EP REVIEW: CONVERGE - I CAN TELL YOU ABOUT PAIN

CONVERGE
I CAN TELL YOU ABOUT PAIN
Post-Hardcore, Mathcore, Sludge Metal.
Epitaph / Deathwish Inc.
Listening Format: Digital



Converge have just dropped a new EP out of the blue yesterday (as of publishing), the band's first release of new material since 2012's excellent 'All We Love We Leave Behind' album. This marks the largest gap in their career of new music, although the band have toured relentlessly in that period. The band also performed their classic, groundbreaking album 'Jane Doe' in full and released it is a live album earlier this year. There is still no explicit news of a full length album, so it will be interesting to see if either of these new tracks will feature on their next full length, or whether it will be a stand alone release. Since I don't know the answer just yet, I can only assume this is a stand alone EP and I will be reviewing it as such.

There are two tracks featured here. 'I Can Tell You About Pain' is just shy of two and a half minutes and is an absolutely ferocious beast. The track reminded me of the title track of 'No Heroes', as it opens with this absolutely pounding Hardcore groove, with Kurt Ballou's trademark twiddly guitar licks thrown in. Jacob Bannon in particular delivers a vicious and fiery vocal performance here that is truly one of his best to date, right down to the vocal production. Converge have always had a knack for delivering outstanding opening tracks that grab you by the throat and this is no exception.

But it is the second and final track of the EP that really blew my me away. 'Eve' combines elements of Ambient, Post Rock and Sludge Metal over a seven and a half minute epic. Again slightly reminiscent of a track from the album 'No Heroes' (their most experimental to date), 'Grim Heart / Black Rose', as well as having a strong Neurosis vibe. This track is the complete antithesis of the opening track. It is slow, and has clean singing vocals in the opening verses. The opening minute of the track actually sounds reminiscent of Stars of the Lid, with these gorgeous floating Ambient swirls. When the dreamy verse suddenly explodes into furious pounding riffs around three minutes in, it made the hairs on neck stand up. I can't express just how good Jacob Bannon is sounding on this EP. The use of dual vocals on this track takes it to the next level and it is clear that Converge are still experimenting and daring to go to new places. The overall production on this track is astonishing. So punchy, so textured, and yet as raw and primal as you would expect from Converge.

In a way I kind of hope that these tracks do appear on the next Converge full length album. 'Eve' in particular is hands down one of the finest tracks the band have EVER made. Converge formed in 1990, and even 27 years into their journey, they are still at the forefront of Hardcore, Sludge, or Atmospheric Rock or however you want to label them. They keep daring to take risks and push their sound, writing and production further and further forwards. It comes as absolutely no surprise that the response to this gift of an EP has been so overwhelmingly positive. 9/10.

EP REVIEW: BURIAL - SUBTEMPLE

BURIAL
SUBTEMPLE
Dark Ambient, Electronic.
Hyperdub Records
Listening Format: Vinyl















Burial is undoubtedly one of the most exciting, revered and innovative Electronic musicians of the last 10 years or so. The publicity shy bedroom producer hasn't put an album out since 2007's modern classic 'Untrue', and neither does he look like he is any rush to follow it up. Instead Burial has been releasing vinyl and digital exclusive EPs dropping at random once a year ever since. In particular his two EPs 'Street Halo' and 'Kindred' have arguably been his greatest works to date. Burial used the EP format to the fullest, by making much lengthier and more experimental pieces than on his two studio albums. A trend he has continued with each year to this very date.

