RIFF REWIND (17/5/2012): ÆGES - 'The Bridge'

ÆGES (pronounced “ages”), ambitious rock n’ roll soundscapes and melodies the size of mountains are the electrifying result of four men from diverse musical backgrounds united by their shared love of loud guitars, big drums and catchy songs. Since joining forces in Downtown Los Angeles, guitarists/vocalists Kemble Walters and Cory Clark, drummer Mike Land and bassist Tony Baumeister have concocted a thrilling sound that’s both nostalgic and forward thinking.

ÆGES has made the improbable marriage of massive extremes their hallmark, steering beyond the simple combination of sonic crunch and melodic hooks into a hypnotizing and enchanting lane occupied by pioneering acts like Queens Of The Stone Age and Soundgarden.

Their debut album “The Bridge” (2012) was a guitar driven affair whose singular focus gave way to the even bigger sonic tapestry found on “Above & Down Below” (2014) (review here), cementing ÆGES as four players with distinctive strengths that combine to make something virtually unrivaled today, as clearly evidenced by every single song on their latest release” Weightless” (review here)  Today, however we cast our minds back to their 2012 debut, which I proclaimed was a ‘truly brilliant record’.  So let us rewind the riffs to  this day 5 years ago and 17/5/ 2012.  Check out the brilliant ÆGES.

Source: Another Century here

"The Bridge" By: Aaron Pickford

Album Type: Full Length

Date Released: 17/04/2012

Label: The Mylene Sheath

 

‘What makes ‘The Bridge’ so great and so different is that ÆGES have produced an album unlike anything else out there and as a result this should be applauded.  ‘The Bridge’ is a truly brilliant record’

'The Bridge' CD/DD/LP track listing:

1. Wrong (4:00)

2. My Medicine (2:36)

3. Southern Comfort (5:03)

4. Doesn’t Feel The Same (2:48)

5. Sent From Heaven (Rest In Dirt) (4:18)

6. The Bridge (5:45)

7. Roaches (3:07)

8. The Words We Say (3:57)

9. I Believe In Ghosts (2:17)

10. Fade Out (5:18)

The Review: 

Hailed in some quarters as a ‘Super Group’ of sorts, ÆGES are a breath of fresh in the genre of heavy music, in so much as they remain startlingly heavy whilst retaining a strong element of melody and a tantalising blend of screamed/clean vocals.  The most obvious comparison I could draw upon to describe their music would be ‘Antenna’ era Cave In, indeed Kemble Walters’ vocals reminds me a lot of Stephen Brodsky from the aforementioned band.

So what is on offer with ‘The Bridge’ and why should readers part with their hard earned cash?  Basically ÆGES have produced some of catchiest songs I have ever heard and incorporate the best of elements of metal, e.g. ‘Nasty Riffs’ alongside a staggering vocal performance courtesy of Kemble Walters.  The album is jam packed full of hooky, tantalising Helmet esque riffs, with a hint of that trademark Henry Bogdan bassline.  The twin guitar delivery on opening track ‘Wrong’, is juxtaposed with intricacy and simplicity, with ample amounts of cool phrasing, supported admirably by a solid rhythm section.  The riffs are to die for and at the centre of it, with breathtakingly raw and pure vocal performance. If only medicine could taste as good as this record sounds and the track ‘My Medicine’ chips in with some wonderously floaty guitar fills, bass heavy riffs with hybrid of tonality somewhere between KoRn and Kyuss, with added desert rock spice.  Again the song is just plain catchy, leaving the listener captivated and mystified as a result of spontaneously bursting into song.  This is a big plus point for the album, in that you feel yourself being compelled to sing, seemingly unconsciously and spasmodically. 

The songs just get better and better, one memorable song after another, ‘Southern Comfort’ with its acoustic intro, then into another banger of a riff, the simplicity of which are another source of the albums strength. Bucket loads of thick dirgy riffs and incorporating layers of guitar fills to add variety and texture, keeping the listener engrossed as a result.  ‘Doesn’t Feel The Same’, turns on the 90’s alt metal style, with bursts of influence from Helmet or say Handsome, coupled with aggression, punchy drums and that Henry Bogdan bass tone.  The track is just mouth watering, with a raw groove aesthetic, which is beguiling and mesmeric.  Indeed it’s a track that could been written by Page Hamilton himself. The record is just loaded and brimming with riffs that leave you beaming from ear to ear. 

