LABEL INTENSIVE: Christine Kelly of Tridroid Records Lists her Top 10 Labels to Watch in 2017

Tridroid Records is an independent metal label launched in July, 2012 by original owner Andrew Rehberger and was one of the earlier labels responsible for the metal tape resurgence in the US. In 2016, after 4 years and around 80 releases to their name, the label would change hands and who better to take over than self confessed Tridroid fan Christine Kelly.   Having been involved in underground metal for about 15 years and with a desire to run a metal cassette label for years taking over at Tridroid Records seemed like hand of fate had dealt a winning hand.

Tragically Andrew would suddenly and tragically pass away, so what better endorsement to his memory than to continue what he created, indeed under Christine’s tenure the label is going from strength to strength.  So with recent releases from  Heavy Temple, Un and the forthcoming album from our own Daniel Jackson via project Void Ritual,  we have invited Christine to talk about 10 labels she digs and one’s you should to watch out for in 2017 and beyond. 

Before the days of Bandcamp, I mostly just looked for label owners who shared my taste and bought up anything they put out.  It's easier to pick and choose these days, but I still value finding labels that I can blind-buy from and trust that the release will look and sound amazing. Here's a few that I'm keeping my eye on this coming year: (click on the labels name for web links)

1). Graven Earth Records

Graven Earth came from nowhere in 2016 and put out 100% quality releases straight outta the gate. Sarcoptes, Possessor, and the cassette version of Khemmis – “Hunted” are just 3 of the things that caught my eye.  I can't wait to see what comes from this label in the New Year, because if I don't know the material, I know I should.

2). Small Doses

Full disclosure: Label owner Joe Beres does a lot of design work for Tridroid, but that's because I saw his work while I was in Minneapolis and liked his clean style and taste so much that I pulled him into my camp. Small Doses releases material more on the drone/industrial/noise side of the spectrum but also represents the diversity of those genres, with everything from Locrian to Bastard Noise to Whitehorse released under his aegis. You can be sure that anything coming out of Small Doses looks amazing, too, because Joe's aesthetic sense and knowledge of packaging ensure that his output is nothing short of stellar.

3). Werkstatt Recordings

If you're even remotely into electro-synth music, Werkstatt is a label to seek out. I'm a relative newbie to the new wave of electro, so I value someone who can sift through the glut and present the best of the best. The excellent art and design on Werkstatt's releases is something that inspires me, especially with their high level of output.

4). Sylvan Screams Analog

Sylvan Screams is the only label I've made it my business to own every single release by. To me, Mitch King at Sylvan Screams represents everything good about DIY cassette culture – he's a maniac, he knows his shit, and his releases consistently introduce me to bands I need to hear. It ain't an easy gig owning a tape label, and his devotion to it was one of the reasons I got into the biz. His stuff sells out pretty quick, so make sure you follow him on Facebook if you don't already.

5). Foreign Sounds/Children of the Night

The level of quality cassette releases on this label is just unprecedented. In 2016 they put out some of my favorites, including I Shalt Become – “Wanderings”, Krieg – “Blue Miasma”, and Onirik – “Casket Dream Veneration”. All have great packaging without being over-the-top. As a label owner, you want to see what other people are doing, and I'm always paying attention to FS/CofN.

6). Medusa Crush

Medusa Crush has been on my radar for a while. Their releases definitely don't adhere to a genre, and I know I'll hear something new and different every time. Then, MC released one of my favorite albums of the year with Lightsabres – “Hibernation”. Now I'm keeping an even closer eye on 'em, because, while they're not the most prolific label on my list, there's a lot to be said for quality over quantity.

7). Bindrune Recordings

The only reason this label isn't #1 on my list is because, if you're anything like me, you already know Bindrune. I've been blind-buying from Marty for over 10 years now, and his releases are the pinnacle of musical taste and design. I hope to still be buying everything he puts out 10 years from now.

8). Caligari Records

This is another one that's lower on the list because, again, you probably know Caligari. When it comes to US tape labels that brought the format back to the fore, Caligari is one of the biggies. If it's a metal release on tape, Caligari has it. Not to mention that the label name belies a love of Weimar cinema that I very much appreciate.

9). Grimoire Records

Grimoire Records is another label I'm always watching. Genevieve, Torrid Husk, Myopic, Barbelith, and Dendritic Arbor are just a few of the reasons why. It's also nothing short of remarkable to me that the owner does all the recording, mixing, and mastering for all of his own releases. This level of involvement is a rare thing these days, and I give huge props to his vision.

10). Broken Limbs Recordings

Broken Limbs can do no wrong. Wode, Our Place of Worship is Silence, Thrawsunblat, Cara Neir, Crowhurst, Sea of Bones, Immortal Bird... I'm gonna be honest, every single release is a worthy listen. And the artwork? Simply amazing. Definitely one of my biggest inspirations.

For more information on Tridroid Records check out the link below

Label Info: bandcamp || facebook

Panopticon - Roads To The North (Album Review)

Album Type: Full Length

Date Released: 1/8/2014

Label: Bindrune/Nordvis

‘Roads to the North’ CD/DD/LP track listing:

1.The Echoes of a Disharmonic Evensong (9:36)
2.Where Mountains pierce the sky (12:43)
3-5. The Long Road (in 3 movements)
I. One last fire (5:56)
II. Capricious Miles (7:53)
III.The Sigh Of Summer (9:39)
6.Norwegian Nights (3:20)
7. In Silence (9:46)
8.Chase the Grain (12:14)

Bio:

PANOPTICON has never been a typical black metal band. Multi-instrumentalist and vocalist Austin Lunn's heartfelt, vitriolic blend of anarcho-crust, Appalachian folk, and atmospheric black metal is a unique entity, and his impressive recording history is a testament to his devotion. The band's previous effort, Kentucky, was rightly hailed as one of 2012's finest extreme metal albums, and now, with the imminent release ofRoads to the North, 2014 has better watch its back. Lunn’s latest effort and fourth full-length sees him break new ground for the project and explore Scandinavian death metal in all its melodic fury. It’s a dynamic, stirring album, and one that will completely enrapture all who stand in its way.
 

