Archive for November, 2023

Listen: ‘Rebel Yell’ by Cathedral In Flames

Posted: 16 November 2023 in Recommended Streams and Videos
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The Czech gothic rock band, Cathedral In Flames have unleashed their version of Billy Idol’s legendary song, ‘Rebel Yell’.

In their version of the iconic song, Cathedral In Flames toyed with tempos, added strings and flirted with blast-beats for the first time in their history. Produced by the legendary John Freyer, the song retains the anthemic fast-paced chorus, which is further supported by a stylized comic book video.

Singer Phil Lee Fall says, “The songs were basically made to order. And we had a lot of arguments over it. We couldn’t figure it out for a long time, but when Gatsby threw in the tempo changes, everything clicked. And John added the blast beats symbolically at the very end.”

And Gatsby adds, “I’ve never liked this song, so I approached it in the end in the style of seeing if something interesting could be made out of a thousand times stale little ditty. How it turned out, judge for yourself. I’m washing my hands!”

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Watch: ‘Windowpane’ by Opeth

Posted: 15 November 2023 in Recommended Streams and Videos
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To mark the 20th anniversary of Opeth’s ground-breaking 2003 album Damnation, a special vinyl re-issue was recently announced, which has been meticulously crafted to pay homage to a pivotal and trailblazing moment in the band’s illustrious history. Originally recorded in the serenity of Åkerfelt’s native Sweden, with additional production from Porcupine Tree’s Steven Wilson, the album acclaimed by fans and critics alike has since received a re-mix and master in 2015, pressed to vinyl on a double LP together with the dichotomous ‘Deliverance’.

Now just a month away from its release, Music For Nations have re-discovered the long lost video for the single ‘Windowpane’. Originally released in 2003, the Fredrik Odefjärd directed video has been digitally processed from the archival tape for 2023.

Watch the video now:

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Human Worth X – Wharf Chambers, Leeds, 11th November 2023

Posted: 14 November 2023 in Live
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Christopher Nosnibor

When you don’t get to see bands playing live very often, it’s important to be selective and make sure the ones you do make it to are worth turning out for. When this show was announced, there was simply no way I was going to miss it. I’ve written extensively on Human Worth and their roster, and have even had the privilege of performing a few gigs that they’ve put on, alongside Modern Technology and others. The main reason I always do my utmost to provide coverage is because I absolutely love the label: it’s pretty much a cast-iron guarantee of being a great record of it’s on Human Worth. And that’s not just my biased opinion: I have a mate who places advance orders for every release because he’s that confident it’ll be worth having if it’s on Human Worth. The quality of their releases is exceptional, and they’re also thoroughly decent guys. And then there’s the charity aspect. It’s not virtue signalling to make it label standard to donate a proportion of proceeds of every album to a nominated charity. It’s simply illustrative of the name being a mission statement.

They’re already responsible for two of my favourite albums of the year, and both of those bands are featured on this colossal eight-act lineup for a ridiculously cheap £8, at one of Leeds’ finest venues. Wharf Chambers always delivers killer sound at high volume, and it’s also a welcoming, accommodating ,safe space for all, with an atmosphere which feels accommodating and safe.

There have been some last-minute lineup and sequencing changes, partly because Grub Nap aren’t able to play, and have been subbed with a different Steve Myles band in the form of #FAxFO, and, as an unknown quantity and no label release, they’re first up. With his arm in a sling, it’s obvious why Steve isn’t drumming, and in his capacity of vocalist fronting this heavy dirty thrash collective, despite the physical encumbrance, he still charges around man possessed. His vocals roar against a beastly backdrop of churning noise, underpinned by a six-string bass. It’s barely half four in the afternoon and already we’ve been subjected to a monster noise assault.

Belk are next up, and they just get nastier and gnarlier. It seems that finally, they’ve got a fair bit tighter, too. Their set consists primary of feedback and overloading guitars, gut churning bass, and distorted vocals. The set starts at the sludgy pace of early Swans before hitting brutal grind. The vocals are unique, flicking form a high hair rock squawk to a nasty grindy guttural growl midway through a single line: it’s like listening to Judas Priest and early Pitch Shifter at the same time.

