ALBUM REVIEW: GODSPEED YOU! BLACK EMPEROR - LUCIFERIAN TOWERS

GODSPEED YOU! BLACK EMPEROR
"LUCIFERIAN TOWERS"
Constellation Records
Post Rock, Drone, Noise Rock.
Listening Format: Vinyl



Godspeed You! Black Emperor feel like they should need no introduction, but I actually forget that when I stumbled upon this band more than ten years ago, I'd never heard them mentioned by anyone. No other artists or journalists were name checking this Canadian collective and they didn't have any radio airplay. It wasn't until the Danny Boyle film 28 Days Later came out that I first heard the name, but I didn't stumble across what a legacy this band hold until falling deep down the internet forum rabbit hole. Of course nowadays, they feel like a band that need no introduction at all. Pretty much anyone who listens to alternative music or reads Pitchfork will claim to love this band. They even got name checked by Seth Rogan in the film Pineapple Express. But if you STILL haven't heard of them by now, Godspeed You! Black Emperor hold a LOT of acclaim. I frequently hear them get labelled as "The best Post Rock band EVER!", "The best band of the last 20 years!" or even "THE BEST BAND EVER!!!" And who am I to argue!? Their 4 main releases in their original incarnation between 1995-2002, I consider to be some of the most mind-blowing, groundbreaking, forward thinking, bone-chilling, awe inspiring, [INSERT GRAND HYPERBOLE HERE] EVER!!! One of THE bands whose music will sing ruthlessly in my veins 'til the day I die. They went on a large hiatus after 2002's 'Yanqui UXO' album, but came back really strong. Not everyone has favoured their "reunion" albums quite as much, but I have thoroughly enjoyed them. So here we have their third "reunion" album, Godspeed You! Black Emperor Plays "Luciferian Towers"!

Well... Once again I am floored! Following in the wake of 2014's 'Asunder, Sweet, And Other Distress!' Godspeed are making some of their most concise albums, running just over 40 minutes and single LP length. Yet I feel like they are still managing to bring an apocalyptic tour-de-force with their grand instrumental Rock. Opening with the 7 minute 'Undoing a Luciferian Towers', this track plays like an overture. An ominous drone escalates in loudness and intensity as the ensemble of guitars, drums, violins and atmospherics gradually sink their teeth in one by one. It plays like an orchestra warming up their instruments at the start of the concert. Though the track concludes on an almighty cacophony... An eerie, joyous racket... GY!BE veterans might be tempted to call this "light" or perhaps even "tame" compared to the band that devastated our ears on 'Lift Your Skinny Fists Like Antennas to Heaven's 20 minute behemoths. Fortunately, once the band have warmed up they soon deliver something much more atypical of their style. In fact 'Bosses Hang' is without a doubt one of my all time favourite GY!BE compositions. Over 14 minutes and 3 distinct movements, the ensemble chill my bones to the core with thundering drawn out guitar chords, pounding timpani drums and sweeping violins. Because GY!BE implement so many Noise, Drone and Ambient sections into their compositions, I feel like their ear for supremely catchy melodies can often be understated. But 'Bosses Hang' delivers this absolutely beautiful and glorious leading melody that often weaves in and out of the 3 movements. The first act is pretty storming, building up rather hastily (by their standards), before winding down in the second movement to an almost Celtic influenced string section that sounds eerily similar to the mid section of The Who's 'Baba O'Riley'. Typically when the third movement of 'Bosses Hang' kicks up, it cuts you like a storm in heaven, reprising the epic main melody with guitars that are screaming towards the skies. Godspeed You! Black Emperor are well known for their ear shattering climaxes (often following long teasing build ups) and here we find one of their most effective uses of this trademark. Even though it may adhere to Post Rock standards, I feel like GY!BE have more than earned the right to be doing it still in 2017, I mean they really ARE the band that have always done it better than anyone else!

