Showing posts with label Post-Metal. Show all posts
Showing posts with label Post-Metal. Show all posts

Sunday 24 December 2023

Graywave "Rebirth" (2022)

 
Illuminating attention with an engulfing dreary charm, Graywave, brainchild of Jess Webberley, intensifies their dense Shoegazing Ethereal haze with bustling over drive guitars that swell and shimmer in flushes of bleak beauty. The instruments roar with inviting texture, baselines rumble, showing cracks and grooves, the drums strike with piercing clarity and crispness. Around them a glory of sombre tuneful sounds ripple and shimmer in waves, losing themselves in copious echos and reverberations.

Crudely Dream Pop, oddly catchy by design, these illustrious melodies lure one into its haunting spell. Each track casts its bait, then reels one into thick, heavy surges of descending imminence. Emotions suffer dark and burdensome, yet glimmer with soft introspection. Often feeling like a cathartic release of internal demons and personal grievances that run deep. Its stunning how each song sways in and out of this radiant hell, retaining its alluring colors and selling one on its shadowy descent over and over.

The magic ingredient is Jess' voice who has stunning softness in strength, her gentle tone can ascend and roar with the swells of instrumental gravity beneath her. Its a stunning chemistry from a multi instrumentalist honing in on a purity of self expression. Five fine songs, with the opening Build a masterful ear-worm to binge. This is about as heavy as Shoegazing gets before you call it Metal. To my ears, its akin to Autumn's Grey Solace on steroids. Absolutely loved this, Ive found my next journey it seems!

Rating: 6/10

Wednesday 13 April 2022

Animals As Leaders "Parrhesia" (2022)

 
Following up on the three tracks of Gordian Naught, Parrhesia's six other songs follow in a typical vein for this band. Complexing instrumentals of rhythmic uncertainty resolving and instrumental aesthetic exploration yielding both unwieldy chunks of reactionary groove and beautifully scenic melodics. My exposure to the original three has perhaps tainted my experience, in the best way possible. To thees ears, the six new cuts have more gratifying shades of color when they blossom and more often too. This makes the churning of the cold polyrythmic density more bearable. The hard drives through the aggressive terrain of tightly jolting deep end guitar noise often leads to lavish explosions of emotion. The guitar tones and texture open up, brightening the mood and self illuminating in tandem with its melodies and chords.
 
A little infusion of synth key arpeggios along the way is a niche touch. Its blooms and respites between are often the most appealing aspect, as the band foray into Post Rock and Metal territory with textural landscapes breaking out of regular riffing structures. The immense talent of these musicians makes it a marvel to unfold in its best passages. The trio can be heard firing on all cylinders, giving all their instrumentation a density that needs unpacking. Drum patterns woven yet groovy and charming, Even some "lighter", acoustic led refrains have a dexterous depth.

The problem for me is the low end guitar work. Initially a draw, something I'm fond of, Animals As Leaders get a little to into themselves on this outing. With the extremes of technicality, polymeasures and oddities as they present them, the pursuit often feels soulless. Thoughts And Prayers a keen example of the choppy chugging getting lost within itself and going on a meaningless tangent. The band is all about swaying between its two temperaments, finding interesting middle ground along the way. For me, the self serving aggression has sadly lost its attraction.

Rating: 6/10

Sunday 5 September 2021

Deafheaven "Infinite Granite" (2021)

 

With a dramatic withdrawal of extremity, Deafheaven emerge from a cocoon reborn in a new form both drastically different and strangely similar. With one fell swoop the band land on a thing of beauty with Infinite Granite. The deeper instincts of their inspirations blossom as they distance themselves from the Black Metal, or Blackgaze they are associated with. Dialing in closer towards traditional Shoegaze, an invigorating, textured wall of sound ebbs and flows with intensity, swaying through calm breezes and emotive storms with an effortless grace that feels so right.

It is singer George Clarke who illuminates and makes sense of this shift in tone. Finding a new voice, he swoons with purity, navigating the shimmering ethereal nightly mood his band mates conjure. As an anchoring force, his gentle and sincere presence adds so much meaning and grace, especially when dreamily drifting with a softness through the instrumental turbulence, riding out the storms. The particular style is one I can't quite put my finger on. Its a little Morrisy perhaps but there is some 80s voices I'm sure he holds a candle to with this remarkable performance.

All the beauty converges with these remarkably busied and bustling instrumentals. The drums shuffle and rattle ceaselessly. The bass guitar works a dense underbelly for the shimmering guitars to sway back and forth between dark glossy acoustic chord plucking and rapturous build ups of swelling guitar distortion. It all ebbs and flows together as one cohesive force, the songs rolling of one and into another. Between it all subtle electronic keyboard tones weave in and out of focus and making itself known with the misty ambiguous instrumental piece Neptune Raining Diamonds.

