The Rock Blogger

Envy/ Jesu. Split EP. 2008. 4 stars.

This split is a spirited pairing of two art-metal acts that both bend genre conventions to come up with blissful and empowering sounds. Envy, from Japan, play a meticulous form of screamo that utilizes post-rock guitar riffs (a la Mogwai), strings and electronics to give their songs an epic, tragic grandeur. They have three tracks to their name here, including the tour de force of “A WInter Quest for Fantasy”, where chilling, shimmering arpeggios line dark spoken verses (in Japanese) before slowly boiling over to an all-out hardcore assault. This song, complete with layers of subtle synth melodies, sounds lush and expansive, gliding forward with intense, unraveling purpose. The propulsive pacing of “Life Caught in the Rain” keeps up with urgency, as clean math-rock guitar lines stand against swelling strings and violent drumming. This is easily one of the most passionate hardcore tracks I have ever heard, combining well-crafted emotional artistry with fiery release.

Jesu, the latest project of industrial mastermind Justin Broaderick, offers two songs here that sound like outtakes from his 2007 Pale Sketches collection. While the digital beats, shoegaze haze and calm vocals are all very soothing, they don’t retain the same visceral element that made his previous Jesu output so compelling. Both “Hard to Reach” and “The Stars that Hang Above You” are captivating (albeit over-long) but they don’t stand out in the context of a heavier and more substantial catalog. Even still, his contributions here add to the druggy mystique of this entire EP.

So, long story short, this split is highly enjoyable, especially for me since I’ve had no previous exposure to Envy’s work. They have successfully caught my attention here. Both sides of this split offer intriguing snapshots of highly ambitious acts and their sounds compliment each other surprisingly well. Splits may be a rather half-hearted format for bands to pursue, but this one seems to justify the idea.

Harvey Milk . Life…The Best Game in Town . 2008. Hydra Head Records. 3.5 stars .

I had never heard of Georgia’s cult favorite Harvey Milk until last week when I randomly decided to catch their show in NYC. After having read a quick blurb about them in the paper comparing them to sludge/doom metal contemporaries Earth and Isis, I figured I would see what these surly dudes had to offer. Harvey Milk’s haggard and tired members took to the stage well after midnight, bemoaning technical problems, long stretches of highway, and whiskey, before taking big swigs and ripping into their set. This is sweaty, dirty, angry drinking music at its best. Their brutally loud and heavy performance, complete with drawn out riffs, lumbering percussion and bellowing anguish, has been captured beautifully on their latest disc "Life…The Best Game in Town" which I quickly picked up with ears ringing.

Harvey Milk’s influences are easy to spot, with slow crunchy numbers echoing the thunderous drones of The Melvins, the stoned bliss of Kyuss and the scrappy rawness of DC hardcore. Life is far from derivative however, as the band’s keen sense of pacing and dynamic shifts keeps things varied and interesting. You have the gentle to mental expanses of "Death Goes to the Winner" which contrasts a delicate and somber soft-sung intro with a surge of dense molasses. "After All I’ve Done For You…" is a rapid fire assault of tenuous, menacing soling. "Motown" sees the band practicing tight songwriting, rocking out within a clear and unified classic rock framework.

Life…The Best Game in Town succinctly summarizes the essence of Harvey Milk’s sound - thick as a brick and just as heavy and dangerous. Yet for all its violent outbursts there lies a tragic and longing heart within, hopelessly sentimental in its whiskey-soaked stumbles. I personally wanted to see more of the fragility that stealthily peaks its head out amid the Southern-fried mayhem, but oh well, sludge bands are rarely subtle in their approach anyways, so even the slightest nuance is quite remarkable. So yeah, if you like doom, sludge, hardcore punk and all that, check out Harvey Milk, they seem to encompass all that gritty territory quite well.

Esoteric . The Maniacal Vale . 2008. 4.5 stars .

The UK’s Esoteric have crafted a monolithic and disturbing work of art with The Maniacal Vale . I’d be hard pressed to name another album that rivals its sheer density, its suffocating power and despairing atmosphere. While its flaws are noticeable, namely its length (two discs!) and repetitive rhythms, it still manages to provide an enveloping emotional experience.

The sound here is quintessentially doom metal, with plodding guitars that scream and echo over unintelligible growls and slow, crashing percussion. Arpeggio riffs and ambient passages also lead to some psychedelic moments, adding to the expansive, swirling torrents of sound. The song structures themselves don’t vary too drastically, but they do contain clear movements that go through peaks and valleys, making The Maniacal Vale a captivating albiet exhausting journey. As an exercise in cathartic release, The Maniacal Vale is masterful in its execution. While some of its sections could have used some more direction and streamlining, its excessive qualities are part and parcel to Esoteric’s singular, uncompromising vision. Let it wash over you.

Quickening (Live)

Ascend . Ample Fire Within . 2008. Southern Lord . 3.5 stars .

Gritty, plodding drone metal from Greg Anderson (Sunn) and Gentry Densley (Iceburn). Experimental and expansive, Ample Fire Within features the powerful, drawn out riffs that made early Earth and Sunn O))) records so compelling, and adds psychedelic elements to take the sound to new directions. The use of loose percussion, synth touches, brass and Eastern instruments gives Ascend a transcendental quality without becoming too detached from the swelling doom rhythm at its core.

