Posts Tagged ‘Metal’

Christopher Nosnibor

The Ocean certainly don’t do things by halves. The progressive metal act aren’t afraid to go large, delving wide and deep into major concepts, producing music with a sound to match. The band’s website explains ‘The Phanerozoic eon succeeded the Precambrian supereon, spanning a 500 million-year period leading to the present day, and it has witnessed the evolution and diversification of plant and animal life on Earth, and the partial destruction of it during 5 mass extinction events. Conceptually and musically, The Ocean’s Phanerozoic is the missing link between the albums Precambrian and Heliocentric / Anthropocentric.

Only, they do sometimes do things by halves: their most recent album, Phanerozoic I: Palaeozoic released in November is half of a two-album project that evolved and gestated during the five years spent touring Pelagial.

One suspects the current set of dates for the Phanerozoic tour won’t be the last, especially not with the second phanerozoic album due for release later this year or sometime next.

For all that, I’m actually here to see Herod, having been sold on the gut-churning abrasion of Sombre Dessein, released last month. The inclusion of the Swedish metallers makes much sense in context, given that the album explores the idea of ‘the end of our Judaeo-Christian and thermo-industrial civilisation’. What’s more, vocalist / guitarist Mike Pelat was a member of The Ocean Collective between 2007 and 2009, so there’s almost a sense of community reunion here, which is reinforced when current Ocean singer Loïc Rossetti joins them to complete the carnage at the end of the set – and it’s a strong set, which doesn’t disappoint.

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Herod

With dark, heavy atmospherics emerging from the darkness, they pile in with the first series of crushing power chords as the lights – minimal, blood-red – flare up to illuminate the band. They’ve got three guitars, and about 25 strings between them, which makes for a full, dense sound that brings a fully-weighted assault.

In contrast, with standard guitars, Downfall of Gaia sound a little thin at first, but once the ears have adjusted to the relentless blast of overdrive, they erase any trace of lesserdom. Having entered the stage to a low churning emanating from the PA, they play hard and fast, with the three-way alternating vocals providing texture and a constantly-shifting focus in terms of attention, there’s a lot going on. Frequent changes of tempo and blistering volume interspersed with ambient interludes and subtle piano passages make for a gripping set that’s something special.

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Downfall of Gaia

The Ocean’s legendary lightshow is truly something to behold, and in the intimate setting of The Brudenell, it’s blinding at times. again, they build the atmosphere for a grand entrance: smoke…. Minimal lighting…. A sound that sees Tubular Bells melting into ambience before a booming bass note sounds out and the band filter on stage to appreciative applause – which they repay with epic chords on a grand scale.

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The Ocean

It’s easy to understand the appeal and the reason why fans aren’t only singing along but constantly reaching out to shake hands with the band: their set is varied, textured, expansive, ranging from the deeply proggy, to the gnarly: it’s palatable but powerful and packs no shortage of abrasion, offset with moments of breathtaking grace. And while Loïc Rossetti has possibly the most flexible neck in metal, and displays a most affable demeanour he still plays with aggression and edge. It’s a perfect balance.

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Neurot Recordings – 15th March 2019

James Wells

They probably started off with perfect hearing, but a couple of sessions rehearsing this cacophonous melange at infinite decibels would soon put paid to that. Monastic chorals meet Sunn O))) with the wordless vocal drones that build sinister spirituals that echo into eternity on ‘Vox Dei’, the opening piece on the colossal noise fest that is Metaprogramação by Brazilian act Deafkids. And then all hell breaks loose: ‘Alucinações de Comando’ is a blizzard of lasers, manic percussion, and messed-up vocals echoed to infinity. The overall result comes on like listening to Whitehouse duetting with Dr Mix from across the street.

Metaprogramação is an insane work. Seriously: where are their heads at? Thrumming bass bounces around on the dubby, experimental electro-ish ‘Pacto de Màscaras’, while ‘Mente Bicamerel’ packs a dirty, amped-up groove as it pounds away at a single riff motif – albeit with the occasional chord omission – for what feels like a very long time, but is actually only four and a half minutes. This isn’t to say it’s arduous, but recognises the rewards of repetition.

