For listeners prepared to take this grim journey, there are impressive rewards to be had. Not for the faint hearted, but certainly this album is one of the best releases this year in doom or any other genre. The whole album is a grim steed, plodding inexorably towards its own fate. Fantastic.
“Sentiment” CD//DD//2LP track listing:
1). In Its Absence
2). Pools of Reflection
3). Sentiment
4). A Garden Where Nothing Grows
The Review
Well, there are four tracks here, nothing much under twelve minutes in length and there has been a sizeable buzz surrounding this record for many weeks prior to me sitting down to review. So what is going on with Un's “Sentiment” album- their sophomore release?!
For starters, melancholic clean work opens up and then gives way to a truly huge and crushing passage of music. Obviously, from the song lengths alone, it is reasonable to assume that this is an album that is in the arena of the doom genre- and it is, loosely. This is nothing really like Sabbath, Vitus, Trouble, Candlemass et al- it is not trad doom by any stretch. It does fit into the more modern interpretation of the genre label- think Conan, Yob and so on.
The vocals are of the growled variety (not on every track though, so keep an ear out!), the sound is absolutely enormous and the mix is excellent. This is very, very weighty stuff indeed and by the time opener “In Its Absence” has finished, the tone has been set. There is nothing uplifting here: only the darkest and murkiest riffs and sounds are to be found here. It's a downbeat listen, as song titles such as “Pools of Reflection” suggest. The title track is just as sprawling and epic in approach and utilises the same clean opening (yielding a promise of something sweeter than the bitterest of fruit which is actually then served up).
There are echoes of Paradise Lost at their gloomiest, echoes of Yob at their trippiest and there are hints of death metal, psychedelia and even shoe-gaze here and there. The closing statement of “A Garden Where Nothing Grows” is a dark and bleak vision and it really sums up the whole record very well. Any track here would sum up the release as a whole as it is a very strong whole and is nothing if not consistent.
Yep, “Sentiment”fits into the doom bracket, but there is a great deal going on here. For listeners prepared to take this grim journey, there are impressive rewards to be had. Not for the faint hearted, but certainly this album is one of the best releases this year in doom or any other genre. The whole album is a grim steed, plodding inexorably towards its own fate. Fantastic.
“This is a message of energy and strength!” Among the wispy, heavily processed, often indiscernible vocals and lyrics of End Christian’sfull-length debut, this mantra serves as a thesis statement for a collective that continuously shifts between genres and emotions. Comprised of members of Fad Nauseam(Dreadful), Hex Inverter (McKenna), Starkweather(Rosa), and Brutal Truth (Hoak), End Christianeschews the “heaviest lineup/heaviest sound” posturing that damns most supergroups. Instead, “Energy & Strength”embraces their retro pop, shoegaze, and techno obsessions – which have recently garnered crossover success for artists like Perturbator, Gost, and Youth Code within the heavy music scenes. Despite these analogies, however, End Christian’s debut doesn’t coast on nostalgia, but manages to be a rewarding, challenging work of experimental music.
Opener “Froze Red” is a blissed out slice of dream pop that would fit alongside any entry into the classic 4AD catalogue – whispery goth vocals, swelling synth chords, just the right amount of rhythm to slow dance with your pale companion or all by yourself. If they continued in this vein, “Energy & Strength”would be a serviceable foray into pop for at least an EP. But instead “Traverse” turns on the darkness, locking around a doom and gloom bass line that recalls NIN’s“Ghost”recordings. “Preacher” goes full ambient mode, while “Delivered in Shame” is a buzzing piece of electronic hardcore and retro drumpad beats, while a Vocoder makes the whole thing twist into a track like Giorgio Moroder on downers.
By the end of the record, I was mostly recalling seminal compilations like “No New York,” that captured a brief era in the morphing post-punk and art rock scenes of the late 70s using just four artists – disparate but collaborative, bound by aesthetic similarities but not yet distilled into any formula for success. This borderless experimentation can be taxing, as the relentlessly loose “Quiet Nights” verges on excess, while the frenetic avant jazz weirdness of “A Relaxing Time” is as “no wave” as it gets. And yet there is undeniable positivity that flows through the record, balancing the darkness creeping at the edges. The Vangelis-meets-dub beauty of “Oscillate Forms”; the slightly askew string lines of Ballinger; the repeated reminders that “This is a message of energy and strength!” – are just a few of the beautiful moments that propel End Christian’sdebut through any rough spots. I, for one, hope they continue to challenge, experiment, and confound expectations.
Hailing from the Appalachian mountains of East Tennessee, GENERATION OF VIPERSare a band that has always operated outside the normal trappings of "extreme" or "heavy" music. Following the release of 2011's "Howl and Filth", which gained the band a sizable cult following, they their fourth opus and latest release “Coffin Wisdom” an honest and unique collection of songs that furthered the bands own legacy of creating boundary-pushing music that comes from a truly genuine and vulnerable place. Fans of bands such as Unsane, Thou, Yob and other forward thinking artists of that ilk will be pleasantly surprised. Josh Holt and Billy Graves also feature as members of Neurot Recording artists U.S. Christmas, A Storm of Light and Mustard Gas and Roses.
Today we’re rewinding back 5 years to the day, with our original review of a review of GENERATION OF VIPERSphenomenal debut “"Howl and Filth"”. So join us, as we continue on our quest to trawl through TERR0R archives to present the best albums you may have missed. So if you overlooked this band/album, be sure to remedy your error by checking out our review and the record is streaming in full below.
By: Aaron Pickford
Album Type: Full Length
Release Date: 5/06/2012
Label: Translation Loss,
Red Witch Recordings
Howl and Filth is one of parasitism, a relationship that is mutually beneficial to one and destructive to the other, meaning that Generation of Vipers co-exist in a symbiotic relationship in which they are the parasite feeding on you, the listener (the host), causing you unspeakable harm in the process.
‘Howl & Filth’ CD//DD//LP track listing
1). Ritual (7:52)
2). Silent Shroud (6:32)
3). All Of This Is Mine (2:55)
4). Eternal (4:08)
5). Slow Burn (7:57)
6). The Misery Coil (9:09)
The Review:
So to start this review, a little history lesson for you. Jesus, yes Jesus, used the expression "offspring (or generation) of vipers" in reference to the religious leaders of his day. Jesus was simply using this characteristic of a snake to help his listeners understand that they needed to use caution and discernment when preaching, since there were many enemies of the good news at that time. Anyway, you may asking yourself, do I really care? The reason I mention it, is because, before you start the record, I have to advise you, to use caution and your own judgement when you approach this record, and those people with a nervous disposition, stop reading now, because ‘Howl and Filth’ engenders a feeling of foreboding or dread within you, a feeling of impending evil or fearful expectation or anticipation.
Let us be clear, the first time I listened to this album, I was in my car, on the motorway/highway, and I have to say I was blown away, gob smacked or godsmacked. This record is some of the tightest, heaviest and most powerful metal you’re likely to hear this year. Yes! I have probably said this before, however the main difference is the drumming. It is a central feature and the foundation of the record, a watershed in heavy metal. B.J. Graves on the drums is at the forefront of everything that is good on this album and that is a rare thing. If there was a man of the match award for performances, he’d be the recipient. He is a fuckin’ beast of a drummer.
Kicking off the album with a passage of tribal drumming reminiscent to that of Neurosis and building to an ungodly crescendo, the tone and mood of the record is set from the very first minute of the record. What we have is tons of atmosphere and spine chilling ambience, on top of heavyweight guitars, low end bass and guttural, menacing vocals. The album envelops you with its holistic approach, emphasising an organic feel to the record and the functional relationship between the band members as individuals and their undoubted talents, but also meaning that when they come together, Generation of Vipers are a truly terrifying proposition. ‘Howl and Filth’ emphasises the band’s interdependence, or symbiosis, meaning that when they unleash the full force of their sound, you are literally knocked on your arse, making this an album of true power and muscle. Howl and Filth is one of parasitism, a relationship that is mutually beneficial to one and destructive to the other, meaning that Generation of Vipers co-exist in a symbiotic relationship in which they are the parasite feeding on you, the listener (the host), causing you unspeakable harm in the process.
Howl and Filth is a juggernaut, a crushing force that destroys and demands your complete self sacrifice. The payoff is that if you do, you are rewarded in spades!! This is a stellar record, which demands your complete and full attention. A definite 10 out of 10 for me. I love this record and I am confident you will too. Buy it now!
Each new Mouth of the Architect release is my new soundtrack to oblivion, but revisiting “Time and Withering” is definitely worth your effort. It has held up over time and is still as big and bold as it was 13 years ago.