The initial, noteable thing of remark is the departure from Black Metal, however these intensities with screaming and surges of instrumental force are found here and there as wretched crescendos push whats beautiful in this dark realm to its absolute limits. Although it feels more like traditional Shoegazing, the dense wall of sound and depth of texture is quite the meaty affair. It seems melodic and emotive yet its laid on heavy. Its seemingly a big change but more so a smart re-arrangement of select pieces on the chessboard, to break it down from a more technical perspective.

Infinite Granite will be one of my favorites this year and not a moment of it turns me off. Will its spark dull with time? I hope not, I adore this engrossing experience. It feels like one to be enjoyed as a whole, ending with the remarkable epic Mombasa! If anything written here sparked your interest, give it a listen! Surely it wont disappoint!

Rating: 9/10

Wednesday 26 May 2021

Gojira "Fortitude" (2021)

 

Although delayed by the Pandemic, French Metal outfit Gojria's seventh record, Fortitude, marks an increasing gap between records with a five year wait from the toned down, atmosphere driven Magma. As these musicians mature, so does the music and the time waited feels worthwhile as the Duplantier brothers and their band-mates hone in on a wholesome, naturalist and cultured tone. Embellishing the heavy sway of their rhythmic guitars, the space between instruments groans with earthly pains as the common themes of environmental and indigenous concerns manifest it the texture, painting its modern Metal cliches with a humanitarian identity.

Gojira's craft for groovy, swaying chugga riffs remains firmly intact with plenty of timely moments to deliver the momentous, head banging riffs with pinch harmonics, slides and all manor of guitar noise between. New Found is a keen example, housing a couple of the albums most infectious rhythmic grooves. The difference is the space between, often the guitars work in tandem, high and low, delivering meaty chords and melodic lines that weave the earthly texture between them. The bass guitar too plays a wonderful roll in this too. Its thick warm presence being rather dramatic and creative at times with fret dives, slides and high notes that resonate wonderfully.

Up front on vocals, Joe Duplantier gives a complimenting measured performance, having the reach for gritty growls, demonic shots and a range the crosses over to the spirited and effeminate. He draws out this indigenous native spirit with frays into wordless cries of melody that weep with the spirit of the land. Equally the anger of destruction and human pains burgeons in its sway to the dark and gruesome screams Metal music adorns. Most these songs sway between to the two as so do the instruments, intensifying grooves and opening up to emotional atmospheres between.

There is little I can flaw but I can't say there were many grabbing moments of awe. This felt like balancing act to pull us along its dreary and bleak hurt without becoming too engulfed by attention capturing grooves and heavy metal distractions. Its an album that gently cruises by, holding presence and brooding in its own shadow. Despite being rather downtrodden in mood its a joyous listen as that earthly spirit permeates so well. The production helped achieve this but I must say some of tracks feel a little dulled and muddy with the music carrying weight through reasonable fidelity. Perhaps it is part of the charm given those earthly tones I have commented on, for some reason it just strikes me as missing a sharpness. Either way its a solid record.

 Rating: 7/10

Wednesday 19 May 2021

Kauan "Ice Fleet" (2021)


 Underwhelmed by the soft and withdrawn, forever wandering Kaiho, the Estonian outfit Kauan return again. Having forever earned my interested with Somi Nai, I had to check this out. Its an album that, reflectively, has some charm attributed to the excitement of a fresh sound on these ears. I'm pleased to say Ice Fleet steers in a feistier direction again with its balance of cold, sombre beauty and lengthy swells of aggressive gusto finding an equilibrium to coheres us gently through the ebb and flow as a path is forged. Onward we trek, through the vast scenic wonder of deeply atmospheric, emotional and engrossing music to captivate. They have found their stride again here.

Part Post-Rock or Post-Metal, fostered by airy synths to brood a smooth and welcoming denseness, Kauan lunge into the epic with a touch of Doom Metal pacing with slow and crushing beats. They give momentum to scale on these linear journeys across the vast bewildering wilderness, or possibly oceans as its title and album art suggests a naval inspiration. Tremolo guitars cry out in reverb as the gravitas pulls in a single direction. Slow and simple melodies, often singular, break through the walls of sound as its direction converges on beautiful notations to bring gleams of light to its otherwise un-intuitively baron landscapes.

