this album. 

Very well-thought out guitars and hauntingly melodic, evocative riffs build the fortification of an absolutely solid and lengthly musical  stronghold. The very well-executed percussion and fitting harsh vocals are what hold its walls together.

My only personal complaint is the sound of the clean vocals, as I personally don't feel they were executed as well as the rest of the music's components (they have far too upfront  of a mix and try very hard to pronounce English words which are inevitably done with strange diction). Overall, though, this is one of those albums that you will most likely hit the 'Repeat' button on your player very early on because you know you won't want to listen to much else afterward.

The lyrical themes are undeniably tied toward the 'pagan' aesthetic, which, like it or not, fit perfectly with the music. In fact, one thing I cannot get over in regards to this album is how well of a team this band is. It seems as if each member is on the same exact page, and, while the music is not very complex at all, it is done very naturally. I can't imagine this group of musicians playing much else of another style; this is what looks like the work of fate. It is refreshing to see this, as much of the time, bands I will hear sound too much like each member is trying to compromise with each other and add their own touch that the rest of the band is not too crazy about.

Overall, this album is a few years old by now, but I feel it deserves a lot more attention. It seems the band is still active, so I am excited to see what they can do next as a fully-functional unit.

-Elan

Yob - "Atma" (2011) [Profound Lore Records]

Oh man, where do I start with Yob? They were my first doom band - can you believe that? Before I listened to Agalloch, ISIS, Neurosis, or even black metal, there was Yob. Whilst browsing Metal-Archives, being the naive teenager I was, I came across the term "doom metal," and, having never heard the term, chuckled to myself at how mind-bendingly stupid the term was. But, something compelled me to check out just what was going on with this, seeing as people were mentioning Black Sabbath and such, and the first band my stubby 15-year-old fingers found was Yob. A short name. Simple, effective, and they had just released a new album, entitled The Unreal Never Lived. I suddenly recall a brief mention in my latest issue of Revolver magazine. One listen and I was never the same. I was a music maniac, grabbing everything I possibly could. I distinctly recall being heartbroken when my new favorite band broke up mere months after I discovered them, and my elation upon the release of the Middian album. Subsequent "ups and downs," as frontman Mike Scheidt called them in our interview after their most recent Chicago show, correlated with his career, but I knew that, upon releasing The Great Cessation two summers ago, that Yob was here to stay. Would I be here, running this website without Yob? Probably not.

My excitement peaked when the consistently awesome label Profound Lore announced their plans to release Yob's latest album, entitled Atma. Having been a little peeved with the production of the last album (I'm the last person to comment on studio work as I have zero experience, but The Great Cessation was a tad too clean for Yob's take on doom), I definitely found myself interested in Yob's massive sound paired with Profound Lore's tendency to release albums with more earthy, natural production. Oh yeah, also it was a Yob album, so excitement was abound, production or not.

Initially, I was afraid Atma would be one of those albums that suffers from "first listen syndrome" and would subsequently become more and more disappointing with each listen, but, after at least 12 listens this week, I am still just as floored as if I had just listened to it for the first time. Even after four other albums of riff-heavy, texturally interesting, epic doom metal, Yob is still able to churn out their own brand of doom metal and keep it fresh, which is more than I can say about the armies of "one-album wonders" that plague the genre.

First things first, this album is heavy, probably the heaviest Yob has ever been. Foregoing the usual "atmospheric and big" sound they've perfected, Atma shows Yob on the offensive, replacing atmosphere with pure, raw, emotional aggression. Yes, I'm fairly certain quite a few people will be disappointed with the absence of the long psychedelic breaks present on previous albums, but don't let my word fool you; this is still, most definitely, a Yob album, but it is something very different. Yob doesn't need to be pretty and shiny to be Yob, anyway. Scheidt's guitar tone is the thickest it has ever been: raw, punchy, and deep, which, incidentally, is perfect for the heavy riffing you will hear all over this album. While other Yob albums have been said to "move mountains," Atma completely decimates them with its effervescent ferocity, leaving smoldering craters in its wake. An especially memorable cameo from Scott Kelly in the lengthy "Before We Dreamed Of Two" features Yob crawling at their absolute slowest, playing a deep, funeral blues, being sure to preserve Scott Kelly's "billion year old soul voice."

Of course, Yob wouldn't be Yob with at least some psychedelia, am I right? Though not as pushed into the forefront like other albums, the aforementioned "Before We Dreamed Of Two" and the epic closer "Adrift In The Ocean" feature Scheidt's signature guitar-driven atmospheres, filling speakers with a smokey haze that just screams "This is a Yob record. Don't you forget that."