Whilst Burial has continued to experiment and innovate, the quality control of his work has sadly started to wane. The 'Truant / Rough Sleeper' and 'Rival Dealer' EPs had some great moments, but lacked cohesion as a whole. It felt like Burial was actually trying to escape the fantastic trademarks and signatures he had built up to give him such a unique and identifiable sound. Burial's latest works have definitely shown a decline in quality, yet the mystery of Burial still seems to fascinate. These 12" singles with super minimalist, near identical artwork keep on dropping once a year, almost like he is building his follow up album slowly, piece by piece, over multiple discs. The lowest point in his discography so far was his preceding 12", 'Young Death / Nightmarket'. Both tracks on this EP sounded like Ambient interludes that didn't seem to go anywhere, lacked memorability and didn't have enough "Burial-isms" to feel like a genuinely worthy release. This is the point where even die hard Burial fans started to ask the tough questions. Is Burial losing his magic touch? Is his music still relevant? Should his fans keep bothering to pick up these 12" releases or is it time for him to mix it up a bit more?

Roll on 2017 and yet another EP drops with the same faceless artwork. Except this time it is just a 10" vinyl. But essentially it is the same deal, with two side length pieces running at seven and nine minutes respectively. Critical response has been even less favourable than the forgettable 'Young Death / Nightmarket' 12", which is worryingly putting Burial's validity as an artist into question... 'Subtemple' consists of yet another two tracks which could easily just be described as "Ambient interludes". The kind of tracks that might hold a significant place sandwiched between two epic tracks on an album, but don't have much context released on their own. Is Burial taking his dedicated fanbase for a ride at this point?

Well, actually, I really enjoyed this release. In fact it is probably my favourite Burial release since 'Kindred' (although the actual track 'Rival Dealer' was a gem, if not the entire EP). Both tracks are nearly identical to each other in approach. Lengthy, minimal, Dark Ambient pieces that kind of glide on by. However I am quite a fan of Dark Ambient music, so this wasn't a problem for me. But I think there is actually more to these tracks than meets the ear. Unlike his last few releases, Burial is actually nodding back to his earliest recordings. In particular tracks such as 'Endorphin' from the 'Untrue' album (and yes, that was an Ambient interlude). 'Untrue' sampled heavily from Konami video games such as Metal Gear Solid and Silent Hill. It sounds like Burial may be revisiting those influences, because 'Subtemple' and 'Beachfires' both sound strongly reminiscent of Akira Yamaoka's incredible Dark Ambient scores for the Silent Hill games... Clearly a strong influence on Burial in the first place. What impresses me more, is that if you listen very carefully, some of those Burial trademark's ARE there... just very. very much buried in the mix. The coating of vinyl crackle and pops, the use of a pitch-shifted female vocal sample, the sounds of fractured drum samples... They are all there, just not at all in the forefront of the mix or composition.

If you pay close attention, it actually feels like Burial is coming full circle with this release. And given that it is 10 years since his highly praised album 'Untrue' it feels like an appropriate time for it. The atmospheric and fragile drum breaks may be absent, the awesome use of layering post-Dubstep sub-bass with Hip Hop inspired vocal samples and loops are absent too. This is still not on the level of tracks like 'Kindred' or 'Ghost Hardware', but it does show more promise than a lot of critics and fans have made out. I still don't think this release needed to be yet another standalone EP, but at least the tracks show promise. 'Subtemple' is an EP of great subtlety, and actually shows some of Burial's more inspired compositions of recent times. 7/10.

EP REVIEW: DEATH GRIPS - STEROIDS (CROUCHING TIGER HIDDEN GABBER MEGAMIX)

DEATH GRIPS
STEROIDS (CROUCHING TIGER HIDDEN GABBER MEGAMIX)
Experimental Hip Hop, Electronic, Digital Hardcore.
Self-Released.
Listening Format: Digital







For a band that came very close to splitting up a couple of years ago, it is fascinating that Death Grips' output since that point has been arguably even better than their earlier material (which is also a fine selection). The Sacramento experimental trio have delivered some kind of release each year, despite a tension in the air, as if the wheels could fly off at any minute and this band could crash and explode before our very eyes. So their frequent output is surely a good thing. Last year's full length album 'Bottomless Pit' is arguably their best album to date. As wild and mad as anything they have done previously, but it saw the trio pushing further forward in terms of structure, songwriting, performance and production. The addition of roaring guitars and blastbeat drums gave them even more ammunition and intensity to work with.

'Steroids' is a 22 minute long EP (or mixtape perhaps) that has dropped out of the blue and is free to listen to on digital platforms. Although the 22 minute "megamix" flows continuously with no breaks, it does sound like it is multiple tracks stitched together into one sphere. The title crudely references Gabber music, which by definition is Techno music played at speeds exceeding 200bpm. In terms of production and craft, Death Grips have kind of gone back to the roots of their early works like 'Ex Military' and 'No Love Deep Web' to deliver something much more crass, and messy. Suitably so, as 'Steroids' does not let up for one moment. It is full of blaring, pounding, relentlessly fast beats and drums assembled by Flatlander and Zach Hill, that just pulverise the listener from the very first second. MC Ride roars and bellows a load of F-bombs right off the bat. Death Grips don't know the meaning of the word subtlety and that is the way we like it.

In terms of production, 'Steroids' is extremely busy. Almost comically so. There are so many fractured rhythms, loud and abrasive samples and sound effects whiz by with very little rhyme or reason. Everything here is assembled to be ADHD levels of disorientating, maddening and ear rupturing, which stays true to actual Gabber music. But it strangely sounds absolutely glorious because of this, and that is because of the performance the band deliver here. Death Grips sound so gloriously urgent and passionate throughout, creating an absolute racket and just attacking the senses of the listener with no holds barred. The trio deliver some of their most playful, unrestrained and free-form material yet. Even though it sounds as mad as a badger, Death Grips are sounding at their most radical and expressive throughout this utter madness.

I am so glad that this EP only lasts 22 minutes, because my brain literally could not take an entire album's worth of this insanity. It is the audio equivalent of going to a blaring 4am drug adled techno rave in a warehouse in the middle of an industrial estate... With a sub-machine gun! Death Grips sound like an inflamed meteor that is ready to destroy anything and everything in its path. The trio continue to surprise, excite and ruin the minds of even the most dedicated of their fanbase. It feels like this band can do just about anything right now and it will sound fresh, exciting and mindblowing. 8/10.

#333: Corinth - Corinth

2016
Sludge Metal, Psychedelic Rock
Self-Released

Corinth are a Sludge Metal band with some Progressive tendancies. Since 2013, the quartet have already put out 2 fantastic EPs, with this self titled effort being their 3rd. Though their sound certainly contains some Sludge Riffs and Hardcore vocals, Corinth have proven themselves to think further afield, adding varying tempos and reaching out to different subgenres of Metal to take influence, making for an eclectic and varying sound.

One of the Corinth's most notable trademarks is their superb ear for harmonised guitar leads, provided by the guitars of Ben and Vanessa. Right from the opening of "Solar Blaze" the harmonised tapping guitars are in full effect in what may be their fastest track yet. This EP opener kicks in with a fast and furious Thrash pace, occassionally submitting into groove laden mid-tempo riffs. This is a seriously fun and impressive opening track.

Things take a much darker and slower turn on second track "Those With No Eyes". Instead of the warm harmonies, here the guitars create a much more sinister mood, playing with discordance. It's almost as if the friendly harmonised guitars had a falling out and are now playing against each other! This track is also splendid, offering ferocious doses of meaty Sludge and psyched out vocals. Certainly a bad trip into Surreal Horror film atmospheres!

The EP closes with an epic behemoth just shy of 10 minutes, "Ironclad". The track builds and builds with a swampy bass and guitar sound, and vocals that escalate from trippy to full on roaring. The "return to the sea" motif delivers a hypnotic grip on the listener as the the psychedelic guitars cycle over, weaving in and out of the stereo mix.

Though I thoroughly enjoyed their 2 previous EPs, I think this 3rd one is their best yet. Corinth continue to find diverse influences to add to their sound, and in particular the switch between the fast Thrashy opener, and the slower tracks after works really well. This EP just grabs you from the start and will have you wanting to hit play again by its conclusion. Corinth also sound at their best, with a fantastic sound mix throughout. I think the Leeds quartet are ready to deliver their first full length now! 8/10.

