REVIEW: Hundred Year Old Man - "Rei" [EP]

By: Jay Hampshire

Album Type: EP

Date Released: 26/01/2018

Label: Gizeh Records

For fans of expansive, unhurried post-metal that explores both softness and bleakness, Hundred Year Old Man serve up a three track taster that will whet the appetite.  This is an atmospheric and well executed record that will have fans hungry for their debut full-length to come later this year.

“Rei” LP/DD track listing

1). Sun & Moon (6:26)

2). A Year In The North Sea (2:34)

3). Rei (9:00)

The Review:

Some people would scoff at the idea of ordering an appetiser as a standalone meal. Surely a starter can only ever act as a warm up for a larger dish, something to take the edge off a yawning hunger before fully satiating it with the main course. For some, Leeds based post-metal sextet Hundred Year Old Man have provided just this with their three track ‘Rei’ EP. But for the more discerning audio gourmand, ‘Rei’ can be fully digested and appreciated as a stand-alone release.

Opener ‘Sun & Moon’ begins slowly, distant guitar fading in like an intensifying ethereal wind as samples echo and shimmer. Densely reverbed drums begin a slow, stately report as droning chords grind in like stone moving on stone. The wearied pace continues as Paul Broughton’s crowing vocals erupt, before the track fades into mere guitar motes and sibilant cymbals. Reigned back in by a plodding bass undertow, things bloom out into a thick haze of instrumentation, smooth as silk.

‘A Year In The North Sea’ is a caesura of sorts, a building wall of noise and sumptuous choral vocals that warp and twist, buffeted by rising guitar feedback and distant shrieks, ending in a thicket of birdcall based noise.

The title track itself jams in with tolling, brooding bass and lances of guitar, expanding to fill a vast space, winding and lurching towards a heavy, doom centric riff. They slowly revolve around this theme, instruments dropping in and out, vocals echoing into the distance, building dread before the track ends abruptly, forming into a screeching noise scape and then a creaking synth loop.

For fans of expansive, unhurried post-metal that explores both softness and bleakness, Hundred Year Old Man serve up a three track taster that will whet the appetite. Despite a slightly ropey mix leaving ‘Sun & Moon’ a little too vocal heavy and that shuns the traditional heavy/light dynamics integral to true post metal effectiveness in favour of embracing sprawling expanse, this is an atmospheric and well executed record that will have fans hungry for their debut full-length to come later this year.

“Rei” is available here

Band info: bandcamp || facebook

ALBUM REVIEW: Nomasta - "House of the Tiger King"

By: Ernesto Aguilar

Album Type: Full length

Date Released: 03/11/2017

Label: Independent

Nomasta keeps its debut highly listenable by balancing artistry with barbarism. It is those moments of elegant song writing counterbalanced by ruthless arrangements that are just timeless metal. "House Of The Tiger King" gets you hyped for whatever chapter two becomes.

"House of the Tiger King" DD track listing:

1. Death Rattles

2. The Book Burners

3. Sir Impaler

4. Alchematic

5. House Of The Tiger King              

6. This Trail Got The Best Of Us

7. At The Mercy Of Sleep

8. Hard As A Coffin Nail

9. Dawnbreaker

The Review:

Everyone says they can merge lots of styles. Far too much of the time, it is super awkward business or feels inferential. Many groups suggest they can make their many inspirations work as well as a Mastodon or Converge do. Nope. They end up sounding like Mastodon or Converge cover bands doing original music of vacillating quality instead. No need to name names. You can fill in the blanks there.

A new Leeds trio, Nomasta have had several iterations in its life. Formed from the ashes of Canaya, with Owen Wilson on guitars and vocals and Andy Richards (formerly of alternative metal act Nerve Engine) on drums, Canaya’s dissolution saw the entry of Kris Allen on bass. With that, Nomasta was born. It steps into the pocket of many sounds. The young three-piece does so with an aptitude beyond its years.

Billed as a thrash band with doom elements, you will most likely catch hardcore, progressive and sludge influences throughout "House of the Tiger King," the band's debut album. And what a journey it is.

The recording begins with "Death Rattles," which is a perfect introduction to a distinctive sound. Solid thrash synthesized with psychedelic and progressive essentials make this a worthy representation of Nomasta's vision. Though only two minutes, the cut's napalm spray of guitars and vocals are searing. It is a ferocious scene setter for "The Book Burners," which rips through with melodic thrash. The riffs are withering. The vocals are coarse. And here is where Nomasta also proves impressive: track selection comes in with a high musical IQ. "Sir Impaler" continues the onslaught, while introducing dashes of prog and hardcore, which flow exceedingly well into "Alchematic" one of the proggier cuts. It goes on more of a thrash jag two minutes in, but remains steady in that early tone, carried throughout.

The title track leads you into the second half of "House of the Tiger King." Here, the music picks up the pace with a driving rhythm section and vocals riding the crest of big riffs. The band's players have much experience beyond Canaya, and that experience seems evident as the mood cascades from heavy chords, into more smooth musical transitions. "This Trail Got The Best Of Us" sees Nomasta get darker and even denser in its thrash, while songs like "Mercy of Sleep" and "Hard As A Coffin Nail" rain down hell in the form of demonic percussion and forceful lyricism.

