Long-running Swedish d-beat/hardcore punk icons Wolfbrigade present the sole single from their impending tenth full-length, The Enemy: Reality, set for release next week through Southern Lord Recordings. The hammering new track ‘he Wolfman’ as been revealed through an official new video.
Directed by MeANkind and edited by Henrik Norsell, ‘The Wolfman’ is built upon the theme of Sigmund Freud’s ‘Wolfman’s dream.’ The video is an incredibly stark, prime example not only of Wolfbrigade’s long-established, ever progressing sound, but also of the band’s political message, beliefs, and outlook on humanity. A visual amalgamation of Orwellian overwatch by governmental powers, lessons unlearned from the nuclear arms race of the mid-1900s, and our current state of worldwide socio-political unrest serves as a backdrop for the band’s raging d-beat angst and scathing vocal detestation.
Just as anyone who complained that everything Mötörhead did sounded the same was missing the point, so anyone who complains that Wolfbrigade sound like Mötörhead are, too.
The appearance of a new Sunn O))) album just six months after Life Metal represents a significant upsurge in their usually steady output. But then, as much as it is a standalone document, Pyroclasts exists in many ways as a companion and counterpart to Life Metal, which in the slow-moving scheme of Sunn O))) represented a seismic shift on a par with Monoliths and Dimensions in that it brought a new focus. The question posed by Life Metal centred around what precisely could Steve Albini bring to Sunn O)))’s eternal drone guitar noise. In the event, his ‘stick the mics in front of the amps at a precise distance and angle and let the tape roll’ approach brought new sonic dimensions (but no monoliths) to the fore, giving the band a new and unexpected richness of sound. It’s this clarity and depth that also defines Pyroclasts recorded during the same sessions.
An element of ritual is integral to much of Sunn O)))’s work, and while this is perhaps nowhere more evident than in their live performances, the very nature of the music, the image, and the titling of their albums alludes to a certain type of repetitive organisation and (pseudo)spiritual convention. The origins of Pyroclasts is rooted in that ritualism, as is explained in the press release:
‘The Pyroclastsalbum is the result of a daily practice which was regularly performed each morning, or evening during the two weekLife Metalsessions at Electrical Audio during July 2018, when all of the days musical participants would gather and work through a 12 minute improvised modal drone at the start and or end of the day’s work. The piece performed was timed with a stopwatch and tracked to two inch tape, it was an exercise and a chance to dig into a deep opening or closing of the days session in a deep musical way with all of the participants. To connect/reconnect, liberate the creative mind a bit and greet each other and the space through the practice of sound immersion.’
And so the four pieces on Pyroclasts last between 10’54” and 11’04”, and being aware of the time constraints imposed by the players, the endings make sense: the first track, ‘Frost’, is close to what sounds like a natural ending as the drone hum hangs, but fades uncommonly fast when ordinarily they’d let the note hang for an eternity. Likewise the last of the four, ‘Ascensions’, which starts higher, faster, more aggressively than is usual for Sunn O))), and ends abruptly as though the tape was simply stopped dead – which it probably was.
Given the band’s maximalist tendencies and a propensity for sprawling sludgescapes spanning fifteen to twenty minutes this discipline and concision offers a new insight into their methods. Four tracks and a running time of circa forty minutes is tight for Sunn O))), and it works remarkably well.
Pyroclasts is exploratory and experimental in context of Sunn O))), and in revealing new facets while at the same time mining the same seam the band have explored since their inception, it’s an interesting and highly necessary document of their evolution and practises. Moreover, it’s another booming slab of texture-heavy droning doom and absolutely classic Sunn O))).
The Pyroclasts album is the result of a daily practice which was regularly performed each morning, or evening during the two week Life Metal sessions at Electrical Audio during July 2018, when all of the days musical participants would gather and work through a 12 minute improvised modal drone at the start and or end of the day’s work. The piece performed was timed with a stopwatch and tracked to two inch tape, it was an exercise and a chance to dig into a deep opening or closing of the days session in a deep musical way with all of the participants. To connect/reconnect, liberate the creative mind a bit and greet each other and the space through the practice of sound immersion. The players across the four pieces of Pyroclasts are Tim Midyett, T.O.S., Hildur Guðnadóttir, and as always Stephen O’Malley and Greg Anderson.
Pyroclasts was recorded and mixed by Steve Albini at Electrical Audio on two inch tape July 2018, and mastered by Matt Colton through all analogue AAA process at Metropolis July 2019. The album is released via Southern Lord on 23rd September.
While you’re waiting, you can check the trailer here:
The press release describes Friendship’s second album as ‘merciless’. I’ve barely recovered from their 2017 debut, Hatred.
The one -word titles are indicative of the succinct brutality on offer here. Those titles are as nihilistic as they are stark: ‘Punishment’; ‘Lack’; ‘Abandon’; ‘Plague’; ‘Hatred’ – gruesome, dark, signifiers of absence rather then presence, or otherwise of something sitting at the negative end of the spectrum. And Undercurrent is indeed brutal. The tempo is frenetic, with the drumming a whirlwind of sticks on skins and thrashing, crashing cymbals and the guitars a blurred mess of distortion. As for the vocals… spluttering, spewing, splenetic, this is the sound of inarticulable fury and the tearing down of the strictures of cultural confines, a primal roar that decimates all niceties in favour of pure, visceral release.
With only one of the album’s ten tracks crossing the three-minute mark, and the majority clocking in at under two and a half, it’s a short album that prioritises intensity over duration. And after a mere 22 minutes, Undercurrent has more than left its mark and I’m scarred, bruised, and half-deaf.
There’s no space for conversation here, and critique feels futile in the face of obliteration on such an absolute level. This is the sound of the dirtiest metal, with no soft corners or moments of respite. The only mercy is its brevity, but even in this short time, it’s got more than enough force to inflict serious damage.
Pelican, the instrumental quartet whose singular vision of heavy music eschews classification, recently announced their first full length in six years and today they’ve released a new song from it along with US and EU additional tour dates. ‘Cold Hope,’ the second track to be released from Nighttime Stories, due June 7th via Southern Lord Recordings, is an unrepentant crusher imbibed with moments of atramentous psychedelia and arguably the heaviest track on the album. With sold-out shows in Boston, Philadelphia, and Pittsburgh the band has also announced an additional batch of US dates that include Champagne, Cleveland, Columbus, and Grand Rapids along with an Autumn EU tour (full dates below).
Nighttime Stories marks the band’s first release written front to back with guitarist Dallas Thomas, who took over guitar duties upon founding member Laurent Schroeder-Lebec’s departure in 2012. In the process of writing the album, the quartet endured a slew of realisations, tragedies, and glimmers of optimism that guided the creative process to the most potent work of their nineteen-year career.
Nighttime Stories was an album title initially proposed for Tusk, the hallucinatory art-grind band that included Pelican members Trevor Shelley de Brauw, Larry Herweg, and Schroeder-Lebec, in addition to vocalist Jody Minnoch. The writing of Nighttime Stories was instigated shortly after Minnoch’s unexpected death in 2014, and some of the dissonant viscera and dark psychedelic structures that were characteristic of Tusk’s sound began to unconsciously inform the album’s direction. In homage to their departed colleague, Pelican applied the previously discarded title and pulled many of the song titles from notes Minnoch had sent to inspire the direction of the unrealised album. As the writing of Nighttime Stories progressed Thomas also experienced a heavy loss with the passing of his father, to whom the album pays tribute on opening track ‘W.S.T.’ (on which Dallas performed his guitar parts on his father’s Yamaha acoustic).
BIG | BRAVE continue their journey by revisiting their roots – as much in terms of principles as sonically. Consequently, A Gaze Among Them is exploratory and dynamic above all else, and herein lies both its strength and appeal: it’s the work of a band pushing themselves, in all aspects of the creative process. and the band pushing themselves pushes the listener, too, leading them through the sweeping vistas imbued with a significant emotional heft. Of course, that’s difficult to quantify, because it’s about the individual. And yet… BIG | BRAVE commutate immediately, transcendentally, and on the basis of their own agenda
Apparently, the album’s creation began with the question “How do we take very little and make something bigger than what we actually have?” Vocalist and guitarist Robin Wattie explains further, “the biggest challenge was to not do what is easiest. i.e. what we knew worked for the last albums or what is, for us, easy to write. With A Gaze Among Them, Mathieu and I put ourselves through the ringer [sic]– I did not want to do what seemed to me to be a ‘logical next step’ in what we could do musically. I wanted to go back to our original concepts and work from there – space, tension, minimalism and voice (finding melody and musicality in pieces that consist of one note for longer than ten minutes, for example) were the primary concentrations I wanted to push.”
The result is – as anyone familiar with their work to date would expect – immense. The emotional power is every bit as impactful as the crushing power chords, which are but punctuation to expansive passages deep in atmosphere.
There is much space and tension to be found both binding and pushing apart the sonic elements that make up the album’s five immense tracks as the drums pound into infinity while the overdriven low-end yawns and surges into peaks and troughs on a scale of a galactic tide.
The nine-minute opener, ‘Muted Shifting of Space’ has all the hallmarks of post-punk melded with shoegaze but performed with the density of hefty sludge, and the raging tempest that explodes in a blistering crescendo at the mid-point of ‘Holding Pattern’ is sublime.
‘Monolithic’ is one of those words that’s slipped into overuse when critiquing music in this field, but it’s apposite in context of the toweringly immense, dense sonic sculptures BIG | BRAVE forge and which cast long, looming shadows into the psyche. There are passages when they sound like a bad, but mostly they sound like something else, something so much greater than the parts. Wattie’s voice is the key defining feature, simultaneously forceful and fragile, calling to mind Cranes’ Alison Shaw as she ambulates and fills the ever-shifting space. It’s a sound that’s haunted, lost, detached, frantic, and other-worldly.
