ALBUM REVIEW: PRIMITIVE MAN - CAUSTIC

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.

ALBUM REVIEW: CIGARETTES AFTER SEX - CIGARETTES AFTER SEX

CIGARETTES AFTER SEX
CIGARETTES AFTER SEX
Indie Rock, Slowcore, Dream Pop
Partisan Records.
Listening Format: CD










Cigarettes After Sex are a Texan formed Indie Rock band who are releasing their proper full length debut album. The band have actually been around for a while now, with their self released demo appearing in 2011 which didn't make such an impact. However their 2012 EP fared much better, with the track 'Nothing's Gonna Hurt You Baby' becoming a slow-burning hit. The band kind of went dormant for quite a few years, but a reissue of said EP last year renewed interest in the band who had started touring once more. Cigarettes After Sex now seem to be picking up their momentum faster than ever before and are starting to see the attention they have been looking for.

For those who have known of the band's work before this album, you'll hear that almost nothing has changed in their sound. Even in the years following that 2012 EP, Cigarettes After Sex haven't added or subtracted anything. Their sound has that 90s throwback that is especially popular this decade. In particular they seem to take influences from the lesser known "Slowcore" movement of the early 90s. Their stark, stripped down and bare-bones sound is especially reminiscent of early Red House Painters and Low records (particularly 'Down Colorful Hill' and 'I Could Live In Hope' respectively). However Cigarettes After Sex are nowhere near as harrowing, melancholic or doom-ridden sonically or lyrically. But the comparison comes from their slow jangly music that is so bare it has nothing to hide. There also seems to be a strong influence of early 90s 4AD acts such as This Mortal Coil and Cocteau Twins too (in fact 'Each Time You Fall In Love' has a very similar sound and melody to Cocteau Twins' 'Pitch the Baby'). Cigarettes After Sex admirably have nothing flashy about their sound. The drums are mostly hi-hat and snare, the guitars slightly reverberated, but their sound is just as raw in approach as it would be on stage or in the studio. Absolutely no studio trickery or effects sound like they have been added in post. In many ways this makes the band sound completely genuine and honest, but such starkness could be a turn off for some listeners.

The album has a few really strong songs, kicking off with 'K.' which is as strong an opener as their best known hit 'Nothing's Gonna Hurt You Baby'. As I said before, they sound EXACTLY as they did when they released that song 5 years prior. Greg Gonzalez's androgynous voice is just as bittersweet and inviting as always. Perhaps the true star of this record. His vocals are just so warm, emotive and passionate without really even trying. He rarely feels to the need to elevate his voice or push his vocal chords in anyway, always revelling in a laid back, chilled out hush, much like the band as a whole. Cigarettes After Sex are a band that never introduce a heavy riff or even a loud build up in their songs. Their music is almost calculatedly brittle and laid back, like the band sat down the entire time they wrote and recorded these songs. Single 'Apocalypse' is another huge hitting and emotive song that was effectively released as a promotional single. I particularly enjoy 'Flash'. A rare time where the band mix up the formula a bit. The song revolves around a beat similar to Massive Attack's 'Teardrop' and shows a dub influenced bassline.

The problem with Cigarettes After Sex being so strictly chained to a specific sound is that the album really lacks any variation. Even if I think back on Red House Painters' debut as a sonic comparison, they also had a fairly strict vision for their sound and approach, yet still managed to hit us with a curveball with the brilliant 'Lord Kill the Pain', a faster tempo song reminiscent of REM. All ten tracks on this album have almost the same approach, structure and aesthetic running through them. I feel like even just one or two curveballs or surprises would have benefited this record. After multiple listens, my excitement for this record started to wane. Their 2012 EP lasted 18 minutes long and was built on 4 incredibly strong tracks. But transitioning over to an entire full length record and keeping the same strict aesthetic has made for a much more difficult listening experience running at 45 minutes. Unless this is your absolute favourite band or sound in the world, enjoying the entire duration is going to be tough. In fact the longest and slowest song 'Opera House' is the lowest point on the album.

'Cigarettes After Sex' is ultimately a solid, passionate and very focused debut. The band have clearly made no compromises in their sound and their vision and delivered more of exactly what made their 2012 EP so popular. There are a few genuinely stunning tracks, and they certainly have a down to earth sound and delivery that will hopefully tug at your heartstrings. But I can't deny that I really wanted to like this album more than I did. It really is a one-dimensional affair that just about pulls through into moments of greatness, although the overall consistency of their EP was better. If you are new to this band though, it's definitely one I would recommend. They are certainly one of the more interesting Indie Rock bands I have heard this decade. For a debut full length, it just about works, but I'd like to see this band think more outside of the box in the future and take me to different places with their sound. 7/10. 

#3.14: π

1998
Directed by Darren Aronofsky
Psychological Thriller, Surrealism

π is the debut feature film by New Yorker Darren Aronofsky, who went on to make such classics as Requiem for a Dream, The Wrestler and Black Swan. Aronofsky made this film on a super low budget, helped by friends and family who invested in his ideas. The film is shot in ultra high contrast black and white, and Aronofsky didn't even have any filming permits, having to shoot scenes on the sly. π Isn't exacly a pleasant film to look at, with lots of noise and grain in the picture, but if you are a fan of super low budget films like Clerks then you will know what you are in for. Although the film looks like a college film project, Aronofsky still manages to add an interesting visual style throughout, composing some eerie shots. The film establishes a great technological look full of computer screens, and even the small moments, like the way protagonist Max Cohen locks his door, are stylishly edited. There is an incredible scene in a New York subway that has a very eerie tone, almost jumping into pure Horror territory, reminding me of Jacob's Ladder, that has ambitious visuals considering the films restrictions.

π is one of the most unique films I have ever seen. The premise is about a mathematical genius who suffers from severe headaches and anxiety, being driven mad by mathematical formulas in his head. The film captures a superb paranoid edge throughout. Max Cohen is never quite sure whether the people he meets are his friends or his enemies, and remains isolated and cautious. Thus, the viewer shares his paranoia and the film makes you feel on edge. Aronofsky achieves this further with the use of surreal sequences where you aren't quite sure whether they are for real or just nightmares in the protagonists head. The film is edited so that the chronology of the story jumps quite rapidly from scene to scene, giving you a feeling of nausea and unease. It is difficult to tell whether the whole film takes place in one day, one week, one month or even a year. Another great aspect of π is the use of IDM/Electronic music in the soundtrack, along with Clint Mansell's eerie Dark Ambient score. The use of music by Aphex Twin, Autechre, The Orbital and Massive Attack perfectly suits the feel of the film, enhancing the mathematical and technological feel.

π is a fast paced film that manages to be gripping without having any major conflicts between characters. Any conflict seen in the film comes more from within Max Cohen's head than with anyone else. Not only is this one of the most leftfield and unique premises to any film I have seen, but the idea of viewing a film through the eyes of a character who is completely broken down mentally is something that makes it such a bold experience. This makes Max Cohen not an antagonist, but an anti-protagonist if you catch my drift! Considering I am a person who really struggles when it comes to numbers and mathematics, I found this film completely enthralling and would definitely watch it again one day! 8/10.