ALBUM REVIEW: AMENRA - MASS VI

AMENRA
MASS VI
Neurot Recordings
Sludge Metal, Post-Metal.
Listening Format: Digital



I saw Belgian Sludge Metal masters Amenra live at Damnation Festival a couple of years ago and it still remains one of the most emotionally charged performances I've ever witnessed. Amenra tend to stand out from a lot of their genre peers by pouring absolutely everything into their music. Previous album 'Mass V' at the time of release was their greatest to date. It felt like the album they had always been building towards. Not only is their dynamic take on Sludge and Post Metal much more refreshing than many of their peers, but listening to that album and seeing it performed live actually DRAINED me. Their music is built on so much tension, agony and intensity that it feels like enduring the most rigorous therapy session. You want to lay down and have a nap after listening to this band.

It's safe to say that there was a huge amount of hype for 'Mass VI', falling five years since their previous full length. Between this time Amenra have still been fairly active as a band, releasing a live album as well as doing something a bit different by recording acoustic songs. Outside of this, vocalist Colin H Van Eeckhout released a solo record, plus him and other band members also made some fantastic releases with their Church of Ra offshoot bands Oathbreaker, Wiegedood and Absent In Body. The Belgian collective of bands seem to be looking to take over the Extreme Metal scene, with a string of highly acclaimed projects.

Running at just over 40 minutes in total, Amenra return with an album fairly reminiscent of their masterpiece 'Mass V'. The production is a little bit more polished. In particular CHVE's vocals have really improved. He implements less spoken word and more clean singing than ever before, with a hushed voice reminiscent of Kayo Dot's Toby Driver. Of course his high pitched screams and wails are just as aggressive and visceral as ever. Clearly CHVE has made more of a focus on improving his singing voice and the overall diversity of his vocals has reached an all time high. It works especially well on album highlight 'A Solitary Reign' where his vocals have been multi-tracked combining ferocious screams and haunting clean singing of the repeated mantra "There is a distance in your eyes".

But when it comes to the rest of the band, it actually feels like Amenra are playing things a little safe here. Amenra know what kind of chords, tempos and song dynamics work for them, and 6th time around it feels a little too familiar, like I've heard it all before. Even the most passionate Amenra fan can probably admit that the riffs in 'Children of the Eye' and 'Plus Pres de Toi' have basically been used before. The album's worst track 'Spijt' feels very much like Amenra on autopilot, like they started a song and forgot to finish it, so just threw in a 2 minute snippet and left it like that. It barely even works as an interlude to break up the album, it's just a real headscratcher. Album closer 'Diaken' also left me on a cold note. At the end of it's 11 minute duration it just kind of ends, without a satisfying conclusion. A little underwhelming considering 'Mass V' had one hell of an emotional climax.

And there lays the biggest problem with 'Mass VI'... I personally just don't feel an emotional connection with most of these songs. Even though all the right ingredients have gone into the oven, this just feels all too familiar. Even though CHVE is yelling from the bottom of his heart on this album, with another highly dynamic, tour-de-force vocal performance, I'm left feeling a cold void. 'Mass V' and parts of their previous albums hit me really hard. I'd be banging my head along, clenching my fist in their air and especially with 'Mass V', I often end up playing the album straight away again once it has finished. The best cut here is 'A Solitary Reign' which I feel lived up to what I was hoping for from this album. Even Amenra mix things up a bit with a folky guitar arpeggio leading the track, but ultimately it comes to the same conclusion as many Amenra songs. I guess maybe I've been spoilt by Oathbreaker's 2016 masterpiece 'Rheia' (also featuring guitarist Lennart Bossu). Even though I thought Oathbreaker's first two records were great, 'Rheia' was a massive step up, improving the band's sound in almost every aspect, delivering a much more ambitious release than anything they have done before. In a way I was adamant that 'Mass VI' would be an even bigger beast than anything the band had done before it. When actually it not only feels like the band are holding back a little, but struggling to say anything they haven't already expressed. The guitar riffs, the ebbs and flows, and the vocal phrasings are just far too reminiscent and predictable... And I'm just not FEELING that weight, that sorrow, that anguish...

