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This is 'Liberation through Amplification.'
CHRCH rightfully cement their
own place as forebearers of a new era of melodic doom.
‘Light
Will Consume Us All“
CD//DD//LP track listing:
1) Infinite
Return
2)
Portals
3) Aether
The Review
Three
years ago a fairly below the radar label put out a belter of a debut in the
form of ’Unanswered Hymns’ from a
then unknown Sacramento doom group. Said label (Battleground Records,
from whom you might still grabthe last remaining copies) is now sadly
sunken but the prodigious 'debut', which called for many to exclaim ’masterpiece!’, did attain enough attention
to the quintet to warrant both a court-backed name alteration and many a tour with
like-minded mainstays of the metal scene. Their latest release on the esteemed Neurot sees the-now-CHRCH cranking it
further into the void, bringing payoffs indeed not unlike their label head
legends themselves are known for. Entirely not surprising as this young group
could be ascribed to having a common ethos, still the less astonishing is how equally
hard they manage to crush.
Apropos
it’s almost cliche to talk how well CHRCH operate in the
worlds of the uplifting and downweighing, as it’s damn near their raison
d’etre. Their previous offering that came in the form of mind-shattering split
with the more mud-ridden sludgers Fister (who, as an
aside are coming out with a similarly long-playing, albeit muckier statement right
about as you read this) was demonstration enough of how well they wield both
sides of the heavy spectrum, be it of the sonic or emotive variety.
The
opener of their sophomore is reminiscient of ’Temples’ from said release, in that it equally plays with delicateness
set against colossal discord. With its steadily soaring riffs ’Infinite Return’s’ towering stature in
effect plummets your very being straight into the pits. There’s a deeper sense
of worldweariness at play here, conveyed by the sheer fierceness of the vocals,
with the wailsblackened and stern despondency emanating from the
growls. The band steadily sets to sculpt a storm of grandiose proportions that ultimately
beckons forth creatures distantly echoing disquieting cries while the plucking
undercurrent lays deceptively dormant in an uneasy sense of tranquility. The
ominous guitar builds in the background unceasing as lead vocalist Eva Rose’s
lulls during the quiet section become very akin to the timbres of fellow
doom-sayers Subrosa. It’s difficult to imagine a tune crafted
to carry more emotional heft as it plods on unrelenting, coming twice around
for devastation to conclude in a soaring surge that elicits an immense sense of
conciliation.
While the
band has grown evermore well-equipped at crafting solemnity in sorrow, oncoming
Portals is more of a morassy plummet
into the void. With a discordant off-beat lead-in, the track becomes fluidly
unfolding, bringing the pain in waves.The riffs steadily gathering velocity concordant
with the increasing backdrop of the rhythm section as the middle blasts the
gates of hell wide open straight to revelatory anguish. Even at this utmost
dejected inpouring offury, out of
the mire comes a groove that dissolves any opressiveness built. Embellished by
Rose’s vocal and then a back-and forth between her and second vocalist Chris Lemos
comes a triumphant resolution affirmed by the grandness of riffs and etherealy
sung harmonies.
The band then
pick up the gauntlet of bringing the album together in glorious absolution with
’Aether’ as a steady resounding
descent from the heavens. The admittedly-difficult-to-decipher lyrics seem to
further evoke the band’s funerary sensibilities as the grievous bliss is
brought to light at the tune’s apex. In striking manner the album is closed out
in an outpouring of blackened tumult with what sounds like most whole of the
band chiming in with voice.
Whilst
their debut could perhaps at times have been faulted by borrowing from the
sounds of established acts such as Windhand or Acid King, this tremendous sophomore is a beast all their
own. They do still of course give fair play to tropes and tones of the genre
but even-so CHRCH rightfully cement their own place as forebearers
of a new era of melodic doom. Exhibiting dynamics and songwriting that pays as
much heed to the glory of brandishing riffs aimed at celestial heights as it
does to delivering penance through sheer abrasiveness ’Light Will Consume Us All“ comes as a mighty second assertion. With such ennobling means at hand it is seemly to await what
aural transcendendance they might yet bring forth from the vastness of their
realm.
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.
