REVIEW: No Funeral, "Mankind Is Carrion, Fit For Nothing" [EP]

By; Charlie Butler

Album Type: Full Length

Date Released: 30/12/2017

Label: Live Fast Die Recordings

“Mankind Is Carrion, Fit For Nothing” sees No Funeral go straight for the jugular with an unrelenting onslaught of volume and bile.  This EP is another great offering from this excellent band

“Mankind Is Carrion, Fit For Nothing” CS//DD track listing:

1). Carrion

2). Hyperalgesia

3). My War (Black FlagCover)

The Review:

Fearsome Minneapolis sludge dealers No Funeralmake a welcome return with new EP “Mankind Is Carrion, Fit For Nothing”. Their split LP with Livid was a highlight of 2017 and this new release finds them administering three further doses of sweet misery.

“Carrion” and “Hyperalgesia” find the band in deadly form conveying their hatred of humanity via nasty, primal doom. On previous releases the band have sometimes utilised moments of quiet in amongst the carnage to create an air of menace. “Mankind Is Carrion, Fit For Nothing” sees No Funeral go straight for the jugular with an unrelenting onslaught of volume and bile aided by a red raw production by Dinis deCarvalho.

“Carrion” is a punishing experience, eight minutes of slow-motion torment consisting of bleak riffs and the bands harrowing dual vocal attack. A brief burst of crusty sludge raises the tempo above a crawl before crashing back into the abyss once more. “Hyperalgesia” continues the drudgery culminating in a series of dark samples, an effective No Funeral trademark.

The EP is rounded off with a gloriously torturous cover of Black Flag’s “My War”. No Funeral take the miserable dirge of side 2 of the “My War” LP and apply it to the high octane punk of the title track to create a harrowing doom masterpiece.

“Mankind Is Carrion, Fit For Nothing” is another great offering from this excellent band. Hopefully a full-length slab of filth will see the light of day before the end of 2018.

“Mankind Is Carrion, Fit For Nothing” is available here

Band info: bandcamp|| facebook

ALBUM REVIEW: Circadian Ritual - "Befallen"

By: Ernesto Aguilar

Album Type: Full length

Date Released:22/12/2017

Label: Live Fast Die Recordings

When all is said and done, "Befallen" is certain to stake Circadian Ritual as a band to watch, and an exemplary representative of the peaking Minneapolis doom scene.

“Befallen” CS//DD track listing

1. Solomon's Temple

2. Befallen

3. Elysian Desire

4. Pyramids of Form and Matter

5. The Heirophant

The Review:

Just like that, Minneapolisis turning into a hotbed for doom metal bands. Boson, Ulkum and Circadian Ritual are among those leading the charge right now. In the case of Circadian Ritual, the quartet released its self-titled debut last year and concludes 2017 with "Befallen," Fans of the group's debut may remember those languid tracks – the four selections were all 10 distorted minutes or longer – and vocals by Jake Quittschreiber that cast a deep, rumbling shadow over already blackened, dirge like events. As you might guess, Circadian Ritual made a big impression with its premiere.

With their sophomore offering "Befallen," fans get to experience a leap for the group, which features more music, tighter orchestration (three of the five songs are under 10 minutes this time) and new layers to its delivery. On "Solomon's Temple," the band gives a melodic chord series before Quittschreiber pours on the harshness. Guitarist Rick Parsons and bassist Jim Clark lather upon the vocal a molasses of mutilated noise, here and throughout the campaign. Later, "Elysian Desire" sees bassist Ben Shaffer with some of his monstrously distorted playing that proves positively brain damaging.

"Befallen" offers a few surprises as well.  The title track features guest vocals by Jori Apedaile, the principal of atmospheric black metal/blackgaze act Eneferens, also hailing from Minnesota. This song's promise is realized, too. Almost on cue after that, "Pyramids of Form and Matter" strikes a perfect balance of atmospheric doom and hints of black metal. This is easily one of the most engrossing songs on the album, with the whole band taking their effort to another level. Burly, slow rhythms, prowling guitars and a vocal that is menacing while not overpowering the rest of the composition, makes this track especially good. Similarly, that title cut churns, building to a typhoon of a climax, with effects and instruments building haltingly. The bell here is a nice touch as well.