As you can probably tell by my enamored and heightened speech, Yob really is something special to me. It is a very humbling experience to know that just one band opened so many doors for my artistic evolution, and the honor to finally work with what the New York Times says "may very well be the most important band in America" is without a doubt an honor. Though quite a few people might be disappointed to not hear another shimmering The Great Cessation with this one, I am certain that Atma will be strongly appreciated by Yob fans, whether weathered or new.

This may very well be my favorite album of 2011.

-Jon

MOUNT MORIAH Live in Chicago; July 11, 2011

I unashamedly love country music. As I stated in my review of their new, self-released full-length album, country is something I grew up with. Yes, from the familiar, down home sounds of John Denver to the dark, plaintive voice of Johnny Cash and even the southern-fried sounds of Fleetwood Mac's Rumours (though it isn't a country album), I find comfort and solace in this normally doubted genre. For those of you who don't know, Mount Moriah is centered around vocalist Heather McEntire, formerly of noise rock trio Bellafea, and, of course, guitarist Mr. Jenks Miller of Relapse doom sensation Horseback. Yeah, I'm sure quite a few Horseback fans are looking at this post and thinking "Well that's dumb, I like to think I'm eclectic but I can't bring myself to listen to country." Well, maybe you should reconsider. Seriously.

Chicago venue The Whistler quietly lives in a normally avoided part of town, sandwiched between a dive bar known as Two and graffiti-covered auto-body shops. This derelict part of town, though a mere few miles from the affluent Bucktown and Wicker Park, has seen the raw end of too many blunts and syringes. Naturally, show companion E. and I weren't really expecting much from The Whistler; maybe a busted up bar with your choice of Old Style and Miller Light on tap and windows browned from the inside with murk. That is we would have confirmed our suspicions if we could find the place. Yes, 2421 Milwaukee Avenue in Chicago is hidden behind washed-out windows in a little alcove, tucked away from the street. The door reads "The Whistler." Obviously the place.

A really, really nice place. Horrendously nice. Exposed, faux-faded brick walls, a thick, finished mahogany bar and top-shelf liquor that lined the walls with a sort of menacing glare that could only make my wallet wince. Yeah, this was a hipster bar. Gentrification in process, only for the small population to harness what apparently is "real," at least, if you consider the edge of poverty to be real. I didn't belong in this zoo filled with awkwardly-groomed facial hair and men holding both a high ball in one hand and a Pabst Blue Ribbon in the next, and neither did E.

Continue reading for a lengthy live video (over 50 minutes!) and a live review.

André Foisy/High Aura'd Split (2011) [Stunned Records]

I'm probably not the only one coming into this release experienciencing High Aura'd for the first time. For everyone else on a similar path, perhaps the phrases "toured with Barn Owl not so long ago" and "just released this split with André Foisy of Locrian" will shed a little light.

John Kolodij of High Aura'd plays guitar in a way that glorifies the instrument. Not in the sense of putting the instrument first; he lets the guitar become something glorious. His track on this split, "Dusk Latitudes," is a duality between tension and release at a timbral level. For the first ten glorious minutes, Kolodij lets an Earth-like western wandering bird slip out of his hands as soon as he calls the plains to run beneath it.

Growing from a cicada hum, a gritty half-ugly spool of glass stretches out in the east. The guitar turns into a soft wave of tonal beauty that builds just to the point of letting the crystalline grit turn us around and demand that we do it all over again. And then André comes in.

André does something strongly in the spirit of the works Locrian created before turning to black metal. Everything is in layers of soft strong flowing beauty, building and eventually falling through peace and climax into a moment when André seems to look back with regret. His anticipations never quite find resolution, and his screams at the end tell of the sort of self-hating dismissal that comes so potently after complete surrender to beauty.

Want to travel the spirit of the continent as a bird? Here you are.

-V.

Brent Hinds presents: "Fiend Without A Face/West End Motel" (2011) [Rocket Science]

Fiend Without A Face: Does the name Brent Hinds ring a bell? No? Maybe you know him a bit better from his work in the band that is undoubtedly the reigning kings of progressive sludge metal, Mastodon. Now I can say right off the bat that this album sounds nothing like his work in Mastodon. This is far more scattered and bizarre than you would expect. Well what kind of unexpected sounds are in here? Not entirely sure how to describe the sound, but the closest I can get is 'progressive surfgrass'. Yeah, I know it sounds odd, but that is the best I can do for this one...

