Posts Tagged ‘Heavy’

March of Scylla – Andromeda

Posted: 10 March 2025 in Albums, Reviews
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Klonosphere Records – 7th March 2025

Christopher Nosnibor

What is it about prog bands and Greek mythology and space? Sure, both are inspiring for their expansive and epic qualities, but it does seem to be almost a requirement for prog acts to be quite obsessed about mythology or space – or, in the case of March of Scylla, both. Indeed, Scylla is a man-eating monster which features in Homer’s Odyssey, while the French progressive metal quartet’s debut album’s title may refer to the galaxy, or daughter of Cassiopeia in Greek myth, after which said galaxy was named. I suppose there’s some intertwining there, which works. On the one hand, it’s mystical, it’s deep, and its seriousness manifest.

These guys do bring some ultra-chunky riffs which straddle nu-metal and technical metal, and they alternate these with huge, arena-friendly choruses which are impressive in the anthemic heights they scale, and no, that’s no sarcasm, believe it or not. But it does flop headlong into the template trap which is the curse of so much metal of the twenty-first century – and again, it’s something that emerged and came to prominence with the advent of mu-metal and then seemingly seeped into other strains of metal, alternating full-throated roaring verses with melodic choruses. At first, to my ears, at least, it sounded less dynamic or thrilling, and more like bands trying to please everyone by being everything all at once. And I suppose the formula must work, because a quarter of a century later, they’re still doing it, even though it’s tired and ultra-predictable now. Sure, it’s fundamentally the same form as the quiet / loud structure that defined the grunge sound in the 90s, but the difference is that with the quiet / loud thing, it felt like build-up and release, whereas this is more like splicing two different songs together. It’s Jekyll and Hyde. And a sudden turn works when it’s out of the blue, but when every song is structured around a ball-busting riff and raw-throated guttural vocals which abruptly give way to some big emotive burst of white light you can sing along to, it’s not only predictable, but feels as if one segment undermines the other. Like, c’mon, make up your minds! None of this is to say that I think ‘heavy’ bands should only do ‘heavy’: contrast is a vital element in giving a composition impact, and besides, I would simply never prescribe that music should be one thing or another. My point is that when things become overly formulaic, they risk losing that impact.

So ‘Ulysses’ Lies’ does the raging riff thing alternating with the anthemic chorus thing. I’m not sure if the lyrics are being delivered from the perspective of a protagonist from the canon of Greek mythology, or it it’s simply a framing for some introspective moan about relationships or whatever, and no doubt if I was willing to spend hours straining my ears to decipher it all, I’d find the answer, but I can’t say I’m that invested. It sounds like some introspective moan about relationships or whatever, though. Way to diminish the potency of epic tales of gods battling and whatnot.

‘Death Experience’ stretches out for a fill seven minutes, and if it’s not necessarily a full epic, it’s most certainly an epyllion, and with some tight and detailed guitar-work and a well-executed atmospheric mid-section, it delivers everything it promises, including a sense that the ‘death experience’ is one of a dazzling ascension beyond this plane. And if it seems as if I’m being unreasonably critical of March of Scylla, there’s no questioning their musicianship or capacity for solid compositions. They pack in some megalithic, churning riffs and know exactly how to hit the hammer on intensity, just as they absolutely nail the huge, hooky choruses. But it just feels so studied, and you know how it will go as each song plays out.

‘To Cassiopeia’ is an interlude which combines space and mythology in one processed, predictable but atmospheric piece, before ‘Dark Matter’ goes Metallica’ before it goes You Me At Six… and it’s a sonic identity crisis to my ears, although it’s precisely what they were going for. What to say? It’s wrong to criticise a band for what they’re not, but this is difficult for what it is – namely conflicting and predictable, but perfectly executed. The heavy segments hit hard, and the light, melodics parts are well done but ultimately a bit lame. It’s yin and yang.

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Watch: ‘Brotha’ by Kaiser

Posted: 8 March 2025 in Recommended Streams and Videos, Singles and EPs
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Finnish stoner rock power trio KAISER has just dropped a brand-new music video for ‘Brotha’, a standout track from their crushing second album, 2nd Sound, released March 7, via Majestic Mountain Records.

