ALBUM REVIEW: Pyrrhon, "Abscess Time"

By: Josh McIntyre

Album Type: Full Length

Date Released: 26/06/2020

Label: Willowtip Records

“Abscess Time” CD//DD//LP track listing:

1. Abscess Time
2. Down At Liberty Ashes
3. Teuchnikskreis
4. The Lean Years
5. Another Day In Paradise
6. The Cost Of Living
7. Overwinding
8. Human Capital
9. Cornered Animal
10. Solastalgia
11. State Of Nature
12. Rat King Lifecycle

The Review:

Pyrrhon is a weird band. They’re one of several New York City based metal bands that are pushing the boundaries of heavy music in exciting and refreshing ways, a continuation of the city’s “downtown music” history that has shaped experimental music since at least the 60s. New York’s long passion for making strange and challenging music flows through the veins of John Zorn as it does Sonic Youth and, for today’s metal, bands like Krallice, Liturgy, Imperial Triumphant, and Pyrrhon just to name a handful.

This might be my favorite Pyrrhon album thus far. It feels incredibly focused for having such a messy sound. More often than not the bass, drums, and guitars all dance around each other yet they line up perfectly when the moment strikes, as if they are simply following different paths to the same end. Sometimes it feels like weirdo tech death theatre and the instruments are actors. They talk over each other, they change tone, and they react to one another. Doug, who deserves more credit for being an impeccable vocalist, feels like a narrator to this avant garde play who himself is reactive. His range is incredible, including the deepest growls, very high screeches, shouts, and spoken word sometimes filtered through effects.

The songs are all over the place. They range from a minute long to nearly nine minutes, from being claustrophobic at exhausting speed to miserable and winding at a creep. Even at its most intense, Pyrrhon’s music comes off as moody. They don’t play anything for its own sake, everything has a purpose even if it’s just to pick at your brain. Lyrics here are just as purposeful, conveying the general moods that the pitfalls of the economic and social system that lay bare onto us. Laborers as machines, alienated from their natural states and desires as they struggle under ever increasing living costs, and are deemed animals when they decide not to comply. Pyrrhon not only push forward as metal musicians and artists but they push as human beings expressing distaste for contemporary social structures.

“Abscess Time” sounds like feeding the weirdest parts of Gorguts into an Albert Ayler machine and seeing what comes out. Sometimes bits of noise, ambience, and hardcore are thrown in as seasoning. There are plenty of ‘normal’ moments (tech death normal anyway) with riffs and some parts even sound like Deadguy. Still, these parts are laid out in an atonal swarm that rips the senses inside and out. This album is a prime example of a metal band challenging itself and the genre. The diversity makes every second of the album worth it, too. Every idea has merit to it, riffs have interest to them, and the longer songs evolve throughout quite organically.

On a personal level, listening and enjoying this record is a mixed bag of emotions. I was supposed to see and play with Pyrrhon in Philadelphia before COVID-19 hit. They’ve long been a band that I’ve admired and wanted to catch at a show. Both beyond and including the pandemic, the socio-economic status of the world and especially the United States, my home, is uncertain. The naked gears of a horrid political machine are apparent. Pyrrhon is one of several voices that shriek at the status quo, whether it be musically or socially. Somehow that gives me a little bit of hope.

“Abscess Time” is available HERE

Band info: bandcamp || facebook

ALBUM REVIEW: Today Is The Day, "No Good To Anyone"

By: Peter Morsellino

 

Album Type: Full Length

Date Released: 28/02/2020

Label: BMG

 

“No Good to Anyone” CD//DD//LP track listing:

1. No Good To Anyone

2. Attacked By An Angel

3. Son Of Man

4. Burn In Hell

5. You're All Gonna Die

6. Orland

7. Cocobolo

8. Agate

9. Callie

10. OJ Kush

11. Mercy

12. Born In Blood

13. Mexico

14. Rockets And Dreams

The Review:

Today is the Day make their triumphant return with a glimpse into the mind of Madness. A diverse offering providing an intimate glimpse into the mental state of Steve Austin. It's beautiful, it’s ugly, and it’s goddamn fantastic. “No Good to Anyone” is a trip through the weird, with no shortage of brutal stops along the way.