The third track 'Fam/Famine' is more on the restrained side like the opener, but still glorious. GY!BE manage to work in their more introspective and mellowed out moments arguably more effectively than the previous two album's Drone interlude tracks. This track once again hangs on an understated melody, washed with tremolo strings, and noisy production, retaining such a distinct earthy and natural sound. "Luciferian Towers" ends on another 14 minute composition, 'Anthem For No State', building slowly with gloomy guitar arpeggios and mournful strings, almost having this Morricone old west kind of feel. The way this track unfolds is much more gradual, reminiscent of old school GY!BE in a way. Once again it is the third and final movement that impresses most, launching into straight up Noise Rock territory, with these loud feedback driven guitars just hanging in the air as Sophie Trudeau's violin shrieks violently and the punishing drums shatter the ground beneath. This track certainly has the most "soundtracky" feel on this album, tying nicely with the album artwork that mimics a film script.

Admittedly Godspeed You! Black Emperor's post reunion albums aren't QUITE as good as their original incarnation's legacy, but I will say with an honest heart that all of the major Post Rock bands such as Mogwai, Explosions In the Sky, Sigur Ros and Mono had a 10 year gap where they could have caught up and tried to outdo their genre foes, but none of them stepped up to the plate (don't get me wrong, I actually like those bands). A new Godspeed album doesn't come along often enough, but they are still the absolute kings of Post Rock... When Godspeed release a new album, they manage to dwarf EVERY ONE OF THEIR PEERS into complete insignificance. That is how good this band are. "Luciferian Towers" is another stunning effort, and it stands out from some of their other albums by proving just how utterly fucking good they are at writing killer melodies. Not since the opening refrains of 2000's "Storm" have I found myself humming a Godspeed song on my walk home from work. Instead of going for something, dark, apocalyptic and menacing, "Luciferian Towers" plays like a victory march after an epic, bloody battle. It's one of their most joyous, majestic and dare I say it, feel good albums in their entire discography. Utterly essential listening. It is a new Godspeed album and YOU MUST HEAR IT!!! 8/10.

ALBUM REVIEW: IDLES - BRUTALISM

IDLES
BRUTALISM
Balley Records
Punk, Post-Punk, Noise Rock.
Listening Format: CD & Vinyl.



Punk officially had its 40th birthday in 2016, and with political turmoil overshadowing the globe, awareness of Punk and Hardcore music seems to be at an all time high. It's a great time for already existing Punk bands to feel fired up again, as well as for new ones to catch a flame. Whilst not all new UK Punk bands trying to recapture that spirit have turned out great (Slaves?), some bands have really gone all out and genuinely brought their genuine agro A-game (Savages!)

Idles have pretty much come out of nowhere this year. The Bristol based band seemed to have taken their fate into their own hands, with that special DIY attitude. This debut full length 'Brutalism' bears a 001 catalogue number on what I can only assume is their own Balley Records. And yet the album has landed itself in record stores across the country, and is getting all the right press. Idles have done extremely well for themselves to smash their way into modern music's consciousness.

'Brutalism' from start to finish is an absolute riot. After an ominous sample and a Post Punk as fuck drum intro, 'Heel / Heal' bursts into life with frantic power chord guitars, and sheets of noisy agonising guitars that want to fight you. This is topped off by the snarling, manic screams of vocalist Joe Talbot. In terms of musicianship, whilst not reinventing the wheel, Idles come racing out ready for a punch up, with so much fiery passion and precision playing. The scatty washes of noisy tremolo guitar even channel Big Black. 'Well Done' is a huge standout that is just do direct and in your face. If it was made in 1977 it would have surely been a classic. Instantly they channel The Clash's 'White Riot' or Stiff Little Fingers' 'Suspect Device'. Joe Talbot's vocals are acidic as he spews out nonsense lines "Mary Berry love Reggae, so why don't you like Reggae? / Trevor Nelson loves football, so why don't you watch football?" A cheeky "woo woo" backing vocal gives it such a live and raw feel. 'Mother' is equally as exquisite, full of anger and storming riffs, with a chorus that simply sees Talbot yell "MOTHERFUCKER", as well as the brilliant quotable, "The best way to scare a Tory is to read and get rich". 'Divide & Conquer' is another huge track that manages to slow the tempo down to this pounding stomp as noisy guitars drill their way into your brain. The precision playing also shines on the album's shortest and fastest track 'Stendhal Syndrome', which is overwhelming in the amount of venom it spits at the listener. And the nearly unlisted track 'White Privilege' (just shown as a white line on the album packaging) is full of agro, boasting the hilarious opening line "How many optimists does it take to change a lightbulb / NONE, their butler changes the lightbulb". Such absurd lyrics could come off a little corny, if it wasn't for the dead pan, no bullshit delivery of these lines. The socio-political undertones are used at just the right moments. 