“Time and Withering” DD//LP track listing:
1). A Vivid Chaos
2). Soil to Stone
3). Heart Eaters
4). The Worm
The Review:
After 13 years, 5 full length LP’s and numerous line up changes, Mouth of the Architect have survived to remaster and re-issue their first album, “Time and Withering”, for a vinyl treatment. I’m not sure why they chose the 13th anniversary for this auspicious occasion, but given their current “three year per album” rate of production, this reissue is a welcome windfall coming only 8 months after their previous effort, “Path of Eight.” It also provides a great opportunity to see where MotA have come from and examine the threads that hold their entire catalogue together.
There have always been areas of overlap throughout their body of work. The way they carefully build and layer a song together, each new layer drawing on another emotion, sometimes destroying itself in release, sometimes taking the listener hostage. “Time and Withering” is where that body of work begins, with four massive tracks of gloomy sludgy post metal. Describing the ins and outs of tracks like “A Vivid Chaos” and “The Worm” don’t do the work justice because there are just so many ins and outs per track. Each MotAproduction evokes a mood that takes the listener on various twists and turns. The mood of “Time and Withering” drifts between somber and fragile to hugely aggressive and furious. The vocals throughout, when they are present, are a shredded and tortured blend of dark whispers and all out rage, much in the classic Neurosis style, lulling you to an uneasy slumber before eviscerating that fragile niche they had carefully carved out.
In contrast, MotAdefinitely throttled back on the sludge and aggression with “Path of Eight” leaning more toward a pensive and progressive sound throughout, along with mostly clean singing. The beast still slips the leash on tracks like “Sever the Soul” and “Stretching Out”. That isn’t to say that those moments can’t be found on “Time and Withering”, but that the whole feel throughout is just more foreboding and brutal. Not knowing exactly when the caustic pot is going to boil over may be what ties everything MotAhas ever done together. They may choose to grab a riff for 6 to 10 minutes, while building a Russian Circles worthy soundscape around it, just to let the tension build. Maybe it dissolves without a whimper or maybe it goes full berserker, until you’re sure they have nothing left to give. Then they create a whole new tapestry. Each new Mouth of the Architect release is my new soundtrack to oblivion, but revisiting “Time and Withering” is definitely worth your effort. It has held up over time and is still as big and bold as it was 13 years ago.
“Time and Withering” is available here(Digital) and here(Vinyl)
Kenoma are firmly focused on the metal side of the post-metal equation for the most part of “The Tides Will Prevail” and manage to create huge, enveloping sound constructions reliant on intricate interlocking guitar parts rather than a phalanx of effects pedals. The albums extended gestation period has produced an absorbing set of finely honed post-metal behemoths.
“The Tides Will Prevail” CD//DD//LP track listing:
1). The 33rd Parallel
2). 1913
3). Curse of Tecumseh
4). Sleeping Prophet
5). Nature of Empire
The Review:
Bands often take their time to craft their debut full-length but it rarely takes a staggering eleven years. Dayton, Ohio instrumentalists Kenoma have had some ups and downs since their 2006 split with Mouth of the Architect but they have battled through and now emerge triumphant with “The Tides Will Prevail”.
This extended gestation period has produced an absorbing set of finely honed post-metal behemoths. “33rd Parallel”begins in crushing fashion, a slow motion crawl with echoes of Yob and Pallbearer. A stirring melodic guitar line rises from the smouldering ashes of this introduction that drives the track towards an epic riff onslaught. Kenomaare firmly focused on the metal side of the post-metal equation for the most part of “The Tides Will Prevail” and manage to create huge, enveloping sound constructions reliant on intricate interlocking guitar parts rather than a phalanx of effects pedals.
The band are not completely averse to the subtle integration of otherworldly textures into the mix though. “Sleeping Prophet” opens with a wall of woozy synths that morph into hazy psych rock in the vein of Grails while apocalyptic closer “Nature of Empire” starts as a menacing cloud of delayed guitars then erupts into punishing doom laden with samples of air raid sirens. Even when Kenoma lay off the volume it is never long until they unleash their full weight again, like when the sparse nocturnal quiet of “Curse Of Tecumseh” is engulfed by a wave of sweet distortion.
Kenoma’s distinct brand of sludged-up, riff-heavy post-metal is a welcome racket in 2017. Let’s hope it doesn’t take another eleven years to produce the follow-up to “The Tides Will Prevail”.
