Tag Archives: post-black metal

My Top 20 Albums of 2018

Posted on by necromoonyeti

Happy New Year!  It’s time for my annual check-in to confirm that we’re still alive and well, and that I still have terrible taste in music.

Sample size: 71 albums
Quality: This was a pretty damn good year for music. I feel like my list is significantly stronger than 2017 and competitive with some of the best years I can remember. My top 7 could have all finished first in lesser years.

20. Horrendous – Idol

progressive death metal

Sample track: Soothsayer

It’s a trip. If you can swallow the vocals, which hit me as a bit too classically tortured to match the lush soundscape the band’s presenting, you’re going to be treated to one of those albums that packs so much subtle flavor that I think I could spin it 100 times and still find something new. It doesn’t hit the aesthetic zone of infinite repeatability for me that I think I would need to fully embrace its nuances, but it’s admirable.

19. Carpenter Brut – Leather Teeth

retrowave

Sample track: Inferno Galore

Half of this album actually sounds like it was lifted out of a classic 80s video game and modernized. I guess that’s the point, and he’s not exactly the only person doing it, but this album stood out to me for some especially powerful cuts, most notably Inferno Galore. I don’t think this is an album that will stick with me terribly long. I’m not a fan of the vocals, granted they’re limited to Cheerleader Effect and Beware the Beast. The whole thing is way too abrasive for me to enjoy at length passively. But yeah, I enjoyed it more than the average album this year. Fun spin and my misgivings are trivial, not game-breaking.

18. Panopticon – The Scars of Man on the Once Nameless Wilderness

bluegrass/folk/black metal

Sample track: Echoes in the Snow

I had the pleasure this summer of seeing Austin Lunn headline the grand finale of a three day music festival, and that pretty well confirmed his status as my favorite personality in music. He’s also one of the only two artists to steal my number 1 slot twice. That… won’t be happening this year. The Scars of Man has a few drawbacks for me beyond its unwieldy name. Despite clocking in just shy of 120 minutes, it’s less stylistically innovative than his last three albums. The folk and metal come in distinct packages with little overlap. The lyrics are repetitive and don’t reach far beyond a basic motif of winter wilderness and mortality. The melodies aren’t particularly gripping on the whole. The vocal delivery is kind of muted. Like a lot of my favorite musicians, Lunn has an aura of heart-on-the-sleeve sincerity about him that transforms many of his flaws into points of endearment. (It’s not a coincidence that I gave Mark Kozelek first place last year.) I think, in this case, that’s more of a salvaging factor than the catapult that propels it above the competition. It comes across to me as a really spontaneous work, like he sat down and just played whatever came to him without much concern about refining it. That’s cool. I enjoyed it. Just not on par with say, Roads to the North or Autumn Eternal.

17. Bosse-de-Nage – Further Still

post-black metal

Sample track: Down Here

A few of these guys were members of an internet forum I frequent before they gained decent success on the post-bm scene touring with the likes of Deafheaven, so I’ll concede a bit of bias. I loved their last album, All Fours, but it took me a while to reasonably conclude that I loved it regardless of having a (to be fair, very small) personal connection to the band. Further Still hasn’t had as much of an opportunity to grow on me as All Fours did. It was released later in the year, I haven’t been in as much of a mood for that genre, and it’s stylistically very similar to their last release. Without devoting too much completely undistracted time to it, I do want to say this album brings very little new to the table, but their matured sound was great where it stood coming in. I would hardly say that more of the same is a bad thing. Basically, I like this album a lot on its surface but haven’t had much of an opportunity to fall in love with it. I think I potentially could. 17th with plenty of room to move up.

16. Sumac – Love in Shadow

post-metal/experimental

Sample track: Ecstasy of Unbecoming

I feel like Sumac is on the brink of becoming my favorite Aaron Turner project. The potential is certainly there. It’s never going to roll out something on the magnitude of Isis’s Oceanic, but Sumac is definitely drifting down a path I can get excited about. I feel like large chunks of this album were the product spontaneous experimentation in the studio, and improv noodling with a metal aesthetic is emerging as a core part of his sound. It reminded me at times of one of the best non-2018 releases I discovered this year–James Plotkin & Paal Nilssen-Love’s Death Rattle. On a kind of small world aside, as I’m writing this I pulled James Plotkin’s Wikipedia page, and apparently he’s done mixing work with Isis before. At any rate, I definitely enjoyed the eclectic ride of chucking this album on in the background a few times, but more than anything I’m curious about where he goes from here.

15. Tomb Mold – Manor of Infinite Forms

death metal

Sample track: Final Struggle of Selves

Every once in a blue moon I stumble on that elusive death metal album that brings absolutely nothing new to the table and completely beats the shit out of me anyway, and Tomb Mold hit the nail on the head. I don’t even listen to death metal very often for all I meme about it, but I’ve been putting this one back on all year. It just gets everything right for my aesthetic tastes, I guess. The vocals nail a sound that feels brutal without being cheesy or grating on me. All of the tones blend together really well to form a tight package without competing against each other. It’s got a kind of groovy mid-tempo pace I can’t help but bob my head to. Guilty pleasure or not, it’s been a frequent fun ride.

14. Death Grips – Year of the Snitch

experimental hip hop

Sample track: Death Grips is Online

I managed to not discover Death Grips until late 2016, and they’ve still forced their way into the mix of my most listened-to artists ever. I think there’s a lot of really weird experimentation going on here even by their standards. It’s a pretty meaty album to try to sit down and embrace, and I can’t say I’ve ever gotten through it attentively from start to finish. Maybe not their most passively pleasing work, but there’s a lot of weird experimentation going on here that’s kept me curious throughout the year.

13. Midnight Danger – Malignant Force

retrowave

Sample track: System Outage

Everyone I’ve sent this to has basically just told me “yeah, that sounds like the 80s alright.” Maybe if I was more familiar with the genre, it wouldn’t sound that special to me. I can’t say for certain; I’m not an avid pursuer of new trends in electronic music the way I am with metal. But I have definitely heard a lot of music in a similar vein to this, and none of it impresses me quite as much. I guess if you’re listening to it as “lol 80s” they might all sound alike? I think the album is packed with compelling loops and manages to plod forward with a really heavy beat while never becoming abrasive enough to shift me from that mindset of a cyberpunk dystopia. So yeah, there’s definitely a lack of extensive genre exposure on my end, but this has been my default go-to when I want to engage this sort of aesthetic for most of 2018.

12. Summoning – With Doom We Come

atmospheric metal

Sample track: Silvertine

Summoning have been one of my favorite bands for going on 15 years, and I’ve only been treated to three new albums in that span. So yeah, I was pretty hyped for this, and it would have been hard to screw up. I frequently queue up their entire discography and just let it roll for ten hours straight. I have never heard another band that sounds anything like them, and their sound pings every fantasy nerd pleasure point in my body. Much like it took Old Mornings Dawn a couple years to settle in as a rock in their anthology and not just epic by default, With Doom We Come doesn’t yet stand out distinct to me as something other than more Summoning. It’s hard to say if and when it will get there; at nearly 50 plays through, I know every track by heart but couldn’t tell you from a 30 second session which album they hail from. Maybe that’s a sign that none of them are particularly stand-out cuts. Is it as independently enticing as Let Mortal Heroes Sing Your Fame or Dol Guldur to me? Nah, but the band that can do no wrong for me did no wrong in 2018.

11. A Forest of Stars – Grave Mounds and Grave Mistakes

psychedelic black metal

Sample track: Precipice Pirouette

At this point, 2015’s Beware the Sword You Cannot See has pretty firmly cemented its slot among my all-time favorite albums. I didn’t expect Grave Mounds and Grave Mistakes to compete with that, and it doesn’t, and that’s fine. If Dan Eyre’s lyrics have tipped over from dancing on the fringes of nonsense to completely incoherent rants, there’s still no lack of awkwardly well-spoken venom. If the compositions are a little more direct, they’re just as immense and driving. I’m not sure what I would think of this album if I experienced it with a blank slate regarding the band, but I would probably like it even more. They have one of the most unique and compelling sounds of the 2010s. I don’t think this is their best work, or even particularly close to it, but in terms of enjoyment, I’m just thrilled to have some new material to spin by them that doesn’t significantly deviate from the sound I’ve grown to love. I guess if I have one complaint, the album tends to meander a bit too long on some post-rocky vibes that never build up into the climaxes they’ve mustered in the past. Kind of torn on [i”>I really really like it[/i”> but want it to be more, and that’s what landed it just shy of my top 10.

10. Bongripper – Terminal

doom metal/post-rock

Sample track: Terminal

If you like to hear 45 minutes of the same thing repeated in deep distorted tones, this album might be for you. For better or worse, it’s for me. There’s nothing here that hasn’t been done before. There’s not enough here for me to really point and go “now that was something”. They just landed on some killer riffs and grinded them into oblivion. I got to hear them play the full album live this year, and I was totally in the zone for it just rocking back and forth. I think the album experience is about the same, and half the time I click play on it I catch myself staring off into space 20 minutes later. A hell of a lot of bands play this style. Most of them don’t actually suck me in to the point of distraction. I’m not sure what’s particularly different about this one to pull it off, but here we are.

9. Kids See Ghosts – Kids See Ghosts

hip hop

Sample track: Freeee

I never much cared for Kanye outside of a small handful of tracks dominated by guest artists. His lyrics and the arrogant attitude that resonates in his vocal style just rub me the wrong way. I actually had a sort of epiphany when I was compiling my year end list and this album kept popping up as a contender. It hadn’t yet registered that, for once, I just kept listening to him. I guess Kanye the rapper is a little less prevalent here–I won’t miss 4th Dimension if I never hear it again. Maybe it’s Kid Cudi’s influence, maybe it’s a general shift in focus, I don’t know, but this is the first time where I really found myself not merely conceding that Kanye is a talented producer but actually personally loving his songs. Feel the Love, Freeee, and Reborn are all fantastic, and the vast majority of the album keeps me engaged on a level I am not used to associating with Kanye West at all.

8. Haru Nemuri – Haru to Shura

hip hop/j-pop

Sample track: rock ‘n’ roll wa shinanai

I guess the basic idea behind this album is pretty straight forward, albeit unconventional. It’s j-pop except she’s rapping. The song writing verges off in a lot of novel directions that I have no baseline to really qualify in terms of originality, but they keep the album interesting from start to finish. The thing I like most though is her vocal expressiveness. The passion and tension and angst is impressively tangible for foreign language spoken word. I didn’t think I would have much to say about this, and I don’t. It’s great. Listen to it.

