Mournful Congregation - "The Unspoken Hymns" (2011) [20 Buck Spin]

"YYYOOUUUUU SHHHHALLL BBEEEEE CAAAAAAAASSSTTTT..... 

DDDDDOOOOOOOOOOOOOOOOOOOWWWWWWWWWWNNNNN!!!!!"

...never sounded so bloody good.

Mournful Congregation should be a household name by now, as this Australian entity has become arguably the most important name in modern doom metal. Their trademark has been set in stone as being their beyond-perfect riff compositions and their emotive, yet evocative atmosphere they so effortlessly convey.

For anyone who pays a whole lot of attention to this band, there is some material on this album that is quite recognizable. This new album, is, in fact, a compilation of split/comp. material, with some extra goodies thrown in. We have a new version of 'Left Unspoken' (which, I would suppose, would be tied in to the name of this compilation), as well as a very fitting Thergothon cover from a tribute album (seriously, what better band could cover a Thergothon song? I am willing to actually fight about this.)

While only some of this album can be called 'new', what we have here is something that every compilation should be... a collection of a band's most well-received tracks, recorded in different formats than the full-length versions, and extra goodies.

Every somber passage sounds that much more soul-churning, and this material is enough to suck in the listener for a full listen. In a world where every kid with an iPod shuffle has musical ADHD, this material is much like, say, a rainbow... no matter what you're doing, you need to stop and pay attention to it until it is finished.

The 'funeral doom' genre tag has been used and abused for quite some time now, and very few artists deserve to be called pioneers of such an esoteric, yet important genre of music. With this release, Mournful Congregation prove to us why their work so far has solidified themselves as much more than pioneers, but pure artisans in the craft of the genre. Other artists may sound like them, but barely anyone can convey this type of musical hypnotism better than they. Even the most try-hard 'armchair music critic' will have a long, hard night ahead of them trying to come up with a proper skeptical response to this set of songs.

I usually am not much for compilations, but for a band like Mournful Congregation, even a single would be enough to get me excited. As expected, there are some variations in production in the different songs, but all of it can be proof that this band produces quality music despite what recording environment they find themselves in. Even in the Thergothon cover, we hear the band in perhaps their most 'organic' and underproduced recording in a long time, yet it somehow makes it sound that much more special.

Highly, highly recommended. And be forewarned; there is a new full-length in the works that, as a sneak preview has indicated, will further justify my earnest praise for this band and what they do...

-Elan

Protestant - "Stalemate" (2011) [Halo of Flies Records]

Metalcore gets such a bad rap in the music world. Yes, thanks to the misuse of the term by bands like Bullet for My Valentine and As I Lay Dying, the word "metalcore" brings jerkoffs with expensive, swooped hair, neon accessories, and a pension for crab-walking during half-assed, "syncopated" breakdowns to mind rather than pissed off, hyper intelligent punks like Integrity or Converge. I'm sure a good number of you, sadly, never knew that metalcore could ever be used in a positive connotation, so let me break it down for you a bit. Take the blistering anger and passion of hardcore punk, now add in metal's sharp, proficient edge. Sounds pretty awesome, right? Well, it is. I mean, "metalcore" is short for "metallic hardcore," and, in a perfect world, people would be too intelligent to lump bands like Protestant with mediocre, "prettyboy melodic death metal" bands.

With their latest offering, the gargantuan Stalemate 10", Wisconsin metalcore act Protestant features six tracks of relentless, passionate, metallic hardcore. Chock full of heavy riffs, anthemic choruses, and a few folk-inspired melodies to keep their sound fresh, Stalemate's brooding anger is enough to get a rise out of the most grizzled Earth Crisis fan. From the chunky, mid-paced introduction of "Nothing Left" to the dramatic closing chords of the epic closer "Swindle," Stalemate might not offer anything new, per se, but something that you can spend hours listening to while moshing about your bedroom (or wherever else you might keep your record player). Please keep in mind that we at The Inarguable will not be held accountable for damage accrued while listening to this particular record.

