Black Sheep Wall - No Matter Where It Ends

Last year, the band Batillus rocked my core with its shear heaviness. This year, Black Sheep Wall has done the same. I'm not afraid to say they've even upped the ante. The lurching minimalist riffage and soul ripping vocals virtually pinned me to the ground with their gravitas. Guitarists Scott Turner and Garrett Randall, bassist Brandon Gillichbauer and drummer Jackson Thompson have redefined the term “crushing” with this release.

No Matter Where It Ends opens with two tracks, “Agnostic Demon” and “Liminality,” that literally weigh you down under their heft. The air in the room tin which hey are played actually increases in density. Technically, that statement holds true for the entirety of the album. But it's not all flatten-destroy. On “Black Church”, ever so briefly, the clouds part to reveal sunlight and blue skies before they are soon swallowed again by a darkness ever more malicious. A noisy voicemail “song” serves as a brief respite before the monolith rises again and rolls the sludgy doom machine at an ever slower and torturous pace wherein every riff explodes with a white hot fury, every note is like a Hulk smash the eardrum.

“Cognitive Dissonance” is a track I would usually skip because I'm not much for “noise” (despite my blog's name) but the visual it conjured was compelling. It went like this. You, the “subject” are in an isolation chamber. The sounds are all you know. As the ominous feeling grows, more strange noises filter into your existence. Disorientation and panic become the norm. You world explodes with sound as you are propelled towards and unseen destination. The throbbing “countdown” seems unbearable. Suddenly, you, the “subject” find yourself standing on a sidewalk beside a busy LA street. Someone asks for a lighter. And just as you start to get your bearings in this new and strange environment, the sound once again envelopes you in darkness and you recede from that world. Pretty heavy stuff.

The vocal bellows prevalent on the album may lack some dynamics but this just serves to illustrate the mercilessness of their delivery. They cannot be swayed by petty emotions. Not that there isn't any emotion here. Hate, disgust and contempt are emotions too. If that's what you are looking for, NMWIE is seemingly MADE of those feelings.

I get a machine vibe from the album. I guess in a sense that the things that would stand in the way of a human bent on destruction (weak flesh) have no effect on BSW. Nothing is left in the wake of the crushing, robotic, militarism that is the mighty riffs wrought forth. Overall, the tone matches the sonic resonance of an imploding dwarf star. The star implodes or course because it's cowering in fear of Trae Malone's galaxy shaking vocals. NMWIE is not an album for the faint of heart or the weak willed. It's a battle of endurance. Just how much heavy can you take? The key is to embrace it. Become the might. Let it encompass your being and take you to places few bands can.

No Matter Where It Ends is available internationally from Season of Mist now and is due for a June release in North America.

Basalisk demo EP Review

 The first time I heard this band it was live as local openers for Montreal's Barn Burner. During their set, I could hear the influence of bands such as Iron Maiden, Mastodon and Scale the Summit. A quick glance at their ReverbNation page reveals their influences listed as those three bands. Whether it's a lucky coincidence or they changed it after reading my live tweets that stated as much, I don't know. What I do know is that combination, with some Children of Bodom and Metallica thrown into the mix makes for four tracks that I feel are very good as they are but hint at the promise for even better things to come. This demo material is mostly based on concepts/songs first conceived about 6-7 years ago. Thus they reflect the struggles of later adolescence yet convey a maturity not seen in some people twice their age.

“Undone” is poetic representation of a common problem with those in their late teens and early 20's. You struggle to define yourself but it doesn't really work. So as the depression sets in, drugs become the answer of choice. Of course, in most cases, this only exacerbates the problem. It works for the moment but eventually you will become “Undone”. This hits home with me. In my first year of university, I sank hard trying to be what I thought others wanted and when that didn't work, I turned the drinking from social party guy to literally sitting alone drinking my sorrows away. I came “Undone”. It's in this song I heard the most Mastodon influence. Especially in the powerful chorus. It's fitting for just screaming it out to release whatever it is you have bottled up inside. “Reject. The Flesh. Upheaval. Destroy. Embrace. The Death. Becoming. Undone.”

