USX-THE VALLEY PATH (8.5)
Neurot Recordings
So we come to the allure of the concept album. Trepan the skull of any Johnny Two-Shoes musician and you’ll find it. Most musicians harbour lofty aspiration in conceptual music making, though most never make their hopes a reality and simply leave it to fester. Reneging on every self-promise till its very notion causes a self-deprecating shudder at your own ineptitude a concept album does not make. So it’s not oft you find a band that share their respective vision to make theirs a reality. U.S Christmas certainly have some conceptual vision, but a wild dash of temerity to usher in the titular song ‘The Valley Path` as a single track, clocking you out of your shift 38.53 minutes later…
All pretence aside though, USX have indulged their minds desire and in an act of unashamed benevolence, laid out a kingdom of riches for the humble traveller. Firstly, the dynamic here is judged impeccably, the album has an arduous atmosphere that’s as heavy as rogue plutonium, yet the occasional intermezzos carve out perilous crevasses in which to take refuge from the chaos. The contrast is wondrous, unembellished and frighteningly delicate. It’s this dynamic that strikes deepest, but every facet is strength here. The musical factions are so dauntingly heavy, that even when they’re not being demonstrably so, you’ll wish to take a hammer to your head in confusion. Consider the earnest tone of the vocals, the utter yearning in the words and you are yourself made anew…and therein lays the beauty of the concept album - the wresting of control from the listener.
Much is bandied about concerning the Neurisis sound, for better or worse. However, to listen to the naysayers would be to do yourself a disservice and place a barrier where one shouldn’t be, because an epic marvel such as The Valley Path may just pass you by.
Reviewed by Sam Thor Rhodes
Sunday, 21 August 2011
My favourites, the two I love to make noise, tis Anaal Nathrakh
ANAAL NATHRAKH-PASSION (9)
Candlelight Records
There’s a wry sense of contentment that enters the mind when it’s known Anaal Nathrakh are releasing a new album. Their music stands as an allegory to the rise of the Industrial Age, born in the Ironbridge Gorge mere miles from where this terror-struck duo had their formative years. To this day, that industrial legacy has left a strong and sometime bitter impression upon the landscape and its inhabitants. Midlanders are often harangued by the rest of the country for their linguistic tone and inexcusably ignored in their contribution to cultural history, which cannot ever be justified, but leaves little wonder as to how the area gave birth to Metal and its bastardised progeny Anaal Nathrakh, back with new release ‘Passion.’
Close your eyes and relish the terror-vomit polluting your ears. As the introductory moments of ‘Volenti Non Fit Iniuria` impress on you, erupting into V.I.T.R.I.O.L’s abominable hatespeak, watch for the perceptible shuffle as you realise you’re feeling a little sick in your own skin. Merely two songs later track ‘Post Traumatic Stress Euphoria` will deliver you into your very own, richly deserved bath of brimstone. The incredible production talent of Kenney ever furthers the illustrative sonic nature of Anaal Nathrakh, here outlying his intent to guarantee they are, in perpetua, the most horrifyingly heavy prospects of sound in musical history. Their incremental aesthetic and structural changes take them ever further from their purist Black Metal roots of ‘Codex Necro’ towards their unknowable aim. Critique based upon past works is anathema, but there exists no yardstick to judge A.N with but themselves, so on that, this exists as their most balanced work…albeit a balance of pure, unadulterated hatefuck. It could just be that ‘Passion’, an aural cacophony of bile soaked spite is truly the elixir of heavy. It surely has intent to destroy you. The sky burns, the sky has indeed been set aflame.
Reviewed by Sam Thor Rhodes
Candlelight Records
There’s a wry sense of contentment that enters the mind when it’s known Anaal Nathrakh are releasing a new album. Their music stands as an allegory to the rise of the Industrial Age, born in the Ironbridge Gorge mere miles from where this terror-struck duo had their formative years. To this day, that industrial legacy has left a strong and sometime bitter impression upon the landscape and its inhabitants. Midlanders are often harangued by the rest of the country for their linguistic tone and inexcusably ignored in their contribution to cultural history, which cannot ever be justified, but leaves little wonder as to how the area gave birth to Metal and its bastardised progeny Anaal Nathrakh, back with new release ‘Passion.’
