Posts Tagged ‘Thou’

Christopher Nosnibor

And yet again, after a soaking on my way to see Interpol in Leeds a fortnight ago, the heavens open to deliver a truly tropical downpour, a torrent of fair biblical proportions in stepping out of the station. It’s way to wet to have my phone out to sat-nav to the pub I’ve arranged to meet a mate in, so I take hasty refuge in The Scarboro Hotel.

It’s not hyperbole or dramatic scaremongering to say that this is climate change in effect. It’s been stiflingly hot, we’ve experienced high winds – which is why I left my umbrella at home: Poundland brollies and strong gusts don’t go together – and light showers and some flash downpours. But this precipitation isn’t so much a cloudfall as a monsoon, and as frustrating and mood-despoiling the soaking is, the bigger picture is that this is a sign of things to come. JG Ballard’s 1962 post-apocalyptic sci-fi novel The Drowned World is rapidly looking like future reportage rather than speculation.

It’s a good thing I’m heading to Temple of Boom in my drenched state. Live music invariably proves itself to be a mod-lifter, or at least the best conduit to a window of escapism, and never more than a night of full-throttle metal. It’s a genre I’ve come to appreciate almost exponentially over the last decade after spending years completely disinterested and dismissive. The irony that I considered metal somehow juvenile and primitive isn’t lost as I realise I’ve grown to grasp the sheer diversity of the – infinitely fragmented – genre, as well as the benefits of untrammelled catharsis as a form of therapy.

The tip I’d had ahead of the show suggested Vonnis were pedlars of fairly standard grindy thrash, and musically, this is fundamentally true. It’s all in the delivery, and I’m wondering a day on if their front-man’s antics were the result of drunkenness, insanity, or a combination of the two. Their Facebook bio records a history of ‘dislocated shoulders or open leg fractures’ and a ‘disregard for any kind of personal safety’, and they deliver on that. Tonight’s set found this guy piling up (and falling off) monitors, stumbling wildly, stripping from his boiler suit to socks and boxers and ending the set on the flor in front of the stage with his head in a bin. The whole thing was demented, and was a real horrorshow car-crash of a performance – but it was utterly compelling.

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Vonnis

Bismuth are compelling for all the right reasons, bashing out some monumental noise with drums and bass. By which I mean BASS. Arsequaking bass. Head-shredding bass. Immense bass drones that sound like Sunn O))) and Earth circa Earth 2. Simultaneously. Bass channelled through a pedal board the size of a cruise liner to the point it no longer sounds like bass. An age separates the trike of every chord, every explosive, punishing beat. Bismuth grind it out, low, slow and heavy, but with the full frequency spectrum: bass that sounds like a full band lineup with everything up to eleven, or even twelve.

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Bismuth

Tanya Byrne’s vocals range from a delicate and emotionally-charged melodic to full-blooded howl of pain: it’s all integral to Bismuth’s sound and intensity, and the set concludes with Tanya out in the audience, on her knees, shrieking and howling into a wall of feedback. It feels like the purest catharsis, and the entire room is on edge and close to breaking to bring down a devastating finish.

Whereas Bismuth’s sound is textured, detailed, and atmospheric, Moloch go all out for blunt force trauma. Lumbering riffage provides the backdrop to rasping guttural anguish. There’s something about the vocals, which register in the higher regions, and the way they contrast with the shuddering downtuned sludgefest. There’s also the complete lack of pretence or even any real kind of show involved.

“Hiya, we’re Moloch,” says Chris Braddock as he takes the mic. Cue a wail of feedback before everything crashes in and continues to grind away at a gut-churning crawl for the next forty punishing minutes.