The mix of sounds conjured on this album is astonishing. From the demonic cacophony of the title track to “Callie”'s mournful folk stylings, Today is the Day craft an eclectic brew of insightful tunes to keep the listener thinking long after the album's completion.  “Burn in Hell” offers up sulking southern sludge in stark contrast to the pounding assault of “You're All Gonna Die”. The seventies doom riffing of “OJ Kush” stands against the haunting ethereal vocals of “Attacked by an Angel”. Almost every point on this album is balanced by a counterpoint. A contrast that keeps things fresh for repeated listens. 

Production on “No Good to Anyone” is as good as can be expected from a Steve Austin effort. Instruments and vocals shift throughout the mix, crafting an ambience that will stick in your head as you try to wrap your mind around it. Bass cuts through the mix effortlessly while Austin's vocals shift between a slurred drawl and a furious demon scream without shaking the listener from the musical experience. The drum mix stands out with an expertly produced low end, creating an interesting tribal effect. 

“Cocobolo” is a great example of all these techniques in perfect harmony. Swampy blues riffs morph into jamming stoner chords. Steve's voice shifts back and forth like only he can. Bass holds down the ensemble expertly, while the rhythm section offers up one of the best kick drum sounds I've ever heard.

“No Good to Anyone” offers up a diverse mix of jams that are sure to delight the most discerning of listeners.  While Steve Austin's past body of work certainly speaks for itself, this is a more than welcome addition. Give it a listen, get weird with it. Get mad, get sad, be grateful he's back.

“No Good to Anyone” is available HERE

Band info: bandcamp || facebook

11 IS ONE LOUDER: Marc Bourgon’s (Greber/F*** The Facts) one man project Cancelled stream new EP “Teneberific” in full & choose their Top 5 experimental albums



Hailing from southern Canada, Cancelled is the experimental recording project of Marc Bourgon perhaps more widely known as one half of Cambridge, Ontario's two-man sludge/doom wrecking ball Greber and grindcore legends Fuck The Facts.   Spawned as a way to pass time during long tour drives Cancelled has been cultivated into a meaningful creative outlet, as Bourgon explains

“For the past 10 years of my life I have been constantly writing music, “Whether it be jotting down ideas on a notepad, droning out in our practice space or fleshing out ideas on a laptop it’s something that I have a hard time not doing on a daily basis.” 

Originally part of a larger group of music, “Tenebrific” Cancelled sophomore release set to hit the streets on Friday 3/3/2017 was thinned down to three songs to deliver the greatest impact possible. “I had intended to have this release be a lot longer but these three songs just seemed to gel better that the rest of the material.”
 

Having release “Threshold Adjustment”, on Christmas day 2013, This time around Bourgon asked Kurt Ballou of Godcity Studios to handle the mix and Ryan Butler of Arcane Digital to master it. The combination gave the songs the aggressive stain Bourgon wanted them to have.

“Working with those two was great. I’ve always wanted to work with Kurt (Ballou) and Butler (Ryan) can do no wrong as far as I’m concerned.”
 

Today we have been fortunate enough to have been asked to stream the EP “Tenebirific” is full, but not only that we asked Marc to choose his Top 5  experimental albums as we take our weekly trip into the extreme, by cranking it to 11.  Why do we go to 11,  because “It’s one louder, isn’t it?”

1. Propagandhi – “Today’s Empires, Tomorrow’s Ashes”

I had been a huge Propagandhi fan for years prior to the release of this record and on it’s first listen I felt a little alienated. Fast forward years later and I find it to be some next level shit. Each song seems to have its own sonic agenda. Laced with odd time signatures and overall weird arrangements (for punk) this record opened by eyes to using unconventional means to get my point across. Can’t think of a better example of a band breaking away from their sound and it paying off huge.

2. Pile – “You’re Better Than This”

As far as experimental goes Pile is a pretty tame dish but there is some lower level of insanity that flourishes within their music. The song structures are all over the map and the singer always sounds like he’s one lane change away from smashing into the guardrail. Ranging from frenetically bursting anthems to “calm before the storm” ballads, their depth and overall mastery of song is like nothing else. I feel this record caught them at the perfect moment and I religiously listen to it to it at least once a week.