Building on the raw, riff-fueled foundation of their debut, KAISER pushes their sound further into heavy, groove-laden territory, delivering thick, blues-soaked riffs, thundering rhythms, and soaring melodies that land somewhere between Kyuss, Sleep, and early Clutch.

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Guiltless – Teeth to Sky

Posted: 4 March 2025 in Albums, Reviews
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Neurot Recordings – 7th March 2025

Christopher Nosnibor

If a release is on Neurot, there’s almost a guarantee that it’ll pack some heft, and that it’s likely to be good. And so it is with the debut album from Guiltless, who feature members of A Storm of Light, Intronaut, Generation of Vipers, and Battle of Mice and were ‘born from a love of experimental rock, noise rock, early industrial, sludge, and doom’. Their bio describes their first release, the EP Thorns as ‘crushing and cheerless’, adding that ‘it seemed to welcome the apocalypse looming on our collective horizon.’

The horizon is feeling closer than ever, the Doomsday Clock now set to just 89 seconds to midnight, reported as being ‘the closest the world has ever been to total annihilation.’ Teeth to Sky is a worthy successor to Thorns, and while it may not be quite as unutterably bleak, it sure as hell isn’t a laugh a minute, or even a month. And if anything, it’s heavier, denser, and it’s more layered, more exploratory.

‘Into Dust Becoming’ crashes in on a howl of feedback before the riff comes in hard. No delicate intro or gradual build-up here: just full-on, balls-out explosive power. It’s a veritable behemoth, dragging a megalithic weight and a brutal rawness as it churns away with devastating force. It’s one hell of an ear-catching way to open an album, and serves as a statement of intent.

‘One is Two’ barrels and lurches, the bass booming low while the guitar slices and slews across at jagged angles, and with the roaring vocal delivery, it’s dark and furious, as is fitting for a song that explores human behaviour and the fact that as a species we seem utterly hell-bent on destroying our own habitat. It’s a perverse contradiction that as the most advanced species to have evolved on earth, we have seemingly evolved to bring about the hastening of our own extinction, but then again, perhaps it’s for the best. But considering this, and the state of everything, brings a range of complex emotions which aren’t necessarily easy to articulate through language, or language alone – and this is when one comes to really appreciate the catharsis of visceral noise. And it’s a crushing force that blasts from the speakers on ‘In Starless Reign’; the guitar tone rings a squalling dissonance, and there are some deft tempo changes which accentuate the textural detail and enhance the impact.

They slow things to an eerie crawl on the epic ‘Our Serpent in Circle’ to round off side one, and although it doesn’t exactly offer respite, it does provide some variety ahead of the assault which ensues with the title track at the start of side two, followed by the utterly merciless ‘Lone Blue Vale’, a track of staggering density. Combined, they deliver a relentless sonic barrage. ‘Illumine’ closes the album with slow-paced precision, a harrowing seven-minute dirge designed to snuff the faintest glimmers of hope in your soul.

It’s a significant achievement that Guiltless manage to maintain such a punishing level of intensity for the duration of the whole album: Teeth to Sky will leave you feeling utterly pounded, breathless, and dazed.

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Brain Pills – Faded

Posted: 25 February 2025 in Reviews, Singles and EPs
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Christopher Nosnibor

It might be a stretch to describe Brain Pills as a supergroup, but the various members of this trio all have form, with guitarist Mike Vest being a one-man guitar-driven noise industry and with 11 Paranoias and Bong being among his extensive catalogue of projects – and he’s joined by percussionist Nick Raybould  and Poundland vocalist Adam Stone. It should be no surprise, then, that this is dark, dense, and gnarly.

‘Faded’ offers four and a half minutes of thick, sludgy, trudgery that feels like an eternity – in a good way. It’s reminiscent of early Melvins – think the slow grinding trawls of Gluey Porch Treatments, rarely over three minutes in length but churning the guts low and slow and feeling twice that.

The sound is immense, a mass of distortion, the kind of overloading, all-out speaker-damaging wall of noise that hits you physically.

The heavy effects on the vocals – magnificently low in the mix – adds a brain-bending psychedelic twist to the megalithic sonic landslide, making for punishing, gnarly perfection.

The band are currently looking for a label to release the album which ‘Faded’ is taken from.

