The Rock Blogger

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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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.

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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.

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Jarboe/Justin K Broadrick. J2. 2008. 2.5 stars.

When I first heard that Justin Broadrick (of Jesu and Godflesh fame) was collaborating with Swans vocalist Jarboe on a new EP, I was thrilled. Broadrick’s knack for crafting haunting and powerful drones and serene shoegaze riffs, along with Jarboe’s chillingly beautiful soprano voice, seemed like a match made in post-metal heaven. Unfortunately, after trying my damnedest to get into this record, I find myself being immensely disappointed, knowing that both artists have accomplished so much more in the past.

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Nine Inch Nails. Ghosts I-IV. 2008. 4.5 stars.

Holy crap, this one came out of nowhere. Less than a year after Trent Reznor released the politically charged Year Zero (and its the satisfying remix counterpart), another NIN album is upon us and it is easily one of the band’s most ambitious projects to date.

Following the lead of Radiohead’s In Rainbows, Reznor left his major label (Interscope/Universal) the pursue his own online business model (free downloads, expensive box set) and escape the creative boundaries associated with conventional distribution. The result is a four disc, 36 track instrumental album that sees Reznor laying down moody ambient pieces, melancholic piano compositions and full throttle industrial jams, experimenting beyond the traditional NIN sound and showcasing Reznor’s artistic maturity.

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Swans. White Light From the Mouth of Infinity. 1991 4 Stars.

A dark gem from New York’s industrial/metal underground, Swan’s White Light From the Mouth of Infinity was the band’s magnum opus, weaving majestic melodies with bleak and heavy lyrical themes. These existential beatings ruminate in despair, hopelessness and failure as Micheal Gira’s sorrowful baritone growls across the pounding percussion and stunningly intricate, Far-Eastern-inspired guitar work. Jarboe, Swans’ accompanying female singer, provides beautiful vocal harmonies that will send chills down your spine, rounding out the ethereal spirit of the album.

“Power and Sacrifice”, “Love will Save You” and “Song for Dead Time” are among the most artful and lyrically nihilistic tracks, spinning tales of self-loathing, remorse and loss, fitting with the band’s perpetual tug-of-war with religiosity- evoking the power of a distant God, seeking reconciliation and redemption.

The emotional and instrumental gravitas of this record will definitely appeal to those interested in industrial or Gothic (counter) culture or even those who find comfort in the grievances of Joy Division, The Doors and The Tea Party. Again, this is a very dark and depressing work but that is where its beauty lies - in the band’s ability to reflect their innermost troubles through poetic intensity. Where most rock bands try to convey emotion through sheer volume, Swans create terror through their compositional and avant-garde sensibilities.

This is a brutally psychedelic video for Godflesh’s “Slavestate”, off the EP of the same name. The bleeding colorization here reminds me of some terrifying hallucinogenic trip. This is industrial metal at its heaviest (and artiest). Set the controls for the heart of the sun…

Godflesh Slavestate EP 1991.

I’ve been pretty busy the last few days, so you’ll have to be patient if you want more in-depth articles and commentary. I’m trying to embed my Flickr account on my blog but its proving to be a little difficult. Hopefully I’ll get it figured out soon, as there are some great pics my girlfriend and I are putting into it. If anyone is familiar with embedding Flickr in Wordpress blogs, leave a comment. Thanks.
More to come.

Here, industrial dynamos Jesu put on a powerful performance of “We all Faulter”, one of the most intense tracks from their self-titled debut album. Their more recent LP Conquerer is just as killer and it ranked #4 on my Top 50 of 2007 List. I saw these guys in New York City and my jaw hit the floor. Here’s why: