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This is 'Liberation through Amplification.'
Boasting one of the best heavy metal bills in
Manchester in a long time, NOIZ promotions’ NOIZ All Dayer in Manchester seemed
almost untrue with the amount of talent on show.
Drone duo, Khost, opened up the
day with a massively heavy amount of tone and drone for the small crowd. It was
only 12.30 when they took the stage so people were still filing in through the
doors, although there were a couple of people who had made the effort to see Khost based on their attire.
From here on in, the bill changed shape with
bands moving up and down the bill continually. Presumably this was due to
people arriving/being delayed etc.
One band that did take the stage at their
scheduled time was PIST. Now, for those
who haven’t heard PIST, the clue is in
the name. 1pm was a remarkably early time for the Bury quartet to hit the
stage, however their groove laden angsty southern sludge did more than wake the
gathered masses, and blow any Friday night cobwebs away.
As the afternoon progressed, Fvnerals and Dystopian Future Movies
(both late additions to the bill due to cancelled gigs in the area) serenaded
the crowd with dark post rock and doom laden riffs that slowed the pace
somewhat during the afternoon. The slower pace did nothing to dampen the
enthusiasm of the crowd. Both bands have been touring together; if you’re a fan
of Neurosis, Bossk, Long Distance Calling (or bands to that effect), give them
a whirl.
Either side of Fvnerals
and DFM, there were arguably some of the star
turns of the day. Another local band who are making plenty of waves in the
metal world, Boss Keloid, were in celebratory mood with a
storming set which showed how much the band have evolved. They are much tighter
as a band, and the material from their new LP ‘Herb Your Enthusiasm,’ sounded incredibly strong. To bring the pace
down again slightly, were Witchsorrow. Although
they’re a doom band, their latest LP, ‘No
Light, Only Fire,’ has plenty of more up tempo selections. A mix of these
tracks and cuts from “God Curse Us”
helped them deliver a great set.
Towards the top of the bill was heavy rock trio The Admiral Sir Cloudesley Shovell, who did not disappoint.
Complete no frills rock and roll just the way it should be. Steak ably assisted with their fuzzy stoner rock keeping
the pace up as the crowd got steadily more lubricated.
One of the absolute star turns of the day
however, took place early in the afternoon. London’s Vodun
turned many heads in Rebellion. The trio, who have just released their debut LP
“Possession”, took to the stage in
their ‘tribal’ attire and delivered a scintillating performance. Chantal
Brown’s vocals can easily draw comparisons with Skunk Anansie’s
Skin, and the riffs swerve from thrash, to stoner, to doom. Over the course of
their short set, Vodun proved why they are getting
many great reviews of “Possession”.
Another afternoon success came in the form of their tour mates, Limb. Showcasing some prime cuts from 2015’s “Terminal”, the band delivered a
stomping set against a hazy white light back drop; foggy and fuzzy on many
levels! “Down By The Banks” is a
monster of a track; Limb deserve to be
edging themselves up bills. They have the songs and presence to be huge.
The day ended with Israeli sludge mob Dukatalon playing host to a fully liquored audience. Their
stomping set ended with a huge stage invasion capping off an excellent day of
heavy metal. The amount of bands on the bill only scratches the surface of the
amount of great bands out there. NOIZ are behind many of Manchester’s all day
metal events – if you are even the slightest it curious, go along and check out
some of the bands; it’s almost a dead cert you’ll find something you enjoy.
While both artist’s individual talents
are showcased this effort never feels like the two artists were unfamiliar with
each other. Rather, this album can trick you into thinking this is one artist
rather than two. There is an utter lack of competing sounds, styles, or egos. The
spotlight is entirely shared and makes “Mariner” a highlight of a how a seamless
collaboration record can sound.
“Mariner” CD//DD//LP track listing:
1).
A Greater Call
2).
Chevron
3).
The Wreck of S.S. Needle
4).
Approaching Transition
5),
Cygnus
The Review:
April has been a good month for
metal collaborations. After getting an excellent release from The Body& Full of Hell, the
08/4/2016 saw the release of “Mariner”-a joint project from
post-metal pioneers Cult of Luna and
vocalist extraordinaire Julie Christmas. “Mariner” features 55 minutes of
material over 5 post-rock and sludge rock tracks which largely explores a theme
of space exploration. Cult of Luna and Julie Christmas had been attempting to collaborate for over a year before it finally managed to happen,
but the wait was worth it. “Mariner”
is a refreshing stop in the Cult of Luna
discography. Christmas offers a different hue in the band
that has not existed in their heavy extended pieces before. For Julie Christmas, her voice in conjunction with Johannes
Persson’s growl creates even more dissonance than a project featuring just her own.