#326: KO_PLUNE - AUDITORY ATLAS

2016
Indie Rock, Alternative
Self-Released

Ko_Plune are an Indie Rock quartet from Southampton who have built up a diverse sound. "Auditory Atlas" is the debut self-released EP, containing 5 tracks. Right from the bat on opening track "Rare Error" I can hear a lot of elements to their sound. In particular the synergy between the guitar and bass player are very tight indeed. Ko_Plune weave dreamy clean guitar arpeggios over slightly jazz leaning drums. Their frontwoman Courtney Gray has a lovely vocal tone that completes a beautiful and ethereal vibe on what is my favourite track of the EP. The near 7 minute song is lead by vocals for the first half, but concludes with a wonderful instrumental jam where the guitars almost sing themselves. This track shows slight Progressive Rock inflections.

Second track "Panda" is a more uptempo rocker with more emphasis on groove and punchier vocals. This song could easily be a lead single or be played on the radio. Perhaps this track isn't as ambitious as the wonderful opener, but it serves well to give the EP better pacing. Certainly a lovely uptempo song. "Hydra" is another standout track for me that sees a return to the dreamier guitar interplay of the opening track, with vocals more atmospheric than outright rocky. Closer "Machiatto" sits somewhere between their sleepy clean guitar sounds and their more upbeat and choppy Rock tracks. For me the only track on the EP that didn't really work was middle track "Red" which goes into full on rock out territory with an Americana influenced guitar line, that has this slight off-key melody that doesn't quite sit right. I could see this track being a fun one at a live show, but I think I prefer Ko_Plune when they  are at more relaxed pace, allowing for them to explore more textural space.

For a debut EP this is a very solid start that is well produced and recorded. The vocals and guitar in particular sound great and I can see that Ko_Plune have their own personality shining through in their songs. "Rare Error" is a truly spectacular song, and I think the style of this song could easily be taken into further directions. It felt like the more uptempo songs were sacrificing their progressive side, but Ko_Plune have proven that they can flirt with different styles and make them gel. "Auditory Atlas" is a fine launching pad for a band still finding their niche, and I predict Ko_Plune will know which areas to expand upon for their next outing. 7/10.

#315: HANZO - HANZO

2016
Indie Rock, Garage Rock
Self Released

Hanzo are a 3 piece band from Rugby, England who have self released their debut self titled EP. The unsigned trio are continuing to build up a following by playing live all over the UK. The EP opens with "Doll Face" and instantly hits you with a swaggering Rock riff. Vocalist and guitarist Pete delivers more of a high pitched vocal on this track. The song is very catchy, lead by a simplistic riff. The "Hush little darlin'" verses will easily get stuck in your head and have you humming along. "Sweet Tooth" impresses me much more though as Pete switches to a deeper Elvis style vocal. This track sounds very modern but has a Rock N Roll vibe to it, with reverb drenched guitar adding a Surf Rock twang. The energy on this track is high, with a scattering of tremolo guitar in the middle breakdown. The song climaxes with some powerful riffs reminiscent of Royal Blood before the Surf Rock vibes make a reprise. Definitely the standout track out of the three. "Yellow Bones" exists somewhere inbetween the vibes of the first two tracks and adds a keyboard melody into the mix. This brief EP is a decent start and is very well recorded. Hanzo may still be finding their sound and are trying out different styles, but I think it is the Surf Rock of "Sweet Tooth" that may suit them best. I would definitely catch Hanzo live if I saw them on a bill, because I think they would be able to get a crowd rocking out. 6/10.

#302: IMPAVIDUS - IMPAVIDUS

2016

Melodic Death Metal

Self Released

This is the debut 4 track EP by Impavidus, a new Metal band from Manchester featuring band members who also perform with local bands My Wooden Pillow, Driven Apart and Forged In the Furnace of the Sun. Whispers of a Manchester based supergroup anyone?! This debut EP was recorded at Skyhammer Studio in Liverpool. This studio, owned by Chris Fielding of Doom titans Conan, is becoming a hotspot for British Extreme Metal bands, with Boss Keloid and Witchsorrow also recording there recently. And it looks like Skyhammer has given birth to another fantastic release!