Close your eyes and relish the terror-vomit polluting your ears. As the introductory moments of ‘Volenti Non Fit Iniuria` impress on you, erupting into V.I.T.R.I.O.L’s abominable hatespeak, watch for the perceptible shuffle as you realise you’re feeling a little sick in your own skin. Merely two songs later track ‘Post Traumatic Stress Euphoria` will deliver you into your very own, richly deserved bath of brimstone. The incredible production talent of Kenney ever furthers the illustrative sonic nature of Anaal Nathrakh, here outlying his intent to guarantee they are, in perpetua, the most horrifyingly heavy prospects of sound in musical history. Their incremental aesthetic and structural changes take them ever further from their purist Black Metal roots of ‘Codex Necro’ towards their unknowable aim. Critique based upon past works is anathema, but there exists no yardstick to judge A.N with but themselves, so on that, this exists as their most balanced work…albeit a balance of pure, unadulterated hatefuck. It could just be that ‘Passion’, an aural cacophony of bile soaked spite is truly the elixir of heavy. It surely has intent to destroy you. The sky burns, the sky has indeed been set aflame.
Reviewed by Sam Thor Rhodes
Belong: Shimmering beauty in a cup, goes with the photo I took I guess
Belong-Common Era (8)
Belong, an eclectic duo of sound abusers comprised of Turk Dietrich and Michael Jones, have been creating soundscapes for a steady eight years now, producing high fidelity experiences with abstract sound and experimental concepts in sound design, winning them plaudits and devotees alike. In a nod to the absolute majesty of the artist Christian Fennez, Belong source sounds from a six string, whilst bolstering their palette with real world samples, all manipulated with their mastery of the digital sound design process.
Common Era is the first offering for five years from Belong, which for any person whose preferred bands aren’t entirely prolific in their output, this can be frustrating. This considered however, it tends to be this refusal to pepper the annals of music with continual albums can often be a band that doesn’t provide quality. It’s not always the case, just often the case. In this situation though, the wait has been painful, but the payoff so much sweeter. Absence really makes the heart grow fonder
Here is an album dripping in sound. The haunting vocal lines, slightly flattened and residing in a minor key are a welcome addition into a musical subset that usually rejects or buries vocals to the back and bottom of the mix, but here they’re given due position. There is a common held fallacy that digital music isn’t real, that the artists don’t actually play anything. It’s an immature notion espoused by those with a tenuous grip on what constitutes aptitude for music. Belong possess a mastery of a guitar envied by all that ‘know’ what they are doing and push the boundaries of just what can be wrought from the instrument.
For those looking to spread their wings a little, Common Era will not change your world, but it’ll go a long way in educating it.
Belong, an eclectic duo of sound abusers comprised of Turk Dietrich and Michael Jones, have been creating soundscapes for a steady eight years now, producing high fidelity experiences with abstract sound and experimental concepts in sound design, winning them plaudits and devotees alike. In a nod to the absolute majesty of the artist Christian Fennez, Belong source sounds from a six string, whilst bolstering their palette with real world samples, all manipulated with their mastery of the digital sound design process.
Common Era is the first offering for five years from Belong, which for any person whose preferred bands aren’t entirely prolific in their output, this can be frustrating. This considered however, it tends to be this refusal to pepper the annals of music with continual albums can often be a band that doesn’t provide quality. It’s not always the case, just often the case. In this situation though, the wait has been painful, but the payoff so much sweeter. Absence really makes the heart grow fonder
Here is an album dripping in sound. The haunting vocal lines, slightly flattened and residing in a minor key are a welcome addition into a musical subset that usually rejects or buries vocals to the back and bottom of the mix, but here they’re given due position. There is a common held fallacy that digital music isn’t real, that the artists don’t actually play anything. It’s an immature notion espoused by those with a tenuous grip on what constitutes aptitude for music. Belong possess a mastery of a guitar envied by all that ‘know’ what they are doing and push the boundaries of just what can be wrought from the instrument.