“Chasing Me” opens with a sweet Iron Maiden style lick before evolving into a deeply personal and somewhat cryptic tome full of struggle and pain. Despite feeling hopeless, the character still retains enough fight to carry on. The duality of pain and anger (those feelings almost always run together) is reflected in vocalist James Wartman's vocal style which balances maturity and malice..

On instrumental “Abaddon” keyboardist Matt Kidson really gets to stretch his fingers out. It's still a guitar driven track but the keys are given more room to find their way to the forefront. The band's prog tendencies are on full display here. This is the track that made me think of Scale the Summit. It's like waves of the heavy, punchy (think Metallica's Justice and Metallica) and the softer, soaring keyboard parts. Drummer Thomas Fleming shows off here as well with timely accents and fills and does more than simply keep the beat. I got over my instru-metal phase a few years ago but I can still be swayed on occasion and this song does the trick. It actually opened me up to try the new Pelican EP that I was going to pass over.

The organ-ic tone of the keys on “Antitheist” really sets the mood for this track which is basically calling out organized religion. An infectious and groovy riff plays with the creepy keys until Wartman boils over with unrestrained venom. The frustration of the previous track's trials take their toll and he lashes out. It's placement at the end of the EP is quite cathartic. It also works well as a show closer.

The EP was recorded – rather hastily – for Band Slam Kingston prior the performance at which I first saw them. At the time of the recording they were without a bassist. Between then and the show they added Greg Sheir on bass and his addition really beefs up the overall sound and completes the band. Basalisk is working on revamped versions of the songs on this demo that include Shier as well as new tracks. The band is surprising themselves with the direction of the new material so I imagine us listeners will be surprised as well. Whether they get heavier (my hope for anyone) or proggier makes no matter. Basalisk, in my opinion, are a band to watch for in the Kingston scene. Hopefully they can get the opportunity to showcase themselves more in the area as well as spread their music beyond the region. Other cities (and you!) deserve to hear this band.

www.facebook.com/Basalisk1

www.reverbnation.com/Basalisk

www.twitter.com/BasaliskBand

Thoughts on "Until The Light Takes Us"

I finally got around to watching Until The Light Takes Us, a documentary about some of the criminal activities and the people involved in the Norwegian Black Metal scene of the early 1990s. I must admit, it wasn't a great documentary but it wasn't bad either. Some scenes seemed kind of useless but you get that with any film. I will assume that anyone reading my blog will at least have a general idea of the events the film is based on. Instead of detailing the suicide, murders and church burnings, I'm more or less going to summarize some of the things I took away from the film.

In no particular order:

I haven't finished reading Lords of Chaos yet. And since I wasn't a metal fan back then, and haven't really read a whole lot about what happened, the details of the events discussed in the film were rather enlightening. And frightening.

Varg Vikernes said something to the effect that Christianity is the root of all the world's problems. While I agree to a great degree, burning down churches just doesn't seem like the best approach to take if you are trying to make people see your point of view. People opened their eyes, yes, but instead of making people see that Christianity is a poison, they just branded the perpetrators as Satanists and that was the end of it. If anything it enforced their faith and built the walls of ignorance ever higher. Not to mention that being falsely accused as being Satanists, which had nothing to do with their motives. only further defeated their purpose. Which was to trying and "reclaim" their ancient Norse "pagan" culture.

Listening to Varg speak, I couldn't help but notice how intelligent he is. He seems like a guy that knows what he is talking about and can argue it successfully. His ideas might be FUCKED but at least he isn't some blind sheep playing follow the leader. (There's those darn Christians again....baaaaa)

I was also struck by how cold Varg is. Not frosty grimness cold. He has no heart cold. When he was describing the altercation that lead to his killing Euronymous there wasn't even a shred of remorse. Maybe he feels like he was justified in his actions as being self-defense but his description contradicts that notion.  He states that at one point Euronymous RAN AWAY from him. How is it self-defense when the victim runs away?! When he describes the moment he stabbed Euronymous, he says "so I finished him off and ran after the other guy." In that situation, another member of Mayhem had ran past Varg and he realized this guy had his car keys. So he just "finished him [Euronymous] off" and chased the guy down. What the hell? I believe at this point Euronymous had actually fallen down and was relatively vulnerable. It probably would have been easier for Varg to have just gone after the guy with his keys and left it at that. But no, he stabbed Euromymous in head instead.  Varg tells us that he died instantly. Like he wants us to think that he was doing Euronymous a favour by killing him quickly. I knew this guy was messed but I didn't fully realize just how cold he really is.