Protestant has done it yet again with Stalemate, and I definitely think this is both a great starting point for aspiring Protestant fans and a great jumping off point if you want to get into real metalcore. With Halo of Flies labelhead and hardcore encyclopedia Cory von Bohlen on guitar and vocals, you really can only expect the best from such a knowledge base. Halo of Flies is quickly becoming one of my favorite labels, and Stalemate is definitely holding my opinion in place. Be sure to act fast, as Stalemate is almost completely sold out, save some tour copies - get one while you still can!

-Jon

Omit - "Repose" (2011) [Secret Quarters]

I've always been a sucker for romantic, funereal doom metal. From the first time I listened to Shape of Despair's Shades Of... when I was a wee lad of 15 years, I knew I was hooked. There's just something about the melodrama, the gigantic, expansive compositions, and pure despondent misery that hits me right in that perfect spot. I can never get enough of it, but, with this style of music, it has to be absolutely perfect to warrant further listening, and when I say perfect, I mean I better find myself humming melodies with a smile on my face. It better be that good. However, thanks to Russian teenagers with basements, you really have to wade through a lot of shit to find that one band. It had definitely been a while since my last wondrous discovery, but Norwegian four-piece doom metal band Omit has proven themselves to be one of those gems.

What immediately sold me was the presence of female vocalist Cecilie Langlie, whose name you might recognize from such brilliant acts as Skumring, Fallen, Havnatt, or Vali. Not to sound like a fanboy or anything, but I have admired Ms. Langlie's heart-breakingly beautiful voice from the first time I heard it on Vali's legendary Forlatt demo. It is not very often when I am so moved by a female voice, seeing as most women in the metal world would rather emulate the disgusting, pseudo-Wagnerian warbling of Tarja Turunen or Sara Jezebel Deva (ugh), but Langlie's clear, mournful voice acts as the perfect centerpiece for Omit's debut masterpiece, Repose.

Released just a few weeks ago, Repose is two discs of beautiful, dense, morose doom metal, with Omit pulling out all the stops to make this 85-minute masterpiece as magnificent as it ever could be. With an expansive compositional style comparable to that of Richard Wagner's, sans the extreme melodrama, Omit treats every element of the band like that of an orchestra. Delicate strings intermingle with dense guitars, musclebound drums, swirling keyboards and Langlie's extraordinary voice in a brilliantly arranged, educated manner. Every aspect of this album is crystal clear, but not in an "over-produced" manner about which so many internet nerds complain, but rather in a way that makes every nuance of Reposed prominent and graspable. There is a ton of material here, after all...why obscure hard work with a less than satisfactory mix?

Omit's Repose is pure, brilliant emotion. Easily one of my favorite releases of 2011 for sure. Yes, it might take a while to digest almost an hour and a half of doom metal and yes, it does cost a bit to import a double album from Norway, but trust me here. This is worth your time. Support beautiful, honest music.

-Jon

Amebix - "Sonic Mass" (2011) [Easy Action Records]

I know it's probably very damaging to my ethos when I say this, but I didn't get into Amebix until very recently. I knew exactly what they had done and respected the band immensely for their addition to the music world, but for some strange reason I just couldn't get into the monolithic Arise! and the aptly named Monolith. I'm not sure why, but the music never really clicked the way that other bands do until the very recent months. I know what you're thinking, and yeah, I'm just some kid who just got into Amebix and, no, my opinion probably doesn't hold any water compared to someone who's been into the band since '79 and has a Zygote tattoo on their left ass cheek, but hear me out.

I like this album. Quite a bit, actually. Of course, that isn't the case with everyone out there. With every great comeback comes a great schism within the band's diehard fans and, as expected, the internet is flooded with people either calling Sonic Mass either a) one of the worst albums ever or b) one of the greatest triumphs music has ever seen. I, however, fall somewhere in the middle, leaning a bit towards the second option, but without as much vigor. What people fail to remember is, after being broken up for a long time and releasing an EP of slightly tweaked re-recordings, it was sort of expected that Amebix would change...evolve. Remember when I talked about evolution being a good thing before? Change isn't always a horrible thing, no matter how conservative you might be about your punk. Remember when John Lydon dropped his "Johnny Rotten" persona and joined Public Image, Ltd., and then a handful of other '77 punks started to join him, ultimately causing a sort of rise in post-punk? Sonic Mass is Amebix showing up fashionably late to the party, but with enough energy to keep it going well into the night.