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Listen: ‘Born All Wrong’ by Museum Of Light

Posted: 23 February 2025 in Recommended Streams and Videos, Singles and EPs
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Seattle’s MUSEUM OF LIGHT Unveils ‘Born All Wrong’, the third single off upcoming sophomore album Diviner, out March 14

Drummer Rob Smith says, “As with much of Diviner, ‘Born All Wrong’ is a continuation of all the things that interested us on our first record, just taken further. The heavy stuff is heavier, the pretty stuff is prettier, and the weird stuff is weirder. The song dives into some of the expanded sonic palette that sets this record apart from Horizon. Here, we used a new, lower tuning, replaced some of the synth parts with a human voice (Elissa Alvarez, who is all over this record), and even mixed in some of the crashing waves and sea birds we heard outside the studio window as we worked. The big riff that anchors the first half of the song was written several years ago when we were between bassists. So, we were leaning more on huge, monolithic ideas that sounded good with the guitar running through both guitar and bass amps at the same time. As one of the older songs on the album, we weren’t sure if if was going to make the cut, but as soon as we heard playbacks in the studio, we all had the same thought: ‘well, that’s definitely making the record.’”

Museum Of Light’s sound blends crushing, heavy swagger with ethereal, sparkling melodies, creating a dynamic, otherworldly atmosphere that combines raw intensity with haunting, operatic vocals and poetic, existential lyrics.

Listen to ‘Born All Wrong’ here:

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Pyrrhic Salvation – When Society Crumbles

Posted: 11 February 2025 in Reviews, Singles and EPs
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Self-released – 14th February 2025

Christopher Nosnibor

Yes, it’s ‘when’, not if, and since January 20th this year, it feels as if that crumbling which has been slowly emerging, first as a series of cracks, is now accelerating, to the point that we’re well on the way to almost certain collapse as Trump ‘the peacemaker’ puts his foot to the floor and hurtles us headlong toward self-extinction, one way or another. So after the ‘when’, the only question remaining is ‘how?’

While we ponder that, US interstate internet-based technical / experimental death metal act have delivered – after quite some time – their second EP. Having formed in 2015, it took them until 2022 to birth Manifestum I, following which singer Chrisom Infernium departed, being replaced by Shawn Ferrell. In the overall scheme of their career to date, When Society Crumbles has come together pretty quickly.

It’s overtly a concept work, centred around a fifteen-minute suite of three pieces which each address component aspects of ‘When Society Crumbles’ – ‘Infrastructure’, ‘Insight’, and ‘Inferiority Complex’. Well, ok.

The guitar parts alone contain about three hundred notes per minute, a frantic blanket of fretwork bursting from the very first bars. The vocals switch from growls to barks to howls to the squeals of wounded pigs, sometimes layered to occur simultaneously, while the drums blast away at a manic pace.

One thing that stands out from the first track alone is the production. Perhaps it’s the technical angle, perhaps it’s the circumstance of the recording, since being in a room and making noise is a very different experience from bouncing audio files around via Dropbox or whatever and adding to them in isolation. It’s not the clarity or separation per se, but the way the different instruments reverb – or don’t so much – in different ways. It isn’t that it sounds or feels cobbled together – it doesn’t – it just sounds different. But in a world where so much music is uniform, conformist, even if to supposedly alternative values, different stands out, and we need different. But the way that snare drum and the tom rolls cut through… they dominate in a way that’s rare, but it works: all too often with death – and black – metal – the drum dominate live, but are submerged on the recordings, reduced to a rattling clatter that’s more like the hyperfast clicking of a knitting machine than the thunderous blast of a drum kit being hammered hard. In places, it’s so technical as to border on the jazzy, although it’s clear they’re not just about technical prowess.

Not quite so different is the relentless fury the trio bring with the pounding percussion and frenzied picking: these elements are very much of the genre – death metal played with a real attention to technical detail. There are some well-considered tempo changes, and even some gentler, almost folk-inspired moments on ‘Insight’, where it drops down to some soft picking.

