Review: Boris – At Last: Feedbacker

Spoiler alert: This is an old review. I am a MASSIVE Boris fan, ever since I first heard ‘Pink’ in 2005 and own pretty much all their records, even the hard to find ones and the vinyl only. I don’t buy much vinyl so that’ll tell you something. But this is from 2008, so I was only just beginning to fully understand how good they were.

Boris are one of these avantgarde bands from the Far East that like to push the limits of everything they do. Their sound changes with every album they make, from drone to fuzzed up stoner rock, noise to psychedelic weirdness. You really need to listen to them to try and understand their work. I recently got a hold of their 2003 ambient/noise/rock opus ‘Feedbacker’, a 43 minute single track split into 5 parts. The cover is Wata, female guitarist of the band, lying in a pool of what appears to be her own blood. An apt cover for an album that melds the savagery of noise and rock with the beauty of pure sound and experimentation. Somewhat of a listening endurance test, but not in a bad way, not at all. It’s more of an experience, a twisting collaboration of screeching feedback, fuzzy drone and all out rock.

Whatever you do, do not turn up the volume during the rippling drones that open the album. From nowhere it seems a wall of wailing guitar and thick distortion explodes over your senses, startling you completely from the peaceful, Earth like beginnings. It takes almost 23 minutes before the trademark howling of bassist/vocalist Takeshi begins, during a moment of rocking out that breaks up the noise. And there has always been that draw to Boris, they always seems to be able to effortlessly meld back into a good old rock out no matter how far from the musical template they have wandered. Guitarist Wata pulls out some of her most adventurous fret play on this album, licks of flame blaze all over the soundscape, sounding like fellow Japanese guitar virtuoso and collaborator Michio Kurihara.

And suddenly it ends, with a blast of white hot noise, squealing guitars, a thunder of drums and then the band are gone, and all that remains is the yawning chasm created by their efforts. The feedback spirals away, the visceral expression of Boris’ vision fades out and you’ve just experienced one of the more unique albums you’re ever likely to hear. Now put it on again and see what else you hear.

Shit What I Found on the Facebook III: Return of the Riff

Riffs are the flavour of today. Big chunky doom riffs, spazzy djent riffs, brutal fret shredding death metal riffs. RIFFS! Ok, calm blue ocean… Without riffs, metal is shit. Ok thats not true, but riffs are amazing. ACTUAL amazing. I write this while listening to some serious riffs, that explains my excitement.

First choice tonight is fucking Make Them Suffer. Probably my favourite Cannibal Corpse song, (just throwing it out there) and an Australian deathmetalcore band (10 points for new genre creation). Its a track from their 2010 EP ‘Lord of Woe’, called Weeping Wastelands. Its fucking brutal, very Black Dahlia Murder style overlaid with gothic piano tones and it is chock full of riffs. Like, hundreds. This is what focused, precision, modern death metal sounds like. If they lost the keyboards I wouldn’t complain, but they are used suitably sparingly here to be bearable. Keyboards are for black metal or prog, not for head caving brutality like this. Still, I fucking love it. \m/ Listen here: https://www.youtube.com/watch?v=iAJyrBb7LFY#t=232

Next is Norwegian doom lords Tombstones with their track ‘Supernoid’ from 2010’s Volume II record. I’m really upset at myself for not knowing about these guys sooner. They are seriously good. This track kicks in (after a suitably melancholic acoustic intro) with one of the best Sabbath/Candlemass esque riffs you’ll ever hear. EVER. If you had to show someone that didn’t know what doom was, you play this. Then properly educate them with the classics. This is a ten minute steamroller death trip; a sneak at what Electric Wizard sound like if you strip out the 70s haze and psychedelica. There are no vocals, but I swear you put Messiah Marcolin over this, you’d probably die from the awesome. It slays: https://www.youtube.com/watch?v=CqTqE4Ym3b0#t=169

Finally, I’m leaving on a slightly lower note (no offence) with Temporal. An Australian…um…metalcore/deathcore/djent band? I’m not entirely sure. They have a new song called ‘Infinite’ out, and most of it is pretty badass. It’s got crazy ass djent riffing, deathcore breakdowns and clean choruses that are reasonably catchy. So far, so good. It even has a quiet, almost prog moment right in the middle, which is kinda different and cool. But then for a brief moment they go all Linkin Park (2:20), and that’s disappointing. Other than that, it kicks a reasonable amount of ass, the band have a good potential and hopefully it’ll happen for them: https://www.youtube.com/watch?v=hS7R2ZXDyhE#t=29

Avatarium are EPIC

Now this is only a short post, but I felt compelled to write after hearing the new project from Candlemass bassist and doom god Leif Edling. Avatarium are not Candlemass however, they have much more in common with the epic occult rock leanings of The Devil’s Blood or Jex Thoth.

Edling handles bass on this new record, leaving the melancholic guitar licks to Evergrey guitarist Marcus Jidell. Vocals are done by Jennie-Ann Smith, who I don’t know but her rich, powerful voice creates a sense of grandeur. This record is officially on my radar for the next few days, and by the sounds of ‘Boneflower’, it’s going to be a contender for my top ten.

Is It Messed Up to Rediscover Your Own Work?

I’ve been reading back through my old blog tonight, feeling reasonably embarassed at my work from five years ago when i originally started this hobby of mine. My use of paragraphs was poor, the hyperbole I used while reviewing some records was daft (not all but there was definitely some artistic licence used), and I tried to start debates with all the people (read: nobody) that actually read my blog. Sigh.

BUT, and here is the key point I have found. BUT I have found that I used to listen to some fucking awesome records that I haven’t listened to in years. I’ve reviewed records that I can honestly say I probably haven’t listened to since I reviewed it. February 2008 I wrote about 4 unsung death metal records I really enjoyed. One of them was Grave’s debut. Fucking GRAVE! One of Swedish Death Metal’s big four, and yet here was me writing about how their debut (essential) was unsung. What a dick. I’ve come a a long way…

Now to the main reason for this overly long moment of self pity and realisation. As I said in a previous post, I will be reposting some of my old reviews on here, but will now add in new thoughts to make them seem more contemporary. Hopefully I will then make them more relevant to my new readership. Since, thanks to WordPress site stats, I can at least see there is some. 157 views motherfucker, I’ll bet my first blog didn’t even get close to that.

Coming soon: Textures – Silhouettes, Deicide – Until Death Do Us Part and Esoteric – The Maniacal Vale

Review: Pelican – Pelican EP

I used to do a blog that had even less readers than this one, but I did loads of reviews of records on it. As a slightly lazy measure, I will be republishing them on here (well, only the good ones, some of the early ones are gash), so I hope they are still relevant today as they were then. Excuse the formative writing, hopefully I have improved.

Pelican are one of many instrumental metal bands I really enjoy. I find that post metal, such as these guys, Isis or Cult of Luna, very relaxing music. Due to the sparse lyrical content for the majority of it (or all in instrumental Pelican’s case), you can project your own thoughts or emotions onto it, and each song can become something rather personal for you. Early Pelican was a lot heavier than the post rock/post hardcore band they have evolved into, see latest release ‘City of Echoes’ (EDITOR’S NOTE: They have of course now moved on two records from that, but this review was of that period). They possessed a lot more doom and sludge influences, and their self titled, self released debut EP perfectly captures the essence of their earlier sound. It is nothing less than crushing at all times.

The band understand that, to play this kind of repetitive, rumbling riff game, that every element of their sound must harmonise with each other to become that perfect whole, rather than becoming a dull trudge. The guitar tone is clear, but murky, thick and dark, matching perfectly with the rumble of the bass and solid, binding drums. No one part of the band is clearer than the others, to which I thank a good production because there is nothing worse than an instrumental album where one instrument is more prominent.

Opening track ‘Pulse’ sets the standard, a slow, rumbling thunder lurking behind dark clouds. A slow, repeating riff opens up with an underlying melodic lead, pushing onwards, upwards through the clouds, free of the low end, soaring away from the cymbal crashes that follow in its wake. Then the bass crashes in, dragging the song back down, towards the sludge but yet never damaging the melody. Pelican understand heaviness. They create it without compromising the power of melody. Isis understand this method as well, see their magnum opus ‘In the Absence of Truth’.

And all at once it stops, over too quickly but straight into the devastating ‘Mammoth’, its deceptively clean intro leading into the heaviest moment on the EP. It is like being trampled by a herd, a relentless doom barrage from which you gradually are released into yet more prime riffage and that leaves in a wail of feedback. The band retain this power all through the EP; although nothing touches the depths of ‘Mammoth’, the subtle melodies that permeate the thick curtain of ‘The Woods’ and the faster paced ‘Forecast for Today’ change things up a bit. Once the slow burn epic ‘The Woods’ builds itself from its doomy, sinister opening to an explosive finish, teased out by quieter passages and the gradual build that post metal bands are trademarked by, you are left quite exhilarated and exhausted.

