Posts Tagged ‘Intense’

Polevaulter – Descending

Posted: 19 March 2026 in Reviews, Singles and EPs
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13th March 2026

Christopher Nosnibor

Polevaulter are very much a band of the times. The cost of living and the fact bands make no money has driven a marked shift towards duos and power trios, and notably electronic music and drum machines have become popular again. The less kit you’ve got, the easier it is to rehearse at home or in a small space, there’s less to the logistics of getting a smaller number of people with minimal gear around (hell, the logistics of getting people in the same place at the same time around work and family and all that shit), and any fees and proceeds from merch are split fewer ways. Necessity and invention, and all that. And notably, there’s a lot of angry electro-led noise coming out of the north. Benefits are clearly up there in representing this thing, which isn’t anything like a movement, any more than the emerging goth scene in the 80s was a movement, but an artistic current, a zeitgeist. But we also have the likes of The Sick Man of Europe, Machine Mafia, and Polevaulter. These guys are something of the exception, in that they’re a shade dancier, but given the buzzing bass fury and relentless rage in the vocals, they’re never going to trouble any regular townie nightclubs, let alone any charts or Radio 1 Dance.

On the new EP, Polevaulter frontman Jon Franz said, “’Descending’ is our most cohesive and controlled EP, and also the most raw and direct. We wanted to reach people immediately, give them something to quickly digest and then say exactly what we wanted to say. The vocals start quick in each song. It progresses down through the EP into an anxious rave, the themes about being lied to all your lives and believing what you are told coming from power down to the working people. It’s our darkest and danciest EP I think.”

And so it is that with Descending, Polevaulter deliver four ultra-taut and super-succinct slabs of electro-led abrasion. ‘The Cursor is a Fly’ makes for a comparatively gentle introduction, before the grinding ‘Dogtrack’.the woozy, bulbous subsonic bass is pure dance, but the snarling, disaffected vocal is punk to the core, Franz wheezing ‘Just trying to buy a house, now let me have it… dogtrack… gamble… run down… dogtrack… going round and round and round…’ It’s bleak and hypnotic and bleak and hypnotic and… you get the picture.

‘Manifest’ mines a dark dance groove with a vocal that’s bordering on spoken word, and calls to mind the short-lived and criminally underrated York band Viewer, the technoindie collaboration between the late cult techo legend Tim Wright and vocalist AB Johnson. In other words, it’s a well-balanced hybrid, where thumping beats and techno synths collide with a vocal that draws influence from Jarvis Cocker and Mark E. Smith. ‘I’m going down with the ship’, Franz announced against a clattering backdrop of snashing metallic snare drum detonations and rapidly-shifting synth gyrations.

The final track, ‘Soothsayer’, is the EP’s longest, and a sparse, haunting intro paved the way for a dark, reverb-heavy electrogoth groove with hushed, hypnotic vocals over an almost subliminal bass groove cut through with a heartbeat kick drum and smashing snare and builds to a tense, suffocating climax.

These are dark times, and it is definitively grim up north. Polevaulter provide a soundtrack to this, while countering bleak nihilism with some almost euphoric dance synths. Descending offers escapism in the same space as the darkest pessimism. The conflicts and contradictions are navigated successfully, though. Polevaulter have taken a massive leap here, and really gone beyond their previous works.

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Watch: ‘Mirrorings’ by Void of Light

Posted: 14 March 2026 in Recommended Streams and Videos, Singles and EPs
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Glasgow-based post-metal collective Void of Light have unveiled the new video for ‘Mirrorings,’ the lead single from their forthcoming debut full-length album Asymmetries, set to be released on April 3 via Ripcord Records.

Clocking in at a towering ten minutes, ‘Mirrorings’ first premiered at Decibel Magazine, who praised the track saying: “Clocking in at 10 minutes, ‘Mirrorings’ offers a pretty solid introduction to these gloomy Glaswegians, a dynamic epic that shifts from pummeling sludge to melodic shoegaze-inspired dynamism.”

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The band had this to say about the new album and new song: “Asymmetries is the culmination of two years of hard work and exploration. Across the album’s five tracks, we set out to shape our own sound within a well-established scene, creating something that genuinely feels like ours. The closing track, ‘Mirrorings,’ brings the album’s introspective themes into a final, defining moment and represents what we feel is our strongest offering so far.”

Void of Light are a six-piece post-metal force built on contrast. Brutal yet deeply atmospheric, their sound fuses crushing riffs and thunderous drumming with melodic leads and carefully layered arrangements. Rooted in post-metal’s foundations but shaped by a wider spectrum of influences, the band carve out a sound that feels vast and aggressive, yet intricate and finely balanced through a keen sense of dynamics.

Following the release of their self-titled EP in 2022 and the two-track EP Enshroud in 2023, Void of Light completed a short UK tour and quickly established themselves as a powerful live presence across local venues and festivals. Renowned for their formidable performances, the band deliver an imposing wall of sound that is both overwhelming and precisely measured, drawing audiences into an intense, captivating experience.

On Asymmetries, Void of Light turn inward. Exploring themes of perspective, reflection, and internal conflict, the album charts a journey of reconciliation between the masks of the past and the truths of the present. 

To celebrate the release, Void of Light will perform their album release show on April 3rd at The Flying Duck in Glasgow with support coming from Codespeaker & Obsidian Sand.

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Watch: ‘ATTEMPT A CRASH LANDING–THEME’ by The Twilight Sad

Posted: 24 February 2026 in Singles and EPs, Recommended Streams and Videos
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No words… Just watch, and listen…

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The Twilight Sad – Designed to Lose

Posted: 6 January 2026 in Recommended Streams and Videos, Reviews, Singles and EPs
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The Twilight Sad seem to be one of those bands that remain niche and somewhat divisive. But those who are into them are really into them, and with good reason. They’ve been long championed by Robert Smith and have access to a huge, huge audience following epic tours supporting The Cure, but they obstinately refuse to tone down their overt Scottishness, and they stubbornly refuse to bend to any kind of commercial leanings, or to cheer the fuck up. They’re also one of the most emotionally intense bands around: their live shows are quite simply something else.

‘Designed to Lose’ is the second single from their next album, and simultaneously harks back to the blistering welter of noise that was their second album No One Can Ever Know, while pushing forward on the trajectory of their last album, It Won/t Be Like This All The Time, which was both glorious and harrowing as fuck.

It Won/t Be Like This All The Time was released in 2019, so it’s been a long wait for new material. Oh, but this is worth it. The Twilight Sad aren’t a band to rush-release something sub-par, and ‘Designed to Lose’ is classic Sad on first listen, and just gives more with each play.

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Test Dept – Industrial Overture: Studio & Live Recordings 1982-1985

Posted: 14 December 2025 in Albums, Reviews
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Artoffact Records – 5th December 2025

Christopher Nosnibor

In the last few years, CD box sets have become quite a thing. And I for one am a real fan. It’s not just about ‘fuck Spotify’ or the realisation that stuff has a tendency to disappear from streaming services at no notice – something true of Netflix and other TV streaming services, too. But, it is a fact that if you don’t have something physically, in some form or another, even if it’s only a digital file, you don’t have it, and you certainly don’t own it. But not all CD box sets are equal, and not all serve the same purpose. Much as I’ve come to appreciate the ’five albums’ sets and the like as instant collection fillers when it comes to acts I’ve previously managed to skip for whatever reason, they’re beyond stingy on bonus material. When it comes to releases for fans, releases like the monster boxes with all B-sides and bonuses galore, such as those by Fields of the Nephilim and The March Violets have been far more exciting.

Industrial Overture: Studio & Live Recordings 1982-1985 is definitely exciting. It’s no simple repackage of the albums, and the chances are most people – even the staunchest fans of Test Dept – don’t own the majority of the material on this one, consisting as it does primarily of scarce material, outtakes, and Peel Sessions.