Sure I did enjoy this record, I mean it's freakin' AMENRA! A band I think every fan of Extreme Metal or even Post Rock should have on their radar, but 'Mass VI' also feels like a bit of a missed opportunity too. Even Amenra on autopilot is still pretty darn good though, so hopefully it will work for you! 7/10.

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: MOGWAI - EVERY COUNTRY'S SUN

MOGWAI
EVERY COUNTRY'S SUN
Rock Action Records.
Post Rock.
Listening Format: CD



Scotland's Mogwai are considered to be one of the pioneers of the Post Rock movement, with classic, genre defining albums under their belt such as 'Young Team', 'Come On Die Young' and 'Happy Songs For Happy People'. If you claim to know anything about Post-Rock you'll probably know this band pretty well. Their '90s and early '00s output has all been very solid. In fact I even really enjoyed 2011's 'Hardcore Will Never Die, But You Will'. However that album was really the start of a slippery slope for the otherwise untouchable band. They began to put out a release every year, whether it be new full length albums, remix albums, compilations, live recordings, and a few soundtracks ('Les Revenants' actually being a sombre discography highlight). Whilst Mogwai remain a devastating live force, it would be easy to accuse them of oversaturating an already stagnant genre with too many releases. Aside from Godspeed You! Black Emperor (who really take their time between releases), Post Rock really isn't as exciting as it was 10-15 years ago. Explosions In the Sky and Mono are also retreading the same old ground, Sigur Ros are putting out good material but with large gaps between their new material, some bands like Tortoise have changed style completely. So perhaps the leaders of the genre ought to be lighting the way in 2017?

Sadly this is not the case. Other than the departure of long time guitarist John Cummings, there are absolutely no surprises or fresh ideas in store for Mogwai, following the disappointing 'Rave Tapes' and the fairly decent but nothing to ride home about 'Atomic'. Opener 'Coolverine' is enjoyable enough, but really just Mogwai by the numbers at this point. 'Party in the Dark' at least stands out with the use of lead vocals. The track especially reaches back to 2001's 'Rock Action' record which experimented with Alternative Rock and Pop songs, but even still, Mogwai have executed these ideas with a far better impact in the past ('Hunted By a Freak, 'CODY'). 'Brain Sweeties' tries to go for something epic, textured and pounding, but just sort of ends up being pretty, but lacking any real sense of weight or drama. 'Crossing the Road Material' is a particular lowlight in Mogwai's entire back catalogue. This track is so painfully by the numbers and middle of the road, that I think they were actually aware if it when they came up with the title. It's really about as generic as Post Rock gets, It could have been made by some indie YouTuber in one of those "how to make a Mogwai track" kind of videos. The rest of the album is genuinely so bland and uneventful, that I am even struggling to think of anything to say about it. Fortunately it does end on a stronger note with 'Old Poisons' belting out roaring, doomy guitars, but even this track sounds awfully reminiscent of 'Bat Cat' from 2008's awesome 'The Hawk Is Howling' album.

At its best, 'Every Country's Sun' is mildly enjoyable and sophisticated. If you have never heard Mogwai or Post Rock before then, sure, I guess it won't be a horrible listen. But honestly for those who are more than experienced in the wonders of the genre, and this very band, then this album really is struggling to say ANYTHING remotely fresh, interesting or inspired. Mogwai have sadly become The Fall of their genre. This decade they have felt it acceptable to put out a release practically every year, recycling the same ideas and sounds over and over. 'Every Country's Sun' feels like the absolute nadir in their discography. There are so many all too familiar sounds, ideas and motifs that it is starting to border on parody. This album is so generic, so limp and so uninspired that it is somewhat sad to experience. I still maintain that Mogwai are a great band, in fact a groundbreaking one at some point, but now they are going for quantity over quality with seemingly no shame. Mogwai really need to take a hiatus, take a few years out, gather some stronger ideas together and then try again. It is sad to listen to a band who clearly have so much talent and good ideas in them, content to just knock out sub B-side quality material. This is the sound of a great band batting way, way below their potential, and seemingly feeling more than happy to do so. 4/10.