7. Thou – The House Primordial

doom/drone

Sample track: Diaphanous Shift

This has been one of my favorite background pieces of the year. It’s hard to describe what makes one drone-centric album more appealing than the next. I think this presents a very full wall of sound that at times approaches a state I could only describe as noise, but thick bass tones still drive the album, and it’s peppered with bluesy riffs that suck you into direct engagement just long enough to consciously remind you that you’re enjoying this without becoming a distraction. The fullness of it is definitely a distinction from the more classic doom/drone hybrids I dabbled in but could never really embrace in the early 2000s. Khanate but huge is definitely a comparison that comes to mind. At any rate, this is a style that appeals to me more and more as I get older, and The House Primordial absolutely nails it for me. It’s kind of crazy that this misses my top 5, for all I’ve enjoyed it. 2018 was a competitive year.

6. Zeal & Ardor – Stranger Fruit

African-American folk metal

Sample track: You Ain’t Coming Back

Zeal & Ardor is a project that began with the novelty game of trying to mash up atypical genres of music. Black metal and African American spirituals worked out pretty tight, and here you go. This is a pretty exciting album for me, personally, because it’s not something I’ve ever heard done before and it approaches an idea I’ve been kicking around for a long time. Don’t let the “metal” tag deter you; I think this is an album that should be pretty accessible to people unaccustomed to heavier music. The gospel, soul, and African American folk traditions get the spotlight. The metal’s primary function is to present it in a more intense and pressing light. I think there might be some Tom Waits influence going on here too. At least, Row Row very distinctly reminded me of Clap Hands. It’s a really interesting project, and the song writing is solid on the whole. I feel like the lyrics could have dug deeper, and the studio gloss did start to wear on me after what must have been at least three dozen plays, but Stranger Fruit was a pretty integral part of my 2018 music experience.

5. Wayfarer – World’s Blood

post-black metal

Sample track: The Crows Ahead Cry War

Picking up where the cover art leaves off, this album sets an unmistakable western American atmosphere within the opening seconds. A brooding, atmospheric journey that calls to mind elements of Altar of Plagues and Spectral Lore, their song-writing is impeccable, but it’s the thematic niche that really sets this apart as more than a valiant rehashing of what’s been done before. So much of the black metal listening experience is a passive journey. I think the reason it’s my favorite genre is because you can thoroughly enjoy an album on repeat 100 times without zoning in attentively enough to pick up on half of its subtleties. It’s the art that keeps on giving. Wayfarer’s unique aural imagery of a bleak Great Plains landscape haunted by the ghosts of its butchered inhabitants sets the meditative focal point for immersion, and the rest exhumes itself ever more over time. This will be an album I’m still spinning regularly half way into 2019.

4. Primordial – Exile Amongst the Ruins

Irish folk metal

Sample track: Sunken Lungs

I’m not sure how I fell out of touch with Primordial, but I have no recollection of their last album. Exile Amongst the Ruins didn’t blow me away out the gate quite on par with the raw energy of the 2011 work that really made me fall in love with them, but Nemtheanga’s voice can carry just about anything, and this release might be just as compelling in a much more subtle way. I guess it’s kind of easy to dismiss because Primordial have been playing pretty much the exact same sound forever, but I feel like they landed on a really robust vibe for this album that sustains throughout. It’s morbid, but it’s all so pretty at the same time. It’s really kind of soothing to listen to, in a roundabout way. Relative to a lot of other bands I love that have put out decent-but-not-their-distinctly-best works in 2018, I think this has the most potential to stick around and continue to grow on me. Maybe a few years from now it will be my default Primordial go-to album. I think it’s possible. Nine months is a short time to form conclusive opinions about a band that’s been pumping out solid material for 25 years. I feel an endearing bond with this one that’s hard to put my finger on.

3. Tropical Fuck Storm – A Laughing Death in Meatspace

experimental rock

Sample track: You Let My Tyres Down

A couple of months ago someone sent me The Drones’ Shark Fin Blues, and that was the first time I’d ever encountered Australia’s reasonably well-known frontman Gareth Liddiard. I still haven’t actually gotten my hands on any Drones albums, but I scooped up his side project, Tropical Fuck Storm, the minute their first release hit the shelves. God I’m in love with this guy’s style. He feels completely unhinged and free rolling through his songs, in both his vocal performance and his chaotic brink-of-collapse guitar execution. A Laughing Death in Meatspace blasts that in your face out the gate with my favorite track on the album, You Let My Tyres Down, but this project offers a lot more on the edge beyond Liddiard’s guitar. The second track introduces an often revisited electronic side that’s just a eclectic. The lyrics tap a political frustration that appeals to me. All-around outstanding effort that pings a lot my personal tastes. This is the first time in a while I remember feeling this strongly about an album that is fundamentally rock in origin.

2. Imperial Triumphant – Vile Luxury

avant-garde black metal

Sample track: Swarming Opulence

When I linked this album to one of my few acquaintances who actually enjoys metal, the first response I got was “Gustav Holst”. I dig it. Perhaps a trifle influenced by French black metalers in the vein of Blut Aus Nord and Deathspell Omega, New York City’s Imperial Triumphant are largely forging their own uncharted path. The album’s portrait of “vile luxury” twists high art instrumentation into demented vomit, injecting bombastic convulsions of classical brass and jazz piano into a soundscape of highly disharmonic and technical black metal. It’s a really brilliant vision, I think, derailing the traditionally sophisticated arts into pure hedonism. The theme of the album is apparent on its aural face, and they’ve got a jazz aesthetic to their performance that makes it limitlessly repeatable for me despite a level of abrasiveness that outmatches just about anything I can think of that brings a vision beyond inaccessibility for its own sake to the field.

1. Thou – Rhea Sylvia

grunge/sludge

Sample tracks:
Deepest Sun
Restless River

In the broader picture of the band, 2018 might be remembered as the year when Thou lost their minds and pumped out four new albums and two splits, but Rhea Sylvia stands, for me, leagues above their feature release Magus, or anything else they’ve ever recorded, for that matter. The raw melody crafting on this album is mindboggling. Thou have never been shy about their love for the 90s grunge classics–one of their splits this year was a Nirvana cover album–but I feel like on this run they went all in for trying to actually write grunge music without changing any of their established doomy sludge tones. The result is Alice in Chains pressed under a ten ton weight, enhanced with the modern trappings of post-rock’s all-encompassing influence on metal over the past 20 years. I am blown away from start to finish.

Previous years on Shattered Lens:

2011 / 2012 / 2013 / 2014 / 2015 / 2016 / 2017

My Top 15 Albums of 2017

Posted on by necromoonyeti

Hi! Still existing and loving my family, hope the same goes for all of you. I may be retired from all else in the music world, but the year end list is eternal.

Sample size: I have 83 albums released in 2017 at the time of writing this. Can’t promise I actually listened to all of them.

Surgeon General’s Warning: Ranking music is silly and I generally discourage it.  (But I do it once a year anyway…….)

15. Chinese Man – Shikantaza

trip hop/hip hop

Sample track: Liar

fun French hip hop/trip hop album that seems to have gotten overlooked a lot. I listened to it a ton earlier this year. It’s not something I’ll remember years down the road, but it certainly earned a spot for as much as I played it.

14. Elder – Reflections of a Floating World

stoner prog

Sample track: Sanctuary

For me personally, this is probably the most unorthodox pick on my list, because it is heavily rock-centric in all the ways that typically turn me off. God but something about rock and roll has always felt absolutely soulless to me in a way that few genres can match at their worst. But Elder just do what they do so damn well that it’s impossible to hate this opus. An endless onslaught of prog ingenuity with a nice stoner rock crunch that keeps it driving from start to finish. It’s 64 straight minutes of ear candy without a dull note in the mix, and I have a world of respect for how flawlessly these guys accomplished what they set out to do.

13. Krallice – Go Be Forgotten

post-black metal

Sample track: This Forest For Which We Have Killed

Krallice are responsible for a lot of the best music to come out this decade, and in 2017 they pumped out two new ones (both painfully late into the year for a band that requires a lot of repetition to fully appreciate). While I haven’t actually read anything about either of these yet, the distinctly different styles between them have me pretty convinced that Mick Barr wrote the bulk of this one and Colin Marston took charge on the other. Go Be Forgotten gets off to a glorious start with its opening track, but the remainder has so far failed to really captivate me to the extent that most of their previous works did. It doesn’t raise the bar (or if it does, it hasn’t sunk in yet), but it’s still a fascinating exploration of highly complex soundscapes that few other artists have the technical precision to delve. And god that opening riff is sick. Krallice will be a perpetual year end contender as long they keep doing what they do.

12. Father John Misty – Pure Comedy

folk rock

Sample track: When The God Of Love Returns There’ll Be Hell To Pay

I have mixed feelings about this album, and my inclination is to point out the negative; suffice to say, it’s not lacking in universal praise. It wouldn’t be on my list if I didn’t love it. The reason it’s not higher is that, as I see it, Tillman too often defaults to rather throw-away lines. That’s not inherently problematic (see: my #1 pick), but I think it clashes with the more refined, theatrical vibe of the sound around them. Simple case in point: Total Entertainment Forever kicks off with an absolutely delicious line–Bedding Taylor Swift every night inside the Oculus Rift–and follows it up with something so generic that I feel it only exists to achieve a rhyme–after mister and the missus finish dinner and the dishes. Sometimes gentle flaws make a work all the more endearing, but Pure Comedy goes too big and refined to get away with it for me. I feel like he aimed extraordinarily high and almost got there.

11. Tchornobog – Tchornobog

blackened death metal

Sample track: II: Hallucinatory Black Breath Of Possession (Mountain-Eye Amalgamation)

A landscape album as only blackened death metal can paint one. Tchornobog takes you on a 64 minute journey across an entirely unpleasant and stomach-turning waste of all purpose ugliness that really reflected how I’ve felt about the world this year any time I let my attention range beyond my immediate household. We’re talking death metal aesthetics here so yes, that can be a compliment. And while the visions are certainly exotic, there’s not much surrealism of the lofty, artistic sort you find on say, a Blut Aus Nord album. It’s just leaves you feeling kind of dirty. It hit a note I could appreciate while maintaining enough melody and progression to avoid succumbing to redundancy.

10. Hell – Hell

doom sludge

Sample track: Machitikos

Ridiculously heavy slow-rolled sludge that shouldn’t require any genre appreciation to crush your skull. At its peek on “Machitikos”, the quality of this album is unreal. Unfortunately I was pretty late to the ballgame, and their more ambient moments are going to take more than a sporadic month to leave a lasting impression or definitively fail to. Nowhere to move but further up the charts for this one.