Dishing out psyched-out blast offs and
danceable tunes all complemented by the vintage-sounding production and plenty
of organ in-between, Ruby The Hatchet adds a further twist to their already
suspensive sound. “Planetary Space Child” comes off sounding like a spaced out
version of Uncle Acid and cements their place at the very top tier of heavy
psych.
“Planetary
Space Child“CD//DD//LP track listing:
1).
Planetary Space Child
2).
Killer
3).
Pagan Ritual
4).
The Fool
5).
Symphony of the Night
6).
Gemini
7).
Lightning Comes Again
The Review:
With
an intro that would not be amiss on a Floyd album, “Planetary Space Child” opens with the dramatic title track and goes
straight for the grandiose sweeps. With riffs alluding to the barren vastness
depicted on the cover, along the uneasy undertones, the epic artwork of Adam Burke is another common trait to
be found with fellow dread-mongerers Occultation. Whereas said groupare perhaps slightly spookier, Ruby
bring a handful more of melody. Like the opening notes of ’Pagan Ritual’ that come off equally as
stirring as they are ominous, another turn is waiting around the corner. The
shrouded riffs build up and crank the anticipation until a funky break-down,
maintaining the trepidation and not letting you get too comfortable, the only solid
thing being the bass-lines that follow the track through to its finish.
While
these change-ups are familiar from prior albums, the additionalorgan progressions unabashedly harken
back to rock’s golden era and really complement the album concept. That stands
especially true for ’Symphony of the
Night’, undoubtedly one of the stronger songs the band has put to tape yet.
It opens with pensive plucks and picks the pace up near the middle and as the
gloominess is equally cranked up a notch, the well-placed keys constantly adorn
the unrelenting gradations.
Despite
the material’s emotional density, the band hasn’t forgone their penchant for
some infectious feel-good tunes. Second track ’Killer’ reminds us they’re still capable of more than a bit of
moog-tinged tomfoolery, likewise on the equally fast-paced midpoint that is “Gemini”. Whereas the former is a fairly
straight-forward and fun band jam (awfully fitting when they presented it at
Roadburn’s Cul de Sac), the latter never quite loosens its intense grip and
brings the full-sounding guitars and psychedelic leads further up front, with
the relentless drumming of Mike Parise
keeping it equally energetic and even-paced throughout. By the end they go
near-prog with the keys straddled throughout amidst the influx of leads tearing
straight into your headspace.
As
is true for Jillian Taylor’s howls
and moans that are at times wistful and bold on others, the created sound truly
envelopes her voice well, especially so on the initially shuddersome“The
Fool“ and the epic closer. The latter really runs the gamut on her whole
range, beginning languid and solemn in near-ballad-form, almost timid by Ruby’s
standards, but opening up near the end, an approach the band has proven to work
for them time and again. It’s no straight-forward doom here but all splendidly
woven in, making the pay-off that much more worth it. The culminating build-up
and shake-down really allows the organ to shine amidst the oscillation of
guitars and comes off dangerous, duly paying reference to the song-title.
Dishing
out psyched-out blast offs and danceable tunesall complemented by the vintage-sounding production and plenty of
organ in-between, Ruby The Hatchet adds a further twist to their
already suspensive sound. “Planetary
Space Child” comes off sounding like a spaced out version of Uncle Acid
and cements their place at the very top tier of heavy psych.
The idea of Decades Apart is pretty simple. I’ll choose 5
different albums from 5 different decades and I’ll share a little information
about them and hopefully you’ll check them out if you haven’t already. Today
is 1971,
1981,
1991,
2001
and 2011. Whilst some these albums may not all be
considered classics, they’re certainly amazing records. So be sure to check it out.
Hawkwind
-
'In Search of Space' (1971)
Growing
up in the '80s I heard the name Hawkwindoften enough but never took the time to
listen to them. As far as I knew they weren't a metal band, more some kind of
hippie jam band with keyboards, which was a major turn-off when I was obsessing
over Celtic Frost, Prong and
Voivod. They seemed so twee, almost laughable in the face
of the epic speed and heaviness of 'To
Mega Therion' or 'Dimension Hatross.
Of course, once Soundgarden and Mudhoney
came along it suddenly seemed alright to look backwards for inspiration, and
when Monster Magnet released “Spine of God” and started mentioning Hawkwind in every interview I thought it might be time for
a reassessment. I bought a double cassette compilation and dived in.