All of the aforementioned come together on ‘Templo de Caos’, a frenetically drum-driven riot of echoed vocals, grating bottom-end and stun guitars, while ‘Raíz Negativa (Não-Vontade)’ is a mess of murk, with everything as muddy as hell, and even more oppressive as they crank out a repetitive cyclical chord sequence on bass and guitar, while the vocals are more or less lost in the fog. Then again, ‘Vírus da Imagem do Ser’ goes full-on thrash, a hypercharges blur of crusty grind.

Ending in a short, sharp blast of white noise, there isn’t a moment to breathe here. I’ve no idea what the fuck it’s about, but it’s a sonic blitzkrieg that’s nothing like anything else going.

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Deafkids – Metaprogramação

Baptists have announced they are heading to Europe for the first time ever – supporting SUMAC, their third album Beacon Of Faith is out now via Southern Lord. Also joining the tour on select dates are Endon and Nordra. Find full dates below:

BAPTISTS EUROPEAN DATES:

08/03/2019    DK    Aalborg    1000fryd    w/ Nordra
09/03/2019    DK    Copenhagen    Alice    w/ Nordra
10/03/2019    SE    Gothenburg    Skjul Fyra Sex  w/ Nordra
11/03/2019    NO    Oslo    Blä  w/ Nordra
12/03/2019    SE    Stockholm  Kafe 44 w/ Nordra
14/03/2019    NL    Dortmund  Junkyard w/ Endon
15/03/2019    BE    Brussels    Magasin 4 w/ Endon
16/03/2019    UK    Bristol   The Exchange w/ Endon
17/03/2019    UK    Glasgow  Stereo  w/ Endon
18/03/2019    UK    Manchester    Deaf Institute w/ Endon
19/03/2019    UK    London    The Underworld  w/ Endon
20/03/2019    FR    Paris    Petit Bain w/ Endon
21/03/2019    DE    Karlsruhe    Jubez  w/ Endon
22/03/2019    DE    Leipzig    Institut Fur Zukunft w/ Endon
23/03/2019   DE    Berlin    Zukunft Am Ostkreuz  w/ Nordra

Listen to Beacon of Faith in full here:

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Baptists - Beacon

Spanish metallers Bones Of Minerva have released a new single, ‘Privilege’, ahead of their run of UK shows this month.

You can hear ‘Privilege’ in full here:

The band are set to playing the following:

FRI 26/10 – Oxford – The Wheatsheaf (JamCity Promotions)

SAT 27/10 – London – The Dev (The Dev+Church of Cat Promotions)

Bones of Minerva are quickly developing a reputation as one of the must-see acts of the Spanish metal scene, bringing something different both on record and onstage, and they are a band who are working tirelessly to get their music to everyone they can. Their eclectic sound aims to combine visceral and melodic elements; merging heavy riffs, hypnotic rhythms, ethereal passages and raw lyrics.

In the age of digital media, selling out all the hard copies of an album is no mean feat, and October 5th saw their debut Blue Mountains (Nooirax/La Rubia Productions) reissued in a special edition including two new tracks.

The four-piece consisting of Blue (vocals), Chloé (bass), Ruth (guitars) was formed in 2013, with Nerea (drums) joining the band in early 2018. Blue Mountains came out early last year, followed by crowdfunded deluxe vinyl edition at the beginning of 2018.

After a year which has seen them embark on two tours of Spain and shows in Sweden, recording single ‘Vehemence’ for the Spanish film Call TV and a shout out as one of the albums of the year by Bandera Negra (Radio 3 España) the band is now gearing up for their first European tour, starting later this month with their first UK dates.

The end goal? To take their music as far as possible, with everything to gain and nothing to lose.

‘Privilege’ is available to stream now on youtube, soundcloud and bandcamp.