Industrial Overture: Studio & Live Recordings 1982-1985 consists of 42 tracks across 4 CDs and also available digitally. It’s a document of their earliest, most abrasive period – not that they exactly mellowed in the years after, as perhaps their most commercially successful album, The Unacceptable Face of Freedom (1986) attests, and includes a first ever reissue of the group’s 1983 cassette-only debut album Strength Of Metal In Motion, the classic Ecstasy Under Duress and Atonal & Hamburg albums (both unavailable for over three decades), plus a disc of hitherto unreleased studio recordings that incorporate two sessions recorded for the John Peel show on BBC Radio 1.

As the notes inform, ‘In total, 26 tracks are new to CD and digital formats, of which 12 have never been previously available at all. All contents have been compiled by Test Dept and are newly remastered by Paul Lavigne (Kontrast Mastering)’.

Disc one gives us Strength Of Metal In Motion – a collection of raw live recordings. The first five were recorded at Albany Empire, Deptford, in August ’82, and it’s fucking brutal. Even remastered, it has something of a bootleg sound quality about it, that muddiness that’s particular to 80s recordings. In many respects, this adds to the appeal here. It opens with the dissonant blasts of harping faux-brass blasts of ‘Last Rites’ – heraldic, but askew – before giving way to the pummelling percussion and shouting of ‘Shockwork / Workshock’, which is brief but brutal. ‘Prokofiev’s Dream’ is a full-on assault of clanking percussions with occasional horns, before ‘Drum and Body’ drops a shard of industrial punk noise, with rabid vocals-riding a wave of the most relentlessly aggressive beats. The dark ambience of ‘Death of God’ is nothing short of purgatorial, and showcases a different side of the band. Four more of the thirteen tracks were recorded at Temperance Hall, Newbury, four months earlier, and with samples, synths, and drum machines flashing in all directions, their debt to Cabaret Voltaire is clear there – as is the sense of their future direction. That said, ‘Kindergarten’ is pure Throbbing Gristle, laced with heavy hints of Suicide and the bibbling synths of Whitehouse. But the wayward experimental jazz elements are also strong. Overall, this is the sound of punk in a head-on collision with Throbbing Gristle and drumming that sounds like they’re battering the shit out of sheet metal. Unless you were actually there, one can only imagine what it must have been like to witness any of these early shows.

Ecstacy Under Duress was initially released in 1984 and is another (largely) live compilation consisting of recordings which again were captured in ’82 an ‘83, although this time featuring future debut single ‘Compulsion’. The compositions feel more evolved, and perhaps as a consequence, more honed in their attack. ‘Hunger’ builds to a punishing climax and sets the tone. The aforementioned ‘Compulsion’ is relentless. Samples and crashing percussion dominate the stark industrial landscape, and the intensity of these performances translates well despite the separation of time and medium. I suppose it’s here we can really identify the point at which Test Dept carved a path which departed from their industrial predecessors and peers in their pursuit of the most punishing percussion. Only Einstürzende Neubauten really compare, but even they’re not quite as up-front with the hammering beats, despite their love of sledgehammers and metallic objects. The twelve-minute ‘Efficiency’ takes the percussive assault to a whole other level, leaving the listener feeling pounded, pummelled, bewildered.

The third disc offers some respite by virtue of being studio-based and therefore not having that muffled 80s live sound to the recording – although it’s marginal. ‘Blood and Sweat’ – one of three demos from 1982 – is primitive and raw and very, very drum-orientated: the vocals are relegated to the back of the mix, anguished shouting buried in a barrage of noise. It’s cruel and it’s harsh and it’s heavy, and the demo version of ‘Shockwork’, recorded during the same session is similarly hard on the ear, with its combination of machine-gun drumming and squalling avant-jazz tones.

The two Peel Sessions, recorded in ’82 and ’85 shows a honing of the sound: between the two sessions, they would release their debut album proper, Beating the Retreat, which included contributions from F M Einheit and Genesis P. Orridge, as well as Shoulder to Shoulder, with the striking miners choir, and which would finally see the release of an official studio version of ‘Shockwork’ – another version of which featured in the 1983 Peel Session, which comes on as heavy and mercilessly brutal as Swans on Filth – which was released the same year and channels the pain of life enduring the crushing slog of capitalism.