The record plays as one, growing into its more ambitious metallic beast early on with dramatic symphonic lulls between its eruptions of rugged guitar riffage that misses on Maanpako and does a devilish dance on Raivo when accompanied by howling, lurching screams as it dips into the Black Metal realm. The pull between dark and light is stunning and with its final numbers the music drifts to a calming, Etheral piece with airy, wordless vocals wandering in like a lost spirit. Its quite the contrast from the sailing frenzy in moments past but that is much of the magic of this record, how it holds opposing forces in a special place. The pacing is just right, everything broods and crawls to conclusion, holding us in its cold temporal majesty.

Rating: 8/10

Sunday 9 August 2020

Mrs. Piss "Self-Surgery" (2020)


Plunging into a world of maniacal self deprecation, Chelsea Wolfe and Jess Gowrie team up for a short collaborative effort. Its sleazy name, grotesque artwork and grim atmosphere make for a wild ride into the depraved. Fulled by Punk adrenaline and noisy instruments the duo put together a mix of Post-Punk, Black Metal and Post-Metal that steps into the bleak shadows but offers a rather grabbing energy in return as its darkly tone is driven by some unexpected great song writing.

Firstly, the combination of Chelsea's haunting voice, hazy like a ghost in the fog with vitriol screams and howls in the backdrop is memorizing in its best moments. The two get loose, toying with reverbs among the barrage of noise. It lets a whole range of approaches light these songs up and the ambiguity fuels the sometimes simplistic, repetitive lyrics, which do not feel as such. Its drives home the filthy themes at play that dip into the ugly and darker corners of the mind. 

Secondly, percussion is king, from the tame, sluggish and brooding sections, up to the fast, energetic, pulse racing patterns, they drive the music forward. Rather than pace keeping, the grooves feel essential, a central part of the composition. Aesthetically they are part of the ugly sprawl of sound, the cymbals heavily clashing in the mix but it plays into the projects charm with enough cushion in its key components to really drive home the deep pushing power they posses.

Behind it all rugged riff driven guitars and powerful pounding bass lines, the occasional synth, brew up the textural treats as they barrage, along with the percussion, walls of dizzying darkness. It puts the record in this unique position of occupying a dark realm without pulling up the usual tropes of blast beats and sinister melodies. Its the ripe chemistry forging an engulfing atmosphere that makes this project work. At just twenty minutes it goes by all to quick. I hope they do more together!

Rating: 7/10

Thursday 14 May 2020

Oranssi Pazuzu "Mestarin Kynsi" (2020)


Returning from a cosmic darkness of maddening psychedelic infused in the Black Metal abyss, Finish outfit Oranssi Pazuzu serve up another engrossing slice of darkly paranoid wonder. Four years on from Värähtelijä, the group return with six lengthy tracks of mystic torture and devine black magics. Atmosphere is ripe, the music brimming with thick busying layers of sound decorated with whirls of cosmic ambience between its pounding baselines, thick distortion guitars and aggressive instruments.

Toying with the listener through repetition, tension and menace brood as simple arrangements loop with a hypnotic persuasion. Between the cracks an eeriness lurks, croaks and groans are heard deepening the bleak persuasion as the music lunges into upheavals of spite and hate with the most harrow and distressing of tones amending its peaks. It does find balance however with a glorious sense of galactic mystique emerging through stunning synths. It gives balance to a challenging listen.

Every track feels fleshed out with a concept. Some central idea hinges and holds together an intense journey through the mental madness this band explore. In its best moment, Kuulen Ääniä Maan Alta deploys an utterly snappy groove to underpin its spat with the heavens. It births a strange dance of demons you could almost move your feet too. Followed by Taivaan Portti, my least favorite, abrasion is dialed up on an incessant drone that stiffens all the weird yet wonderful progression behind it.

The rest of the record is remarkable, a progressive journey with many a bizarre and curious assemblies of sound that suck the nectar dry on this psychedelic horror they incur. Front man Ontto deserves a nod for the utterly foul vocal performance. Regurgitating guttural groans are wrenched from within, delivered with a spite and hate heard through the bleak textures tortured from his chords. Its a style Ive grown bored of but when done right, its a treat. Great record, they have a finger on the pulse.

Favorite Tracks: Ilmestys, Kuulen Ääniä maan alta
Rating: 7/10

Thursday 5 December 2019

Alcest "Spiritual Instinct" (2019)


Years on from the serine glory of Les Voyages De L'Âme, I find myself poised in a spot many bands put me in when they stick with an established sound. Spiritual Instinct is French Black Metal band Alcest's sixth full length album and it predictably retains its harmony between hazy, atmospheric Black Metal and melodic Shoegazing. It sways between the darkness of cold metallic aggression and upheavals of sunny relief to birth magic in the union of previously juxtaposed musical ideas.