By sharing the microphone, Christmas’ wide range and
high pitched voice is even more distinguishing due to Persson offering a
baritone platform for her to project from.
The vocal prowess from Persson and Christmas is what keeps this record great on further
listens. While Persson remains ferocious throughout these long songs Julie Christmas shows off her varying vocal chops. There
are parts on this record where Christmas sounds quite melodic
and pleasant. The opening track, “A
Greater Call” features Christmas putting on
her best Lauren Mayberry impression while Cult of Luna’s plodding
post-rock atmosphere give her vocals enormous space to fill. Julie Christmas’ unique croon is incredibly ethereal here. Her
scintillating vocals are the only relief from Persson’s relentless scowls that
also can surprise listeners at any moment.
“The Wreck of S.S. Needle” is
the highlight track of this record because of its ability to showcase the range
of talents these artists possess. By utilizing numerous Christmas
vocal tracks and playing them all in a sequential layered method an angelic or
perhaps cathartic effect is created at its climax. The track as a whole feels
immense after five minutes of dramatic buildup featuring trudging guitars and
synth crescendos that follow the lead of Christmas’ vocal
inflections.
The two more melodic tracks act as
safe havens between tracks centered on big riffs and a dark post-rock
atmosphere. While Christmas does sing
pleasantly for moments on this album, she does not hesitate from implementing
her trademark dissonant screech either. Cult of Luna
appropriately picks up the pace to match her energy. The final track “Cygnus” features pummeling drums and a
nimble guitar scale that draws the attention to Cult of Luna’s
guitar prowess which remained relatively reserved until now. This track
features the best climactic maelstrom and serves as an appropriate closer. What
is quickly apparent on this record is the fantastic drumming from Thomas
Headlund which drives all five of these tracks by electing to use power and
timing rather than flash.
This collaboration was effective
because the two artists’ talents stylistically matched up, or at least Cult of Luna and Julie Christmas present
a convincing argument that they did. “Mariner”
is a focused project that accomplishes most of what it sets out to do. Although
the concept of space exploration wasn’t very thoroughly carved out the music
can stand without the concept behind it. Julie Christmas sounds
natural behind the sludgy riffs and her vocal harmonies and dissonances with
Persson are incredibly powerful. While both artist’s individual talents are showcased
this effort never feels like the two artists were unfamiliar with each other.
Rather, this album can trick you into thinking this is one artist rather than
two. There is an utter lack of competing sounds, styles, or egos. The spotlight
is entirely shared and makes “Mariner” a highlight of a how a seamless
collaboration record can sound.
Armed with fat, sledgehammer riffs,
crafty harmonies and glorious vocal melodies bigger than any giant David and
his pesky slingshot could handle, with ‘Oceans Into Their Graves’, Rising have
created a monster.
“Oceans Into Graves” DD//LP track
listing:
1. All Dirt
2. Burn Me Black
3. Old Jealousy
4. Blood Moon
5. The Anger
6. Coward Heart
7. Death Of A Giant
8. Killers Of The Mind
9. Waste Deep
10. The Night
The Review:
Armed with fat, sledgehammer riffs, crafty
harmonies and glorious vocal melodies bigger than any giant David and his pesky
slingshot could handle, in ‘Oceans Into
Their Graves’, Rising have created a
monster.
Sludge metal potency is here merged with a forward
thinking, macro consciousness dedicated to creating songs of epic
possibilities. Just as you are happily hurtling down a highway of
thrash-ravaged Mastodon/Baroness musicality, you are suddenly
jerked down a dark alleyway by the scruff of the neck. It’s an album full of
surprises, of shock left turns, elevated by its sense of energised inspiration.
But it wasn’t always like this.
2013’s ‘Abominor’
had all the hallmarks of a record tailor made for critical acclaim amongst
journalism’s filthy, riff loving inner cult. Yet, despite the intensity and
power propelling its compositions down your speakers and into your lug’oles, it
fell flat of expectation and desire. It just didn’t have that ability to
quicken the heart’s palpitations and dilate your pupils like the artists much
of their musical blueprint is drawn from.