Nomasta keeps its debut highly listenable by balancing artistry with barbarism. It is those moments of elegant songwriting counterbalanced by ruthless arrangements that are just timeless metal. "House Of The Tiger King" gets you hyped for whatever chapter two becomes.

"House of the Tiger King" is available here:

Band info: bandcamp || facebook

TRACK PREMIERE: Nomasta infuse doom laden thrash amidst bursts of elephantine riffs on new track “This Trail Got The Best Of Us'

From the ashes of SLUDGELORD favourites Canaya, step forth a brand new 3 piece conjuring up their own malevolent blend of noise magic.  'With the metallic edge of Mastodon and Gojira, mixed with the punishing tones of High On Fire and Kvelertak', Leeds based Nomasta infuse doom laden thrash amidst bursts of elephantine riffs and dancing time signatures, creating a new blend of sonic brutality for discerning metal fans. 

Today at THE SLUDGELORD, it gives us great pleasure to premiere brand new music, in the form of “This Trail Got The Best Of Us'  taken from Nomasta's forthcoming record 'House of the Tiger King', set to be released November 3rd.  Owen Wilson (Guitars, vocals) had the following to say about the track, which you can also stream below

“This Trail Got The Best Of Us' is a real nasty piece of work, in the most metal way! Musically it is an ode to the extreme music scene I was introduced to when I moved to Leeds in 2004, and to the friends I made along the way. Lyrically the song is about understanding how all things can come to an end. It can take huge amounts of mental strength and humility to detach from a situation and regardless of our personal investment, to accept failure and begin starting a fresh can often be the best avenue to pursue.

Band info: Bandcamp || Facebook

TRACK PREMIERE: Hundred Year Old Man release crushingly dense debut single "Black Fire"

Hundred Year Old Man a six-piece collective based in Leeds, UK are set to release their debut single “Black Fire” via Gizeh Records this forthcoming Friday August 25^th 2017.

Hundred Year Old Man's sound can be distinguished within the parameters of post-metal, doom and crushingly dense heavy music. Formed in 2015, the band have spent the last 12 months touring and playing shows with the likes of Deafheaven, Ohhms, Moloken, Employed To Serve, Conjurer, Fen, Opium Lord, Canvas and Wren as well as a recent performance at the UK’s premiere underground metal festival Bloodstock

“Black Fire” is the perfect introduction to Hundred Year Old Man, indeed this track encompasses everything this crushing conglomerate  is about, 10 minutes of heavy, atmospheric riffs build and descend through the sonic ether and  the listener is ultimately  rewarded in spades. We’ve heard it all before, but this band seems intent on doing things differently.  The abrasive and the aggressive offset by  a kaleidoscope of divine light.  Today “Black Fire “can be stream in its entirety below (order here) and precedes a 12” EP due in January with their debut album to follow later in 2018.

Band info: facebook || bandcamp

Live Review: Oxbow, SUMAC @ Brudenell Social Club. 26/04/2017 Leeds, UK

By: Aaron Pickford & Charlie Butler

Few could argue that Aaron Turner has been one of the strongest advocates for the promotion and composition of heavy music over the last 20 years. Musician, artist and founder of the highly regarded Hydra Head Records, Turner has played a pivotal role in the release of countless classic albums, but it seemed that with the demise of the revered band ISIS (band), perhaps Turner’s appetite for producing suffocating heaviness would end too.

Whilst Tuner was far from inactive in music since ISIS (band), Turner would re-emerge on his own terms alongside drummer Nick Yacyshyn with a new project and they set about creating some of the heaviest music they had ever written, indeed over the course of two albums, their debut “The Deal” and 2016’s “What One Becomes” SUMAC's music seamlessly weaves between periods of crushing heaviness, fragile calm, hypnotic repetition and mind-bending mathematical chaos, taking all of their previous achievements as a foundation and building something even bigger in its own right.

SUMAC have indeed found their voice and with their following growing exponentially, they returned to our shores for the second time in 12 months and on April 26^th in Leeds, my appetite to see them was impossible to quantify. 

Now with a career spanning nearly 30 years, it was a view in some quarters that it was somewhat of an injustice that San Francisco exepermentials Oxbow would act as second fiddle to tonight’s headliner, however the band were consummate pros tonight and their talent was clear to see, showcasing their truly unique sound.  Trying to categorise their music, is the equivalent of putting a square peg through a round hole, it’s like musical algebra, but impossible to quantify by way of rationale mind.  For me the commonalities of their music is indicative of Nick Cave esque post punk circa The Birthday Party, songs laden with staccato guitar and flagrant discordant keys, giving the listener a sense of nausea, whilst front man Eugene Robinson in a typically rambunctious manner spits out his laments, stalking the stage like a prowling cat.  Given that Oxbow was entirely new to me, to my ears their music evokes the quirkiness of The Butthole Surfers, whilst not entirely draped in acid, the songs are of kilter , unconventional and the antithesis of anti pop.  This is a band who don’t play by the rulebook indeed their din of exultant noise leaves you queasy green like a 5 years first boat journey.  With a promise to return next time in under ten years, the final track opens with layers of feedback like the swell of an ocean enveloping your senses, guitars , bass, drums coming at you even more cacophonous than what has come before it and their set is over and my anticipation for SUMAC has literally reached fever pitch. 