Its the band at their best however the now established sound fails to dig in deep, many of its songs birth the same settings and moods that have graced us before. If anything is to be said of this latest installment it is perhaps the meanest at times with guitar distortions a touch more textured and gritty. There are also a handful of plunges into the shadows as the shrill howling screams come around with more frequency between the more common middle ground of opposing styles in unison.

Sapphire and the closing title tracks do hinge into lighter territories with Post-Metal guitars loosening up the intensity for the vulnerable melodic singing to muster spurs of lush and delicate emotional movements. Protection stands out as its mid section has a fantastic building of intensity. Maniacal string swell in the background, driving the music to its highest crescendo. Perhaps the one defining moment of the whole record because otherwise it is wholly enjoyable but lacks a challenge or shift.

Favorite Track: Protection
Rating: 6/10

Thursday 22 August 2019

Jinjer "Micro" (2019)


While working on their forth full length album, Ukrainian Djent and Metalcore hybrid outfit Jinjer have put out this short, twenty minute five track EP. It was easy to dismiss at first, with less bombast and groove the songs rattle through waves of brooding intensity in the form of tangled jangled riffs that wobble through untimely shifts and poly grooves. Its singer Tatiana Shmailyuk who draws one in past the metallic dissonance which offers little melodic relief. Between angered, roaring screams she opens her voice up with a touch of vulnerability and wash of resolve, taking spotlight in an otherwise monochromatic aesthetic of cold crunch Metal instrumentation.

After themes of primitive behavior and childhood trauma Teacher, Teacher grabs the ear with a pratical use of language, plain and descriptive yet telling quite the powerful story. The use of language is either artistic or obstructed by language barriers but either way it has a strong persuasion that drags you in. Its line "don't let the school make a fool of you" sticks out like a thistle. The way she soars her ranges in different temperaments is endearing, often sucking you in like a gravity well. Again it ends on the broken and charming English of "I Smile to you". Fascinating song from the lyrical perspective, not something I experience that often.

Its a rather dark and painful piece of music that progressively opens up and eases of the agression steadily from the instrumental perspective, ending on a non-metallic interlude. Jinjer have delved deeper into the eclectic side of their influences and come up with a more artistic expression where these songs give far more food for thought. The cold and stomping, jaunt guitars create quite the unsettled atmosphere for Tatiana to resolve. The battering and relentless drums are a joy too! A fantastic chemistry, I'd prefer to see more of this direction from them!

Favorite Track: Teacher, Teacher
Rating: 6/10

Monday 19 August 2019

The Contortionist "Our Bones" (2019)


I will forever have an eye on this band after their timely and glorious Language. Their following effort Clairvoyant was a fair record but has not stuck as deeply with me. Our Bones is the newest material from the American outfit. It consists of three original tracks and a sweet cover of 1979 by The Smashing Pumpkins. Its a comforting, warm cover with a sunny and smile inducing vibe, a perfect fit for singer Michael Lessard who sings with a soft sensitivity. Beautiful tribute.

The three originals are lucid and fluid. The songs groove to their own identity as the constrains of an ambitious album concept have been set free. No long and winding atmospheres of crafty progression, or overly complicated concepts. The first two tracks play freely with the dynamics of their heavy metallic aggression and melodic serenity. Bouncing between riffs in simple song structures the creativity emerges in the cracks between and variations that let a little lead guitar move forth and flourish, or a bassline rumble and rise. I especially love the reverberated scream that echos like a chill into the atmosphere of Early Grave. The creativity here feels very natural.

All Grey brings in airy melancholy synths and lush pianos for a delicate and sensitive interlude track that has but a single moment before gently fading out. Its a great bridge to the cover. Although Our Bones is a short thirteen minutes, it makes quite the mark as back to back listens still have me excited. It sounds unlikely that these songs will shape a new direction for their next full length but its shows they are very capable of a different approach to the particular chemistry these artists have forged.

Rating: 5/10

Friday 22 March 2019

Fen "Stone And Sea" (2019)


Years have passed since Dustwalker and Carrion Skies, two records I was keen to check out but felt far from the magic of their debut The Malediction Fields. Apparently I have been oblivious to their fifth full length entitled Winter, released a couple years back. This short, three track EP was just the right dose of music for my tasting. To no surprise Fen's sound is rooted in the period where Black Metal first diverged from its second wave and with earthly tones and naturalistic inspiration the trio conjure three tracks that play with a familiar theme of light and darkness, swaying between the two.

