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This is 'Liberation through Amplification.'
The song writing doesn’t so much feel like Lycus are writing ‘riffs’, rather that they are weaving together sounds; the way that each of the songs progress is so effortlessly done without any sense of repetition, each coming to a satisfying and climactic conclusion.“Chasms” is a brilliantly executed take on an incredibly specific style; when Lycus play slow, they don’t meander, rather drag you down with them for them to wallow in their on misery, and the dynamic nature of the record means the listener is subsequently taken through whatever fresh Hell the band have in store for them next.
“Chasms” CD//DD//LP track listing:
1). Solar Chamber
2). Chasms
3). Mirage
4). Obsidian Eyes
The Review:
Funeral doom metal band Lycus have already established themselves as the purveyors of their bleak, crushing style of metal with their 2013 release “Tempest” and 2011 demo preceding it. “Tempest” in particular found the band with a sudden wave of online attention, receiving positive coverage from the likes of Pitchfork and The Needle Drop despite its largely underground appeal. For the uninitiated, ‘funeral doom metal’ is possibly the most apt description for Lycus’ sound; slow, trudging and miserable metal that’s heavily reliant on mournful tones and understandably long song structures, likening it to the soundtrack of a funeral procession. Such a pigeonhole of a genre leaves room for doubt; incredibly specific genre tags run the risk of becoming stale easily. The issue with a lot of modern doom metal is that either the droning, low-end guitars may fall into the background and out of our attention, or the reliance on these deep tones leads to many bands sounding like clones of one another. “Chasms”, however, casts off these stereotypes and proves itself to be both a dynamic and interesting listen.
Lycus have already demonstrated their capabilities in songwriting, and “Chasms” is no different – the variability in the sounds on this album already puts them a notch up from their doom contemporaries. While a lot of this record travels at a snail’s pace through these incredibly slow, sorrowful passages, around these very steady song structures are sudden bursts of intensity or eerie quieter moments; in particular the opening track ‘Solar Chamber’ quickly dives from its lumbering pace into frantic blast-beat drumming so seamlessly it feels almost natural rather than jarring. The song writing doesn’t so much feel like Lycus are writing ‘riffs’, rather that they are weaving together sounds; the way that each of the songs progress is so effortlessly done without any sense of repetition, each coming to a satisfying and climactic conclusion. There’s also a true sense of atmosphere that Lycus are obviously conscious of, which becomes incredibly apparent with the inclusion of extra string instrumentation on the title track and ‘Mirage’, or the mantra-like vocals that haunt the sonic background throughout the album. Lycus’ attention to these more atmospheric details undoubtedly gives this record much more depth than it would have otherwise.
“Chasms” is a brilliantly executed take on an incredibly specific style; when Lycus play slow, they don’t meander, rather drag you down with them for them to wallow in their on misery, and the dynamic nature of the record means the listener is subsequently taken through whatever fresh Hell the band have in store for them next. And yet, it doesn’t feel too far removed from other releases in the genre. Exploring a dark landscape of sounds, Lycus ultimately craft an album that is bleak as it is intriguing.
‘Carrion’ is one twenty seven minute
(!) track that is funereal in its approach, downbeat in its execution and
extremely dark in content. Massively
heavy and plodding, incorporating vocals of the inhumanly low variety, the
guitars are similarly tuned and the drums are massive and unforgiving. Overall the record is an exercise in vibe and
endurance.
‘Carrion’ DD//LP track listing
1). Carrion
The
Review:
Recitation is a Danish
“project” (so the internet says) that is very, very doom. ‘Carrion’ is one
twenty seven minute (!) track that is funereal in its approach, downbeat in its
execution and extremely dark in content. The vocals are of the inhumanly low
variety, the guitars are similarly tuned and the drums are massive and
unforgiving. The riffs are repeated ad infinitum, as you might expect, and
there are not a huge number of them. The record is an exercise in vibe and
endurance. Massively heavy and plodding until around 17 minutes in, when things
pick up and the vocals are buried in the mix. Of course, it all slows down
again later...