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Moloch

With three guitars dominating the six-piece’s instrumentation, Thou have texture and density completely covered. And despite the fact they’ve been going some fourteen years with only two changes to the lineup, they still appear remarkably youthful. The ever-informative Encyclopaedia Metallum locates them in the bracket of ‘Sludge/Drone/Doom Metal’ and lists their lyrical themes as ‘Despair, Revolution, Societal collapse, Death.’ This does nothing to convey the intensity of their albums or the kind of performance they deliver – or, moreover, the nonchalance with which Bryan Funck – wild-eyed and grey-bearded – delivers his velociraptor vocal scream.

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Thou

It should be harrowing, hellish, but is precisely the opposite. To witness a band so finely-honed, channelling everything into a powerful and relentless piledriving assault is a beautiful and uplifting thing: elating, life-affirming. As they thunder through an immaculate set, I find I’m no longer in the room and everyone else has melted away. There is nothing but this moment, in which I find my mind is empty and I am floating, detached, wired into the music alone. Time stops and the sound becomes everything.

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Sacred Bones Records – 31st August 2018

Christopher Nosnibor

Magus is Thou’s first full-length since 2014’s Heathen. It’s perhaps fair to say that the three EPs which preceded it – which they forewarned would be ‘a complete sonic departure from Magus and from each other’ – which effectively constituted albums in their own right – did nothing to prepare us for this.

But what exactly is this? As the album’s press blurb acknowledges, they’re ‘often lumped in with New Orleans sludge bands like Eyehategod and Crowbar, [but share] shares a more spiritual kinship with ‘90s proto-grunge bands like Nirvana, Alice in Chains, and Soundgarden’, while ‘the band’s aesthetic and political impulses reflect the obscure ’90s DIY hardcore punk found on labels like Ebullition, Vermiform, and Crimethinc’. All this makes them hard to place.

The album’s opener, ‘Inward’, provides just over ten full minutes of snarling fury that carries enough weight to crush weaker souls who may venture forth expecting any of the soft musicality of the Inconsolable EP (which revealed Thou to be capable of extreme gentility, and, indeed, extreme beauty).

Things turn very black and very sludgy and very heavy on ‘Transcending Dualities’; and while it’s a snarling, low-tuned mess of slow-creeping sludge, there are stray notes that break free to squeal to break the trudging oppression. Bryan Funck’s twisted vocals draw every ounce of excruciation into the mix.

‘The Changeling Prince’ brings grace and grandeur to proceedings, and the hushed intro and expansive sound of ‘Sovereign Self’ (the second of three songs to cross the ten-minute mark) calls to mind Amenra, but his is a whole other level of gnarly, demonic savagery, and the overall sonic density is suffocating.

But Magus does find Thou continue to expand and explore in all directions, and there are three shorter tracks that serve as interludes between the towering monoliths which are the songs themselves: the cacophonous racket of ‘My Brother Caliban’ contrasts sharply with ‘Divine Will’, with its ethereal female vocals and pounding tribal drums. Elsewhere, the sprawling epic that is ‘In the Kingdom of Meaning’ introduces a psychedelic twist to the doomy trudge. And there are passages of extreme delicacy, rich in evocative atmosphere, which draw the lister into quiet clearings with dappled light where an air of calm radiates before the shadows loom, the clouds gather and the next tempestuous storm breaks. Such tension-building passages and contrasts of mood and volume create a compelling dynamic and makes Magus a mighty album which requires attention and exploration of the detail.

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Thou have announced their return with new full-length, Magus. With the impending release of Magus, the band have decided to take a different approach and release three EPs ahead of the full-length, each of which the band note “are all a complete sonic departure from Magus and from each other…”

Magus, Thou’s first full-length since 2014’s Heathen, will be released on 31st August by Sacred Bones Records. In the months leading into the new album, Thou will be releasing three drastically different EPs: The House Primordial on Raw Sugar, Inconsolable on Community Records, and Rhea Sylvia on Deathwish, Inc. Each record will focus on a particular sound-noisy drone, quiet acoustic, and melodic grunge-all of which is incorporated into the new record, subsumed in the band’s more standard doom metal.

‘The Changeling Prince’ will feature on Magus, and you can hear it here:

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