3. Keelhaul – “Subject to Change Without Notice”

If you take any suggested listening away from this, please take this. Basting some head-spinning riffery over some spin-heading drums, Keelhaul is by far one of my favourite bands of all time.  I feel as though they are titans when it comes to taking something ridiculously complicated and making it groovy and listenable. As mostly an instrumental band they seem to have a “meh, whenever” approach to vocals and it works out beautifully it their favour. This album got me into them but you really can’t find a bad record with their name on it.

4. Tortoise – “Standards”

This one is a classic. I find I hear something new each time I listen to this one. With an unlimited arsenal of instruments and players at its disposal Tortoise throw in everything but the kitchen sink to make a song work. While more on the softer end of the spectrum I always feel that they make shit crash more than a lot of aggressive bands out there today.

5. Steely Dan – “Can’t Buy a Thrill”

Steely Dan eh? You’re probably regretting reading this article by now aren’t you? Yes. Steely Fucking Dan. It’s Yacht Rock, I know. Sorry. This, and any of their other records are solid gold bricks squeezed onto wax. With studio production that to this day can’t be touched and some of the weirdest progressions in all of classic rock I feel that Steely Dan were, and still are, the most punk motherfuckers ever. “Can’t Buy a Thril”l just has all the jams on it and it’s one of my favourite records of all time. If you’re looking for a SD jump off point, this is it.

Band info: bandcamp || facebook

ALBUM PREMIERE: “Vol. II: Organic Emotions,” by A Constant Knowledge of death

A CONSTANT KNOWLEDGE OF DEATH is a collective from both sides of the United States – from sunny Southern California to chilly Boston, Massachusetts. ACKOD was founded by James Goldmann (Vocals, Drums, Bass, Guitars) and Aaron Gutierrez (Guitars) in 2012 as an outlet for their more experimental metal work, but eventually expanded to include Connor McCullough (Guitars, Bass, Engineering, Mixing, Production) and Mark Rivas (Session Drums). The collective is a labor of love between these four that transcends distance and time to create truly astonishing records that cannot be summed up in one genre.

“Vol. I: Enculturation” was released in November of 2015. The album was met with high praise, with reviewers and listeners alike complimenting the diverse song writing, sonic and vocal styles, ranging from driving progressive metal to ambient electronic instrumentals.

“Vol. II: Organic Emotions,” the new album from ACKOD, takes this even further by expanding their influences into the realms of symphonic metal, acoustic post-rock and sweeping landscapes. Produced and mixed in-house by Connor McCullough, Magnus Lindberg (Cult of Luna, The Ocean) provided his mastering services to make the record truly reach its full potential. Between the destructive guitar riffs, unrelenting drums and piercing lyrics, “Vol. II”sets itself apart as one of the most dynamic records of 2016.

“Vol. II: Organic Emotions” will be released digitally on September 30TH, 2016 and available to order here.  You can stream the album in full below

Ban d info: bandcamp || facebook

Scientist - "10100II00101" (Album Review)

By: Charlie Butler

Album Type: Full Length

Date Released: 05/08/2016

Label: Hell Comes Home

Storming opener “The Singularity” distils the key elements of this record into five and a half minutes. Chittering harmonics give way to the sledgehammer impact of furious, frantic riffing moving into anthemic sludge and finishing with an epic post-metal flourish. Imagine the best bits of American Heritage, Clutch and ISIS delivered with the seismic impact of Mastodon’s “Remission”.  “1010II0101” is a pioneering piece of research at the cutting edge of riff technology that demands your attention.

“10100II00101” CD//DD//LP track listing:

1). The Singularity

2). Siege/Capture/Control

3). The Lighthouse

4). Baptistina

5). Luminal

6). Gravity Well

7). LIMB

8). Physcian Heal Thyself

9). Orbital

10). Bloodless, Breathless

11). 1010II0101

The Review:

There’s a certain weight of expectation that goes along with naming your band “Scientist”. Mental images of bespectacled boffins performing compositions of time-warping complexity spring to mind. Chicago quartet Scientist definitely delivers mind-bending riffcraft on “10100II00101” but this album is far from a sterile laboratory creation.

Storming opener “The Singularity” distils the key elements of this record into five and a half minutes. Chittering harmonics give way to the sledgehammer impact of furious, frantic riffing moving into anthemic sludge and finishing with an epic post-metal flourish. Imagine the best bits of American Heritage, Clutch and ISIS delivered with the seismic impact of Mastodon’s “Remission”.