Anyway, enough about silly fans and angry punks, let's talk about the actual music. The title Sonic Mass might allude to a sort of congregation of music, but I interpret it as a sense of volume, as this album is absolutely gigantic. What we have here is a magnificent melding of Amebix's hybrid punk/metal roots with Killing Joke-styled post-punk (I seem to be dropping that name all the time nowadays) and a pension for atmosphere that brings Neurosis to mind. With the addition of ex-Sepultura drummer Roy Mayorga to the ranks, we definitely see an expansion in instrumentation, including mandolin, piano and keyboard, all used to their fullest potential while only adding, never detracting, from the atmosphere and remaining tastefully melodic. Within 43 minutes you will be taken through powerful ballads, neck-breakingly heavy metal, anthemic punk, and a surprisingly beautiful folk tune. Everything fits together like pieces to a puzzle, with each song fading into one another and picking up right where the last left off. Two decades of silence and two years of intense writing have paid off.

Amebix has grown up, and the outcome comes in the form of a powerful, memorable album. There really wasn't any avoiding the whole "angry factions of crust punks" phenomena, but, who knows? Maybe they jumped the gun on this one. This is Amebix's logical progression into post-punk, and it is absolutely devastating. It's actually available... right now. Believe the hype.

The titans are back. Amebix has risen.

-Jon

Alaric - "Alaric" (2011) [20 Buck Spin]

This year has definitely proven itself to be the year of post-punk's true revival. Why true? Well, instead of radio-friendly groups like Interpol flooding the music scene, we have been bombarded with quality, hard-hitting releases by Anatomy of Habit, Atriarch, Population, Puerto Rico Flowers, Hateful Abandon, and many others, all of which are hell-bent on ruining your day and making you lay in your bed, watching the ceiling until the sun goes down. Alaric, named for the barbarian warlord who brought about the fall of the Roman empire, is one post-punk revival group whose record debut I have been impatiently waiting for at least the past few months, and completely within reason; with current and former members of Noothgrush, Cross Stitched Eyes, Enemies, Dead & Gone, and more, it is hard to expect anything less than phenomenal from this stellar lineup...

...and stellar it is. Equal parts Black Sabbath, Killing Joke, and early The Cure, Alaric's extraordinarily impressive self-titled debut is reminiscent of old skateboarding VHS tapes that you would watch with your (significantly cooler) older brother, who would sometimes let you wear his patch-laden denim vest if you were lucky enough. Alaric is a 47-minute-long conglomerate of doomed, metallic post-punk/death rock -- absolutely jam packed with gloomy melodies, driving percussion and anthemic, fist-raising choruses that will leave every hair on the back of your neck standing at attention. This is hypnotic melancholy, drowned in whiskey and lashing out at anything that approaches it. Filled with anger, despair, and a semblance of strength, lost within depressed, atmospheric riffing, this is everything I'd expect from this group of musicians, and it is obvious that they have played off of each other's strengths.

As brilliant and powerful as this album is, it definitely raises some concerns for post-punk's future. With the way that "new" music styles and trends move throughout the West coast of the United States, I am definitely worried that post-punk will become the next "Cascadian black metal." I can see it now: a giant group of musicians will abandon their black metal projects for black button-down shirts and synthesizers, while cranky jerks like me bitch and moan on forums, saying "I remember when Alaric and Atriarch were doing that in 2011. Know your roots." It all seems so vaguely similar to my Weakling vs. Cascadian black metal rants of old... History is doomed to repeat itself over and over again, so know now that in 5 years' time everyone will owe everything to what these few bands are doing now. Buy the fantastic album that will change everything. Wear black. The 80s are back.

Available October 11th from the incredible 20 Buck Spin.