Trying
to consume so much Hawkwind at once is
sheer madness and the compilation leapt around in terms of chronology so I
thought I'd work out where to start and go from there. A tuned-in workmate was
so excited to be asked for Hawkwind
recommendations that he gave me a vinyl copy of 'In Search of Space' along with some valuable advice for ideal
listening conditions. To this day I still get the same feeling of foreboding
when the opening strains of 'You
Shouldn't Do That' seep out of the speakers. To have the confidence to open
with a 15 minute epic speaks volumes of just how mind expanding Hawkwind truly are/were, and to this day no-one has really
done anything that comes close. Ultra creepy, doom laden, tribal, kosmich and
totally confusing at the same time. What's more, there's nothing of the peace
and love of American west coast psych here at all. Hawkwind
were raw, tough and incessant. I had to check the record label to see how long
that song was, it felt like it was as likely to be three minutes as thirty.
Totally transcendental. They didn't let up either with 'Master of the Universe ' rivalling Sabbath
for pure power, and 'Adjust Me'
setting an early template for noise rock twenty years before anyone was even
thinking about it.
Like
Sabbath, really nothing sounded the same at the time, or
since, and I can't begin to imagine how alien this record must have sounded in
'71. Hawkwind's legacy has been tainted by
inconsistent line-ups and releases, along with a slew of tenth rate copyists
posturing as psych-rock, but there's no doubt in my mind that if the band had
finished after 'Hall of the Mountain
Grill' they'd be revered in the same light as Sabbath, Zeppelin and all the other Titans of the era. This record
still stands up like few others. This is your Captain speaking. Your Captain is
dead
Van
Halen
– “Fair Warning” (1981)
In
1981 an album that in my opinion is the epitome of the Van Halen
sound was released, “Fair Warning”.
Sheer gravitas. For my money, each track holds its weight in groove,
riffs, musicianship and straight up ass kicking swagger from David Lee Roth.
What in my humble opinion always gets lost in a lot of their albums and I feel
especially on this body of work is how amazing the percussion is. “Dirty
Movies” is a lesson in full on boogie till the fucking cows come home,
sleep in the barn and prance back out to the pasture to graze.
“So This is
Love”,
forget about it. How many T Tops had this song blitzing from their 8 track
stereos, meanwhile, engines growled like a Rottweiler in heat. The key is the
smoothness of the Ted Templeman production, the sonic sexiness of the virtuoso
himself, Eddie Van Halen. The tonality
and growl of his axe is more potent than any espresso ever brewed.
I
remember my buddyJim Delosh playing this for me and Vaugh Fachette's dad
blaring “Sinner's Swing”, before
going fishing. So if you are feeling sentimental,
and have a 3 quarter t shirt In your drawer please put it on, get one foot out
the door and become “Unchained”.
Soundgarden -“Badmotorfinger”(1991)
Having
recently celebrated its 25th anniversary, Soundgarden
helped unshackle the band of their grunge tag with ‘Badmotorfinger’. While draped in that archetypal grittiness which
helped characterise the movement and genre bursting from their hometown of
Seattle at the time, this album was representative of a band outgrowing their
early sound, building on their blues laden, doomy template with an intrinsic
experimentalism which they learnt to perfect on ‘Superunknown’.
Indeed,
while it was that succeeding album that helped skyrocket the band, breaking
them to the masses with massive singles in ‘Spoonman’, ‘Fell on Black
Days’ and ‘Black Hole Sun’, its
older brother has grown into something of an underrated, cult classic. The
melancholy chaos of ‘Rusty Cage’ -
lovingly covered by Johnny Cash some years
later - and the 7/4 thump of ‘Outshined’
(a pre-cursor to ‘Spoonman’, which
is also in 7/4) make a moody and impenetrably iconic introduction to a record
which, while its style and feel may receive seismic shifts throughout, never
lets up. Its diversity is its greatest gift, riffs leaping out at you from the
dark when you least expect it, psychedelia then whisking you away from the
punches.
They
showed with this album a sharp and intelligent level of song writing, from the
genius lyrics of Chris Cornell (“I’m
looking California/but feeling Minnesota” and “share a cigarette with
negativity”) to Kim Thayil’s nasty, unconventional approach to guitar
playing, it may not be an album hugely revered, but that is in no way a
representation of its quality. There is a progressive mindset driving the
record, their playfulness with less common time signatures and often obscure,
unnerving note choices defining it as something of an ugly beast. But why
should rock music be pretty?