For those looking to spread their wings a little, Common Era will not change your world, but it’ll go a long way in educating it.
Across Tundras
ACROSS TUNDRAS-SAGE (8.5)
NEUROT RECORDINGS
Well this is a many headed beast. Ancient Greeks called it the Hydra, a mythical creature that sprung two new heads for every one severed, impossible to destroy, until Hercules put paid to its immortality. Today though, our Hydra is Across Tundras and welcome are their many elements. In lieu of venomous heads we have thoughtful minds melded, all creating mindful songs, each harbouring veritable qualities expounding on a modern mythology.
Sage opens with ‘In Name Of River Grand` and it strikes a delectable balance. Part American Folk fighting with arpeggios reminiscent of a mid-tempo Mastodon, it’s a sound that brings the listener face to face with the raw beauty of the Old West. Drawing upon the well of America’s frontier folklore, to find the musical and lyrical facets to accompany their vision is an accomplished talent. Sage is nine months pregnant with psychedelic groove, fattened on the violence of Indian war drums and has grown to be damn heavy, but in a perceived emotional sense, rather than an obvious, visceral manner and as a unit, they never overbear with technicality to steal your attention. It’s this understated power that gives Sage an innate ability to inundate the imagination. So much so that album closer ‘Shunka Sapa, ` an instrumental piece, has an unmistakeable intent, even without the lyrics as a guide. In this case, it’s not what they say; it’s what they don’t say that does the trick.
Psychedelic music is very much in vogue right now and this is a wholly unique album in a well-trodden area. Eschewing the usual “swamp sound” associated with the aforementioned style, they have created an expansive album. It propels your mind to thoughts of dry arid deserts, flanked by stark, oppressive mountains and put simply; it’s the ultimate in panoramic vistas. Across Tundras…very apt, very apt indeed.
Reviewed by Sam Thor Rhodes
NEUROT RECORDINGS
Well this is a many headed beast. Ancient Greeks called it the Hydra, a mythical creature that sprung two new heads for every one severed, impossible to destroy, until Hercules put paid to its immortality. Today though, our Hydra is Across Tundras and welcome are their many elements. In lieu of venomous heads we have thoughtful minds melded, all creating mindful songs, each harbouring veritable qualities expounding on a modern mythology.
Sage opens with ‘In Name Of River Grand` and it strikes a delectable balance. Part American Folk fighting with arpeggios reminiscent of a mid-tempo Mastodon, it’s a sound that brings the listener face to face with the raw beauty of the Old West. Drawing upon the well of America’s frontier folklore, to find the musical and lyrical facets to accompany their vision is an accomplished talent. Sage is nine months pregnant with psychedelic groove, fattened on the violence of Indian war drums and has grown to be damn heavy, but in a perceived emotional sense, rather than an obvious, visceral manner and as a unit, they never overbear with technicality to steal your attention. It’s this understated power that gives Sage an innate ability to inundate the imagination. So much so that album closer ‘Shunka Sapa, ` an instrumental piece, has an unmistakeable intent, even without the lyrics as a guide. In this case, it’s not what they say; it’s what they don’t say that does the trick.
Psychedelic music is very much in vogue right now and this is a wholly unique album in a well-trodden area. Eschewing the usual “swamp sound” associated with the aforementioned style, they have created an expansive album. It propels your mind to thoughts of dry arid deserts, flanked by stark, oppressive mountains and put simply; it’s the ultimate in panoramic vistas. Across Tundras…very apt, very apt indeed.
Reviewed by Sam Thor Rhodes
Subscribe to:
Comments (Atom)