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.

ALBUM REVIEW: SODEN - LED BY FOXES...

SODEN
LED  BY FOXES...
Self-Released.
Sludge Metal, Post-Rock.
Listening Format: CD



Soden are an instrumental Metal trio based in Worcestershire, England. After putting out a couple of well received EPs over the last two years, the band have written, self produced and DIY released this debut full length CD, 'Led By Foxes...' Soden also continue to be a strong force playing live across the UK, and this album very much captures their live essence and sound.

One of the most obvious bands to compare Soden to would be US Post-Metal icons Pelican. Not only do Soden bring crushing Doom riffs, but their understanding of dynamics is fantastic. Across the whole of 'Led By Foxes...', Soden take you on a real journey, telling a story without any lyrics. Opener 'Sleep Paralysis' is not only a fantastic live number, but it is such a great mission statement for the band. The song is a real showcase of melodic, twiddly bass licks, that ebb and flow like tidal waves. So much fuzz and atmosphere is created that you begin to wonder how just three players can make such massive, textured sounds. In particular the use of different pedals creates noisy atmospheres, and the tribal influenced drumming gives such a lively sense of rhythm and groove. The technical abilities of the band really shine, with so many exciting fills and transitions. It's the lengthier tracks that win on this album, with the title track having even more irresistible grooves. Some of the shorter tracks like 'Beyond the Mountain' are awesome balls out riff machines, but it is epics like the teasing stop/start 'Oneireophrenia' and fuzz worship finale 'Trip to Pluto' that excite me the most.

Soden are a band that make the clean, softer sections count as much as the crushing riffs. The trio sound even better when they are crafting these lengthy journeys of sound that take the listener on a sonic trip of peaks and troughs, louds and quiets. The Worcestershire trio are storytellers of sound and this is a fantastically realised debut effort. Some of the tones expressed are beautiful and the drums snap hard. I'd love them to continue to go even further in the future and make their tracks even longer and more progressive! 8/10.

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.

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.

ALBUM REVIEW: SOLSTAFIR - BERDREYMINN

SOLSTAFIR
BERDREYMINN
Post Rock, Hard Rock, Progressive Rock.
Seasons of Mist.
Listening Format: CD & Digital.














Solstafir are an Icelandic Rock band who have been active for over 20 years but only put out their first full length in 2002. Originally conceived as a Black Metal band, Solstafir have always created very atmospheric and melancholic music. Over the course of six full length albums, their music has really changed up a lot and continued to evolve to the point where they can barely be labelled a Metal band these days. 'Berdreyminn' is their sixth full length release and it's not an easy album to pigeonhole (which I like), with elements of Post Rock, Hard Rock and Prog.

The album opens with a kind of Ennio Morricone Spaghetti Western inspired intro before (and I kid you not) launching into a main riff that sounds like classic Muse (honestly it really does)! Once this track gets going though, it becomes really interesting with a triumphant feel, stomping drums and these soaring yelling vocals. Second track 'Isafold' has this unashamed 70s Rock stomp that sounds like classic ZZ Top. This thing even has what sounds like a slap bass interlude and cheesy guitar licks. I have to say I'm loving this track, although the vocals are mixed a little too high and sometimes when Tyrggvason goes slightly off pitch it is a bit unpleasant on the ears. The album takes an even stronger leap forward with a song that has a completely different tone. 'Hula' is Solstafir coming out in their true form. It sounds dark, mysterious, brooding and epic as you would probably expect. There are some absolutely beautiful touches of strings and female backing vocals on this track, and the clean lead vocals are far more muted and lowered in the mix compared to the yelling vocals on the first two tracks. This is easily the strongest track on the album that could be described as a Post Rock or atmospheric Rock song, for lack of a better term.

