The Rock Blogger

Encomiast . Bathed in Sunlight . 2008. 4 stars .

Try as I may, I just can’t stop posting about the obscure albums I’ve stumbled across online. Some of them are just too good to leave untouched, so here goes. Bathed in Sunlight is a beautiful ambient/post-rock album from Colorado natives Encomiast that features five blissful songs that incorporate an impressive variety of ethereal sounds and instruments.

Transient drones wash over you from the outset of "Pumpkin", as layers of synth harmonies and distant vocals glide across each other in slow, hypnotic movements. Together they create a trace-inducing atmosphere that is subtly executed yet incredibly powerful in its effect. "If the Night Commands It" introduces light percussion into the mix, as soft tabla drums patter away against the deep bass lines before a shimmering guitar sweeps across in a delicate post-rock fashion. The meditative vocals of Ross Hagen gracefully enter, providing haunting lyrical descriptions of some twilight scene. While the musicianship never deviates far from the set patterns, it still draws you into a peaceful dream-like state.

"Laughter in the Storm" is probably the album’s stongest track, as clear tabla percussion again sets the stage for gentle acoustic guitar lines and some stunning flute passages that hover at the front of the mix. Hagen’s sparse vocals return to lend a dark, foreboding touch to the otherwise warm melodies. "My Chariot Awaits?" takes a little while to get going, as it meanders in aimless ambient noise, before finally fleshing out with soothing synth drones and cinematic echoes, reminding me of lonely whale songs or strange rumblings within a subway tunnel. The closing "Evergreen" introduces ominous female vocals that careen across the light soundscape before driving drums crash in, bringing us to a final, glorious crescendo. While this epic climax is not nearly as bombastic as conventional rock fair, its contrast to the rest of the song (and most of the album) is immediately satisfying and demonstrates Encomiast’s deliberate sense of pacing and structure.

Despite its often spare and detached composition, Bathed in Sunlight feels natural and welcoming as they want to ease the listener into a trance with the care and patience of a ancient shaman. Fans of minimalist music, film scores and ambient rock like Labradford will find much to like here. While you may have trouble finding a physical copy of this, as its release is very limited, you may have a chance securing one from the band’s website . Good luck, this is surely worth the effort.

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.

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.

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.

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’

Pyramids. Pyramids 2008. Hydra Head. 4.5 stars.

If the term ‘bliss-metal’ doesn’t make you cringe too much, then I would use it to describe Pyramids, an experimental metal/shoegaze band from Texas that follows with the heavy ambient drones of label mates Jesu. Like the work of Justin K. Broadrick, The Angelic Process and the more abstract efforts of Georgia’s Deerhunter, Pyramids play ethereal and occasionally noisy jams that are rich in buried melodies, hidden amongst layers of electronic sounds, fuzzed out guitars and blasting drum rolls. The crushing waves of sound pour out with drugged emotional intensity, as distant vocals glide across the industrial clamor like colorful ghosts.

Read More »

Nadja. Skin Turns to Glass. 2008. 3 stars.

Toronto’s Nadja are one of the most prolific and experimental drone bands to occupy the genre, crafting dense and heavy works not unlike those of seasoned acts Sunn o))), Boris and Jesu. Skin Turns to Glass is a re-recording of an earlier CD-R of the same name which had a limited release in 2003. Like the title suggests, this album is a slow, plodding act of transformation, where thick layers of guitar noise, keyboards, and industrial percussion lap over each other to produce a terrifying and psychedelic atmosphere.

Read More »

A strange and innovative video for “It is Not Sound” from The Blood Inside (2005). Featuring bizarre human animation, the video follows the plight of the band members through a twisting sea of limbs. Crazy stuff.

Today is the Day. Sadness Will Prevail. 2002. 4.5 stars.

A tour de force of misanthropy, Sadness Will Prevail is easily one of the most psychotic and disturbing albums you will ever come across. Sprawling across two discs and 30 tracks, this magnum opus is the tortured psyche held up for display, with abrasive mood swings and psychological fits that are compositionally complex and brutal in their honesty.

Today is the Day take elements from hardcore and noise rock, with grinding drums, menacing bass lines and terrifying shrieks, and melds them with an almost avant-garde flair for atmosphere and horror, utilizing film samples, sound effects, field recordings and ambient touches to stir this album’s bleak emotional undertow. There are dramatic shifts between songs here, raging between spastic riffs and pummeling drums a la Converge , and despairing passages of acoustic guitar, ambient noise and angular piano compositions.

The wide array of sounds being explored here is not merely a novelty to set Today is the Day from the rest of the hardcore pack, but serves to enhance the intense catharsis taking place, giving front man Steve Austin a claustrophobic space for his demons to run amok. With less concern placed on fitting within genre conventions, Today is the Day tread into blacker compositional territory that gives prevalence to thematics and naked emotional outbursts.

Sadness will Prevail, needless to say, is terrifyingly dismal and requires a certain fortitude to approach. But any effort made in entering the band’s uncompromising and insular black holes will be a rewarding one, if not to appreciate the vast subtleties and nuances awaiting within the madness, then to come away with an understanding of how unmitigated experimentation can release the artist’s most demented and pained sensibilities. For its unfiltered and unrelenting spasms, Sadness will Prevail remains not only a landmark for hardcore, but for dark and aggressive music as a whole, standing alongside NIN’s The Downward Spiral as one of the greatest expressions of self-destruction and personal torment.