The debut EP actually opens with my least favourite track (though by no means a doosey) "Heaven's Gate". Straight away you are treated to a catchy and powerful riff. Michelle performs some of her most extreme vocals yet in the verses, but the melodic chorus gives way to her equally excellent clean vocals. I know it's going to sound like a rather obvious comparison, but Impavidus really does remind me of Arch Enemy, and those screaming vocals are definitely reminiscent of Angela Gossow. The only reason this is my least favourite song on the EP is the "Die! Die! Die!" breakdown near the end feels like too much of a tired Metal Cliché and takes the song a bit too much into the cheese zone, but not enough for me to stop listening. Fortunately the EP just gets better from there. "Exculpate" begins with an awesome twiddly guitar part that runs through the song, "Black Mirror" has an awesome pounding bass twang and my favourite track is the finale of "Scourge", which has the fastest riffs and drumming. The drums on this track are particularly versatile, one that the Forged In the Furnace of the Sun fans will also dig.

Impavidus have a way of mixing brutal verses and softer melodic choruses really well, and in particular I love the contrast between Michelle's screaming and clean vocals. The transitions are seamless, and in particular I like that there is a slight pinch of psychedelia on the clean vocals. One of the things that stands out on the EP is how well produced it is. Considering it is the first recorded effort from this band, it is sublime. The guys in the band use backing vocals really well to add emphasis on the more brutal sections, and the guitars sound meaty and punishing. I can definitely hear a strong influence of 90s Gothenburg Melodic Death Metal. Whilst Impavidus may not have quite found an original sound yet, there is still something about them that sounds fresh and exciting on this EP. A fantastic first release that leaves me excited to see them play live! 8/10.

#301: SUN KIL MOON - UNDER THE CANOPY

2016

Folk, Singer/Songwriter

Caldo Verde Records(?)

It's February 18th 2016 and I'm thinking it's been a long wait since the last Sun Kil Moon release, 12 years to be precise, since the iconic Hootie and the Blowfish covers album, "Ghosts of the Great Hootie", released back in 2004. I remember being mesmerized by the album receiving the rare 9.1415926535897 recurring rating from Pitchfork, but it looks like this latest one only received an 8.9, but hey that's okay too. Though it is only an EP running just shy of 15 minutes, I was happy just to hear Mark pick up his guitar again and sing us his beautiful songs. "Under the Canopy", which features a beautiful shot of a lake that he probably took on his I-phone and said "hey, that'll do", but it honesty it looks really pretty and suits it well. The EP opens with "I Watched the Movie The Revenent With Leo DiCaprio At the Midnight Movies When I Was a Child and it Mesmerized Me Even More Than the Time I Saw Godflesh Back In '92". I love the repetitive use of just two notes that sounded like DJ Premier had left his turntable on a loop and forgot to turn it off, but it's full of true emotion and beautiful melody. In particular the use of the vocal layering and overdubs reminded me of the time I went to Cotswold Wildlife Park back in the summer of 1998, where I wrongly dropped acid for the first time inside the bat cave and I was convinced I saw 100 tiny Draculas engulf my body and drain me of all my blood. I remember that time well as it was the first time I met Caroline, she had to scrape my drooling and vomiting body off the floor of the bat cave and she was a real gem because she helped me get all my clothes back on and drove me to the hospital. It's lovely to see that Mark managed to patch things up with The War On Drugs, who perform backing vocals on "Already Gone" and make some weird kind of slobbering sounds too... Once again it features guitar playing that isn't at all repetitive and totally beautiful, in fact it made my eyes weep. The album climaxes with the extraordinarily overwhelming acoustic masterpiece that is "Fields of Marigold", and after it was over I went back to my hotel room to start typing up this review, and I cried like a little girl. I can definitely see why it has been so long since the last Sun Kil Moon release 'cause it totally doesn't sound like this was knocked up in a day in his bedroom in San Francisco. I was just about to publish this review on my blog, but then I suddenly got a call from Caroline... Wait... What... What's a Jesu? It's a parade? What do you mean it's a parade? No you're pronouncing it wrong... Parody? You know I don't speak French. Anyway Caroline, I've got to go and post this review, it's not as if Mark Kozelek releases an album or two every year you know... Fuck!! 9.1415926535897 recurring/10

