The Rock Blogger

Let the pillaging begin.

Hala Strana. Fielding. 2003. 5 stars.

Music for a lucid dream. This is a downright remarkable and pleasantly psychedelic folk album from California’s Hala Strana. Fielding encompasses gentle acoustic harmonies, evocative field recordings and touches of traditional Eastern European instrumentals in its stunning musical journey. This album is both mysterious and deeply comforting, as its relaxed rhythms and experimental use of samples creates a warm and intimate atmosphere to get lost in. The subtlety and diversity of the compositions within this two disc set keeps it engaging over many repeated listens, as new details reveal themselves each time. The musique concrète approach makes each song a colorful and intricate collage begging for exploration.

While these pieces cover a lot of sonic and cultural territory, its hardly daunting. It has a dreamy evening vibe to it, making the perfect accompanying soundtrack for laid back tripping. There are a few strange and disquieting moments here, given the eclectic use of found sounds (think Set Fire to Flames meets Six Organs of Admittance) but they add some twists to the winding trail of the entire album.

Fielding stands as one of the most satisfying psychedelic albums I’ve come across. Its sound is undeniably unique and not only showcases stellar musicianship but also introduces the listener to variety of obscure sounds and traditions. As an opiate induced travelogue, Fielding is truly a work of art that belongs in your avant-garde collection.

…And You Will Know Us By the Trail of Dead. Festival Thyme EP. 2008. 4.5 stars.

Trail of Dead’s latest EP has effectively slipped under the radar to take me by surprise. This release comes two years after their last LP So Divided and marks a fantastic return to form for these Texan art-rockers. While they are still verging closer to the prog-rock aspirations of Worlds Apart than the raucous noise rock of Source Tags and Codes, they sound far more confident than on their last two records, pumping these 4 songs full of intricate and boisterous melodies. Since this is being released under their own Richter Scale Records imprint, the boys seem to relish in their new found freedom, staking out new sonic territory and abandoning the often restrictive demands of crafting a single - though there are plenty of accessible moments here.

Festival Thyme is, like any other TOD release, grand and climatic, with songs like “Creation Bells” building from soft orchestral chimes to bloody, propulsive crescendos. Those explosive moments may be loud and cathartic, but they also remain in the same shimmering, progressive prism the band has so steadily crafted over the last few years. It seems like all the hard, and often risky work has finally paid off. That delicate balance between alternative rollicking and artful grandeur has finally been struck, as every crashing transition flows beautifully across this EP.

While Conrad Keely’s vocals are still slightly grating in contrast with the gorgeous piano lines and soaring guitars, they are far more restrained than before and seem fitting within the joyous cacophony of this record. This EP has a very uplifting mood to it, especially as it reaches the final, bursting instrumentals of “The Betrayal of Roger Casement & the Irish Brigade” which sounds almost regal with its slamming piano keys, glorious cymbal crashes and electronic mayhem. Festival Thyme may not have the same breakneck, play-like-your-life-depends-on-it urgency as Source Tags and Codes had, but its still an incredibly satisfying listen. It seems as if Trail of Dead have finally moved past the turbulent transition period that hung over their last two albums and are now facing the future with vigor and excitement. I can’t wait for what’s (soon to be) on the way from these guys.

Still recovering from my debilitating cold while trudging through my many readings. Luckily I have Joy Division to keep me going. I decided to link to “The Only Mistake” since I think its one of the lesser-known and underrated Joy Division songs. While it was never on any of JD’s full lengths, it appears on the collection Still which was released after Ian Curtis’ death.

October Falls. The Womb of Primordial Nature. 2008. 4 stars.

This album marks a dramatic departure from the calm neofolk sound of October Fall’s previous work Marras (2005). With The Womb of Primordial Nature, October Falls has matured into a full-fledged black metal band. While the beautiful acoustic guitar passages are still well intact, they now interwoven with electric tremolo riffs, distant growls and rapid percussion. The transition is a tremendously successful, as the shifts between folk and metal aesthetics are organic, fluid and well produced.