As the album starts to venture into its second half things keep changing up from there. In fact 'Naros' has a very dynamic change just within the same song. It begins as slow and ghostly as 'Hula' before it, but around the half way mark suddenly bursts into a colourful array of Punky power chord lead guitars and brilliant sounding yelling vocals. Although I can't understand the lyrics (presumably in Icelandic), I can still hear so much passion in the vocals, so whatever he is shouting about, I can tell he really means it. Another strong album highlight, but mostly just the second half of this track.

As the album continues its journey, it seems to keep switching back and forth between simplistic and energetic Hard Rock, and melancholic and very dramatic songs. 'Dyrafjordur' near the end of the album piles on the strings and hammering piano arpeggios to create a song that could easily soundtrack a main character's last dying breath at the climax of a hard hitting drama. If you compare this track to the ZZ Top stomp of 'Isafold' earlier in the album, it is hard to believe these two songs can possibly coexist on the same record! I guess this is the album's biggest strength and biggest weakness at the same time. 'Berdreyminn' is a vastly eclectic album with a wide musical pallet. Sometimes it sounds simplistic and catchy as hell, sometimes it sounds very complex, layered and serious. Rarely is the album boring because Solstafir pull off all their ambitions well, with solid, heartfelt performances, and detailed, nostalgic production. But tonally this record is all over the place. I think if you do pretend it is a soundtrack, then it makes more sense. Soundtracks are allowed to be all over the place. Listening all the way through there are mostly very bold and engaging moments all over this record. But there are also some irksome parts too, whether it is a guitar lead or yelped vocal sounding a bit too cheesy and over the top, or a change in the album's mood and pacing being too drastic a shift. As a whole though, I'm really enjoying this record. It is certainly a unique and thoroughly engaging experience, and it doesn't really sound like anything else I've heard this year, which is very refreshing indeed. 7/10.

LIVE REVIEW: OATHBREAKER + SVALBARD & PIJN - MANCHESTER

Oathbreaker's latest album 'Rheia' landed itself in the #1 spot on my best albums of 2016 list (which you can read here) so it's safe to say I was very excited about seeing their sold out show in one of Manchester's very finest gig venues, The Star & Garter!

PIJN

Pijn (I previously thought it was pronounced like "pigeon", but apparently it is actually pronounced "pine"... Hope I've got that right) are one of the latest signings to an already stellar Holy Roar Records roster. The new band have been building up a lot of momentum over the past six months and since I last saw them perform as a trio with Pelican, their live show has added two extra members, playing violin and lap guitar/electronics respectfully. Considering over ten people performed on their debut EP 'Floodlit' (which was released on this very day), perhaps the Pijn live experience could end up expanding even more in the future?!

Their show tonight was belting, with pounding and rumbling drums that gave the lengthier compositions fantastic energy and transitions. The guitars were suitably sludgy and swampy tonight, with an array of dark and textured chords that were heavy and dreamy at the same time. Pijn performed some new material that felt darker, slower and at times really menacing, with elements of hardcore and sparingly used screaming vocals seemingly left over from their previous incarnation Old Skin. It was EP opener 'Dumbstruck & Floodlit' that left the biggest impression on me, journeying from major key Post Rock and chugging riffs in the vein of Pelican, and gradually transitioning into something more akin to Neurosis at their most raging. The addition of the violins and the lap steel guitar only enhanced the impact of their songs tonight, with massive crescendos that nearly reached Godspeed levels of epic! Pijn are a band that are growing and moving forward and I feel like the best is yet to come! 8/10.

