Posts Tagged ‘THE LORD’

Southern Lord continues the label’s prolific output with the release of a new album: Greg Anderson’s debut full-length as The Lord, Forest Nocturne, which we recently reviewed here at Aural Aggro.

Additionally, The Lord has unveiled the Forest Nocturne demo recordings, originally only available on the Daymare Records Japanese CD edition, now available via Bandcamp.

You can get your lugs round the demos here:

Forest Nocturne sees Anderson (guitarist of SUNN O))), Goatsnake & Southern Lord curator) taking cues from legendary film composers: John Carpenter and Bernard Hermann, in order to create cinematic landscapes which are heavy with tension, and offset by the injection of lethal doses of early 90s Scandinavian Death Metal – with Attila Csihar (of notorious Norwegian black metal band Mayhem & frequent SUNN O))) collaborator) lending his putrid vocals to final track "Triumph of the Oak."

For Forest Nocturne, Anderson worked with renowned producer Brad Wood. Dan Seagrave’s epic and fantastical style is instantly recognisable on the album’s startling artwork, something which seems to depict an ancient and unknowable force in the woodlands. Forest Nocturne is described by Anderson as “music of the night,” but inspired by imagery conjured on daytime hikes, and majestic, beautiful trees, which he sees as survivors – perhaps the last known connection that we have to an ancient world, and acting as a connector between past, present and future of the human race and of our time on this planet.

Greg Anderson began making music in the mid-eighties with hardcore bands False Liberty and Brotherhood before refining his musicality during the nineties with the post-hardcore collective Engine Kid. From that point on, the musical direction started shifting, channelling his love of tone, riffs and repetitive sound, vital elements that feed into the meditative cosmos of SUNN O))), and the ‘low and slow’ sounds of Goatsnake, both of whom find different ways to move beyond confines and tropes of their respective sound worlds.

In August and September 2021 respectively, Greg Anderson released two singles under the name The Lord; "Needle Cast" with Robin Wattie (the unmistakably emotive vocalist of BIG|BRAVE) and "We Who Walk In Light" with William Duvall (of Seattle rock legends Alice In Chains and hardcore-punk group Neon Christ). Unintentionally moving in a different direction from those bands within which he found his feet, Anderson was able to take on the mantle of The Lord in a new, pictorial approach to heavy music. Through this process, he found himself moved to collaborate with vocalists he admires.

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Southern Lord – 23rd April 2022

Christopher Nosnibor

Covering multiple works in a single review feels like a major short-changing exercise, and I feel I should apologise to the artists involved in advance. It kind of depersonalises and maybe even cheapens the coverage, and I remember how I felt when the book version of my PhD thesis finally received a review, only to find that it was in an article alongside three other books. It may have been a paragraph of praise, but nevertheless, it was a solitary paragraph in a long article. Nine years of work, 90,000 words and 300 printed pages given a one-paragraph thumbs up… meh. But still, better than a thumbs-down or no paragraph.

A decade on, it’s still not settled with me, and I always try to do better. But sometimes, bundling makes sense and feels justified and this is one of those times.

Having spent many a virtual column inch in recent years bemoaning how Record Store day has made a deep descent from being an event that served to raise awareness of independent record shops to another cash-in for major labels cranking out shitty reissues on limited colour vinyl to wring yet more funds from completists while at the same time driving some of the most shameful scalping activity anywhere on line, it’s a relief to find something positive about RSD 2022.

That something comes of course from an independent label in the form of Southern Lord, who, as a sidenote, had commendably stuck to producing outstanding vinyl releases regardless of trends, fashions, popularity, or Record Store Day, and, admirably have continued to release whatever the hell they please, with a catalogue that’s an equal balance of cult hardcore punk re-releases and cutting-edge works of crushing weight that perpetually push the parameters of metal, with recent releases from Neon Christ and Big | Brave highlighting the polarities of the label’s interests.

This pair of RSD releases exemplify this span to perfection, and while admittedly one is a reissue, the other very much is not – and as such, they represent the label’s standard release scheduling. As the press releases outline, ‘The Catatonics were one of NYC and Syracuse’s pioneering hardcore punk bands…While the band’s seminal Hunted Down EP has remained one of the most highly sought-after releases of the genre, the heightening collector’s price made this 7” inaccessible to most people. Southern Lord has now elected to re-release this EP as a 12”, with bonus tracks.” And, meanwhile, Forest Nocturne is ‘the first full length solo venture of Greg Anderson, under the moniker of The Lord. Inspired by the great horror film composers of the 70s and 80s, Anderson turns his back on the riff worship of Goatsnake or SUNN O))) and instead creates a truly unsettling atmosphere heavy with tension, offset by 90s Scandinavian death metal’.

The Catatonics release certainly gives value for money: the original 1984 7” released on Anorexic Nympho Records featured five tracks: this reissue features a whopping eighteen. Following the bonus intro cut if ‘Descending in E’, the original EP accounts for tracks two to six, while the rest is an almost exhaustive gathering of compilation tracks, early demos and live recordings, all remastered from original tapes. Only two of the eighteen songs run beyond three minutes, with most clocking in under two, and this is rough and ready, ball-busting full-throttle, relentless fury, nonstop-pounding hardcore at its rawest and most furious, and the live cuts are particularly raw and brutal, making this a unique and comprehensive document of another underground band’s short but high-impact career.

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The Lord’s debut is a very different proposition: it’s clearly contemporary for a start, although it’s steeped in vintage metal stylings, and driven by an understated and simple but gut-churning bass that digs tunnels beneath your ordinary lives. Forest Nocturne is an album that twists and turns, and more significantly, gnaws like rodents, and like woodworm, at the smooth, flat planes of sonic normal. I say ‘normal’, as if that’s a thing – but The Lord conjure vast aural expanses, broad vistas that invite the listener to bask in the rich density, before tearing it to pieces.

A slow, swelling church organ droned doomily on ‘Church of Hermann’, a piece which is truly awe-inspiring. This is an instrumental album that definitely marks a departure for Anderson and feels more like early Earth than Sunn O))). Then again, it’s doesn’t really sound or feel like either.

Thick swells of strings that build into brooding, megalithic waves, define the power of this instrumental work. ‘Forest Wake’ starts with the wail of a siren, and brings bulldozing bass and power chords wrapped in gut-punching clouds of distortion. Those clouds dissipate for a time, and the atmosphere looms large and heavy as things unfurl, but take a moment to breathe and there’s nothing to see here other than smoke and that absence… It grinds, and it absolutely fucking kills, going full Sunn O))) drone doom on ‘Old Growth’. Forest Nocturne is hard and harrowing, immense, epic, beautiful, and yet at the same time devastating. The last track, ‘Triumph of the Oak’ is a new shade of heavy, an angering mess of thrashing chords that crashes down so, so hard.

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Finally, thanks to Southern Lord, there are releases that are actually worth getting up and queuing for at the weekend.

Composer and curator Greg Anderson (Southern Lord Recordings; Sunn O))), Engine Kid, Goatsnake & more) has unveiled a new song as a part of his forthcoming explorative compositions and collaborations as THE LORD available on Bandcamp.

The first track to surface is the thunderous song “Needle Cast,” which features BIG|BRAVE guitarist/vocalist Robin Wattie.  Wattie’s striking, shimmering vocals pair perfectly with Anderson’s multi-faceted instrumental approach.  Anderson comments: “I’m extremely honoured to have been able to collaborate with Robin Wattie on this track.  I’m a massive fan of BIG|BRAVE especially Robin’s emotive vocals and infectious melodies.  Immediately after composing this track I was envisioning her dynamic vocals within the piece.  The performance she recorded went beyond what I had imagined. Robin also created the amazing artwork that accompanies the music."  All proceeds from “Needle Cast” will go directly to The Native Women’s Shelter of Montreal.

Listen to ‘Needle Cast’ here:

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"Needle Cast" cover art by Robin Wattie