Like its more tranquil predecessor, The Womb of Primordial Nature features great musicianship and a powerful woodland atmosphere. However, with the inclusion of the more aggressive metal assaults, that atmosphere has been pared down, leading to a precarious balance between peace and violence. While the oppressive throes of nature are thematic to this release, I found the folk/metal dynamic to be a little less even than it could of been, leaving some of the darker, electric riffs sounding repetitive and draining. That being said, the composition of this record is undeniably epic, with the majority of its untitled tracks stretching well past the 8 minute mark. Given the amount of room October Falls left themselves, they still could have had a little more variety in their songwriting.

Despite its flaws, The Womb of Primordial Nature is still a stunning effort that artfully conveys the harsh changes of the seasons. While it may not possess the same well-roundeness appreciated by its folk-metal bretheren (standard bearers Ulver and Wolves in the Throne Room come quickly to mind), this album is still highly satisfying. If you are a fan of black metal, in any of its many forms, you should check this out.

Njiqahdda. Nji. Njiijn. Njiiijn. 2008. 4.5 stars

Njiqahdda (pronounced Nee Gee Kaa Daa) is a mysterious black metal/psychedelic act from Illinois that focuses on abstraction, experimentation and a dense layering of sounds to produce their ritualistic compositions. Underneath the drawn-out shoegaze riffs, bizarre percussive trances and waves of distortion lies an album rich with spiritual and musical concepts. Like the equally obscure offerings of Velvet Cacoon, Njiqahdda speaks its own artistic language far removed from decipherable convention - there are no allusions to nationalism, satanism or the occult to be pulled out from here. What remains in these 4 incredibly long tracks is pure and all-consuming catharsis, a rare and raw specimen of rock completely separated from image and meaning, one focused only on the exploding pools of color inside the mind’s eye.

Soaring symphonic lines, rumbling bass, tremolo guitars and distorted, garbled mantras blend together in a thick wash of noise. Despite there being no distinct musical element to lead Njiqahdda’s charge, the complex textures become accessible through hypnotic repetition, as the cyclical movements ring through like Phillip Glass’ notorious symphonies. While I initially found some of these moments to be monotonous and trying, they soon began to grow on me as I became immersed in their sheer complexity.

It has to be said - Nji. Njiijn. Njiiijn. is a challenging and often disturbing record. It is fanatically dense, opaque, often frightening and difficult to get into. Yet all these seemingly aversive traits make this work all the more rewarding, because as it is explored over repeated listens, and perhaps in different contexts, it reveals the incredible potential experimental music has for meditation, reflection and release. There are few albums, even within the fractious genres of black metal and post rock, that offer such mystical and organic dimensions as this one. Njiqahdda are the gate keepers for a mysterious and intense psychological experience that is difficult to shake off. There is great strength to be found from this record if you are willing to sift through its inner sanctums.

Njiqahdda - Aasklamatii Ligmett Aursag (excerpt)

As a side note, there is an interesting interview with Njiqahdda to be found over at Pagan Flames Productions. Be sure to check it out.

The Evpatoria Report. Maar. 2008. 4.5 stars

Switzerland’s The Evpatoria Report play some of the lushest post-rock since Explosions in the Sky broke unto the divisive scene years ago. Their sophomore album Maar reconfirms the genre’s ability to foster invention and intense catharsis. Whereas numerous Mogwai and EITS copycats have been marginalized for their derivative efforts, The Evpatoria Report is just as expansive, detailed and dripping with cinematic atmosphere as the genre’s seemingly untouchable innovators.

The key to this album’s success is not its heartbreaking melodies, or its masterful union of ambient and neoclassical elements. What fasciantes me about Maar is its incredible restraint - each epic track here takes its time to slowly swell with dramatic tension, letting the drones, synths, violins and jangly guitars breathe and play against each other. No great deal of patience is required, because the effect these orchestral elements have is not monotonous or overwrought, but soothing, hypnotic and above all emotionally stirring.

You can take the drawn out, synth lined opener of “Eighteen Robins Road” or the mournful, sighing strings of “Mithridate” as evidence of the band’s remarkable sensitivity to tone, texture and atmosphere. Its not all rain-soaked sentiment though, as there are creative electronic touches to be found here and there, some intricate drum work and mysterious spoken-word samples to liven up this beautiful movie-never-made.