Over the subsequent 55 minutes, Scientist embarks on a sprawling yet compelling journey through a bewildering number of styles. “Siege/Capture/Control” begins in crushing doom territory like Scott Kelly fronting Crowbar before launching into another pummelling onslaught.  “Orbital” is a searing instrumental math-metal assault, piling riff upon riff with increasing intensity. Scientist always keep things interesting dynamically, offering some light and shade during the progressive voyage of “Gravity Well” and the ambient interlude of “Limb”. 

They also throw in a couple of curveballs with an almost commercial edge. “The Lighthouse” sounds like an armour-plated Deftones complete with an unexpected melodic chorus and “Physician Heal Thyself” blends almost jazzy interludes with their trademark crunch in a catchy way reminiscent of recent Dillinger Escape Plan. Both of these tracks work well in the context of the album and add more range to their wide sonic spectrum.

Scientist have managed to birth a real beast here, a record with true depth that will keep you coming back to discover more with every listen. “10100II00101” is a pioneering piece of research at the cutting edge of riff technology that demands your attention.

“10100II00101” is available here

Band info: bandcamp | facebook

Melvins - ‘The Bulls & The Bees / Electroretard’ (Album Review)

‘Music such as this should be challenging to the point of it being unlistenable and unbearable. But Melvins manage to make it so appealing, so tantalising and addictive.’

Album Type: Compilation

Date Released: 2/6/2015

Label: Ipecac Recordings

‘The Bulls & The Bees / Electroretard’ CD//DD//LP track listing:

The Bulls & The Bees

1). The War On Wisdom

2). We Are Doomed

3). Friends Before Larry

4). A Really Long Wait

5). National Hamster

Electroretard

6). Shit Storm

7). Youth Of America

8). Gluey Porch Treatments

9). Revolve

10). Missing

11). Lovely Butterflies

12). Tipping The Lion

13). Interstellar Overdrive

THE BULLS & THE BEES LINE UP:

King Buzzo
Dale Crover
Coady Willis
Jared Warren

ELECTRORETARD LINE UP:

King Buzzo
Dale Crover
Kevin Rutmanis
Mark Deutrom

Review:

Melvins; perennially messed up, somehow always managing a way to push the envelope from within the confines of their strait jackets. Truly defining this band is like trying to eat soup with a fork, they’re an amalgamation, a bastardisation of so many styles; many trippy and weird, many heavy, gritty and snarling yet always haunting you with melodies and hooks that get you worryingly aroused. Such innovation – or a complete and utter disregard for the expected and predictable at least – has been hugely influential since their formation with strands of their DNA found in a plethora of bands since. ‘The Bulls & The Bees / Electroretard’ then is a hybrid re-issue of two of their most experimental releases. Considering how bat shit crazy their ‘sane’ stuff is, when they aren’t fannying about with test tubes and Bunsen Burners, it’s pretty damn obvious that this is going to be a topsy turvy listen. 

Originally released for free to coincide with their May 2012 US tour with Unsane, ‘Bulls & The Bees ‘ half of this release (The War On Wisdom, We Are Doomed, Friends Before Larry, A Really Long Wait, National Hamster) is out and out classic Melvins. As cliché as that may sound, their trademark stamps are splattered all over these songs like a bad case of bukkake. From the bigfoot stomp of the drums that open ‘The War On Wisdom,’ to its staccato, gunfire riff and a painfully melodious chorus to ‘We Are Doomed’s’ slower, treacle thick guitar work a pained fuzz solo, the whole thing jitters and bounces across their padded cell brilliantly. ‘A Really Long Wait’ has a superlative cinematic quality to it, at first resembling the intro to Cream’s ‘White Room’ but slowly contorting into a whirl of sound effects and ominous noise which leads wonderfully into the grandiose, evil fanfare of  ‘National Hamster.’ 

Throughout this release, the band’s collective bi-polar disorder defines its musicality and identity.  In an instant, things can escalate and accelerate or take a sharp leftfield turn. One moment you could be listening to choral like vocal ‘aahs’ over a genteel backing, the next a fanged riff and sludgy bombshell punches you in the back of the head. Or the complete reverse, why a battering becomes a stroking, a spooning.