It is hard to frame concerts without resorting to the clichéd response of “man it was awesome”, in fact the use of a simple adjectives to describe an experience cannot truly encapsulate that experience and yet here I am attempting to do just that, however truth be told, words fail me for what I witnessed with SUMAC.  Given the dense nature of their recorded material, SUMAC brilliantly translated their music from record to the live arena, shimmering between pummeling heaviness, and more free spirited jam movements.  “Blackout”, “Rigid Man”, “Thorn in Lion’s Paw”, “Image of Control” all were aired tonight, at times the music is as subtle as a brick to the face, with the bass at times overriding the guitar, but SUMAC are more than just a vessel of heaviness, live there is a genuine symbiosis between Turner and Yacyshyn, so much so in fact that if you didn’t know the songs, you could be forgiven for thinking they were improvised jams, Turner flipping between dense riffs to master noise manipulator, allowing the feedback to ring out then we’re awash with psychedelic passages, Turner producing a drumstick to tap the strings, Yacyshyn pulling off impossible drum beats and at times giving the impression this is a man built at a cost of six million dollars, given his apparent bionic abilities.  This was not perhaps a gig that everyone would enjoy, yes at times you're banging your head , but live these compositions are more about feel, dynamic shifts, the manipulation of sound and for me it was an absolute pleasure to witness.  It was a lesson in absolute power.  

Band info: Facebook 

Live Review: Damnation Festival 2014, 10th Anniversary @ Leeds University Union, 1st November 2014

Today is not your typical day for me, being a husband and father of two kids under four, the days are few where I'm not spending time with them, therefore on those rare occasions where my children have flown the coup (e.g. staying with their grandparents) you need to make the most of your downtime. I speak of this because I listen to metal in solitude, as many of you reading this will attest too and now the ghouls and witches have been vanquished following Halloween the day previous, it is with the utmost excitement that I have a day of heavy metal carnage to enthuse and enrich me, and it will unequivocally without interruption from my beautiful children.  Nov 1st is metal head nirvana. 26 bands, four stages, Leeds Met University, this can only mean, Damnation Festival 2014

Now in its 10th year, there is much to celebrate for the organisers, since the inaugural event took place at Jillys Rockworld, Manchester. As we hit 88 mph in our Deloreans and head back in time, a mere 10 yrs previous, £13 would have got you 15 bands, 2 stages and the likes of Raging Speedhorn, Forever Never (whatever happened to them?) and Entombed, fast forward to 2014 and with a sell out capacity of 4000, Damnation Fest continues to excel in delivering a mixture of new cutting edge music, alongside the vanguard of futures past.  As the metal legions flock to Yorkshire, the festival is more than just an appreciation of music, it is a social gathering of music lovers, who share a common love of beautiful and ugly music, perhaps seeing each other but once a year, but congregate here to listen, to worship, to drink, to bang your head, but more importantly to be part of the encompassing sense of affiliation within your peers, you adore this music.  Today, folks I am not alone.   

Heading over to Leeds, the day starts early, 7am to be exact. I have my timings worked out in my head, catch a Bus to City Centre 9am, coach to Leeds 10am, arrive there around 11am, get to venue around 12pm, relax and wait for friends to arrive, problem being we’ve never met each other, but that’s only a minor detail (ill worry about that when I get there).  Upon arrival the venue is buzzing, people milling around inside and out, checking out merchandise.  I’m sweating as I’ve walked 40 minutes having got lost on the way, but hell, a beer will rectify that. 

The 4 stages are on 3 levels, one down a flight stairs (Terrorizer Stage), and down again to another (Eyesore Stage) and then there is two on the main level, (PHD Stage) and (Jagermiester Stage).  When you enter the venue, what is striking, is that the layout is very ordered and well organised, it feels a little disorienting at first, because you’re ushered in one direction to begin with, but as the first band got things underway, the atmosphere is suitably relaxed.  With bands playing on two levels, you have to head downstairs for lesser known bands and then back up to the main level to see those on the main stage.  At times, things bottleneck when fans exit from downstairs but that’s a very minor criticism.  Alcohol was adequately priced and given that the stages were on two levels, it didn’t feel oppressive in terms of the amount of people around, indeed with bars in the general vicinity of the stages, many people choose to camp out in one area until the acts on the main stage start. 

With my friends scheduled to arrive around 3ish, Corrupt Moral Altar kicked things off at 1pm on the PHD stage and having seen them put in a stellar performance supporting Conan earlier in the year, I had high hopes that things would be suitably malignant today.  Given that their music is so angular and chaotic, there is a need for a crisp sound mix in order to fully appreciate them, but unfortunately for me they suffered from a muddy sound, guitars were swallowed up and despite a typically muscular performance, the drums just buried everything, which in turn left me feeling disappointed.   This is not to detract from the band, who are great, but on the whole, not the best start.

I was hoping things would improve as I headed downstairs to the Eyesore Merch Stage for Bast.  By weird coincidence, Bast were also on the same bill CMA were, supporting Conan earlier in the year, and my only disappointment at the time was that I missed the beginning of Bast’s set.  For me, Bast are one of the major success stories of this year, their blend of black metal/doom, has won them numerous plaudits and based on today’s performance, Bast consolidated my opinion that they’re set for a bright future.  Drawing an impressive crowd for such an early performance, their sound was incredible, I’m talking studio quality.  Clean guitars were crisp, vocals the right amount of anguish and angst, to top it all off ‘fucking massive riffs’.  These guys are impressive and for me, set the benchmark for all subsequent performances of the day.   Having clocked in an impressive amount of road miles in support of Conan in 2014, an impressive debut record under their belts and festival appearance booked in for 2015 already; expect big things from these guys in the future, I for one, can only wait in anticipation for new material too.