Idles have ultimately floored me. 'Brutalism' is an album so direct, so honest, so raw. I can honestly see original Punk fans who were there from the start loving this album. I can see the Post Punk fans who dug PIL and Wire loving this album. I can see fans of Noise Rock like Shellac, The Fall, McLusky and Sonic Youth loving this album. Because it is rare these days to hear such a genuine Punk sound. Idles don't attempt to play Punk. They ARE Punk. They embody it through blood, bone and brawn. Everything about 'Brutalism', from the sound, the production, the songs, the riffs, the lyrics, the energy, the approach, the packaging, the label, the marketing... Idles have absolutely fucking nailed it. I think in terms for what is presented inside the box, this is gold. Here is hoping for some mad, outside of the box follow up! 8/10. 

#350: GRAF ORLOCK + GHOSTLIMB & BIG MACHINE - LIVE IN MANCHESTER

Tonight's bargain show saw US Grindcore band Graf Orlock play at the hard to find Aatma bar in Manchester's Northern Quarter. Joining them were Manchester's own noise rockers Big Machine and US Hardcore act Ghostlimb. The show saw a good turnout with even a couple of distros selling hard to find vinyl releases!

BIG MACHINE

Manchester based Big Machine make some big sounds despite only being a duo. They stepped in at the last minute after Mums were forced to pull out after losing their pedals. Best of luck to Mums and I hope the pedals are found! Big Machine played a set of high energy Noise Rock with just a drummer and a guitarist, with both adding vocals to the mix. Their guitarist Sacha Zucconi churned out some gnarly screams, whilst drummer Nick Colman would offer a mix of screams and clean vocals. Their short songs were made of jagged twists and turns, leaning towards a Math Rock influence. Nick Colman really stole the show with the most impressive and versatile performance this evening from behind the kit. He was just awe inspiring to watch, with an acrobatic way of playing every part of his kit. The only real downside of their performance were that the guitars and vocals weren't quite mixed loud enough compared to the drums, taking away some of the aggression. Some of the clean parts of theirs songs fell a little flat. Big Machine's sound reminded me of Leeds based Clenstch (who I reviewed earlier in the year), as well as Shellac and The Hyena Kill. 8/10.

_______________

GHOSTLIMB

Travelling all the way from California to play a bargain show were Ghostlimb, a Melodic Hardcore trio featuring the guitarist of headliners Graf Orlock. Ghostlimb channeled a lovely balance between more Extreme Screamo/Hardcore combined with a pinch of old school American Punk Rock. The trio were full of good riffs, though the gravelly screaming vocals could have benefited from a more varied tone. Ghostlimb weren't quite as crazy as the two bands they were sandwiched between, but were still enjoyable enough and could give their songs oomph when required! 7/10.