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Of the four discs, this perhaps has the greatest impact, and not just sonically. Atonal, anguished-sounding vocals reverberate vast sonic swamps dominated by the ever-present barrage of industrial-strength percussion. It’s relentless in intensity, and the effect is cumulative. Between the pulverizing six-and-three quarter minute ‘Efficiency’ (which feels in some way to be their answer to Throbbing Gristle’s ‘Discipline’), and the six-and-a-half-minute ‘Red Herrings’ version of ‘Gdansk’, with the disorientating mutter of ‘State of Affairs’ in between, this is a sustained assault that hammers blows from every direction.

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Disc four, which contains the Atonal & Hamburg album – released in 1992, but documenting two live performances from 1985 marks a significant shift from the earlier live shows. Containing material drawn predominantly from Beating the Retreat and The Unacceptable Face of Freedom, the punishing volume translates well, and the force is more controlled. There is structure, too, building from dirge-like crawls – again comparable with Swans around this time – quickening the pace and the all-encompassing ferocity of the percussion.

Those familiar will likely already know, but in addition to providing a truly magnificent document of Test Dept at their most uncompromising early best, Industrial Overture shows how they were right at the heart of an emerging zeitgeist spawned in the wake of Throbbing Gristle, as represented by the likes of Neubauten, Cabaret Voltaire, Swans… this was not a scene or a movement, but a disparate array of artists channelling frustration at the dark underside of a time when the charts were dominated by the likes of Duran Duran and Culture Club. In pop culture, the early 80s is presented and remembered as being glitzy, aspirational, fun. But that was not the lived reality of many. Test Dept may have been underground not least of all because their racket was largely unpalatable to the majority. But as Industrial Overture evidences, they were providing the soundtrack of the grim realities of working life, drudgery and trudgery. Essential listening.

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PAK40 / Teleost / ATKRTV – The Fulford Arms, York – 4th December 2025

Posted: 5 December 2025 in Live, Reviews
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Christopher Nosnibor

It’s a cold and very wet Thursday night in December. The kind of night that would validate the narrative that music venues go bust because they’re not supported, and people want to see bands they know over local acts and so on – if the place had been quiet. But there’s nothing quiet about tonight., in terms of turnout or decibels. Ok, it’s not rammed, but it’s respectably busy, and as for the volume… These guys take it all the way to eleven.

The promoter’s strategy of booking a local / student / uni band to open up is one that rarely fails, and there’s a significant turnout early doors for ATKRTV. It helps that they’re good, albeit an acquired taste and not your average uni band. Operating in the classic power trio format, their primary inspirations are clearly US noise rock and grunge – there’s a bit of the Jesus Lizard here, a dash of Sonic Youth and Shellac there – as well as UK 90s noise that makes nods to the likes of Fudge Tunnel and Terminal Cheesecake – but there’s a lot going on, with hints of avant jazz in the blend, too. They’re a bit rough round the edges, but there is a musical style which is forgiving of this, and the jagged jarring juxtapositions of squalling guitar work with some meaty bass work evidences a technical ability beneath the surface of the feedback-strewn tempest. And while the banter might need some work, the songs are a glorious angular explosive racket, and they give them a hundred percent. And this is why it’s always worth getting down early doors. Every headliner was a support act once, after all.

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In my recent review of that debut album, Atavism, I commented on how the challenge would be for them to replicate the live sound in the studio. This is because their life sound is simply immense. There really is no other word for it. And this is not volume simply for the sake of it: this is volume as an expression, volume which renders the music physical, volume without which certain frequencies and tonalities, so integral to their sound, would not be achievable. Their performance in this same venue back in February was spellbinding, and I came tonight in the hope of replicating that experience. And oh yes, I did, and then some: Teleost seemed to take things to the next next level tonight.

Theirs is a subtly different take on the whole droning doom / stoner form, incorporating almost folky elements in the way that more recent Earth albums do. And instead of being solely about bludgeoning riffery – and hell, there’s plenty of that – there’s a rare attention to detail, not just in the delicate picking and soft cymbal splashes in the quieter moments, but in the full-spectrum sonic experience they conjure. And yes, conjure is the word: this is a world of magic made with a mystical blend of musicianship, amps, pedals, and something else quite indefinable. The way Leo Hancill uses a standard guitar, played through a substantial but not extravagant pedal set and two amps, to cover the range of both guitar and bass is spectacular in itself, but what really makes their sound unique, and it’s so easy to lose yourself in the timbre and texture, the way the sounds reverberate against one another to create this sensurround experience.

