The Rock Blogger

Fen . Ancient Sorrow (EP). 2007. 4.5 stars .

One of the most promising black metal acts to emerge from England, Fen incorporate post-rock and sludge metal influences into their unique sound, producing this incredible 3 track EP that flows like a full-length album. Sounding like a cross between Agalloch (whom they are currently touring with) and Red Sparowes, Fen blend sorrowful howls and blast beats with epic, serpentine riffs, producing mammoth songs that are both intense and subtly executed.

"Desolation Embraced" is a dense and atmospheric opener that moves at a quick pace through blazing distortion and powerful drumming, setting the stage for the dramatic twists and turns to come. Spellbinding arpeggios and breathless tempos showcase the band’s progressive ambitions, as they focus on extended song structures and nuanced instrumentation rather than just raw aggression.

"The Gales Scream of Loss" is a surprisingly moving effort that gracefully glides along heavy shoegaze riffs not unlike Alcest, as raspy vocals whisper behind the wall of clean guitar lines. The bleak mood and emotional ambiance are quite remarkable in their delivery, evoking feelings of catharsis that fans of Mogwai and Explosions in the Sky should appreciate.

The monstrous closer "Under the Endless Sky" begins with sludgy doom metal riffs before shifting into an expansive ambient passage complete with a slow crashing tempo and distant keyboards that sound natural amidst the crushing heaviness. The post-metal breakdown, despite its entrancing quality, runs a little too long and detracts from an otherwise rewarding listen.

Overall, Ancient Sorrow is an innovative and captivating record that clearly demonstrates Fen’s enormous potential. Having just recently signed with Italian metal label Code666, there should be a full LP on the way this year. In the meantime, both post-rock and black metal fans should give this excellent EP a try, and let its transcendental compositions wash over you.

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.

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.

Russian Circles. Station . 2008. 3.5 stars .

Chicago’s Russian Circles play kinetic and aggressive post-rock in the same sludgy tradition as city mates Pelican, crafting expansive instrumental songs that are filled with shimmering guitars and powerful rhythms. Continuing on with the success that was their 2006 debut Enter , Russian Circles’ latest offering pares back on their metal flourishes as they venture to cosmic planes, opting for a sound that is interstellar but not pretentious. These virtuosoes avoid self-indulgent noodling and instead anchor their songs with strong driving beats and deep, fluid bass lines. By carefully blending their metal and post-rock aspirations together, Russian Circles steer clear of derivative Mogwai and Isis worship and create something that is both intense and stratospheric.

The album begins with the crystalline riffs of "Campaign" which starts things off delicately enough to draw you in. The guitar melodies are immediately effective and opens things up with calm anticipation. "Harper Lewis" kicks in heavy drum rolls before the guttural, slithering bass joins in. Jangly guitar lines hover in between, opening up the space of the track before the intense metal riffs begin chugging along. Astral guitars then begin to scream across the mix in the most lyrical fashion imaginable, reminding me of Explosions in the Sky’s magnificent "Greet Death". The following "Station" keeps up the pace and glides across with hypnotic bass fills and distorted guitars that play against the swirling drum cycles and cymbal crashes. Just try to not bang your head along to these monstrous riffs, it really is difficult to restrain yourself.

The beautiful "Versus" veers back to post-rock territory, as icy riffs line droning reverb, sounding like a heavier version of a glacial Sigur Ros song, before fully extending into heart-breaking melodies. The speedy "Youngblood" abandons the clean veneer and rocks out with tight guitar riffs and furious drumming, played out with impeccable precision. The slow and tension filled "Xavii" closes things off with some final celestial passages.

As I hope I have demonstrated with my descriptions above, Station features some amazing musicianship as the band’s sense of timing, melody and dynamics are pristine and accessible. If this album had come out a decade ago, it would easily be considered a post-rock masterpiece. Unfortunately though this Station is just one stop among many others, never managing to go the extra mile to differentiate itself from the work of other post-metal masters. Yet as a companion piece to the work of Pelican, or Zebulon Pike, Isis, etc., Station fits perfectly among its peers and will provide the kind of astral, bong-ripping experience fans of the genre are searching for. So if you want to be captivated by an intense performance, look to the Russian Circles.

“Harper Lewis” Live

Busy lately, so here’s another quick post-rock tune to tide you guys over.

Easily one of the crown jewels of Mogwai’s catalog, “Dial Revenge” can be found on Rock Action (2001).

One of GYBE’s greatest accomplishments, from their Slow Riot For New Zerø Kanada EP (1999).

Beautiful, orchestral post-rock that still remains unrivaled in the genre.

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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World’s End Girlfriend. Hurtbreak Wonderland. 2007. 3.5 stars.

WEG is the solo project of Japanese virtuoso Katsuhiko Maeda who produces lush post rock songs tinged with neoclassical and break beat flourishes. Unlike WEG’s collaboration with Mono (see here), Hurtbreak Wonderland avoids sounding mournful and instead relishes in hallucinative fantasy, conjuring an Alice in Wonderland type of narrative as suggested by the astounding cover art.

The songs here are instrumental but are far removed from conventional rock dynamics, opting for wild pairings of melodic strings and intense electronic beats, creating a swirling experience similar to the work of Venetian Snares. Songs like “Birthday Resistance” and “100 Years of Choke” move from pleasant, classically inspired compositions into bombastic freak-outs, creating dramatic transitions that are often dizzying in their execution. Most of the album carries on in this fashion, as gorgeous piano, harp and brass fills are layered over the vivid drum and bass patterns.

Hurtbreak Wonderland is an incredibly detailed and eclectic album that consistently sounds organic and fresh, coaxing the listener to wander in its blossoming passages. Despite its technical prowess, some of the movements tend to drag on in spots, leaving portions of the album sounding unfocused. Maeda occasionally manages to anchor everything with his propulsive beats, but the surge of strings and keyboards is in constant lift, leaving some unresolved tension between the elements. Despite the often confounding juxtapositions here, Hurtbreak Wonderland is a beautiful and original record that clearly breaks new ground in the post-rock genre. The cornucopia of instruments and noises used here leaves plenty of room for continued exploration. In short, WEG has created a deep and dreamy effort that begs for multiple listens.

Birthday Resistance

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.