I frothed about the Friend album a bit back, and have also been extremely excited about the members’ various other projects, of which there are many, having even shared a bill with Lump Hammer, featuring vocalist James Watts and guitarist Tim Croft. It’s fair to say this is a band made up of lovely people. Tim’s running his guitar through both bass and guitar rigs and it sounds absolutely fucking immense. And they’re a joy to watch, because this is a band which portray distinct and very different individual personalities – Skylar brings a lot of energy and is quite a flamboyant drummer, while in contrast, Croft is stooped, humble, and Watts, in his onstage form at least, is rabid, and his energy level suggests he had a particularly satisfying poo beforehand. His vocals range from a cavernous vocal drone like Gregorian chants, guttural chthonic growls and raging demonic screams, and at the end of the set, it’s all pitched around thunderous drone guitar which draws the set to an eye-popping and tempestuous climax.

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Friend

AL Lacey’s set of piano-led neoclassical works with soft yet moving vocals provided a well-placed change of tone and tempo. No earplugs are needed here: the graceful sound is clear and the experience is beautiful and life affirming. Alice’s voice has a folky quality and the performance is understated but hypnotic, and the room is quiet. And this is the measure of the event, and exemplified precisely why this is the perfect gig: everyone is just really nice and respectful towards the artists and one another. People who clearly have an ear for the most brutal noise are broad-minded enough to appreciate the most exquisitely delicate music, and to shut the fuck up and listen when the volume level drops. Yes, you really could have heard a pin drop. Given just how truly awful and apocalyptic and hate-filled the world is right now, it’s hard to fully articulate the heart-filling joy of standing in a room where, just for a short time, all of it is placed on pause, and there is escape. It’s a magical and quite moving experience.

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AL Lacey

It’s around this point that it also registers just how eclectic the Human Worth roster is. None of the noisy bands really sound alike, and if further proof were needed, we get The Eurosuite next. I dug their last album, but have to admit it’s not one which has particularly stuck with me. But witnessing them live gives me reason to review things. Jarring, jerky, their sound is dominated by processed vocals. The overall experience is of a band which is twitchy, frenzied, and incredibly tight.

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The Eurosuite

Modern Technology’s Conditions of Worth is one of my two top albums released on this label this year. It’s slow, it’s heavy, it’s oppressive and yet has space. And it seems that live, too, the pair are at the top of their game. I’ve seen Modern Technology a few times now, and they’ve never disappointed in terms of performance or volume, but this is something else. They look just so regular, too: Chris Clarke sports what I can best describe as a corporate haircut and the guys looks like the biggest straights. In contrast, they define the anticorporate spirit. Clarke’s gritty baritone vocals ring out bleak observations to harrowing effect, while he grinds the most body-smashing bass. It’s like being run over by a bulldozer. The combination of a Nonchalant delivery, vitriol and punishing volume and mega sonic density is devastating. ‘The Space Between’ stands out in the set just as it does on the album as being particularly stark and brutal. They take things down for a quieter spell mid-set…and then return harder, harsher, and stronger. Teeth bared, Owen looks murderous behind the kit. It’s a truly killer set on every level.

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Modern Technology

Tonight is also notable as the album launch event for Leeds’ own Beige Palace, whose Making Sounds for Andy was released on Friday. I effused substantially over the both the band and the album in my review just the other day, and everything I wrote remains true here – only with the added bonus of some new, unreleased songs. They open with ‘Not Waving’ from the new album, but ikt seems that the next album is already in progress, and in the fashion of The Fall, Beige Palace are so forward-facing that they will launch their new album by playing a slab of the next one. It’s fucking brilliant, as is the between-song banter, which is hilarious as they trade insults and nudges and bat self-effacing comments about all over. There’s nothing contrived about any of it: what you get is a band consisting of three mates doing onstage the same as they do in rehearsals, in the studio, down the pub. It’s human, it’s real, and it’s fun. There are false starts and fuck-ups, and it’s all part of the enjoyment of an entertaining set.