The album features a litany of guest talents and close comrades, including members of Waldgefluster, Celestiial, Blood and Sun, Obsequiae, Altar of Plagues, Vit, Austaras, and Vukari, and was engineered & produced by ever-prolific sound wizard Colin Marston. Lunn himself utilized a wide range of instrumentation to realize his vision, from dobro and banjo to mandolin, Native American flute, and keyboards as well as his customary guitars, bass, drums, and vocals. It’s an overwhelming musical work, and one that stands tall amidst Lunn’s untouchable discography.
 

Roads to the North marks a paradigm shift in Panopticon's sound, but also stands as the first collaborative action between like-minded partners Bindrune Recordings and Nordvis Produktion. The album will be available on deluxe 2XLP and CD; Bindrune will look after North American sales, with Nordvis handling the release in Scandinavia and Europe.

Album Credits:

A.Lunn | drums, guitar, bass, vocals,, Native American Flute, banjo, mandolin, resonator guitar, dobro, keyboards, samples, recording, art, lyrics and songs.
Johan Becker | violin, Moog, additional singing vocals
Winterherz | guest vocals on "...In Silence"
Ben Smith | guest Vvcals on "Capricious Miles" and "The Sigh of Summer"
Tanner Anderson | backing vocals on "Chase the Grain"
Dave Condon | guest Vocals on "Chase The Grain"
Spenser Morris | drum recording
Colin Marston | additional keys, orchestral arrangement, percussion, engineering and producing,

Review:

To get to the heart of the matter; Panopticon’s newest album ‘Roads to the North’ is fantastic. It even beats 2012’s classic ‘Kentucky’, which would seem impossible until you’ve listened to it. ‘Kentucky’ introduced the premise that bluegrass and black metal could coexist harmoniously on a single album, which was certainly a shock the first time I’d listened to it. The question that I had before listening to ‘Roads to the North’ was how much further the idea could be taken. There are certainly albums where a band or artist stumbles on to something special and they ultimately decide to just do that same thing again. That isn’t the case here.

The album kicks off with the sort of blasting combined with folk string instrumentation that Nokturnal Mortum has played with since Nechrist, and it works exceedingly well. In fact, all of the folk and bluegrass elements present on ‘Kentucky’ are factored in much more smoothly on this album. You might say the difference, if you’ll excuse the bizarre analogy, mirrors the changes in Luke Skywalker from ‘Empire Strikes Back’ to ‘Return of the Jedi’. In ‘Empire’, Luke was a wild-eyed hero with unlimited potential, but in desperate need of discipline to channel all of that talent. In ‘Jedi’, Luke was supremely confident, more restrained, but not without fits of passion. The same can be said of Austin Lunn’s growth from ‘Kentucky’ into ‘Roads to the North’, both as a song-writer and as a musician. Perhaps a more relevant comparison would be the change in Emperor and in Ihsahn in particular from ‘In the Nightside Eclipse’ to ‘Anthems to the Welkin at Dusk’.

The starkest shift in overall direction comes in the form of the inclusion of melodic death metal riffing; not unlike At the Gates circa Terminal Spirit Disease and Grand Grimoire era God Dethroned. It’s a new song-writing ingredient that actually may be a stroke of genius because it flows so well with the melodic black metal and it breaks up all of the open chords and folk elements with something that damn-near requires headbanging. It helps that the “Gothenburg style” has had some time to heal its wounds and catch its wind after scores of bands ran it into the ground ten-plus years ago.

As far as other new elements, “The Long Road Part 2: Capricious Miles” has an extended mid-section that swims the same waters as Damnation era Opeth (“Windowpane” and the quieter moments of “Deliverance” to be specific). Here to, the choice to spend several minutes in a softer dynamic, without utilizing the acoustic guitar/banjo/fiddle that makes up a healthy portion of the album’s softer sections gave me the sense that there’s still plenty of territory Lunn is willing to explore and that the best may not be behind us after all.

If you’d rather look at Panopticon 2014 in a macro sense; Austin Lunn is a song-writer worthy of adoration. He has found an ultra-unique voice within an ever-broadening black metal landscape. If you take a step back, you could probably make the case that Lunn is right at the top of the list of most talented metal musicians in the United States at this moment. I certainly wouldn’t argue against that. ‘Roads to the North’ is his finest album to date and despite my general distaste for albums longer than 50 minutes, this album warrants its seventy four minute run time. Only time can truly be the judge of things like this, but I see no reason why ‘Roads to the North’ won’t be seen as a classic album as the years go by.

Words by: Daniel Jackson

You can pick up a copy here and here

For more information:

https://www.facebook.com/PANOPTICONBAND
http://panopticonmerch.bigcartel.com
https://www.facebook.com/pages/Bindrune-Recordings/
http://bindrunerecordings.com/
https://www.facebook.com/nordvis
http://www.nordvis.com/