With such an impressive crowd downstairs, I had to jostle my way through the hoards and make my way upstairs for the first band on the main stage.  With October File being conspicuous by their absence (due to an unfortunate accident), Dyscarnate stepped into the breach as opening act on the Jagermeister stage.  Fresh from their performance the previous day at the warm up party for Damnation, this wrecking crew put in a noteworthy performance, admittedly my love of death metal is limited at best, but they delivered a tight and solid performance, perhaps more on the side of brutal death, rather than old school death. (Note, I have limited knowledge in this genre).  Given the technicality of their music, they clearly have the chops in abundance and for me this is to be commended given they’re a 3 piece.  Having reissued their previous records within the last 12 months and with new material on the horizon, if Dyscarnate continue to deliver performances such as this, then they have a bright future.  As a friend said later in the day and I paraphrase, Dyscarnate are not a band I would not return to again and again, but deliver music of high quality, and are good are what they do. 

The beauty and the curse of any festival is the sheer amount of music, not to mention that as the day progresses the timings of performances kinda bottle neck and your ability to skip from one stage to another becomes more difficult.  Following Dyscarnate’s performance, I meet up with fellow Sludgelord scribe Richard Maw and we shoot the shit in the bar, having a drink, trying to cement a friendship started way back when he first started writing reviews 2 yrs ago.  Indeed, the beauty of appreciating this type of music, is the formation of friendships such as this, not talking for ages, then immediately being able to converse about the last great record you heard, the last vinyl you bought or the last gig you attended, the heavy metal scene is truly unique in this regard and it is at this point when it becomes apparent that I am likely to focus my attention more on the main stage acts, then buzzing around trying to catch every band in the house.  I mean, 26 bands, one day, come on!!  I am, but one man. 

After a 35 minute interval, during which time, Aeon and Black Moth play on their respective stages, next up on the main stage is Stampin’ ground. Circle pits abound and dare I say it, the most fucking fun had all day. With the crowd firmly in the palm of his hand, front man Adam Frakes-Sime splits the crowd down the middle from front to back to make the biggest pit of the day. Their set is a real highlight and having reformed this year for a string of dates including Sonisphere, they are clearly enjoying every minute of it.   Having toured with the likes of Anthrax, The Haunted, Soulfly and Sick of it All in the past, they clearly have pedigree and were revered back in the day, and perhaps didn’t get the credit they deserve.  Based on today’s performance, with their blend of groove laden hardcore, they got the crowd going, played their hearts out and their enthusiasm for what they were doing was infectious.  Finishing off their set with a nice Biohazard tribute, Stampin’ Ground left a lasting impression and may have earned a few more followers whilst they were at it.  Nice one Damnation, kudos for booking them.  (N.B. Check out the band Romeo Must Die, great band, featuring former members of SG)

The must see band of the day for me, was Raging Speedhorn, who were up next on the Main stage.  Having headlined the very first Damnation 10 years, it is fitting that these guys from Corby return to play, indeed it feels like 2014 is the right time for this band to return, such is the bristling sludge scene in the UK at the moment.  Raging Speedhorn exploded onto the scene way back in 2000, reaching the heady heights of the UK Singles chart in 2001 with their song ‘The Gush’, but for me, it was with the release of their debut full length ‘Raging Speedhorn’ that I really took notice of the band, having a sound reminiscent of Eyehategod and Iron Monkey, there really wasn’t many bands like them at the time.  With an incredible follow up ‘We Will All Be Dead Tomorrow’, produced by members of Biohazard, Speedhorn were destined for great things.  Following the release of their 3^rd record ‘How The Great Have Fallen’ Frank Regan split from the band in 2005, to be replaced by Blood Kev of Helvis fame (ex-Iron Monkey members) and they subsequently released one further record ‘Before The Sea Was Built’ in 2007, a record which strayed from their original sludge sound.  That is their history but fast forward back to 2014, and their arrival on stage today, almost feels like a rebirth, this is their spiritual home and ‘Speedhorn have come to destroy.  Kicking things of with ‘Knives & Faces’, the opening refrain is lapped up by the crowd, and for me it is particularly exciting to see Frank Reagan back on vocals and he does not disappoint, cap tied to belt, trading vocals with his demented sidekick John Loughlin, looking like the guy, you least want to spill his pint.  To coin a phrase, they’re ‘on point’ from the start. A personal favourite ‘SuperScud’ is 3 songs in, by which time, the band is in full flow, the trading vocals are just brilliant, with Loughlin having some banter with the crowd.  There is even a nod to the brimming UK scene with Loughlin sporting a Gurt t-shirt, ensuring that at least one member of the audience will leave the venue with a Cheshire Cat grin.  The aptly titled ‘Hate Song’, exudes well, Hatred, we get ‘Fuck The Voodooman’, ‘Scrapin the Resin’, their hit ‘The Gush’ and my personal favourite ‘Thumper’.  Playing 11 songs in total, Raging Speedhorn came, they destroyed, job done and if Carling made metal bands from Corby, this would probably be the best band in the world.