9. Nokturnal Mortum – Істина

pagan metal

Sample track: Дика Вира

We’ve certainly come a long way from Knjaz Varggoth screaming hateful nonsense to crackling cassette recordings of Dollar General synth, and as endearing as Nokturnal Mortum’s early works may be, you can’t deny that he has matured (both musically and intellectually) substantially over the years. This album thoroughly lacks the trademark Eastern European folk metal execution that Knjaz inspired more than perhaps anyone else: brutally hammered folk jingles lashing out violently from beneath a wall of modern noise. Істина is a lot more even keel, to such an extent that its metal elements almost feel unnecessary at times. It fully embraces the more cerebral, orchestral sound we began to hear on Weltanschauung and leaves most else behind, achieving a new height in terms of orchestration. I do miss Knjaz’s more passionate explosions, but I don’t consider that a flaw. The real down side to the album for me stems from the studio. For all of its grand instrumental diversity, the complete package is a bit washed out. Everything feels like it’s playing in the background as a supporting element to a non-existent centerpiece. It’s something I’m certainly used to–Nokturnal Mortum have always struggled a bit on the finer finishing touches of sound production–but it’s still a fault that’s hard to ignore. An incredibly solid album that could have been even better.

8. Riivaus – Lyoden Taudein Ja Kirouksin

black metal

Sample track: Vihan Temppeli

This is probably the most unknown album on my list. It’s just straight-up black metal. No frills. No novelties. Really it’s the sort of thing I rarely listen to these days, because most great bm artists have moved on to more experimental fronts. But this is tight as fuck. The riffs are great and it’s got a nice punchy pace and a crisp tone that suits the mood perfectly. Outstanding debut from an unheard of artist. Hoping he sticks around for many years to come.

7. Thundercat – Drunk

funk/jazz

Sample track: Bus in These Streets

A tongue-in-cheek dreamfunk fantasy. Artists who can let a cheesy sound be cheesy often accidentally stumble into brilliance. This guy makes some of the goofiest sounds that funk and jazz have ever imagined somehow feel endearing. I’m also pretty impressed by how distinct his sound is. I mean, considering how radically uninformed on this sort of style I am, it kind of blew my mind that I could instantly go “this guy must have wrote the bass lines to Wesley’s Theory“. I think Drunk is an incredibly well-craft work masked behind a delicious veil of comedy. And it’s given us such eloquent 21st century mottos as “thank god for technology, because where would we be if we couldn’t tweet our thoughts?”

6. Krallice – Loüm

post-black metal

Sample track: Etemenanki

If Go Be Forgotten offered Krallice’s most deranged opening melody to date, Loüm might take the prize for their heaviest boot in the ass. Etemenanki hammers down all the brutality of a headbanger’s wet dream from the first note without budging an inch on Krallice’s classic eclectic tremolo noodling. I don’t think I’ve wanted to just open my mouth and shout “fuuuuuuuuuuuuuuuuuuuuuck” to a Krallice song this bad since Inhume. As with Go Be Forgotten, there’s a serious question of whether the album as a whole is really that great or if the opening song just carries it, and that’s not to knock the rest so much as to say that by Krallice’s ridiculously high standards I think it might have some mediocrity. You can never really tell with most Krallice songs until you’ve heard them four dozen times. It’s complicated, intricate shit that your brain doesn’t instinctively unravel. My gut tells me that Loüm will keep on growing on me in a way that Go Be Forgotten may struggle to, and I was right about that with Prelapsarian’s incredibly late release last year. (Yes, it is amazing.) The only lasting down point about Loüm for me is, surprisingly, the addition of Dave Edwardson (Neurosis, Tribes of Neurot) on vocals. He does a killer job, but I am shamelessly in love with Nick McMaster’s vox and can’t help but miss them.

5. Mount Eerie – A Crow Looked at Me

folk

Sample track: Crow

Phil Elverum’s wife died last year, and he wrote this album. It’s artistically significant for reasons that are pointless to explain, because I think you will either already get it or it will fundamentally conflict with whatever life coping mechanism you personally subscribe to, and both are fine. It matters to me more than other albums about death because we appear to share roughly the same world view. It isn’t my favorite album of the year because it can’t be.

4. Godspeed You! Black Emperor – Luciferian Towers

post-rock

Sample track: Bosses Hang

I somehow managed to ignore the rebirth of GY!BE in spite of being entirely aware of it, and this is the first album I’ve listened to by them since Yanqui U.X.O. fifteen years ago. In the meantime, I’ve become an avid consumer of Silver Mt Zion, and after that long of a break it’s easy to forget just how different the two projects were. I’m at a loss for words to properly describe how I feel about Luciferian Towers because I have nothing remotely current and similar to compare it to. “Bosses Hang” and “Anthem For No State” are both absolutely mind blowing, and I usually skip the first and third tracks and don’t even care. This is the greatest band in post-rock being exactly that.

3. Kendrick Lamar – Damn

hip hop

Sample track: DNA

Every time I saw this album top another year-end list, I wanted to move it further down mine. It doesn’t move me on an emotional level like To Pimp a Butterfly. It’s not Kendrick’s greatest work. Can it really be the best of 2017? But every time I revised my year-end list, it just kept moving up instead. Everything he touches has a subtle finesse to it. I love the sound of his voice. I love the way he weaves it into the instrumentation flawlessly. I love how every aspect of each song seems painstakingly tailored to suit the intended vibe. I can just really get into this from start to finish time after time with zero effort. It was my 2017 fallback the grand bulk of the times I wasn’t in the mood for something dark or heavy. This album makes me feel empowered every time I put it on with no cheap sense of escapism attached, and god did I need something like that.

2. Boris – Dear

drone/doom/psych/post-rock

Sample track: Dystopia (Vanishing Point)

Wow. This is 16th year that I’ve compiled a year-end list. For the grand majority of that time, I would have named Boris in my top 5 favorite bands if you asked me. During that time, they’ve put out 53 releases just that I have managed to acquire. And not one has earned my #1 slot. Smile came so close. So close. And now I’m saying it again. I almost feel guilty leaving Dear at #2. It was never dropping any lower. But if you’re at all familiar with it, this might sound generous. Dear is nowhere near their most well-received album. It is absolutely nowhere near their most accessible. Doom and drone at its core, it’s a slow drip grind that will leave all but the most steadfast fans bored out of their minds on first encounter. Yet I somehow managed to listen to it close to 50 freaking times. It wasn’t that I liked it at first. I kind of didn’t. But the mood was right. It hit that sweet spot between ambience and melody that made it never quite dull enough to bore inherently but never quite memorable enough to bore through familiarity. It was dark but it wasn’t morbid. It was just the right sort of fuzz to make me feel more alert without distracting me. And it was through that extremely passive but relentless pattern of listening that its finest moments slowly revealed themselves to me, raising the bar higher and higher, until now it blows my mind that a track like Dystopia (Vanishing Point) could have failed to sweep me off my feet on first encounter. It certainly manages to every time now, on take number one hundred and god knows what. This isn’t my favorite Boris album, but I suspect it’s much higher up there for me than for most fans, and after a very great deal of consideration it only failed to take the title by a fraction of a hair. Oh, I also got to watch them play it live in its entirety. 😀

1. Sun Kil Moon – Common as Light and Love are Red Valleys of Blood

Americana

Sample track: Lone Star

The grand prize goes to Sun Kil Moon. I think this might be for me what Pure Comedy has been for a lot of other people this year. It just speaks to so much I’ve been feeling in 2017 in a way I can completely relate to. Mark Kozelek takes half of the stuff I’ve been making enemies spouting all year and sets it to solid American folk music. He has a blue collar political perspective that offers no compromise for our “total fucking asshole” President but takes far more cutting hits at liberal America’s zero-attention-span reaction-click-and-move-on culture for allowing the country to fall into this state. The album is a two hours and ten minutes meandering disjointed travel through personal stories and monologues that reach all over the place, but underneath it all is a consistent love and appreciation for the bonds we share in our meager little lives, and an intense compassion for those who have permanently lost them. If he comes across as cranky, he’s just pissed at how many Americans have lost sight of this.

Previous years on Shattered Lens:

2011 / 2012 / 2013 / 2014 / 2015 / 2016

My Top 10 Albums of 2016

Posted on by necromoonyeti

*taps the mic*

This thing still work?

Hi! Yeah, I exist. It’s been a busy year.

For one thing, the lovely Ms. Phoebe Lucille was born on June 29th. 🙂

A two year old and a six month old do not make for many leisurely afternoons exploring new music, and besides that, my competing addictions to Forum Mafia and Overwatch have consumed virtually all of what little free time I have. Suffice to say, I’m not exactly well informed on music in 2016. In fact, I can’t name 10 metal albums that came out last year off the top of my head, so my traditional top metal list just isn’t going to happen.

But I’ve been posting some sort of year-end music list every year since 2002, and I’ll be damned if I let ignorance stop me. So here goes nothing:

10. Krallice – Prelapsarian

Prelapsarian was released on December 21st. I didn’t find out about its existence until quite recently, and like every Krallice albums, it’s going to take a good 30 listens to fully appreciate. But after a few early spins I can confidently say that it’s good, and because it’s Krallice, that probably means I’ll be kicking myself half a year from now for not giving it my #1 slot. My initial take-away is that the band has continued to pursue the more mathy/avant-garde approach they took on Ygg Huur in place of the progressive opuses of their first four albums, and while that might not make for the same degree of eternal replay value, they’re still the best in the business at what they do. I could argue that I liked the Hyperion EP released earlier this year more, but that’s hardly fair given the amount of time I’ve had to listen to Prelapsarian. I’m going to err on the side of reason here and say this album will be firmly cemented in my top 10 of 2016 a month from now.

9. Martröð – Transmutation of Wounds

Is it another cop out to include a 16 minute EP in my year end list? Maybe. Whatever the play time limits, Transmutation of Wounds takes me on a pretty diverse and chaotic ride. In a lot of ways it felt like a more complete work to me than many full length black metal albums I heard this year, because it’s always going somewhere. The destinations aren’t particularly inviting, but they’re consistently fascinating. A solid debut from a band that could really kill it if they put together a full length album.