That picture of Dead, erm, dead was pretty fucking brutal.

I was shocked somewhat when Hellhammer was describing his thoughts on Faust killing a "fucking faggot" in Lillehammer. He said he was pretty proud of him. Are you serious? These dudes are fucking intense, man.

Demonaz looked like a bouncer in a movie or something. A bouncer you don't fuck with.  Especially sitting beside an equally imposing Abbath.

Fenriz seems to be a very complex man. He likes a wide range of music as well as modern art. He seems very open-minded but also firm in his convictions. He seemed very calm for the most part. but he got worked up pretty good a couple times. He seems to be a vast storehouse of metal knowledge. (I'm going to say "seems" once more time, ok? Seems.) But for being such a well respected and iconic member of the extreme metal community, the movie made him look very lonely. Perhaps he is, perhaps that's just the way the film was edited. Perhaps the events the film is centered around have left a mark on his soul that bled its way to the exterior durng the making of the film. Maybe it was all of those things, maybe none. Maybe I'm reading way too much into it. But it's just that he was alone in almost all the scenes he was in. Alone in the bar, his house, the office, the train. Ya, I'm probably just making too much of it. Fascinating individual though. I think I could listen to him talk all day.

I laughed out loud and the look on the kid's face that was sitting beside Frost on the train. And he wasn't even wearing full corpsepaint! 

I hang my head in shame as I humbly admit that my knowledge of the music that soundtracked these events is basically non-existent. Mayhem, Darkthrone, early Burzum, Immortal, all more or less foreign to me. Snippets here and there but I don't think I've really listened to any of their work from back then. (2 of the newer Burzum albums and that Demonaz one, I have heard.) I know, I know. Hand over my membership card. I don't even know what Bathory sounds like. (Fuck. Grim Kim's gonna kill me.) But, what I'm getting at is, I heard pieces of those bands in the film. What I heard sounded like my cup of goat blood! Which means I have to find the time to get my greasy mitts on those albums. I've known about these bands and their importance but for some reason just never got around to actually hearing them.

So if anything, Until The Light Takes Us, has exposed me to a taste of a handful of bands/albums that any self-respecting (wannabe) metal writer needs to know as a reference point to today's bands.

I suppose I have a task now, don't I?

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Corrosion of Conformity - Corrosion of Conformity

Remember when you were a kid and you had that group of friends that did everything together? But there was always that one guy that had a little more going on. The group would want to go shoot hoops, or hang out under the bridge throwing rocks at trains, or some other such sport or shenanigans. But that guy was too busy playing video games, watching porno, or (gasp) hanging out with his girlfriend. The typical exchange: "Hey man, you comin' or what?" "Nah dudes. You go ahead and I'll catch up with ya later." And everything is cool.

Now take that scenario and apply it to Corrosion of Conformity. Bassist/vocalist Mike Dean, guitarist Woody Weatherman, and drummer/vocalist Reed Mullin wanted to make a new album. But guitarist/vocalist Pepper Keenan was too busy with Down. (That's a way better excuse than porno or a girlfriend.) That's cool.  They made the album anyway and Pepper will just catch up with them later. (i.e. no animosity) What that means, is that this album was made by the "classic" Animosity line-up. (I know. I know. I couldn't resist.)

Now, the last time I listened to COC in any capacity, if I recall correctly, was September 17, 2009. I don't have some crazy memory (quite the opposite) but it was the day after a night I will never forget. The COC material was actually Six Songs With Mike Singing. The night before must have had some effect because although I know I listened to it, I can't remember a damn thing about it. Point being: To my frequently misfiring mind, COC sounds like "Albatross" and "Clean My Wounds". Corrosion of Conformity sounds nothing like either of those songs. In fact, this new album sounds nothing like Animosity either.