“The Tides Will Prevail” is available to preorder/buy here
Eleven years in the making, Dayton, Ohio atmospheric post metal collective KENOMAare set to release their highly anticipated debut full length record entitled, “The Tides Will Prevail” via Translation Loss. The album is set to hit the streets on 28 April 2017, but having flown under the radar following their contribution to the 2006 critically acclaimed split release with Mouth Of The Architect, “The Tides Will Prevail “could be considered something of a rebirth for the band.
KENOMA began constructing their riff-filled peaks and valleys in 2005 and quickly became a sought after name. With their style of sludge-induced atmospheric instrumentals, KENOMAhave etched their way into creating climatic and expansive journeys, pushing them to the forefront of their ever dilating genre. KENOMA creates landscapes you want to explore and get lost in. The subtle nuances of their valleys are mesmerizing and their peaks are crafted with boiling points overflowing with beauty. As for the 11 year gap between releases, bassist Doug McGinnis offers some insight on their journey that would eventually lead to the creation of their brilliant new album
Kenoma has been working through issues along with continued member changes since around 2005. Translation Loss provided us with an opportunity early on in our inception to do a split release with Mouth of the Architect. This opportunity came after our first show as a band. Kenoma jumped on the chance to release a split with our friends in MOTA. Looking back on the opportunity, it probably came a little early in our career. Collectively Kenoma walked away from the experience learning a lot, but none of us were very happy with the recording. We felt that it did not accurately represent the vision that we had in mind. After a few more line-up changes and some time off, Kenoma was reformed in its current state.
With this line-up Kenomafelt like we would finally be able to accurately represent the vision that had escaped us and decided to rework some of our older material. The songs came together great. We added a third guitar player and some soundscapes to complete our vision. The textures and tones of the songs were finally in place, so we decided that it was about time to head back into the studio.
“The Tides Will Prevail” is a very personal journey of struggle, progress, and regression. Kenomahas been able to weather the tides in order to finally produce a quality product. We, as a group, have come together, and in the face of adversity have been successful in finally bringing to life what we set out to create from the beginning. It has been a long process to get to this point, but through our strength and determination Kenoma has been able to bring to life the original vision that we had in our mind. “The Tides Will Prevail” is a look into the lives and times of everyone that had once been involved in Kenoma and the journey that it took for us to get to this place and time."
Translation Loss Recordswill release “The Tides Will Prevail” on multiple formats including a special edition, mailorder only coloured vinyl edition as well as compact disc and digital.Today were excited to debut the track “1913” which you can check out below.Was 11 years worth the wait, you decide? Pre-orders are available here.
For over 20 years, Stinking Lizaveta have released multiple critically acclaimed albums and shared the stage with national headlining bands such as Clutch, Corrosion of Conformity, Fugazi, Weedeater and more. They have held the reins as rock pioneers and have built a worldwide cult following for their legendary and unrelenting sound.With help from Stephen Berrigan and Paul Webb, Stinking Lizaveta have created their most innovative release to date “Journey to the Underworld”
Translation Loss Recordswill release the album on February 17th and features nine new songs, showcasing the bands dedication to their style of unrestrained instrumental fusion.Combining doom, jazz, and punk, “Journey to the Underworld” takes listeners on a powerful journey through uncharted space and time to venture into new musical frontiers. Featuring stunning artwork by David Gunn, “Journey to the Underworld” will be available on compact disc, limited edition coloured vinyl and digital. Pre-order available now through Translation Loss Recordshere and Guitarist Yanni Papadopoulos shares his insight into the recording of the new album below
“Journey To The Underworld” was recorded at "Nosferatus' Lair" Studio down on the north shore of Lake Pontchartrain, Louisiana. We wanted to record in New Orleans because of the demonic musical energy one feels down there. Steve Berrigan, who is Housecore's in house engineer, was on tour with Mountain of Wizard. We have been friends with Paul Webb, of MOW, for 20 some years. I told Steve we wanted to do a New Orleans album. He was familiar with our band since we had played Check Point Charlie'son Halloween for ten years straight, so he offered to record us. We could't refuse, it was a vision come true!
