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.
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’svoice 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, Rubybring 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 Parisekeeping 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’sstandards, 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 Acidand 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, 2001and 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 Mudhoneycame 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 Hawkwindrecommendations 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. Hawkwindwere 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 Sabbathfor 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 Halensound 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, Soundgardenhelped 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.
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