The genre shifts and variations are overwhelming at first listen, it really seems scatterbrained and odd, but with repeated listens, it makes more and more sense. There are a ton of different styles on this record; rockabilly, surf, bluegrass, country, post-punk, thrash...and more. Its a crazy mash up of various styles, that creates one hell of an interesting listen. The musicianship on this album is amazing, every performance is technically solid and unique. Its one of the things that really helps keep the songs from falling apart from the scattered insanity. The melodies are interesting as well, very catchy, in the strangest way possible. Even the most bizarre tracks on the record are memorable and super catchy. No easy feat. My only complaint is the production, it is super lo-fi and very dry. While you can hear all the instruments clearly, this album could benefit very much from a more clear production. If they do another record, it would be great to hear it recorded in a better studio.

If you want a challenging listen, are a fan of warped out music or are interested in hearing side-projects from Mastodon members, check this out. It may take a few listens to catch everything that is going on here, but once you do, it really becomes an enjoyable listen. I really dig this album quite a bit, more than I expected, that is for sure. 


West End Motel - "Don't Shiver, You're A Winner": So here we have another album/side project from Brent Hinds of Mastodon fame. Unlike the previously reviewed Fiend Without a Face, this is a bit more stripped down. Not to say its any less bizarre, but it is a bit more straightforward. What we have here is southern fried country rock, with a few flairs of oddity. Maybe the only truly odd thing about this is the fact that a Mastodon member was (is?) a part of it. Either way...

The hybrid/finger picked guitar work, dixieland-esque piano, gruffly sung vocals and super tight drum/bass work scream southern rock. There is also the addition of harmonica, accordion, acoustic guitar, slide guitar, etc. There are some interesting lyrics on the album, you can just read the song titles to get an idea of what the topic matter is. There are a few less rocking, almost country ballad-esque songs thrown in the mix as well. The same problem arises with this album as the FWaF release; bad production. Super dry and lo-fi. Another release that could benefit from a more polished production, but truthfully, it does not hurt the ability to listen to the album, since everything can be clearly heard. Maybe more of a personal tic than anything.

Another bizarre offering from Brent Hinds, but just as awesome as FWaF. Definitely check this slab of fizzling country rock out, its a fun listen by all means.

-E.

Brainoil - "Death Of This Dry Season" (2011) [20 Buck Spin]

Brainoil are back!!! After a few years break, doom-y sludge masters Brainoil return with a crushing slab of raw metal, destined to melt your ear drums. Low-tuned guitars, plodding drums, hoarsely screamed vocals and blown out bass are the order of the day. Along with that we have a punchy, yet raw production that fits the music perfectly. Gritty, workhorse sludge metal with doom-y tinges and southern-esque melodies make Brainoil's return one to take note of. Aggressive and angry, there are no moments of respite, nor beauty to be found...Only devastatingly heavy riffs made to crush the listener into dust. I can totally see this in a live setting; loud and utterly pummeling. The atmosphere is dismal and bleak as can be on this record. Almost suffocating in its unrelenting brutality. 

Hopefully this return to form is going to stick, would love to not only see these guys live, but to also hear future records from them. There is something to be said for straightforward, "no BS" metal. It comes few and far between these days, even more so when it is interesting to listen to. Refreshing? You bet. Go get this...Now!


-E.

Falls of Rauros - "The Light That Dwells In Rotten Wood" (2011) [Bindrune Recordings]

Falls of Rauros; a band I have been almost obsessive over since I first heard them back in 2007. One of the most ambitious and brilliant bands to ever emerge from the US black metal scene. When I caught wind that Bindrune was to release this new outing, I almost lost my mind. I had to have it. I remember A. Lunn (from Panopticon/Seidr) telling what an amazing album this was, he was beyond right on this. I admit I am going to be all drool-y and frothing in this review, but I cannot help it, this album is truly THAT GOOD.

Super melodic, folky, woodland black metal of the absolute highest order. Beautiful acoustic passages and insanely emotive black metal make up the bulk of this disc and while the style has been done to death, no one is doing it the way that FoR is. This is some of the most genuine and passionate music I have personally ever heard and it actually kind of scares me. After the first spin of this album, I actually had to step away and take a moment to put my thought process back into normal order. It is so involved and enveloping, that it almost seems like an out of body experience. The only thing I can compare this to is either Ulver's Bergtatt or Agalloch's The Mantle - in the respect that everything fits into place and is so cohesive that it is almost like one long conceptual track. Everything has a place and fits together to make a grandiose and truly epic piece of musical art.