Torpor are worthy headliners, and they’re every bit as immense live as they are recorded, and as showcased on their latest album, Abscission. It one of the most punishingly heavy albums I’ve heard in a while, but at the same time, it’s beautiful and redemptive. This translates to their live sound, too, which is defined by soaring shoegaze beauty and crushing weight. Apart from the metal drummer, they look positively straight. It’s a real contrast with the heavy beyond heavy noise and subterranean vocals. My notes peter out here as I’m blasted away on a tidal wave of megalithic guitars, big and bold enough to flatten trees.

There wasn’t a weak band on the bill or a single twat in the venue (however much I jibe my mates). If proof were needed of Human Worth’s capacity as curators, this is it. The world might be descending into aa tsunami of shit right now, but at least we know there are at least some good guys on the planet.

Watch: ‘outrun the sun’ by La Force

Posted: 13 November 2023 in Recommended Streams and Videos
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La Force, the fascinating solo project of Ariel Engle, released a critically acclaimed second album, XO SKELETON this Autumn and today she unveils a music video for ‘outrun the sun.’

The video for ‘outrun the sun’ was directed by two faithful collaborators of Engle – Sara Melvin and Ali Vanderkruyck – in scorching hot locations in the Californian Anthropocene.

“The video for ‘outrun the sun’ explores the pride and arrogance of humanity, which thinks it can fool Mother Nature. Instead of a vital force, the sun is turning into something that makes us fear for our lives,” say the directors.

“Thanks to animation and an infrared drone, the perspective shifts between the runner (La Force) and the stalker (the sun). We shot in arid places like the Sepulveda Dam, an abandoned open-air location. Among the hot concrete and dried weeds, Ariel and our small crew were overheating, sweating, covered in dust. In the Californian Anthropocene, we experienced the issues addressed in the song in real time.”

Watch the video here:

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Photo credit: Norman Wong

OFF! / Teen Mortgage – The Crescent, York, 10th November 2023

Posted: 12 November 2023 in Live
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Christopher Nosnibor

Apart from a couple of dates earlier in the year, it’s been a fair while since OFF! toured the UK. This visit consists of half a dozen dates, taking in Dublin, Glasgow, Bristol, Brighton, and Pitchfork Music Festival in London – which makes York a real outlier. Leeds, you’d probably expect – having previously brought the noise to The Brudenell and Belgrave – but York? The Crescent has been going front strength to strength in recent years, and with some bold booking (notably, tonight’s show is hosted as a ‘Brudenell Presents…’ event), the 350-capacity venue has been bringing some impressive names to a city that for many years languished as a musical backwater.

OFF! certainly qualify as an impressive name. As a founding member of both Black Flag and the Circle Jerks, Keith Morris is indisputably one of the key figures of the original hardcore scene. Since hooking up guitarist-producer Dimitri Coats (Burning Brides), they’ve built a supergroup that’s been tearing up venues since 2009. And the reason they’ve such a strong following isn’t because of who’s in the band, but because they deliver pure, back-to-basics hardcore punk: hardly any effects pedals, no gimmicks or banter, just song after song, most under two minutes long, played as hard and as fast as is humanly possible.

This current iteration finds them boating a powerhouse rhythm section comprising bassist Autry Fulbright II (…And You Will Know Us by the Trail of Dead) and drummer Justin Brown (Thundercat, Herbie Hancock).

In tow, they have Washington DC punk duo Teen Mortgage. They shuffle into the stage crowded with kit (it’s not a tiny stage, but two big drum kits plus some beefy backline don’t leave much room. The singer / guitarist is wearing a Motorhead T and has patches of Misfits and the like on his jeans. He greets the crowd with a drawling “Whassuuup?” and then they’re straight down to business. The duo sound cheap, trashy and in places slightly thin by design: they’re not into the new trend of heaps of effects and splitting the guitar through two cabs or whatever. They’re doing it the old school way, fast and frantic, and with the drums dominating. The result is rather like DZ Deathrays with the addition of twirling drumsticks. Nothing technical or complex, just two guys making a racket and at fast pace. And it’s ace, because it’s so immediate. The crowd – and it’s a decent turnout – recognise this and the moshing gets going early on.

