TRACK PREMIERE & REVIEW: Jupiterian - "Terraforming"

By: Ernesto Aguilar

Album Type: Full length

Date Released: 15/11/2017

Label: Transcending Obscurity

Jupiterian melds sludge undertones to an oppressive landscape, making it feel all the more like a slow autopsy video – you know what it is, and what may happen, but you cannot stop it or look away.  Jupiterian leaves little doubt about the importance of this release for its subgenre this year.

"Terraforming" CD//DD//LP track listing

1. Matriarch

2. Unearthly Glow

3. Forefathers

4. Terraforming (ft. Maurice de Jong of GNAW THEIR TONGUES)

5. Us and Them

6. Sol

The Review:

You can never quite avoid how much doom depends on the climate an artist creates. The music can be dirge like or plodding, the themes of those songs can be bleak and the theater of the artists can likewise invoke awe. Doom reaches such a select fan base, the artists must work especially diligently to capture attention.

In Brazil's Jupiterian, the listener discovers a group that has decided to go for an anonymous, masked visage. Many metal performers have utilized coverings, face paint or other means to obscure their identities and grab attention for the art as an entity rather than the players as focal points. Such is an important strategy in metal; it is a rejection of the star-obsessed popular culture that transcends borders. For doom acts, this decision is notably crafty. With a smaller pool of people into the music, a group must find any means to grab people. The less charitable may call such artisanship gimmickry. Connoisseurs of this wing of metal appreciate a band's commitment to its own backstory.

For any such outfit, including Jupiterian, such choices put attention on the music that could press upon it more scrutiny than might otherwise be aimed. With "Terraforming," the band's newest, critical ears are sure to go away happy.

Subtitling its recording "Atmospheric Doom​/​Sludge Metal," Jupiterian fulfills those audacious expectations by grinding out some of the better atmospheric doom you will hear this year. The quartet begins with "Matriarch," a song whose creepy percussion into synths and deep drumming summon gloomy spirits. It is those guitars, though, followed by harrowing vocals, which seal the deal. Jupiterian melds sludge undertones to this oppressive landscape, making it feel all the more like a slow autopsy video – you know what it is, and what may happen, but you cannot stop it or look away. "Unearthly Glow" comes on that cut's heels, and it is even more weighty and deliberate.

What makes Jupiterian so enthralling is how it is able to expand what you think of atmospheric doom. By the third song, "Forefathers," you hear a more traditional doom sound, yet its start is more of a transition from the previous atmospheric selections. The musicianship is incredible, and how well this song fits with the ones before as well as the successive title track (complete with spacey opening) is a testament to just how gifted Jupiterian is with its music. You get more well-planned with "Us and Them." The song has acoustic guitar additions to its start, though it is monstrously dense. By the time we end with "Sol," Jupiterian leaves little doubt about the importance of this release for its subgenre this year.

"Terraforming" is available here

Band info: bandcamp || facebook

RIFF REWIND (11/07/2013): Before the Eyewall - "Before the Eyewall"

Before the Eyewall is a heavy, psychedelic, instrumental trio based in Columbus, Ohio. BTE was brought to life on January... 26th, 2010 and is comprised of 2 former members of current SLUDGELORD faves Kenoma. Having released one demo in 2011, they self-released their first full-length self-titled album in March of 2013.  Limited to 500 Copies, the CD was presented in a clear case with artwork and layout by drummer Aaron O'Brien-Eichman. “Before the Eyewall” was recorded at Popside Studios in Troy, OH by Brian Whitten and mastered by Colin Marston. 

Before the Eyewall are best described as doomy, atmospheric and psychedelic, drawing comparisons to similar doomy post-metal acts like Mouth of the Architect or even Light Bearer, with a strong focus on heavy cinematic tension and guitar interplay.  Released four years ago, the proposed vinyl release never came to fruition and with no word on a follow from the band, or indeed whether they are still active, I feel it is time to remind you all just how awesome this album was and perhaps reignite the spark within the band to follow up this stunning record. 

Today we are rewinding the riffs back 4 years to the day in order present the astonishing “Before the Eyewall”. So if you missed it the first time, be sure to remedy your error by checking out our review in full below. 