It wasn’t a bad album. But in the ever-rapid world
of music journalism, unless a record grabs you resolutely by the balls from the
off and refuses to let go, it can often be washed away with the tide –
forgotten about as soon as the next wave of releases come to shore.
It would be smart of me to write a witty line here
about everyone deserving second chances. Perhaps I could quote a much-lauded philosopher
or some do-good Bible extract. But, truth be told, it was only after being
genuinely blown away, inspired and adrenalised by this album that I did my
research, connected the dots and realised that this album was conjured by the
same band that had bored me so much with ‘Abominor’.
Volumes, in the fact alone, are spoken.
That’s not to say that there is a remarkable
difference in the record’s sound, but it presents itself as a more ambitious,
imaginative release than its predecessor and it is the cut-throat conviction of each member’s individual and
collective performances that make the biggest difference.
They sound more together, freer and confident in
themselves. From the earthquake opening of ‘All
Dirt’, with its booming, wrung out chords and heavy tom work onwards, it
sounds a complete success. The opening track’s chorus is a triumph in itself,
the almost operatic tenor vocals soaring atop the mix and proudly so.
‘Old Jealousy’ is driven by a fast, sharp riff that has its foot
firmly on the accelerator. Harmonies bolster the classiness and those enormous
operatic vocals again storm in to claim their spoils of war. It’s a real
fist-in-the-air kind of song, rich in the kind of anthemic qualities that makes
a song like this so damnably convincing, and characterised by a guitar tone
that most definitely ate all the pies – and all the better for it.
“Illusion shatters” hollers vocalist Morten Grønnegaard on ‘Waste Deep’ above a pounding snare and venomous guitar motif. It
soon releases you into an uplifting chorus, the kind that makes you feel ten
feet tall, while never surrendering any of the grit and aggression of the build
up.
The graveyard jam of ‘The Night’ and the possessed NWOBHM channelling ‘Death Of A Giant’ round off an album
that not only does everything to your senses that ‘Abominor’ simply couldn’t, but makes up for lost time with menace.
Oceans Into Their Graves” will be released on 12” black 180 grams vinyl and digital formats
on April 29th, and the vinyl version is now available for
pre-ordering in Europe HERE and in the US HERE. Check out this stunning album in full below.
RISING has recently been confirmed for a performance on July 2nd on
this year’s Roskilde Festival in their native Denmark, one of the biggest
festivals in Northern Europe, sharing the bill with acts such as Sleep, Slayer, Ghost and Gojira.
Prior to Roskilde, the band will play a a release show on April 29th in
Copenhagen, and more DK shows and a full European tour will be announced in the
months to come.
While they have received a lot of bad press
recently, (thanks to the debacle surrounding former vocalist/bassist Charlie
Fell's acrimonious departure) the band pressed on with a revamped line up, a
new EP and a new label. 'Nice Teeth
Whore' was exactly what was needed. Fans needed to know that the band could
carry on. Critics needed to suck a fat one at any questions they had about
whether the new line up could hack it and, most importantly, the band needed to
get this out of their system and move the fuck on without the negativity that
seemed to surround Fell. I had the chance to speak to core members, guitarist
Andrew Markuszewski, drummer Bill Bumgardner and long time collaborator turned
full time vocalist Dylan O'Toole to clear some things up before I went all fan
boy on them.
SL: First question is a difficult one; Charlie Fell
has been very vocal about his treatment during and after his exit from the
band, how do you respond to such negative press?
Andrew
Markuszewski: Charlie
Fell kicked himself out of Lord Mantis. We
all agreed in a way to go with the Charlie show on Death Mask, and simply put, in the end it just didn’t work
out. The guy’s ego shot through the roof and not exactly for the right
reasons. His interview with Metalsucks
is actually a pretty good testament as to why he’s no longer in the band. A skewed picture all around, but his true
feelings are there and in plain view.
Siphoning off my credit for Death
Mask while my riffs are the first one’s heard, the last, and I even had to
play his bass parts in two instances for reasons of him not being prepared or
up to snuff. Always the same story – he
was the victim, my life has been handed to me on a silver platter, and he’s the
only one in this world who has suffered. Insulting and ridiculous.