If
you are a fan of the funeral end of doom or enjoyed the last Conan
or Foehammer
release, then you will most likely enjoy this. For me, these Danes are not the
equal of either of those bands, but they certainly make a dark and heavy noise
which is well worth checking out. Just don't expect dynamics or surprises.
The album is very well rounded, as the band meshes with a very odd mix of carnival organ and orchestra. On the track ‘Momentary’, it encompasses, sonically the album title: it's the aural equivalent of an ordeal, undertaken under severe duress. The song is heavy, mixing the keys in a way that it feels like a parody of a waltz. It's trudging to a beat.
‘Ordeal’ CD//DVD//LP track listing:
1). "You"
2). "Momentary"
3). "The Departure"
4). "March Incomplete"
5). "The Road"
6). "Closing Music"
Skepticism is:
Matti Tilaeus | vocals
Jani Kekarainen | guitars
Timo Sitomaniemi | guitars
Eero Pöyry | keyboards
Lasse Pelkonen | drums
The Review:
It's always fun to find an album so bare in sound, so scalding in its execution, that one really feels put upon by the band. One such album, ‘Ordeal’, manages to abrade both speakers and ears, as the executioner Skepticism sits back and lets the austerity burn itself out like a cigarette held to the hand.
It's weird to think the term minimalist here, as Skepticism has many parts all working together, a well oiled machine, but the sound is very simple. A blackened sound, approaching that of aural nihility, played at funeral March doom speeds simply roll like a black cloud on a bad day. Orchestral machinations happen around the band, as they deliver such bleak sounding material; it's very hard to get work done with it on. It constantly hovers on your shoulder, whispering that you should stop and just listen. Let it happen. Sink into the despondent notes. It's blackened gothic doom, leading to a sense of nothingness and a burning sadness.
The album is very well rounded, as the band meshes with a very odd mix of carnival organ and orchestra. On the track ‘Momentary’, it encompasses, sonically the album title: it's the aural equivalent of an ordeal, undertaken under severe duress. The song is heavy, mixing the keys in a way that it feels like a parody of a waltz. It's trudging to a beat. The album has some very major moments of huge sound, dramatic chords, and what sound like moments where the devil himself would pop out with thunder and lightning, in its terrible glory. It's heady and heavy!
The album also isn't short at all, with a run time around 80 minutes; you're going to be stuck on this one for a while if you choose to go all the way through. It has some very beautiful moments, but overall it’s quite the negative journey. Bring snacks, maybe a good beer or bud, and you should be fine. Topped off with some brutally poignant artwork of a funeral ensemble (less exciting than a War Ensemble, trust me), the album simply oozes with primal negativity.
Pick this up if you aren't afraid to face that which is your end.
As the haze of sunshine finally appears to be descending for the last time and with it the end of summer, let us not despair and instead rejoice as we usher in another feast of music for your listening pleasure, a veritable smorgasbord of riffs, this can only mean one thing? The Sludgelord’s ‘Sour 16’. Welcome, all lovers of the riff, you know the deal by now, however for those of you that do not, let us recap. Each month, you the reader are unwittingly compiling a list of the top 16 records of the month, covering all genres of metal, but predominately the best the doom, sludge, stoner-psychedelic genres have to offer. It is not a chart, in which reviewers or contributors extol their opinion about their favourite music, but simply, the ‘Sour 16’ are the records you guys (readers) have been most interested in over the last month and checking out on this page.
So here is the The Sludgelord’s ‘Sour 16’for August 2015, the 16 records you’re most looking forward too or are currently checking out. Dig in, spread the word and perhaps revisit some records you may have overlooked. The results are compiled based on page views alone and calibrated into the list below. So without further ado, enjoy the ‘Sour 16’. Roll up, kick back, chug a beer and Hail the riff! All review/band links can be accessed by clicking on the artwork. (Total views at the time of publication are highlighted in red)
16). Eschaton – ‘Sentinel Apocalypse’ (312)
For anyone with an interest in death metal from Revocation to Morbid Angel to Immolation to Death, then this album should definitely be checked out. I enjoyed it hugely and recommend it highly.
