Showing posts with label black metal death metal. Show all posts
Showing posts with label black metal death metal. Show all posts

Tuesday, 22 October 2019

ALBUM REVIEW: Unfurl, "The Waking Void"

By: Eeli Helin

Album Type: Full Length
Date Released: 20/09/2019
Label: Independent



”The Waking Void” CD//CS//DD track listing:

1. Ancestral Spirit
2. Ritual of Fire
3. Null
4. Post-Modern Prometheus
5. Void
6. Withering Aeons
7. Black Widow Hourglass
8. Lazarus Reflex
9. Begrudging Lucidity
10. Guest of the Cavern/Mind Altar
11. Blue Rose

The Review:

Unfurl are one of those bands who are flying under the radar way too fluently while they'd deserve all the attention possible from bigger and smaller medias. Their debut full-length "The Waking Void" was released on September 20th and the buzz started only afterwards, given that it's reasonably increasing constantly. Struggling to get press is pretty much a standard today, but it's bands like this that makes all that seem very unfair; after all, "The Waking Void" is amongst the better albums of the year, and one hell of a debut that came from nowhere.

Having enthusiastic music nerds as friends is a benefit, that proved to be worthwhile with this release as well. After being directed to this album by the #lord himself, it proficiently stole my undivided attention for days. "The Waking Void" is a voluble mix of blackened and partly noisy death metal with shoegazey and mathgrind leanings. One of the most interesting creations on the record are the shorter, noisy and mostly electronic tracks scattered throughout, offering brief pauses and moments of ease amidst the intense battering. While the inclusion of such seemingly minuscule tracks might feel out of place at first, they end up being very integral for the narrative of the entire album.

Apart from the interludes, the heart and soul of "The Waking Void" obviously lies in the main tracks. The beating starts on the second track "Ritual of Fire", showcasing the high compositional level and underlying tones quite well right from the beginning. "Post-Modern Prometheus" carries you away into the noisier, black metal-esque end of the spectrum and holds within one of the most breathtaking breakdown of this decade. The production atmosphere is like a tightening grip, but doesn't turn suffocating as the organic feel is cherished with precision and thought. A short intermission leads the listener to "Withering Aeons", grooving like a motherfucker all the way through to what is perhaps the greatest surprise on the album.

"Black Widow Hourglass" is a moment of pure mourning, expressed through clean vocals and guitars, textured with ambient washes and floaty drum beats. Flowing straight into "Lazarus Reflex", this pair represents the band in their best, weaving a plethora of wildly different flavours into each other seamlessly. It's soon obvious that with these tracks, Unfurl kick in a whole new gear. While the first half had it's own strengths, the latter is where the band relies solely on their personal expression, finding a whole new kind of coherency and momentum to themselves.

Towards the end, the tracks progress into more diverse and fascinating ones, and by the time the final piece "Blue Rose" is over, you'll find yourself wondering why Unfurl aren't on every single metal enthusiast's or music journalist's lips, why an album of this caliber was released independently, why you haven't heard about them before. As futile as those questions are by now, they still bear a meaning in today's music industry, underlining the fact that without heaps of green and direct connections to certain persons of interest, a lot of amazing music gets buried underneath the rubble. We can only hope that this kind of material finds its own audience, preferably sooner than later.


”The Waking Void” is avialble HERE




Band info: bandcamp || facebook

Friday, 16 February 2018

ALBUM REVIEW: Philip H. Anselmo & The Illegals, "Choosing Mental Illness As A Virtue"

By: Ernesto Aguilar

Full Length: Full length
Date Released: 26/01/ 2018
Label: Housecore Records |
Season of Mist


Songs like "Mixed Lunatic Results" and "Delinquent" are Anselmo at his best, holding court and being the wildman savant his fans adore. Say what you will about his persona, but Anselmo is as spellbinding as ever, and songs like "Photographic Taunts" show you how he's still got it.