The mostly darkened avenues the music walks is rough and raspy, throaty howls yell over loose blast beats and gritty distortions that feel earthly and muddy in the mix. The production is raw with its crunchy guitars and muddy noise, the clashing cymbals cut sharply through but with a creek of chemistry to tie it all together. Its got a sloppy sound but that is the charm to some extent. Its earthly, human and perhaps mystical.

It has its heavy moments that conjure the atmosphere of natural wonder in the darkness of a moon lit night setting over forests and moors but the light upheavals mostly emanate from the peaking melodies that transcend the gritty foundations. The music builds to an eruption of triumphant lead guitar queued by clean and humbly imperfect vocal lines that break up the screams and howls, bringing in that uplift of light from an overwhelmingly darker and dusty sound across its span.

Its rises of the light are brief and infrequent but the overall structure makes for a charming midsection of acoustic guitars that usher in cultural roots. It should be pointed out that the EP is essentially one big twenty minute song. The opening 8 minutes blister through shrill and windswept bustling furies of energy and its mid section acts as an calm between storms. The third act infuses chunkier elements of groove and a bigger emphasis on the lead guitar that brings the song to its climax, one that is drawn out to the end. Its quite the epic piece of music and one I have fondly enjoyed! This more focused Fen is more to my liking.

Rating: 6/10

Sunday 17 March 2019

Tesseract "Sonder" (2018)


The British Progressive Metal outfit Tesseract have been on my radar since their very inception way back when in the the early naughties. I've caught many a live show over the years and heard plenty of their songs. Its only based on a recommendation from a friend that I gave this new record a proper try and I am disappointed to say I walk away with the same lukewarm feeling I've always had for them. Sonder is their fourth full length but a direct record at a shorter thirty six minutes which made it much easier to pick up and spin.

The band toy with the dynamics of heavy and light. On one hand a glistening wash of beauty, haplessly sways above with clean guitars and subtle airy synths. Its mostly led by the clean, soft and vulnerable singing of original front man Daniel Tompkins. Its counterpart is expressed through mathematic manipulations of groove, chunks of sonic sound pronounced through the bolstered Djent tone. It can be somewhat self indulgent at times when its riffs get a little lost in the counter measure of expectation. Mostly though both elements are dynamic and sway in accordance with one another.

Its formula is laid bare from the get go and a couple of strong opening tracks create quite the excitement as an atmosphere of possibility is mustered in the wake of its balancing act between the beauty and chaos. Dark, guzzling passageways of meaty, moments riffs can drop seamlessly into blissful rest with soft pianos, distant rumblings of mechanical thunder and a cloudy choir chiming in the words draw together. This chemistry plays out in various measures before the record hits a snag.

It seems to start around Beneath My Skin but as the album progresses it feels like the best of this dynamic is behind us and little new is offered up. Throughout it all the singing is gorgeous, bordering effeminate as Tompkins finds a passionate expression in his range. The rest of the music doesn't quite follow and I find myself losing interest as the music meanders in itself with the same ideas drawn out to a disappointing close. Its certainly got a great aesthetic and musical construct but as an album it runs out of ideas far to fast. Even at thirty six minutes its best is less than half.

Favorite Track: King, Juno
Rating: 5/10

Saturday 23 February 2019

Toska "Fire By The Silos" (2018)


It should be said that Toska are worth far more than the time and words I put into their records. With the fifteen or more spins I have enjoyed of this sophomore record, there is far more to be unearthed in this organic experience of metallic aggression that straddles the lines of conventional grooving riffs with expansive atmospheres. Much like their debut Ode To The Author its another journey through progressive song structures and Post-Metal soundscapes that stir emotions in quite passageways and erupt with momentous grooves of burly guitars masquerading a sonic prowess.

Its instrumental nature provokes thought and reflection, an album for introspection broken up by surges of head banging goodness. Its play on words, open and closing tracks, hint at a greater theme. For an instrumental record its concepts arise with the title track as vocal samples enter the fold. A mans voice lays out themes of societal and personal struggles, alike a 1984 state, his frustrations are laid bare in abandon.

The theme is resurgent again with its ten minute closer of dark ambience from inside the machine. The flickering of electricity, the hum of mind control, backwards voices and a propagandist message read over the speaker phone. Its a remarkably vivid song full of whispers and conspiracy, a sensory experience and great way to close the record. Ataraxy before it is another piece isolated from the norm, a gorgeously sombre, stunning piano piece to send chills down the spine.

Overall, Fire By The Silos is a fantastic record with a dark commentary of humanity, somehow reaching out through its instrumental scenery, although perhaps not on first listen. Having set a high bar, it leaps into the upper regions with its two tracks that break the norm and end the record with a remarkable imprint to remember it by.

