ALBUM REVIEW: Russian Circles, "Blood Year"

By: Eeli Helim

Album Type: Full-length
Date Released: 02/08/19
Label: Sargent House

”Blood Year” CD//DD//LP track listing:

1. Hunter Moon

2. Arluck

3. Milano

4. Kohokia

5. Ghost on High

6. Sinaia

7. Quartered

The Review:

 "Blood Year" is Russian Circles' seventh album and fourth released by Sargent House. Three years after the instrumental post-metal-ish acts' last album "Guidance", the trio returns in a stronger and more vivid form, matching and even surpassing all the expectations one could've possibly set for the new album.

Whenever bringing up the subject of contemporary, metal-rooted instrumental music, it's practically impossible to survive through the discussion without mentioning Russian Circles. The band's influence on the scene is indisputable, having released a strong and powerful set of albums with unbroken quality standards within the past fifteen years. "Blood Year" provokes haunting imagery of empty streets and post-apocalyptic ruins, much like their earlier albums, but with a more dismal and moving elegance.

After the intro track "Hunter Moon" built entirely on ambient guitars, a rhythmical drum beat and bass lead set off the second track "Arluck", also giving the tone for the rest of the album. Built on simple movements and easily comprehensible patterns, the band demonstrates their stronger output right from the beginning, lifting the track amongst the prime picks of "Blood Year". The atmosphere is eerie, even more so than it has been before. This continues on the following pair "Milano" and "Kohokia". The flow is consistent and flawless, and the tracks are structured to appear both interesting and sensible throughout. I also appreciate the fact that they experiment and play around with tones very little; the main weight is on good and clever compositions and organic, natural emotions caused by just that.

"Ghost on High" is an intermission piece similar to the first track, leading seamlessly into "Sinaia", the longest, most varied, and bleakest of the bunch. At this point it's noteworthy to mention that the whole album has its own distinct feel and characteristics that separate it from Russian Circles' past albums. While the melancholic aspects are there, the sadness never gets overwhelming, not on this record at least. "Sinaia" is a genuine post-metal track that despite it's own moments, doesn't leave as permanent mark to your memory as the other tracks. The course is still kept steady, and the final track is guaranteed to floor you completely. "Quartered" seems to partly abandon the emotional side and fill the spot it left with more violent and pummeling drive, bringing the album to end completely somewhere else in contrast to where it began. The track also excels to mirror its name, inducing sensations of having your limbs torn apart for one reason or the other.

The overall feeling is what sets this album well apart from the others, relying on something else rather than your run-of-the-mill aesthetics. It's hard to say if "Blood Year" is Russian Circles' best album to date, but it sure as hell is worth all the repeats and time it takes to listen to it. Reverting back to what I wrote earlier, the level of quality is still higher than most and stays unshaken.

”Blood Year” is available HERE

Band info: facebook 

ALBUM REVIEW: Chelsea Wolfe - "Hiss Spun"

By: Joosep Nilk

Album Type: Full Length

Date Released: 22/09/2017

Label: Sargent House

Whereas “Abyss” and its predecessor were largely paving way for new sounds, the cohesiveness of her latest album is a sure attribute of Wolfe´s singular vision finally realized. More self-aware and self-assured in her vulnerability than ever, with the band in intimate tow, “Hiss Spun” indeed feels much like a logical continuation.

“Hiss Spun“CD/DD/LP Track Listing

1. Spun

2. 16 Psyche

3. Vex

4. Strain

5. The Culling

6. Particle Flux

7. Twin Fawn

8. Offering

9. Static Hum

10. Welt

11. Two Spirit

12. Scrape

The Review:

As if with spill-overs from the amp-heavy “Abyss”, Chelsea Wolfe's latest album makes first bet on immediacy. Having shed light on some of her influences in interviews, the Earth-inspired riffs open up bold and distorted, with brazen guitar strangulations following foot, that come off as an immediately familiar theme from previous works.

Similarly, on the lamenting ’Two Spirit’ she sounds a lot like herself on a developed version of ’Reins’ off “Pain Is Beauty”, losing herself in a ghastly yet enchanting drift of a lull. Elsewhere she reprises herself on a piano-driven -interlude, which along the pensive unravelling of other delicate tracks do well to form together one somber storyline. Even the build on 'Static Hum' that comes off initially radiant soon turns into a reiteration of the song title, like an analogy to repeating the same mistakes, until it all swells and fades into but a faint whisper.