"Choosing Mental Illness As A Virtue" CD//DD//LP track listing:

1. Little Fucking Heroes
2. Utopian
3. Choosing Mental Illness
4. The Ignorant Point
5. Individual
6. Delinquent
7. Photographic Taunts
8. Finger Me
9. Invalid Colubrine Frauds
10. Mixed Lunatic Results

The Review:

A friend once said he loved hip-hop legend Cam'ron because he was the king of ignorant rap. The former Killa Cam has made a 20-year career out of having wealth, screwing women, making trouble and slapping haters. It's just narcissistic music for the club that is blessed by an artist with a seductive flow who knows his lane is the Wraith and Hennessey, and not Black Lives Matter or introspection. He seems to like it that way, as do his fans, who have followed Cam'ron through the various Diplomats reunions, guest spots and feuds.

Metal's Cam'ron is almost certainly Phil Anselmo. No one in the last 20 years has been as polarizing or reliable/predictable as the former Pantera front man and lead for Superjoint and Down. Rage and seething are largely the emotional spectrum. Anselmo's continued stumblings into political commentary have earned him a reputation as a neo-Nazi, a label he has repeatedly rejected, unconvincingly. His excesses would have killed most of us. And, like Cam, Anselmo's worst enemy has been himself. Fans may point to stylistic growth. It's just not terribly convincing either.

On "Choosing Mental Illness As A Virtue" Anselmo offers the first glimpses in some time at attempts to prove his haters wrong. Granted, it's done in that pretentious Anselmo way of not caring what you think, but it's evident nevertheless. When the album's title track was released in November, it featured vintage Anselmo alongside elements of his Down and Superjoint incarnations. Guitarist Marzi Montazeri is gone from this version of the Illegals. And Anselmo suggested this go-around was more collaborative, and intended to convey a story of facing mental health issues.

This renewed energy comes at the right time. As with Cam'ron, the music Anselmo once led has steadily been growing beyond him, and some switches were in order. Metal has since Black Sabbath been a convergence of commentary. Social media and growing political divides, however, have sparked more than a few heavy acts to blend critique into their music. For years, Anselmo has had a penchant for voicing his opinion in his music and elsewhere; unfocused, it can become a trainwreck, such as in his white supremacist flirtation. The topic of mental health herein is a loaded one. In mid-February, a 19-year-old man with an apparent mental illness killed 17 people in Parkland, Florida. There's a worldwide opioid epidemic spurred by attempts to deal with psychiatric problems. How Anselmo contributes to the discourse feels interesting, to say the least.

On the first Philip H. Anselmo and The Illegals album since its 2013 debut, there is plenty of red meat for Anselmo's hardcore base. He's still mad, still dropping that rumbling vocal and still backed by a bruising metal ensemble. The album's opener, "Little Fucking Heroes," delivers a white-hot blast of fury, driving rhythm section and raw riffs for the vocals to tear into. Anselmo, who turns 50 in June, is undoubtedly grown from the kid who fronted 1988's "Power Metal," though his passion is timeless. Unmoored by a band's larger identity, Anselmo feels freer than usual, roaring into the microphone with the muscle that made him famous. Songs like "Mixed Lunatic Results" and "Delinquent" are Anselmo at his best, holding court and being the wildman savant his fans adore. Say what you will about his persona, but Anselmo is as spellbinding as ever, and songs like "Photographic Taunts" show you how he's still got it.

However, don't hold your breath for Anselmo to go Kendrick Lamar on this album in regard to the mental health crisis. Rather than a slam on Congress, insurance companies, Big Pharma or state failures, the critique throughout "Choosing Mental Illness As A Virtue" seems aimed at anyone who's not him. It's the wary eye generations of rockers have cast at politicians, liberal social justice warriors, media, institutions, parents and anyone else who just doesn't get it. The two types of people in the world, Anselmo says on "Invalid Colubrine Frauds" are those who just want to be left alone, and those who won't leave them alone. On "Individual," he declares, "I don't want to be part of your pack. Shut the fuck up, you don't even listen… I'll never be what you created." In these sentiments, Anselmo implicitly opens another conversation, most vividly illustrated in the Nikolas Cruz case: where does the right for someone who is seemingly unstable to be left alone end and the community's safety begin? Amidst the American debate over gun control, issues like institutionalization, mental health and the near-manic desire to be self-involved collide too. There are no easy answers.

"Choosing Mental Illness As A Virtue" is available here



Band info: facebook