The Rock Blogger

Fleurety . Min tid skal komme . 1995. 5 stars .

A stunning and underwritten black metal album, Fleurety’s Min tid skal komme was years ahead of its time, pushing the boundaries of the genre with its post-rock and avant-garde touches. Among many of the elements making this creative effort standout is its use of Marian Aas Hansen’s soaring vocals, ringing over the band’s atonal harmonics with chilling clarity. When paired against the eerie melodies, psychedelic guitar work and terrifying growls, the result is simply astounding, possessing the same icy air as the work of Swans-era Jarboe.

The unconventional song structures and technical signature changes add a progressive drive to these 5 songs, often resembling the skeletal riffs and atmospheric bass of early post-rock bands Rodan and Slint. These bleak, and often folk-inspired, passages sharply turn into full on black metal assaults, complete with intense blast beats and vicious tremolo picking.

Every song on this album is long and adventurous, expanding across different musical territory without betraying the cold atmosphere that unifies the whole experience. The relationship between emotionality and complexity are extraordinarily fluid and natural, while still sounding unique and uncompromising. With Min tid skal komme, Norway’s Fleurety have crafted a work that is artful, moving and consistently interesting, rivaling Ulver’s tenacity and progressive spirit. These unsung pioneers deserve more accolades, as they have not only produced a work of tremendous genius, but also demonstrate that black metal and post rock styles can flow together quite beautifully, leaving a freshly blazoned trail for future avant-metal artists to follow.

I turn 23 today, and before I head out for beer and hamburgers, I thought I would come up with a list highlighting some of the revolutionary records that have come out since I was born. It’s kind of a retrospective of where rock has been and where it’s going, a celebration if you will. So here are some of my favorite records, organized by year, that have shared my place in history. Enjoy the list, I’m going to get plastered!

1985

Jesus and Mary Chain. Psychocandy

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Kayo Dot . Blue Lambency Downward . 2008. Hydra Head . 3.5 stars .

The highly anticipated Blue Lambency Downward , the third LP from Toby Driver’s avant-metal band Kayo Dot, is finally upon us, complete with its expansive jazz tangents and ethereally surreal vocals. While Kayo Dot’s previous efforts still contained some of the prog-metal elements found within Driver’s previous band Maudlin of the Well, their latest work moves in a more noticeably abstract direction, leaving the bursts of guitar noise and anguished screaming behind. The transition showcases the band’s maturity and place within experimental music circles, while also taking a calculated risk towards looser and more challenging compositions. The result is an album that is undeniably beautiful, but also fairly difficult to get into, as some of these dreamy travels, the first 4 tracks in particular, meander without cohesion.

As the evocative title suggests, the musicianship found here is certainly lambent, gliding luminously and effortlessly across these 7 movements. The delicate guitar lines, graceful violins and haunting saxophones provide a comforting light for Driver’s playful and otherworldly vocals, sounding like a lucid dream variation of Jeff Buckley. For all their stunning instrumentals, cosmic atmosphere and psychedelic tones, Kayo Dot can’t seem to strike a clear path through their colorful sonic forests, as the first half of the album wanders in a slow and detached fashion, never managing to merge on a one propulsive wavelength. Without a steady and progressive rhythm, these songs come off as terrific background music, rather than all-consuming trips.

As soon as we get to “The Awkward Windwheel”, things begin to pick up, as the drumming provides a consistent momentum, driving along Driver’s evocative stream-of-consciousness lyrics and the swelling coupling of strings and brass, as it all barrels towards a triumphant, crashing conclusion. “The Useless Ladder” is a shorter track, but within its concise structure we hear Driver’s strange and descriptive narratives with greater clarity, as he sings confidently amid the sorrowful violins and flute.

The finale of “Symmetrical Arizona” is probably the strongest piece on the album, and a clear highlight from Kayo Dot’s entire body of work. Fluid symphonic tones open things up slowly before a lonely guitar plays gloriously drawn-out licks reminiscent of Pink Floyd’s “Shine on You Crazy Diamond (Part 1-5)” The rest of the band then join in again for their last cathartic exercise, sounding more unified as they jam under enticing waves of saxophone. After being seemingly lost and disoriented, Kayo Dot finally come together to produce a shining example of the band’s progressive ambitions.