By: Clayton Bartholomew

Album Type: Full Length

Date Released: 4/6/2013

Label: Independent

On “Before the Eyewall”, we see stripped down walls of sheer octave-dropped power, as expansive and grand as any mountain range, and with all of the subtlety and patience of tectonic plates shifting between continents

“Before the Eyewall” CD//DD track listing:

1). Skyrises

2). Path of Ash & Desperation

3). Tome of the Concentric Eye

4). Skyfalls

The Review:

If Red Sparrowes were to drunkenly have casual intercourse with the members of Yob, the unplanned result would sound something like Columbus, OH’s Before the Eyewall.  And praise be to Jesus! For allowing such a union to procreate, the bastard offspring brought to full term. If not for this, I would be forced to rethink my pro-choice stance. There should be laws against hasty decisions not to let something this good come to fruition.

On “Before the Eyewall”, the first full length album that the three-piece have crafted, we see stripped down walls of sheer octave-dropped power, as expansive and grand as any mountain range, and with all of the subtlety and patience of tectonic plates shifting between continents. Just as easily, the band weave psychedelic clean interludes… catchy guitar-based melodies that expand into richly orchestrated textures, building the groundwork for further sonically devastating outbursts of lower register earthquakes that leave the listener pummelled one minute and pacified the next.

Did I mention that these guys are instrumental? The lack of vocals (which can sometimes detract from the hypnotic qualities bands like this are going for) are not missed. This record goes through an evolution and the arrangements are varied enough to keep the listener engaged without the need for vocal clutter.

Overall, this record serves as a journey, building in intensity to the point of crescendo. Themes reoccur; reimagined and refreshed, serving as reminders of the more powerful and thought-provoking sections of the record. Some three piece bands without vocals could probably find it difficult to keep things interesting, but this is not the case with Before the Eyewall. “Before the Eyewall” is definitely worth picking up, and reveals a band that demand to be paid attention to.

Band info: Bandcamp || Facebook

TRACK PREMIERE: "Conscious Disease" by Philadelphia avant-garde sludge shamans GOD ROOT

Dante Torrieri (C)

Former Sadgiqacea vocalist/drummer Fred Grabosky brings us his new project God Root and following on from their 4 track EP last year, the band are back with their forthcoming release “Salt and Rot” set to hit the streets on CD and digital download on 11 July. 

As with Sadgiqacea, these Philadelphia avant-garde sludge shamans accentuate the heavy parts with quiet moments to create their own brand of primitive and tribalistic sludge, with  doomed cinematic soundscapes.  Each element is added very carefully as to not over saturate the compistional structure of the record, with songs often building tension until you are served with a crushing finale.  

For a band still in its infancy, imagine 'Eye Of Every Storm' era Neurosis with John Dyer Baizley circa 'Red Album' on vocals and you'd be halfway to close to what this record delivers and today we are pleased to be able present a new track in the form of “Conscious Disease”. You can stream it below and check out what vocalist Fred Grabosky (drummer/vocalist) had to say about it. Preorders are available here  and digitally here

"We are quite pleased with how this track came together. It's the most vulnerable and personal piece we've put out thus far. We created 3 personas and the song acts as sort of a dialogue between them. It's essentially the push and pull of oppressive forces, human frailty and self reliance. In some capacity, everyone can relate to this battle of control and weakness. Much like the rest of the album, we poured a lot of our personal pains and strife into this as a release and hope it can do the same for the listener. 

I think of a "conscious disease" as this sort of infectious and destructive thought pattern. It floats among us and attaches to us like a virus to a blood cell. We all know it's there, but we have the power to produce the antibodies to fight it off, or it can consume us whole."

God Rot Live Rituals

8/03 Brooklyn, NY
8/04 Providence, RI
8/05 Kingston, NY
8/06 Syracuse, NY
8/07 Ithaca, NY
8/08 Rochester, NY
8/09 Buffalo, NY
8/10 Cleveland, OH
8/11 Detroit, MI
8/12 Kalamazoo, MI
8/13 Milwaukee, WI
8/14 Chicago, IL
8/15 Indianapolis, IN
8/16 Lexington, KY
8/17 Pittsburgh, PA
8/18 Washington, DC
8/19 Philadelphia, PA 

All dates with SUNROT

Band info: bandcamp || facebook

TRACK PREMIERE: Atmospheric post metal collective Kenoma's journey of struggle, progress and regression delivers spell binding results with "1913"

 

 

Eleven years in the making, Dayton, Ohio atmospheric post metal collective KENOMA are set to release their highly anticipated debut full length record entitled, “The Tides Will Prevail” via Translation Loss. The album is set to hit the streets on 28 April 2017, but having flown under the radar following their contribution to the 2006 critically acclaimed split release with Mouth Of The Architect, “The Tides Will Prevail “could be considered something of a rebirth for the band. 

KENOMA began constructing their riff-filled peaks and valleys in 2005 and quickly became a sought after name. With their style of sludge-induced atmospheric instrumentals, KENOMA have etched their way into creating climatic and expansive journeys, pushing them to the forefront of their ever dilating genre. KENOMA creates landscapes you want to explore and get lost in. The subtle nuances of their valleys are mesmerizing and their peaks are crafted with boiling points overflowing with beauty. As for the 11 year gap between releases, bassist Doug McGinnis offers some insight on their journey that would eventually lead to the creation of their brilliant new album

Kenoma has been working through issues along with continued member changes since around 2005. Translation Loss provided us with an opportunity early on in our inception to do a split release with Mouth of the Architect. This opportunity came after our first show as a band. Kenoma jumped on the chance to release a split with our friends in MOTA. Looking back on the opportunity, it probably came a little early in our career. Collectively Kenoma walked away from the experience learning a lot, but none of us were very happy with the recording. We felt that it did not accurately represent the vision that we had in mind. After a few more line-up changes and some time off, Kenoma was reformed in its current state.

With this line-up Kenoma felt like we would finally be able to accurately represent the vision that had escaped us and decided to rework some of our older material. The songs came together great. We added a third guitar player and some soundscapes to complete our vision. The textures and tones of the songs were finally in place, so we decided that it was about time to head back into the studio.

“The Tides Will Prevail” is a very personal journey of struggle, progress, and regression. Kenoma has been able to weather the tides in order to finally produce a quality product. We, as a group, have come together, and in the face of adversity have been successful in finally bringing to life what we set out to create from the beginning. It has been a long process to get to this point, but through our strength and determination Kenoma has been able to bring to life the original vision that we had in our mind. “The Tides Will Prevail” is a look into the lives and times of everyone that had once been involved in Kenoma and the journey that it took for us to get to this place and time."

Translation Loss Records will release “The Tides Will Prevail” on multiple formats including a special edition, mailorder only coloured vinyl edition as well as compact disc and digital.  Today were excited to debut the track “1913” which you can check out below.  Was 11 years worth the wait, you decide? Pre-orders are available here.

Band info: bandcamp || facebook

Close The Hatch - "Death & Resistance" EP (Review)

By: Charlie Butler

Album Type: EP

Date Released: 09/02/2016
Label: Independent

Close The Hatch offer up plenty of surprises. “Doubt” provides a low-key start to proceedings; a brooding ballad with sombre verses giving way to crunching choruses where the band cut loose, guitars screaming into the night accompanied by pained, gruff vocals. “The Nighttime Pugilist” offers a stark contrast, gut-churning distortion and punishing riffs combining to create a full-on sludge assault.  These four tracks offer a tantalising glimpse of their sonic ambition; hopefully they will come back with a longer release soon.

“Death & Resistance” CD//DD track listing:

1). Doubt

2). The Night time Pugilist

3). Wayfarer

4). When Street Lights Die

The Review:

There is no shortage of bands willing to label themselves as “post-metal/doom”. Dayton, Ohio quartet Close The Hatch bill themselves as such and while they definitely live up to that description it also sells short their distinct sound as evidenced on their new EP.

“Death & Resistance” offers up an intriguing mix of the very heavy and the very melodic. “Wayfarer” and “When Street Lights Die” demonstrate a potent combination of Deftones style dreamy alt rock and the spiky progressive crunch of Mastodon at their “Remission” peak. Even over the course of the four tracks that make up this EP though, Close The Hatch offer up plenty of surprises. “Doubt” provides a low-key start to proceedings; a brooding ballad with sombre verses giving way to crunching choruses where the band cut loose, guitars screaming into the night accompanied by pained, gruff vocals. It’s an odd but effective track, like the expansive indie rock of Mercury Rev tooled up and ready for battle.

“The Nighttime Pugilist” offers a stark contrast, gut-churning distortion and punishing riffs combining to create a full-on sludge assault. The whole EP benefits from an awesome production job, slick enough to capture the dense physical impact of the band at full bore but lo-fi enough to maintain a rough charm and lend a mysterious nocturnal atmosphere.

Close The Hatch take on a lot of different styles on “Death & Resistance”, fusing them together to create something that is both strangely familiar yet strikingly unique. These four tracks offer a tantalising glimpse of their sonic ambition; hopefully they will come back with a longer release soon.

“Death & Resistance” is available here

Band info: bandcamp || facebook

Night - Satellites (Album Review)

Album Type: Album

Date Released: 14^th April 2015

Label: Hand/Eye Records

Satellites – Track Listing

1.Discovery

2.Departure

3.Aurora

4.Delta

5.Astral Burial

6.Satellites 05:08

7.Atlas

8.Projection

9.Tidal Shift

10.Constellations

11.Titan

Bio

Night is comprised of Bobby Yagodich on guitar, Matt Jackson on bass, Zach Nace on guitar, and Mark Bixler on drums. They are currently in the process of pressing and releasing their second full length effort entitled “Satellites”, which is the strongest representation of their sound thus far in their early career. In the new year, they plan to tour and support this record extensively.

All of the members of Night are originally from various heavy metal acts in the South Central area of Pennsylvania. In 2006, Bobby started a solo noise project under the moniker of Night as an outlet to do something other than the fast paced, and in your face genre of music. Three years later, the band that Bobby and Jackson had been a part of split. The two of them went on to create music using the name of the project Bobby had started years earlier. Another year passed, and the project that Zach and Mark had been a part of disbanded. They also had a thirst to create music that was not necessarily heavy. Zach joined in 2010, and Mark later joined in 2012 completely changing this from a small project, into a fully cohesive band.

Night have played throughout the South Central region of Pennsylvania, and in the past year have trekked out further and further. They have been hard at work trying to get their name out anywhere that there are people who want to listen. In 2015, they hope to extend their reach even further than ever before. Moving people with their music, and creating a unique experience for every listener is the objective that Night want to achieve with “Satellites”.

Members

Bobby Yagodich - Guitar

Matt Jackson - Bass

Zach Nace - Guitar

Mark Bixler – Drums

Review:

Post- Rock/Post-Metal collective Night impressed me way back in 2012. Now almost 3 years later they finally return with their new album - Satellites. Satellites may seem familiar to a lot of other Post-Rock/Post-Metal albums currently out there. Though, take a closer look as Night offer a more cosmic/ambient route within the Post-Rock/Post-Metal field as they have elements of Space-Rock to stand out from the crowd.

Fans of Pelican, Russian Circles and Red Sparowes will be in their element here as Night flexes their creative muscles with some heavy post-metal riffage especially on the first couple of tracks - Discovery and Aurora. Night combine heavy psychedelic sludgy post-metal riffs with a sense of adventure journeying into the stars. Satellites is firmly rooted in Space, Above and Beyond as Night take their brand of Atmospheric Sludge/Post-Metal to the next level. I've been a fan of Night for the last few years and it's great to see a band progress as musicians to show the world what they can do.

The album's main message is one of hope within the human spirit but Night do offer bleak moments of sadness and regret especially on excellent 3rd track - Aurora. Night combine ambient noises and sounds with the right amount of slow & fast paced vibes that Pelican or Russian Circles would be proud to call their own.

The album does venture into doom and gloom territory to provide the listener with an emotionally charged experience you will find very hard to escape from. One of the albums standout tracks - Astral Burial - sees Night play a more progressive/thrash metal style of music where the atmosphere becomes ever more volatile as Night become more schizophrenic with their musical choices. You can't help admire the brave musical decisions that Night unleash here, as the album ventures into different genres that shouldn't really work but Night pull this off with style and conviction.

By the time the excellent title track – Satellites - is played, you're already apart of this heavy cosmic journey as the progressive post-metal riffs impress with the slow-vs-fast musical combination that will leave you breathless. It's good that the band offer quiet ambient based songs to catch your breath with but be warned as the short songs offer heavy ambient sounds with a dark and terrifying edge. Atlas is the perfect example of this as Night will take you on a nightmarish journey where sound becomes your mortal enemy and your only means of communication.

Things take a more sensible approach for the next song - Projection - as Night play a more upbeat Post-Rock song with the heavy music giving way to a sense of calm e. Even when Night unleashes the heavier Post-Metal riffs, there's still a sense of hope amongst the violent energy that Night create here. The rest of the album sees Night finish their cosmic voyage into the far reaches of space as the music beautifully drifts into loud and blissful sonic highs as ambient noises add more refined experience as Satellites proves that Night have created a truly anthemic and cinematic experience you cannot beat.

Excellent and Highly Recommended.

Words by Steve Howe

Thanks to Matt Jackson for the promo. Satellites will be available to buy on CD/DD via Hand/Eye Records from April 14th 2015.