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SVALBARD

"WE'RE FUCKING SVALBARD FROM BRISTOL!!!" Guitarist and vocalist Serena Cherry shouted before ripping apart the Manchester crowd with their ferocious and emotionally charged blackened Hardcore. The Bristolians play hard and fast, suitably taking the epic shoegazey tremolo guitars recently favoured by headliners Oathbreaker and combining them with an insane display of pounding thrashy drums and blastbeats, giving the quartet a pinch of crusty Punk attitude. 

Svalbard came at the crowd fiercely, with their breakneck speed and dual screaming vocal trade offs reminiscent of Circle Takes the Square, but their songs also evoke some achingly beautiful moments too, whether it is in the epic Post Rock inspired melodies of opener 'Perspective', or the sheer earnest honesty of their lyrics and vocal delivery. Svalbard are a band whose music cuts through your soul. They not only have the ability to pack a mighty punch with their blistering force, but their melancholic chord progressions and the sheer impact of their collective sound is enough to leave a lone tear streaking down your face. 9/10.

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OATHBREAKER

Unfortunately all of Oathbreaker had come down with a nasty case of flu whilst touring the UK, but you would never have even guessed it based on tonight's performance. A sold out crowd waited silently and awestruck as frontwoman Caro Tanghe snuck onto the stage, draped in long black robes, her face obscured by her hood and long hair. She began singing all on her own as the opening siren of '10:56/Second Son of R.' began their set. Atmospheric clean guitars soon sprang to life building up to one of the most impressive openings to any show I've seen. The band erupted into glorious thundering tremolo riffs, insane blasts and vicious, primal screams that open their stunning album 'Rheia'. The sold out crowd were instantly drawn into a hypnotic headbanging frenzy, and chills went down my spine just witnessing such magnificence.

Oathbreaker mainly performed songs from their latest album, and rightly so. Their sound has really evolved and transitioned from their Sludgy Hardcore upbringing, and it was amazing to hear their mixture of intense Black Metal and dreamy, shoegazy, atmospheric guitar parts in full force. Even through illness, the band gave it 110%, pouring so much emotion, energy and sheer intensity into their performance, as if the world would end tomorrow. As Oathbreaker have gone on, they have just got better and better at their craft, perfecting and tightening... In particular Caro Tanghe has never sounded as good as she does right now. Her screams tore the Star & Garter apart as if a malevolent force was haunting the old building, and her clean vocals rang out like an alluring siren.

After a selection of some of 'Rheia''s heaviest and most powerful songs, including 'Needles in My Skin', 'Being Able to Feel Nothing', 'Where I Live/Where I Leave' and 'Immortals', the quintet left us with a classic from their first album, 'Glimpse of the Unseen'. When THAT riff kicked in, the crowd just lost their shit, erupting into manic headbanging and circle pitting. This blackened Doom epic recalled Darkthrone's 'In the Shadow of the Horns', leaving us with a monument as dark and gritty as the Star & Garter itself. 9/10. 

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January 27th 2017 @ The Star & Garter, Manchester.

PLEASE NOTE: Because of the very dark conditions in the Star & Garter, the photographs used have been taken by me at different shows at Gullivers, Manchester and Brudnell Social Club, Leeds, taken on the 26th and 29th of January respectively.

AN INTERVIEW WITH DYSTOPIAN FUTURE MOVIES

Dystopian Future Movies are a Post Metal trio from Nottingham, although with such diverse sounds and influences, there is no easy way to describe this band, so I thought I would ask them directly! The band have two fantastic EPs under their belt and are gearing up for a UK tour with Fvnerals starting in October and a debut full length to follow!



I chatted with Caroline Cawley, Emily Azadpour and Bill Fisher about Irish Folk music, Nottinghamshire and of course, dystopian future movies!

Photo Credit: Elmore Photography

How did the three of you come together to form Dystopian Future Movies?  

Caroline: I had been writing some basic song ideas and looking for a drummer to collaborate with when I met Bill. Emily and I had been friends for a while, she had always wanted to play bass... So with similar taste in music it made sense for us to get together.  

