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.
PRIMITIVE MAN CAUSTIC Relapse Records. Sludge Metal. Listening Format: CD 'Caustic' is the second full length record from Denver, Colorado based Sludge Metal trio Primitive Man... Boy is this some HEAVY shit right here! I've listened to a lot of heavy and extreme music in my time to the point where I'm rarely surprised by sadistically abrasive music any more, but 'Caustic' really set me back. Right from the first few seconds of 'My Will', I was hit with this ultra swampy, crushing and earth shattering sound that pricked up my ears. I guess in terms of composition it is very much Sludge Metal at heart, but the presentation, sound and production here is something unique. Primitive Man have really pushed the ridiculous levels. I don't know what kind of amps and pedals they have setup on this album but DAMN!!! This just might be the heaviest record I've EVER HEARD!!! The entire record runs for 77 minutes and never once lets up. The actual riffs and compositions aren't quite breaking new ground, but they are certainly good, with plenty of scorching riffs. I actually find that the lengthier tracks like 'Commerce' and 'Disfigured' work to the bands strengths even better, creating a savage onslaught that escalates in intensity. In a way, the riffs and chord choices are fairly repetitive and simplified, but then you shouldn't expect anything less from a band called Primitive Man. Don't expect the dynamic nuances of Neurosis. Primitive Man's strength on this album is the horrible, suffocating atmosphere they have created. I find 'Caustic' is best experienced in its entirety, on CD, with no breaks. It is genuinely a challenge to even make it to the end of the record because it is so savage. Sure a record this slow, plodding and repetitive doesn't exactly need to be 77 minutes long, but in this context it totally works in their favour. Think of this record as a sadistic psychopath who has kidnapped you and tied you to a table. Each track acts like a different deadly weapon or tool in which to torture the victim with. Does a sadistic maniac want you to have an easy 40 minute ride, or do they want to brutalise and mutilate you as slowly and painfully as they can, for as long as possible?!
Listening to 'Caustic' is like slowly being beaten to death with a sledgehammer. Starting at the kneecaps, and then inviting a larger array of sharp objects searing into delicate places. Primitive Man deliver totally nihilistic, miserable, hate fueled noisy Sludge that will end up breaking you down mentally. The insane guttural, monstrous vocals sound demonic... This CAN'T have been made my humans!!! At times the sheer weight of the riffs gets so ridiculous that I couldn't help but laugh out loud at a couple of points, if only to cleanse my own sanity. But in terms of sound and atmosphere, 'Caustic' is a huge achievement. It really does go the extra mile and rises above a lot of other recent brutal Sludge records I've heard. 'Caustic' is not only the aural equivalent of a sadistic, exploitation Horror film, but I genuinely feel like this could be a landmark release in Extreme Metal. It's the kind of album where other bands, sound engineers and producers will listen to it and think "Shit son... We gotta up our game!" 8/10.
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.
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.
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.
MELVINS A WALK WITH LOVE & DEATH Ipecac Recordings. Doom Metal, Sludge Metal, Hard Rock, Sound Collage, Original Score. Listening Format: Digital.
Melvins have been incredibly prolific in the last few years. Two albums in 2013 (one was a cover album), two albums in 2014 (one was King Buzzo's solo album), two albums in 2016... Offshoot project Crystal Fairy have already released a quality album earlier this year too! At this point, Melvins announcing a double album seems like some kind of threat! 'A Walk With Love & Death' very much presents both sides of the Melvins coin in one release. The 'Death' disc is that classic Melvin's Sludge Rock sound. Whilst the 'Love' disc is a return to the experimental side of Melvins that made 'Electroretard' and collaborated with Lustmord. Truly a release for the die hard Melvins connoisseur! DEATH It's probably safe to say that Melvins have softened up their sound a little bit this decade *takes cover from a pelting of rotten fruit*. But seriously, Melvins' recent output has been closer to a Hard Rock sound, even if there are still some classy doomy riffs on show. King Buzzo hasn't quite given us a ferocious scream or a haggard, crushing deathblow of a riff that abuses stereo speakers lately, such as displayed on their seminal 1993 album 'Houdini'. But what Melvins' have done well is to keep releasing interesting stuff. Their run of albums on Ipecac hasn't always been gold, but have been full of varying sounds, line-up changes and lots of collaborative efforts. Considering they are releasing material at a yearly rate, their creative flow certainly hasn't diminished.
The 'Death' disc of this double album is such a fun and breezy listen. I wouldn't quite consider it Metal, although stand out 'Euthanasia' has a slow and heavy riff that could slay a woolly mammoth. Sounding like classic 90s Melvins (this song has been knocking around live sets for a long time now). But most of this album is much more in the Rock terrirory. Standout track 'Sober-dellic' has a Blues Rock stomp to it that seems to be challenging 70s ZZ-Top. Lead single 'What's Wrong With You?' beautifully channels their 90s Grunge/Sub Pop roots. This track sounds like the Beach Boys, Nirvana and Bubblegum Pop all mixed into a blender. The vocal harmonies sound so immediate and ear grabbing on this track. The vocal harmonies shine really well on the crunchy riff rocker 'Flaming Creature' too, another huge track. Ultimately the 'Death' disc is just so much fun. Melvins' have been trying to create more immediate, catchy and fun songs for a few years now and it sounds like they are getting better and better at it. They still totally inject them with that Melvins quirk and sense of humour. LOVE
On the tails side of the coin we have the 'Love' disc. It's been a while since the more controversial and experimental side of Melvins has been let loose but here we have it. 'Love' is an original score for a short film directed by Jesse Nieminen, also called A Walk With Love & Death. I've not seen the film yet, but judging from the score I imagine it to be a very surreal, arty collage film perhaps? The 'Love' disc is not a film score in the traditional sense. It is basically a series of noisy sound collages with field recordings, spoken word samples (presumably from the film) and little to no structure. Each track noodles about seemingly randomly, with the occasional pulsing electronics, banging drums, scatty guitars. All the tracks here sound like they are completely improvised in the studio and sound very lo-fi and barely mixed or mastered. It definitely harkens back to their 1994 sound collage album 'Prick'. I honestly really struggled to sit through this disc. It just... It's not good. The sound of Melvins messing around with instruments in their rehearsal room with no rhyme or reason might appeal to a small quota of Noise fans or Melvins die hards, but in reality, this is not enjoyable to listen to. It sounds like the band churned it out in an afternoon and barely looked back on it. It also has absolutely no connection to the impressive 'Death' disc in terms of sound, style or thematic content. I did not take away anything memorable or enjoyable from this disc, and I quickly want to forget I ever heard it. CONCLUSION These two albums really deserved to be released separately because they don't have any logical connection to each other. 'Death' is one of the best Melvins releases of this decade, and 'Love' might be the worst thing they have ever put out. If 'Love' had just been billed as a "bonus disc" I could have let it slide. But this package is not only being marketed as a double album, but priced as such too. And sadly, as much as I enjoyed the 'Death' disc, it isn't worth shelling out that extra buck (although the album packaging is superb). The 'Love' disc is something you will not want to listen to more than once... Ever! I'm going to leave this at a 6/10 (but in reality think of it as an 8/10 & a 2/10)
*Note: At least it lives up to the title. Feels like they got the 'Love' & 'Death' titles the wrong way around though?