Favorite Tracks: Fire By The Silos, Ataraxy, The Heard
Rating: 8/10

Monday 7 January 2019

Tool "Opiate" (1992)


Following up on their promising demo 72826, American Alternative Rock outfit Tool put together Opiate, an EP consisting of six tracks, four from the demo and two new songs. Its all recorded in a new studio however two tracks are actually recordings from a new years eve show. They sound fantastic in the live setting, giving a lot of charisma and energy to songs that previous sounded a little flat within that chromatic demo quality. Unfortunately these re-recordings don't add much to the experience. Hush and Part Of Me both sound mediocre on this recording. They have stepped up the overall clarity but things still have a sloppy demo sound, the bass guitar suffering the most.

The title track Opiate certainly raises eyebrows with its roaring scream of "We both want to rape you". The music aggrandizes this dramatic moment and a dive into the lyrics hides no secrets to its religious context. An exact meaning may be down to interpretation but it seems to criticize the evil that can be bestowed in the name of God. Its the records best song with a thunderous momentum of bustling tom drums and dramatic, sinister guitar work after pivoting from a more generic rock song. Eventually it fades out to a break of silence that reveals a "secret" track with some patience. This hidden music is a psychedelic jam of comedic musing and cried of Satan. Doesn't add much to the record, but it is its own experience.

The opening and other new song Sweat has crunchy rolling guitar riff work in its opening phases that sets the tone for some anxious lyricism. Its breaks to expansive, atmospheric driven guitar licks are appropriate but its far from a memorable song. So far Ive found myself understanding the music and picking up on the vibe but not feeling anything remarkable bar one or two moments. This rehashing of their demo was a little underwhelming but I am hoping for great thing with their debut Undertow.

Favorite Track: Hush, Opiate
Rating: 5/10

Tuesday 1 January 2019

Tool "72826" (1991)


I'm not new to Tool. I've been well aware of their reputation for many years but never found my way into their music. With a Download Festival show looming and a probable fifth album In the works its time to really give them a go! Working in chronological order we start with their demo tape 72826, a name which decodes to Satan. It feels like an excellent choice as I hear some clear links to sounds of other bands in the early 90s Alternative music era and I'm already picking up on some unique themes and concepts in their sound and identity.

On the lyrical front a majority of songs stem from personal relationship struggles manifesting into venting agitation yet most often with a streak of underlying intelligence. It rises to the forefront with Hush, its words challenge the ideas and norms of freedom of speach from a grounded, thoughtful position rather than that of rebellion. That perspective may be shaped by the more artistic and intentional construct of their sound. The words frequently blossom with clarity and wisdom as Maynard James Keenan cries out "I can say what I want to, even if I'm not serious. I can say what I want to, even if I'm just kidding". Its a thought provoking statement when juxtaposed with shouts of "kill yourself" which may initially seem thoughtless.

The music reminds me a lot of Post-Punk in some ways, just within the realm of Rock and Metal. Tool shape up their aesthetics and musical constructs with an ear for opposites, striking balances of melody and demonstrative groove with the guitars leaving space for big prowling baselines to clank and rattle in behind the animated drumming of Danny Carey. Its all comes together without a cheap trick of trope. Every track, although varying in quality, has a set of riffs that firmly establish the tone of the song without an over reliance on any particular instrumental approach or style.

The production for a demo in 91 is alarmingly decent yet objectively its aesthetic is brittle and colorless. The guitars are a dulled by their fuzzy distortion, the bass guitar clanks for volume like a Primus record and the drums lack depth, sounding metallic, especially the tom rolls. Despite all this the charm firmly emerges. Keenan establishes himself upfront with a great performance that reminds me on Eddie Vedder when he boards on a similar flamboyance. Its a great demo and has actually got me excited for the next few records as they will undoubtedly evolve to a Progressive behemoth.

Favorite Tracks: Hush, Sober
Rating: 6/10

Friday 19 October 2018

Dir En Grey "The Insulated World" (2018)


The bizarre, psychedelic album art is a fitting match for Japaneses titans Dir En Grey's latest project. The unconventional elements in their approach to Metal music is captured through the lens of my own interpretation. The human face represents the normality of this distortion soaked, aggressive music. Its soft neon, geometric cycloids insight the layer of exceptional and all unusual that mostly emanates through front man Kyo. In reality its probably related to lyrical themes beyond my western scope.

Kyo's vocal range is distinct with clean pipes and hurtling screams where both get stretched into avant-garde performances as he uses his voice as an inhuman instrument. This of course is helped greatly by the language barrier, leading much of his conventional singing to expose the emotional performance with the Japanese words inciting ambiguity and sounding mysterious. Time and time again he rises through the onslaught, like a dancing beacon, a torrent of urgent expression.

