BELL WITCH
MIRROR REAPER
Profound Lore Records
Funeral Doom Metal
Listening Format: CD
Before I begin... LOOK AT THAT ALBUM COVER!!! GOD DAMN THAT IS FREAKIN' EPIC!!! I WANT THAT ON MY BEDTIME QUILT!!! COME ON RED BUBBLE, QUILT ME UP!!!
Sorry... 'Mirror Reaper' is the 4th full length album (and boy is it full length alright) by Seattle, Washington formed duo Bell Witch. Funeral Doom Metal is a pretty niche and cult subgenre that even some hardcore Metal fans aren't really aware of, but it has produced some absolutely fantastic bands over the decades. To sum it up, it takes Doom Metal to it's most logical extreme before it becomes pure Drone. 50bpm super slow, glacial riffs, massively downtuned guitars with super low vocals, big running times and lots of atmospheric qualities. But I digress. Depending on which format you listen to 'Mirror Reaper', we essentially have an 83 minute long song. Your average Metallica fan will probably scream in sheer terror at the thought, but for those well versed in Funeral Doom Metal, you'll probably be thinking "Meh, is that all?"
The album is presented differently depending on which format you listen to. If you have the Digital version, it's a full 83 minute piece named "As Above So Below". The CD cuts the piece in half spread over 2 discs "As Above" and "So Below", whilst the vinyl edition has to cater to 3 side breaks, "As", "Above", "So, "Below". I went for the middle ground. As a fan of physical music I'd say this is a rare case where the Digital format reigns superior, but if you buy the vinyl edition you'll get that GOD DAMN BEAUTIFUL GATEFOLD ARTWORK!!! I WANT TO WRAP IT OVER MY NAKED BODY AS MY DREAMS TRANSPORT ME TO THE MIRROR WORLD!!! RED BUBBLE!!! TAKE ME TO MY SLUMBER!!!... Sorry... But even the presentation of this album is quite forward thinking. You will genuinely get a different listening experience from each version of the album you choose to hear it on. I like that.
What makes 'Mirror Reaper' even more ambitious is it's concept. Bell Witch drummer and vocalist Adrian Guerra tragically passed away last year at just 36 years old. Bell Witch decided to continue with new drummer and vocalist Jesse Shreibman, but wrote 'Mirror Reaper' as an epitaph to Guerra. I believe that Guerra was actually present in the early stages of making this album anyway, as some of his own vocal recordings have been implemented into the album. He appears on this album more than just in spirit, and that adds a beautiful and emotional context to the music and lyrics.
'Mirror Reaper' is a very challenging listen even for well versed Funeral Doom fans. The album is very slow, sparse and repetitive. Even though the song runs at 83 minutes, don't expect much in the way of progression or variety. It's so slow that it rarely reaches a potential to progress into something. The pacing of the album ranges from standing still to lumbering incredibly slowly through quick sand. The same riff cycle might be padded out for minutes. But fortunately, what makes this song so captivating is it's strong and haunting atmosphere. Technically this is a deceptively simple and sparse album. Just 6 string bass, drums, vocals and some very subtle bassy organ notes that essentially create a low pitched ambient hum. But it is this bareness that actually speaks volumes. The way Bell Witch are able to hold on certain notes creates this teasing tension. Every riff moves like a crashing wave against the jagged rocks, holding a mesmerising power. If you've listened to the likes of Esoteric or even previous Bell Witch releases, the first half of this song isn't worlds away from what you would expect from them, only the riffs sound more drawn out and spacious. This is actually their most melodic release, with stunning use of clean vocals that almost have this ritualistic ghostly choir feel to them, made indecipherable through all of the reverb.
It is the second half (or second disc) that really tipping me over the edge. The last 35 minute chunk of this behemoth almost leaves the Metal realm entirely. Things slow down almost to a complete halt and there are long stretches with no percussion at all. Instead gorgeous melodic bass tapping escalates every so slightly into this incredibly moving and melodic cyclic mantra that reminded me quite a lot of Boris' 'Flood' album (also one giant song). I found myself approaching 'Mirror Reaper' more like an Ambient or possibly Post Rock album (think early Sigur Ros kinds of slow). It's not too often where I go into an Extreme Metal album and come away impressed even more by the non-Metal sections of the music!
If you've had no desire to hear or enjoy Funeral Doom Metal before, 'Mirror Reaper' isn't exactly going to win you over. It still has crushing, sometimes dissonant slabs of riffs and monstrous death growling vocals, and it certainly requires extreme patience to make it through this entire album. But those up for the challenge will leave this album not only humming the melodic arpeggios heard, but feeling like you have been on an epic journey. 'Mirror Reaper' is truly a spiritual piece of music that takes Funeral Doom to it's most literal point. This music actually feels like a funeral or an epitaph, for a dear lost soul. It is packed so fiercely with sadness, heartbreak and loss, and yet is supremely life affirming rather than opting for the feel of despair and hopelessness that Funeral Doom usually delivers. 'Mirror Reaper' is not only the best Funeral Doom Metal album since Esoteric's masterpiece double album 'The Maniacal Vale', but one of the most ambitious, forward thinking and genuinely moving pieces of music you will hear in 2017. 8/10.
Shout out to my man Collier at The Decibel Addict for passionately rambling to me about how much I should hear this album. He wasn't wrong!
Showing posts with label doom. Show all posts
Showing posts with label doom. Show all posts
Friday, 10 November 2017
Monday, 21 August 2017
EP REVIEW: HUNDRED YEAR OLD MAN - BLACK FIRE
HUNDRED YEAR OLD MAN
BLACK FIRE
Gizeh Records
Sludge Metal, Post Metal, Post Hardcore.
Listening Format: CD
Fresh from conquering the New Blood stage at Bloodstock Open Air Festival, Leeds based sextet Hundred Year Old Man are looking to conquer the world. The anthemic 'Black Fire' is a hell of a way to accomplish such a feat. Back in 2015, HYOM released their self titled EP, consisting of three very lengthy pieces of incredibly dark and haunting Sludge Metal, faintly soaking in essences of Black Metal and Drone. Though it meandered a fair bit, it remains an impressive and suffocating debut effort. After a bit of a lineup change, including the addition of new lead vocalist Paul Broughton, HYOM have kept the best parts of their original sound, and fused them with a slightly more urgent and Hardcore influenced sound.