Typical nebulous junkie attitude, accusations, and more which we were dealing
with for longer than anyone else would have put up with, and I really mean anyone. At this point it’s all just dirty
laundry. You want a good interview? Interview his ex-girlfriend.
Fell
wanted the full role for the record plus afterwards, and we were supportive of
the idea. I love bands that have a
dedicated frontman. Batter up let’s see
whatcha got. We’ve both had our hiccups. I was terrible with booze and easily exceeded
the term ‘asshole’. People let me know
and asked me to get my shit together.
Honestly, everyone in the band has been called out on shit. No one is exempt from the rule. We asked him to clean his shit up time and
time again, but he got strung out and struck out.
The theme
for Death Mask was his, and I’ll
give credit where credit is due. He executed on vocals. He had good
song ideas. Like the rest of us. I
worked on the record from the first song we wrote for it till the last day of
tracking. Didn’t do any vocal overdubs
on anything myself because my lip was still healing from being split open in a
fight. Felt like stiches being pulled if
I tried. Dylan O’Toole was there to do “Negative Birth” and help out lyrically
on other parts of the record. Check the
credits. There’s a reason he’s listed as
an official member by then.
All Fell
did at that time was try and drag everyone else around him down to his level,
and that included getting whoever he could convince to do dope with him to do
it. Those were some pretty fucking gloomy times to be in the band or even
the scene in Chicago in general, and people were dealing with the repercussions
from it for a long time. Thankfully even with all the damage done, most
people are over it now. He’s off doing his thing, I’m doing mine, and Lord Mantis as a band is doing its own thing too.
Whether he has or hasn’t got his life together I couldn’t tell you. He despises me for how things turned out, but
he has himself to blame. Even after it
all I’d rather hear about how he cleaned himself up and make peace, but I’m
also no fool and not afraid to return fire or draw first for that matter.
Press is
press. I’ll take it. Even the negative shit. It gives room
for answering back and keeps the train rollin.
Thanks for the question.
SL: Andrew, this is the first time that New Density has fully
handled a Lord Mantis
release. Was this due to a conflict with Profound Lore or more as a way to have full control over the
release?
AM: A little of both could be said. Fell
tried getting another lineup together for Lord Mantis that
included a guitarist and drummer from two other bands on Profound Lore.
I have no idea what he had them convinced of. This was a few months
after we flew him home from Providence on tour and knocked him down from admin
on the Facebook page at the time. I
believe he could have even still posted on there if he wanted. We sent him home with clear instructions – “Go home and get help”. He tried getting a new lineup to open for
another band in Chicago. The promoter for that show had no idea of what
was taking place behind the scenes. I found out and immediately put the
kibosh on that together with our manager Rodney Pawlak. That was also the
moment Fell was given the official boot, kicked off the Facebook page and out
of the band. Within one day I had a new lineup in place for Lord Mantis, made the announcement, and soon after Fell
started his whole tirade online.
It was
pretty obvious to me and I think Chris too that Profound Lore
letting Lord Mantis go was the only logical step
forward. Unfortunate as I’ve enjoyed working on a few records for Chris
and Profound Lore including the two full-lengths
for my black metal band Avichi released by PL, but we’re both adults and smart enough to know when
it’s time to let things go their own way. Far from the ideal way, but you
gotta do what you gotta do. We still
have a professional relationship of course.
As free
agents again, Lord Mantis was willing to work with another
label. We decided to just do it ourselves after weighing the pros and cons.
The next release would only be an EP too. We wanted to see what
happens. It was self financed from start to finish. The majority by
my label, but Bill’s hands are firmly involved too. I take care of the
backend of everything since it’s released through New Density.
SL: A lot of the riffs on “NTW” have a more 'Black
metal' sound to them, was this due to having a 'new line up, new sound'
mentality or did it evolve naturally?
AM: I wanted to bring back elements from the “Pervertor” record, and mesh that with
where we left off on “Death mask”.
Plus I was listening to a lot of old KMFDM and Ministry again at the time, so getting those kinds of
‘hooks’ in there were also important for me in these new songs. It turned
into some catchy moments on Nice Teeth
Whore. I think it’s a great half step forwards, and NTW does exactly
what it needed to do.
SL: Andrew and Bill; seeing as how there are more
members of Indian
than original Lord Mantis
members how difficult a choice was it to carry on the Lord Mantis legacy?