 Although the record opens with pounding drums, thudding guitar riffs and some bludgeoning death howls from Kyo, Its heavy aggressive start steadily gives way to an articulate musical world of artsy songwriting that frequently shifts the norms with expansive guitar playing. Firstly they stir a rattle with discord and spastic timing. Some of the most memorable moments coming from the cohesion of instruments as the mammoth bass guitar patrols the underbelly with its prowling presence.

The groups ability to pull together the unusual and make sense of it is striking. The result is music that feels continuously exciting. Progressing through the songs its better moments are found where the guitars give way. Their constant jolts of frenetic mania dilute into palatable atmospheres akin to Post-Punk and Post-Metal styling with a splash of color as the record grows and in these big climatic swells we find the best of the record. Overall its pretty fantastic yet all the unusual doesn't translate to memorable, its atmospheres are king.

Favorite Tracks: Devote My Life, Aka, Zetsuentai, Ranunculus
Rating: 7/10

Saturday 22 September 2018

Toska "Ode To The Author" (2016)


I caught the UK based trio Toska live recently at a Plini show promoting their magnificent Sunhead album. It was an engrossing performance, there was an electricity present but I'm not so sure it translates that well to the studio. The roar of mammoth, grooving guitars hooked in the room with there vibrations, unable to escape its grasp. Ode To The Author features a couple of tracks I recognized from the show. Its an entirely guitar led meld of Post Metal soundscaping and Progressive Metal tangents, making for some distinguished moments as the range of riffing leads us into unique places.

Without a vocal presence the guitars really do make up a forward momentum as the bass does little to expand upon its tone or experience. The drums chime in with appropriate grooves and energy to create some dynamism. Even in its moments of intense inflections and intricacies it still seems to play second fiddle to the mammoth presence of Rabea Massaad who dominates the spectrum, making his lone guitar sound like an ensemble.

It has its appropriate moments of calm and acoustics, lush notes plucked with harmony but the main avenue is groove and power beyond the structured formula. Massive shapely, lunging riffs gather momentum in the expansion of tension through minor progressions. It makes for colossal moments born of a careful craft, slowly growing songs that always seem to steadily lure us into a trap of mountainous riffs, cascading with a great weight.

Its all brilliantly executed, its steady build ups and sudden shifts feel organic and natural. It flows like a river and builds an engrossing atmosphere that quickly lures one in with vision as we explore the array of riffs, of which its groove elements even steer close to Nu Metal briefly and more obviously Djent with the occasional polyrhythmic and elasticated riffage. I'm very impressed, with a new album out November I will certainly be getting myself a copy.

Favorite Tracks: Chasm, Illumo
Rating: 7/10

Friday 17 August 2018

Deafheaven "Ordinary Corrupt Human Love" (2018)


California Black Metal outfit Deafheaven, often a target of controversy among purists, return with their fourth full length record and with it they take a step further away from their roots. On my third listen I found a strong distaste for the musics construct as the album revealed itself. It was rather odd to suddenly dislike what had initially been enjoyed but now that Ive grown to really get where this record is coming from, it all makes perfect sense.

Ordinary Corrupt Human Love is barely a Black Metal record in any musical sense and yet it clings to the raspy screams and shrill aesthetics of the sound with clutching hands. It holds back the music, the notation, mood and melody, the emotions they invoke simply don't stem from darkness. One can hear flavors of Ethereal, Dream Pop, even Grunge and some strong Pink Floyd influences in their "blackgaze" which is essentially disconnecting from the darker aspects.

The opening You Without End ushers in a stunning piano sequence and spoken word phase to evoke a peaceful, serine setting. In rumbles shrill screams distortion guitar leads, forcing their way into the music and unsettling the spell. To use a word like contrast or juxtapose would be complimentary, these are in a state of conflict, opposing moods that wont meet. The transitions, the sways between ends are without an organic flow that was once the magic itself.

In all fairness the record has some moments where they gel but its a case of brief encounters. The bulk of the music composed has obvious draws from a range of non Metal influences. Canary Yellow is a song that has to constantly battle this opposition out as gleams of light and uplift are inflected through the barrage of drumming, distortion guitars and howling screams that dispel the songs actual charm. It becomes a constant ache in the side as the serene and Ethereal guitar work is burred by this constant reach for extremity that's unwarranted.

Near and Night People, the shortest songs, get to flourish in the lack of this burden. Chelsea Wolfe features to transform the music with her presence on the latter. Her voice so distinct she always makes a song sound like her own. There is a lot of fantastic music on this record, I just struggle to enjoy it as the shrill Black Metal inflections constantly disrupt the mood of the music. It feels unnecessary at this point, a hangover, perhaps part of their sound that needs evolution rather than holding on to.