'Black Fire' may breach the ten minute mark, but it genuinely is about as immediate as Post-Metal, Atmospheric Sludge gets these days. The Sludge behemoth burns into life with some massive, pounding, slow atmospheric riffs. The lead vocals of Paul Broughton really kick you in the face with these utterly ferocious screams, over a chugging riff that Amenra would be proud of. The song gradually ebbs and flows through teasing restrained motifs, and back into full on explosions of chaotic fury. At some points there are up to three different vocal screams trading off, dense arrays of textured electronics and colossal guitars, all coming together to create something truly earth shattering. Just after the nine minute mark, the song picks up to an almighty crescendo that gave me chills down my spine!
Aside from the lead single, there are two more tracks on the disc. The first is a surprise cover of Pink Floyd's cult classic 'Welcome to the Machine'. The slow, atmospheric dirge kind of seems perfect for an Atmos-Sludge re-invention, and HYOM have taken a fair stab it. Their attempt is suitably just as slow and spacey, allowing them to reel out textures even further, sounding like the electronics and possibly some synths have taken the forefront over the guitars in the mix. The half clean, half screamed kind of vocals don't quite fit, sounding much more restrained and uneventful than the sheer force of 'Black Fire'. HYOM show their versatility and stretch their abilities here, but ultimately this cover doesn't quite represent just how good this band are. The disc finishes with a demo track, 'Disconnect'. This track sits somewhere between the urgency of 'Black Fire' and the sedated sorrow of 'Welcome to the Machine'. Being a demo, the mix isn't quite as fleshed out, but it is certainly a teaser for great things to come, a track I'd like to hear expanded upon.
If you are just here for the title track, then 'Black Fire' is an exemplary statement of how exciting Sludge Metal is sounding these days. Post Metal (or Atmos-Sludge) is certainly in a resurgence, oddly in a tangent with the fading and meandering sounds of Post Rock. Hundred Year Old Man honour the masters such as Neurosis, Isis and Cult of Luna, but inject something fresh, modern and cutting edge into this formula. 'Black Fire' is a tremendous achievement from a band in transition, and I can't wait to hear their full length debut. The two "b-sides" don't quite hold the same power, but I would say 'Black Fire' should be essential listening for fans of the genre. 7/10.
BLACK FIRE
Gizeh Records
Sludge Metal, Post Metal, Post Hardcore.
Listening Format: CD
Fresh from conquering the New Blood stage at Bloodstock Open Air Festival, Leeds based sextet Hundred Year Old Man are looking to conquer the world. The anthemic 'Black Fire' is a hell of a way to accomplish such a feat. Back in 2015, HYOM released their self titled EP, consisting of three very lengthy pieces of incredibly dark and haunting Sludge Metal, faintly soaking in essences of Black Metal and Drone. Though it meandered a fair bit, it remains an impressive and suffocating debut effort. After a bit of a lineup change, including the addition of new lead vocalist Paul Broughton, HYOM have kept the best parts of their original sound, and fused them with a slightly more urgent and Hardcore influenced sound.
'Black Fire' may breach the ten minute mark, but it genuinely is about as immediate as Post-Metal, Atmospheric Sludge gets these days. The Sludge behemoth burns into life with some massive, pounding, slow atmospheric riffs. The lead vocals of Paul Broughton really kick you in the face with these utterly ferocious screams, over a chugging riff that Amenra would be proud of. The song gradually ebbs and flows through teasing restrained motifs, and back into full on explosions of chaotic fury. At some points there are up to three different vocal screams trading off, dense arrays of textured electronics and colossal guitars, all coming together to create something truly earth shattering. Just after the nine minute mark, the song picks up to an almighty crescendo that gave me chills down my spine!
Aside from the lead single, there are two more tracks on the disc. The first is a surprise cover of Pink Floyd's cult classic 'Welcome to the Machine'. The slow, atmospheric dirge kind of seems perfect for an Atmos-Sludge re-invention, and HYOM have taken a fair stab it. Their attempt is suitably just as slow and spacey, allowing them to reel out textures even further, sounding like the electronics and possibly some synths have taken the forefront over the guitars in the mix. The half clean, half screamed kind of vocals don't quite fit, sounding much more restrained and uneventful than the sheer force of 'Black Fire'. HYOM show their versatility and stretch their abilities here, but ultimately this cover doesn't quite represent just how good this band are. The disc finishes with a demo track, 'Disconnect'. This track sits somewhere between the urgency of 'Black Fire' and the sedated sorrow of 'Welcome to the Machine'. Being a demo, the mix isn't quite as fleshed out, but it is certainly a teaser for great things to come, a track I'd like to hear expanded upon.
If you are just here for the title track, then 'Black Fire' is an exemplary statement of how exciting Sludge Metal is sounding these days. Post Metal (or Atmos-Sludge) is certainly in a resurgence, oddly in a tangent with the fading and meandering sounds of Post Rock. Hundred Year Old Man honour the masters such as Neurosis, Isis and Cult of Luna, but inject something fresh, modern and cutting edge into this formula. 'Black Fire' is a tremendous achievement from a band in transition, and I can't wait to hear their full length debut. The two "b-sides" don't quite hold the same power, but I would say 'Black Fire' should be essential listening for fans of the genre. 7/10.
Sunday, 9 July 2017
ALBUM REVIEW: MELVINS - A WALK WITH LOVE & DEATH
MELVINS
A WALK WITH LOVE & DEATH
Ipecac Recordings.
Doom Metal, Sludge Metal, Hard Rock, Sound Collage, Original Score.
Listening Format: Digital.
Melvins have been incredibly prolific in the last few years. Two albums in 2013 (one was a cover album), two albums in 2014 (one was King Buzzo's solo album), two albums in 2016... Offshoot project Crystal Fairy have already released a quality album earlier this year too! At this point, Melvins announcing a double album seems like some kind of threat! 'A Walk With Love & Death' very much presents both sides of the Melvins coin in one release. The 'Death' disc is that classic Melvin's Sludge Rock sound. Whilst the 'Love' disc is a return to the experimental side of Melvins that made 'Electroretard' and collaborated with Lustmord. Truly a release for the die hard Melvins connoisseur!