AM: No
difficulty whatsoever. The core of the band is still here. Hell,
Bill started this band and a lot of the writing doesn’t take place without free
jamming with Bill. Sometimes he comes up with patterns and beats that I’m
actually writing riffs on top of. It’s a really awesome chemistry.
We brought into the fold Dylan as lead vocalist who’s already worked with the
band on its themes and lyrics for the last two albums. It wasn’t as much
of a hiccup as people might think. If anything I’d say it was actually
easier!
BB: It wasn’t hard at all. It’s my
band. An immediate line up change and recording had to be made.
People were contacting me as soon as they heard Charlie was up to some
bullshit. Dylan has pretty much always been a part of LM. When I joined Indian, LM was still just a two piece with me and Greg. When
Charlie came into the picture he always had Dylan helping him with vocals and
lyrics and sang on previous records.
SL: Was there any doubt that you'd get Dylan into the
fold?
AM: It took one phone call. He loves the
band.
SL: Bill, I've always thought of you as one of the
more underrated drummers in sludge/doom/black metal/heavy metal, the difference
between your understated work in Lord Mantis compared to the more powerful hammering of Indian is noticeable to
those who look for it. How does/did your approach differ between the bands?
BB: The approach is the same. Indian and Lord Mantis are both
hate filled bands. Indian can be tricky at
times because you have to maintain a balance of not over or under playing and
making the listener feel like they are being pulled behind a Mac truck with
hooks in their back. Lord Mantis I can open
up a little more. The writing process is a bit different. Andrew
and I get shit done every minute we practice. A lot of riffs are based
off of a pattern I’ll come up with, and Drew will knock it out of the
park. I have to say. As of late the writing process has been very
enjoyable.
SL: Dylan, you're perhaps one of the most recognizable
vocalists in extreme metal, no one can do what you do, how do you conjure up
such intense, agonizing screams?
Dylan O’
Toole: That's quite the compliment.
Well, I don't know. Nobody ever wants to front riffs with vox. That more than
likely is not always the case, but in my experiences no takers. I personally
never wanted to do vocals or play live. Ron, my dear friend from INDIAN tricked me! I'm sure my "F the world" diet
helps.
SL: In terms of lyrical content, yours are always
profound and poignant at the same time. What are some of your influences?
DOT: Hmmm,
tough call. Lyrically, the themes and content are all mine. Steve Austin, Brian
Sowell.
SL: The song '....Finality' has you screaming certain
numbers throughout, could you give me some insight as to what this song is
about?
DOT: Writing “NTW”
during her pregnancy was overwhelming. Kinsey sexualized child research
pisses me the fuck off. The ransom rape, passive profiting from abuse disguised
as research is shit.
SL: All; I found that the Lord Mantis on 'NTW' is an entirely different
beast from that which was on 'Death Mask' and 'Pervertor', was this a
deliberate attempt to distance yourselves from the band's past?
DOT: I don't think so. I have a few original
compositions that didn't feel right quite yet. Scott had a great song, it
didn't feel right yet. Drew and Bill wrote all the music on NTW, they had powerful momentum I felt
was working for and at that time. We are a different band now. Lean and mean,
like an EP should be. Production and composition will be vastly different on
upcoming LP. The next efforts will include the most ambitious concepts we've
attempted to attempt!
AM: I’d say it was just a natural step for
us. Take a listen to “Spawning the
Nephilim” and then listen to some of “Pervertor”
and then some “Death Mask”.
They’re all entirely different beasts, and I think that’s what sets this band
on a different pedestal. You don’t know what you’re going to get, but
it’ll still rock your socks off.
BB: I feel that
“NTW” has more of a “Pervertor” vibe to it. Both
records have more attack and energy. After “Pervertor”, Charlie turned into a timebomb. It became a
struggle always having to complete half thought ideas and down grading riffs
that he wouldn’t even attempt to play. It was just an all around corrupt
and negative environment. He was determined to ruin and bring people down
to his level. Riding on the shock value routine was getting a little
corny and old. “NTW” sounds
like the band is enjoying playing music.
SL: Presumably, you'll be playing older songs in a
live setting, is there any level of discomfort in playing songs that were
written with Fell?
DOT: Yes, we will be playing some older material.
No. No discomfort. We feel strongly about which songs and why, but no
discomfort.