#293: BOARDS OF CANADA - TRANS CANADA HIGHWAY

2006.
IDM, Ambient, Electronic.
Warp Records.

When it comes to Warp Records artists, I tend to prefer their EPs to their actual full length LPs. Autechre and Aphex Twin tend to release an EP or two around the same time as each album, and with both of these artists I love the EPs even more (and the albums are brilliant too of course). The same goes with Boards of Canada. "In a Beautiful Place..." to me is their magnum opus, even if it is a third the length of "Geogaddi" (which is also a masterpiece). Perhaps I have a short attention span, or maybe I like it when things are concise?

If I had to pick between "The Campfire Headphase" or this one, I think the EP wins again! I know that "Dayvan Cowboy" was already on the album, but this may just be Boards of Canada's greatest tune! I think it works well in its own EP because the songs that surround it seem to fit that sound better than on the album (which to be fair is more diverse). Some fans criticised the addition of guitars on "Campfire...", but on "Dayvan Cowboy" they are so excellently placed, and used sparingly. If anything they enhance the power and the mood of their gorgeous floaty synth sounds. The track definitely has a My Bloody Valentine feel, and is also one of the most uplifting and beautiful songs I've ever heard. Watch it with the brilliant music video for an even enhanced feeling.

"Left Side Drive" and "Skyliner" have similar sounds and moods to the opening masterpiece. I love the way the synth sounds translucent, like it is slowly disappearing into the ether. I get the feeling of gazing out of the window of a plane as it sweeps through the clouds, with the beautiful glistening sea below. Perhaps it should have been called "Trans Canada Skyway" instead. The Odd Nosdam remix that closes this EP doesn't seem to get much love, but I liked it. It's a very minimalist and vaporous version that goes into more pure Ambient territory and it is a nice way to close a truly beautiful record. This is Boards of Canada at their prettiest and most emotional. A triumphant and uplifting record. 9/10.

#292: CRANSTON - STOATGOBBLER

2015.

Crust Punk.

Self Released.

You know what they say, you gotta start somewhere. The debut EP by Cranstøn (presumably named after actor Bryan Cranston) is a self recorded, one man in his bedroom, Bratty Lo-Fi Punk EP that is over in less than 8 minutes. In true Punk style, it doesn't sound like it took too long to write and record, and the somewhat humourous lyrics and song titles suggest it is a tongue in cheek effort. It's quite rough around the edges in terms of both songwriting and recording. The dirty, garage guitar and bass sound is certainly the highlight of this record, and to be fair Mr. Cranstøn can certainly belt out a few good riffs, the highlight definitely being "Macarena Murder Party", which has some lovely bass playing too. The drum sound (probably programmed) is rather basic and forgettable and the vocals need some refining. The EP ends with a Misfits cover that shows the direction Cranstøn could be heading in.

Overall I'd say this debut EP is a semi-enjoyable release that you might listen to once or twice and then forget about. But as for Mr. Cranstøn, I think the thing he will take away most from this experience is that he is on his way to writing and recording all by himself. Learning to record and mutli-track demos all by yourself is one of the most worthwhile things a musician can do. I think if he can find a like minded bunch of misfits and form an actual band playing this style, his craft will certainly improve. Hopefully in 5 years time he will listen back to this release and think "oh man, this sucks, the stuff I'm making now is 1000 times better!" 5/10.