8. Skáphe – Skáphe²

This one is a brilliantly discordant and meandering take on black metal. It borders on unlistenable for all the right reasons, and leaves me feeling a little sick to my stomach every time I give it a spin. I suppose that doesn’t sound like a compliment, but it’s an artistic accomplishment that really very few bands out there can pull off. I mutually adore and abhor it. On an amusing note, I just realized as I was writing this that the line-up includes members of Misþyrming and Martröð. Misþyrming’s Söngvar elds og óreiðu would have easily made my 2015 list if I hadn’t only discovered it this past January, and I placed Martröð one slot up, so at least my tastes are consistent. <_<

7. Sumac – What One Becomes

I need to get off my ass and buy a physical copy of this album. Post-metal god Aaron Turner finally found a worthy follow-up to Isis when he joined forces in 2015 with Nick Yacyshyn and Brian Cook to create The Deal, a sludgy masterpiece that might be what Isis would have sounded like had they tied a brick to every guitar string. The Deal has been my go-to album for car rides for quite a while now, and it’s hard for me to compare its quality to What One Becomes because I’ve only ever listened to the latter at home. But I’ve heard it enough to know it’s excellent, and it’s only going to keep on growing on me in years to come.

6. Radiohead – A Moon Shaped Pool

I don’t suppose this needs much explanation. Half a year ago, I might have considered it for my top choice of the year. Sitting here right now, I can’t honest remember any of the songs besides “Burn the Witch” and the absolutely beautiful revision of “True Love Waits” without putting the album on to remind myself. That’s been the simple difference for me between post-Hail to the Thief Radiohead and all that came before. I love it when I’m experiencing it; I can’t really remember it a few weeks removed. But it’s more a testimony to Thom and company’s longevity that the music they released in 2016 still earns an easy placement in my top 10 of the year.

5. Run the Jewels – 3

This is where my list is going to start getting a little unconventional to people who’ve known me for a long time. I was really into Anticon back in the early 2000s (I gave Buck 65’s Secret House Against the World my #1 slot in 2005), but by and large hip hop has remained one of those genres I massively respected but never really got around to expansively engaging. Kendrick Lamar’s To Pimp a Butterfly in 2015 hit me hard enough to affect a more lasting change in my listening habits. I listened to more hip hop than metal in 2016. So there’s the preface.

When I say I don’t know hip hop though, I mean it. El-P and Killer Mike were nothing to me but names I’d heard people mention a million times before I picked up this album. I can’t compare this to their past albums. I can’t speak from experience. I can’t even talk about its appeal over time, because this album just dropped on Christmas Eve. But it hit me for all the reasons I was digging Aesop Rock this time 15 years ago, and in a year when hip hop was my go-to genre it was the perfect album to close things out.

4. Danny Brown – Atrocity Exhibition

That was the easy part. Now it gets hard. The rest of these could go in any order. They’re so mutually different that I don’t really know where to begin in ranking them. So I’m going to do the stupid thing and put the album I’m most likely to love longest at the bottom of the pile.

Is this the most intelligent album of 2016? Probably. I don’t have to be well versed in a genre to recognize a piece of art when I see it. Atrocity Exhibition shows extreme attention to lyrical and musical detail in crafting its grim cautionary descent into drug abuse and street violence. Brown pulled together a collection of sounds that projected his vision in astoundingly visual ways. No one should ever realistically be able to rap to this, but he managed to lay his eccentric and expressive voice over top of it anyway. It’s one of those packages that takes extreme care to ensure that it’s barely holding itself together at any given moment. If I was strictly picking the “best” album of 2016, Brown would be my boy, but what good is a year end list if I can’t kick myself for how stupid my ordering was afterwards?

3. Deathspell Omega – The Synarchy of Molten Bones

Besides, metal has always hit closest to home for me. It’s the sound I find easiest to embrace, whatever its abrasiveness, and once again France has served as the source of its finest cuts. For better than a decade, friends whose tastes I trust have been praising Deathspell Omega, but I could never quite catch the hype. That changed this year. Far and away my favorite metal album of 2016, The Synarchy of Molten Bones is a complex and captivating black metal masterpiece that’s really perfectly mixed to bring out the robustness of their sound in a full and fleshy way. The song progression is delightfully abstract without ever teetering into the abyss of wankery. A lot of its success stands on their ability to remain relentlessly aggressive no matter how far they delve into experimentation. Too obscure for me to ever fully wrap my head around, I’ve put it on more than 50 times expecting the sort of bore that excessively abstract metal tends to convey on me, and every time I’m just immediately swept away, not fully cognizant of what my ears are hearing but thoroughly in love. These guys crafted an exceptional album on their own, but they owe their studio staff a lot of respect for delicious production too.

2. Bon Iver – 22, A Million

From here I’ve got to vote with my heart, and that begins with the 34 minute heartbreak that is 22, A Million. This album reminds me more of Lost in Translation than of any particular album. It’s packed with disjointed vignettes that don’t serve an apparent purpose towards progressing the album. They often start or end abruptly. It almost comes off as a compilation of half-finished works that got mashed together in an abbreviated 34 minute package with all the meat left behind, but I think it works well that way. Fleeting moments of digital indie folk that always manage to feel simultaneously depressed and comforting–the end result is something beautiful. I put my kids to sleep with it at night.

1. Chance the Rapper – Coloring Book

I’ve been trying my hardest to overplay this album for ten months now, but it just won’t grow old. I don’t know if past artists have incorporated gospel into hip hop to this extent or not, but if they’re half as effective at it, lead the way. I don’t have to share Chance’s religious beliefs to find this album entirely uplifting from start to finish. It beams positivity from end to end without any of the pop sunshine and flowers that turn me off to the vast majority of “happy” music. Chance is at his best when he’s passionately and arrogantly busting out religious lines (and he kills it just as hard on Kanye’s “Ultralight Beam”, whatever I think of the rest of that album). That’s the focus for the grand bulk of this work. It’s not perfect by a long shot. Where he diverts to more worldly themes, he’s often shallow and cliche. “All Night” for instance is really fun to jam along to but leaves me feeling more than modestly cheated on the lyrical front.

But I don’t really care. I fell in love with the spirituality of this album right from the get-go, and close to a year later it still brightens me up every time I put it on. It won’t go down among my top albums of all time, but it earned its place as my favorite of 2016.

Previous years on Shattered Lens:

2011 / 2012 / 2013 / 2014 / 2015

Previous Entries In The Best of 2016:

  1. TFG’s 2016 Comics Year In Review : Top Tens, Worsts, And Everything In Between
  2. Anime of the Year: 2016
  3. 25 Best, Worst, and Gems I Saw In 2016
  4. 2016 in Review: The Best of SyFy
  5. 2016 in Review: The Best of Lifetime
  6. 2016 in Review: Lisa Picks the 16 Worst Films of 2016!

My Top 15 Metal Albums of 2015

Posted on by necromoonyeti

Fourteen years posting a year-end list somewhere, and the rule never changes: odd-numbered years produce more good music. Thankfully, we just concluded 2015. 🙂

15. Deafheaven – New Bermuda
14. Peste Noire – La Chaise-Dyable
13. Mgła – Exercises in Futility
12. Veilburner – Noumenon
11. Botanist – Hammer of Botany

10. Enslaved – In Times (track: Building With Fire)

It’s amazing that after 24 years and 13 studio albums, Enslaved still routinely make it into my year-end top 10. They have continually evolved without letting go of their black metal roots, and the consequence lately has been a long stretch of memorable, prog-rock infused releases that keep up with the times and never grow stale no matter how often I resurrect them. If In Times won’t stick with me quite so permanently as Vertebrae in 2008, it still achieves everything I’ve come to expect of them lately and has managed to entertain me more than the vast majority of other albums I have heard this year. I think I have a bit of a subconscious inclination to prioritize newer bands, but #10 was as low as I could justify dropping this one.

9. Krallice – Ygg Huur (track: Wastes of Ocean)

Like any Krallice album, Ygg Huur takes dozens of listens to ingest. What struck me at first as a rather disappointing, spastic blathering of sound comes together much more coherently if you give it its due time. That being said, it is still a sharp break from their previous four albums, and it lacks that element of progression and overarching vision that has traditionally made this band, for me at least, infinitely repeatable. (I have listened to Krallice more than any other band in my life by a large margin, and they only came into existence in 2008.) Ygg Huur is a brief an meandering mood piece that does not, perhaps, maximize the band’s song-writing talents, but I’ve enjoyed it plenty never the less. More avant-garde than post-black metal, am I allowed to love it and still hope it was just a one-time experiment?

8. Ghost Bath – Moonlover (track: Golden Number)

This is a pretty gorgeous post-black metal album that I’m surprised more sites haven’t picked up on for their year-end summaries. It lacks a touch of refinement that might have earned it higher standing, but the song writing is fabulous. Moonlover delivers a well-rounded package of post-rock infused metal that seems to pay a good deal of respect to Alcest and Amesoeurs, but their undertone is bleak and depressing. It’s a sad album in a way that makes me think of Harakiri for the Sky’s Aokigahara last year, but peppered with little bursts of joy that will bring a smile to your face.

Oh yeah, metal’s not supposed to make me smile. Check.

7. Sumac – The Deal (track: Thorn In The Lion’s Paw)

I never really got into Old Man Gloom. Make what you will of that. The Deal certainly wasn’t Aaron Turner’s most well-received album, but I personally enjoyed it more than anything he’s contributed to since Oceanic. A lot of that has to do with Nick Yacyshyn’s brilliant mastery of the drum set, but I also feel like Turner’s chugging out riffs that really sink into my head more than I’m used to. It’s like a doom metal reinterpretation of Isis, albeit with less progression, and I love the subtle stylistic diversity he brings to the field on this one. It has moments that remind me of everything from black metal to Converge. (And it probably wins this year’s ‘most listened to in my car’ award. <_<)

6. A Forest of Stars – Beware the Sword You Cannot See (track: Virtus Sola Invicta)

Beware the Sword You Cannot See is one of the most eclectic albums I have heard in a long time that I still managed to really enjoy. If I could begin to put a finger on how to describe it, I would have reviewed it ages ago. Black metal at its heart, it weaves a wild mix of strings and spoken word and avant-garde breaks around that core. I like it, quite a bit, and I think the vocals and lyrics (at least, what I can make of them) might be its strongest selling point. I really don’t know what to say about this album. Hear it for yourselves, and be prepared to give an attentive listen–possibly many–if you want to soak it all in.