For More Information

Facebook | BandCamp

Last Minute To Jaffna - Volume II (Album Review)

Album Type: Album

Date Released: March 02^nd 2015

Label: Argonauta Records

Volume II – Track Listing

1. CHAPTER XV

2. CHAPTER DCCXV

3. CHAPTER XII

4. CHAPTER DCLXVI

5. CHAPTER XIII

6. CHAPTER XIV

7. CHAPTER XXV

8. CHAPTER XXVI

Bio

Last Minute To Jaffna is a band playing heavy psychedelic music. Formed in 2005 in Torino Italy, they self released an ep in 2006, then the first full lenght Volume I came in 2008 through Consouling Sounds, Hypershape Records, Concubine Records and Swarm of Nails. A new album, recorded and mixed by Lorenzo Stecconi (Ufomammut, Lento, Zu93) is set to be released in 2012, along with an EP containing acoustic versions of some of their tracks.

Through the years they've toured in Italy, Switzerland, Germany, Austria, Belgium, Netherlands and France, sharing the stage with artists like Isis, Wolves In The Throne Room, Scott Kelly, The Ocean, Ufomammut, Kylesa and many others

Members

Danilo Battocchio - guitar, fx

Valerio Damiano - vocals, guitar

Andrea Skinner Pellegrino - drums

Gianmaria Asteggiano - bass

Review:

Last Minute to Jaffna seem to have an interesting attitude to chronology - their latest release “Volume II” comes hot on the heels of “Volume III”, released in 2014. Now entering their tenth year of existence, the Torino quartet have somehow managed to slip under my radar until now. After giving their latest release a few spins this won’t be happening again.

“Volume II” kicks off with the slow burning “Chapter XV”, which unfortunately I find to be a bit of a false start. Building from quiet, delayed guitars to heavy distorted riffing, it fails to engage until Valerio Damiano unleashes his powerful roar about five minutes in and then everything clicks into place. Fortunately this is a minor blip as over the course of the subsequent seven tracks Last Minute to Jaffna draw the listener right in and don’t let go until the bitter end. Lengthy epics “Chapter DCCXV” and “Chapter XII” follow which highlight what the band do best; astral voyages through Isis-style soundscapes riddled with spiky melody reminiscent of Mastodon.

The real highlights of the record though come in the forms of “Chapter XIII” and “Chapter XXV”. Both of these tracks are dark ballads of the kind favoured by Scott Kelly, both beginning in whispered near silence before being stretched into crunching, cathartic dirges. The later of these two behemoths establishes a particularly evocative atmosphere at its inception, smearing faraway crackling static over chiming chords as heavily reverbed drums join the fray to create a real otherworldly feel. The overall effect is not dissimilar to the work of Yob on their seminal 2014 release “Clearing the Path to Ascend”.

Last Minute to Jaffna offer a couple surprises along the way too, particularly centrepiece “Chapter DCLXVI”. Initially it appears to be a welcome respite in the form of some cleansing drumless droning doom before things take a most unexpected turn. Out of nowhere, drums erupt into a drum and bass pattern which gradually becomes increasingly chaotic and fractured, taking on strange new forms. I’ve still not managed to work out if this has been played live or has been cut up and manipulated using studio trickery. However it’s been done, it works to great effect and takes what could easily have become a jarring and crass experiment into different rhythms and makes it a success. Closer “Chapter XXVI” also offers a different side of the band. It takes the sparse repetition of Earth and marries it to the dark melody of Mogwai to hypnotic effect, bringing the album to an end in quiet, ambient fashion.

Apart from the slight misfire of “Chapter XV” and a slightly flat production, “Volume II” is a triumph. The material on display here shows the band have got more than enough inspiration to keep their fires burning for another ten years and beyond.

Words by Charlie Butler

Thanks to Barbara at NeeCee Agency and Argonauta Records for the promo. Volume II will be available to buy on CD/DD via Argonauta Records from March 2^nd 2015.