‘Slaves And Bulldozers’, ‘New Damage’ and ‘Holy Water’ are packed to the rafters with titanic doom riffs which
snarl and growl like an animalistic Tony Iommi. The short and savage punk of
Ben Shepard’s ‘Face Pollution’ and
the bastardised, brass-tinged classic rock of Matt Cameron’s ‘Drawing Flies’, keep you guessing, keep
you on your toes.
Never
short of surprises, it is an amalgamation of so much, all condensed and blended
into one unholy racket. Like any true classic, it is a record that no other
band could write.
Converge – “Jane Doe” (2001)
Released
in 2001, Converge's breakthrough 4th album, 'Jane Doe' remains a landmark in
extreme music and sounds as fresh and relevant today as it did 15 years ago.
Played with such ferocious precision, thanks in part to the impetus of new
members Ben Koller and Nate Newton, 'Jane
Doe' is a bitter, angry, scathing statement of intent from the band.
From the opening arpeggio that dips into the inhuman blasts of 'Concubine', the album barely lets you
catch a breath as Jacob Bannon screams at you, telling you the story of a
ruined relationship. It's so powerful and full of emotion that you can almost
hear the blood pouring from the man's broken heart seep into his vocal chords.
Various
twists and turns permeate the albums intensity; 'Distance And Meaning', 'Hell
To Pay', 'Homewrecker', 'The Broken Vow' and 'Heaven In Her Arms' provide some of
the most memorable moments, while 'Phoenix
In Flight' is near perfect in its composition and placement on the album,
allowing you to digest what's just been thrown your way before 'Phoenix In Flames' and 'Thaw' that follow, absolutely
annihilate your eardrums. As if that wasn't enough, the album's title track is
an 11 minute emotional rollercoaster, making you worry for the welfare of the
song's protagonist.
Elder – "Dead Roots Stirring"(2011)
As opposed to the debut that was more of a brawny smack
to the gut (or the wall, whichever you prefer), Elder’s excellentsophomore
was one for the thinking-man’ stoner books. As psychedelia-ladden as it was
riff-driven in its approach, this Boston trio set themselves up to be true
trailblazers in the genre. Showing respect for the long-form, each track in
duration 8 minutes at the very least with two nearing the twelve-minute mark, they
brought a world fully their own and spent time exploring it with quieter
moments but not lacking any punch either. The sheer rawness acting contrast to
the intricate layering, all the while showcasing their penchant for experimenting
with songwriting formulas.
The album is equal parts a plunge into murky depths –
like the epically ravaging conclusion that closes the opener – as it is opting
for the less travelled overgrown route, with floating guitars going off on
shimmering tangents like aptly-titled third track ’III’. With rusty riffs bringing
its plodding hooks, bluesy and bog-ridden coincide with the album art, sill, alongside
the opening notes of ’Gemini’, or
the thick earthy toned pulse that opens the title-track, it’s De Salvo’s vocals
breaking at just the right moment. Concurrently melodic and raspy in their
intonation, they come through as if a guide lighting the way, though showing
restraint enough to let the instruments tell the majority of the story.
"Dead Roots Stirring" gave strong hints
of what was to come on yesteryear’s acclaimed Lore, again proving that there isn’t a band that does it quite like
Elder.
Album Type: Full
Length Date Released: 18/03/2016 Label: Heavy
Psych Sounds
Holy Grove’s first doomy foray is an undeniably solid
and considered effort. The enigmatic lyrics of leading enchantress combined
with the persistence of the power trio prove equally deadly as they are
absorbing. It wouldn’t be imprudent to expect the band's songwriting skill to
take them to great places, becasue this debut undoubtedly holds its own, but
they are more than capable of translating their stirring vision even further
still.