-Jon

Dhusk - Untitled (2011) [Imperial.Noir]

I committed rape while listening to this tape. It was perfect. My only regret was having to pause partway through (hold on, don't run away) to restart the tape.

Dhusk's untitled release on Paul Dever (Dhusk, Griz+zlor)'s Imperial.Noir label is, as seems common in the world of experimental tapes, two distinct sections. The first side churns away beautifully (Harsh Noise Wall, no dynamics, no change, no development) while a voice whispers away unintelligibly like a half-remembered conscience, the troubled dream of a total amnesiac (what is language? what is speech?) lying on the floor of a black cave.

The second side bursts full-fleshed into existence from the momentary hum of half-present signal. A tangible flow of churning, solid, noble death—always the same and always different. Pulses that don't form regularity, a subsuming, entrancing chaos of similitude. The hum and chatter of the tape finds body in this river of grating sound as stones, tempting you to drench your arms in their dryness and taste as they crush your bones and strip away scraps of your flesh.

Normally, the best reaction I have to a wall release is satisfaction when it's over. The Dhusk tape makes me go over and flip the tape again so I don't have to stop listening to it, and at one point I seriously considered learning how to set up  the tape as a loop so that it wouldn't stop. I am not kidding.

Paul is also offering a CD-R (limited) of the unabridged version of the second side at imperialnoir.bandcamp.com. Buying both the tape and the CD-R is worth it.

The Atlas Moth - "An Ache For The Distance" (2011) [Profound Lore Records]

If you haven't heard of Chicago metal band The Atlas Moth, you've at least heard of frontman Stavros Giannopoulos's legendary moustache, which he sadly shaved off last year. Powerful enough to have its own Facebook Page, press folks, to the dismay of Giannopoulos, would always turn to Stavros's moustache as a "go-to" comment, whether they found enjoyment in his music or not. Of course, now that Stavros's face is shorn, jerks with websites (like myself) can only grasp at the moustache's former glory in order to create some witty introduction, because coming up with some sort of introspective, witty statement that ties into the album has become the next most annoying thing since "In a world..." movie previews. However, facial hair aside, The Atlas Moth's latest offering, the mighty An Ache For The Distance, is one of the most solid metal albums of 2011.

Melding spacey sludge with progressive rock (more Pink Floyd than King Crimson) and a love for psychedelic pop bands, An Ache For The Distance is a refreshing take on the "post-metal" genre about which I complain in at least 30% of my reviews. Unlike previous efforts, this album shows The Atlas Moth toning down the blues influence that encapsulated A Glorified Piece Of Blue-Sky for a more melody-driven, dense trip through massive doom riffs, trippy psychedelia, and spine-tingling triple-guitar harmonies. While this is undoubtedly a doom metal album, it is definitely The Atlas Moth's influence outside of metal that truly makes this album stand out. Take, for example, the bizarre, Jesus Lizard-inspired introduction to "Perpetual Generations" or the constant, atmospheric presence of bands like Deftones or The Flaming Lips, merged tastefully with Giannopoulos's blackened shriek and guitarist David Kush's (what a fitting last name) gruff singing voice. Oh, and Anatomy of Habit/Bloodyminded's Mark Solotroff has a powerful voice cameo on the syrupy "Courage"; it's always wonderful to see musicians within the Chicago scene collaborate with such magnificent results.

After listening to this album nonstop for the past few weeks, I'm convinced that in a few short years we can see The Atlas Moth filling up stadiums, co-headlining tours with Mastodon, and having some sort of major record deal. An Ache For The Distance has that sort of accessibility while still retaining its fresh originality, which is a rare, rare feat in today's music world. This is unlike any other metal out there, and is by far one of the coolest albums I've come across in the few years I've been a self-proclaimed music nerd. This comes out tomorrow, September 20th, on powerhouse label Profound Lore Records, and is deserving of all your money. Be sure to catch these guys on tour throughout September and October with labelmates KEN Mode.

RIP Stavros's moustache.