Talking via various social networks, a band within the stoner doom scene that is almost certain to crop up in conversation is Orange Goblin, and rightly so to be honest, they have worked their balls off to get to point where they are doing this full time.  For me, I have always felt slightly underwhelmed by them, alternatively Ben Ward’s tenure with Ravens Creed fucking ripped.  Listen to ‘Stand up and be Cunted’, then come back and see me.  I first saw OG at Hammerfest a few years back, the crowd adored them, but again I felt there was something missing in there performance.  Undoubtedly what they do, they do well, great riffs, swagger, a towering Thor like front man, in essence they are a class act, but I just think I am destined not to love them.  I don’t dislike them, I am just indifferent to them and based on their performance this evening, they didn’t change my opinion.  Of course, there are probably 3000 people who will say OG slayed, but for me they didn’t really grab me and that is what is important, a band needs to suck you in and to be honest, they didn’t.  I wanted to love it, but regrettably Orange Goblin disappointed, but again it is a subjective opinion and based on the fact 3000 people were going nuts, Orange Goblin’s performance was a triumph.  There’s nothing not to like, but for me, they’re missing that special something. (Cheers Phil)

I left before the end of Orange Goblin’s set, as I wanted to catch Anaal Nathrakh downstairs on the Terrorizer stage but it was tighter that a nat’s arse, it was packed and to be honest, it wasn’t enjoyable, so after a few tracks I headed back upstairs, to catch Monarch, and holy fuck did I make the right decision.  Honestly, words can’t describe how disgustingly bleak they were, it was blacker than black but I loved it.   There is a undoubted paradox about Monarch, in the sense they are fronted by a diminutive blond angel of a front woman, with a vocal delivery at odds and contradictory to what you might expect, indeed such is the confliction it defies common belief, Monarch are unrepentant in their harsh approach, this is not music for people of a sunny disposition or someone who is sickened or disturbed by unpleasantness or challenge, this is music to upset and nauseate.  Monarch deliver cavernous and mighty bass riffs, that drone on for days, you get slow drum lines traded against Emilie Bresson’s terrifyingly emotional vocal style ranging from tortured screams to calming and evocative chanting.  Monarch’s performance is certainly an ordeal for the listener and will not be to everyone’s taste, but to me, they delivered a truly blistering and intense performance.  Enthralling stuff.  A side note to their performance was that Air France had misplaced all of their gear, so they were forced borrow instruments and amps from other bands.  For that Monarch get the band of the day for me. 

By the end Monarch’s set it is around 8pm, by which time my energy reserves were in need of a much needed boost, doom stalwarts Saint Vitus were next up and it was a case of the masters showing how it was done.  Those expecting bundles of energy from the band would have been disappointment, it was a case of less is more and they delivered a measured performance.  Star award of the day, goes to Henry Vasquez on drums, he was at the cornerstone of everything that was good about Vitus, he was having a blast behind the kit, playing like his life depended on it but at the same time, messers Chandler, Adams and Weinrich were somewhat reserved, with the aforementioned Wino on vocals seemingly disinterested at times, which was a shame, given that I hold him in such high regard.  It is not every day you see a band like St. Vitus on stage, it is one for the bucket list of all doom fans and on the whole they sounded amazing, Chandler’s riffs sounding at fresh as the day they were written, but Adams on bass seemed to be going through the motions.  I mean I was not expecting tons of energy, but presentation was a little dreary at times and coupled with my own dwindling energy levels, I made the painful decision to leave the festival and make my way home back to Sheffield. 

In terms of the festival there was music to cater for pretty much every musical taste, but by 9.10pm I was honestly knackered and given that I am not particular enamored by death metal, I decided not to battle through the masses to catch Cannibal Corpse or Bolt Thrower, yes, you may well shout ‘You idiot’ at the top of your lungs, but honestly I saw the bands I wanted to see and left Damnation tired, but enthused about what I had witnessed.  CMA, Bast, Dyscarnate, Stampin’ Ground, Raging Speedhorn, Orange Goblin, Monarch, St. Vitus.  16 hours, one bus, one coach, good banter, several beers, one Damnation Burger, 8 bands, one train, one taxi, arrive home at 1am.  Tell me that is not a good day?!!  Damnation Festival, Becky Laverty you guys rule, thanks for the invitation and I will hopefully see you next year if you’ll have me back, it is going to take me that long to recover. Stay heavy. 

Words by: Aaron Pickford

 

Live Review : Loop, Godflesh. The Cockpit, Leeds, England. Tuesday, 3rd June 2014

With confirmation for my attendance at tonight’s gig coming just 24hr before, there was an immediate anticipation for this live spectacular.  Ironically enough, having just spun their first new music in 13 yrs a few hours before, I was fully buoyant and psyched to see this legendary and iconic band. Hey, I even noticed HMV was carrying their new EP, Decline & Fall during my lunch break. 

Taking that into consideration, there is an obvious sea change in terms of music being available these days; I remember having to order old Earache Records releases back in the day when Godflesh were on the scene the first time around. Hell in 13 years, we have suffered a mass recession, a declaration of war on terror, the emergence of social media.  Hell I graduated from University. Yes me, I even got married and had kids. (There is hope for us all).