As the longest song, "The Heirophant" at 12 minutes is a risky move. While Circadian Ritual has made long cuts in past outings, virtually everything on "Befallen" is abridged to one degree or another. In many ways, going trim makes Circadian Ritual's music even more interesting. Where "The Heirophant" goes well is in its organization. The band makes crests with purpose, and takes full advantage of Quittschreiber's fierce verbiage by accompanying it with a depressive stupor of noise. The band takes a turn about four minutes in, blending melancholic chords that scatter as colossal riffs take center stage. All said and done, "Befallen" is certain to stake Circadian Ritual as a band to watch, and an exemplary representative of the peaking Minneapolis scene.

"Befallen" is available to pre order/buy here

Band info: bandcamp|| facebook

ALBUM REVIEW: Ulkum - "Ulkum"

By: Ernesto Aguilar

Album Type: Full length

Date Released:08/11/2017

Label: Live Fast Die Records

Songs like II" has an intelligent build up on the way to a pulsing tone that creates the sort of dread that the best doom can conjure.  Should you love that description, this album will be the red meat you're waiting for.

 

“Ulkum”CS//DD track listing

1. Rehearsal I

2. Rehearsal II

3. Rehearsal III

4. Clothed in the Ashes of Fallen Brethren

5. Breathe Darkness, Swallow Light         

6. Children of Ulkum

The Review:

How many funeral doom bands can you think of that make their primary business live performances? Certainly a few, but the majority seem to be studio acts. That is because this particular subgenre is so much about atmosphere that it is rare to really be able to strike that mood in a bar, or with restless attendees, even ones who are into it.

In the case of Minneapolisfour-piece Ulkum, its trial by fire has been largely on the performance circuit. Its debut album, "First Prophecy" from October, was a live performance on community radio station KFAI. Before that debut, Ulkumreleased a demo, "Demonstration," in January of this year. Now back with its eponymous full length, which features its three tracks from the demo and three fresh editions of songs from the live album, fans finally get a sense of what the group can truly do.

Ulkum is composed of some of the region's experienced musicians, including bassist Jesse Geirr Conaway of the black metal band Drona; drummer Jonathon Andrew Roll, formerly of black/death metal outfit Autumnal Winds and black metal group Feral Light; lead guitarist Aaron Lott of progressive metal crew Chaos Frame and melodic death metal act Pestifere; and vocalist Joshua Ans of death metal performers Fallen Empire. Given its lineage, Ulkum'sform of doom has had prominent black metal and death metal influences, as well as a lo-fi aesthetic that audiences caught on that original demo. Should you love that description, this album will be the red meat you're waiting for.

If you caught the group's initial release, the first three cuts will be your reminder of Ulkum'ssound. Those cuts, titled "I" to "III," are tighter versions of the "Demonstration" sessions that are still raw, decidedly on the low-end and muddy. It may have been challenging to figure out if that was purposeful, or just a casualty of austere recording, but there are plenty of dark glimmers to nevertheless appreciate. In particular, "II" has an intelligent build up on the way to a pulsing tone that creates the sort of dread that the best doom can conjure. If you are familiar with the previous songs, these renditions are particularly strong, and perhaps even better, than the originals.

The second half of "Ulkum" covers the cuts from "First Prophecy." The tracks released from that October performance gave listeners glimpses of growth from the band. There is perceptibly more mature compositions between a song like "I" and "Clothed in the Ashes of Fallen Brethren." On this album, the versions of "First Prophecy" songs feel almost identical, beyond a few touches. This is a positive thing. In fact, if you owned or streamed "Demonstration," this is a good chance to own the most quality versions of those cuts, plus the even better versions of tracks from "First Prophecy."