15). Nightfell – ‘Darkness Evermore’ (320)
“Rebirth” sees the band playing with different melodic black metal elements… which make for a wonderful musical counterweight to the resonant doom n’ death rumbling of the album’s general comfort zone.
14). Fight Amp – ‘Constantly Off’ (348)
‘In short, I’ve been missing out. I’m really happy to have had a reason to sit down with a band I already thought I knew and find out there’s still so much more to them. I can only highly recommend ‘Constantly Off’, and after this I’m off to check out all the stuff I’ve missed.’
13). Lucifer ‘Lucifer I’ (352)
‘All in all, “Lucifer I” is a solid release, song-per-song. It’s sure to be a hit for all the ‘70s obsessive’s and the proto-metallers, but it also has moments that are evil enough and dark enough to satisfy those who need a little more intensity beyond the black rainbow.’
12). = Myrkur - ‘M’ & Gnaw Their Tongues – ‘Abyss of Longing Throats’ (354)
At this juncture, Myrkur has proven to be capable of material that is truly special, with the sort of vivid musical imagination welcome in any genre, metal being no exception. What’s most exciting is what an even deeper exploration of this kind of folkish black metal, rich with creativity might yield a couple of years from now. ‘Gnaw Their Tongues has opened up a portal into hell and is dragging you with him. Fear the worst. Expect to suffer. If you make it out alive, expect some severe emotional trauma.’
10). Six Feet Under – ‘Crypt of the Devil’ (357)
‘This is as pure a strain of death metal as you are ever likely to find: crushing, sawing guitar riots? Check. Throat-expanding guttural vocals? Check. Lurid, obscene song titles, including ‘Broken Bottle Rape’ and ‘Compulsion to Brutalize’? Check mate. If it’s classic death metal grooves you’re after, look no further.’
09). Limb – ‘Terminal’ (371)
All in all, Terminal builds on what Limb have already achieved and is ultimately better than their top notch debut. The tracks on Terminal are well crafted, and the whole piece is tighter throughout. Absolutely no time is wasted on the album with every note being completely integral to the success of the album
08). Locrian – ‘Infinite Dissolution’ (400)
‘Standout track ‘An Index of Air’ leans into emptiness with a rattling drone, an almost imperceptibly off-time drum pulsing the intro before expanding out into tidal-waves of anguished convulsions blended with blissed out droning black that Deafheaven would burn gasoline-soaked churches to attain.’
07). Carousel – ‘2113’ (420)
‘2113’ is a blur of dynamic, late night booze fuelled journeys filled with timeless hooks and immensely powerful solos. A band that knows how to capture your attention; they filter the music of their childhood heroes add a contemporary twist and their unique flair and create magic. They build on their concrete foundation of strong vocals and catchy choruses, wrap up some tight backing and present a very pleasing album complete with a jazzy little bow.
06) Hivelords – ‘Tapered Limbs of a Human Star’ (424)
'Cavern Apothecary' was a glimpse into the potential this band had at that point. On ‘Tapered Limbs of a Human Star’, they've smashed through the glass ceiling and surpassed the promise they showed. The fact that they're signed to Anthropic Records is both a blessing and a curse; it makes those who know about the band seem like part of a secret club and preserves their cult status. However, had this been released on a label like Relapse, Profound Lore or Candlelight, everyone would be losing their shit and proclaiming this as the best album they've heard this year. It’s simply stunning.’
05). DoctoR DooM – ‘The Seed We Have Sown’ (534)
‘It's a monstrous sound, reminding me of a club scene in many a Bond film, but replace lounge piano or jazz with a much more upbeat rock band. This is Everyman Rock. And they love to stay around with their songs, so look forward to an album full of 4+ minute slabs that will take you along sonic highways of old.’