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Teleost

Once again, I find myself truly mesmerised by Cat Redfern’s ultra slow drumming. What’s most remarkable is how effortless she makes it appear. Granted, her sticks are batons, but she is still an immensely hard hitter please with absolute precision. Yet she plays with an order of serenity, her expression calm, almost a smile, although it’s clear that’s behind this is intense concentration, and perhaps an element of telepathy between herself and Leo. Certainly the intuition between pair is remarkable, and no amount of rehearsal alone can achieve this level of tightness. The way they navigate the peaks and troughs, spinning elongated quiet passages, where they reduce everything to a hushed hum and the tinkle of a cymbal before bringing in a cataclysmic riff with pinhead precision is nothing short of phenomenal. And for all the noise, the experience is remarkably calming.

Before Teleost, there was PAK40. But with basis / vocalist Andy Glen now resident in Germany, and Leo Hancill living in Glasgow, activity from this former York duo is now extremely rare. That they’re touring with Teleost, having released a new EP simultaneous with the Teleost album makes economical sense, but also represents a significant feat of co-ordination.

It’s not difficult to identify the origins of Teleost when listening to pack 40. They’re certainly slow and heavy. But their style draws more overtly on the Sabbath-based doom sludge template, and there much more overtly metal. In places, they present a sort of blackened New Age metal hybrid. There’s also something more direct about their drum / bass combination. But oh, that bass. The thick, tearing distortion when the riffs kick in are agonisingly close to brown note territory: you feel your ribs rattle and your skin quivering.

In contrast to Cat Redfern’s zen drumming, Leo drums with his face, and in contrast to Hanclil’s slow nodding guitar style, Andy Glen goes all out with some unrestrained headbanging as he unleashes the most pulverising bass riffs. PAK40 are harder, and more abrasive. And this is why the double-header works: for all of their similarities, the two bands bring different shades of heavy. And they’re both intense, physical forces.

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I babble some shit to people on the way out. I think I got away with it, because everyone is equally dazed. We’ve been blitzed, blown out of our minds and shaken out of our skins tonight by a musical experience that borders on transcendental. It’s a cut above your average wet Thursday night in December, for sure.

Benefits / The DSM IV – The Fulford Arms, York, 19th November 2025

Posted: 20 November 2025 in Live, Reviews
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Christopher Nosnibor

Benefits exploded onto the scene not long after lockdown – and I mean exploded, an atomic detonation of rage. The essence of the setup was pretty simple: angry sociopolitical spoken word delivered with blistering vitriol, backed by a blinding wall of noise. The result could reasonably be described as something in between Whitehouse and Sleaford Mods, but the fact is that from day one, Benefits created their own niche. The live shows were jaw-dropping, and the debut album, Nails captured that raw energy with a rare precision.

The arrival of second album, Constant Noise marked a necessary departure – sonically mellower, far more beat-orientated, a lot less shouty, angry-sounding. My first impression was that it was decent, more produced, but still packed some sting in the lyrics., and will be hard to top in terms of the number of mentions of dogshit in albums of the 2020s. But it’s a fair reflection of post-lockdown Britain: dogs have proliferated exponentially, and concordantly so has the volume of dogshit – and, just as bad, bags of dogshit tied and dropped, piled next to or on top of bins, and hung in trees. What kind of twat does that? A selfish one is the only answer. But as for the album, I kinda let it sit for a while. But over time, with more – and more – listens, the album’s depths reveal themselves. Constant Noise is every bit as angry as Nails, and if anything, the more moderate, tempered delivery hits harder. It just takes a little bit longer to reveal its depths and quality. But how would this translate live, especially now they’ve been stripped back to the founding duo of Kingsley Hall and Robbie Major?