It’s not all dire hopelessness though. A few interludes soften the blows, with the odd electronic track 'The Offering' dribbled in there, rightly deserving of the title given. Even though she doesn’t forego her pop sensiblites entirely, ’Static Hum’ and first single ’16 Psyche’ being the obvious examples, it makes the anguish only slightly easier to digest.  The use of repetition on the prior feels like it might perhaps wear out after a few dozen listens, whereas the latter’s on the contrary returns each time for more addictive effect, highly fitting after all, as the lyrics are spent dissecting promiscuity and codependence. On this track and the following 'Vex' Chelsea Wolfe blends into the reverb-soaked background, as if taking a step back to detach from the situation. Alongside her as if with sword and shield, Troy Van Leeuwen and Aaron Turner (Isis, Sumac) take center stage, (with guitar and voice, respectively) and the harshest blows are struck.

Separated only by the dramatic 'Particle Flux' the definite highlights are the pairing tracks of ’Twin Fawn’ and ’The Culling’. The prior’s blissful melodies just staying long enough to elicit a false sense of security, then take a turn for the nightmarish as Wolfe’s voice looms increasingly ominous, with the reprehension of the latter growing to be near unfathomable. This same approach is used to even greater effect to the sweetness of ’Two Spirit’, which is offset by the screechingly beautiful atmosphere setting in almost immediately after. All of it cements the notion that exposing oneself in such vulnerable manner doesn't happen without bearing teeth in the process. This sentiment is driven home by the severe closer where she finally delivers the callous truth of the matter.

It’s here by the end of the album that one truly acquires another appreciation for Wolfe's whole array of vocal abilities. Still caught in some of the circumstance, she comes across more embracing of the direness. At once bewitching and punishing then straight into wallowing in hallowed misery. Having culminated in a cacophony sounding like the upheaval of quite a few stubborn and crooked roots, she spins the album title around a myriad of near-senseless words at the close of 'The Culling', as if barely scraping herself together to make sense of it all.

Whereas “Abyss” and its predecessor were largely paving way for new sounds, the cohesiveness of her latest album is a sure attribute of Wolfe´s singular vision finally realized. More self-aware and self-assured in her vulnerability than ever, with the band in intimate tow, “Hiss Spun” indeed feels much like a logical continuation. Beginning with “Pains Is Beauty” it could very well be seen as the end of a cycle of albums, with both her power-electronic and riff-minded sides more developed. It comes together as one heart-wrenching journey into the heart of self-acceptance, all the harsh discoveries it entails. As she reminds herself (and the listener) in barely distinguishable whispers on the second track, the way out is through.

“Hiss Spun” is available here

Band info: bandcamp || facebook

ALBUM REVIEW: Boris - "Dear"

By: Mark Ambrose

Album Type: Full Length

Date Released: 14/07/2017

Label: Sargent House |

Daymare Recordings 

From the opening track, “D.O.W.N. –Domination of Waiting Noise–“, Boris conveys punishing volume so effectively that your ears will ache at practically any level.  Every note and every layered vocal has been obsessed over, placed perfectly in the mix, and acts as a distillation of twenty-five years of intense collaborative synthesis.

Dear CD//DD//LP track listing

1. D.O.W.N. –Domination of Waiting Noise–

2. DEADSONG

3. Absolutego

4. Beyond

5. Kagero

6. Biotope

7. The Power

8. Memento Mori

9. Dystopia –Vanishing Point–

10. Dear

The Review

                 

There is a unique feeling of terror when diving into the sprawling works of prolific musicians: where do you start with a catalog as huge as say, Frank Zappa?  Ani DiFranco?  Napalm Death or Earth or Neurosis – bands that have entire ERAS that are written off or championed?  What are the agreed-upon masterpieces?  The overrated tracks?  The overlooked gems?  If you wade into the world of jazz or jam bands or any other artist where specific performances are dissected just as intensely as studio cuts, you may as well surrender yourself to a hermetic life of obsessive collecting and analysis.  Imagine the trepidation, then, for any newbie to Japanese avant-garde metal / electronic / rock / experimental legends Boris, who have, to date, released over twenty full-length records – not counting their live and studio works with fellow musical outlier Merzbow, collaborative efforts with SUNN O))), splits, rarities, remixes, and  compilation albums.  “Dear”, their twenty-fourth offering, was originally intended as a farewell record, marking 25 years since the band’s inception.  It’s also my first introduction to their unique blend of droning, buzzing, melodic, invigorating, and crushing mastery.  God help me… I may need to do a full dive into their discography.

               

From the opening track, “D.O.W.N. –Domination of Waiting Noise–“, Boris conveys punishing volume so effectively that your ears will ache at practically any level.  The sheer amount of space between chords leaves room for sickening, pulsating feedback, brilliantly complimented with the clean vocals.  Remarkably, Boris manages to retain undeniable heft when blasting uplifting, major key progressions.  The turns to sinister, minor key melodies and softy, whispered vocals in tracks like “DEADSONG” or “Beyond” is even more powerful when juxtaposed with the cathartic, rocking crescendos that punctuate the record.