‘Sent From Heaven (Rest In Dirt)’ has a very sludgy vibe, with a post metal esque opening riff and the vocals on this track are majestic, with a nod to Cave In sdding further dynamics to the record with thrashy galloped riffs at times.  The fuzzy production creates a massive “wall of sound” which only serves to strengthen the tone of the sludgy guitars and the drum work.  ‘The Bridge’ is an assault on the senses, due to the battery of the drums and the layers of riffs that reminded me of the band Zozobra. The track is a big tune, with a strong traditional vibe to it with an amazing hooky chorus and slight variations on the same riffs, which are driving and crunchy.  Kemble Walters is on fire at this point and gives the track his strongest vocal performance, with an almost falsetto type vocal at times.  ‘Roaches’ with its Big Black esque intro is just plain aggressive and bombastic, incorporating the use of background vocals to accentuate the song.  It is the most straight forward track and most aggressive on offer.  Added to the track are hints of distorted bass and a strong bouncy groove. 

The final 3 tracks on the album continue the general tone of the album and each one could easily be big singles for the record and should rightly propel this album into becoming ‘The Feel Good Metal Album Of The Summer.’  What makes ‘The Bridge’ so great and so different is that ÆGES have produced an album unlike anything else out there and as a result this should be applauded.  ‘The Bridge’ is a truly brilliant record

Band info: Bandcamp |Facebook 

Heiress - "Made Wrong" (Album Review)

By: Charlie Butler

Album Type: Full Length

Date Released: 18/03/2016
Label: The Mylene Sheath

Over the course of their 10 year existence, Seattle’s Heiress have crafted a sound that fuses the mathematical approach of Harkonen, the weighty post-hardcore of These Arms Are Snakes and hints of metallic hardcore bruisers, Earth Crisis. All of these elements are still present on new LP “Made Wrong” but new, quieter influences are now also making their presence felt.  “Made Wrong” is a real progression for Heiress and definitely their strongest showing to date. It sees the band tighten their songwriting prowess and widen their sonic palette without losing sight of what made them great in the first place.  

“Made Wrong” CD//DD//LP track listing:

1. “Clearing”
2. “Remains”
3. “Lasts”
4. “Skinning”
5. “Made Wrong”
6. “Cruel Calm”
7. “Endure”

The Review:

Dialling back the heaviness is a risky move that can often yield powerful results. Over the course of their 10 year existence, Seattle’s Heiress have crafted a sound that fuses the mathematical approach of Harkonen, the weighty post-hardcore of These Arms Are Snakes and hints of metallic hardcore bruisers, Earth Crisis. All of these elements are still present on new LP “Made Wrong” but new, quieter influences are now also making their presence felt.

Brisk opener “Clearing” provides an effective reminder of the band’s capabilities before events take a different course over the rest of the album. Heiress’ aggressive approach is still evident throughout, but tempered by sections of intricate melody. This takes the form of spiky, Slint-style guitar lines in the menacing “Lasts” or taut post-punk/emo figures, reminiscent of Self Defense Family, in “Remains” and “Skinning”. The post-rock influences, hinted at on previous releases, are allowed free reign on the title track, widening the scope of the band’s attack without dulling the edges.

Most unexpected is closing track “Endure”. Slowly unfurling over 8 minutes, Heiress craft a restrained epic. John Pettibone’s vocals barely rise above a whisper yet still remain commanding over the band’s hazy, intoxicating backdrop. The overall effect is strangely entrancing, like Deftones and Bardo Pond trapped in a cave, shorn of distortion.

This more considered approach has not come at the detriment of riffs. True, there may be less present than expected but their blunt impact is now enhanced due to tactical deployment, providing violent contrast with the periods of calm.

“Made Wrong” is a real progression for Heiress and definitely their strongest showing to date. It sees the band tighten their songwriting prowess and widen their sonic palette without losing sight of what made them great in the first place. Hopefully this album will bring them some much deserved attention, after 10 years of being an underappreciated gem, it’s time for people to sit up and take notice.

