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.
MOTORHEAD UNDER COVER Silver Lining Music Hard Rock, Speed Metal, NWOBHM. Listening Format: CD One criticism that is often thrown Motorhead's way is that all their albums sound exactly the same... Well not this time! I mean it does still have that unmistakable Motorhead sound, production style, and Lemmy's iconic vocals, but it is very refreshing to hear them take on some different sounds and styles to the norm. This compilation collects covers that have mostly appeared elsewhere in their discogaphy, so die hard fans might not have any surprises in store. Most of the tracks have been recorded after the 2000s, but 'Sympathy For the Devil', and a cover of Bowie's 'Heroes' come from the final recording sessions in 2015 before Lemmy's sad passing. Motorhead are honouring their heroes and influences here, covering artists such as Sex Pistols, Rainbow, Rolling Stones, Ted Nugent, Ramones and more. Compared to the classic 70s Motorhead sound, things are a lot more laid back on this album. That raging, noisy blur of speed that makes iconic tracks like 'Ace of Spades' or 'Motorhead' isn't quite heard on here. 'Cat Scratch Fever' and 'Rockaway Beach' are surprisingly tame for Motorhead. Even when they tackle some of the faster songs like 'God Save the Queen', they don't manage to match the ferocity of The Sex Pistols original. 'Heroes' is an intriguing rendition, almost going for this stadium rock sound, but there is something absolutely wonderful about hearing Lemmy taking on Bowie. On 'Starstruck', Lemmy must have realised that his vocal range isn't anywhere near capable of matching Ronnie James Dio's voice, so Biff Byford from their fellow peers Saxon takes on the high notes on this one. They really stumble through this track, but in a very entertaining way. Metallica have often praised Motorhead as a big influence and even released the 'Motorheadache' EP covering their songs, so it is ace that Motorhead came full circle, covering 'Whiplash' by Metallica, and this is one of the better cuts on the album too. This Motorhead covers album is kind of like watching the film Birdemic. It's so bad that it's good! None of these covers manage to outdo the originals, but it is so fascinating to hear them Motorheadize some classic Rock songs! 'Under Cover' is kind of terrible, yet utterly enjoyable! 6/10.
DALEK ENDANGERED PHILOSOPHIES Ipecac Recordings Industrial Hip Hop, Illbient, Noise. Listening Format: Digital Dalek is a Hip Hop outfit with a twist who have been active since the late '90s. Dalek have always strived to bring something different to the sphere of Hip Hop, combining hard hitting boom bap beats and politically charged rapping with elements of Industrial, Drone, Noise and Dark Ambient. They are also considered a strong part of an obscure and short-lived subgenre "Illbient", combing elements of Ambient music and Hip Hop alongside the likes of DJ Spooky, Scorn and Techno Animal. Because Dalek is such an experimental, noisy and abrasive act, it comes as no surprise that they have actually found an even bigger following in the Metal and experimental music communities than in Hip Hop. Their long standing relationship on Mike Patton's Ipecac Recordings has also helped to cement their cult status. 'Endangered Philosophies' is Dalek's second full length album following their hiatus after 2009's 'Gutter Tactics' LP. In 2015, the legendary act began touring again, culminating in their 2016 comeback mini-LP 'Asphalt For Eden'. If their previous outting was the band testing the waters, then this one is them fully re-emerging themselves into their craft. Dalek's most critically acclaimed album, 2005's 'Absence' was by far their droniest and darkest effort, often removing itself from Hip Hop entirely. But with 'Endangered Philosophies' Dalek have made one of their most direct and cohesive albums yet. In a way it follows on from the more immediate 'Abandoned Language' album from 2007. This time around, Hip Hop has taken a much more prominent role, with all the tracks being centred around the beats and MC Dalek's politically charged rhymes. Straight from the gut punching opening track 'Echoes Of...' Dalek make their mission statement. Pounding looped beats, booming bass and shoegazy layers of noise that threaten to overwhelm MC Dalek's fiery verses. I've always really liked the way the vocals sit in the middle of the mix, sometimes making the words indecipherable, but allowing them to truly add to the atmosphere. Whilst the mix of this track definitely favours the Hip Hop parts of their sound, it is still fairly noisy, with a sample that sounds like a swarm of bees! 'Weapons' is less abrasive allowing the beats and rhymes to really lead the way. Massive standout 'Nothing Stays Permanent' feels like Dalek's attempt to make a dark and eerie Hip Hop banger, reminiscent of RZAs dark and grimy production in early Wu Tang joints. The cold and haunting piano on this track is a touch of magic. 'A Collective Cancelled Thought' is a slow building 7 minute epic that escalates in menace, finally exploding into a raging performance from MC Dalek as a droning siren threatens to swallow up the whole track. Closing track 'Numb' elevates the vocals far more prominently, leading to one of MC Dalek's most passionate performances as he raps 'This is gonna change you / This is gonna change me / This has gotta change". Not only do Dalek feel like they have barely been away at all, but they've come back all guns blazing, continuing to make abstract, experimental, forward thinking and outside the box Industrial Hip Hop. 'Endangered Philosophies' is an inspired record and whilst it isn't the most challenging in their discography, it's sheer direct approach works really well, with enough variation and weirdness to keep it interesting. There truly would not exist bands like Death Grips if it wasn't for pioneers like Dalek. And whilst Death Grips may be more visceral and demented in approach these days, Dalek have just as much darkness, horror and weirdness in their own right. 8/10.
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.