Backmasking is the ideology that drives ‘Electroretard’ meanwhile. Consequently, the reversal of the compositions giving them an eerie quality that raises the hairs on your arms and neck while sending your head spinning like you’ve dropped a handful of tramadol after a blunt. You see, that’s what’s so special about Melvins. They manage to tap into the control centre of your emotions and thoughts and ransack the place. Some of these sections really make you feel. Across a few short minutes there’s elation, depression, a headfuck and genuine fear. ‘Revolve’ and ‘Shit Storm’ send your head spinning but the prior is particularly invigorating all the while, a creeping rhythm underpinning a cacophony of melting synths.

‘Youth Of America’ is one of three covers on the release. A take on post-punk band Wipers’ 1981 track, they shovel in extra energy, sass, polish, dirge and evil genius…somehow. God knows how but, compared to the original this is smarter, benefitting from a better, cleaner production all the while being heavier, grittier and more upbeat, more punchy. Its lead guitar line sounds simply enormous and once again has them ransacking your head; its one of those melodies that cuts straight through you. It hurts in the most beautiful way.

While the bass and drum led ‘Missing,’ a cover of Minnesota noise rockers Cows is enjoyable, the spaciousness  of the instrumentation working well to break up the record and giving you room for a breather, their Floyd cover is on another plain of existence entirely. Birthed from 1967’s ‘The Piper at the Gates of Dawn,’ ‘Interstellar Overdrive’ has a decidedly 60s aura to it. It’s amass with frenetic freak outs and trippy, noise warped passages. In short, it’s the perfect template for Melvins to vomit all over, carrots n’ all. It sounds like what the original would were it caught in a homicidal crossfire, explosive, almost bullying musicianship dominating the foray yet never undermining the psychedelic, hippie trippyness of it all.   

Music such as this should be challenging to the point of it being unlistenable and unbearable. But Melvins manage to make it so appealing, so tantalising and addictive. Instead of a sour, unapproachableness, within their horrific, discordant and shrill soundscapes you become immersed, lost with no chance of retracing your steps. So you walk further, venture onwards. No choice but to keep going deeper into the wilderness. This release is the musical embodiment of Stockholm Syndrome. You should hate it really, it’s awful, devilish. But you fall for it, become infatuated with every nuance and nightmarish squeal. Within the eyes of the mad man, of the psycho and of the sleep-deprived, grief stricken scientist you find an odd sense of peace and solace.

Don’t send them the money, I’m happy right here.

Words by: Phil Weller

‘The Bulls & The Bees / Electroretard’ is out now via Itunes and Amazon with vinyl to follow later in the year

For more information:

Like: https://www.facebook.com/melvinsarmy

Follow: www.twitter.com/melvinsdotcom

C R O W N - Natron (Album Review)

Album Type: Full Length

Date Released: June 15th 2015

Label: Candlelight Records

The Fifth Element - Track Listing:

1 Serpents - ( feat Neige / Alcest )

2 The Words You Speak Are Not Your Own - ( feat Frederyk Rotter / Zatokrev )

3 Wings Beating Over Heaven - ( feat Michiel Eikenaar/Nihill - Neige/Alcest )

4 Fossils - ( feat Khvost/Grave pleasures ex Beastmilk )

5 Apnea

6 Tension Of Duality - ( feat Frederyk Rotter/Zatokrev )

7 Flames

Band Members

Stephane Azam : Guitars, Machines, Vocals

Frederyk Rotter : Guitars, Vocals

Pascal Guth : Guitars

Bio:

Hailing from France, C R O W N, are three men and a machine who tune their neutron guitars to the Richter scale, and deliver the sound of a molten universe collapsing. Touching on early Isis, Godflesh, Floor and even Killing Joke, C R O W N explore the depths of slow tempos on their debut album, The One, and their split EP with St Valley through sheer exuberant heaviness.

The trio’s depth-charging guitars and buried melodic tendencies snake around hissing electronics, a tribal / military percussive thwack, and the splashing cymbals of a minimal-yet-completely-effective drum-machine. Their sound is further emboldened by a massive bestial roar, heavy and oppressive, leading to an abyss of nothingness…. Welcome to the dark, spiraling, and obscure experiments of C R O W N.

Since January 2014, Frederyk Rotter from Zatokrev joined forces for a three piece crushing live act.