OFF! don’t piss about either. Again, there’s absolutely nothing fancy about their or their setup. Brown has the band’s name in strips of electrical tape on the bass drum. The kit looks battered, and there are just a few bottles of water and mugs of herbal tea on stage – and again, barely any effects pedals.

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OFF!

Keith Morris may have started his careers as an angry young man, and now he’s an angry old man who still performs with the passion of an angry young man. This guy really puts so many bands a fraction of his age to shame. He’s now into his late 60s, but doesn’t stop for breathers, there are no instrumental breaks while he recovers himself: instead, he rants away as feedback streams from the stage between songs. The bald spot is now covered by a hat, and the dreadlocks are down past knees. But other than this, little is different from the times I saw them in 2012 and 2014: the hand-written setlist is still several feet long, consisting of half a ream of sheets taped together and they power through almost thirty songs in less than eighty minutes. Bam! Bam! Bam! Song after song, each one blasting in, bamalamalamalam and stop! The moshpit grows and grows, and the energy in the room is fantastic. And then they’re done: quick, clean, and efficient, this is hardcore at its best.

Neon Funeral – Banned From The Goth Club

Posted: 9 November 2023 in Singles and EPs
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Cleopatra Records – 8th November 2023

Christopher Nosnibor

The goth crowd are an odd bunch. Like many subcultures, there’s a strong tribalism ingrained among them, and not even simply the older adherents or trad goths. There’s a perplexing contradiction here, in that a subculture born out of a broad church of outsiders should be so defensive and exclusive, even antagonistic towards those outside their club, while at the same time many are the most broad-minded and accommodating people you could encounter. I suspect the less accommodating are keen to protect their thing from people who aren’t really into it. Casuals, weekend goths, emos and metallers who misrepresent what it is to be goth… yeah, there’s a logic to not want to be tarred with the same mascara brush as some.

In my experience, some goth gigs – and I have been to many, although can’t claim to have been ‘there’ in the early 80s when it was all starting out because I simply wasn’t of an age – do seem to attract more than their share of ‘gother than thou’ posers, and while my collection is very heavy on vintage goth records (and CDs) and my wardrobe is 90% black (as Andrew Eldritch once quipped, and I paraphrase, it saves on laundry), I’ve always felt that I’m not goth enough for the weekend tribal gatherings in Whitby.

This is all to say that I get where Neon Funeral are coming from with this release. The New Jersey-based darkwave/post-punk band, are on Cleopatra Records, which has some pretty strong goth credentials. But then no doubt there will be British goths who will say that it’s an American label and the Americans don’t really ‘get’ goth and created their own strain and yadda yadda yadda.

As the blurbage explains, ‘The EP’s theme is based upon the band feeling alienated from the goth scene. The name of the EP, Banned From The Goth Club was given because of the band’s challenge in finding their audience given their contradictory sound.

The band states, “The goth audience can’t exactly get fully immersed into the music because of the aggression and intensity of the vocals and the hardcore scene can’t exactly understand the softer and dance-driven instrumentals for moshing. We once performed at a goth venue and seemed out of place and out of touch with the audience. We then coined the phrase ‘Banned From The Goth Club’ to welcome the eclectic sound and introduce it playfully.” As is to accentuate this point, the last track on the EP is a cover of Eddie Murphy’s 80s foray into music-making, ‘Party All The Time’.