5. Blind Guardian – Beyond the Red Mirror (track: Grand Parade)

It’s pretty hard to measure the worth of an epic power metal band on a list that is heavily dominated by innovative new styles of music. I don’t think I would have felt entirely comfortable with my positioning of this album no matter where I put it, but I tried to make the cutoff a sort of drifting point between albums that really made me reflect and albums that I just really enjoyed, because there’s never going to be a particularly deep hidden truth to a Blind Guardian track, but they’ve proven a dozen times over to be the ultimate kings of all fantasy-themed music. In the broad scheme of BG’s vast discography, I would probably place Beyond the Red Mirror fourth, after Nightfall in Middle-Earth, At the Edge of Time, and A Night at the Opera. That translates roughly to: it’s awesome.

4. Bosse-de-Nage – All Fours (track: A Subtle Change)

Am I a little biased since I got my initial rip of this direct from frontman Bryan Manning? Probably not, but in my weird little world that’s still a bragging point. 😉 Like Cara Neir’s Portals to a Better, Dead World in 2013, All Fours takes everything I love about screamo and turns it into post-black metal. This might be a coincidence. I’m pretty sure the band claims no direct screamo influence (don’t quote me on that), but the consequence is the same. These guys have worked their way into the top-tier of bands pushing metal in new directions today, and, more so than their previous albums, All Fours really strikes me as a well-rounded composition that possesses the maturity to fully deliver its vision. And Manning has a way with lyrics that’s… well… you just have to read them.

3. Obsequiae – Aria of Vernal Tombs (track: Orphic Rites Of The Mystic)

When I first heard Obsequiae, it was one of those rare moments where I went a-ha, you are that band that’s going to pioneer the style I have always desired but been too inept to create myself. I can guarantee you without much doubt that, of all of the albums of 2015, Aria of Vernal Tombs will find its way into my playlist the most for the longest period of time. Ten years from now, I will probably still be listening to this album when its competitors are all but distant memories. Like Summoning, they fit a unique mood for me that no other band has really begun to approach. (Perhaps Opeth’s Orchid crosses into this terrain, briefly and insufficiently.) A collection of captivating medieval melodies that press themselves upon you by-and-large through euphorically well-mixed guitar and bass (the bass on this album is absolutely gorgeous) rather than traditional instrumentation… my god, I’ve been waiting so long for a band that sounds like this, and they’re easily my favorite new discovery of the year.

2. Panopticon – Autumn Eternal (track: The Wind’s Farewell)

It’s amazing to think that, in the absence of one album this year that won my heart in a landslide, Panopticon could have taken my #1 slot in 3 out of the last 4 years. To put it bluntly, Autumn Eternal is Austin Lunn’s best album to date, and Austin Lunn is arguably the most accomplished metal artist of the 2010s. An incredibly versatile musician who can sample uninhibited from the melting-pot of styles that is post-black metal, Lunn’s newest offering is a mindblowing amalgamation of post-rock and black metal that leaves the more popular bands of this persuasion choking on his dust.

1. Liturgy – The Ark Work (track: Kel Valhaal)

What can I say…. it didn’t make Pitchfork’s top 25? I will probably look back on The Ark Work as one of the most underrated albums ever recorded, and I think its merits have more in common with Radiohead than with anything that has ever derived from heavy metal. It constantly threatens to collapse into a blundering mire of amateur garbage, from the excessive bell tones to Hunter’s marshmallow-mouthed rap vocals. This might be the turn-off for so many listeners, but it is necessary, and the key to this album is in how Liturgy always manage to somehow hold it together. It’s the musical equivalent of your kindergartener handing you a crayon scribble that, on second glance, turns out to be a Picasso.

On Aesthethica, Liturgy explored a very explicit reinterpretation of black metal that found quite a bit of inspired company among bands who were beginning to recognize and explore the similarities between black metal and post-rock. That album helped to define a movement, but it only achieved the band’s vision in a very direct sort of way: through rhythm and melody and progression. The Ark Work nails Hunter’s vision home with an extremely more robust and precise pallet, bringing lyrics and glitch effects and atypical instrumentation and a totally unorthodox approach to metal vocals into the fray. If you listen to a track like “Vitriol” and can barely take it seriously, that’s part of the point, but barely is the key word. Every risk and gamble they take ultimately works, and I am unabashedly unashamed to blare Hunter’s trap beat ‘occult rap’ at max volume out my car stereo. 😀

You might listen to The Ark Work and hear some childish clusterfuck, but I hear absolutely brilliant attention to detail–a musician completely in control of the degree to which his work teeters on the brink of nonsense. Top 20 all-time contender? I could go there. Leave your fear of speaking too fondly of Hunter Hunt-Hendrix at the door and just embrace this album with the assumption that he knew exactly what he was doing. You won’t be disappointed.

Previous years on Shattered Lens:

2011 / 2012 / 2013 / 2014

Review: Bosse-de-Nage – All Fours

Posted on by necromoonyeti

Bosse-de-Nage (pronounced something like “Boss De Nazh”) are a four-piece band from San Francisco. They pumped out their first three albums in a span of three years, between 2010 and 2012, and then took their time getting this one together while cultivating a friendship with Deafheaven that lead to a split 12″ and some enhanced name recognition. All Fours was just released via Profound Lore Records last week, and any serious student of extreme music owes it to themselves to check it out. Just when I thought nothing in 2015 could be more stylistically unorthodox than Liturgy’s The Ark Work (ok, that claim probably still stands), Bosse-de-Nage turn up with an album that’s going to leave me scratching my head for a long time to come. What’s so interesting about All Fours is that you can walk away with a totally different impression of what the band is doing depending on your personal musical background.

Track: At Night

The album kicks off in post-metal mode, ebbing and flowing through a brooding, pessimistic mire beneath Bryan Manning’s desperate screams. Two minutes and change in, the song transitions to the sort of pounding fuzz that might call to mind Converge’s “Jane Doe”. As things continue to change, you get the feeling that it’s progressing towards an ever more desperate state. Black metal seems to play a major role in that intensification, with earlier passages reappearing in a more tightly packed onslaught of notes. The ending, for instance, revisits that Jane Doe sound, but the once cymbal-centric drumming is now competing with blast beats. “At Night” is a song in constant flux, and it could have been an erratic mess, but instead it’s strikingly fluid. Bosse-de-Nage manage to keep a thread of accelerating emotions taut throughout the long chain of ideas and influences that comprise it.

The next song, “The Industry of Distance”, sends a similar message. A simple, clean guitar lick repeats over bassy feedback for the better part of two minutes. Drums sneak up into a slow roll to cue distorted drawling guitar chords, and soon the song explodes in one of those beautiful melancholy post-black metal anthems we’ve been growing accustomed to. Instead of lightning quick tremolo and blast beats though, the drum and guitar initially seem to execute at half the frequency while Manning screams in his uniquely heartbroken style. It creates a sort of oscillating effect for an ear expecting black metal, every other note appearing to be missing. This eventually fills out into full speed tremolo and blast beats to complete another build-up through higher stages of emotional breakdown.

That’s my general metal take on All Fours. While a lot of what we’re calling post-black metal today diverges melodically from the genre’s origin, Bosse-de-Nage go further in exploring the techniques that characterize it. The drumming especially diversifies the package. Tremolo guitar and blast beats signify climaxes in a post-metal progression rather than perpetual constants, and a lot of care is given to make the development taking us there feel natural and captivating. Instead of the instant gratification of say, Liturgy or Krallice, Bosse-de-Nage effectively tap that post-rock tradition of “building up” to it.

Track: Washerwoman

That is probably a more accurate approach to understanding this album, because the band is firmly rooted in black metal. Manning at least has stated that he’s never heard of a lot of the other bands Bosse-de-Nage has been compared to lately. But the more this band diverges in technique from black metal, the more they find themselves labeled screamo and post-hardcore. If you’re familiar with that world of music, it’s a pretty fascinating truth. When bands play with the framework of a classic style, the boundaries of genre dissolve. Yes, “Washerwoman” could easily pass as a post-metal/black metal hybrid. Around the two minute mark it begins to sound strikingly similar to Isis. When the song breaks at four, they could be toying with black metal guitar by letting some of the notes ring out–a precursor to the proper bm onslaught that comes at five. But is that what you hear? Or do you hear a song straight off A Dead Sinking Story by Envy, peppered with spoken lines a la Indian Summer? It depends on where you’re coming from.

Envy-worship is actually how my brain interpreted “Washerwoman” on first listen, and I made immediate associations with other screamo acts throughout the album. I am not alone here. In the early reviews I’ve found so far, this album has been compared to Orchid, City of Caterpillar, Heroin, Moss Icon… Almost every track on All Fours feels extremely influenced by screamo. But it is not. It’s the same sort of thing that happened with Neige on Le Secret and Souvenirs d’un autre monde, when the pioneer of “shoegaze black metal” came out that he didn’t have a damn clue what “shoegaze” was.

I first mentioned screamo and black metal in the same sentence when Drudkh released Microcosmos (2009). “Ars Poetica”‘s climax screamed Orchid and The Kodan Armada and a half dozen other names to me as it slid up and down the neck with drum accents to punch it home, introduced by that classic clean guitar over tense, snare-centric drumming. Deafheaven’s Roads to Judah (2011) resurrected the idea, and Portals to a Better, Dead World (2013) by Cara Neir ultimately sealed it, making black metal screamo crossovers a certain reality. But was there any actual direct influence in any of these cases?

I used to think there was, and I know that Liturgy at least has a post-hardcore background, but any of these bands might have landed on their sounds totally independently. All Fours really sends that message home to me. It’s a window into natural affinities between genres. When Bosse-de-Nage break down the components of black metal into longer, more ringing tones while maintaining that post-bm sense of desperation, they are essentially playing screamo, and the way they seamlessly fuse it back into black metal instrumentation uniquely highlights the similarity. They’re playing post-black metal by definition, but in their approach the two styles are totally indistinguishable save through the cultures surrounding them. When a band can give me a new perspective on an entire genre of music, hey, that’s pretty cool.

Track: The Most Modern Staircase

Of All Four‘s seven proper songs, I am sold on all but “In a Yard Somewhere”. Each builds its way through catchy melodies and interesting stylistic digressions to a convincing emotional climax, and they do it differently from what I have heard before. That it is unique is obvious by the fact that so many people are tossing around band names from way outside of the box in an effort to define it. But there is one other hidden gem in Bosse-de-Nage that stands them apart from the crowd: the lyrics. Bryan Manning has an impeccable flare for the grotesque. From facepalm punchlines about poop and hookers, to really disturbing tales of insanity, to poems that make no discernible sense whatsoever yet pretend to hide some esoteric truth, nearly everything he writes is a ride in itself, independent from the music. Their previous album, III, defies any attempt I could make to describe it, and you should really just go read it all right now. Whether he’s meditatively contemplating a contortionist entering a box or explaining why turning yourself into a human tree was a bad idea, the wording is totally surreal.