Favorite Tracks: Near, Night People, Worthless Animal
Rating: 6/10

Saturday 5 May 2018

Deftones "Koi No Yokan" (2012)


Emerging as a forerunner in the formation of the short lived Nu Metal wave, Sacramento based Deftones swiftly made artistic strides to separate themselves from the scene and grow as artists. With the years passing by as they do, the band have ended up with a stellar catalog of records worthy of much discussion and praise. I always found It difficult to pick favorite songs and records with the Deftones specifically because their music is so inviting and persuasive. After six years with this record and another recent binge on it, I am once again in awe of Koi No Yokan for its sonic and textural beauty, a moment where the bands music transcends itself with a timeless presentation of deeply engrossing music with gorgeous aesthetics.

On its surface one might link the bands former two record together. The bombastic intensity of Stephen Carpenter's eight string guitars from Diamond Eyes and the blissful, color soaked experience of the melodic Saturday Night Wrist seem to embrace one another as the record cruises through dynamic movements. Transitioning between tidal grooves on its crunching guitars and beautiful landscapes of serine moods has a record gleaming in its own reflection as all elements seem to fall together for this moment. Like icing on the cake, vocalist Chino truely finds his moment here with a performance that lasts, illuminating every song, elevating the music with his infectious passion and swooning delivery that will have you singing along with every chorus.

In its less obvious persuasion the Deftones fire up their typical formula of hard hitting riffs and melodic counterparts that stands apart from their previous work. With a tighter inclusion of subtle textural electronics fleshing out the canvas and the aesthetic influences of Post Rock and Post Metal drawing in on the guitar tones, a sonic experience unravels as the line up of riffs drift into noisy, textural places with depth and grit about them. It gives the record another dimension, one that endures repetition with these dense and matured tones feeding back into the music its sounding out.

Beyond engrossing aesthetics, grizzly grooving riffs and Chino's sublime singing, the albums mood and tone is oddly palatable to its environment. Warm or cold, day or night, sun soaked or drenched in miserable rain, the power of these songs find a way to relate, however that may be my enjoyment of the record speaking loudly as one can not deny the acoustic guitars which often bring a dark, cloudy dreariness with them. Its powerful and perhaps that explains why a string of indulgent, melancholy moments can seem fit for any occasion, Chino's voice often leading as the respite from the dark allure as he brings us in.

Upon its release, Koi No Yokan was just another collection of solid Deftones songs but over the years each return to the record has pulled me in further. It plays front to back without a weak spot and so often do I loose myself as soft and subtle instrumentation strings you in to an eruption of mammoth guitar tones grinding out sonic grooves, morphing into expansive atmospheres of energy and beauty. With time the musics graphical pallet continues to outlast itself as its textural depth is endearing to the inspiration the songs hold. Its gotten to the point where I binge in ecstasy over how glorious this band are in this moment. I believe it is their crowning moment as a group, of course it would be wonderful to hear them reach these heights again and I wouldn't be surprised if they did.

 Rating: 10/10

Wednesday 14 March 2018

Code "Resplendent Grotesque" (2009)


Continuing my foray into a variety of Black Metal records we have another British record, Resplendent Grotesque, which is Surrey based Code's sophomore record. It initially did and still doesn't feel like anything personally special to me, however with repeated listens it becomes apparent just how much vocalist Kvohst's voice dominates the tone, giving the grotesque something unique, a chemistry to call its own. Armed with an arsenal of chord arrangements, guitarist Aort also brings a defined and different sound. With shrill, intense guitar tones he pushes a continually disenchanting smothering of discordance resonating from intricately plucked strings interchanging with chord shredding that is constantly scaling itself.

It mostly seems akin to a Post-Black Metal sound, yet rather then being atmospheric and absorbing, the record feels like a hell ride of discomfort and torment. Kvohst's estranged afflictions mingling within a powerful, burly yet higher ranged clean vocal add a very humanistic and suffering tone to an otherwise demonic and monstrous record. The light never seeps in, just a continual haze of fiery, unforgiving grimace. When some respite is offered, it is unsurprisingly gloomy and downtrodden. Only Kvohst's voice offers any sympathy to the darkness we endure on this adventure. It has been enjoyable, nothing seemed to resonate that much so I am left wondering if some absence will let the shape of this record click into place as one can appreciate what another would find genius about it.

Favorite Tracks: Smother The Crones, Possession Is The Medicine, Jesus Fever
Rating: 6/10