Tuesday, September 16, 2014
Fides Inferno’s “Correspondece” oozes with a sense of heat and vastness to that point that it’s like a sun-scorched trek into a desert - a desert that also happens to have a stadium seating view of the universe. This drone-doom-experimental album is unlike anything else out there, and is surely one of the finest example of whatever sub-genre it may fit into. Simultaneously heavy and desolate, vast but penetrating, “Correspondence” births a new musical world. Downtuned echoing acoustic guitars give off a vaguely Western feeling, but with a profoundly apocalyptic mood. If Ennio Morricone had died in a desert and then had every last molecule of his body scattered across space, this is the music those molecules would make.
While best thought of in terms of blended textures, this album is not without riffing moments or a sense of melody. That said, depth and enormity are the most prominent features, and these are achieved through a slathering of reverb, echo, and thoughtful dynamics. As echoes and quietness both reflect distances in the real world, their varied uses here imbue the music with a sense of representing a physical location - and also a sense that that place is otherworldly. Loud sounds can seem far away, and quiet ones can be close enough to be crystal clear whispers. Even the sample of running water in the intro to “Immortal Response” is paradoxical, as it does nothing to quench the sense of heat; a musical mirage.
Depth, especially on a cosmic scale, is difficult to convey - but Fides Inferno carves a musical landscape with dynamics that continually pull the listener deeper in. This isn’t just a mix between acoustic and electric guitars; the volume weaves sounds together by contracting and dilating across instruments. Few musical acts utilize even half as much dynamic variation. As an example, “Vacant,” the opening track, begins with a low drone note swelling into existence. Next, a single twangy acoustic chord rings out into strummed notes that make the album’s characteristically low and quiet growled vocals seem to arise out of nothingness. This clothes the highly minimalistic composition in a shroud of lush intertwined textures. Aside from some of the guitar work, all of the sounds here are textures rather than instruments. Vocals are rumbles, notes tumble over their own echoes, and nearly indiscernible rattles permeate the mix. Is that a cymbal, didgeridoo, a gust of wind, fret buzz, or a rattle snake? If you focus on it, the answer is clear, but unimportant to the experience.
Flaws on “Correspondence” are few and mostly minute with the exception of the song “Why Are Your Eyes So Cold.” That song, in a complete reversal of the usual course of events, is the most metal and also the weakest. It isn’t a per se problem that the song deviates from the vacant, soundtrack style. It falters by being overly repetitive and flat. Abandoning the dynamic strengths would have been forgettable enough, were it not also for the excessively long stretches of the same fast three note runs. While the album’s overall tendency to overindulge in repetition is nearly unnoticeable in light of the overflowing atmosphere, some may view it as problematic, particularly on this song.
“Why Are Your Eyes So Cold” also reveals another weakness - the dull and flat drum samples marring an otherwise vast soundscape. The percussion ends up not being a real issue because it is so sparse and nearly subsumed by other instruments. For the more minute flaws, the only one worth mentioning is how a small portion of “Immortal Response” is vaguely reminiscent of “The Streets of Cairo,” a well known song that is an irritating Eastern music cliche, but this part ends quickly. Despite these minor issues, “Correspondence” is still a powerhouse of an album.
Clocking in at around 35 minutes, this album is absolutely necessary for anyone looking to spice up their drone, doom, or ambient music with something enjoyably engaging yet comprised almost entirely of atmosphere. Fides Inferno is one of the few bands that can successfully balance the two in such a minimalistic setting. With a foreboding vastness contrasted against reflective quiet that persists long enough to delve into bleakness, “Correspondence” also deftly dances with varying volumes to manifest sounds into a physical, alien, world. The central question is, do you enjoy echoes that cascade across the entire universe before hitting your ears? Well in the case of “Correspondence,” you really should.
Saturday, September 13, 2014
I respect artists' desire for privacy. In the black metal world, that goes a long way sometimes. A couple years back, I had the pleasure of reviewing Ajan Lopun Alku, the debut demo from Ophiuchus' project Kaarmekristus. It had ups, it had downs, but it was personal and pure black metal through and through. Ajan... was finer than most of the ephemeral promos that get emailed to me and forgotten about. I had forgotten about the tape for almost a year or two when two more Kaarmekristus demos landed on my doorstep. The first was Cosmic Satan. Also included was a second tape, Saturnaalinen Siunaus, an unreleased demo which was sent out to a few people Ophiuchus apparently likes.
The album translates to "Saturn Blessing" or "Blessing of Saturn" - I'm not an expert in Finnish in any way but I can admit to be well versed in the language of black metal. This release is dedicated to fellow countrymen IC Rex and is similarly frigid and cold in vibe. Kaarmekristus has improved in some areas on this release even if it isn't meant for mass consumption. The songwriting is a bit more convoluted and intricate and less static compared to Ajan Lopun Alku. Stylistically then, the similarities to the release it claims to be a tribute to are keen.
The production is rough for a normal / average listener. Lo-Fi fans would have a feast with this if they could get their hands on it as it is all the perfection we seek - rough hewn guitars, miserable vocals and general sloppiness in sound at times. It feels as natural as if one were actually in a rehearsal where perfection is forfeited for emotion. Ophiuchus is still influenced by others and the initial Darkthrone and Beherit respect is shown in the two unnamed tracks. Opening with an ambient intro before the track takes off, the first salvo is the longer of the two but the second quicker track is where Kaarmekristus shines. More unique, with a spoken lyrical style that carried through the composition which sports an apocalyptic and sullen atmosphere over the scraping guitars. Unfortunately, at only a eight minutes long, this tape is over too quick.
Sunday, September 7, 2014
A quick news update because of a bunch of stuff going on. First, the Crypter tapes are out so be sure to grab one for some kick-ass Celtic Frost / Hellhammer inspired thrashin' madness! The tapes came out great (as was to be expected) and the band will have a bunch of copies before the month is out.
The next live release is under construction but may not be out until October. I have a bit of work to do with it before I want to announce it. It's going to be excellent though.
The main reason for the delay is that I really want to focus on getting all the other stuff laying around added to the distro list. I had several packages come in this week that I'm working into the distro and I'm announcing what is being added on the facebook page so that's really the best way to stay on top of what is getting thrown in with the rest of the items for sale. This is also the reason why I haven't posted many new reviews. My time has really been focused with beefing up the store with new product. Once that's all added in, you'll see a flurry of new reviews from me - I have about five or six written that need to be typed up and posted. Hopefully, Apteronotus and Steve will be able to hold you over with reviews while I finish adding all the new stuff to the store.
I also may be doing a "sale" of some sort later in the month to coincide with a week I will be unavailable but more info on this later. For the last week, however, I will not be around so please don't get antsy / upset / impatient if you email me and do not receive a response. I will respond to all emails the first week of October.
Additionally, please buy stuff! Money is getting tight and I have some excellent planned releases for late this year / early next year that I won't be able to do without stuff being sold. Spread the word about the label / releases / distro so I can keep putting stuff out. Support the underground, support the hardworking bands that kill themselves each night. I can only do so much without support from all of you!
Monday, September 1, 2014
What makes these simple melodies so addictive however is the clever and dynamic use of counterpoint. Even transposing a melody to a different voicing, whether it be guitar or synth, and layering it in unanticipated ways allows a few songs to worm their way into the listener’s memory. Contrasting these powerful glimpses of songwriting is the bone-dry flavor that makes it seem like the drums aren’t the only programmed instrument. Still, it works. Instruments jumping in and out to double up on melodies or diverging to accent the harmony help to overshadow what would otherwise be irritatingly dry aspects like the sound the guitar pick hitting the strings. Sadly, the top-notch counterpoint that lends the album a lasting richness also makes up the vast bulk of its charm. This is a problem because only a paltry three of the nine tracks on “Mysteries” heavily rely on that technique: the excellent “Inviolate…” “Dysphoric…” and “Indomitable…”
Apart from these highlight tracks, the album is plainly flat and a rather tepid experience. While these songs make the others stronger in the context of an album format, they aren’t enough to make the entire release particularly strong. To be specific, these three songs all have killer guitar counterpoint riffs. While there is guitar counterpoint elsewhere, it is less frequent and weaker because one melody is typically just a flat background progression. Even in the overall dry vibe the vocals and drums both can be especially tough to swallow and are each used very narrowly. The programmed drums are stripped down to little more than sinew and the vocals are heavily processed and compressed to the point where they have no range in volume or attack. Moreover, there is minimal vocal variation with speed, rhythm, or pitch. Synths however work as a countervailing factor by lightly gluing the mix together while also subtly enriching it.
As the album is so counterpoint dependent, it would be nice to see the project delve deeper into that avenue. Pursuing richer and fuller tones, especially with the drums and vocals, would also help to propel the project onto a very strong path, but the true strength is within the addictively off kilter layers of melodies. Jangling without necessarily being dissonant or angular, these strong moments make “Mysteries” well worth listening to. Given that the project has three similarly situated 2014 full-length releases, Kognitiv Tod is clearly in need of a paring knife; “Mysteries” could have been a strong demo. As a closing side note, it is also surprising that the music is weirder than the cover art, which says a lot because the cover art is a progeria-stricken gentleman, circumscribed with golden hoops, giving a depressed black-robed wizardly man an enema. Weird indeed.