‘A Void’ is probably too synthy for the traditionalists who like their guitars, trebly and drenched in chorus – but then the switch to gritty, snarling vocals are too metal for the darkwave fans. Of course, you can’t please all of the people all of the time, but what do you do when the people are ultra-picky and pedantic? In the words of Valor Kand – fuck ‘em! It’s a cracking tune, dreamy on the surface but with a heavy dash of nightmare in there. On ‘Avolition’, the heavy synths and hyperactive programmed drumming, melded to solid bass and overlaid with theatrical vocals bring all the ingredients of 90s goth as represented by the likes of Suspiria and the Nightbreed Roster (although thankfully not Every New Dead Ghost). ‘High Tech Low Life’ is short – a mere two minutes and fifty seconds – and gloomy, a droning, drifting synth that lands between Faith era Cure and New Order circa Movement, but with some roaring metal vocals, before it skips into something that’s more like The Mission on crack and fronted by Carl McCoy. All to often, hearing the popular elements of goth being jigsawed together is a bit of a yawn, but it would be way off to describe this as derivative. With its harder edge, Banned From The Goth Club isn’t going to appeal to a large portion of the crowd, particularly the trads and the purists, and it’s not one for the dreamwave, darkwave, or cybergoths either. But for anyone who isn’t set on genre limitations, and with ears, and who likes it dark and a shade gnarly, this is a winner.

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Watch: ‘Going Numb’ by Mekong

Posted: 8 November 2023 in Recommended Streams and Videos
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Polish post-punk/darkwave band, Mekong has just unveiled the first single from their upcoming album, Danse Danse.

In ‘Going Numb’, the hypnotic fusion of post-punk and dark-wave weaves a haunting tale of a girl’s last night out. The dance floor becomes her sanctuary one final time. Amidst the pulsating beats and disco-inspired rhythm, she embraces the numbness, surrendering to the melancholic melodies that guide her through a poignant journey.

The song encapsulates her bittersweet dance, capturing the raw emotions of her final moments before the inevitable darkness descends.

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Distance H – Intimacy EP

Posted: 7 November 2023 in Singles and EPs
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Christopher Nosnibor

It’s a common issue for artists, even those with labels, that a release simply fails to gain traction. There are myriad reasons and multiple factors, and it’s often a combination of them which contrive to leave a release sunk like a stone, dead in the water. It’s rarely a question of quality. Even A-Ha’s ‘Take On Me’ and ‘West End Girls’ by the pet Shop Boys took more than one attempt to break through, despite major label backing at a time when labels would plough absolutely hods of cash into new artists.

Sometimes it’s simply a question of timing: some weeks and months there’s a glut of major releases or releases that otherwise grab the attention that mean some great records slip through the cracks. This month is a classic example, and it seems there are at least half a dozen truly killer releases all landing on the 10th. I can’t even listen to them all, let alone write about them.

And so it seems to have been the case when Distance H dropped debut EP Intimacy a few months ago. The single cuts released in advance of this EP grabbed my attention, not least the first, ‘Bitch 16’, featuring Ophelia from Saigon Blue Rain. In fact, there wasn’t a weak selection among the three singles: ‘Waters of Woe’ by Distance H feat. Marita Volodina was – and remains, as I described it at the time – ‘vintage goth with a contemporary spin’ and ‘a cracking tune’.

But having failed to make a splash, Intimacy is getting a PR reboot, and it’s a good thing, because the tracks which didn’t get single releases a year ago or whenever, are just as strong, and this makes for a full and founded EP. Casting an eye back to the 80s and 90s when big bucks were doing the rounds, it was often the case that albums would depend on a strong single or two, and that those singles would stand as beacons in set of mediocre slop, or, as was often the case, indulgent turd. It’s rather harder to get away with that ‘lead single’ marketing approach now people can stream the album or hear to by other means in advance without needing to go and check out a listening booth or blag it off your mate.

But Intimacy is truly all killer. ‘Twilight’ is a big, sweeping slab of majestic melancholy, balancing cool synths and chiming guitars that lean on Disintegration era Cure and sits nicely alongside The Twilight Sad circa Nobody Wants to Be Here and Nobody Wants to Leave. It’s a song with a sadness that aches, but at the same time, there’s an ethereal majesty about it, due in no small part to the sweeping, soaring vocals. The epically multi-faceted ‘Waters of Woe’ we’ve already raved about here, but hearing it afresh in the context of the EP, it seems to gain power. The same if true of ‘Reasons to Rush’ which features Liset Alea, combining heavy goth vibes with the electric rush of 90s alternative acts like Curve.