When Boris edges toward the ethereal balladry of Sigur Ros, their dark instincts to destruction and dissonance always pulls the band away from the precipice of twee post-rock.  The sheer filth of the riffs on “Kagero” and “Memento Mori” earn every falsetto phrase, making passages that could be cliché totally sublime instead.  “Absolutego” is the closest to a lead single on the record – a grunge rocker that shares its name with their 1996 debut album.  But then Boris eschew any of this pop rock sensibility on droning, doom instrumental “The Power” or the sludgy title track, opting for sheer sonic bombardment that will rattle the fillings right out of your teeth.  Yet there’s always an uncanny feeling that despite the idiosyncratic rhythms, the synthesized noises sputtering at seemingly random intervals, the feedback so furious the whole band sounds like it may just keel over and fall apart, this is a meticulous production.  Every note and every layered vocal has been obsessed over, placed perfectly in the mix, and acts as a distillation of twenty-five years of intense collaborative synthesis.

If there’s one complaint you can lob at “Dear”, it’s the unwieldy runtime.  At nearly seventy minutes, there are moments that drag slightly.  A two disc version appends three more tracks and over twenty more minutes.  It’s hard to imagine, but enough songs were recorded on top of these for at least two more full-length albums.  At times you can’t help but wonder what the editing process even looks like for Boris when the album itself is so huge, so disparate, and, truth be told, so consistently compelling.  I’m certain that well after Boris puts out that FINAL final album, there will be plenty of outtakes, demos, alternate remixes, and live versions for completists to pore over for years.  With “Dear” as my first entry into their legendary, sublime canon, I may one day count myself among the obsessive’s.

“Dear” is available here

Band info: bandcamp || facebook

ALBUM REVIEW: Mutoid Man - "War Moans"

By: Phil Weller

Album Type: Full Length

Date Released: 02/06/2017

Label: Sargent House

“War Moans”  is fast, heavy and vocally arresting, it is an album that is certain to leave you breathless. 

“War Moans” CD//DD//LP track listing:

01. Melt Your Mind
02. Bone Chain
03. Micro Aggression
04. Kiss of Death
05. Date with the Devil
06. Headrush
07. Irons in the Fire
08. War Moans
09. Wreck and Survive
10. Afterlife
11. Open Flame
12. Bandages

The Review:  

Mutoid Man write the heaviest pop songs. Across third album ‘War Moans’, a triumph of melodious calculated chaos, Steven Brodsky’s frantic, buzzing guitar work intertwines brilliantly with the assaulting drumming provided by Ben Koller, who may only play with a small kit, but utilises all his toys with a prestige pizzazz.

‘Melt Your Mind’ is a pop punk song turned gangrene and nasty, slime oozing from their growling riffs while Brodsky’s smooth, infectious vocal lines float atop the mix like leaves on a river. ‘Micro Aggression’ meanwhile is as virile as they come, a fast, blitzing song, iced with a simplistic but divine chorus that injects itself right into your psyche, their ability to balance the skull crushingly heavy – listening to this with headphones is like having a self-induced aneurism – with those all important sing along moments is one they have mastered on this record.

It is, as to be expected, a record brimming with energy. There is no fucking about here, each song rages on like its own little war, giving no quarter for the short but sweet time they play out for – most songs don’t exceed three minutes in length. Then, the baton is passed for another pop metal pummelling. Each song derives its own special feature, ‘Date With The Devil’, a song about getting the Devil’s daughter pregnant, has a fun, comedic value to it, ‘Kiss Of Death’ is slow, evil and grinding, but understandably the perfect single from the album while ‘Irons In The Fire’ has a hint of a crack addled Iron Maiden to it, classic, anthemic yet wonderfully peculiar too. 

With 12 songs to bite into, the record provides plenty of substance and value for money. ‘Headrush’ and ‘Afterlife’ have a thrash metal vigour in their DNA, Brodsky’s lyrical attack on fire here. An album this fast, heavy and vocally arresting leaves you a little breathless and so closer ‘Bandages’, which leans heavily upon “Jupiter” era Cave In, iced with some fiery lead guitar work, is the perfect farewell. It eases its foot off the gas and allows you to step back and really soak in what the hell has just happened.

This album is insanely choreographed, the songs whizzing off their tits and infected with irresistibly sassy pop melodies atop brutish and gritty riffs, make no mistake ‘War Moans’ is absolutely brilliant fun.

“War Moans” is available here

Band info: bandcamp || facebook