Review:

Combining metal with electronic elements is a tricky business that often ends in tears. There have been some notable triumphs in this area, namely projects involving Justin Broadrick, but these are greatly outnumbered by embarrassing failures. French trio CROWN are a band that sit firmly in the “triumph” category.

On paper, their combination of heavy riffs with periods of melodic calm sounds like any post-metal band, but CROWN’s execution really sets them apart. Quiet/loud dynamics are a commonly-used tool of the trade but CROWN have gone a step further on “Natron” with strong usage of quiet/REALLY LOUD dynamics. The opening riff of “Serpents” kicks the listener straight in the gut with a distortion tone that feels like wading through tar whilst retaining a buzzing sharpness. This intensity is present through all of the loud sections of the album and is most potent during the gut-churning crawl of “Tension of Duality”. Playing this over the mechanistic thud of a drum machine gives the music an unrelenting heaviness, freed from the limitations of puny human drumming. Quieter passages with subtle electronic overtones break up the noise, giving an overall sound that brings to mind A Storm of Light if they had been given a robotic combat upgrade.

“Fossils” provide a welcome chance to catch your breath in the middle of “Natron”. Free of distortion, the track has a post-punk feel propelled by driving basslines and a considerable increase in tempo from the surrounding torpor. It offers a stark contrast to the rest of the album but feels a little too polished to completely work. CROWN shake things up to better effect on finale, “Flames”. A brooding slow-burner, it begins with sparse piano and keyboards before distortion slowly creeps back in, albeit in a more muted and controlled fashion than the bludgeoning elsewhere. This track ends the album in fine style and gives an idea of other sonic avenues the band could explore on later releases.

By stretching all of the constituent elements of a post-metal band to their extremes and setting them against an electronic backdrop, CROWN have created a very distinctive sound. “Natron” breathes life into a genre that can be a bit stale and does so in considerable style.can't wait to get my hands on the double gatefold LP. Be thankful that music like this is being made again.

Words by Charlie Butler

Thanks To Darren at Candlelight Records for the promo. Natron will be available to buy now on CD/DD from Candlelight Records.

For More Information

Official | Facebook | BandCamp

Rosetta - Quintessential Ephemera (Album Review)

Album Type: Full Length

Date Released: July 3^rd 2015

Label: Golden Antenna Records

Quintessential Ephemera - Track Listing:

1.After The Funeral

2.(Untitled I)

3.(Untitled II)

4.(Untitled III)

5.(Untitled IV)

6.(Untitled V)

7.(Untitled VI)

8.(Untitled VII)

9.Nothing In The Guise Of Something

Band Members:

Matt Weed - guitar;

BJ McMurtrie - drums;

Dave Grossman - bass;

Mike Armine - vocals, electronics;

Eric Jernigan - guitar

Review:

Rosetta are a band who don't really get the credit they deserve, somewhat overshadowed by the likes of Isis, Russian Circles and Pelican, they've got a solid back catalogue of full lengths, EPs and splits. 'Quintessential Ephemera' is their 5th full length and their 2nd that they've released themselves,gotta love the DIY ethics!

Album opener 'After the Funeral', which is more of an intro, lulls the listener into a trance with it's layers of delay and reverb drenched guitars that give nods to the likes of MBV and Mogwai. This bleeds into the first proper song, 'Untitled 1' where vocalist Michael Armine screams into action from the off. Guitars are thick and heavy although the reverb guitars and synths give a layer of other worldness.

The following 6 songs are also untitled with all 7 being the album's centrepiece. Untitled 3 is a personal highlight where nods to genre progenitors Neurosis, Isis and Cult of Luna are prevalent with heavy guitars and haunting synths as well as occasional clean harmonising vocals. Untitled 5 is another personal highlight where guitars crank up the delay and spoken word samples are thrown in.

The whole album is expansive and ethereal in it's delivery and production and by the time closer 'Nothing in the Guise of Something's last notes have rung out, the listener will feel emotionally cleansed. My only critique would be that the distorted guitars need to be louder in the mix...but that's just a personal preference. A truly solid effort from a brilliant band.

Words by Chris Bull

Thanks To Magnus at Creative Eclipse PR for the promo. Quintessential Ephemera will be available to buy from Golden Antenna Records, War Crime Recordings on Vinyl and CD from here. It will be available as a BandCamp Buy Now Download from June 22nd 015.

For More Information

Official| Facebook | BandCamp