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Benefits

Before we would get to find out, there was the equally intriguing support. The Eighties Matchbox B-Line Disaster are one of those acts who may have only attained cult status during their time together, but it’s one which has expanded since their demise. They were always a band destined to implode, as was apparent when I witnessed a particularly fractious gig here in York circa 2007. But this was always a band which had derangement and volatility wired into their makeup. Guy McKnight formed DSM IV in 2018, and they’re an altogether different proposition, trading in gothy electro with some tidy guitar textures woven into the fabric of the songs, and Guy seems altogether more settled. It’s all relative, of course, and he ventures into the crowd on numerous occasions, and at one point around the middle of the set, tosses mic stand over, drops the mic and busts some tai chi moves. It’s a solid set, both compelling and entertaining, and they’ve got some tunes, too.

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The DSM IV

Benefits don’t really have a great many tunes in the conventional sense. Choruses and hooks aren’t the primary focus of their compositions. Hall’s words range from reflective and ponderous to outright roaring rage, the backing spanning sprawling barrages of obliterative noise to quite chilled dance grooves. But at this volume, and when delivered with this much passion, there’s nothing chilled about this live show.

Here, I find myself returning to the topic of seeing an act you’ve seen before and been blown away by, and going to see them again in the hope of replicating that first time – only it’s a weak hope, because the first time has the element of surprise which is unlikely to be repeated. Yes, a band may be consistently awesome, but that first bombshell experience, that initial high… very few bands have the capacity to have that impact more than once. Benefits, however, hit even harder on this outing than any before.

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Benefits

There was word online that their current tour was as brutal as any they’d ever done. Having seen them three times previously, and never with the same lineup, it seemed like that claim might be a bit of a stretch, particularly without a live drummer. But synthetic beats have a way of bludgeoning and cracking in a way that live drums don’t always, and when paired with gut-churning low-frequencies and ear-bleeding top-end noise, the sonic impact of what blasts from the PA is positively immolating.

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Kingsley gets most of the chat out of the way at the start, with a bit at the end: in between, they power through a relentless set uninterrupted. And relentless it is, and not just sonically: with the sole lighting consisting of blinding white strobes for the entire duration of the hour-and-twenty-minute set, the stark, uncompromising nature of the music and lyrics is amplified. They put every ounce of energy into the show, Hall positively streaming with perspiration by a third of the way through. And we feel the passion; the whole room is buzzing and aglow with a sense of unity through a shared experience of catharsis. These are shit times. Dark times, bleak and scary times, domestically and globally. Benefits capture the zeitgeist, and rail against those who will one day be proven to have stood on the wrong side of history – the right-wing, flag-shagging, pro-Brexit, racist, xenophobic, hatemongering, exploitative, manipulative capitalist shits and their supporters and enablers – articulating thoughts and feelings with a unique precision and an intensity which is positively nuclear. The experience is nothing short of mind-blowing.

Listen: ‘Nordens eteriske sommer’ by Fanatisme

Posted: 22 October 2025 in Recommended Streams and Videos, Singles and EPs
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Fysisk Format proudly announce the signing of Fanatisme and the release of their debut album Tro, håp og kjærlighet, set to be released on December 12, 2025.

Emerging from the Norwegian underground, Fanatisme channel the lunatic, forest-worshipping spirit of Ulver and Darkthrone, merging it with the gothic pulse of Christian Death and The Cure. The result is a singular collision of black metal and post-punk, a dark and ecstatic celebration of life, death, and everything in between. Tro, håp og kjærlighet is both unrelenting and reflective, a debut that collapses the boundaries between black metal’s primal fury and post-punk’s spectral beauty.