The lack of vocals is key to this work. Pelican’s ability to amaze and enthrall you comes from their ability to give you a piece to project on. The soaring ‘ Pulse’ gave me images of birds flying up and away from howling winds, thunder and rain, pushing towards the sky. ‘Forecast for Today’ could almost be a trek up a mountain, where you near the top during the rumbling bass drums during the last two minutes and finally achieve the peak with 47 seconds to go and stare out into nothingness. These songs are all about the image, the idea, and yet without vocals they are unique to every man, woman and child who hears them.

Pelican’s other work is equally as stunning, but I recommend this to new fans as a shorter, prime example of their work. After this, try ‘Australasia’. An evocative, windswept masterpiece.

Review: Outlaw Order – Dragging Down the Enforcer

Spoiler Alert: I LOVE EyeHateGod. Their brand of groove heavy, feedback (and whiskey) drenched nihilistic sludge has always struck a chord with me. I’m not sure why really, maybe it’s just the fact that ‘Dixie Whiskey’ has probably one of the best riffs I’ve ever heard (future Riff of the Day post is coming on that one). But I think the reason I like Outlaw Order so much, is because I like EyeHateGod so much.

Outlaw Order are very EyeHateGod. Its probably because 4 of its members have either been in, or are still in EyeHateGod. Except the mighty Joe LaCaze, may the ghosts of the Mississippi carry him to his final resting place. But Outlaw Order have less of the gut wrenching, vein bursting dirge and pain that EyeHateGod do. What they do have is spadefuls of NOLA groove, the tortured howl of Mike IX Williams and a sense of speed. Not that they would ever challenge thrash or anything, but compared with a lot of sludge records, ‘Dragging Down the Enforcer’ rocks along at a fair whack. Tracks like ‘Mercy Shot’ show off that thick, Southern groove that is so endemic of the NOLA sludge scene. Where black metal took the frozen north as part of its sound, sludge took the swagger of southern rock and roll, and then drowned it in tar like riffing and elephantine groove.

‘Siege Mentality’ has the most potent mix of hardcore punk and Sabbath, with a frank awesome riff near the end, while ‘Safety Off’ find its riff and keeps it, varying slightly from the blueprint, but remains faithful to the groove. The title track is a serious rager, that breaks down into a crushing EHG-esque ending.

‘Dragging Down the Enforcer’ has been Outlaw Order’s only record, which is a shame because they bring a potent mix of sludge and a no frills punk attitude. It’s a record that feels dangerous (in fact the name Outlaw Order came from the fact that all the members were on probation when the band came together), far more so than the wretched, puking spawn of the Dirty South that EyeHateGod is. Its refreshing to hear that so many members of the same band can create a side project that SOUNDS like their day job, and yet isn’t simply a clone.

Review: Blind Spite – Dethrone the Earth

Well, after the Helvellyn demo I reviewed yesterday went live, I received word that there was at least another Cumbrian metal band that I should check out, Blind Spite. Being the person I am, I added it immediately to my long list of ‘shit to listen to’. But after seeing that the Helvellyn demo got me my biggest number of views on my blog since I started (23 motherfucker), and that local metal should be supported whenever possible, I decided that I’d jump them up the queue. Well done fellas, you’ve nipped in above the new Onslaught record and Apex Terror from Otargos. This better be good…

Fortunately, it is. ‘Dethrone the Earth’ is a blistering concoction of rumbling death metal and savage black metal fury. The opening track ‘Oblivion Embraced’ buzzes out of the gate with a very second wave Norwegian black metal riff before their crushing death metal influence comes into play. Vocally its back and forth between a belching, death metal low end and a vicious, black metal rasp. There’s something dissonant about the riffing, lending a unique quality to the music, almost like if Pestilence were black metal, and the expansive section just before the end of the song lets the listener breathe before the next wave hits them. ‘Epoch of Despondency’ has a deceptively ambient intro before another black/death battering occurs. Tracks like this remind me how good blackened death metal can be, when it becomes a sum of its parts rather than throwing black metal and death metal in a pot and hoping what comes out sounds good. Blind Spite have clearly honed their craft so that the monolithic crush of the middle section of ‘Epoch…’ feels right, rather than an extra idea thrown in.