Despite its inconsistencies and somewhat unfocused moments, Blue Lambency Downward marks a welcomed transition for one of metal’s most fascinating acts. If you take the time to explore the detailed environments the band creates, you will surely find this to be a rewarding listen. For your astral journeys or wine-soaked nights, Blue Lambency Downwards makes for a fitting and absorbing soundtrack.

Moonsorrow. Tulimyrsky EP. 2008. 4.5 stars.

Helsinki’s Moonsorrow have produced a monster of an EP with Tulimyrsky, surpassing the full lengths of most black metal bands with its sheer scope and grandiosity. Running well over an hour, Moonsorrow’s latest redefines what an EP should be, as they produce long, winding epics that incorporate Norse mythology, folk music and historical themes with an intensely cinematic presentation. With what may be the longest EP of the year (if not of the entire genre), Moonsorrow have created a fine masterpiece.

The half-hour adventure that is “Tulimyrsky” starts things off with a dramatic voice-over sample that provides a dark narrative (in Finnish) that establishes thematics in a similar fashion to Godspeed You Black Emperor’s infamous “Dead Flag Blues”. After this mysterious intro, the band throttle forward into a blazing rhythm, complete with thundering blast beats, raging guitars and inspired vocal chanting, showcasing the band’s Viking-warrior aesthetics. Over the course of its gargantuan duration, the song weaves and wanders across massive heights, even dabbling in Medieval sounding acoustic passages and total thrash freak outs. The ride is a raucous one, as the variety of sounds and influences explored really do create feelings of conquest and discovery.

Following this journey is a faithful rendition of Metallica’s “For Whom the Bell Tolls” which is given a raw and seething black metal reinterpretation that doesn’t compromise the sacred integrity of the original version. This is probably one of the most impressive and fitting cover songs I’ve come across recently, as it takes you back to black metal’s thrash roots. After this nostalgic romp, Moonsorrow bring us to two re-recorded versions of earlier demos “Taistelu Pohjolasta” and “Hvergelmir” both epics in their own right with searing riffs and atmospheric synth melodies that strike a effective balance between violent chaos and majestic beauty, conjuring sublime natural scenes not unlike the mountains gracing the cover art. Moonsorrow then proceed to wrap things up with another masterful cover, playing a relentless version of Merciless’ “Back to North”, capturing the blistering energy of old school death metal.

For its impeccable musicianship, folk-tinged melodies and convincing, thematic delivery, Tulimyrsky is one of the greatest metal EPs ever made, shaming the full length efforts of countless other bands in its wake. Now that I’ve heard what Moonsorrow can accomplish with one EP, I’m more than anxious to get a hold of their official ‘albums’ and will be in restless anticipation for their next one. I will also urge you to do the same.

For Whom the Bell Tolls (Metallica Cover)

Russian Circles. Station . 2008. 3.5 stars .

Chicago’s Russian Circles play kinetic and aggressive post-rock in the same sludgy tradition as city mates Pelican, crafting expansive instrumental songs that are filled with shimmering guitars and powerful rhythms. Continuing on with the success that was their 2006 debut Enter , Russian Circles’ latest offering pares back on their metal flourishes as they venture to cosmic planes, opting for a sound that is interstellar but not pretentious. These virtuosoes avoid self-indulgent noodling and instead anchor their songs with strong driving beats and deep, fluid bass lines. By carefully blending their metal and post-rock aspirations together, Russian Circles steer clear of derivative Mogwai and Isis worship and create something that is both intense and stratospheric.

The album begins with the crystalline riffs of "Campaign" which starts things off delicately enough to draw you in. The guitar melodies are immediately effective and opens things up with calm anticipation. "Harper Lewis" kicks in heavy drum rolls before the guttural, slithering bass joins in. Jangly guitar lines hover in between, opening up the space of the track before the intense metal riffs begin chugging along. Astral guitars then begin to scream across the mix in the most lyrical fashion imaginable, reminding me of Explosions in the Sky’s magnificent "Greet Death". The following "Station" keeps up the pace and glides across with hypnotic bass fills and distorted guitars that play against the swirling drum cycles and cymbal crashes. Just try to not bang your head along to these monstrous riffs, it really is difficult to restrain yourself.