As is expected from a Southern Lord release, Ascend’s debut is uncompromising and inventive despite its flaws. What detracts from the experience are the gravelly, Tom Waits inspired vocals that dominate "Divine", shredding an otherwise free-from composition with a forced and distracting performance. While this misguided effort only permeates on one track, there are only 5 songs here, so it pulls you away from the album’s impressive cohesion.

The following "Vog" and "Dark Matter" are stunning recoveries however, as they strike a successful balance between thick, sludgy metal and a more mitigated vocal delivery. The closing "Dark Matter" in particular demonstrates the potential this genre has for meditative and hypnotic experiences, as the duo take time and care in crafting an absorbing journey, winding and contracting across dark astral planes. With stellar, patient musicianship and meticulous attention to detail, Ascend reveals itself as a noble experiment that overcomes some missteps to take its place among metal’s more heady brood. If you’ve liked anything from Southern Lord (Sunn O))), Sleep, OM, Boris, etc), you’ll probably appreciate this.

The Gault . Even As All Before Us . 2005. 4 stars .

The Gault was a short-lived doom metal band formed out of the ashes of San Francisco’s acclaimed Weakling, and Even As All Before Us was their sole, devastating release. This hard to find album is one of the most emotionally exhausting recordings I have come across, as it incorporates the gloomy atmosphere of early industrial rock and melds it with jangly post-punk instrumentation, producing a depressive, droning sound that insulates your senses.

While the throbbing bass lines, martial drumming and Gothic vocals place The Gault among doom metal peers Warning and the more experimental work of Earth and Sunn O))), their cacophonous guitar work also follows a shoegazing torrent akin to The Angelic Process . Naming off influences and contemporaries is a suitable way of describing The Gault’s sound, but conveying the crushing effect this music has on you is a much harder task. It’s swirling rhythms and shimmering guitars are dizzying in their intensity and will drown out any distractions from the outside world. Even As All Before Us moves like a relentless undertow, constantly drawing you into a violently spinning current. This is not to say that The Gault’s music isn’t beautiful or redemptive, as tracks like "Country Road, Six Miles In" and "The Shore Becomes the Enemy" also feature the serene, airy vocals of Lorraine Rath to balance out the deep and booming voice of Ed Kunakemakorn, who dominates most of the album.

For its almost militant energy, disturbing vocals, and natural imagery, Even As All Before Us is a unique contribution to the doom metal genre, capturing the feeling of an arduous journey to somewhere far removed from the comforting spaces of the everyday. This is music that sticks with you long after the tracks are over, pushing you into a difficult, if not tormented, state of mind. Despite their challenging demeanor, The Gault are undeniably masters of genuine emotional delivery, playing out a haunting musical drama that sears its way into your memory.

Velvet Cacoon. Genevieve . 2004. Full Moon Productions . 4.5 stars .

“Nothing matters aside from catharsis. The feeling of catharsis is what true people seek out. The problem is that virtually nobody is true anymore. Politics, religion, stock markets… It are these manmade things which people obsess over that is ruining everything. It is why people are loading up on anti-depressants and therapy sessions. Mankind created this demon of a system and most people are too busy on their cellphones to realize that this demon they feed and fund is the same thing that has ruined them. I can neither help nor save them. Misanthropy is the nautical map of my life. It has brought me true catharsis.”- ‘SGL’ Velvet Cacoon

One of the most mysterious and controversial Black Metal bands to come from the Pacific Northwest, Portland’s Velvet Cacoon play intensely atmospheric music partly inspired by radical environmentalism and the abuse of Dextromethorphan. The duo, known as ‘Josh’ (SGL) and ‘Angela’ (LVG), have been the subject of many bizarre rumors and hoaxes, giving their work an extreme, larger than life mystique. Stories of their asexuality, ‘ecofascist’ political beliefs, accusations of plagiarism, and the creation of their own diesel powered guitar (the ‘diesel harp’) have made the band the subject of heated discussion online and within the metal underground.

Despite the dubious nature of Velvet Cacoon, their sole ‘public’ album Genevieve is certainly a uncompromising masterpiece, possessing a claustrophobic and haunted beauty. The distorted guitar tone that dominates the mix sounds as if it was recorded underwater, adding to the oceanic themes evoked by the tracks “P.S. Nautical” and “Avalon Polo”. The cold and alien sound emitted from these blurred riffs is daunting, making the mystery of its creation ever more compelling. Deep, propulsive drum machine rolls provide the current for these black pools, moving at a constant, unchanging rhythm that palpitates like a terrified heartbeat. Strange, distant vocals whisper and hiss in the shadows, providing a menacing and ghostly presence to the ruminations. The entire experience is enveloping, opening black holes to suck in all light and emotion, leaving you to contemplate the harsh throes of the universe. While Genevieve may initially sound disturbing, it is also a hypnotic and existential listen, instigating deep reflection and wonder long after the bleak ambient closer “Bete Noir” has faded to black.

