Having just seen Lars von Trier’s "Anti-Christ", I was compelled to research one of its supposed influences. "Haxan " (1922) was an elaborate silent film from Sweden that depicts scenes of demons, witchcraft and occult rituals. This video takes some visually stunning scenes from Haxan and sets them to songs from Coil’s Horse Rotorvator , easily one of the most disturbing industrial albums I’ve heard.
Lycia. A Day in the Stark Corner. 1993. 4.5 stars.
Good God, this is a beautiful album. Lycia play gloomy, down-tempo Gothic rock that bears neofolk and darkwave/industrial influences. Soothing synth drones slowly pulsate throughout, as chilling keyboard passages careen across, providing a dreamy atmosphere where harsh whispers and stark percussion pierce through the darkness. A Day in the Stark Corner is haunting and alluring, conveying a psychedelic state lying somewhere between a mystic trace and modern romanticism.
In spite of Lycia’s reliance on a synthesized aesthetic, with cold electronic beats and echoing reverb, this album still has an organic feel, as each composition moves fluidly into the next. Several of these songs do sound strikingly similar in length, pacing and mood, adding to the spacey effect of its overall presentation. Calls for more variety may be warranted, but the fluid cohesion of this record is hardly anything to pass over. From the opening beats of “And Through the Smoke and Nails”, this album sucks you into its misty, vaguely menacing landscape. While the lyrics may be hushed and undecipherable, the spooky ambiance speaks volumes on its own, opening a world of vivid sonic detail.
There is a lot of depth to A Day in the Stark Corner and its emotional power is hard to deny. Recommended.
Lycia - And Through the smoke and nails
Snowman . The Horse, the Rat and the Swan . 2008. 4 stars .
I followed a glowing Pitchfork Media review to land on Snowman’s Myspace page, and despite the shrill, abrasive noise that greeted me there, I couldn’t turn away from it. My first reaction to Perth Australia’s Snowman was both of shock and admiration. They’ve managed to take some of the snarliest, sickest and most disturbing post-punk sounds imaginable and give them an infectious, surf-inspired spin.
Their sound can be poorly described as the spooky artiness of Liars mixed with the Gothic industrial sounds of Coil. Even some traces of New York’s avant-noise scene slip in here, with some of the bleaker psychedelic passages reminding me of early Swans (White Light, Children of God). Far from being a mere encyclopedia of rock’s darker corners, Snowman is compellingly original, with foot-stomping darkwave grooves pounding behind psychotic vocals and eerie guitar work. Despite the gritty asylum atmosphere haunting the whole affair, this album is surprisingly accessible, as the songs are direct and full of alternative hooks to keep them focused. "We are the Plague" shows the band’s tight cohesion between punishing beats and fractured melodies. Other moments verge even closer on the side of madness, with songs like "The Gods of the Upper House" sounding like clamors from a bloody horror film kitchen.
Whether they are hell-bent on laying down powerful post-punk rhythms, or dabbling in the rolling ambient of tracks like "The Blood of the Swan", Snowman offers a highly defined, profound and menacing listening experience. Its steady arrangements and pacing will also keep you on your toes throughout. Like any good, sinister work of art, The Horse, the Rat and the Swan grows on you over time. If I wasn’t so keen on getting this review up here, I might wait to give this a 4.5. But oh, well - this is good, scary stuff thats sure to be generating some critical praise as it finds its way across the globe.
Snowman - We Are The Plague
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.
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.
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.
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.
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.
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.
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