Monday, August 25, 2014
Noctir's vocals lead the music - they're on top of the treble part of the mix, like a less drawling Meynach, or like later Darkthrone but less froggy. The vocals find a certain voice, not a unique one, but a convincing and sufficient throaty tone that works well for him. Noctir hardly has any competition for nice things to say about this album though. One guy plays all of the instruments, and it seems like the moderate success of the vocals is overwhelmed by the complete failure of all of the instrumentation and songwriting. This basically boils down to the guitars, which strive to be but fail to be much more than the frail backbone that is the rhythm section.
The guitars bask in a mildly abrasive harshness, an unabashedly blank texture for black metal. The riffing wanders between a few different emulations of styles with little direction, no transitions within a structure, and basically no driving structure behind it. One part doesn't build up to the next part, it doesn't flow, there are no directional dynamics to the song structure. It sounds like a series of riffs inspired by other bands linked together with no preconceived intent, no greater structure, and no purpose whatsoever. There is no sense of nuance, no accentuation nor structural variation to give the music movement.
There are stylistic cues that the band hints at, but fails to grasp. Much of the album is slow-to-mid-paced, which sets up the potential for aggressive and jarring riffs like early Gorgoroth. Tonal variations of the traditional wide-interval black metal tremolo riff could build and release tension. Off-kilter tremolo riffs could conjure the weepy Mutiilation sound. Slow could be contrasted to fast, consonant to dissonant, vocals trade the lead with guitar. To be fair, I think Noctir tries that last one and the guitar just sounds so shitty that it doesn't work. The guitarist's phrasing is so sloppy that every riff here sounds like a kid trying to play along with riffs while hitting the notes but having absolutely no phrasing, no sense of nuance, and absolutely no sense of the emotion that was expressed through the original. It's a Mutiilation aesthetic with the emotional depth of pizza thrash.
This is a Soulseek safari through black metal; bred in captivity, presented as wild.
Friday, August 22, 2014
Countress is a dark, occult-inspired band reminiscent of Integrity and Doomriders. The dark and straightforward nature of the heavy music screams holy terror, while the simple and groovy riffs are reminiscent of the faster doom-inspired stuff like later High on Fire. The aesthetic is surely inspired by A389-style hardcore, a heavy dose of doom metal, and the extreme side of rock and roll, as Tom G. Warrior described Celtic Frost. Though I name a plethora of apparent influences, the band's style is quite coherent, just hard to pinpoint. That's a good thing.
The songs and album are well structured, they feel natural and jammy, very heavy and groovy. The band knows how to find a groove and work into it - they're so good at this that the dark aspect to the music gets lost pretty easily. Heavy grooves, reminiscent of NOLA sludge, strong enough to make Kvelertak look like wusses. One songwriting quirk does stand out - their tendency to make some abrupt transitions from the more aggressive hardcore style to the groovy dark stoner stuff. While they blend those two pretty well, they haven't quite found a perfect synergy. The middle five tracks find that doom-n-roll style pretty well, which is where the Doomriders comparison comes from. The vocalist even lightens up a bit while maintaining his similarity to Dwid Hellion of Integrity. The first and last tracks, however, are where the band finds their darker side, very reminiscent of Integrity, Ringworm, and Pulling Teeth. These songs are much more intense, harder driving, and perfectly representative of the band's dark aesthetic. The bookending leaves me feeling that the band could have had a much more focused sinister intent here, and perhaps that's something they should explore.
Bottom line, Countress are a good band and this is a good album. It speaks to its notability that it's a bit hard to categorize and compare to other bands. If you like anything I've mentioned in this review, give it a listen, it's worth your time.
Pallbearer is a post-rock band from Arkansas that relies heavily on a textural, atmospheric feeling that instantly sets the tone of their music. They take a similar textural approach to Baroness - not so much defined by what they're playing, but that it's played through fuzz pedals into Orange amps - but rather than catchy rock and roll songwriting, they drag through ten minute songs at Electric Wizard levels of boringness. Overlong and tone-basking, a pleasant background aura for directionless music. Similar to Deafheaven, they're a post-rock band who borrow aesthetics of metal but fail to fully incorporate them, which is more of a nuisance than of benefit to their horrendously overlong songs. The rhythm guitar rarely riffs, it drones throughout with a rumbling tone. The lead guitar and vocals are similarly used - neither catchy nor leading, but as post-rock-style textural elements. Tactless harmonies are piled on like fries at Five Guys, interspersed with weepy late 90s gothic/doom metal melodies. It's like atmospheric metalcore when bands "evolved" past the scream/sing novelty and replaced it with low-end rumble/high-end atmosphere. It's basically the same thing as djent with different tones - showcase the low tone with a pointless rhythm, use the high-end for atmosphere, but with focus on atmosphere instead of rhythm. It's an interesting concept and it gives it a healthy shimmer, but it's more like a party-store prop covered in glitter than a sequined item from a mid-level department store. Now that I mention it, Lord and Taylor would be an ironic/cult name for a hipster black/doom band. It'd probably have the same appeal as listening to Mogwai and My Bloody Valentine at the same time on Beats by Dr. Dre. Gotta have that bass. See how I trailed off there? No real purpose, no real structure, but it'll push the right buttons in your mind if you like to hear about atmosphere, a lot of genres, a couple indie-favorites, and an attempt at humor. If you get a buzz playing atmospheric metal from YouTube in the background, give this a listen.
Tuesday, August 19, 2014
Maryland Deathfest XII - A bunch of shit bands are playing the main Edison lots and a block away, at a local watering hole, an associated free show at Sidebar was going on. Crypter were the second band on. They delivered a brand of fierce and raw first wave black metal in the vein of Hellhammer and Celtic Frost laced with that special brand of underground vitriol that emanates with unadulterated energy. It's captured here.
Saturday, August 16, 2014
Where Wolves Once Dwelled opens with the boiling "The Savage One," slowly pummeling and writhing along. Vocalist - unnamed on the insert as are the other two members - is capable of some excellent guttural vocals and uses the talent all across this demo. They are perfect when paired with the ugliness of the material here. The remind of Undergang, Timeghoul or Iniquity on Serenadium. Atavisma's love of Swedish death metal is shown in "Forsaken" and "Nature's Warfare," the shorter of the four tracks. Grave and Entombed - to no one's surprise - are present in many riffs without being pure rip-offs. The title track is the highlight for me, opening it's length with some clean yet sinister guitar plucking before launching into a twisting doom tinted riff. The song is the ugliest, but also most complex with an extended instrumental section where once again clean guitars mimic the intro but are accompanied by tense drumming to create a dense malevolent mist.
This longer track would have been a better opening track for Where Wolves Once Dwelled but the fact it exists here is enough to give me some dirty and ugly thoughts. Even the usage of 'dwelled' instead of the proper 'dwelt' gives just that additional personality which I enjoy, even if it would make an English teacher tear at their eye sockets. As usual with Nihilistic Holocaust's releases, the tape labels are a little skimpy, and not a lot of material is present on the insert which is a little of a bummer but with my only musical gripe being how set back the percussion is in the mix, this is one of those pleasurable items that ends up in my collection and one I would recommend to others interest in quality death metal demos.
Thursday, August 14, 2014
Philadelphia's Trench Rot, featuring Infiltrator's Steve Jansson as well as his fellow Crypt Sermon friend Brooks Wilson, set out to leave a dent on a scene which, for New Jersey and Philadelphia is small and lazy. Death Metal at this caliber is difficult to track down in the area and with the exception of some heavyweights like Funebrarum and Evoken and some more obscure, but no less impressive - and no less old school - bands like Sapremia the area is somewhat underwhelming in the category. It seems there are more black metal bands in the immediate vicinity than there are pennies in a dollar. Dragged Down To Hell is the 2013 demo that preceded this year's Necronomic Warfare. Essentially, we are given a memorable three-track blitz of Asphyx, Entombed and Grave. The overall creation sounds a whole lot like Hail Of Bullets and certainly elements of Bolt Thrower appear, especially the intro riff of second track "Trapped Under Treads." In fact, there's a lot of general death metal deja-vu here, whether intended or not.
The intro to opener "Gallery of the Dead" fondly invokes memories of Deathevokation's Chalice of Ages before running rampant in a more generic but enjoyably vicious manner. "Gallery..." is a smoothly moving track and my only gripe is the use of samples at the end which aside from being a pet-peeve of mine, are unnecessary as the song slowly drifts out of earshot. "Trapped Under Treads" continues in a similar manner but some additional make this a less generic experience. The breakdown section is excellent as it displays the killer static tinged bass tone of Steve Geptik as he slides in and out of some pummeling half-beat groove. The verses also mimic Diatribes era Napalm Death - a period of their career which goes unnoticed by the metal community at large it seems. The last track, the title track, "Dragged Down To Hell," doesn't hit me as hard, even with a tasteful middle eastern flavored solo. It's still good material but I prefer the other options here. This is a powerful and well paced Death Metal demo displaying balance and refinement - something I expect in projects involving Steve and which is displayed in both Infiltrator and Crypt Sermon. Worth attention for Death Metal gurus, as it will probably incite a need to check out the debut.