Anyway, back to the matters at hand.  From their initial inception, to their unfortunate and tragic end the first time round, Godflesh set the tone for industrial music and released a rich back catalogue of music, which is revered to this day.  I am a firm believer of fate and although it is a cruel and heartless bitch at times, without the gap, it is unlikely that Godflesh would be walking onto stage this evening, let alone releasing new music.

It seems JB and GCG, are driven once more to present their old treasures to the masses, but to write a new chapter in their rich history, being more than something nostalgic and building upon the platform they set for themselves.    It is only prudent perhaps to remark that ‘Decline and Fall’ is a sublime return to form, standing up to what has come before it. 

With tours across the continent having gone down a storm, which was confirmed by Miami duo Holly Hunt (Check em out), who supported them during some dates.  Tonight is not gonna disappoint.    

Loop

The ambience of keys is the first din of the evening with what seems like a narrative from a movie soundtrack. Feedback subsides to the fury of guitars. With the looped drum track stomping forth like some malevolent beast and then the vocals finally become audible. This is some minimalist alt noise with bass sounding primal and driven, in terms of tone of music Loop are more akin to indie rather than metal yet perhaps discordant industrial indie punk.

For me there is not enough bite or crunch but much like Godflesh it is repetitious. Certainly the crowd is appreciative and at a guess many die hard fans have travelled the distance to be here. At times there is crunch to the guitars but more on the indie punk stylings. Not furious or frenetic but more post punk. Guitar wise it is mostly played open rather than the bite of a drop d riffs for example. Having recently played the psych fest I'm looking for reference points or common threads within Loop’s music that marry with that sub genre but their sound is kinda undistinguished.

Hey, my words are not gospel when it comes to music but this is new territory for this 37 yr olds ears. In terms of sound and performance, Loop is pretty seamless and for me the bass is the business, being at the centre and driving this band.  There is a smattering of grunge perhaps even Sonic Youth to this band. It feels like a homecoming of sorts for the band, the buoyant crowd although perhaps only half full, nod with adulation and then it hits me. The obvious influence of Godflesh on their music, the drums are metronomic and guitars follow that nonchalant loop on repeat. A riff played insistently and the addition of electronics giving it an almost Big Black vibe. Having officially reformed back in 2013 they certainly have their chops iced and it was an insistent, if understated performance.

Godflesh

After observing Justin Broadrick setting up his gear, an unsuccessful mission to pick up the remaining vinyl of ‘Hymns’ and with his 3 weapons of the evening tuned, smoke descends. We're ready for Godflesh.  Indeed, I am wrestling with my own thoughts to an extent, because I trying to recollect whether I have seen Godflesh before.  I have memories of ‘The Leadmill’ in Sheffield and a support slot with Anthrax, but I could be mistaken.  Indeed, if it did happen Godflesh were 3 at the time, with Raven (RIP) and Parsons part of the line up at the time. Anyway I digress and immediately the last 13 yrs are erased, with the sound of programmed drums, the crowd is unwittingly induced into spasmodic nods of approval.  What’s striking, is the chemistry and symbiosis of the two, staccato riffs rip out off the speakers under the metallic undercurrent of G.C. Green’s bass, blended together with 90s electronica to make the perfect, discordant heavy metal shake.  The introduction of new music with ‘Ringer’ is seamless, the throbbing bass is consistly one note and monotonous, like a band of marching cyborgs set to exterminate, with the accompaniment of hostile distortion from the guitars. The backbeat is overwhelmingly, layers of dense drum beats are almost pugilistic.

‘Like Rats’ is furious, again the bass is just brilliant. So minimalist yet it drives everything. The main riff is crushing with squeals and wondrous nuances, like Broadrick’s guitar is wailing for mercy, under the abuse from its master.  The music remains ahead of its time and remains as fresh and destructive as the day it was conceived.  It' always has an underlying groove which gets you moving, dare I say, it has an inherent dancebility, with arrhythmic chiming.

Unwittingly as a spectator you’re swaying along like you’re on some acid laced psychedelic trip, the music a cross pollination of two different worlds to make one singular malevolent hybrid. It leaves you scratching your head why they never sold records by the bucket load.

The music just translates from tape to the live arena without discourse. Chugging riffs, gristly bass and chest pounding beats. Broadrick’s voice biting with venom and vigour. This stuff is mechanised, industrious and brutal. The beats could have been lifted from 80s hip hop. Instead you have the accompaniment of discordant guitars with natural and pinched harmonics, punctuated by voracious and nihilistic vocals. For me their music is the perfect Soundtrack to the abstract and the often unintelligible mind of Cronenberg.

It is their own Videodrome, a musical broadcast of extremes, interfering with your senses and taking you on a journey, of which your life will never be the same. ‘Long live the new flesh’.

Words by : Aaron Pickford

Live Review : The Haxan Cloak, Neurosis. The Cockpit, Leeds, UK, 3/5/2004

Under the twilight of a hollow arch in the centre of Leeds, UK, tonight is all about Neurosis. Stepping away from the South and playing their first UK shows outside of London in 10yrs, the overwhelming consensus was that Neurosis were compelling and brutally loud during their set at the inaugural Temples fest; decimation by aural drone.