You have a diverse sound that takes elements of Post Metal, Atmospheric Rock and Indie, how would you describe your sound in your own words?  

Bill: Caroline describes it as ‘detrimental’. Not detrimental to anything, just ‘detrimental’. Which somehow does make sense. 

Caroline: I think our sound is dark, atmospheric and dynamic. The melodic vocal brings a spooky element, it hooks you into the darker elements. 

Who do you consider to be your biggest music influences?  

Caroline: I heard everything from Rush and Thin Lizzy to Julie Tzuke as I toddled round my house from a very young age so I have a broad palette where influences are concerned! The delicacy and heart on sleeve nature of contemporary Irish folk music was something that made a massive impression. My dad and I would travel to see Mary Black in concert when I was 9 years old and I'd sing every word. Her interpretations of Noel Brazil’s Sparks Might Fly and Columbus have stuck with me since I was a small child. Heartbreaking and vulnerable lyrically, a wistfulness drawn out by her pure vocal. I am drawn to troubling chords, dissonance, whether in subject matter or musically. Crushingly heavy riffs were something I got into more as teenager. Memorably, hearing a track called All Is Forgiven on San Francisco band Jellyfish’s second album blew my mind wide open and showed me that intense melody can be fused with cacophonous noise to incredible effect.  

Bill: Drummers that have influenced my approach to this band would include old favourites such as Billy Cobham and Jimmy Chamberlain, and notably Hozoji Matheson-Margullis of Helms Alee, who has a really unusual approach. Caroline always frowns at straight rock beats, so I’m always looking to add something more off-kilter. Bill Ward said he tried to play like an orchestral percussionist, thinking in terms of dynamics and texture, which I try to apply to this music.  When we get to the arrangement stage in DFM, I try to keep Hounds of Love (Kate Bush album) in mind. It’s sonically very different, but the structures are often based around one pattern or riff which repeats and builds to awesome crescendos.  

Emily: That’s a tough one! I grew up in a small seaside town in Scotland where dance music was popular, along with Britpop.. It was only when I left for university that I was introduced by friends to a whole new world of other genres. Neil Young, Nirvana, My Bloody Valentine, Jeff Buckley, Pavement and the Pixies are just a few of the bands I remember coming to quite late on, hearing them for the first time and feeling an affinity with that music that I’d never felt before listening to anything else. 

DFM is based in Nottingham, what is the music and arts scene like there?  

Emily: There is a thriving independent music and art scene in Nottingham. We have some great DIY venues including the Chameleon, JT Soar and the Lofthouse in collaboration with passionate local independent promoters such as Buttonpusher, I’m Not From London, Default This and Thee Cosmic Goat. Nottingham feels like a very exciting place to be creating music at the moment and we feel lucky to be part of such a diverse yet inclusive and supportive artistic community. 

Your latest EP "NYD" is fantastic, how did you find the writing and recording process?  

Caroline: Thank you! NYD was written very quickly in one sitting. It came from a very raw place lyrically and seemed to just flow out of me that morning as I sat strumming a melody I had come up with a few days previous. It evolved an apocalyptic ending when I took it to Bill and Emily at band practice. Hopefully the emotional confusion of the song comes across in the ebb and flow.  

Bill: NYD and Nova were both recorded with Joff Spittlehouse in The Old Library [in Nottinghamshire] which has a large theatre room. This gave us great natural reverb and thus a huge drum sound.  

Emily: After recording the first four track EP ourselves, it was a new and exciting experience to work in another studio with someone else engineering. It was interesting to have the input of someone outside of the band and discover the different ways that could influence the recording outcome.  Joff was amazing, very patient and accommodating, we really felt at home recording in his studio. 

Name some of your favourite dystopian future movies, and can you explain how they influence your music?  