04). Ahab – ‘The Boat of Glen Carrig’ (551)
‘It's hard to sum the record up, such is the scope and depth on offer within the record, but suffice it to say this: it will feature in year end lists, it will grow on you and is definitely one of the more unusual and ambitious releases of the year. This is fine stuff, but then again coming from Napalm Records, does anyone expect anything less?! Dark, atmospheric and powerful. A fantastic record.’
03). Pentagram - ‘Curious Volume’ (710)
Overall, for my money, Curious Volume is a better album than Last Rites- more focused, more inspired and it crackles with life, it really does. It is the best album from Pentagram in a long while and for that we should all rejoice. Legendary for a reason!
02). The Sword – ‘High Country’ (1377)
The length of the album, at 15 tracks, does make getting acquainted with this record a slow process, but in the end you’ll discover there aren’t any dips in form. ‘High Country’ is rich in consistency and across its span, Cronise, Shutt and co. dispel any fears you may have about this release all the while oozing a slick professionalism. They’ve been at this song writing malarkey for a while now, they’re hardened pros and this stands testament to their brilliant legacy.’
01). Ghost – ‘Meliora’ (5382)
‘Today, Ghost still manage to shock and surprise us in a society where we’ve seen and heard it all before. People are fascinated, fixated even with finding out their true identities. Their music is more powerful than it ever has been too. ‘Meloria’ is a spellbinding listen and one which will see them elevated to greater plains of existence. It affects you, leaves you shaken. They can make you laugh or cry without so much of a flick of the wrist and, although the music we love is basking in something of a purple period right now, a band as potent as this is still a rarity.’
This list features reviews by, Chris Bull, Philip Weller, Kat Hilton, Hunter Young, Richard Maw, James Harris, Dominic Walsh, Chris Markwell, Daniel Jackson, Erik Sugg & Greg Sheriff
‘It's hard to sum the record up, such is the scope and depth on offer within the record, but suffice it to say this: it will feature in year end lists, it will grow on you and is definitely one of the more unusual and ambitious releases of the year. This is fine stuff, but then again coming from Napalm Records, does anyone expect anything less?! Dark, atmospheric and powerful. A fantastic record.’
‘The Boats of Glen Carrig’ CD//DD//LP track listing:
1). The Isle
2). The Thing That Made Search
3). Like Read Foam(The Storm)
4). The Weedmen
5). To Mourn Job
Ahab is:
Cornelius Althammer | Drums
Chris Hector | Guitar
Daniel Droste | Vocals, guitars, keyboards
Stephan Wandernoth | Bass
The Review:
Germany has produced some excellent metal bands over the years. Ahab are the latest addition to the long and impressive line of bands such as Accept, Kreator, Sodom, Destruction, Helloween, Scorpions and, a little closer to what we have here, The Ocean.
Nautical in theme, expansive in scope, the sound stretches out over the horizon. This is doom, or thereabouts, and features clean passages (almost folk in nature) along with some very heavy sections (check out the opening of “The Weedmen” for that). The five tracks include one 15 minute song length and with the shortest ditty clocking in at 6.25, you will get your money's worth.
It's dark, deep and, much like its subject matter, endlessly fascinating. I liked this album from the get go- one listen and you will be.. hooked (!). Mastodon have swum these currents before, as have Ahab's aforementioned countrymen, but there is room for all of them and more. I would not necessarily compare Ahab to any other band- they are their own beast. Some sections are extremely bleak and come complete with very low vocals, while some passages are much more airy.
It's hard to sum the record up, such is the scope and depth on offer within the record, but suffice it to say this: it will feature in year end lists, it will grow on you and is definitely one of the more unusual and ambitious releases of the year. This is fine stuff, but then again coming from Napalm Records, does anyone expect anything less?! Dark, atmospheric and powerful. A fantastic record.