The three movements of ‘When Society Crumbles’ lurch into rabid dark territory on the third and final segment, where heavily processed vocals rip across a full-throttle all-out metal assault. The final track, the standalone ‘Every Last Soul Unmade’ is the longest by some margin, extending to almost six minutes and slamming down a tumultuous broadside of wildly noodling lead guitar over a bass that lands like a knee to the stomach. These guys know what they’re doing. I hope they keep doing it when civil war breaks out. I mean if, if…

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Teleost / Cwfen / Makhlon – The Fulford Arms, York, 6th February 2024

Posted: 7 February 2025 in Live, Reviews
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Christopher Nosnibor

On arrival, it looks like Nu Jorvik have pulled and been replaced by Makhlon, and at somewhat short notice, but it’s hard to grumble when you’ve got three heavy bands for six measly quid and the headliners are guaranteed to be worth double that on their own.

There’s lots of leather, studs, long coats, and long hair in the gathered crowd, it turns out those sporting corpse paint – perhaps not entirely surprisingly – belong to the first band who are straight-up black metal.

Makhlon’s singer has Neil from The Young Ones vibes. He’s about 7ft tall and wearing a Lordi T-shirt, but snarls full-on Satanic rasping vocals from behind his nicely-washed jet-black hair. The lead guitarist and front man swap roles for the last two songs – both of which are epic in scope, with some nice tempo changes, and they really step up the fury. It’s quite amusing to see him clutching a notebook in the arm which is thrust forward and enwrapped in a spike-covered vambrace, and checking the lyrics, as if it’s possible to decipher a single syllable. But this is all good: time was when York was wall-to-wall indie, folk, and Americana. Now… now we have homegrown acts like this, and the thing with black metal is that it only works when the band and its members are one hundred percent committed to the cause. These guys are, and while they may be fairly new, they’re tight, they can really play, and they give it everything.

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Makhlon

Cwfen – pronounced ‘Coven’ – aren’t Welsh, but in fact Scottish, and this is their first trip south of the border. It seems that since relocating to Glasgow, Teleost have been making some good friends. And Cwfyn are good alright… Woah, yes, they’re good. They are heavy, so heavy, as well as melodic but also ferocious. There’s a lot going on, all held together by a supremely dense bass. The ‘occult metal four- piece’ may be the coming together of artists who’ve been around a few years, but the fact they’ve only been playing as a unit for a couple of years is remarkable, as they really have everything nailed. They’re both visually and sonically compelling: Siobhan’s fierce presence provides an obvious focal point, but the way everything melds instrumentally is breathtaking. The third song in their five-song set slows things, and brings some nice reverb and chorus textures. Piling into the penultimate song, the crushing ‘Penance’, which features on their debut release, they sound absolutely fucking immense. The closer, the slow-burning, slightly gothy ‘Embers’ is truly epic. With their debut album in the pipeline, this is a band to get excited about.

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Cwfen

I’m already excited about Teleost, and the fact that there’s such a turnout on a cold Thursday night says the people of York are extremely pleased to welcome them home. Having knocked about in various bands / projects previously, with Cat Redfern fronting Redfyrn on guitar and vocals, before pairing with Leo Hancill to form Uncle Bari, who would mutate into the ultimate riff-monster that is Teleost, they departed for Glasgow, leaving a uniquely Teleost-shaped hole at the heavier end of the scene.

Absence not only makes the heart grow fonder, but it’s apparent they’ve spent their time getting even more immense since they left.

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Teleost

They’re a band to watch with your eyes closed. Not because they aren’t good to watch, but because their sound is so immersive. Teleost have perfected that Earth-like tectonic crawl. Imagine Earth 2 with drums and vocals. Or, perhaps, Sunn O)))’s Life Metal with percussion. Each chord hangs for an entire orbit, the drums crash at a tidal pace, and with oceanic, crushing weight. Somehow, Leo Hancil’s guitar sounds like three guitars and a bass, and it looks like he’s actually running through two or even three separate cabs. It’s not quite Stephen O’Malley’s backline, but it’s substantial. And you’re never going to get a sound like that just going through a 15-watt amp, however you mic it up. They play low and slow, and Cat plays with drumsticks as thick as rounders bats, yielding a truly thunderous drum sound. In fact, to open your eyes is to reveal a mesmerising spectacle: two musicians playing with intense focus and a rare intuition, and Redfern’s slow, deliberate drumming is phenomenal, and the whole experience is completely hypnotic. They play over the scheduled time, and then, by popular demand, treat us to an encore with an as-yet-unreleased song. Everyone is absolutely rooted to the spot, currents of sound buffeting around us.

