ALBUM REVIEW: SubRosa - "For This We Fought the Battle of Ages"

By: Dan Brownson

Album Type: Full Length
Date Released: 26/08/2016
Label: Profound Lore

If you love really emotionally charged hard hitting music, give this record a listen. I had very high expectations of this record, and those expectations were met and then exceeded.

“For This We Fought the Battle of Ages” CD//DD//LP track listing:

1). Despair Is a Siren,
2). Wound of the Warden,
3). Black Majesty,
4). Il Cappio,
5). Killing Rapture,
6). Troubled Cells

The Review:

If you've been paying much attention to the underground doom/sludge metal scene in the last few years, then you've probably heard of SubRosa, an unusual quintet from Salt Lake City, Utah, boasting two highly skilled violinists (in addition to the more traditional guitar, bass, and drums). After toiling in relative obscurity for several years, 2011's “No Help for the Mighty Ones”, the band's second full length, gained some notice. The next record, “More Constant Than the Gods” then really catapulted them onto the international metal stage. With its further refined atmospheres, arrangements, and ancient feel, the record garnered them more of the recognition they deserved.

I have to admit, given that I loved “More Constant Than the Gods”, I was very curious how they'd follow up such a tremendous record. In “For This We Fought the Battle of Ages”, I suppose I have my answer.

The album opens with "Despair Is a Siren," which some fans who caught them on their recent tour with Cult of Luna may recognize. The song, and with it the album, begins with an almost innocent, serene quiet, before gradually getting more ominous until a full-on cataclysmic crescendo. The rage and, indeed, despair of the vocal line sets the tone for the rest of the album. Like the second song, it's quite lengthy, occupying the entirety of the first side (side "Rose") of the record.

Up next (on side "Lily of the Valley") is "The Wound of the Warden," a song that's been released early for a peek at what the album sounds like. Immediately the band settle into a mid tempo groove from which they expand further sonic textures, including some very nice vocal harmonies, before gradually getting heavier, off-setting bassist Levi Hanna's screamed backing vocals with guitarist Rebecca Vernon's clean main vocal line, using different lyrics in an almost Neurosis-esque manner. A clean prelude of harmonized singing between Rebecca and violinist Kim Pack precedes the denouement, with Rebecca adopting the defiant, accusatory tone to her vocals I loved so much on the last album's track "Fat of the Ram." Where that song got more hopeful, however, this one only gets darker. Given the lyrical content here, I believe the march-like feel at the end is quite intentional.

"Black Majesty," the first song on the side "Henbane" of the double-LP, begins with a radical departure. Accompanied by no rhythm, only violin soundscapes, Rebecca sings what sounds like a sweet, carefree melody, which, jarringly, contains the darkest lyrical content yet on either this record or anything I've heard from this band. The effect is a very unsettling, creepy sense of mental/emotional dissonance. Naturally, it's followed by a pounding, heavy rhythm, which soon enough is broken up by another quiet segment of cheerful duet singing between Kim and Rebecca, preceding an even angrier and slower crescendo. The use of light textures with dark lyrics, interspersed with some of the heaviest music so far on this album creates some real mood whiplash. This is not easy listening music, as the entire song's lyrics are phrased in the form of questions. Very uncomfortable ones.

Following this emotionally demanding track is "Il Cappio," an interlude much like "House Carpenter," on “No Help for the Mighty Ones”, this one consisting entirely of violinist Sarah Pendleton's voice accompanied by lyre. It's enough of a musical contrast for the listener to breathe, but not to escape the dark theme of this record.

"Killing Rapture" opens the final side ("Wormwood") of the album. Over the top of a slow, plodding, monumental riff, Rebecca's voice soars with more word painting, a serene, nearly emotionless tone matching the subject of the lyrics. A sudden shift in tempo breaks the heavy serenity with a sense of frantic panic, as if of a mind only suddenly coming to realize the hell it is trapped in and struggling to get out. However, we return to the previous tempo, as if the rebellion in the bridge section has been coldly crushed. On the album closer, "Troubled Cells," there is a saxophone solo in the intro, giving a feel like walking through a dark city downtown on a sombre, rainy night. Combined with the violin and guitar soundscapes, it's a very eerie noir atmosphere. This precedes the main lyrical content, which is a tragic response to the rest of the album, with a truly moving multi-vocal/lyric climax.

The version I reviewed is the vinyl double LP version. Very nice artwork, as usual. Each of the sides has names, separate from track names, as mentioned earlier, and each also has its own individualized artwork.

When I received this album, I did the whole reading along to the lyrics thing and the experience left me shaken. “For This We Fought the Battle of Ages” is a brutal record, though not in the way the term is usually used in the metal scene. My only criticism is the same biased one I have for virtually all metal records, make the bass louder, but only very slightly in this case (I am myself a bassist), as the sound, like its predecessor, is very good. I know reviews are supposed to contain criticisms as well as praises, and while I might say that I would like to hear more of the things I really loved, like the several vocal lines at once spots, having more of them might lessen their impact. Honestly I think this is the most bold and vulnerable vocal work that Rebecca Vernon and SubRosa as a whole have done yet.

I may not be the most objective person to do a review, given that I already really like this band, but I had very high expectations, and those expectations were met and then exceeded. The songs are individually great, but the effect of the whole album, played all the way through, is greater. If you love really emotionally charged hard hitting music, give this record a listen. If you're looking for feel-good party jams, maybe look elsewhere (still listen to this record though). Earlier I've described SubRosa as sounding like some lost, ancient civilization... but on this record I suspect that said lost civilization is our own.

“For This We Fought the Battle of Ages” is available here

Band info: facebook || bandcamp

RIYL: Yob, Neurosis, Chelsea Wolfe, Julie Christmas

Cult of Luna & Julie Christmas - "Mariner" (Album Review)

By: TJ Kliebhan

Album Type: Full Length

Date Released: 08/04/2016
Label: Indie Recordings

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.

“Mariner” is available here

Band info: cultoflunamusic