DEATH
It's probably safe to say that Melvins have softened up their sound a little bit this decade *takes cover from a pelting of rotten fruit*. But seriously, Melvins' recent output has been closer to a Hard Rock sound, even if there are still some classy doomy riffs on show. King Buzzo hasn't quite given us a ferocious scream or a haggard, crushing deathblow of a riff that abuses stereo speakers lately, such as displayed on their seminal 1993 album 'Houdini'. But what Melvins' have done well is to keep releasing interesting stuff. Their run of albums on Ipecac hasn't always been gold, but have been full of varying sounds, line-up changes and lots of collaborative efforts. Considering they are releasing material at a yearly rate, their creative flow certainly hasn't diminished.
The 'Death' disc of this double album is such a fun and breezy listen. I wouldn't quite consider it Metal, although stand out 'Euthanasia' has a slow and heavy riff that could slay a woolly mammoth. Sounding like classic 90s Melvins (this song has been knocking around live sets for a long time now). But most of this album is much more in the Rock terrirory. Standout track 'Sober-dellic' has a Blues Rock stomp to it that seems to be challenging 70s ZZ-Top. Lead single 'What's Wrong With You?' beautifully channels their 90s Grunge/Sub Pop roots. This track sounds like the Beach Boys, Nirvana and Bubblegum Pop all mixed into a blender. The vocal harmonies sound so immediate and ear grabbing on this track. The vocal harmonies shine really well on the crunchy riff rocker 'Flaming Creature' too, another huge track. Ultimately the 'Death' disc is just so much fun. Melvins' have been trying to create more immediate, catchy and fun songs for a few years now and it sounds like they are getting better and better at it. They still totally inject them with that Melvins quirk and sense of humour.
LOVE
On the tails side of the coin we have the 'Love' disc. It's been a while since the more controversial and experimental side of Melvins has been let loose but here we have it. 'Love' is an original score for a short film directed by Jesse Nieminen, also called A Walk With Love & Death. I've not seen the film yet, but judging from the score I imagine it to be a very surreal, arty collage film perhaps? The 'Love' disc is not a film score in the traditional sense. It is basically a series of noisy sound collages with field recordings, spoken word samples (presumably from the film) and little to no structure. Each track noodles about seemingly randomly, with the occasional pulsing electronics, banging drums, scatty guitars. All the tracks here sound like they are completely improvised in the studio and sound very lo-fi and barely mixed or mastered. It definitely harkens back to their 1994 sound collage album 'Prick'.
I honestly really struggled to sit through this disc. It just... It's not good. The sound of Melvins messing around with instruments in their rehearsal room with no rhyme or reason might appeal to a small quota of Noise fans or Melvins die hards, but in reality, this is not enjoyable to listen to. It sounds like the band churned it out in an afternoon and barely looked back on it. It also has absolutely no connection to the impressive 'Death' disc in terms of sound, style or thematic content. I did not take away anything memorable or enjoyable from this disc, and I quickly want to forget I ever heard it.
CONCLUSION
These two albums really deserved to be released separately because they don't have any logical connection to each other. 'Death' is one of the best Melvins releases of this decade, and 'Love' might be the worst thing they have ever put out. If 'Love' had just been billed as a "bonus disc" I could have let it slide. But this package is not only being marketed as a double album, but priced as such too. And sadly, as much as I enjoyed the 'Death' disc, it isn't worth shelling out that extra buck (although the album packaging is superb). The 'Love' disc is something you will not want to listen to more than once... Ever! I'm going to leave this at a 6/10 (but in reality think of it as an 8/10 & a 2/10)
*Note: At least it lives up to the title. Feels like they got the 'Love' & 'Death' titles the wrong way around though?
A WALK WITH LOVE & DEATH
Ipecac Recordings.
Doom Metal, Sludge Metal, Hard Rock, Sound Collage, Original Score.
Listening Format: Digital.
Melvins have been incredibly prolific in the last few years. Two albums in 2013 (one was a cover album), two albums in 2014 (one was King Buzzo's solo album), two albums in 2016... Offshoot project Crystal Fairy have already released a quality album earlier this year too! At this point, Melvins announcing a double album seems like some kind of threat! 'A Walk With Love & Death' very much presents both sides of the Melvins coin in one release. The 'Death' disc is that classic Melvin's Sludge Rock sound. Whilst the 'Love' disc is a return to the experimental side of Melvins that made 'Electroretard' and collaborated with Lustmord. Truly a release for the die hard Melvins connoisseur!
DEATH
It's probably safe to say that Melvins have softened up their sound a little bit this decade *takes cover from a pelting of rotten fruit*. But seriously, Melvins' recent output has been closer to a Hard Rock sound, even if there are still some classy doomy riffs on show. King Buzzo hasn't quite given us a ferocious scream or a haggard, crushing deathblow of a riff that abuses stereo speakers lately, such as displayed on their seminal 1993 album 'Houdini'. But what Melvins' have done well is to keep releasing interesting stuff. Their run of albums on Ipecac hasn't always been gold, but have been full of varying sounds, line-up changes and lots of collaborative efforts. Considering they are releasing material at a yearly rate, their creative flow certainly hasn't diminished.
The 'Death' disc of this double album is such a fun and breezy listen. I wouldn't quite consider it Metal, although stand out 'Euthanasia' has a slow and heavy riff that could slay a woolly mammoth. Sounding like classic 90s Melvins (this song has been knocking around live sets for a long time now). But most of this album is much more in the Rock terrirory. Standout track 'Sober-dellic' has a Blues Rock stomp to it that seems to be challenging 70s ZZ-Top. Lead single 'What's Wrong With You?' beautifully channels their 90s Grunge/Sub Pop roots. This track sounds like the Beach Boys, Nirvana and Bubblegum Pop all mixed into a blender. The vocal harmonies sound so immediate and ear grabbing on this track. The vocal harmonies shine really well on the crunchy riff rocker 'Flaming Creature' too, another huge track. Ultimately the 'Death' disc is just so much fun. Melvins' have been trying to create more immediate, catchy and fun songs for a few years now and it sounds like they are getting better and better at it. They still totally inject them with that Melvins quirk and sense of humour.