The beautiful "Versus" veers back to post-rock territory, as icy riffs line droning reverb, sounding like a heavier version of a glacial Sigur Ros song, before fully extending into heart-breaking melodies. The speedy "Youngblood" abandons the clean veneer and rocks out with tight guitar riffs and furious drumming, played out with impeccable precision. The slow and tension filled "Xavii" closes things off with some final celestial passages.

As I hope I have demonstrated with my descriptions above, Station features some amazing musicianship as the band’s sense of timing, melody and dynamics are pristine and accessible. If this album had come out a decade ago, it would easily be considered a post-rock masterpiece. Unfortunately though this Station is just one stop among many others, never managing to go the extra mile to differentiate itself from the work of other post-metal masters. Yet as a companion piece to the work of Pelican, or Zebulon Pike, Isis, etc., Station fits perfectly among its peers and will provide the kind of astral, bong-ripping experience fans of the genre are searching for. So if you want to be captivated by an intense performance, look to the Russian Circles.

“Harper Lewis” Live

The History of Civilization in 5 minutes. This is ‘The Edifice’, a segment from designer/animator Saul Bass’ Oscar winning short “Why Man Creates” (1968).

Nine Inch Nails. The Slip . 2008. 4 stars .

Trent Reznor is on a roll. Just two months after NIN’s epic ambient release Ghosts I-IV , and not even a year after the excellent dystopia that was Year Zero , Reznor has unveiled another full length work - a more traditional sounding album that merges noisy industrial metal with hook-laden arena rock jams, all for free from the band’s website. Presented as a gift to NIN’s loyal fan base who made Ghosts a financial windfall, The Slip is a solid and accessible collection that, while not groundbreaking, still showcases Reznor’s newfound artistic freedom and energy.

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Night Time. 2008. Written and Directed by Tyson Stewart and Alain Lacoursière

Music by Emilie LeBel.

4 stars

I’m proud to have this exclusive opportunity to show an experimental short which was co-directed by my good friend Tyson Stewart. It’s a moody and mysterious twilight journey, where a dour narrator reminisces over strange women, ghosts, truck drivers and the dreary, rural places they frequent.

While Night Time is almost completely devoid of action and characters, the calm, somnambulist narration provides vivid mental images that slowly glide across these desolate landscapes, bringing you into deep, darkened pools of memory. The somber tones and street lamp halos give these introverted reflections a distinct and unsettling atmosphere, reminding me of a David Lynch film or my own teenage, alcohol-fueled stupors.

The poetic lyricism that lines these dream-like sequences is coupled by the menacing ambient score of Emilie LeBel, who plays haunting drones and synth passages that carefully swell in the shadows. These tracks lend the film an aching gravity, enhancing the wavering and voyeuristic sensations brought on by these images. The lonely shore, the seedy bar and truck stops are shown from detached and distant perspectives, cutting and spinning with free-wheeling angularity.

While the premise and structure of Night Time is simple, low key and strictly minimalist, its images are strangely comforting and human, exploring the darting thoughts and feelings of our seemingly lost and love-lorn guide. With their nuanced sense of mood, timing and setting, this young duo freely showcases their promise and aspirations. I look froward to seeing more work from them.

(As a side note, Night Time is not only a great short, but it is one of the first outside contributions to The Rock Blogger! Thanks Tyson! This looks to be a future trend here on the blog, as I look forward to guest reviews, photos and film submissions like this one. If you are interested in getting your work shown on this site, feel free to email me at goatlemment@hotmail.com).

Busy lately, so here’s another quick post-rock tune to tide you guys over.

Easily one of the crown jewels of Mogwai’s catalog, “Dial Revenge” can be found on Rock Action (2001).

One of GYBE’s greatest accomplishments, from their Slow Riot For New Zerø Kanada EP (1999).

Beautiful, orchestral post-rock that still remains unrivaled in the genre.