“Made Wrong” is available here

Band info: bandcamp || facebook

Æges - Above & Down Below (Album Review)

Album Type: Full-Length

Date Released: 23/9/2014

Label: The Mylene Sheath

Above & Down Below CD/DD/LP track listing:

1). Echoes
2). The Hunter
3). Clouds
4). Parasite
5). Fault
6). My Last Words
7). Rats
8). Halos
9). Leech
10). The Line
11). Wasted Time
12). As I Grow Old

Æges is:

Kemble Walters | Vocals, Guitars

Tony Baumeister | Bass

Cory Clark | Guitars, Vocals

Mike Land | Drums

Review:

This is a great record. Alive with a real surging energy, a melodicism as contagious as Cliff Richard is irritating at Christmas – as Cliff Richard all year round, frankly – and a sharp yet warm and rounded sound, its hooks bury deep within your psyche straight from the off. They manage to store up a delectable feast worth of influences across the record, like a hamster stuffing its cheeks as it prepares to hibernate over a long, cold winter. But they blend the ingredients together to make a properly massive and extremely unique sounding album, they come off sounding nothing quite like anything you’ve heard before.      

From the avant garde accessibility of Muse and the fuzzy spit of QOTSA via Baroness meets Royal Blood flavoured elephant noises guitar work and the pop sensibilities of Floor's catchy doom metal, the table they have laid out for their guests is exceptional. Each and every song is humongous, quilted in groove and dexterity, every chorus a battering ram aimed straight at the jukebox in your mind. ‘Above & Down Below’ stands out a mile away, its lighthouse spotlight beaming across the darkness enveloped sea of competition. Stick it on, crank it up and, if you're anything like this humble writer, it won’t be long until your backing this band to do truly great things.

’Echoes’ steam rolls into life with a gunshot snare drum which is instantly engaging, instantly alluring vocals reminiscent of an on form Black Keys takes hold. Its chorus will stay with you for a long time, haunting you until you give it another spin. This is a trend, I must add, that is continuous throughout the album. It becomes more than just a great rock and roll record, it becomes an addiction. 

There are so many riffs spread across the album that make you wanna stamp about your room like an woolly mammoth after a bag of coke has exploded in its stomach. There is monstrous guitar work at play here and it never lets you off lightly. Even though there are two guitars ravaging your ear drums here, it is the bass that comes through most menacingly present. It rattles, rages and rips apart any cleanliness their sound could have had and it’s all the better for it. As smooth, melodious and catchy as the pop-leaning vocals are, the sound that backs it up is just nasty. Their mainstream friendly hooks are to their gritty, pounding heaviness what a strong cheese is to beans on toast. The two marry together perfectly; once you’ve tried it you can’t imagine having it any other way.

’Clouds’ slows things down a few tracks in with Cory Clark’s vocals croaking soulfully along with a power that really draws you in. ‘Fault’ loses its shit in the vein of QOTSA with a really swaggering, disastrously enjoyable masterpiece of sharp heavy melodic rock. More elephantine riffs with the kind of chord progressions, along with more of Clark’s breezy vocals, that get your hairs raised and skin crawling.

’Halos’ is another fine cut. A chorus big enough to park, not just a bus, but an entire bus station in it, the vocals again cut deep, delivered from the deepest caverns of the heart, pumping blood through the rest of this songs crooning body. The band have released an acoustic version on their YouTube channel too which is simply breath taking. And when, at the end of that chorus, the skin on the back of your neck and on your arms are racing skyward, a wrecking ball of a riff comes crashing in and knocks you for six. Fuck.

Closing number ‘As I Grow Old’ is the rawest, most vulnerable sounding song on the record. Simplistic acoustic work creates a foundation for more bellowed out vocals which are layered and harmonised intricately where needed. Distressed feedback flows under the current of the song giving it a starkly uncomfortable yet resoundingly mesmeric feeling. This is chilling.     

The variety of sounds that make up what Æges are, act like strands of a spiders web. Only when the full, complex structure comes together and the spider can shelter within its confides and wait for the flies to come foolishly flocking can these individual strands be truly appreciated. They make up a greater whole that is staggering, each strand as important in the bigger picture as the next and last. The home that they have spun is bound to, like it has done so cruelly to this humble writer, ensnare more and more victims. Riffs bigger than Bigfoot’s footprints, vocals heartfelt, vulnerable, naked and spine-tingling – the whole thing is simply perfect. When all is said and done, I am quite simply in love with this band.

Words by: Phil Weller

You can pick up a digital copy here and a CD/LP copy here.

For more information:

Facebook | Twitter