LOVE
On the tails side of the coin we have the 'Love' disc. It's been a while since the more controversial and experimental side of Melvins has been let loose but here we have it. 'Love' is an original score for a short film directed by Jesse Nieminen, also called A Walk With Love & Death. I've not seen the film yet, but judging from the score I imagine it to be a very surreal, arty collage film perhaps? The 'Love' disc is not a film score in the traditional sense. It is basically a series of noisy sound collages with field recordings, spoken word samples (presumably from the film) and little to no structure. Each track noodles about seemingly randomly, with the occasional pulsing electronics, banging drums, scatty guitars. All the tracks here sound like they are completely improvised in the studio and sound very lo-fi and barely mixed or mastered. It definitely harkens back to their 1994 sound collage album 'Prick'.
I honestly really struggled to sit through this disc. It just... It's not good. The sound of Melvins messing around with instruments in their rehearsal room with no rhyme or reason might appeal to a small quota of Noise fans or Melvins die hards, but in reality, this is not enjoyable to listen to. It sounds like the band churned it out in an afternoon and barely looked back on it. It also has absolutely no connection to the impressive 'Death' disc in terms of sound, style or thematic content. I did not take away anything memorable or enjoyable from this disc, and I quickly want to forget I ever heard it.
CONCLUSION
These two albums really deserved to be released separately because they don't have any logical connection to each other. 'Death' is one of the best Melvins releases of this decade, and 'Love' might be the worst thing they have ever put out. If 'Love' had just been billed as a "bonus disc" I could have let it slide. But this package is not only being marketed as a double album, but priced as such too. And sadly, as much as I enjoyed the 'Death' disc, it isn't worth shelling out that extra buck (although the album packaging is superb). The 'Love' disc is something you will not want to listen to more than once... Ever! I'm going to leave this at a 6/10 (but in reality think of it as an 8/10 & a 2/10)
*Note: At least it lives up to the title. Feels like they got the 'Love' & 'Death' titles the wrong way around though?
Wednesday, 14 June 2017
ALBUM REVIEW: DYSTOPIAN FUTURE MOVIES - TIME
DYSTOPIAN FUTURE MOVIES
TIME
Post Rock, Atmospheric Sludge Metal, Dream Pop.
Oak Island Records
Listening Format: CD
Dystopian Future Movies are an Atmospheric Rock trio from Nottingham, England and this is their debut album 'Time'. Their music is written by vocalist and guitarist Caroline Cawley with apt lyrics that seem to evoke a fear of things to come. DFM have built up their own signature style of writing that combines elements of Post Rock combined with the classic loudQUIETloud formula. Though their songs tend to average the 5-6 minute mark (as opposed to Post Rock's often lengthier dirges), they often build up slowly and gradually, ebbing and flowing between soft, Ambient textured and atmospheric clean guitar passages, and loud and explosive distorted guitar sections. Whilst this is far from a new or unique approach, it is the genuine delivery and craft of this band that helps them to stand out.
'Time' has been produced by drummer Bill Fisher (who also plays in Church of the Cosmic Skull alongside Caroline), and excellently so as one of the biggest selling points of this debut full length is how lush and realised everything sounds. For just a guitar, bass, drums and vocal trio their music genuinely sounds bigger than the sum of its parts. There are many subtle textures to be heard, whether it is a guitar effect here, or a buried vocal line there, revealing themselves further with each listen. Even when the drums are playing at a steady, slow pace, they are always interesting, adding a hypnotic quality, and then booming into life with choppy fills and aggressive playing when necessary (check out the intro to 'Dulled Gilt'). Caroline Cawley's voice and guitar sound are completely inseparable. The two always play in complete harmony with each other as the songs build. Every clean guitar passage will be complimented with a hushed and fragile vocal that verges on a whisper, whilst every distorted riff that soars into Sludge Metal will be accompanied with Caroline's gnarlier screams and howls. She is clearly the real star of the band and her voice and use of melancholic chord progressions often grab the listener and are full of genuine moments of darkness as well as beauty.
In particular lead single 'Pieces' sums up exactly what DFM do best all in one track. The dynamics of the song are teasing and alluring. Just as the song feels like it is going to explode into thundering riffs, the trio will suddenly pull back into soft and slow dreamy rock again. It takes a couple of builds up and crescendos before that momentum they allude to fires into life, taking the listener on that journey. 'Fortunate Ones' is another huge highlight on the album and certainly the most "Metal" song here. The track bursts into life much sooner with pounding drums and chugging riffs, whilst still holding on to that fragility that haunts their sound and writing style. But perhaps my favourite track of all is the beautiful 'Inertia'. This song has the brightest production and the most colourful sound, lead by mostly clean guitar that recalls Smashing Pumpkins 'Mayonaise'. 'Inertia' is a perfectly placed centrepiece on the album and the liveliest and prettiest track. Whilst I genuinely enjoy all seven tracks on this album, the way the album ends is a little underwhelming. 'Fugitive Minds' is a good track but just as it feels like the song is building to its climax, a misplaced fade out interrupts the song all too early. It feels like the studio engineer yelled "Time's up!" and cut them off mid song. 'Fugitive Minds' not only feels unfinished, but it leaves the album without a powerful finale that it so deserved. I feel like 'Forgotten Ones' would have served as a much better climax to the album, or at just 37 minutes, something else could have come in to close off the album. At least DFM have sent me off wanting more, in what is genuinely the only detracting moment on the record.
Dystopian Future Movies have successfully built on the promise of their fantastic EPs and delivered one of the most emotive and haunting Rock/Metal album's I have heard this year. For a debut album, 'Time' is a more than solid surface to leap off and I expect DFM will go on to even greater things in the future! Recommended for fans of Chelsea Wolfe, Slint, True Widow and Esben & the Witch. 8/10.
TIME
Post Rock, Atmospheric Sludge Metal, Dream Pop.