In October 2015 we flew to NOLA. Paul met us at the airport and drove us across the 30 mile causeway to the North Shore. “Nosferatus Lair”is Phil Anselmo's studio, and we are indebted to him for sponsoring us. We started recording that night and Paul Webb stayed with us for the next five days to help us realize our vision. As I had hoped, the character of the land infused our music. We could feel the coming of All Souls Day, not to mention Phil's house was filled with classic horror memorabilia.
When it came time to title the album it seemed appropriate to reference Odysseus' journey to the underworld from Homer's Odyssey. At the bottom of the Mississippi you get an underworld feel, like the spirits are all alive and ready to commune with you. Maybe it's Voodoo, or just the deep musical culture.
You can stream the opening track from the album “Witches and Pigs” below
“Journey to the Underworld” CD//DD//LP track listing:
Date Released: 16/12/2016 Label: Translation Loss
Call Of The Void’s sound is a potent cocktail of punk attitude and rock’n’roll swagger coated in a thick layer of sludge aggression. “AYFKM” is an intoxicating adrenaline rush that will keep you coming back for more.
“AYFKM” CD//DD//LP track listing:
1). Get in the Van
2). Are You Fucking Kidding Me
3). Throwing Bullets
4). On and On
5). Never Enough
The Review:
It’s been a few months since I’ve heard something filthy from the riff hotspot that is Denver, Colorado. Thankfully, Call Of The Void are here to break the silence with their facemelting new EP “AYFKM”.
“Get In The Van” opens the record and draws the listener in with a towering edifice of doom riffage.The crawling hypnotic heaviness casts a powerful spell which makes the sudden shift into breakneck sludge-fuelled hardcore at the song’s mid-point feel like a kick in the gut.The track feels like a glimpse into an alternative reality where Matt Pike was kidnapped by Black Flag, a killer combination of dirty punk and Sabbath worship.
From here, Call Of The Void waste no time and rip through the remaining four tracks in a breathless ten minutes. The title track makes it clear that “AYFKM” stands for “Are You Fucking Kidding me?” a sub-two minute burst of bile-soaked rage with insistent hooks that will burrow their way into your brain. “Throwing Bullets” ups the pace to near breaking point, throwing more grind influences into the pot and culminating in a ferocious raw thrash finale reminiscent of Trap Them at their most unhinged. “On and On” and “Never Enough” almost come as a relief after the onslaught of the preceding tracks but even when Call Of The Void slow down a little they still pack a hefty punch.
Call Of The Void’s sound is a potent cocktail of punk attitude and rock’n’roll swagger coated in a thick layer of sludge aggression. “AYFKM” is an intoxicating adrenaline rush that will keep you coming back for more until the band return with a larger dose of mayhem.
Vermin Womb succinctly distill the essence of their sound into one word: “Violence”. It is a grimly exhilarating ride, but an oppressive racket that is hard to resist.
“Decline” CD//CS//DD//LP track listing:
1). Entomb
2). Industrialist
3). Disrepair
4). Present Day
5). Rank & File
6). Pitiless
7). Age of Neglect
8). Inner World
9). Slave Money
10). Cancer
The Review:
iTunes genre tags are generally pretty useless. Denver wrecking crew Vermin Womb provide an exception to this rule by using the tag to succinctly distill the essence of their sound into one word: “Violence”.
New album “Decline” packs an almost unbearable amount of venom and fury into its sub-25 minute duration. The trio rip through ten tracks of relentless horror, an ugly fusion of the gnarliest elements of death metal and grindcore. Vocalist/guitarist Ethan McCarthy also plays in the mighty Primitive Man, a band whose bleak onslaught is echoed here albeit with the tempo cranked up into the red.
The whole record seems filtered through a sickly haze which lends a hint of black metal atmosphere to proceedings. This influence really comes to the fore during the wailing riffs that usher in “Industrialist”.
Vermin Wombmaintain a constant high tempo barrage for the majority of “Decline” but throw in a few curve balls to keep things interesting. The crushing slow-motion intro of “Age of Neglect” hits even harder in amongst a sea of blastbeats and the stop-start sludge riffing in “Slave Money” is a welcome addition. When the band break into pummelling Disfear style crust-punk during closer “Cancer” it sounds almost optimistic in contrast to the surrounding drudgery. The mood does not last though as the track is dragged back into the dirt for a slow,
punishing finale.
“Decline” is a grimly exhilarating ride. It’s not pretty but Vermin Womb’soppressive racket is hard to resist.
“Decline”is available in Europe here and overseas here
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