_______________

GRAF ORLOCK

Our headliners Graf Orlock hail from Anaheim, California. Graf Orlock's trademark is to combine lightning fast, spazzed out Grindcore, punctuated by samples from cult films to introduce each track. The quartet successfully implemented the film samples in a live environment, through the use of a sampler. The way the band would kick in to mad bursts of grind all in unison at the perfect moment was a sheer joy to watch and got the crowd's energy raised. Since there were some sound issues across the whole night, the backing vocals from the guitarist were much louder than their frontman, but he still managed to command the stage, often spilling out into the mosh pit and crowdsurfing. Their frontman had a really raw, throat shredding scream. Graf Orlock's songs were frequently noisy and unpredictable, injecting a sharp sense of humour as they bantered with the crowd. Their performance was suitably brief but very intense, with lots of energy. Graf Orlock come across as the kind of act that Grindcore purists might scoff at, but their live show cannot be denied, as they are simply a lot of fun and know how to have a great time! 8/10.

_______________

August 9th 2016 @ Aatma, Manchester.

#316: GNOD - MIRROR

2016
Noise Rock, Drone, Psychedelia
Rocket Recordings

Fellow Salfordians GNOD are an experimental collective who are a sort of mysterious cult act becoming more popular across Manchester. They have already put out many releases, from Krautrock and Psychedelic Rock inspired LPs, to Noise and Drone cassette only experiments. "Mirror" has been released by Rocket Recordings on CD and Vinyl and is more of a canon album from the group, who recorded it at Islington Mill in Salford.

I picked up the CD of "Mirror" that is presented in a blank shiny reflective silver sleeve. My first impression of this album is that it is seriously some heavy shit! Though it is one of those albums that builds in weight and intensity as it goes on. The opening title track is the most relatively tuneful one here. It hangs on a Jah Wobble inspired bassline that repeats throughout the 8 minute duration. It moves quite slowly, but a splattering of scatty psyched out guitar keeps things interesting. The vocals are very interesting, with these washed out demented screams, with lyrics only half decipherable through the reverb. A minimalist dirge that definitely reminds me of early PIL.

After this, things take a tumble down a rabbit hole of gloom, misery and insanity! "Learn to Forgive" is practically Drone Metal, with a filthy fuzz bassline and noisy guitars that scream in agony. The vocalist sounds like Mark E Smith if he had been impaled on a spike and was slowly bleeding to death. Though it is based on the same chords throughout its 8 and a half minutes, the song just builds and builds in density and by the end it becomes so intense and noisy, but in a beautiful way. This track makes me feel like I am being slowly boiled in a giant pan. The use of what sounds like an air raid siren in the background is subtly effective. GNOD sound like they are channelling acts such as Boris, Jesu and Swans here, and the Industrial despair of the derelict ruined buildings on nearby Salford Crescent is captured perfectly. Third track "Sodom & Gomorrah" expands these nightmarish feelings even further. Weighing in at 18 minutes, this song is even slower and heavier. A clanging bassline of Doom will destroy your eardrums. Realising that they can't get away with a repetitive bass hook for too long, this song tends to drift in an out of quieter dark ambient parts. The jangling percussion and ghostly wailing voices give an occult and ritualistic kind of feel, and it is one of my favourite parts of the record, showing a whole other kind of intensity. The fourth and final track is somewhat of an anti-climax. This remix of the opening track by Raikes Parade doesn't really feel necessary and could be considered a bonus track. It isn't really that much different from the track the opened the album. The bass is more pronounced here and there is much more reverb added to the mix. This version of the track kind of reminds me of 90s Ambient Dub Industrialists Scorn.

If you have ever lived in Salford, or a city full of council houses, high rise flats and industrial factories, you will find a kindred spirit with "Mirror". I think it perfectly captures the feel of walking through Salford on a rainy night. The red bricks and the grey skies. But aside from that, GNOD have made a colossal droning album that will give you nightmares. It is very serious, heavy and laced with anarchic lyrics and menacing thoughts. "Mirror" exists somewhere inbetween the Krautrock of Can, the Drone experiments of This Heat and the full on crushing Doom misery of bands like Man Is the Bastard and Conan. The whole album feels like it has been buried in dirt and sewage, and I can see this appealing to fans of Psychedelic Rock, Hardcore Punk and Extreme Metal! Though minimalist and repetitive, "Mirror" speaks many languages. 8/10.