Oak Island Records
Listening Format: CD
Dystopian Future Movies are an Atmospheric Rock trio from Nottingham, England and this is their debut album 'Time'. Their music is written by vocalist and guitarist Caroline Cawley with apt lyrics that seem to evoke a fear of things to come. DFM have built up their own signature style of writing that combines elements of Post Rock combined with the classic loudQUIETloud formula. Though their songs tend to average the 5-6 minute mark (as opposed to Post Rock's often lengthier dirges), they often build up slowly and gradually, ebbing and flowing between soft, Ambient textured and atmospheric clean guitar passages, and loud and explosive distorted guitar sections. Whilst this is far from a new or unique approach, it is the genuine delivery and craft of this band that helps them to stand out.
'Time' has been produced by drummer Bill Fisher (who also plays in Church of the Cosmic Skull alongside Caroline), and excellently so as one of the biggest selling points of this debut full length is how lush and realised everything sounds. For just a guitar, bass, drums and vocal trio their music genuinely sounds bigger than the sum of its parts. There are many subtle textures to be heard, whether it is a guitar effect here, or a buried vocal line there, revealing themselves further with each listen. Even when the drums are playing at a steady, slow pace, they are always interesting, adding a hypnotic quality, and then booming into life with choppy fills and aggressive playing when necessary (check out the intro to 'Dulled Gilt'). Caroline Cawley's voice and guitar sound are completely inseparable. The two always play in complete harmony with each other as the songs build. Every clean guitar passage will be complimented with a hushed and fragile vocal that verges on a whisper, whilst every distorted riff that soars into Sludge Metal will be accompanied with Caroline's gnarlier screams and howls. She is clearly the real star of the band and her voice and use of melancholic chord progressions often grab the listener and are full of genuine moments of darkness as well as beauty.
In particular lead single 'Pieces' sums up exactly what DFM do best all in one track. The dynamics of the song are teasing and alluring. Just as the song feels like it is going to explode into thundering riffs, the trio will suddenly pull back into soft and slow dreamy rock again. It takes a couple of builds up and crescendos before that momentum they allude to fires into life, taking the listener on that journey. 'Fortunate Ones' is another huge highlight on the album and certainly the most "Metal" song here. The track bursts into life much sooner with pounding drums and chugging riffs, whilst still holding on to that fragility that haunts their sound and writing style. But perhaps my favourite track of all is the beautiful 'Inertia'. This song has the brightest production and the most colourful sound, lead by mostly clean guitar that recalls Smashing Pumpkins 'Mayonaise'. 'Inertia' is a perfectly placed centrepiece on the album and the liveliest and prettiest track. Whilst I genuinely enjoy all seven tracks on this album, the way the album ends is a little underwhelming. 'Fugitive Minds' is a good track but just as it feels like the song is building to its climax, a misplaced fade out interrupts the song all too early. It feels like the studio engineer yelled "Time's up!" and cut them off mid song. 'Fugitive Minds' not only feels unfinished, but it leaves the album without a powerful finale that it so deserved. I feel like 'Forgotten Ones' would have served as a much better climax to the album, or at just 37 minutes, something else could have come in to close off the album. At least DFM have sent me off wanting more, in what is genuinely the only detracting moment on the record.
Dystopian Future Movies have successfully built on the promise of their fantastic EPs and delivered one of the most emotive and haunting Rock/Metal album's I have heard this year. For a debut album, 'Time' is a more than solid surface to leap off and I expect DFM will go on to even greater things in the future! Recommended for fans of Chelsea Wolfe, Slint, True Widow and Esben & the Witch. 8/10.
Sunday, 11 September 2016
#353: RIFF FEST 2016 - LIVE IN BOLTON
Riff Fest is a FREE Metal festival taking place all day and night at The Alma Inn, Bolton. Every year the DIY festival organised by Adam Swarbrick and Jim MacGranthin gets bigger, better and more ambitious. This year saw even more Metalheads and music fans attend, with an even more impressive line-up, featuring the almighty Liverpool Doom Metal titans CONAN as headliners!
Photo Credit: Bruce Cowie
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OUTDOOR STAGE
The weather was beautiful and the turnout to the tiny Alma Inn was great from the start as the first band of the day Trollkraftt took the outdoor stage. This quartet play swampy Sludge Metal with a bit of a twist. Their vocalist exhibited a primal display of throat singing, turning non syllabic vocals into an extra instrument on stage. Trollkraft set the tone of the day with an incredibly loud and bass heavy sound, engineered by the talented Marios Sozos behind the mixing desk. Most of their songs were built on one of two slow pounding and churning riffs, although their second song had a faster, Punkier sound with a lead riff reminiscent of "Pretty Vacant" by the Sex Pistols. Undoubtedly the highlight of their set was an amusing stop/start song in which the band started a game of pass the parcel with the Riff Fest crowd. In a stroke of hilarity, the band had the whole crowd passing around the wrapped up mystery gift and when the riff came to a stop, some lucky Metalheads were treated to fantastic prizes such as a colouring book and a book about how to improve your golf swing! Festival curator Adam Swarbrick says that he thinks of Riff Fest as more of a giant party than a music festival, and Trollkraftt perfectly captured that tone, bringing strangers in the crowd together to share a good laugh, and some crushing Crowbar-esque riffs to boot! 8/10.
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I'm going to go right out and say it... I'm not the biggest fan of the Deathcore sound. However a lot of people are, especially some of the younger Metalheads in the crowd today. After the Abduction are doing a fantastic job representing Deathcore in Manchester and are genuinely one of the most brutal bands in the local scene. The quintet have a love for massively downtuned guitars and fast riffs that often spasm out into crushing discordant breakdowns. The band were performing on a massive high after playing Bloodstock Festival and brought that fantastic momentum to Bolton today. I saw a lot of fans wearing After the Abduction shirts in the pit and the band really got the crowd sweating and moving about. After the Abduction have refined their sound to be as evil and brutal as possible, like they are trying to conjure up demons from hell below us! 8/10.