AM: No not really. Fell helped write some
riffs on “Vile Divinity” I think,
and we’re still playing that. My history with Charlie at this point
doesn’t change my feelings for what the band has done with him and now without
him. I have no issue with which records people favor or don’t at
all. If you like songs by this band I’m happy to hear it.
SL: I can imagine Dylan's vocals would sound
incredible on tracks like 'Levia' and 'Vile Divinity', please make it happen!
DOT: Done.
And they do!
AM: Well
yes of course. I sang “Levia”
by the way on the record. I remember Dylan saying he wanted to do that
one actually and double up the vocals. But we’ll see. “Vile Divinity” is a no brainer.
SL: Speaking of live performances; are there any plans
afoot for a tour in the future? (Hint, hint; come to the UK!)
AM: Absolutely.
We are in talks about getting back to the UK later this year/early 2017.
SL: A random question here; if you experienced a
'Groundhog Day' situation like Bill Murray did in the movie, which methods of
self execution would you use?
DOT: Delightful.
I fear choking on my tongue! That sounds like a win win to me, although I'll
bet I figure out how to talk shit without a tongue or life.
AM: Easiest
answer for me would be to force myself a heart attack through eating as much
steak fat as possible and humping away until I die.
BB: Honestly
I feel like Michael Douglas in Falling Down.
SL: Where do Lord Mantis go from here? I would
love to hear a full album with this line up.
DOT: Exactly.
Don't call my bluff!
AM: We just
started writing the first song of another full-length yesterday. If we
want to things can come together fairly quick.
Now left to their own devices, Ryan and
Aaron have managed to sail their ship to areas previously unexplored, refining
their sound in the process. They are no longer a band that just plugs in and
blasts; there’s a sense consciousness here like they took their time. And
though they still blast speakers open, they do so not only with purpose but
also tact.
“Volume Rock”
CD//DD//LP track listing:
1). Eternal Forever
2). Wants and Needs
3). The Hunt
4). Land of Fools
5). I Breathe the Earth
6). Speaketh the Shaman
7). Beneath the Veil
8). Solstice
9). Empty Vision
The Review:
The power,
riffs, and melodies that came flying at us on 2014’s “Electric Talons of the Thunderhawk” were insatiable. Valley of the Sun has supported the hell out of this album,
touring The United States and Europe, both with and without Truckfighters. Every time the band took to the stage and
played songs like “Centaur Rodeo” or
“Maya,” they left crowds sweaty,
exhausted, and exhilarated. This spring we get to do it all over again because Valley of the Sun will do more tours in celebration of the
release of their newest ass-kicker “Volume
Rock.”
With the
bass drum right out in front of the crunchy, shiny guitars and an elaborate
vocal show running on their heels, the album’s name does nothing more than
state the obvious. In all honesty, Valley of theSun’s dusty debut EP or kick-in-the-teeth follow up could
have gone by the same name, so the title doesn’t really let us in on anything
we didn’t already know. If we let the songs speak for themselves, however, then
it’s clear that Valley of the Sun continue to keep up their
loud reputation while they develop into a full-fledged rock band with depth;
both in song and soul.
The two
opening cuts couple hard verses and even harder choruses together. It’s a tip
of the hat to “Electric Talons…”
making it clear that Valley of the Sun still
spit blood and leave marks everywhere they go. A simple formula at face value,
but with the right guys laying down the tracks, the results can be massive.
Luckily Aaron and Ryan – on drums and guitar/bass/vocals respectively – are the
right guys.
The next few
tracks take the speed down a touch which makes room for the riffs to breathe
and the songs have more of shape because of it. “Speakeththe Shaman”
marches on steadily with a stop and go riff while the lyrics tell a story of
shamans, which may have some sort of connection with the teachings of Don Juan.
Then comes the chorus, a firm knock to the jaw filled with “woo-ooo!”
greatness. “Land of Fools” and “Breathe the Earth” kind of follow suit,
filling out Valley of the Sun’s sound with a bluesy
aesthetic – there’s sadness in these songs – before returning to something more
in line with the band’s previous work.