The lyrics on All Fours are a little more difficult to decipher, because the stylized sleeve included with the album, for all its artistic appeal, is kind of hard to read. You lose focus trying to dig through it. But The Most Modern Staircase struck me most when I first skimmed over them, and knowing what he’s screaming (not the sort of emo laments his tone of voice might suggest) really enhances the music for me:

I traveled to the province of staircases. The great variety of balusters, railings, finials, and steps filled me with awe. Many looked welcoming, while others were intentionally obscured or blocked up, and some were decorated with vibrant warnings to anyone who might ascend. I found the most modern-looking staircase and climbed. After a while, I stopped on a landing to rest. This extraordinary landing was home to dozens of living statues–obsequious stone gods begging for spare hands. As I explored, a loud commotion with historic consequences occurred somewhere behind me. When I looked back, there was a curtain drawn around the event. I turned to the statues for answers, but they remained inert and silent, their jagged stumps eager for relief.

All Fours: another formidable stalwart in a year that’s been crammed with way more stellar releases than normal. Pick up a copy on Profound Lore Records.

Review: Ghost Bath – Moonlover

Posted on by necromoonyeti

Gimmicks don’t always work out as intended. When I heard that Ghost Bath were not, as they once claimed, Chinamen from Chongqing Municipality, but rather well-mustached American hipsters, I believe my first question was “who?” But if this band’s efforts to fool fans before they actually had any comes off a bit less clever than stupid, my negative points end there. Moonlover is a pretty interesting work from its cover all the way to the closing track. Hailing from the far more obscure and frostbitten wasteland of North Dakota, Ghost Bath have forged a really solid sophomore LP that should stand among the better metal albums we hear this year.

Track: “Golden Number”

After a brief, haunting intro track that definitely lends credence to their name, Moonlover makes an awkward but forgivable transition into a really uplifting number that has everyone on the internet comparing them to Deafheaven. With one of those explosions of emotional, half-heartbroken half-triumphant post-black metal glory that sounds more familiar every year, followed by a kind of punk lick underlined by passionate, poppy drumming straight off Amesoeurs’ Ruines Humaines and unearthly vocal shrieks, “Golden Number” is certainly in line with the trend of the day. It kind of feels like someone drug Woods of Desolation out of their basement and shoved them into a top-notch recording studio, and yes, the comparisons to Sunbather have their merit too. But if Ghost Bath are not necessarily pioneers, they are definitely refining the machine.

Much like post-rock, where you had a whole bunch of totally distinct bands making waves while everyone else ripped off Mono–and we could hardly complain about that–post-black metal is definitely developing a “standard” sound. “Golden Number” is that sound to a T, and I absolutely love the clarity with which Ghost Bath pull it off. This is a genre born of static noise. It was the realization that you could invoke a lot of emotion by hiding something pretty in an aural cesspool that really kicked off the scene, and even Deafheaven’s “Dream House”, for all its ability to swoon foreign audiences, was really heavily distorted. The noise carried the passion, but it was also limiting. Moonlover is a surprisingly clean album, and because of it the band can do subtle things that I don’t often hear. The tremolo at the beginning of “Golden Number”, for instance, is complemented by a second, barely audible guitar that’s tapping instead of picking. Maybe post-bm has gone that route before, but if so I never noticed it. The clarity on this song, at least relative to its genre, allows me to detect these things, and the end product feels so much more full of life for it.

“Ghost Number” ends with two minutes of piano, and “Happyhouse” picks the metal back up with a totally different feel from the song before it. Three minutes of melancholy plodding lead into a fresh vision of that ghostly guitar we heard in the intro track, and Dennis Mikula treats us to more of his otherworldly screams. Amesoeurs again comes to mind, and I have to believe Neige was an inspiration on this band in more ways than one, but to me Mikula’s vocals sound most reminiscent of Ygg, a short-lived but brilliant Ukrainian trio featuring former members of Nokturnal Mortum and Helg from Khors. “Happyhouse” erupts into black metal for only a passing burst of intensity before returning to its moody plod. Post-rock guitar ultimately defines the song’s direction, while Mikula’s outstanding vocal performance brings the depth. “Happyhouse” could be a cookie-cutter bore, but the band’s keen execution and knack for making their short repeated phrases consistently catchy turns it into something I can really embrace.

10 minutes go by before you hear another ounce of metal, but I would hardly call it a wait. “Beneath the Shade Tree” and “The Silver Flower pt. 1” are both dreamy guitar-driven visions of forests and streams, feeling perhaps a cross between Agalloch and Alcest. The nature effects on the latter track especially brought to mind the intro and outro to Alcest’s “Le Secret”, though I’m sure you could name a dozen other bands that might have played an influential hand here. The origins are quite irrelevant; these two songs only beg identification because they are so vivid and beautiful. The sound is ultimately the band’s own.

Track: “The Silver Flower pt. 2”

When Moonlover‘s heavier half does return, it feels infused with the spirit of the instrumental tracks before it. “The Silver Flower pt. 2” floats along with no edge to speak of beyond the first minute, drifting on the dream that came before. If it weren’t for Mikula’s persistently tormented vocals–a bit out of place now, I must admit–it could pass as a moody but up-tempo rock song. The style feels strikingly familiar, yet I can’t put a finger on it. It’s sort of equivalent to how Katatonia were playing around with the metal sounds of their day in the late 90s, and it calls the whole “black metal” label for this band into question. Moonlover incorporates so much more, riding a dozen different stylistic approaches to take us on a journey. We started out with a burst of passion–a sense of fulfillment and life–on “Golden Number”, then road down a path into depression with “Happyhouse”. The commune with nature in “Beneath the Shade Tree” and “The Silver Flower pt. 1” revitalizes, moving the album from positive and negative extremes to an even-keel, smooth ride on “The Silver Flower pt. 2”. The final track, “Death and the Maiden”, sort of brings us around in a circle. The equilibrium of “pt. 2” picks up its pace here, growing in excitement until the return of a black metal sound breaks it. We’re back to highs and lows, and we end on the latter. The album trickles out in a dark depressing grind back into the haunting sounds of the introduction, and that opening melody repeats, now made even more ghostly through a synth whistling tone.

I like it. Moonlover feels like a complete package, flushing out a musical narrative that consistently develops from track to track. It might not match up precisely to the picture it painted in my mind, but a progression is definitely there. Ghost Bath refuse to restrict themselves to one genre, incorporating a wide array of styles into a really coherent whole. The drums are tight, the guitarists can pull off some neat noodling but know when to keep it simple, and the album is book-ended by its two best tracks. I don’t think it would have hurt Dennis Mikula to chill out on the screaming for a bit on “The Silver Flower pt. 2”, but over all I love his vocals. There’s not much I can complain about. And since I want to start making a point to link where you can purchase the albums I ramble about: go adopt a moon on Bandcamp.

Review: Liturgy – The Ark Work

Posted on by necromoonyeti

You know those last thirty seconds or so of a rock concert, when the guitarists start grinding tremolo on the final note while the drummer pummels out a solo? Then the instruments all coalesce and everyone hits two triplets together, declaring “the end” triumphant into your ears? Yeah, then you have a basic idea of what Liturgy sounded like four years ago. Aesthethica reveled defiant on the brink of collapse, a Dionysian exploration of adrenaline that twitched and sputtered in vibrant light. We may still be a long ways from “black metal” conjuring to mind anything but corpse paint and Satan to the average music fan, but the gales of a paradigm shift have tossed this genre into such a frenzy that even the novelties of 2011 can seem ancient today.

(Liturgy’s record label, Thrill Jockey, has rather bizarrely opted to remove all but two tracks from Youtube, as if silence sells an album. You can still listen to The Ark Work on NPR at this link, thankfully, and I recommend checking out the first three tracks/13 minutes–Fanfare, Follow, and Kel Valhaal–followed by Reign Array to get a good feel of the album.)

An assessment of this album could go off on a hundred tangents, and I don’t think that the band would be averse to discussing any one of them. The most standard response seems to be instant revulsion. A lot of big name critics have given it abysmal ratings of 2 or 3 out of 10–slightly lower than Morbid Angel’s Illud Divinum Insanus–following a brief write-off of the album as an attempt to troll us. A few others will point out how the band’s music has managed to ruffle a lot of feathers, and then leave it to the listener to hash out. Both are valid cop-outs that don’t really provide the slightest bit of context for the oddity before your ears.

In a review a few years ago, I wrote off L’Ordure à l’état Pur by Peste Noire as a “troll” album. With its chicken clucks, farts, belch beats, and sound samples of scat pornography, I was not completely off the mark. But I missed the context: a critique of modern-day France that was at once scathing and brimming over with nationalism, embracing and mocking the same things from subtly different angles. The music was actually quite excellent, as Famine’s compositions always are, and it took a special sort of intelligence to bring together revolting sounds into an appealing musical narrative. But the quality was not spoon fed to you. You had to want to find it.

There is nothing quite so blunt in The Ark Work, but the album definitely produces sounds that your ear will not initially be prepared to assimilate. “Fanfare” leads up to “Follow” in a development similar to the introduction to “High Gold” on Aesthethica, but here the sound of a guitar pick scratching above the fretboard has been replaced by an unorthodox merger of MIDI and real trumpets. Visions of Godspeed You! Black Emperor lifting skinny fists like antennas to heaven break to bells, and an electronic power surge suddenly propels you into a brainfuck of noise that seems to streak through your head in a ball of flame, the tremolo guitar and blast beat drums pulsating at light speed as the bells and glitch tones dissolve into nonsense all around you. The drum machine hangs in space above the dashing guitar, accelerating to drive itself back into Greg Fox’s real drums to a roar like a Roman coliseum. The cavalcade of sound is, for better or worse, something you have never heard the likes of before. And as the spectators cull blood into “Kel Valhaal”, the album moves from its raucous birth to the trance of combat. Arguably my favorite song on the album, “Kel Valhaal” is cryptic in its brutality. The perpetually repeating drum and trumpet beat crush you on every note without the slightest sign of distortion, while entrancing you in a wash of bells and glitches and folk instrumentation that I can’t put a finger on–surely that I am not supposed to be able to put a finger on. When Hunter’s vocals come in, trading off “Follow”‘s croons for rap, the album reaches a height of command you won’t hear again until “Reign Array” towards the end. I don’t understand half of what he’s saying, but my brain tricks me into thinking it is surely paramount–some threshold of enlightenment I must reach for with all of my might.