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Hogslayer were a ripping highlight at the very first Riff Fest two years ago and have come back with a vengeance, being the last band to be added to the lineup. The quartet have been a little quiet lately and have had to deal with a bit of a lineup change, but they returned to stage in style today. Hogslayer used to dress up in monstrous black facepaint, which they have now traded for black hoodies. The band have a tough, rugged sound that plays with mid tempo sludge riffs that explore odd groovy time signatures. There is certainly a small pinch of Meshuggah to their sound, with chuggy riffs and tribal influenced drums. The band are propelled by their energetic lead vocalist who moved all about the stage and even carried on screaming whilst crowdsurfing. Hogslayer are a band that put on a fun live show, but also deliver a dark and terrifying sound. 8/10.
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Carrying on the party atmosphere was Nottingham based quartet Widows (headliners of the very first Riff Fest) who are gearing up to release their brand new album, "Oh Dear God". The band feel like they are happy with their latest line-up and new bassist and it's obvious that they are beaming with confidence. Widows perform like they have just drank ALL THE CAFFEINE, with so much energy pouring from the stage effortlessly. Musically they have that Thrashy Stoner sound nailed with plenty of groovy riffs, reminiscent of Clutch with a pinch of Motorhead too. Their new songs in particular are sounding excellent. One of my favourite things about Widows is the way they play around with the tempo of their riffs, speeding up and slowing down in a playful manner, almost like switching a vinyl between 33 and 45rpm. The icing on the cake is vocalist Adam Jolliffe who has an exquisite gravelly tone, and even whipped out a strange skull vocoder device to alter the pitch of his voice! Widows strong energy and pummeling riffs were perfectly made for the outdoor stage in the sunny weather. 9/10.
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Bury's craziest Grindcore maniacs are always a treat to see live and they tear up the stage. The band were preparing to play at a wedding, wearing smart suits, trousers and ties, and it didn't take long for vocalist Sam to split his trousers with his high energy on stage antics! Foetal Juice are gearing up for the release of their new album "Masters of Absurdity" and treated the Riff Fest crowd to some new songs that are sounding brutal as fuck. One of the best of these was "Noneckahedron", dedicated to Cannibal Corpse vocalist Corpsegrinder and his erm... Lack of a neck! Foetal Juice hit you with a relentless barrage of blastbeats, lightning fast riffs, as well as moments of discordance and vile shrieking vocals. Also considering there was a lot of Doom and Sludge on show today, they broke up the pacing of the day rather well. 8/10.
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Travelling from London was this bizarre Stoner/Doom trio dressed in tie dye shirts and corpse paint! Chubby Thunderous Bad Kush Masters (no I'm not making this up...) are too hippy for the Black Metal crowd, and too extreme for the hippy crowd! So thank the lord of Rifftopia that they found pilgrimage in Bolton today! Chubby have a nostalgic sound that isn't easy to place. I could hear the uber heavy stoner riffs from the likes of Sleep, as well as some Grungey tones in the guitar and vocals. But there was also some classic rock vibes, I could hear Alice Cooper in the snarling vocals and even a bit of Deep Purple in the psychedelic tinged chunky riffs. The Chubby trio obviously don't take themselves too seriously and know how to have a fun time, and I feel that transcended to the packed out crowd today. Loud spaced out bluesy Metal jams! 8/10.
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If you live in the Northwest and you support your local Metal scene then I'm sure you've heard of Boss Keloid by now. The Psychedelic Tech Sludge quartet have just played their biggest show to date in front of a packed out Bloodstock crowd, followed by a mini-tour which included a sold out London date. The local Metalheads piled into the outdoor stage area to welcome their local heroes home to their spiritual mecca which is The Alma Inn. When they performed "Lung Mountain", the opening track from their latest album "Herb Your Enthusiasm", it was earth shattering, and there were so many fans in the crowd singing along to the lyrics. The atmosphere was absolutely electric and it was one of those chills down your spine moments to see a band you've followed for ages look so triumphant on stage. As per usual, Alex Hurst's caveman-like vocals were a force to be reckoned with, bellowing across the Bolton skies. Unfortunately midway into their set, the crowd antics got a little out of control as crowdsurfing Pist frontman Dave came crashing into guitarist Paul Swarbrick, causing the sound to cut out completely! This caused a 5 minute delay as sound engineer Marios rushed to help get everything fixed. This was the only real bum note of the entire festival, and I felt bad for bassist Adam Swarbrick who had not only worked tirelessly to organise Riff Fest today, but had his own show interrupted. Fortunately, the show was soon back on the road, although some of the effects pedals wouldn't function still. Boss Keloid soldiered on through slightly fragile versions of their show stopping songs "Cone" and "Axis of Green". Through the band's sheer professionalism and dedication to their art, they still made them sound fantastic and salvaged their set, winning back the Riff Fest crowd! 8/10.
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The titans of UK Doom Metal Arnuld Scouzenegger... I mean CONAN..! were the very special headliners of Riff Fest 2016 and it was incredible to see such legends play a free show. If there is one thing I've learnt about Conan it's that they render wearing earplugs useless by playing so loud, the whole of Bolton could probably hear them! The trio were in spectacular form this evening and the Alma outdoor stage sound system was able to harness their powerful sound. Conan opened with a newer thrashier number from their latest album "Revengeance". The title track of this album was also a huge highlight, with a Hardcore/Thrash leaning kick drum heavy beat that smacked everyone in the face with its sheer force as the rain poured down so hard it threatened to tear off the canopy above! Drummer Rich Lewis battered his kit so hard it felt like a herd of Elephants were charging towards the crowd! After a few faster numbers, Conan brought the tempo down and showed us why they are the kings of epic Doom Metal, with colossal slabs of guitar from Jon Davis and Chris Fielding, punctuated by their flattening tag team vocals sounding like primal caveman marching out to battle! Conan provided a truly historic and memorable performance tonight and were an incredible way to close Riff Fest's main stage. Their performance was hypnotic, punishing and will go down as one of the very best in Riff Fest history! 9/10.