Teleost’s influences may be obvious, but they’re at the point where they’re every bit as good as their forebears. The future is theirs. But tonight is ours. We can only hope they visit again soon.

Cassels – Tracked In Mud

Posted: 27 January 2025 in Albums, Reviews
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Human Worth – 7th March 2025

Christopher Nosnibor

I hate to moan, I really do. No, really. But January has a tendency to be pretty shit, being cold, and dark, and bleak, and twice as long as any other month and having to turn on the lights at midday and crank up the heating and just wanting to hibernate, and the bills keep on coming but payday is still a lifetime away. But this January, January 2025… just fuck January 2025. It felt like the end of the world even before Trump took office, and now, as California burns and the UK is hammered by one of the worst storms on record, the end of the world looks positively appealing.

I’m not one to pray, but if I was, I would be praying for just one sliver of good news – and this would have been the answer to my prayers. Because a new release on Human Worth is always good news.

Things have happened in the Cassels camp sin the three years since their last album, A Gut Feeling:

“Close to burnout from heavy touring, the brothers Beck returned to their Harringay warehouse practice space. Jim, tired of his last record’s overtures at pop culture, got very into Converge. New songs came: heavy, and weird. Gone are the sharp-tongued character sketches, replaced with a heady cocktail of philosophy and body horror. Ditched, too, are the flirtations with mid-aughts indie rock and electro. On Tracked in Mud, we’re treated to something bigger. Wilder. More… elemental. This is a record about humanity’s disconnection from nature, after all.”

You might be forgiven for thinking that the cover art, so similar to that of A Gut Feeling signifies a neat continuation. It does not. While the sharp angularity of their previous works remains present, Tracked In Mud marks a distinct departure, and the newfound weight is immediately apparent on ‘Nine Circles’, which brings the riffs. Not that you’d necessarily describe their previous output as jaunty, but this hits hard, bursting with disaffection and blistering noise and collapsing into a protracted howl of feedback.

‘Here Exits Creator’ crashes in like a cross between Shellac and Daughters (thankfully minus the dubious allegations) – sparse, twitchy, drum-dominated spoken-word math-rock with explosive bursts of noise, before locking into a sturdy motorik groove.

The songs tend to be on the longer side on Tracked In Mud, with the majority extending beyond the six-minute mark. This feels necessary, providing the space in which to explore the wider-stretching perimeters of composition, and to venture out in different directions. Each song is a journey, which twists and turns. Midway through ‘…And Descends’, there’s a momentary pause. ‘Can someone change the channel, please?’ asks Jim, with clear English elocution, which could be straight from a 70s TV drama – and then spurts of trebly guitar burst forth and lead the song in a whole other direction. It lists and lees and veers towards the psychedelic, but then slides hard into a monster sludge riff worthy of Melvins.

‘…And Descends’ spits venom in all directions, and it’s tense as. The headache that’s been nagging at me half the day becomes a full temple-throbber as I try to assimilate everything that’s going on here. I’m not even sure what is going on here, but it’s a lot. ‘Two Dancing Tongues’ is almost jazzy, but also a bit post punk, a bit goth, its abstract lyrics vaguely disturbing in places… and then, from nowhere, it goes megalithic with the sludgy riffery.

Tracked In Mud is by no means a heavy album overall in the scheme of things – it’s as much XTC and Gang of Four as it is anything else, but equally Therse Monsters and early Pulled Apart by Horses – but it is an album that packs some weight at certain points, and explores the full dynamic range. There are moments which are more Pavement than Converge, but it’s the way in which they bring these disparate elements together that really makes this album a standout. The stylistic collision is almost schizophrenic at times, but, to paraphrase the point rendered in the most impenetrable fashion by Deleuze and Guattari in Anti-Oedipus, schizophrenia is the only sane response to an insane world, and this has never felt more true.

Tracked In Mud is crazy, crazed, disjointed, fragmented. It’s not a complete departure from what came before, but it is a massive leap, a gigantic lurch into weightier territory. It’s a monster.