"Ulkum" is available here

Band info: bandcamp || facebook

ALBUM REVIEW: Boson - "Domain of Ember"

By: Ernesto Aguilar


Album Type: Full length

Date Released:03/11/2017

Label: Anxious & Angry Records

Where a lot of new bands want to indulge themselves, Boson exhibits dazzling song IQ on its debut and at around 40 minutes, "Domain of Ember" may be one of the most brisk doom records you will hear in 2017

"Domain of Ember" DD//LP track listing

1. Shadowlands

2. Mass of the Phoenix

3. Echo of the Mute Stars

4. Heavens Black Corner

5. Eye of the Augur           

6. Prayer of Ash

The Review:

Heavy music owes a debt of gratitude to Minneapolis. In addition to the bands that put the state of Minnesotaon the metal map, like Powermad and Disembodied, Minneapolis became its own pole in the punk, crust and grindcore scenes with the Profane Existence zine and label. In the 1990s, where MaxmiumRockNRoll attracted bands and fans to its San Francisco base, Profane Existence made Minneapolis its home, and became the oasis for political punk and, a little later, the crust and grind subcultures that interspersed with metal on many occasions. It is nevertheless surprising to find how often Minneapolis' place in the hard rock and metal history books is overlooked. That neglect has certainly carried forward for the few doom and sludge performers to ascend in recognition. A new entry could shift those perceptions.

Minneapolis sludge four-piece Bosonjust issued its debt album to some regional renown. Despite being saddled possibly with an unfortunate choice in names – if you are not paying attention, you could mix the word up for hard rock mainstays Boston, Portuguese dance DJ Bosom or Swedish singer-songwriter Bosson – the quartet represents its city and the music well on its first release. Extensive gigging, a guest verse from Gatecreeper'sChase Mason on the engrossing "Mass of the Phoenix," and some media attention have paid off. Bosonparlays it all into a  six-song album that goes full sludge without the bloat. At around 40 minutes, "Domain of Ember" may be one of the most brisk doom records you will hear in 2017.

"Shadowlands" is a fitting start to this release, with its themes of darkness, the Occult and misery emerging frequently across songs. The bass and drums, by Ryan Janssen and Rob Schmidt respectively, are disconsolate in their heaviness. The vocals are similarly downcast, while introducing backing vocal and hints of harmony at points. Dan Jensen and Jim Adolphson share the guitar duties and singing in Boson, and their chemistry is undeniable on the opener. There is good command of the mic that does not overwhelm the rest of the track, recalling perhaps some of Weed Demon'sbetter work this year, or Bloodmoon. Boson take the solid start and run with it throughout "Domain of Ember."

"Echo of the Mute Stars," the second track, contains a building chorus to begin the song before the ferocious vocal lunges in. Guitar progressions in the track build on those intense vocals as well. "Heaven's Black Corners" is an understated contemplative cut that shows the band at its best. Supple guitars wrap up about a quarter of the way in, until the quicksand of distortion, guitars and weightiness takes over for the rest of the song. "Prayer of Ash" ends the record on a similarly contemplative and thick note.

As a developing band, Boson has an intriguing future before it. Its members do a variety of things well, including overall song construction and pacing. It is refreshing to have a band that knows itself well enough, even this early, to not overextend into 20-minute-long songs that may not work as well or play to the band's strengths as, say, a six- to eight-minute selection. Where a lot of new bands want to indulge themselves, Boson exhibits dazzling song IQ on its debut. Where the group goes after "Domain of Ember" will be worth hearing.

"Domain of Ember"is available here

Band info: bandcamp  || facebook

ALBUM REVIEW: Blood of Sokar - "Blood of Sokar"

By: Ernesto Aguilar

Album Type: Full length

Date Released: 25/08/ 2017

Label: Lighten Up Sounds

From the opening song, "Cælestibus," cresting into "Hallucinatus," there is an unfathomable well of torment and apoplexy. The music's dirge only heaps dirt upon the exasperation that sets in. Blood of Sokar's thick bass and sludge-infested guitar lines virtually guarantee this temperament will not cease.  This Seattle-based act, which transcends funeral doom and blackened doom, delivers exactly the kind of recording that fear is made of.

 

“Blood of Sokar “CS//DD track listing:

1. Cælestibus

2. Hallucinatus

3. Hecatomb

4. Mortem Ventum

The Review:

One of the most disturbing horror films of the last few years, depending on who you ask, was 2015's “Baskin”. The New York Times called the Turkish movie, "a buffet for gore enthusiasts, without ever totally losing its elegance — unless your definition of that word could never encompass a graphic disembowelment or an unexpected stabbing of an eye." It is in truth quite a brutal fantasy, filled with mythic monsters and a curious tale, and quite a lot of violence.