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INDOOR STAGE
Opening the indoor stage was Atragon from Edinburgh. This quartet had a raw, Punky approach and attitude in their sound, but predominantly played traditional inspired Doom Metal with an ear for melodic lead guitar parts and solos, so it was an interesting mix. The tiny indoor stage at The Alma Inn failed to keep them contained as their high energy spilled them into the crowd, with the vocalist getting a piggy back on some random dude in the crowd! "I've never sang upside down before" joked vocalist Jan Gardner. After a spectacular showcase of their original material, Atragon ended their set with an obligatory cover of GG Allin's "Bite It You Scum!" This was a totally raging finale, but I'm a bit disappointed that the vocalist didn't get naked, shit all over himself, throw chairs at the audience and then get carted off to jail... Oh well can't win 'em all! 8/10.
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One of my favourite surprises of Riff Fest 2016 was Garganjua. In a similar way to headliners Conan, Garganjua deliver slow and truly epic Doom Metal riffs. However the similarities ended there as Garganjua explored gorgeous harmonised guitar melodies and lengthy songs that built into powerful crescendos. Their incredible riffs were made from really interesting chord progressions that emitted a sorrowful tone. The band truly took the Riff Fest crowd on a journey with their diverse sonic pallet. Go check out their powerful new album "A Voyage In Solitude"! 9/10.
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After swapping places with Garganjua before them, the Conjurer quartet arrived with the intent of demolishing the indoor stage with their sheer brutality. The latest signings to one of the UK's finest extreme labels Holy Roar Records were an absolute force to be reckoned with. Conjurer's sound isn't so straight forward to describe, but it seems to blur the lines between Sludge, Black and Death Metal seamlessly. Like any great Holy Roar artist, they like to play with off kilter rhythms and always leave the audience guessing where they will go next. The quartet launched into a loud and noisy assault of dissonant riffs and an avalanche of angular Sludge. Guitarists Dan Nightingale and Brady Deeprose amped up the extremity with their vocal trade offs, one with a low pitched growl, the other with a high pitched shriek. Their brilliant use of contrasting vocal styles bounced off each other really well and reminded me a bit of Raging Speedhorn or Napalm Death who use a similar approach. Conjurer show a diverse range of influences with "Frail" channeling a slower Post Metal sound similar to Neurosis, whilst their finale showed a Hardcore influence with brutal screaming where bassist Andy Price joined in on the mayhem. Conjurer have proven themselves to be one of the most exciting and vital acts to tour the UK this year and the quartet throw absolutely everything into their performances. 10/10.
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Strain are local legends at The Alma and go way back. Now they have returned with a new drummer and the band looked at home on the indoor stage. Strain have a real anger towards them as their lead vocalist struck an impression on me immediately with his raw, gravelly bark. He poured passion and got right up into the crowd's faces, screaming like a madman! Strain played a belting set of Stoner Metal with plenty of groove in the riffs and lots of powerful chugging. Their energy never let up and they even threw in a couple of Thrashy moments. Truly pummeling Metal! You would never have guessed they're the oldest band here today! 8/10.
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This Sludge Metal quintet barely need an introduction in the North West scene as they seem to have built up an unstoppable momentum. The Hermits have just completed a mini-tour across the UK and performed at an all time high. In fact Boss Keloid guitarist Paul Swarbrick even stopped by to play a couple of songs with the band... Although I swore I could have seen him in the crowd too... Weird! Barbarian Hermit were one of the true highlights of last year's Riff Fest and they managed to come back with a vengeance. In fact this is was probably the most energetic and sweatiest I've ever seen them play. I think there is something about the tiny indoor Alma stage that makes bands who play there want to get out and move around to escape the claustrophobia! This band know how to deliver a powerful, bass rumbling, heavy sound that will make you deliver a load in your underwear! Standouts include their anthems "Burn the Fire" and "Widowmaker" that saw the crowd go wild and sing along. Their newer songs "No Sleep Til Buckfast" and "Del Toro" are sounding perfected too! The only shame was that they only managed to squeeze in one riff from their loving ballad to this very pub, "Alma". 9/10.
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Perhaps it was because it was the middle of the festival and I was starting to feel exhausted, but I found Enos to be an incredibly overwhelming force. The Brighton based Metalheads kicked into a Thrashy, Stoner number with massive weighty riffs behind them. They had a rawness to them and a vocal style reminiscent of Iggy Pop & The Stooges. As their set went on, Enos explored more psychedelic territory, infusing Kyuss-esque wah and fuzz into their epic compositions. A ten minute spaced out Doom jam nearly had me zoned out in a trance, but they followed it up with a much more immediate riff rocker reminiscent of Queens of the Stone Age. Perhaps Enos were sandwiched into the wrong part of the festival line-up as I honestly found it hard to concentrate at times, perhaps through my own fatigue, but they made an overwhelming impression nonetheless! 8/10.
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One of my favourite bands of the North West Metal scene played a blinding set to close the very first Riff Fest. They made a very welcome return today and brought a brand new line-up and a whole new direction in sound to showcase. Iron Witch are still rooted in Sludge Metal, but with a new guitarist and vocalist in the line-up, they have decided to abandon their older material in favour of their new direction from their full length debut album "A Harrowed Dawn" which has only just been released. Whilst I'm a little gutted I'll never get to hear the old Iron Witch live again, I have to say I'm very impressed with the new sound. The quintet have forged a much darker, even more miserable and agonising sound. Their new riffs have much sharper edges. Vocalist Dave Mould barked at the Riff Fest crowd like he was in agony. Both his voice and the sound of the guitars sounded like they were slowly bleeding to death. The highlight for me was their lengthy set (and album) closer "Solitude and Decay", which builds from gloomy, clean guitar into an onslaught of violent, pounding riffs. Though there were a couple of sloppy transitions, the overall force of their set was terrifying and intense! 8/10.
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I'm surprised that the Alma Inn was still standing after the mammoth, noisy onslaught of Conan out in the garden, but there was still room for more chaos as Riff Fest saved one of the best bands til last! OHHMS are a psyched out Sludge quintet from Kent and like Conjurer before them are signed to the almighty Holy Roar Records (you can tell I'm a big fan right?!) OHHMS delivered a bit of a free for all of crazy and noisy Metal as a real bang to take Riff Fest 2016 out with. OHHMS play very lengthy songs that have a loose jamming feel to them. This also gives them a real unpredictability that feels like their wheels could fall off, or their amps could explode at any second! Even when the band might jam out one riff repetitively, they manage to grip their audience with a true intensity and ferocity. The band play all over the stage and outside of it, with their bassist climbing up the stairs in their apocalyptic finale. OHHMS exhibit a destructive power and free form approach to their music, making them one of the most lively and energetic bands in the UK Metal scene. Their closing set left me with ears splitting, and all of the sense knocked out of my brain! 9/10.