’Holy Grove’ CD//DD//LP track listing:
1). Death Of Magic
2). Nix
3). Holy Grove
4). Huntress
5). Caravan
6). Hanged Man
7). Safe Return
The Review:
’Death Of Magic’ gets the record rolling on an upbeat
rhythm which from the outset seems conflicted with the vocals that pull you
into a somber setting. The first track wastes no time flourishing into a
merciless rocker which is reliant on voice and riff conversing back-and-forth. The
track is devoid of solos either, with
perfectly-timed blues-tinged guitar licks helping to take this one onto
anotherlevel of desperation by the
close. As this track ends, we seamlessly flows into ’Nix’, which comes on as an addictive tour-de-force. Bringing along
muffled drumming in the distance, it then opens up and introduces a groove of
colossal magnitude, that is soon embellished by Andrea Vidal’s singing. Her
words calling to mind solitary and dim leave-carpeted woods, the song’s
strength lies in this weaved dynamic. When the main riff returns at the apex,the grip indeed takes you under,
ricocheting to quench a thirst you were previously unaware of. With
Cisneros-worthy bass-plucking bleeding through and the lyrics void of any reprieve,
this heavy resonance is the only sure embrace on a trip straight through these feedback-drenched
arteries.
The tunes
in question were both released as first singles and it’s difficult to fault,
they’re coupled back-to-back here and they surely establish the tone for the
remainder of the record. At this juncture it feels to be a fitting time to note
Billy Anderson, whose input at the helm can be felt throughout. The devil’s in
the details as the doom is infused by odd background noises that are hardly-noticeable-but-certainly-there.
Aptly, at their most concordant the band’s groove is oft reminiscent of none
other than Sleep,
wherein Anderson’s golden touch can undoubtedly be no less accredited to.
Steered by the aural master were also the harmonies of songstress Andrea Vidal,
with her powerful bellow taking centerstage almost constantly.
It’s
obviously difficult not to steal the show when you have pipes that could give
anyone a run for their money. This is especially true on the third and self-titled
track which features perhaps the most languid intro of the album. Although the vocals
initially take the back-burner, with guitar solos carrying the tune further
out, the interplay of instruments and voice is a continued theme. First leading
in with a desolate intro, that blazing seduction gains momentum through the
whole duration of the track as the reverberating admonishings dig deeper into
the raspier shades of her reach.
When
’Huntress’ clears the air and brings
the band in its full force, the sinister tone comes most timely tocomplimentthe entrancing altitude of what has come prior.
Weighty riffs cut with the sharpness of a pirate’s cutlass as the track becomes
increasingly menacing and downright punishing toward the end. Follow-up ’Caravan’ struts on a similarly aggressive
lean but brings an intensity of its own. Whereas the similar formula between
these two songs might have left one asking for a change-up, the sheer meanness
and twists of the latter are novel and clever enough to hold the attention
throughout.As per the LP format,
similiarly clever is the flipping of sides which functions as the necessary breathing-room
inbetween.
Despite
the recurring and ritualistic opening choral of ’Hanged Man’, this gloomy ballad ultimately deceives you back into
the murky depths of the bog. Vidal’s celestite cries delivering the chorus, is the only heavenly respite, alluring in their
severeness and echoing one elusively sublime anthem. Nevertheless, no bludgeons
are spared with the riffs ever-slowed, reaching higher and simultaneously
rendering the fall that much greater, her timbre growing ever more strenous and
equally empowering. Same is true on ender ’Safe
Return’ with the band tirelessly alongside, showing no remorse by surpassing
themselves with tightness of interplay.With an already familiar and unrelenting fervour the album closes
glorious on a definite high note.
Holy Grove’s first doomy foray is an undeniably solid
and considered effort. The enigmatic lyrics of leading enchantress combined
with the persistence of the power trio prove equally deadly as they are
absorbing. It wouldn’t be imprudent to expect the band's songwriting skill to
take them to great places, becasue this debut undoubtedly holds its own, but
they are more than capable of translating their stirring vision even further
still.
Compared to their self-titled from last year ’The Occultation Of Light’is more intense and direct in its offering. Yet similarly to that previous effort, the album’s strength again lies rather in that which is left unsaid.What can also be heard is a matured band more comfortable in delving into different frames of mind, knowing full well how to stay the course on an even keel, paying reverence to their array of influences yet earnestly exploring previously uncharted territories.