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Watch: ‘What?’ by JUKU

Posted: 27 January 2025 in Recommended Streams and Videos, Singles and EPs
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We’ve been bigging up York’s mighty riffmongers JUKU since their debut gig in the summer of 2023, because they’re simply fucking awesome, a real force to be reckoned with. Punky, new-wavey, but noisy, full-on, a sonic powerhouse.

Now, you don’t just have to take our word for it if you can’t see them live, as they’ve unveiled a video for ‘What?’ It encapsulates the band, and their sound, perfectly.

They write, ‘As a band, we sit in the place where creativity meets raw chaos. In our world, noise is harnessed as a form of expression. We channel frustration into sound. We take our discontent and transform it into energy. We outright challenge the notion of what it means to be seen and heard in the music industry, which often silences dissent… This track is a prime example of the things that motivate us to do what we do. Question everything and everyone, and do not allow your voice to be pushed into the obscurity of the background.’

Check it here:

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Weed Demon – The Doom Scroll

Posted: 22 January 2025 in Albums, Reviews
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Electric Valley Records – 31st January 2025

Christopher Nosnibor

The four-piece ‘sludge ‘n’ roll stoner metal band’ from Columbus, OH, come with the description of being ‘the audio equivalent of bong water spilled on a Ouija board’

The Doom Scroll – such an obvious but well-placed piece of punning – is their third album, and lands a full decade after their debut EP – or as they put it, they ‘exhaled a cloud of riffs over the doom metal scene with their debut EP, Stoned to Death… [and] since then, they’ve consistently delivered a steady dose of sludgy, groove-laden stoner doom potent enough to make Beelzebub himself bang his horns.’

For this outing, they promise ‘a reinvention of their signature sludge ‘n’ roll style of doom. Equal parts unrelenting and crushing, yet infused with heavy blues-inspired riffage, this new chapter sees Weed Demon expanding their sonic horizons like never before… Expect doom, gloom, sludge, thrash, death, blues, and even a dash of dungeon synth for good measure.’

That this is an album which contains just five tracks (six if you get the vinyl, which features a cover of Frank Zappa’s ‘Willy the Pimp’) is a fair indication of its form and the duration of said tracks: apart from a couple of interlude-pieces, they’re all six-plus minute sprawlers, with the colossal ‘Coma Dose’ spreading out over more than nine and a half minutes.

And so it is that after the slightly pretentious and proggy-sounding synth-led instrumental intro that is the woozy, wibbly, ‘Acid Dungeon’, they’re thundering in with the rifftastic ‘Tower of Smoke’. It’s a quintessential stoner-doom effort, a mid-paced slab of thick, distorted riffage with a strong Sabbath via Melvins vibe to it. It’s big on excess – of course it is. It simply wouldn’t work without the widdly flourishes that spin their way up from the dense, grainy overdrive that just keeps on ploughing away. And it keeps going on – and on. As it should, of course. It simply wouldn’t be befitting to batter a leaden riff for three or four minutes – you can’t mong out to that.

‘Coma Dose’ starts out gently with some desert rock twangs and a shuffling beat that’s almost a dance on the beach kind of groove, and there are – finally – some drawling vocals low in the mix. A couple of minutes in, of course, the riff lands, and the vocals switch from spacey prog to growly metal, and just like that, things get dark and they get heavy. But for all the weight, there’s still a floaty trippiness about it, a softer, mellowed-out edge: it’s heavy, but it’s not harsh, or by any means aggressive. There are some flamboyant drum fills and a super-gritty bass break over the song’s protracted duration, and at times, it sounds as if the batteries are starting to run low as it slows to a thick, treacly crawl and Jordan Holland’s vocals sound as if he’s being garrotted – and again, this is all on point.

There are elements of hardcore to the shouted vocals and pummelling power of ‘Roasting the Sacred Bones’, while ‘Dead Planet Blues’ brings a quite delicate blues-rock twist and even a hint of Alice in Chains circa Jar of Flies.

Rather than push hard at the parameters of the genre, Weed Demon nudge at the edges in all directions, and this works in their favour. There’s plenty here to keep diehard fans of all things sludgy, stonery, and doomy content without straying into territories that don’t sit well, but then there’s enough to make it different and interesting.

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