‘Body Individual ’expands that territory, starting sparsely with little more than Wattie; voice ringing out and wrought with an array of conflicting emotions, before a churning mess of noise that builds like latter-day Swans. But the build knows no end: the sound builds, and builds, until it’s all consuming, all-encompassing. It’s something else, and then something else again.
‘This Deafening Verity’ is but an interlude, three minutes of atmospheric organ drone punctuated by distant rumbles of thunder. Robin mewls plaintively, the words unintelligible. It matters not: it conveys so much on its own, inviting the listener to place themselves into the blank spaces, before ‘Sibling’, which prefaced the album’s release grinds its way to the close, a monotonous distorted pulse providing a rhythmic core around which the layers swell from stark to swirling, erupting in dense clouds of nebulous noise around the mid-point. Descriptions and comparisons fall to futility when presented with something this enormous this powerful, particularly when that power stems from a place that’s invisible and impossible to pinpoint.
A new Sunn O))) album is still an event, even after all these years as the leading exponents of droning doom, a field now crowded with imitators and influences. The sense of ceremony is a major factor: Sunn O))) appreciate and command ceremony in every aspect of their exitance. As good as so many who have emerged to follow in their wake may be, there really is only one Sunn O))). The thing with Sunn O))) is that while they very much do mine deep into their self-made seem, each release offers something different, a variation on that consistent sameness.
And so it is on Life Metal that co-founders Stephen O’Malley and Greg Anderson set themselves a production-orientated goal for realising their immense sound, namely to have their playing captured by god himself, Steve Albini. The story goes that Steve took the call, and said ,“Sure, this will be fun. I have no idea what is going to happen.”
The resulting four tracks, which evolved through time in rehearsal, and with collaborative input from Anthony Pateras, Jóhann Jóhannsson collaborator Hildur Guðnadóttir, guitarist / bassist Tim Midyett, and live mainstay T.O.S bringing Moog action, were laid at Albini’s legendary Electrical Audio studio, and the end product (at least on vinyl) is pure analogue, with an AAA rating.
And it certainly brings the band’s earthy qualities to the fore: the richness, the density of the speakers vibrating in their cabs as displaced air emerges as sound in its most overtly physical manifestation is all captured in a way that conveys the immersive, all-enveloping experience of being a room with the band. As is also the case with Swans and A Place to Bury Strangers, the intense volume isn’t a gimmick but a necessary part of the sound and the experience. Some frequencies simply don’t exist at lower volume, and tones resonate against one another in a certain and quite different way when everything is turned up to eleven and then maximum gain applied. And the effect is transcendental. And whereas its predecessor, Kannon was comparatively concise, with its three tracks clocking in around the half-hour mark, Life Metal goes all out on the expansive, the four pieces running for a fill seventy minutes.
It begins with a distant rumble, before, after just a matter of seconds, the first chord crashes in: thick, dense, so distorted and low-registering as so almost collapse under its own density. But from the slow-crawling swamp-heavy ooze emerges individual notes, the makings of a melodic lead guitar line, and from the darkness radiates a gleam of light. Feedback… soaring notes… grandeur on a galactic scale. And then… Guðnadóttir’s voice. Detached and somehow simultaneously clinical yet emotive, assured yet utterly lost, it possesses an other-worldliness as it drapes dimensions across a simmering drone forged from a lattice of layers reminiscent of sections of Earth on Earth 2.
‘Troubled Air’, which features Pateras’ pipe organ work heightens the impact of volume as well as the ceremonial, ritual undertones which run through every Sunn O))) composition. By turns beauteous and beastly, shifting between moments of monumental grace and churning discord.
The nineteen-minute ‘Aurora’ goes low and slow, a single chord hanging in the thick, muggy air for an eternity until it twists out of shape and becomes a whine of feedback. And then it goes lower and slower still. The suspense builds between each chord, which elongates out to a droning sustain, and when the next lands, it’s with the force of an imploding black hole. Because Sunn O))) don’t do things on a small scale or in light: instead, they amplify darkness until it goes beyond critical mass to become all-consuming.
It ends abruptly in a peak of feedback before a deluge of grinding guitar, overdriven and distorted to a point beyond devastation hits like a tsunami to open the twenty-five-minute closer, ‘Novae’. Again taking clear cues from Earth 2, it’s a heavy drone that occupies the full sonic spectrum as howling strains of feedback whine over bowel-rupturing lower frequencies. Nothing much happens: it doesn’t need to. This is about taking a concept and pushing it as far beyond its logical end as possible, something Sunn O))) have effectively made a career of. And it still works.
And if ever a single album encapsulated the fundamental concept of Sunn O))), Life Metal would be a strong contender.