20 yrs or so earlier I witnessed Neurosis for my first and only time. Ironically enough that was in the West of Yorkshire in a club called Rios. Acting as main support to Entombed at the time, Neurosis were likely to have been supporting their breakthrough record ‘Through Silver in Blood’.  Fast forward to the present and with the touring cycle for their current record ‘Honor Found in Decay’ likely to be coming to a close. Tonight is a very rare spectacle and one that may not be repeated for sometime to come. For that reason tonight's gig is very special for a host of different reasons. Upgraded from Leeds Uni. Neurosis on bank holiday weekend is the hottest ticket in town.

Acting as main support, The Haxan Cloak is one man, producing electronic experimental drone. The darkness of the room is met with punishing bass that literally has your body shaking. Feeling like you're in a packed metropolis with the floor rumbling under each gargantuan footstep of Godzilla. The din is cacophonous with waves of ambience enveloping your senses. Sounds and samples that you'd expect to emanate from the page of a Philip K Dick novel. Or even H G Wells’ War of the Worlds. Hell you expect a psychopathic replicant from Blade Runner to appear in the haze of smoke and begin to chase you.

In terms of musicality, The Haxan Cloak kinda reminds me of Pre Millennium Tension era tricky. It's incredibly heavy stuff, your body spasmodically shaking under the tremors of bass. The music affects your senses and almost gets under your skin, creating tension and claustrophobia. This stuff could serve as the accompaniment to an Alien movie. It is stunning stuff and perhaps with an accompanying visual display it would perhaps give the listener more to engage in. Despite this, your mind kinda creates its own visual narrative based upon the sounds and textures. Most of which evoke darkness, like you’re observing the destruction or desolation of humanity.  I can't actually describe the music because I haven't actually heard anything like it. There are pulses of electronica which are delicate, married together with thudding ambience. It really is captivating stuff and unlike anything else I have heard. If you fancy something experimental and left field this is surely some of the most ambitious and mind bending stuff. Electronic ambient drone genius.

It is hard to describe the sense of anticipation for Neurosis, there is rampant fervour building amonsgt the masses present and for me tonight’s gig doesn’t actually feel real somehow. The tension builds until Neurosis unloads into ‘A Sun That Never Sets,’ instantly the drums sound huge, with every detail on record translated perfectly on stage. Steve von Till’s voice is anguished, languid and impassioned. Next up is easily one of my favourites, ‘Locust Star’which is tribalistic, the dueling vocals, the driving bass slides from Dave Edwardson, with his ferocious guttural vocals.  From the outset everything is pitch perfect, in between songs, the electronics and ambience immerses you. Jason Roeder’s drums are huge, the snare cracks, with the drone of guitars engulfing you like a rampant conflagration.  Seriously this is barbaric stuff, and yet the decadence of the ambience transcends you to a spiritual plain, where on a battlefield warriors lay down their arms before the charge begins again with more vicious guitar breaks. Not a layer of sound is missed and it's as if a story from a page has come live and is told through the crunching music. This is night perfect.

Again, Jason Roeder seemingly has 8 arms connecting this tyrannous music together with massive sounding drums. The first song from ‘Honor Found in Decay’, sounds like a classic. Something they have been playing for 20 yrs, Scott Kelly taking the lead vocals for the first time. The music is so graceful and powerful, The Cockpit awash with a maelstrom of anthemic decadence. The heat is overwhelming but the crowd are hypnotised by the juxtaposition of ambience married with the crushing heaviosity. Scott Kelly barking out ‘From the hills’, a front man spewing out his words with vigour and such intensity it makes the hairs on your back stand on end. The music of Neurosis is a journey of peaks and troughs, but you’re always drawn back to the snap of Roeder’s snare. Snapping you out of the trance you have immersed yourself in.

Ultimately Neurosis play music that is dense yet tranquil, but you have to give yourself to the music. Invest in it. Indeed those present are stupefied by the brilliance of the music. It can become plodding but it's never boring because the sloth like pace always leads to a road of ferocity. The tone is often orchestral, elements of electronic soundscapes infusing the clean guitars giving it a spacey and organic feel. A single note of the piano sending a shiver down your back and the reason it all works is that Neurosis are a live band. On record it is tracked live. What you hear has ultimately been committed the same way on record, hence the measured and tight performance.

The magnificence of it all is that the show seemingly goes on for days because the band is so absorbing and you’re completely immersed in the music. It's epic in length but it doesn't feel that way. 90 mins or so into the show, they begin ‘Bleed the Pigs’, by this time it seems like Von Till has been a spectator but his vocal delivery is venomous. Spewing out ‘Bleed the Pigs of Its Life.’ Remarkably Roeder is as fluid at this stage of the set, performing for nearly 90 mins without a break. This guy could perhaps be the best out there. His performance is monumental, and let us not forget Edwardson, his bass booms and at times it feels the roof is going to fall in around you.

Just when you think it can't get any better, Neurosis unleash into ‘The Doorway.’ One of the best things they have produced from arguably their best record to date. Seriously the songs just keep coming, spilling over like an overflow of black sludge. This tune brings the ‘weight,’ the refrain of "Standing in the doorway" is belted out and here I am having walked through a doorway to watch possibly the best live performance I have ever witnessed and I will swear to that under oath in court.  Omnipotent, all-powerful, invincible.  Neurosis reined supreme.   