‘Nordens eteriske sommer’ is the first cut to be aired from the album. It’s a belter, and you can hear it here:

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Agriculture – The Spiritual Sound

Posted: 6 September 2025 in Albums, Reviews
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The Flenser – 3rd October 2025

Christopher Nosnibor

Agriculture – the name brings connotations of the slow, the sedate, a simple and calm life, of rolling fields, tractors, luscious foliage, abundant harvests. One may picture hedgerows, and hear birdsong, the lowing of cattle in the mind’s ear. But LA quartet Agriculture describe themselves as ‘ecstatic black metal’, which on paper sounds like an oxymoron, but on hearing them, it makes sense, although it’s hard to really unpack precisely why this is so. I mean, it’s black metal and its raging and ferocious, tempestuous, and tumultuous, with relentless double-pedal drumming and frenzied fretwork. And yet… and yet from the abyss emerges a strange sense of euphoria. Uplifting is not quite the word… but the release, the spirituality of pure catharsis – this, this is where we find ourselves. And in this sense, the album’s title is apposite. This is the sound of rapturous liberation from the grounded state, and an album that goes far, far beyond the confines of black metal as we know it.

As they explain ‘Agriculture doesn’t offer salvation. The Spiritual Sound isn’t a map out of the fire. What it offers instead is presence: a confrontation with the moment, however unbearable, however divine. It insists that meaning is still possible, even in a world hell-bent on reducing everything to content, and where suffering itself can be conducive to recovery. As the Buddhist saying goes “the only way out is in.”’

The brutal lead single, ‘The Weight’, set the expectations high for this second full-length release. And if it set a precedent in terms of anticipation for high octane, high-intensity, full-blooded metal intensity, then it still cannot really prepare you for the full force of this album – or its range, as the band push in myriad directions, at times making music of soft, aching beauty which hits just as hard as the all-out blunt force that dominates.

A minute into ‘My Garden’, I’m ready to take some time out to lie down. The sonic density hits like a hurricane, the thick, distorted bass grinding hard into the solar plexus, the guitars as gnarly and dirty and fuck, the vocals dragged screaming from the very pits of hell come together and hit hard. It makes for five gut-wrenching minutes, jarring, jolting, squalling hard through angular discord that burns like a wildfire. But, towards there end, there is an unexpected bridge, which is nothing short of angelic, arriving like a mirage rising through a heat haze in the desert, which swiftly disappear in a welter of warping noise.

‘Flea’ sounds more like 90s grunge, before a blanket of fretwork crashes in. The grungy track caries on, though, and the result being some kind of sonic palimpsest. Elsewhere, ‘Dan’s Love Song’ takes the form of a slow-tapering shoegazey drone work, which is delicate and graceful despite the underlying density of the soaring, vaporous guitar, while ‘Bodhidharma’ starts out sparse and delicate before lurching into a bruising grunge riff.

There’s no question that ‘The Weight’ is a clear standout, for its sheer relentless force alone. The narrative of the lyric is as heavy as the sludgy guitar and grinding bass, and the rabid vocals top it all perfectly, inflicting maximum anguish. It’s not overtly uplifting by any stretch – in fact, it’s outright harrowing – but it’s the sound of vital emotional release.

Indeed, this is the trajectory of songs like ‘Serenity’, which is similarly fast and frenzied, and it does offer a strange sort of serenity – but when the notes are played so fast they blur and melt together, there comes a point where things smooth out and everything simply washes over you. I have a sense that it’s the kind of calmness and serenity which comes to those who are drowning just before they lose consciousness.

The title track, as it happens, is but a twenty-nine second interlude, a slow, low, rumbling drone, and the soft balladry of the almost folky ‘Hallelujah’ is simply breathtaking in its simplicity and the beautiful nature of its execution.

The final track, ‘The Reply’ is six and a half minutes of blistering blackened post rock / post metal, which in places evokes the searching emotional introspection of Her Name is Calla, while in others simply pounds and soars, simultaneously.

The balance of crushing weight and aching reflection is hard to reconcile at first, as the juxtapositions are extreme, but given time to digest and process, it proves to be perfect. The gentler moments pull it back from the brink of excess, and – strange to say – from being too much. Where Agriculture really strike gold is in their ability to sustain the emotional intensity through the gentler moments, meaning that while you’re recovering your breath, they continue to prod at those mental pressure points. The result is at times bewildering, overwhelming, even devastating. With The Spiritual Sound, Agriculture don’t only transcend black metal, but genre entirely, and the experience is dizzying, a visionary creative peak which is truly peerless.

AA

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Photo credit: Olivia Crumm

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