7th September – Pelagic Records

Christopher Nosnibor

The absence of a question mark renders the album’s title a statement rather than a question. But there are no questions about Årabrot: 17 years and a substantial catalogue into their career, the Norwegian noise-rock act are still noisy, challenging, and kicking ass. But according to the blurb accompanying the release, ‘there is more than noise rock to Årabrot’s formula. “I’m interested in feelings, either the very silent or the extremely noisy”, band leader Kjetil Nernes comments. “I don’t care about what’s in between, the middle of the road isn’t my thing. The bible fits really well with that. I’m using it thematically all of the time.”

But mostly it’s noisy, and that’s a good thing. That said, Who Do You Love is very much an album of extremes – which is only fitting of a record that references transgressive French poet Comte de Lautréamont in its opening song, which crashes in with a heavy psych-hued riff – but the guitars are dominant and angular throughout. It’s loud, and it’s insistent. The guitars are choppy, the vocals whooping, sneery, and bathed in reverb and flange. It’s kinda punky, but equally kinda post punk, and kinda no-wave noisy.

With chunky, punky riffs carved out against solid rhythms that are by turn loping, square and stop/start, plus shouty vocals throughout the course of the album – ‘Warning’ is exemplary: Who Do You Love brings the attack in spadesful – but then again, it’s an album with textures, layers. ‘Sons and Daughters’ is a spacious country / shoegaze hybrid that’s both beautiful and captivating.

‘Pygmalion’ marks a real shift, it’s ethereal humming drones fittering like butterflies, while the sinewy ‘Simmerman’ is different again, a howling, roaring country rock stomp replete with anguished vocals that run ragged and pull Biblical anguish over devils and pain from the depths. It’s bold, theatrical, immense, but more importantly, it’s got a gut pull that’s emotionally engaging in its snarling delivery. Elsewhere ‘Look Daggers’ plunges deeper and darker still, meshing together the heavy grey nihilism and insistent throb of Killing Joke with a thicker, more metal delivery and hints of latter-day Swans in its insistent, throbbing groove that’s demolished in a roaring rage. ‘A Sacrifice’ begin with a heavy trudge, and the stop/start riffage, coupled with the blank monotone vocals – heavily treated – call to mind Foetus – before the buzzsaw riff breaks in after a couple of minutes.

Closer ‘Uniform of a Killer’ is all about the ebb and flow, the surge and fall, the climax and drop, not to mention all the drama. It again calls to mind later-day Swans, as well as pacing in hints of Bauhaus and myriad others, but compresses 15-minute builds to a minute or so, the track lasting only six and a half minutes. Never mind the length, check the density! ‘Uniform of a Killer’ certainly packs the density, and the intensity, too.

Who Do You Love is a BIG album. Not so much in duration (although it’s big enough) but in every other sense. It has depth, it has range. It has force. It has intensity, and it has tunes. Really, you couldn’t ask for more.

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Årabrot – Who Do You Love

Nottingham metallers Deathflux recently released the new video for their latest single ‘Consume’, whipped up by Very Metal Art’s Andy Pilkington. You can check it here:

Formed in early 2016, Deathflux is the brain child of Nottingham guitarist Tom Clarke. Having spent several years playing up and down the UK and abroad in previous outfits, Clarke formed Deathflux in an attempt to expand his sonic palette. Recruiting members of his earlier outfit, death metal mob Cacodaemonic and progressive metallers Akarusa Yami, Clarke got to work laying the ground work for the band’s debut album, Execrated.

A bold departure for all involved, Deathflux shows off a visceral double vocal approach, with vocalists Adam Jones and Patrick MacDonald violently barking over chunky riffs, intricate drum work and elastic solos. Tracks like ‘Transcend’ see the two engaging in a brutal sparring contest. Meanwhile, Clarke and second guitarist Tom Else play off each other effortlessly, with fluid trade offs between high speed guitar histrionics, creating a flattening wall of aural violence.

With a number of dates already under their belts, including a blistering debut show at Nottingham’s Rock City, and more on the boil, the band are keen take their blistering assault to crowds around the world. With a belting debut and the live skills to back it up, Deathflux are a band to get invested in.

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Deathflux Pic 2