Words by : Aaron Pickford

For more information :

http://www.neurosis.com/

https://www.facebook.com/officialneurosis

http://www.neurotrecordings.com/ 

Live Review : Cattle, Broken DC, True Widow, Brudenell Social Club, Leeds, UK, Monday 7th April 2014

My attendance at the Brudenell Social Club, Leeds, seems to be a recurring theme of late, this being my third gig here in the last few months.  Indeed I am getting the feeling I am cursed at this venue, (problems with gaining entry, again).  Either that or my mug shot has been issued, based upon my crimes against music during my formative years.  Shit music taste Aaron, sorry mate you’re not getting in!!  

Anyway, problems with entry aside, True Widow presented me with a different proposition,  perhaps not strictly ‘metal’, yet True Widow reached their creative zenith with their latest record 2013’s ‘Circumambulation’, and I thought it was brilliant. With this tour, their second foray across the pond within the last 12 months, I am certain this band could become huge over the next few years, therefore for that reason I wasn’t gonna pass up the opportunity to see this 3 piece in such a intimate setting. 

Kicking things off tonight were ‘Cattle’.  Ingredients, two drummers, one bassist, one vocalist.  Based on this line up, it was evident from the start that they would present unorthodox music, however there was much to admire about them.  Essentially the listener is drowned in sound; distorted vocals seemingly played through effects to gives an ethereal quality, with a rolling bass driving the whole thing, like some whirring machine accompanied by primitive, yet blasting drums.  At times ‘Cattle’ had a drum n’ bass flavour, but at the crux of their noise, is something inherently quirky, with the bass switching from clean to distorted tones within the context of the songs mood and texture. 

Indeed when the distortion kicks in ‘Cattle’ evoke a flavour of early Big Business, but what is most appealing is the fact that this band feels totally unique, inimitable if you will.  There is influence from The Jesus Lizard, with vitriolic vocals, reminiscent of David Yow and a bass style ala ‘Weight’ era Rollins Band.  With the multi-layered tribalism of the drums, bottom end that’s enough to cause fission, it may only have been a short set, but ‘Cattle’ were an ultimately rewarding live act and a band to keep a close eye on. 

Yielding former members of instrumental monsters Capricorns within their ranks, Broken DC, if I am being honest, were not strictly to my taste.  With that in my mind, the music they produced was more or less instrumental, with Kevin Williams’ mixing things up with some vocals.  From the outset, things got off to a good start, with the atmospheric strains of twin guitars, with a kinda post metal vibe, minus the sludge factor but with added grunge.  There was a degree of crunch to their sound at times and performance wise it was energetic, with the drummer being at the centre of everything that was good.  It is was difficult to get a measure of Broken BC, kinda post punk and at times the minimalism of Big Black was also heard in my ears.  For the most part it was very stripped back and raw sounding.  Essentially Broken DC are at the opposite end of the spectrum in terms of what appeals to me, but they produced a driving and forceful performance which, on the whole was received with a great deal of appreciation from the crowd.

Onto True Widow then.  I fail to remember what the antecedent was that would draw me to this band, but I had all but forgotten about them, following the release of their second full length, their simply monikered ‘As High As the Highest Heavens and From the Center to the Circumference of the Earth’. Not very dedicated might you say?  Anyway, in 2013, True Widow emerged on a new label and a stunning new record, ‘Circumambulation’ which only served to reinforce, why I so loved this band in the first place.

What is striking from the outset is the sumptuous tone of sound, True Widow produce beautiful music. Ethereal, droning, slow brooding cascades of decadent tones, rich and wondrous.  Why are we covering this, you might say?  Because True Widow are loud in the most epic way possible, which is all the more remarkable given the small back lines of amps.  To you, the reader, it may sound contrived to say, but True Widow’s music is dreamy and otherworldly, just music in its purest form.  The bass booms and the clean tone of the guitar are moody and almost morose. Perfect music for a bleak Monday.

Despite the shoegaze vibe, this is still some of the heaviest shit, you’re gonna hear.  It is that bass, man!!  Fat with a low end that is as thick as tungsten and producing a behemoth tone Conan or even Slomatics would be proud of.  The erstwhile drummer holds everything together immaculately, slow but impacting and full of swagger.  Nicole Estill’s vocals are angelic, wistful and a tone that showers you with euphoria.  As a unit, True Widow’s music takes you off to some distant psychedelic utopia and is perhaps one of the most brilliant aural experiences I have heard.  Nothing moves faster than a heard of grazing cattle, yet that does not matter one bit, because this is music made to slow you down, to engage in and is complete escapism.  There are riffs that punch you in the stomach and this is perfectly juxtaposed against Nicole’s serene voice, acting like the perfect anaesthetic.  When it gets heavy, this is earth shaking stuff and yet at times it feels like the soundtrack to a David Lynch movie.  Think Twin Peaks or Lost Highway.  Transcendent, totally dark and at the same time truly captivating. 

True Widow, produced a measured and graceful performance.  Tonight was all about leaving your woes and troubles at the door and being totally blown away by one of the most sublime and brilliant bands out there.  True Widow delivered on every level tonight and left me feeling rejuvenated and kinda euphoric.  A truly amazing performance.

Words by : Aaron Pickford