In total, this is probably one of the shortest reviews I have ever written, but to be honest, the emotional impact this album had on me, I cannot describe in words. The only advice I can give is to buy this (buy 4 copies and give them to friends or just keep them on hold when you wear your copy out) and experience it for yourself. This album is so immense and perfect (I barely use that word for anything and am not joking whatsoever) that it literally had me reconsidering my involvement in music altogether. That almost never happens and when it does, I know that whatever I had just experienced is so profound that it almost becomes a life changing moment. Dear readers, this may be the best black metal album to come out in many years and is possibly my pick for album of the year. Absolutely outstanding, perfect and emotionally jarring. My mind is officially blown.


-E.

Demdike Stare - "Tryptych" (2011) [Modern Love]

Demdike Stare members Miles Whittaker and Sean Canty share an obsession with witchcraft and all the bleak horrors found therein.  The band's very name references a famous witch that was part of the Pendle Hill  coven, who was tried and executed in 1612.   Incidentally, both are record collectors as well, one (Whittaker) by occupation, another (Canty) by obsession.  Demdike Stare brings together a passion for the past with the terrifying aspects of witchcraft and blasphemy.  To say that they live up to their name is an understatement.

“Tryptych” collects three previously released, vinyl only albums from the dark duo – “Forest of Evil,” “Liberation Through Hearing” and “Voices of Dust” – and places them into a triple album CD format with 40 minutes of added bonus material, featuring gorgeous black and white cover art by Adam Votel.  Despite their separate releases, all three manage to flow cohesively without a single missed beat.  On each of these LPs, Demdike Stare grabs hundreds of bits and pieces of music from an godly amount of old movie soundtracks spanning seemingly every genre and begins weaving them together as a tapestry.  With these, they create new songs from the corpses of the old, crafting them together into a Lovecraftian abomination from the depths of the psyche.  

Every track on “Tryptych” plunges listeners into forsaken lands and dark rituals at campfires, slowly but surely dragging listeners to a point of no return.   The drone/techno/dub atmospherics can terrify, condemn, brings feelings of abandon, and spellbind the unwilling, sometimes all at once.  Notably, none of their music sounds consciously engineered - the high quality of production makes the tracks themselves pulsate with darkness, so that it feels not so much listening as experiencing.  This holds true in particular for “Liberation Through Hearing,” arguably the strongest of the trio, with the songs “Eurydice” and “Matilda’s Dream” as testament to the pagan movements the British duo have created with gentle hands and heretical hearts.

More than any other artist in recent memory, Demdike Stare has shaped an atmosphere for mythology, graveyards, urban blight, black forests and dusty roads alike.  “Tryptych” is a minimal masterwork devoted to the unsound and the unsettling, one that will unlikely be surpassed anytime soon.

Links to the three CDs, streaming in full @Soundcloud:

Forest of Evil
Liberation Through Hearing
Voices of Dust

-Shane D

WRNLRD - "Death Drive EP" (2010) [Flingco Sound System]

Throughout its existence, the US black metal scene has been a reaction against the European norm. While clearly adopting the style in the beginning, American bands have steadily made their presence known with a uniquely "American" sonic approach and sound to their music; whether it be droning and melodic or a raw, punky affair, one can still say "Yeah, that band is from the States. No question." Of course, nowadays this whole "Yeah, America!" sort of sound has stagnated; bands turning to one specific sonic core, whether it be an overall stylistic element or a band of note, to emulate. Yeah, there are some good bands that emerge from that sound center, but in the end you can't really say you haven't heard it before. It's becoming stale - we need something new.

Along with a few other bands (there are more, but I've run out of words to hyperlink), Virginia black metal enigma WRNLRD, with a handful of full-lengths and EPs under their belt, have risen to the occasion and regularly challenge the stagnating American scene. The Death Drive EP, WRNLRD's latest release on Chicago's own FlingcoSoundSystem, is comprised of eighteen minutes of the most mind-melting, psyche-altering, unorthodox "black metal," if one could even classify them under that genre title anymore, I've ever heard.

Choosing not to wait, WRNLRD begins this EP with the disjointed, avant-jazz of "Precursor" and pummels the listener with a nonstop onslaught of confusing, shifting musical styles. Ranging from the bleakest, heaviest of metal to a softer, more gentle piano piece, and maybe even a poppy blues or even country-like pedal steel guitar solo (in "Moonlight Ride"), WRNLRD's demented, horrific take on music in general is not one to ignore. Oh, and the infamous Dwid Hellion of hardcore juggernaut Integrity has a guest spot on this album. Weird enough for you yet?

Get ready, because this EP is going to take you for a ride you will never forget.

Defy logic, order this 10" now.

-Jon