For its dark, natural (and supernatural) overtones, Genevieve is a rare musical experience that presents emotional and intellectual challenges that will be sure to stick with the attuned listener. Anyone interested in the work of Burzum, Wolves in the Throne Room and Sunn O))) will find much to like here, as Velvet Cacoon shares many aesthetic elements with those acts. I also recommend reading the rare interviews with the band, as they discuss the controversies surrounding their work as well as their esoteric views on drug use, sexuality, the environment and the universe. While some of their views may be odd and provocative, they certainly are intelligently put and make for an interesting read.

Interview with Velvet Cacoon: Chronicles of Choas

Interview with Velvet Cacoon: Full Moon Productions

Avalon Polo

Boris. Smile. 2008. Southern Lord. 3 stars.

Tokyo’s Boris have continually proved themselves to be one of the world’s premier drone bands, expanding their sound to encompass everything from punk to psychedelic styles, notoriously creating noisy and feedback drenched epics that make your ears bleed and your synapses melt. The tradition carries on to their latest full length Smile, which has finally come to grace the shores of the Western Hemisphere.

While Smile isn’t nearly as awe-inspiring as last year’s Rock Dream, or even 2005’s more punk inspired Pink, it still packs an enormous punch, with a flair for monstrous riffs and echoing distortion. Those accustomed to Boris’ inhuman use of gritty noise and electronic effects will find much comfort here, as their sound is still massive and overpowering. Making this release standout though is the inclusion of simmering melodies that peak in from time to time, as drawn out Japanese vocals careen across in slow crescendos, just before the songs are set aflame by processed guitar fuzz.

Despite Boris’ dabbling in experimental bass loops, effects and even some catchy hooks, many of these jams meander, becoming self-indulgent acts of amp worship that drains your emotions and your attention span. I’m sure more seasoned ears will appreciate the near 20 minute “You Were Holding an Umbrella (Pt. 2)”, but I just found the whole affair to be excessive. Smile may not be breaking new ground for Boris, but it does showcase their attention to detail and willingness to push their sound in new (if not confusing) directions. A must for fans, a cautionary recommendation for newcomers.

‘Statement’

Zebulon Pike . II: The Deafening Twilight . 2006. 4 stars .

A brilliant album from this underwritten Minnesota band. II: The Deafening Twilight is the epitome of progressive metal, somehow managing to capture the crushing bass rhythms and distortion of doom while still thundering forward with epically technical energy. Zubulon Pike are as awe-inspiring as post metal acts like Pelican or The Russian Circles, but they sound like they are having the most fun, changing tempos and reveling in fuzzed out riffs across these 5 monstrous songs, the longest being the 20 minute "Ashes of Xerxes, Breath of Titan".

The captivating pacing of this album is reason enough to give it a spin, as wiry guitar riffs spiral in tense, climatic cycles, evoking the dark astral sides of Isis and even Tool. There’s no vocals though, this is strictly an instrumental affair, making it a perfect metal album for post rock fans fond of Mogwai and Explosions in the Sky.

Overall, a wickedly fast and complex effort that is able to maintain direction and energy across its psychedelic marathons. The album’s cataclysmic sound might become emotionally draining across its hour plus duration, so come into this album prepared for long and immersing trip.

Warning. Watching From a Distance. 2006. 4 stars.

After reading some glowing reviews online, I came across Warning, an influential doom metal band from Harlow, UK. Watching From a Distance has been hailed as not only their greatest opus, but one of the landmark metal albums of this decade. Warning’s music is monolithic, with powerful, sludgy riffs droning across mid tempo drum beats and pained, depressive vocals courtesy of the bellowing Patrick Walker. His efforts on this are surprisingly beautiful , as his plaintive baritone agonizes over lost love and unconquerable separations, likening himself to a wounded soldier trying to keep his strength across impossible terrain. Love is a battlefield and Walker expresses this with his every tension filled word.

The slow, thundering musicianship behind Walker is also deeply melancholic, as the distorted guitars reverberate with crushing intensity, providing a thick mist for the band to loose themselves in. The grooves are hypnotic and dense, creating a massive and heavy backdrop for the stunning clarity of Walker’s lyrics. For its lovelorn narratives and massive dynamics, Watching From a Distance is an impassioned metal record that deviates from the fast tempos and shrieking vocals associated with metal to pursue a more introspective journey. While Warning never stray far from the dark precipices they set themselves in, forever trudging in their slow and spacey rhythms, Walker’s convincing delivery, and the band’s conviction to atmosphere, makes them leading statesmen for modern doom metal.

“Faces” from a 2007 performance in London

Earth. The Bees Made Honey in the Lion’s Skull. 2008. 3.5 stars.

This is music for stoned, post-apocalyptic cowboys, like the Mad Max set, but more relaxed and pining for a peyote journey. The influential and experimental Earth, who revolutionized stoner rock with the minimalist drones of 2, return to the doomed Western landscapes they began exploring with 2005’s Hex. The jams here are slow, heavy and hypnotic, luring you with its steady, slithering bass grooves and catatonic drumming. The mood they establish is introspective and sedative, nudging you into an ancient and primal feelings.

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