The Review:
Their first on Californian label Riding Easy Records, one would perhaps predict a more sun-soaked mind-exploration, but the onset of opening track’Dying Light’ establishes the tone for the remainder of the album. It clearly isn’t a light-hearted record. Beginning with an onslaught of mind-bending repetition, this dizzying ascension soon takes a turn toward the sinister and carries forth with some trepidation. The bass line keeps the theme of apprehension throughout and the foreboding guitars conversing with the eerie dialogue between synths and organ prove instantly infectious. The air thickened, the wispy vocal melodies adding conjectures that cut like a knife through the murky mood. It isn’t long until their proggy sensibilites come to the fore as it all comes together through a mind numbing and a commotion of steady meandering.
As an adherent to the very organic sound of their previous album, it is initially surprising how clean and polished the presentation here is. Luckily that is no indication of having steered from other influences of long past decades. ’In Your Head (Part I & II)’ is a perfect example of just how dysphoric of a sound they’ve created from these quite disparate elements. Starting off encircling, it builds upon an ecstatic and warm sense of anticipation. On a backdrop of the rhythm section’s rumbling, it then falls into an agitated surge of quirky swirling psychedelia. Yet keeping with the thread of unrest, the tension picks up again but is ultimately left unsolved, as if careful not to indulge into all of the sentiment at once, diligently weaving it throughout.
’Incendiary Procession’ immediately picks up on that prior outpouring. With a nod toward genre-definers Yes, the band play with turbulence, contstantly changing tempo. This ecstatic vigor remains all legerdemain though, as it is often exchanged suddenly in favor of bringing back that already familiar unease, only to shift back yet again. The dynamic between this exuberance and disquiet fully compelling and enveloping your mind in its sharp contrasts.
Obviously one can’t leave unmentioned the band’s recent prolificity. Having just released a self-titledalbum, some themes from yesteryear are quite obviously revisited. Whereas the overall impression brings to mind the livelier tracks from that endeavor, on fourth track ’Initiation’ the melody heard during the intro is almost a straight reprise of the languid mellotronic- heavy tune ’Plumajilla’. In contrast, the soothing calm here instead dissolves into a bustling build-up giving hints of some towering premonition until it all fumbles apart. These familiar motifs that have been expanded upon can be noticed elsewhere, and brandished with sure prowess.
The band’s not-so-recent move from the Midwest is perhaps also a factor, heard either in that very noiry melancholy or the carefree strut of an organ-heavy tune like’Ride the Sky, there’s undoubtedly a quality reflecting in their sound from breathing in that West Coast air.The aforementioned track introduces a welcome shift in pace and tone as a rocking danceable number with a blistering guitar solo, where Mondo Drag prove that they aren’t unfamiliar to grooving it out every now and then. Another allusion to California dreaming comes on closing track ’The Eye’ in the form of spoken word amongst a Middle-Eastern vibe, recalling to mind the goofy mania of late 60s classics H.P. Lovecraft, yet of course carrying it out with more than a touch of their own. The band aptly demonstrate elsewhere how capable they are with references, as on ’Out of Sight’ they shed light on how Sabbathian groove isn’t amiss amidst a thoroughly proggy approach either, and even-more so – how well it can carrya different sort of garnish – with the riffs converging into a sudden kraut-down at the track’s apex.
Returning once more to the mix, whereas the self-titled had John Camino crooningin the distance, on ’...Occultation...’the vocal track is further up front. As per usual, instruments do the majority of the talking, with lyrics used sparsely but to still greater effect, the words complimenting the music and vice versa. This is nowhere truer than at the climax of the album, which comes in the form of second-to-last track ’Rising Omen’, a circular confluence fully embracing that looming darkness established at the outset. Enveloped in an implied yearning, it’s a hazy gyration, with the almost ghostly tone of the guitars reflecting the anguished words and organs further glorifying the madness, equally alluring as it is captivating in one finalistic concession.
Compared to their self-titled from last year ’The Occultation Of Light’is more intense and direct in its offering. Yet similarly to that previous effort, the album’s strength again lies rather in that which is left unsaid. As promised by the title, it is by and large a dim lit affair. What one can hear is how the band themselves prefer listening to be – one cohesive, and equally trippy, experience. What you can also be heard is a matured band more comfortable in delving into different frames of mind, knowing full well how to stay the course on an even keel, paying reverance to their array of influences yet earnestly exploring previously uncharted territories.
Mondo Drag launch a brief U.S. tour on March 11 in Denver, joining Pentagram for a series of both U.S. and European tour dates before teaming for a European outing with Elder as well as performances at Roadburn and Desertfest.