Without spoiling it – and if you like the harsher brands of horror signified by the New French Extremity era of works like “Martyrs” and “Dans Ma Peau/In My Skin”, “Baskin”may be for you – there is a moment when the motion picture's protagonists approach the Ottoman Era building that once housed a police station. It is just the moment before Hell truly breaks loose.

If that moment of “Baskin”, where feet unknowingly tread upon this ignoble place, had a soundtrack, Blood of Sokar's self-titled debut would be it.

The Seattle-based act, which transcends funeral doom and blackened doom, delivers exactly the kind of recording that fear is made of. The heaviness screams and indecipherable vocals are stagnant as an abandoned structure with its own stories untold. You can feel those spirits cut right through you in a track like "Hecatomb,"with its dissonant caws that at last merge into something sounding almost melodic. Hard to access, but rattling and memorable this debut is.

Over its four-song, 37-minute tale, Blood of Sokar tells a story that is largely one of your imagination. This is primarily because the recording's vocals are so thickly layered and droned out that your mind has to paint the picture. Such vocals are harder to pull off than you might think, simply because they form songs that are not the conflict-context-unity of your usual songwriting. The listener is challenged to see the song as a complete work, and to be part of the music as art. Lots of doom and black metal offer concept albums and stories behind and within their songs. This self-titled release is purely a tale you conjure. Hence it is difficult to recall a release that did this style very effectively since Diamanda Galas' 1993 masterpiece “Vena Cava”, a representation of the effects of dementia brought on by HIV (see Galas' 1991 live performance album “Plague Mass” as precursor to this story) or 1996's “Schrei X”, a homage to German avant garde music. Blood of Sokarnevertheless does an admirable and at many turns riveting take on this approach.

From the opening song, "Cælestibus," cresting into "Hallucinatus," there is an unfathomable well of torment and apoplexy. The music's dirge only heaps dirt upon the exasperation that sets in. Blood of Sokar's thick bass and sludge-infested guitar lines virtually guarantee this temperament will not cease.

Blood of Sokar is an overpowering new addition to funeral doom, and one that may just score a future nightmare.

“Blood of Sokar”is available here

Band info: bandcamp || facebook

REVIEW: No Funeral & Livid - "No Funeral / Livid" (Split)

By: Charlie Butler

Album Type: Split LP

Date Released: 15/08/2017

Label: Live Fast Die Records

The combination of these two bands on one mammoth slab of wax is a marriage made in hell. No Funeral and Livid are definitely acts to check out now if you like it slow, heavy and desolate.

“No Funeral / Livid” Split LP//DD track listing:

1). No Funeral - Infection

2). No Funeral – Disease Brought By Depression

3). Livid – False Hope

The Review:

This split LP brings together two Minneapolis doom heavyweights united in snail-paced drudgery. No Funeral and Livid both deal in punishing, immersive doom delivered in contrasting styles.

No Funeral immediately establishes an air of quiet foreboding with the cold, bare introduction of “Infection”. Clean guitars are quickly drowned under a torrent of filthy sludge as the band rumble into a lumbering evil riff. There are slight increases in tempo as the track progresses but a grisly doom crawl is maintained throughout, somewhere between Iron Monkey’sbelligerent spite and Unearthly Trance’s bleakest moments. The mood of hopelessness is heightened by the nasty dual vocals, particularly the harsh howls of despair near the start of second track “Disease Brought By Depression”. Here the band dive deeper into the well of misery, building to a harrowing climax where a vocal sample detailing the effects of heroin withdrawal skips and repeats as the track unravels into chaos.

Livid’s side of this split is a single 19 minute epic titled “False Hope”. The oppressive atmosphere of No Funeral’s offering remains but the sludge has been dialled back in favour of spacious dark psychedelia in the vein of Yob or early Pallbearer. There is a stark contrast on the vocal front too but Cole’s Benson’s clean, reverb-assisted delivery instils a similar level of dread via a different mechanism. Over the first half of the track the band wring maximum impact from a gloomy chord sequence before letting a huge riff unfurl out of the dirge and develop over the second half.

The combination of these two bands on one mammoth slab of wax is a marriage made in hell. No Funeral and Livid are definitely acts to check out now if you like it slow, heavy and desolate.

“No Funeral / Livid”is available here

Band info: No Funeral || Livid