The
ferociousness of the band comes back in “The
Hunt,” a high speed chase with plenty of layers of vocals and more
“oo-ooo”’s that race against the beat of the song. In “Wants and Needs” Ryan sings “you’re all that I know, all I want to be,
all I need” to Aaron’s raucous drum beat, and even though the lyrics
are probably referring to some lady somewhere in the world, I can’t help but feel
that Ryan is also singing about his ambitions to be in a band that tumbles down
a path of aggressive, upbeat rock n’ roll. And if there’s any doubt in my mind
about this double meaning was an accident, it’s debunked immediately by the
classic guitar solo that bridges the two halves of the song.
It’s not
only the difference between fast and slow that gets explored during the ten
tracks on “Volume Rock.” The vocal
performance includes a few more layers, a role that Aaron might have to fill in
during the live setting. The band lost their bassist, too, who not only was a
founding member but also an integral part of the songwriting process. Now left
to their own devices, Ryan and Aaron have managed to sail their ship to areas
previously unexplored, refining their sound in the process. They are no longer
a band that just plugs in and blasts; there’s a sense consciousness here like
they took their time. And though they still blast speakers open, they do so not
only with purpose but also tact. Whether this is to be chocked up to a new band
chemistry is unclear, but the fact remains that Valley of the Sun
have done some self-reflection; they’ve learned how to work and read a crowd
and have put this to use by making an album that not only satisfies them but
also all those folks who are going to head out and work up neck injuries during
the band’s next European tour.
The story of ‘Retrogore’ is that of an album that creates memorable
moments, rather than relying on pure heaviness and technicality. There is plenty of variety from song to song,
with Aborted showing that they’ve found a way to come up with new ideas without
throwing their standard strengths as a band out the window in the name of
progress. On that basis, Aborted are undeniably at their best on this album.
‘Retrogore’ CD//LP//DD track listing:
1.
Dellamorte Dellamore
2.
Retrogore
3.
Cadaverous Collection
4.
Whoremageddon
5.
Termination Redux (Album Version)
6.
Bit By Bit
7.
Divine Impediment
8.
Coven Of Ignorance
9.
The Mephitic Conundrum
10.
Forged In Decrepitude
11.
From Beyond (The Grave)
12.
In Avernus
Aborted is:
Sven
De Caluwe | Vocals
Mendel
Bij De Leij | Guitars
Ian
Jekelis | Guitars
JB
van der Wal | Bass
Ken
Bedene | Drums
The Review:
Aborted have been doing
this for nearly twenty years at this point. The band’s history paints a story
that’s becoming all the more common as the years wear on. They hit an early
peak with ‘Engineering the Dead’ and
‘Goremageddon: The Saw and the Carnage
Done’, in 2001 and 2003 respectively, before losing their way on the albums
that followed. Their attempts to add strong influences from hardcore and groove
metal into their sound produced decidedly mixed results.
Of
course, a band is always going to try new things, and by the time 2012’s ‘Global Flatline’ had arrived, Aborted had settled back into a much more straightforward
death metal style anyway, and they’d become ridiculously tight as musicians in
the interim. 2014’s ‘Necrotic Manifesto’
was likely their best since ‘Goremageddon’,
though the album seems to have been carried more by its dizzying brutality than
truly memorable songs, in retrospect. Were ‘Retrogore’ to follow suit, I’d probably be writing about a case of
diminishing returns. Thankfully, the story of ‘Retrogore’ is that of an album that creates memorable moments,
rather than relying on pure heaviness and technicality.
A
key example of Aborted allowing atmosphere and clever riff
writing to shine through the dense, note and blast-heavy tempest is “Divine
Impediment”. The song opens with some relatively clean guitar work aiding in
building to a big moment as the drums progress towards their absolute peak in
intensity before finally exploding into a furious riff that takes on a
different tone altogether. Interestingly, from that point on the songs echo Nile’s excellent ‘Annihilation
of the Wicked’ and ‘Those Whom the
Gods Detest’ albums. It’s worth noting that every member of the band is
positively on fire throughout the rest of the album as well, with the guitars
putting together the band’s finest performances to date both from a rhythm and
lead standpoint.
‘Retrogore’ stands to hold up as a much
more interesting album than ‘Necrotic
Manifesto’ for its variety as the years go on. There is plenty of variety
from song to song, with Aborted showing that
they’ve found a way to come up with new ideas without throwing their standard
strengths as a band out the window in the name of progress. Aborted are
undeniably at their best on this album.
You
can pre-order a digital copy here and a CD/LP copyhere.
