Showing posts with label Brooklyn. Show all posts
Showing posts with label Brooklyn. Show all posts

Tuesday, 27 February 2018

ALBUM REVIEW: Insect Ark, "Marrow Hymns"

By: Marika Zorzi

Album Type: Full Length
Date Released: 23/02/2018
Label: Profound Lore


With “Marrow Hymns,” Insect Ark create a sound based on profound introspection and the listening experience, an intense journey through themselves. Drones, loops, echoes and layers of sounds engulf, distort and stimulate the listener’s perceptions in an attempt to reawaken a distant, lost awareness. 


“Marrow Hymns” CD//DD//LP track listing:

1). Thelema
2). Arp 9
3). In The Nest
4). Skin Walker
5). Slow Raw
6). Sea Harps
7). Tarnish
8). Windless
9). Daath


The Review:

Combining elements of horror-film soundtracks, psychedelic doom, and atmospheric noise, Insect Ark is comprised of Dana Schechter (bass, lap steel guitar, synthesizers) and Ashley Spungin (drums, synthesizers). Insect Ark’s intensely visual music weaves interludes of fragile beauty with crushing passages of swirling doom, spinning like a backwards fever dream. “Marrow Hymns” is this duo’s new album, one that exceeds all expectations.

Formed in 2011 by Schechter (who has also been part of bands such as Michael Gira’s Angels of Light, Bee and Flower, Zeal & Ardor, Gnaw, and Gifthorse) as a solo project, from its inception Insect Ark has been about creating work that transports, both physically and psychologically. Spungin (Taurus, Purple Rhinestone Eagle, Negative Queen) joined in 2015 to provide support on the “Portal/Well” tour, and over the following year, Insect Ark became something much greater than the sum of its parts. Both women are firmly rooted in unbounded creativity – they are DIYers, multi-instrumentalists, gearheads, and visual artists.

With “Marrow Hymns,” Insect Ark create a sound based on profound introspection and the listening experience, an intense journey through themselves. Drones, loops, echoes and layers of sounds engulf, distort and stimulate the listener’s perceptions in an attempt to reawaken a distant, lost awareness. The songs seduce and glide slowly toward darkness in a continuum interrupted by unexpected changes in direction that unveil a striking sense of melody that reaches compelling, cathartic and totally unsettling peaks of tension.

This record is a wordless song, a hypnotic voice that screams and whispers from a place deep in the furrows, from the bones, from the blood. Defying easy categorization, Insect Ark’s uncommon sound is in part the amalgamation of these two women’s passions: Schechter’s sinister bass lines and unconventional use of lap steel guitar (and her complete omission of electric guitar), and Spungin’s lucid, exacting drumming and synth work with her own hand-built analog noise pedals (Ormus Electronics).

“Marrow Hymns” is a work of rare beauty that conveys sounds and images and finds its supreme expression in songs like “Arp9”, “Skin Walker” and “Sea Harps” in which sounds seem to meet and overlap to take shape in the absurd. Although this is an instrumental album, nobody will miss the vocal element. The sounds speak on their own, immersing the listener in a 45-minute journey. Its nine tracks pursue each other in a sequence of melodies and pauses that is a constant musical quest.

This is an album to be absorbed, played and replayed, interpreted, and loved.


“Marrow Hymns” is available here (USA) and here (Europe)



Band info: Facebook || Bandcamp

Wednesday, 25 October 2017

ALBUM REVIEW: Belus - "Apophenia"

By: Mark Ambrose

Album Type: Full Length
Date Released: 13/10/ 2017
Label: Vendetta Records


“Apophenia” is a breathtaking experience, a challenging listen, and an auspicious first entry from one of the few bands with the audacity to experiment and the chops to pull it off.


 “Apophenia” CD//CS//DD//LP track listing

1. Chasm
2. Monolith
3. Avarice
4. Illusions
5. Psychosis
6. Omens
7. Equilibrium


The Review

Belus has one of the most memorable rhythm sections in blackened metal.  From the opener, “Chasm”, drummer Jacques fluidly alternates between blast beats and groove-indebted, borderline funk fills.  The bass work is equally indebted to funky post-punk, like a black metal Mike Watt, while the guitar tone glides between classic tremolo picking and lush, post-hardcore departures.  If the bass on “Monolith” were a bit higher in the mix, the disco beat would immediately invoke Public Image, Ltd.  For all I’ve said about the disparate influences and comparable non-metal acts, Belus is one hell of an interesting metal band on its own terms.  Guitarist Matt Mewton’s vocal delivery, particularly on album highlight “Avarice”, has an almost dual-toned rasped scream.  A lot of digital ink has been spilled regarding Dagon’s otherworldly, “reptilian” vocal style, but I’ve found Mewton’s tone equally alien and more tuneful.  There are moments that almost sound like throat singing.  This weirdness, paired with the mounting doom (and haunting synth) of final tracks “Omens” and “Equilibrium, are particularly rewarding upon multiple listens.  I found myself hearing unlikely harmonies in Mewton’s guitars and vocals, while even the blast beats and pared down bass riffing played with subtle rhythmic variations.

And yet Belus has me rethinking any “big picture” judgment or some unifying gestalt.  When so many bands practically construct a libretto for interpreting their latest prog missive, the very title is a challenge – or a warning.  “Apophenia”, for those (like me) who tend to fire up a Google search any time you encounter a new mystery word, is, according to Belus, the “human tendency to seek patterns in random information and assign unnecessary meaningfulness or importance to them”.  This bleak concept has been equally applied to the studies of psychology and esoteric magic.  How appropriate, then, for a band that treads equally in the morose world of black metal and the occult-obsessed dimensions of psychedelia, with some unexpected, schizophrenic sojourns into funk, punk, post-punk and doom, to confound the effort to bridge these concepts.  Each temporal shift, each genre-fluid amalgamation, each tortured vocal practically begs for interpretation for some larger, unifying theme, while constantly threatening the listener with sheer nihilism.  It’s a breathtaking experience, a challenging listen, and an auspicious first entry from one of the few bands with the audacity to experiment and the chops to pull it off.

“Apophenia” is available here



Band info: bandcamp || facebook