The Evpatoria Report have reaffirmed by passions for post-rock as they have shown great maturity in their compositions and have moved beyond the conventional crescendo building that has driven so many a good band to formulaic ruin. While Maar may be a incredibly relaxed (and long) listen, it still tugs at the heartstrings with great subtlety and precision. Artful, compelling, a hidden masterpiece.

The Evpatoria Report - Eighteen Robins Road. [1/2]

[2/2]

Genghis Tron. Board Up the House. 2008. 5 stars.

This is easily one of the most innovative and satisfying albums I’ve come across this year, in any genre. If Jesu, Battles, and Between the Buried and Me had all collaborated, they might have produced something as technically brilliant and stylistically unique as this. Genghis Tron mix blistering electronic touches with grinding metal riffs, establishing an awe-inspiring “cybergrind” sound of their own. Interwoven between their tight mathcore assaults are sublime ambient passages, melodic vocals and crisp IDM breaks. The sonic diversity within these complex compositions is wondrous to listen to, as the many shifting moods and textures draw you into explosive psychedelia.

While many metal bands have become increasingly eclectic in their song writing, only a select few can mesh their influences together as beautifully as Genghis Tron. Where some progressive metal albums end up sounding cluttered and incoherent, Board Up the House is as fluid as a shimmering lava lamp and just as trippy. Whether its keyboards or the guitars at the forefront of the mix, the pace and energy of this record stays consistent, flowing from one fiery song to the next.

Like Battles’ Mirrors, Genghis Tron’s Board Up the House has the power of clairvoyance, masterfully integrating a myriad of traditions to give us a clear view of rock’s postmodern future. This album seems to have it all: a strong structural basis, crushing intensity, effective soft/loud dynamics and passionate performances. So in an effort to not give too much away, I’ll just say that Board Up the House is nothing short of compelling, a testament to the progressive attitudes of the metal underground.

“Things Don’t Look Good”

“Board Up the House” Live

Protestant. The Hate. The Hollow. 2008. 4 stars.

The Hate The Hollow is a killer crust punk/hardcore album from a little known Milwaukee band. Protestant takes the grit and grime of early crust bands like Amebix and infuses it with the technicality and raw power of modern hardcore. The result is an intense storm of grinding riffs, raging vocals and suffocating bass lines.

If Converge had pared back their more melodic moments and focused more on a DIY aesthetic, they might have sounded something like Protestant. Its not all blood and dirt here though. There are some slower tracks like “Obituary” that centers on slithering math-rock riffs before the chugging maelstrom kicks in. Moments like these add balance to the fist-clenching madness of the affair and gives Protestant some ample room to push their sound further.

Like most hardcore albums, The Hate The Hollow passes by like a flash flood, leaving you feeling abraded and disoriented in a very short period of time. It delivers intensity in spades while still balancing things out with its sophisticated compositions and doom-inspired atmosphere. For its crushing density and piercing emotions, The Hate The Hollow is one of the top hardcore albums to sneak under the radar. Keep your eyes open for these guys.

Amon Amarth. Twilight of the Thunder God. 2008. 4.5 stars.

This is an exceptional viking metal album that features memorable melodies, fluid percussion and stellar production. While the lyrical concepts of this album are largely concerned with epic battles and mythical conquests (as the cover art demonstrates), it is not nearly as over the top as other viking metal albums released this year (Equilibrium for example). The furious riffs alone make this a thoroughly satisfying metal album that maintains both a sense of grandeur and raw aggression.

The album is well-balanced and consistently heavy, moving along at a rapid pace through fiery guitar solos and brutal bass lines. Amon Amarth have managed to be both musically tight and genuinely epic in their compositions, as each mammoth track flows steadily into the next, making this an addictive listen that begs repeating. The vocals, while not going far beyond the traditional death metal fare, work terrifically with the music and provides a bestial undercurrent for the soaring melodies.

Overall, Twilight of the Thunder God is a solid release that has hardly any weak points. Even though the band is reluctant to deviate from their established sound, they do indulge in the odd cello accompaniment towards the finale, embellishing on the climatic atmosphere that runs throughout. Despite its aggressively dense sound, Amon Amarth are still surprisingly accessible, crafting an album that is both entertaining and crushingly heavy. This is easily one of the finest metal albums of the year.

Twilight of the Thunder God