Or you might just hear noise. I did, the first time I listened to it. Jaded is the listener who can take all of The Ark Work in on first encounter. But I wanted to hear it again, and mull it over. What I had that I think a lot of reviewers lacked was proper context. Hunter Hunt-Hendrix earned a world of derision following Aesthethica when he proceeded to discuss his ideas behind the album. The guy appeared to most of the world as a sort of fascinating clown–a feminine child so high on his own farts that he would presume to declare his music its own unique style worthy of genrefication: “transcendental black metal”. He published a brief philosophical treatise on how transcendental black metal offered a higher state of music than its predecessors, and well, you get the idea. Did I mention he looks kind of like a girl? The alternative label of “trap metal” has been thrown around, and his previous band’s name was Birthday Boyz. Liturgy is a metal band, mind you. Their default audience has never been particularly noted for tolerance.

So most people reviewing The Ark Work probably either never heard Liturgy previously or thought of Hunter as an accident waiting to happen. Or maybe a troll. His pre-existing image was pretty hard to swallow. The Ark Work, moreover, claims to enhance “transcendental black metal” with “cross-fertilized hardstyle beats, glitched re-sampling of IDM, and occult-orientated rap”. …yeah… You can imagine why people have struggled on many levels to take The Ark Work seriously. People who aren’t familiar with the band turn to reviews for an explanation of what their ears fail at first to compute, and they’re told “troll” at best, given some metal meathead’s rant about insults to manliness just as likely.

But Aesthethica was not inaccessible in the sense of The Ark Work, and no amount of self-mockery negated the fact that tracks like “Harmonia”, “Sun of Light”, and “High Gold” were delightful on first listen. If you actually bother to read what Hunter wrote about “transcendental” black metal, moreover, you can see a clear connection to the music. It roughly paralleled a lot of thoughts that had been floating around in my own head since at least Alcest’s Le Secret in 2005, and the fact that Hunter Hunt-Hendrix was willing to discuss metal’s new frontier while actually pioneering its exploration told me, if anything, that he had a lot more potential than even Aesthethica let on. That album was a sort of burst of passion. I would wager that the band did not devote particularly excruciating time to its finer details, and the result was still one of my favorite albums of 2011. Through separate mediums, Hunter showed the raw capacity for great song writing and the level of reflection necessary for fine-tuning an album to perfection. Merge the two, and you have, well, The Ark Work.

Within the first few seconds of “Follow”, I was pretty convinced that The Ark Work had the potential to be breathtaking. My context for this album placed Liturgy near the top of a wealth of new bands committed to employing black metal towards post-rock ends. I expected that Hunter had crafted every last second of it with painstaking care to achieve his visions. When you listen to something in that light, it’s a totally different experience. Take the vocals. Hunter delved very little into clean vocals on Aesthethica, and where he did–“Glass Earth” for instance–the results were weak. His voice, like his appearance, came off a bit childish, and I think he just ignored that fact rather than putting it to work for him. In the spirit of that album, I can picture a rebellious attitude of affirmation: “This is what I sound like.” On The Ark Work, there’s a more intelligent design. Hunter commits to not screaming once from start to finish, and the voice he’s left to work with is in not at all appealing in any conventional sort of way. But if a central idea behind the album is to barely yet perpetually hold cohesive on the cusp of nonsense, his voice naturally caters to it. He seems to intentionally integrate that notion, controlling in each instance the extent to which we hear his voice exposed. He employs a lot of rap, and the rhythmic flow of his lyrics provide the glue around which his marshmallow mouth forms another tipping point into that abyss of absurdity. On “Kel Valhaal” he manages to project the rhythm with such force that he sounds downright commanding. On “Reign Array” he starts out reminiscent of Thom Yorke (many elements of that song inexplicably remind me of Radiohead), while as the vocal style changes in the triumphal conclusion he remains careful to continue to layer his voice just enough to avoid spoiling the exhilaration.

On “Vitriol”, easily the most divisive track on the album, Hunter exposes everything. The song merges the Aesthethica style of “Glass Earth” with a chanting rap and a fascinating combination of minimalistic percussion and sub-bass. You can understand every word he says, and a lot of the lines are so awkwardly groomed to feed the trolls that you can’t help but think he’s doing it intentionally. “Soon the ADHD kids will quiet down respectfully,” “All the girls will get into art school,” a reference to “primordial gender”… In a way, the song is a caricature of everything critics have accused Hunter of being, followed by the refrain “I turn your ashes to gold, you repay me with vitriol,” as if to say “look how much I’ve entertained you, and you have the nerve to criticize me. Psssh.” I would really like to think the idea crossed Hunter’s mind with a bit of a devilish grin while he wrote it. Yet that, if intended at all, is only a bit of an Easter egg in a song that has nothing to do with it. “Vitriol” is actually pretty cryptic and compelling. I can’t piece it together into a cohesive whole, yet each individual line seems to find a fitting notch in the puzzle. A part of me wants to believe that that is the extent of it, and the accomplishment is to leave you with this unstable understanding that feels like a cohesive message yet contradicts itself. For me at least, “Vitriol” accomplishes lyrically what the rest of the album does musically.

The attention to detail extends beyond vocals and lyrics, of course. The instrumentation is vast, delving into dozens of different sources effectively. Hunter’s electronic repertoire both destabilizes and enhances the real instruments that it frequently parallels. Greg Fox, one of the greatest drummers of this era, returns to the band to offer his brilliance, and the drum machine ties together with him nicely. I wish Thrill Jockey had not made it so difficult to share tracks, but suffice to say I highly recommend this album. It is easily the most intelligent and compelling collection of songs I have heard since Peste Noire’s 2013 self-titled, and most of the reviewers shitting all over it fully intended to before they ever heard it. Its apparent madness only strengthened their resolve. But if ever you begin to have doubts, switch to “Reign Array” and ask yourself whether a song like this can arise by accident. On The Ark Work, Hunter Hunt-Hendrix proves himself to be the musical genius that Aesthethica hinted at. And like Jimmy Chamberlin to Billy Corgan, Greg Fox completes him. So long as those two stick together, Liturgy will remain among the most elite bands in metal for a long time to come.

My Top 10 Metal Albums of 2014

Posted on by necromoonyeti

I don’t think a New Years rolls by that I don’t say something amounting to “odd-numbered years produce better music”. The trend inexplicably holds true once again. I actually listened to a good bit of new music this year–far more than I did last year at least–but when it came time to recap, my options felt… a bit lacking. The best of the best are still grand indeed, but the quality drifts away rapidly if I dig beyond a top 10. I’m pretty happy with the list I ended up with though, and I hope you’ll find something new and inspiring in the tracks I’ve sampled below:

10. Agalloch – The Serpent & the Sphere (track: The Astral Dialogue)

Marrow of the Spirit was a pretty bold divorce from everything we’ve come to expect out of Agalloch over the years, for better or worse. On The Serpent & the Sphere, the band make a return to a more direct evolution of their regular sound. The album offers a nice mix of vintage Agalloch and further dabblings into the post-rock/metal sphere. It didn’t grab me by the balls and thrash me upside the head like say, Pale Folklore or Ashes Against the Grain, but it’s definitely a solid entry in the band’s formidable discography.

9. Cormorant – Earth Diver (track: Daughter of Void)

I was a bit more critical than complementary of Earth Diver when I reviewed it a few months ago, but that mostly boiled down to the feeling that it could have done with better production. Honestly, if I don’t own the cd proper I have no business speaking of such things, because for all I know my copy is just a bit lossy. The raw songwriting on this album is stellar, and I hope to hear more out of this band in years to come.

8. Bast – Spectres (track: Outside the Circles of Time)

I am not sure where Spectres would have placed on my year-end list had I had a bit more time to listen to it, but it could only have moved up from here. I’ve only had about two weeks to check this out and make a call, but I was dead convinced that it belonged somewhere in my top 10. The freshman album by this dirty doom trio does it all, and better than your band. With ease they develop a post-rock build-up into a bassy doom dirge, bust into a stoner metal rockout, and then fuse it into some pretty sinister black metal sounds. When black metal leaks its way into headbanging rock, really awesome things happen. Case in point: “Outside the Circles of Time”.

7. Blut Aus Nord – Memoria Vetusta III – Saturnian Poetry (track: Clarissima Mundi Lumina)

A bit more down to whatever planet these guys hail from than the 777 trilogy, Saturnian Poetry is still a bizarre journey into another dimension that only Blut Aus Nord can seem to access. Its constant whirlwind of motion blasts us into a haze of celestial chaos, wherein the band’s synth chords and clean vocals command us to stare in awe and reverence. Few black metal bands on the market can claim to have forged as unique a sound within the genre as Blut Aus Nord, and they’re still breaking my brain in 2014.

6. Saor – Aura (track: The Awakening)

I tend to think of Aura as a straight-forward album that serves its purpose beautifully. Top-notch woodwinds and string paint a majestic Scottish landscape where the old gods still tread in all their glory, at one with the earth and its people. Without ever really breaching any new territory beyond the tried and true boundaries of pagan metal, Andy Marshall has managed to craft what is probably the most grand Gaelic/Celtic variant of the genre I have ever heard.

5. Boris – Noise (track: Melody)

I fucking love Boris. You know that. They could literally shit on an LP and I’d claim it shear brilliance. But thankfully, they keep pumping out one masterpiece after another instead. Noise is so layered in the band’s two decades of perpetual evolution that I don’t think you could begin to grasp what the hell is going on here if you didn’t already know half their discography by heart. It’s a little bit of everything they’ve done before all crammed together in yet another novel new way. No other band in existence sounds anything like this, and at the same time few bands have borrowed more liberally and diversely from other musical scenes than the bastion of badass that is Boris. Boris Boris. Boris! God damn, this is awesome.

4. Woods of Desolation – As the Stars (track: Unfold)

As the Stars is 2014’s Aesthethica, albeit of more modest proportions. If the obscure Welshman known simply as “D.” could append to his public image anything approaching the epic douchiness of Hunter Hunt-Hendrix, it might even be popular. (Ok, I’m one of the few people who’ve actually read Hunter’s writings and think he makes some valid points, but whatever.) This album is a bloody mess in the least figurative of ways, and it’s exactly the sort of raw sincerity that I love about post-black metal. In a new scene that divorces black metal’s brink-of-the-abyss soundscape from its machismo closet-bound harbingers, the bands that play with their hearts on their sleeves tend to touch closest to home. As the Stars offers neither the epic intensity of Liturgy nor the refined sound quality of Deafheaven, and the metal world is sure to forget it in time, but my brief love affair with Woods of Desolation will be remembered fondly. Its humble reach is part of what makes it endearing.

3. Harakiri for the Sky – Aokigihara (track: Jhator)

I hold my top three choices for 2014 in a league far above the rest. Aokigihara is an absolutely enormous bastion of sound that presses the weight of its world on your shoulders from start to finish. And that world is heavy indeed, because it is firmly rooted in reality. Harakiri for the Sky doesn’t play that tried and true metal game of glorifying violence. It shoves some real modern nightmares in your face and says “this is really, really terrible, and there’s nothing we can honestly do about it.” I can see this album attracting a “DSBM” label, which is typically shorthand for “wallowing in self pity”, but Aokigihara is the real deal. If it doesn’t leave you feeling a little sick inside, you aren’t paying enough attention.

2. Spectral Lore – III (track: The Cold March Towards Eternal Brightness)

At more than a dozen listens through this album, I am still not sure what to make of it. 87 minutes of music crammed into seven tracks is pretty hard to swallow, and to make matters worse, the first two tracks are its weakest by far. I find it next to impossible to commit myself to a full attentive listen from start to finish, and it’s not an album that offers much on the surface. Yet, I can’t escape the feeling that something really special is going on here. My mind may drift away for three or four minutes at a pop, but I am always drawn back into some beautiful synergy that dances on the brink of euphoria. 2014 might be at an end, but I haven’t finished listening to III by a long shot. I am going to keep plugging away until I’ve got it fully within my grasp, and when I do I think I might regret passing it by for the #1 spot.

1. Panopticon – Roads to the North (track: The Long Road Part 3: The Sigh of Summer)

The first time I heard Roads to the North, I was routing a rather lossy early leak through my Droid into the particularly horrendous sound system of my wife’s Mazda 6. (My 2006ish Nissan Sentra has godlike audio and the car was half the price. What’s up with that?) I definitely did not think on that initial listen that it would end up my favorite album of the year. With a properly purchased copy through my headphones, it’s easy to tell why an album as subtly mixed as this would translate to crap when pushed through crap. I am absolutely captivated by the melding of sounds on this album. It’s simply beautiful, and you couldn’t ask for a more conscientious artist to craft its folk, post-rock, black metal, and melodic death metal melodies than Austin Lunn. The lyrical and thematic content of Kentucky showed him to be one of the most honest musicians in the metal scene. On Roads to the North, he translated the spirit of Kentucky into sound. Kentucky is the album I think about. This is the one I actually listen to, over and over and over again.

Happy New Year!

Review: Panopticon – Roads to the North

Posted on by necromoonyeti

Two years removed, Kentucky has left a unique long-term impression in my mind. For all of the excitement over an authentic and well-crafted mingling of traditional Appalachian folk and black metal–the term “blackgrass” got tossed around a lot–I honestly don’t remember how most of the songs went. This is because Kentucky‘s message managed to trump its sound. I remember the old man talking about organizing strikes against the coal company. I remember Sarah Ogan Gunning’s boldly defiant calls to overthrow capitalism. I think of settlers slaughtering Indians, mountains blown into dust, rivers running black with pollution, grim-faced miners broken in body but never in spirit, a modern generation abandoning everything their ancestors worked so hard to accomplish… That is my memory of Kentucky.

Chase the Grain

I can’t detach myself from Kentucky enough to appreciate Roads to the North as an independent entity. That’s probably fine. I had never heard of Panopticon before Austin Lunn nailed his bloody heart to his sleeve in 2012, and that identity will persist through my perception so long as it remains true. Roads to the North has no explicit message, no lyrics sheet, no spoken tracks or American folk covers. But it has Kentucky, and because of that every song takes on a deeper, more robust meaning than it might have otherwise.

It would be interesting to know what a folk/black metal fan unfamiliar with Panopticon takes from this album. Does the music alone stand far above and beyond the norm? I like to think it does. The album incorporates some entirely unexpected but highly effective melodic death metal moments, especially in the opening track “The Echoes of a Disharmonic Evensong”. This track also gives us perhaps Lunn’s best incorporation of fiddle directly into black metal to date. “The Long Road Part 2: Capricious Miles” transitions out with a long and enthralling jazzy progressive rock chill reminiscent of mid-era Opeth. The whistle in “Where Mountains Pierce the Sky” sounds nothing like what we’re used to out of the European scenes, harkening instead to a western indigenous sound I have only heard from some obscure Mexican folk metal bands. “The Long Road Part 1: One Last Fire” is an unconventional six minute acoustic bluegrass piece that feels more like something straight out of Lunn’s imagination than Appalachia.

The intensity hops around so suddenly that Roads to the North may feel disjointed at first, but the stark contrasts are never forced. Because you don’t always see them coming, they are striking rather than cliche. Lunn performs each of the album’s myriad instruments better than a lot of people who specialize in only one, and there aren’t many producers on the black metal market that can compare to Colin Marston. He has a knack for subtlety that is hard to come by in the scene. I absolutely love the way the tremolo emerges around 30 seconds into “Chase the Grain”, for instance. It’s so soft that you feel its effect on the song as a whole long before your brain consciously recognizes it.

Norwegian Nights

But I suppose I don’t really care about the finer musical details of Roads to the North, and that is why I found this album so difficult to review. This music is only a gateway. Like an engaging book, you never notice that it is well written. Roads to the North is not the guided tour we found on Kentucky. It leaves us be to explore where the feelings take us within the context of the world Lunn has already shown us. Those paths can be rocky. It’s not the glorified past of so many European pagan metallers. The should-be eternal is tainted. The land is marred. It’s the introspective melancholy Americana of Bob Dylan and Tom Waits, and your heart goes out to so many things that you can never hope to save.

“Lie beneath a cold blanket and watch the mountains sleep. The train rolls by every hour, as I wake and dream. The woods and the hills–faces so dear to me. Frozen lakes, flatland snow, where I’m called I’ll go. Such still quiet, then the whistle echoes. My fragile sleep torn from me, as many other things will be.”

Review: Agalloch – The Serpent & the Sphere

Posted on by necromoonyeti

If someone asked me what the most significant metal band of the past decade was, I am not entirely sure which name I would ultimately drop, but the elite circle of finalists would definitely include Agalloch. Pale Folklore (1999) and The Mantle (2002) pretty much defined America’s brand of folk metal, influencing countless bands to come as that global musical movement picked up steam. Ashes Against the Grain (2006) gave us one of the earliest incarnations of post-black metal on record. It might not sound much like what that term conjures to mind today, but in its day it was monumental, and time has not lessened the epic weight of tracks like “Limbs”.

But then there was Marrow of the Spirit (2010). This album was ugly. I can’t think of any better word for it. I won’t go so far as to say it was bad, but it was sufficiently displeasing to my senses that I never engaged it long enough to responsibly draw that conclusion. I didn’t want to listen to it, and it left enough of a bad taste in my mouth that I didn’t really want to listen to The Serpent & the Sphere either.

Agalloch – Birth and Death of the Pillars of Creation, from The Serpent & the Sphere

But I did listen to The Serpent & the Sphere. I listened to it quite a lot, actually, in the background as I worked or played games. It was pushing a dozen on my last.fm charts before I got to thinking “Hey, I ought to give that new Agalloch album a spin and review it.” Wait, have I heard this before? “Birth and Death of the Pillars of Creation” had been lulling me into such a passive state that I must have forgotten I was listening to anything at all by the time its ten minutes ran their course.

It’s the antithesis to Marrow of the Spirit‘s “Into the Painted Grey”, in a way. Where that track summoned in me the instant urge to rip my headset off my ears and put on something else, “Birth and Death of the Pillars of Creation” dug its way into the back of my skull and set its roots where I would barely notice them. It didn’t just get tuned out; it etched itself in my subconscious. And it’s no wonder. On my first really attentive play through, with the volume blaring, I find the track completely enthralling. It’s a brooding neofolk masterpiece best experienced without anticipation. If you listen wondering where it might lead, you are bound to grow impatient. If you just embrace it in the moment and let it consume you, you’re in for a treat.

Agalloch – The Astral Dialogue, from The Serpent & the Sphere

The next track, “Serpens Caput”, is a gorgeous and rather brief acoustic instrumental, and then “The Astral Dialogue” kicks off like Pale Folklore was just released a year ago. The many inattentive listens before had engrained the melody in my mind without my knowing, and the familiarity was so strikingly similar to their 1999 debut that I found myself shocked to realize I had only first heard the song a few months ago. A dubious avant-garde interlude at 3:14 aside, “The Astral Dialogue” is old school Agalloch to a T. At least, I should say, the composition is. The feel is a bit different. Where Pale Folklore was as crisp as a cold winter sunrise, The Serpent & the Sphere has a much fuller sound. (Youtube, as usual, can’t hope to capture it all.)

The Serpent & the Sphere feels a bit frontloaded, with the opening 20 minutes being the most compelling, but “Dark Matter Gods” and “Celestial Effigy” carry on the Pale Folklore mid-tempo folk metal tradition. “Cor Serpentis” offers another fabulous acoustic interlude track much like “Serpens Caput”. I think the album loses steam a bit on “Vales Beyond Dimension”. We get a catchy hook at the beginning and near the end, but the plod in between feels a bit contrived.

Agalloch – Plateau of the Ages, from The Serpent & the Sphere

“Plateau of the Ages”, the final track before a brief acoustic outro, more than makes up for any second thoughts about “Vales Beyond Dimension”. It kicks along in the Pale Folklore tradition we are by now thoroughly reacquainted with until 4:20, when we hit a wall of post-rock. It switches back after a two minute taste of things to come, and we get the real grand post-rock exit from 9:30 to the end. It might not be the most breathtaking use of the genre that you have ever heard, but I love the way Agalloch take it and make it their own, masterfully fusing it to the sound that has defined them for years.

I have actually read a lot of comments suggesting that Agalloch lost their touch on The Serpent & the Sphere. It’s hard for me to see any grounds for that. I suppose it is not much like Ashes Against the Grain really, and not at all like Marrow of the Spirit, but I don’t regard those albums as Agalloch at their best. Ashes might have been their most significant work, but my heart was always for Pale Folklore. The Serpent & the Sphere feels like that album, more than anything they’ve released since it. Oh, it might not be quite as catchy, and it’s certainly not as raw or black metal infused, but it’s a pleasant blast back to the Agalloch I loved most.