For More Information

Official | Facebook | BandCamp

The Atlas Moth - The Old Believer (Album Review)

Album Type: Full Length

Date Released: 10/6/2014

Label: Profound Lore

The Atlas Moth – “The Old Believer” CD/DD track listing:

1). Jet Black Passenger 04:29

2). Collider 03:56

3). The Sea Beyond 06:07

4). Halcyon Blvd 04:17

5). Sacred Vine 05:46

6). The Old Believer 04:42

7). City of Light 05:00

8). Wynona 05:13

9). Hesperian 05:51

10). Blood Will Tell 04:57

The Band:

Alex Klein | Bass, vocals

Dan Lasek | Drums

Stavros Giannopoulos | Guitars, vocals

David Kush | Guitars, vocals

Andrew Ragin | Guitars, synthesizers, vocals

Review:

The Atlas Moth’s newest album is brilliant and frustrating all at once. The vast majority of what is presented works remarkably well. The aspects that don’t work came close to derailing the whole album for me, to the point that I struggled a lot in deciding what my overall view of the album was. I’ve listened to this album over and over again, trying to figure out why an album as beautiful as ‘The Old Believer’ irritated me so much. It’s essentially come down to a couple of key aspects: certain vocal choices and an over-inflated second half.

The album begins with “Jet Black Passenger” a song that almost perfectly captures everything I’ve just brought up. The song opens with a majestic but melancholy riff that transitions into a hazy verse. It does an excellent job musically of setting things up for a riveting apex, driven by Stavros Giannopoulos’ unnerving howl. That apex would have been even more effective if David Kush’s sorrowful singing been allowed to build to that moment unaccompanied by a more mid-ranged and reserved croak from Giannopoulos.

That section of “Jet Black Passenger” represents the primary issue I have with the album. Kush’s vocal contributions are something I’d love to hear more of without having Giannopoulos overpowering it. He’s mixed more loudly than Kush more often than not when, to my ears, Kush should be the focal point vocally, especially during the moments that play with softer dynamics. It feels strange to say that for a couple of reasons. First, I’m not a believer that singing is always preferable over screaming. Second, Kush isn’t always perfectly on-note when he sings. It brings to mind mid-period Katatonia; specifically ‘Discouraged One’ and ‘Tonight’s Decision’, though his delivery is different. Vocally, Kush reminds me of a more deep-throated Ronan Harris (VNV Nation), filtered through Jonas Renske (Katatonia) and Aaron Stainthorpe (My Dying Bride) and even a hint of Vincent Cavanagh (Anathema). The pairing of this atmospheric, melodic sludge with vulnerable, almost gothic singing is unique in a genre littered with sound-alikes, as most genres and subgenres are.

Both vocalists work well individually; it’s when both of them seemingly battle for attention at once that makes the album a frustrating listen at times. Perhaps they’re meant to be complimentary to each other but it doesn’t quite come off that way. Later on in “Jet Black Passenger”, both vocalists are allowed to have their own moment to great effect. Kush gets his opportunity to shine at about the 2:20 mark, and it’s glorious. After that the song settles into a wonderful, floating psych moment, with Alex Klein’s looping bass groove steering the ship before giving Giannopoulos’ snarl  takes center stage, which fits the moment just as well as Kush had earlier. Judicious use of both vocalists separately is an absolute must for this band in the future, as all too often the two clash against each other - both sonically and rhythmically - which completely takes me out of the moment. Perhaps if Giannopoulos wasn’t mixed so loudly in the moments where they do overlap it would be less of an issue, but his vocals sound so raw on this recording compared to ‘An Ache for the Distance’ that the effect is even more jarring than it might have been otherwise.

Moving away from the vocals, which obviously played a huge role in the big picture for ‘The Old Believer’ in my case; the instrumental side of the album is absolutely album of the year worthy. The concoction of sorrowful dirge, powerful sludge and phantasmagoric psychedelia that The Atlas Moth brews is more compelling than ever before. They have a truly enlightened sense of melody that other bands strive for, but never quite attain and ‘The Old Believer’ is all the proof you’ll ever need. I would also be remiss if I didn’t compliment new drummer Dan Lasek for exhibiting restraint when other drummers might feel the need to cram an assortment of fills into their work, regardless of whether it actually works for the greater good. My favorite drummers are the ones who pick their spots and realize that they’re so essential to a band as its foundation that being flashy without purpose is a sure-fire way to make sure everything else collapses as a result.

This brings me to my second issue, though it’s a far smaller point: the songs start to run together a bit in the second half. In particular, I think you could either cut or work elements of “Wynona” and “Hesperian” into other songs, get the album down to about forty minutes and really get the best this album has to offer. Even as it is, “The Old Believer” is a musical juggernaut, and there are very few who could rival its power in 2014. Now, if we could just get everyone to wait for their turn at the microphone

Words by: Daniel Jackson

You can get it here

For more information:

https://www.facebook.com/theatlasmothband

https://twitter.com/TheAtlasMoth