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Riff Fest '16 was a roaring success and I think team indoor stage might have just won this year! A huge thanks to all the Riff Fest and Alma Inn crew, as well as all the bands of course! The whole event was incredibly well organised, with a fantastic sound and a killer line-up!
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August 27th 2016 @ The Alma Inn, Bolton.
Thank You to these Snappers:
Lindsey Appleton (L.A. Photography)
Bruce Cowie
Astrid Hurst
Gareth "Benson Thrapple" Manning
Rich Price (Rich Price Photography)
Adam Robertshaw
Adam Swarbrick
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Photo Credit: Adam Swarbrick
Riff Fest '16 was a roaring success and I think team indoor stage might have just won this year! A huge thanks to all the Riff Fest and Alma Inn crew, as well as all the bands of course! The whole event was incredibly well organised, with a fantastic sound and a killer line-up!
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August 27th 2016 @ The Alma Inn, Bolton.
Thank You to these Snappers:
Lindsey Appleton (L.A. Photography)
Bruce Cowie
Astrid Hurst
Gareth "Benson Thrapple" Manning
Rich Price (Rich Price Photography)
Adam Robertshaw
Adam Swarbrick
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Wednesday, 27 July 2016
AN INTERVIEW WITH RIFF FEST
RIFF FEST is an annual Extreme Metal festival that has taken place every August for the past two years at The Alma Inn in Bolton. Unlike many other music festivals, this all day event is completely FREE entry. Riff Fest showcases many of the UK's greatest Extreme Metal acts, with a leaning towards (but not restricted to) Sludge and Doom Metal. Over the past years, established acts such as Slabdragger, Iron Witch, Widows, Boss Keloid and the mighty Raging Speedhorn have all performed.
Riff Fest 2016 will take place on Saturday August 27th with Liverpool's Doom Metal titans CONAN headlining!
Poster artwork by Alex Aspinall
I spoke to the man behind Riff Fest, Adam Swarbrick to find out more about the festival.
Adam performing with Boss Keloid at The Alma Inn.
The idea for Riff Fest came one evening in the pub. I said to Jim [MacGranthin, boss at The Alma Inn] "let me have the bank holiday weekend in August, let's get all our mates together and have a party", in its simplest terms. The emphasis being on a party full, where all the UK's riff merchants and fans can come together in one place at the end of summer and have a right ball. I love that idea.
Do you work alone or do you have a team?
I book the bands and Jim's the financier [laughs]! Alex Aspinall my old friend since my school days provides the artwork.
What on earth do you do to convince such great bands like Slabdragger, Raging Speedhorn and Conan to headline a free festival?
As to how bands of such stature come down to a tiny pub in a shit hole town for a free event, I'd like to think we're all pals and down for a good knees up at the end of the summer. We're all pals and in the same game at the end of the day and everyone enjoys booze, riffs and barbecues [laughs]!
Do you put a lot of your own money into Riff Fest and do you manage to turn a profit, break even or perhaps make a loss?
This year I've had to dip my hand in my own pocket a little, but it's down to Jim for the majority of the financing. I steer well clear of that [laughs]! I'm quite happy just arranging the best line-up I can.
The Alma Inn is considered to be one of the homes of great Metal in the North West, what makes the Alma special to you?
Again, good question. It's been a hub of rock and metal, punk, rockabilly, you name it for as long as I can remember. I've been a patron here for 10+ years and it's always been almost like my second home for that entire time. It's a great old fashioned pub, full of decent people who like music. Simple really. Then Jim came along however many years ago and really gave it a kick up the arse and installed an unrivaled rig. Add into that his technical know how, you've got all the ingredients required for the loudest, best equipped small venue in the country. Hands down.
Which band are you most looking forward to seeing at Riff Fest 2016?
To have bagged Conan as the outdoor headliners is a real coup. We've had them on here a number of times, but not since way back in like, 2011 or something. So it's gonna be excellent to see a band who've gone from playing their trade in small venues in crappy towns, to go on and pretty much conquer the world, come back and show us just how far they've come.
I'm looking forward to Foetal Juice. They're going to spice things up a bit. The crowd should go absolutely apeshit for them men. I'm really excited to see that. A grind/death metal band with 10+ years of experience in them, don't fuck about.
Shout out to my homeslices in Chubby Thunderous Bad Kush Masters. They're really favourites of mine.
STRAIN! Perhaps an unknown name to some unfortunately, but they were the kings about 10 years ago. And now, a reformed Strain return with a new lineup. Gonna be amazing. Great memories of watching Strain destroy the Alma when I was younger. I've been missing Strain for many years, I think they were ahead of their time, I know that they will rule at Riff Fest and make everyone a fan.
Also, ENOS! A band rarely seen around here, they were one of the first names I had down and I'm really excited to have them up here.
Do you have a performance from the previous two Riff Fest's that stands out the most in your memory?
BongCauldron at the first Riff Fest. There's some cracking footage online where it's kicking off as they play 'Bigfoot Reigns' and Jim has to come in and wrestle through the crowd to fix the roof because it's falling down [laughs]! I watch that frequently and smile.
Obviously Raging Speedhorn. I grew up doodling their logos in my school books, and to book them at my local and have them level the place is something I'll take to the grave with me. So that's a really cool thing and I love that.
And finally, what are your future plans for Riff Fest. Will it always be free or do you want to expand?
To tell the truth, we were approached to expand the festival into an outdoor event, elsewhere, which, whilst initially flattering, wouldn't have worked. As I said at the beginning, it's a party full of all our friends at the local. Let's just continue to have fun and headbang down at the local.
...And here is that footage of BongCauldron courtesy of Monster Riffage! This will give you an idea of the craziness that will take place at Riff Fest '16!
Thanks to Riff Fest and Adam Swarbrick for taking the time to chat.
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