-Jon

Anatomy of Habit - "Anatomy of Habit" (2011) [Self-Released]

It was really only a matter of time now. After three years of constant live activity and no studio recordings, Anatomy of Habit is finally releasing their debut album of heavy, experimental doom metal tonight. As I've said in reviews before, I normally don't get too stoked when it comes to "supergroups," but Chicago's Anatomy of Habit is a definite exception, perfectly blending various members of our fair city's experimental music subculture. Not convinced? Well, a band boasting Plague Bringer's Greg Ratajczyk, who has also done studio work with Modest Mouse, on guitar, Animal Law's Blake Edwards on metal percussion, Dylan Posa, formerly of Cheer Accident, on drums, Kenny Rasmussen, formerly of No Funeral, on bass, and fronted by Chicago's most prolific (and best dressed) experimental vocalist and noisemaker Mark Solotroff (chances are you've heard something he's on, trust me) is bound to do something unforgettable, and Anatomy of Habit has definitely succeeded with this first release.

There's definitely a lot into which I've had to sink my teeth when it comes to this massive, two-song LP. From the chiming, gothic-tinged beginnings of "Overcome" to the plodding standalone drums that close "Torch," Anatomy of Habit thrives upon unique genre fusion to create their own peculiar brand of doom metal. Like Joy Division on quaaludes or mid-era Swans taking cues from Sunn O))), Anatomy of Habit takes the listener on a journey through sparse post-punk, layered guitar polyphony, jarring percussion and crushing, discordant doom metal. Channeling the late Ian Curtis, frontman Mark Solotroff's mournful baritone acts as a sort of guide through the malevolent, disturbed music, spouting repetitive, cryptic text. This band's brilliance lies not just with their genre fusion, but with their brilliant arrangements, filling in every blank, silent area, with a different sound, however subtle, to create a full, fulfilling sound, no matter how sparse a section of a song may be.

Patience is key with this album; with two songs each orbiting the 17-minute mark, every listen yields some new texture or layer that went completely unnoticed before. In a way, Anatomy of Habit is the closest I've ever heard a band get to achieving the massive sound of Swans's Children of God, and yet it is entirely different and unique in it's own right. Brilliantly melding the wide array of influence between its band members, Anatomy of Habit is by far worth the sum of its parts. An astoundingly powerful and unique album, definitely deserving of your attention. Available soon from the Anatomy of Habit BigCartel.

-Jon

Lake of Blood - "The Burial Ground Sessions" (2011) [Eternal Warfare Records]

Don your monocle and fill your pipe with the finest tobacco, for it is time for another chapter of The Inarguable's coverage of West Coast black metal powerhouse Lake of Blood. After their massive As Time And Tide Erodes Stone, released earlier this year, one would think these fellows would have taken some sort of break, but the new The Burial Ground Sessions cassette, out soon on Eternal Warfare records, shows no signs of stopping.

Recorded live at the Burial Ground house, home to the Woodsmoke collective, who gave us such bands as Leech, Munn, Merkstave, and many more, Lake of Blood presents two hefty, impressive rehearsal recordings on this 18-minute cassette. Delving into deep, melodic doom, blistering thrash, and, of course, their own memorable brand of melodic, epic black metal, The Burial Ground Sessions demonstrates a much more metallic, aggressive side to Lake of Blood; an indicator of things to come. As I said in my previous Lake of Blood review, their music is cold, enough to make my toes curl, and this demo is no exception. Lake of Blood juggle riffs like true professionals, devastating everything in their path. Of course, since this is a live recording, Lake of Blood's signature, prevalent acoustic guitars aren't there and the production is raw and filthy (which I do enjoy), but, fear not - these songs will be re-recorded and expanded upon for Lake of Blood's next album!

Personally, I love Lake of Blood. While they don't really do anything super new with the style of black metal found on the West Coast, they do imbue a sizable amount of cojones (hey guys, that's Spanish for balls!), which is alright by me. As far as the necessity of the release, I'd say if you are already a fan this would be a nice addition to your collection, but, overall, it's just a "demo" recorded in a pretty cool place. I dig it...and need to find the moolah to order this. Available later this month at Eternal Warfare or from Lake of Blood's BigCartel (someone should get me that Destroyer of Vices shirt!).