The rest of the record follows with a similar level quality, from the raging blackened death maelstorm ‘This is Our Abomination’ through to the doomladen finale of ‘Dethrone the Earth’. It’s good to see a band experiment within death metal without becoming too technical and widdly, and keeping their black metal influence clear but not overbearing. I think these guys, with the right timing and record label, could be successful. They strike me as a band that could support someone like Behemoth or Belphegor and win some new fans. Let’s hope they can. I certainly will be picking up this CD when I get paid, and if you can afford a paltry £4 for some quality brutality, you should too.

http://blindspite.bandcamp.com/album/dethrone-the-earth

 

Review: Helvellyn – Hordes of White Light (Demo)

Review by Sandre the Giant

In support of what little local scene there is around my neck of the woods (if I’m wrong, please feel free to contact me, Cumbrian metal bands), I got myself a copy of the new Helvellyn demo, ‘Hordes of White Light’. It’s a four track, black metal demo that has a very British feel to it. British black metal used to be Venom, then Cradle of Filth, but recently we’ve had brilliant additions to the canon from the likes of Winterfylleth, A Forest of Stars and Fen. Helvellyn could be another one to add to this scene, if they follow up on the promise shown here.

The title track starts us off with a very Drudkh style riff, weaving tremelo harmonies layered in thick, icy atmosphere. The drumming isn’t too thin and tinny, like some black metal demos can be, and underpins the riffing with a relentless rhythm. ‘In the Shadows’ then kicks in with a more crust punk style, akin to newer Darkthrone. It’s pretty straight for the jugular style black metal, scaling back atmospherics for a single minded assault. Variety can be important in black metal records; too often bands become stale by the thrid of fourth track because their style doesn’t evolve. Helvellyn don’t have that issue so far, but the acid test is when a full album comes out.

The two part ‘Sacramental Violations’ completes the demo, part one featuring a particularly nice chunky riff around the minute mark that slays. I personally prefer black metal with a bit of heft in the riffs, and that’s the type of riff that I’m looking for. Part two revels in its more moderate pacing and its Celtic Frost grunts at the start. Another plus for me is the vocals, which stay at a lower pitched howl rather than a piercing shriek. It makes them more understandable, and adds a bit of meat to the whole presentation.

Helvellyn is a band to look out for. They’re definitely one of my favourite discoveries this year, and hopefully we’ll get a full length out of them soon. Kvlt. As. Fvck!

https://www.facebook.com/Helvellyn666

Band of the Day: Uncle Acid and the Deadbeats

Now if I’m honest, I’m doing this because I just found out that Uncle Acid and the Deadbeats will be supporting Black Sabbath on their UK arena tour, of which I will be attending the Glasgow Hydro in December. Uncle Acid are one of these new fangled ‘retro rock’ bands, owing their sound to 70s blues rock and psychedelica with a large dose of occult haze shot through it.

I’m generally sceptical of these new scenes that appear when one band becomes famous (Graveyard) and then all of a sudden there’s bands coming out of the woodwork who do a similar thing. Now, that’s not necessarily the bands at fault, more likely labels jumping on the bandwagon. But Uncle Acid have something that grabs me instantly; a rocking sense of groove. Yeah they’re doom, but their fuzzy riffs are catchy, immediate and simple. They are the perfect representation of that late 60s/early 70s birth of heavy metal; where blues and psychedelica collided into downtuned mania. Their debut record was a welcome surprise to me, owing much to Black Sabbath but with an uplifting spirit in parts that a lot of Sabbath lacks. It has its wretched moments, like the beginning of ‘Curse in the Trees’, where the doom pace drags you down before a psychedelic riff grabs you and leads you dancing through the trees, tripping balls. Its like if Clutch were from the 70s, and had eaten enough mushrooms to kill God.

They are a perfect support band for a band like Sabbath, musically from the same era but unique enough to stand out and win many new fans. I can’t wait.

Lost in Time: Catacomb (Fra) – In the Maze of Kadath

This is a new thing I’m trying out, where I find a band that I have never heard of before, and probably who are split up and their stuff has become impossible to find/buy for a reasonable price. This week: Catacomb, blackened death metal from France, a new haven of aural devastation with the rise of Deathspell Omega and Gojira. But in 1993, Catacomb released ‘In the Maze of Kadath’, an EP of horrifying, suffocating death metal. Lovecraftian in inspiration, and definitely of the Old Ones in sound, ‘In the Maze of Kadath’ is an undiscovered gem to me. If this came out now, I’d regard it as special. It has that one thing that many new death metal bands are going for, and that’s atmosphere. It’s eerie, reeking of evil and ancient malevolence. The cover is of the Elder God Chthulu, rising from the ocean to spread madness. The striking greyscale cover marks it out from day-glo blood splatter death metal records, and the sound contained within is definitely of a different quality.

I found the EP in full on YouTube which I have linked below, for me the stand out tracks being the harrowing ‘Hallucinated Mountains’ and the crawling ‘Nemesis’. A must for all old school death metal fans