The final track, the epic six-minute ‘Leaden Sky’ now selected to lead the reboot, again features Ophelia on vocals. It’s another gothy epic, clocking in at over six minutes, with a bulbous bass and a wash of echo-soaked guitars weaving a richly textured backdrop cut through with programmed drums which punch out a rolling rhythm. In the context of the EP, it rounds off a big journey ending as it begins, while stepping through some memorable terrain. For these collaborative cuts, Manu H has made some truly immaculate selections. Each of the vocalists brings a subtle but essential twist to the sound, and while tied tightly to the templates of his stated influences (The Cure, Joy Division, Siouxsie And The Banshees, Cocteau Twins, The Sisters of Mercy or The Chameleons), Intimacy sees Distance H emerge victorious by capturing the atmospheric aspects of his forebears without falling to cliché, and the quality of the songs seals it.

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Watch: ‘Bleak’ by Deadset

Posted: 7 November 2023 in Recommended Streams and Videos
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Deadset were formed just last year, originally a product of guitarist James Massey and vocalist Sam Mellors, who discovered a genuine bond over writing together. Their sound was moulded into a more claustrophobic, gritty and tense direction when bassist Adam Arnold and drummer Rio Campbell joined, taking the classic indie sensibilities of the two original members into harsher new territories.

Deadset truly came to life when the band wrote as a group and embraced each other’s musical preferences, their influences now relying to an extent on alternative 80s and 90s bands. Influences being taken from bands such as New Order, Fontaines DC and Interpol. Striving to be ever more progressive and unique, the band’s live sound is renowned for fluctuating between genres. Chorus laden and loaded with fuzz and grit.

New Deadset single ‘Bleak’ encapsulates why Deadset is a band and what they want to achieve from it. The track, which was produced by Pat Pretorius (The Talks, Life, Counting Coins) and mastered by Howie Weinberg (Nirvana, Yeah Yeah Yeahs, Daft Punk), really feels like it is humming with the anxiety and fever that everyone feels around Hull. It’s both a commentary on what they see and how they feel, looking at the social issues the band see in the area and how that’s impacted and twisted their lives. ‘We all want something to believe in’ is a feeling that resides in every member of Deadset. All feeling at times as if they’re stuck in a rut. Deadset being their opportunity to escape that rut.

“There’s a really prevalent mutual feeling about the area we all live in. Its rife with boredom and it feels like everyone’s stuck in mundane, monotonous cycles here”, says Sam Mellors. “Most people fall into traps of binge drinking or substance abuse to get away from it. It’s really hard not to fall into that trap when there’s genuinely nothing else to do. There’s still a great community of people here, everyone trying to make it a special place and it will always be a special place to us. But it’s still difficult to get away from the fact a lot of people are struggling”, he further explains. “Deadset became a band because we wanted to escape that cycle, dream of something better and create new horizons for ourselves. It’s our own escape from the depressing reality around here”, adds Adam Arnold.

‘Bleak’ is out now via Man Demolish Records.

Watch the video for ‘Bleak’ here:

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Flesh Field – Voice of the Echo Chamber

Posted: 6 November 2023 in Albums
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Metropolis Records – 3rd November 2023 (Digital) / 17th November 2023 (CD)

Christopher Nosnibor

Ian Ross’ electro-industrial project Flesh Field emerges, quite unexpectedly, from almost two decades of dormancy, twenty years in mute, to deliver ‘A concept work with each of its ten tracks representing stages of political radicalisation and violence, Ross states in the CD booklet that “believing falsehoods because those falsehoods reinforce our preferred narratives is not harmless. Promoting falsehoods to benefit your faction is not harmless, particularly in a well-armed society. If we remain locked in our own echo chambers, inevitably there will a voice of the echo chamber that speaks in the language of mass murder, believing it justified. This album describes that tragic inevitability.”