-Jon

Absu - "Abzu" (2011) [Candlelight Records]

As a longtime fan of Texas based metallers Absu, it was with eager ears that I was sent their newest opus, aptly titled "Abzu". Although band leader Proscriptor McGovern describes the band as "Mythological Occult Metal", I can remember a time when Absu were one of very few bands that made me proud to be a fan of American black metal. Nowadays, you would be hard pressed to call Absu merely a "black metal" band. They have superseded the genre and have become so much more. Arguably, Absu has never been a straight up black metal band and have always had an especially obvious overtone of classic thrash. This mixed with the Celtic inspired folk passages weaved throughout, have given them quite a unique sound and regardless of the band having somewhat of a revolving door of musicians, Absu inevitably sounds like Absu and that is a testament to McGovern's musical genius.

As for the newest offering from Proscriptor and his hired guns, epic is the first word that comes to mind. This is a frenzied storm of righteous metal and superb musicianship. The band convincingly pulls off being both progressive and eclectic as well as aggressive and even brutal in its approach while the "folk" segments (though scarce and short), are beautifully done and compliment the ferocity perfectly and help guide the listener on an epic sonic journey set against the backdrop of Celtic mythology and H.P Lovecraft. Proscriptor has once again proved why he is one of the greatest drummers in extreme metal as well as one damn fine and versatile vocalist (Yes, the King Diamond like wails are in full force) and the riffs are just down right killer. The band still retains a healthy dose of straight up black metal which can be heard from time to time throughout the course of the album. The second track, "Circles of the Oath" is especially ridiculous in its intensity and is the definitive stand out track on what is a fantastic new chapter in the mythology of Absu. Although not as amazing as 2001 masterpiece "Tara", it is quite a bit better than the previous self titled album released in 2009. For fans of the band and of extreme metal in general, I cant possibly recommend this enough.

-Dallas

A Death Cinematic - "Your Fate Twisting, Epic In Its Crushing Moments" (2011) [Simple Box Construction]

It is a shame that so many labels forego special packaging to save money. I mean, I understand why they must, but at the same time there is something unique and almost magical about getting a new album and noticing that the artist and label really "pulled out all the stops" (note: that's an organist's term - how about that?) to make the listener's experience transcend the mere sound escaping their speakers. When I get an album and it's in a jewel case or a digipack it's still great, I still get to hear the music, but when the artist puts together the packaging themselves and offers a little something extra, not only do I have the sounds the artist created, but also a personal piece of art, a labor of love. Arthouse label Simple Box Construction, run by Kamil of A Death Cinematic, offers many wonderful extras with each release, this specific one featuring handmade packaging, coated in polyurethane, a short poem printed on handmade Japaneze kozo paper, and 3 special water decals (NOT STICKERS) which you can affix to furniture. Ever want an A Death Cinematic drawer? Well now you can. These little things, which obviously took a very long time to do, are so much more meaningful than your standard jewel case.

The music on this rather long EP is as intricate as its wonderful packaging. A Death Cinematic's meandering, guitar-based drone is as harrowing and personal as it has ever been, pushing its already slight post-rock "swagger" even further into the background, instead favoring a bleak, shining drone, like a bone left bleached in the sun. Now, when I say "post-rock swagger," don't immediately think of the countless Explosions in the Sky and Mono ripoff artists that plague the world, rather something that draws upon said influences (I actually hear more Talk Talk and Bark Psychosis than EITS or Mono in this one) to create something with an atmosphere that is the polar opposite of the genre's normally ethereal, soaring sound. Envision a barren landscape, the trees are dead and dust as far as the eye can see. There is no life, it is completely inhuman; this is A Death Cinematic. These brilliant, apocalyptic guitar improvisations weave spider's silk over dark, churning drones. For one man with a guitar and an amplifier, this is the holy grail of drone.

Listen to this LOUD. Soak it in.

-Jon