DFM: La Jetee (the precursor for 12 Monkeys), Brazil, Children of Men, Blade Runner, Nineteen Eighty-Four, Dr Strangelove and Network are a few that come to mind.  Movies such as this have a sinister edge, they have a visual as well as a sonic dissonance. There is notable light and shadow and we feel that contrast is similar to our musical dynamic. People have described our music as cinematic or like a soundtrack. Maybe we will have the opportunity to work on a movie in the future. 

Bill:  It’s really the feeling that these types of film create which is similar to our sound. Darkness, epicness, claustrophobia, ‘detriment’... 

What else influences you outside of music and film?  

Caroline: Words. Patti Smith’s Just Kids came to me at a significant turning point in my life and threw some doors open for me. Having surrounded myself in other people’s art; be it film or music all of life, after reading that book I suddenly felt capable or that anything was possible and that maybe my own artistic story was just beginning. I think as I've gotten older I've realised that self expression, creativity and the self-awareness they bring are fundamental to our happiness and functionality. I am also hugely inspired by the kids I teach. My class are only 8 and come from very diverse cultural and religious backgrounds but amid the current political turmoil; the hope, enthusiasm and accepting nature of my kids is a much more positive reality to get up for every day!  

Emily: Lots of things really! Friends, teachers, films and books that I stumble upon or people recommend. I developed an interest in photography relatively recently having lived in Berlin whilst studying  a Liberal Arts course. I was introduced to analogue photography and discovered a love for the dark room and the feeling that film photography evokes. Living in Berlin was very inspiring to me because of how rich the city is in terms of culture and history. That whole experience was very influential, I met some amazing and inspiring people and rediscovered a desire to be involved in doing something creative as part of a group. That want had lain dormant for a long time and I hadn’t realised how much it was lacking in my life. I’m so happy to have the opportunity to play bass with two of my closest friends.  

You have shows announced all over the UK, what are you looking forward to most on this tour?  

Emily: Playing some of our new songs and trying out a new set. I am really looking forward to seeing parts of the country I’ve not seen before.  Hanging with Fvnerals again, of course! 

Bill: We’ve not played many southern venues before as our previous tour was just the midlands and the north. It will be great to be touring with Fvnerals again as they are awesome people and an amazing band. You hear nightmare tour stories where bands fall out but everyone involved is really chilled and genuinely professional.  

Caroline: We both really like each other’s bands and it’s pretty exciting to see one of your favourite bands play every night and watch them evolve.  

Your music is available digitally and on CD. Physical music is seeing a welcome resurgence now, what are your personal favourite formats to listen to music on?  

Caroline: As I was growing up it was tape and then I moved on to cd when I could buy music myself with pocket money. Over 15 years I collected hundreds of CDs! Because I mainly listen to music on the go now, it’s mainly digital. I do really miss the artwork and liner notes, when I can afford it, I’d love to buy my favourite albums on vinyl.  

Bill: We are going to release our first album on vinyl.  

Caroline: We have already discussed the artwork, I’d love to include the lyrics.  

What does the future hold for DFM, and what are your plans after the tour is finished?  

Bill: We have just recorded our first full length album in-house [home studio] and it is sounding massive! It is due for release on CD and vinyl early next year. We will tour and do some festivals on the back of that release, hopefully in Europe.  

With all the uncertainty in British politics right now, do you feel like a dystopia lays in our future, or are we already in a dystopia?  

Bill: The prophesies of many dystopian movies and novels have undoubtedly come true however we are still fortunate enough to be able to create art and music. May that continue. 

...And to leave on a more positive note, what would each of you describe as being your perfect day off work?  

Bill: Sitting down in a sunny beer garden. 

Caroline: Amazing live music, nice beers, great friends and laughter.  

Emily: I like to nap, daytime naps are good, and food, so those things, preferably with good friends in the sunshine near the sea and a dog or two.. 


Thank you to Dystopian Future Movies for taking the time to chat. Here are their upcoming tour dates!