It’s not hard to ascertain ‘why now?’ While I’ve long become weary of the endless and continuing stream of ‘lockdown projects’ emerging, it’s a fair assessment that the pandemic did change everything. Confined, pressurised, and subjected to a relentless bombardment of news media, government ‘information’ and directives, and often with only social media for company beyond the four walls of home imprisonment, people struggled to separate fact from misinformation and conspiracy, reality from fiction and imagination.

I first really noticed the echo chamber some time before, in 2016, with the Brexit referendum in June, swiftly followed by the election of Donald Trump as US president in November. Both results seemed not only implausible, but nigh on impossible. No-one I knew or spoke to supported either as far as I knew – why would anyone vote for either of these outcomes? But against a backdrop of simmering tensions and social divisions and a general melee of things being pretty fucked, these seemingly unimaginable things came to pass. I would subsequently learn that relatives had voted in favour of Brexit ‘to see what would happen’. Fucking Boomers who won’t be around to live through the worst of the fallout. And this is how it goes when you have ageing populations and a swing towards the right in uncertain times. People seek to protect their own interests rather than the greater good. It doesn’t necessarily mean that echo chambers perpetuate falsehoods, but they do most certainly create confirmation bias, foster complacency, and distort reality by creating a bubble. And now… there is no way Ross could have predicted the dark turn that would assail the Middle East just a few short weeks ago. The divisions surrounding this conflict reverberate around the globe. And we watch. And we watch. It’s simply more TV, more unreality to many.

During Flesh Field’s protracted period of inactivity, their work continues to spread, like a fungus, or to perhaps use an analogy more akin to their own spheres of reference, like a virus, numerous tracks from their catalogue were placed in the soundtracks of films including the just released The Mill, TV shows such as True Blood and video games like Project Gotham Racing. Sometimes, being away is the best promotion.

But there couldn’t be a more appropriate time for Flesh Field to return, and Voice of the Echo Chamber is a powerful document reflecting these difficult times. The opening track, ‘

Crescendo’ stars strong, with a cacophony of babbling voices, before thunderous percussion and bold orchestral strikes build big drama. Not since Red Raw and Sore by PIG have I been struck by such a grand intro to an album, and this melds driving metallic guitars, industrial-strength techno beats and seething bombast. It’s a strong cocktail and one that hits the listener right between the eyes, paving the way for a set of ten insistent tracks all driven by loping sequenced synths and thudding hefty beats pushed to the fore and pumping, pulsating hypnotically. The are choral bursts woven into the dense fabric of the compositions, as well as strings and piano and incidental noise: ‘Catalyst’ crunches in with a harsh mechanised grind which gives way to a filly cinematic string segment before the pounding beat slams in and things get dark, like an industrial reimagining of Holst’s ‘Planets’ suite. The vocals are low in the mix and low in the throat. The delivery means the lyrics aren’t always especially audible, but the sentiment and energy is relentlessly loud and clear amidst the grunt, grind, and crackle.

‘Arsenal’ goes big, a gritty anthemic chorus paired with a crunchy industrial verse that draws together elements of NIN, KMFDM, and PIG, to big, big effect, being both attacking and cinematic at the same time. There’s plenty of attack here, but equally, Voice of the Echo Chamber is big on bold, widescreen, cinematic segments. ‘Manifesto’ is a monster, with all the guitars, all the orchestral work, and a relentless beat that hits hard and heavy and it all comes together to create a big, big sound. The pounding ‘Soldier’ is really big on impact, and contrasts well with the brooding, slow-crawling ambience and piano atmospherics of the unexpectedly gentle introduction to ‘Rampage’.

There’s a certain sense of uplifting empowerment to be found in the chorus of the last track, ‘Reset’. Ewe need this glummer of optimism in the face of so much relentless bleakness and gut-crushing darkness, which ends with more crowds, more shouting. You flinch and stall, because it’s too close, too real.

In places harsh and stark despite its enormity, Voice of the Echo Chamber is a strong, relentless, unyielding blast. I feel that this is a time to sit back, let things repercuss in their own time, and step back while Ian Ross blasts distortion, vitriol, and amplifies self-loathing with brutal force. Feel it.

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