I expected the Pepper-less COC to sound like the crossover of their early days but that's not the case. The dish we are served instead may actually be spicier than the pre- and Pepper-ed eras. These seasoned vets have thrown the proverbial curve ball. For the most part the album sounds almost like a COC record with the obvious difference being in the vocal department. I say almost because it has more, shall we say, balls, than "modern day" COC. The guitar tone is close to what I would expect but overall the album is more dynamic. Mixed into that southern hard rock vibe is more edge. More youthful enthusiasm. Not near the energy of Animosity mind you, but I can hear touches of that spirit throughout the album. Perhaps my favourite track of the album "Leeches", is by far the song closest to the crossover this lineup is known for. It's almost like this album is at a point in between Animosity and their later works. 

Crossover isn't the only other subgenre that makes its presence known. Throughout the album and mostly in the vocals, a doomy feel seeps to the surface. I hesitate to say it sounds like St. Vitus but that's what comes to mind. Maybe The Obsessed or Spirit Caravan would be a more apt reference point. If that wasn't enough, even grunge makes an appearance. On a couple songs, most notably "Weaving Spiders Come Not Here", a distinct Soundgarden vibe is heard. In fact, if you played me "Weaving.." without telling me who it was I would think it was a lost b-side from Down On The Upside. It's definitely better than the new SG song that is set to appear on The Avengers soundtrack. 

"El Lamento De Las Labras" is an instrumental track that sounds exactly like the laid back southern rock I would have expected from a new COC album. However, the song doesn't really go anywhere and it kind of kills the momentum built by the aforementioned "Leeches".

Detractors might look at the mix of styles as a negative. Perhaps if this was a new band just trying to discover themselves I would agree yet this is a band that been around for almost 30 years. So the fact that they mix it up and incorporate doom, punk, grunge, thrash, and southern rock into a new record is actually quite refreshing. Then again maybe Keenan's absence had something to do with that. For example, when I have the TV all to myself, I get so excited I can't decide what to watch. If there was a pornographic cartoon docu-action horror flick/series, that would make things much easier. (If Heavy Metal was true?) Maybe having the free reigns COC couldn't decide which direction to go so they just amalgamated it all together? Seems unlikely though. I prefer to think that they just made the music that was there to make as the trio. I see it as the band taking influence from themselves and others and making the album they wanted to make. I'm by no means trying to imply that Pepper was a control freak or anything. I can't speculate on the band dynamic.

I believe COC has succeeded in making a solid, enjoyable album with this lineup. Should Keenan rejoin the fold if/when things slow down with Down, so be it. I don't think it would hurt. I've got all kinds of respect for him. But should Dean, Weatherman and Mullin continue as a trio I see no reason to be upset with what they've accomplished and could accomplish in the future.

Corrosion of Conformity is available now from Candlelight Records.

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I don't get to do this much.

It's not very often I get to just sit and mess around on the internet. Seriously. But tonight I've got a couple hours covering the lab at work. Which mean, a) web access and b) time to kill. That being said, I've been streaming some stuff and thought I would share my less-than-profound insights.

Author and Publisher - "Terrorbird": Um, maybe streaming isn't the best medium for me to experience this. It's a little "out there". I bet if I wasn't stone-cold straight it might turn my crank but at the moment it just weirded me out.

Hour of Penance - "Decimate the Ancestry of the Only God": Holy fucking shitballs. That's some seriously awesome death metal. I already had this album on my list of stuff to check out but after hearing that, I better get on it!

Jeff Loomis - "Surrender": While not usually a fan of solo albums, this isn't immediately turning me off. It's not great but it is good enough that I might check out the rest of the album. Even if just to hear Chris Poland and Marty Friedman on guitar again.

Meshuggah - Koloss (full stream): Um, I thought I didn't like Meshuggah. Then why do I like this? At least the first 3 tracks. Are they doing something different that is bringing it back in line with my usual tastes? I mean, I liked Chaosphere but not Obzen. The 4th track "Behind the Sun" tempers the fury a little bit. It allows you to catch a breath before the onslaught of "The Hurt That Finds You First". And the rest of the album is equally as good. Sometimes I surprise myself. 

My 2 hours of relief are almost over. Time to get back to my regular boring, music-less job and read more David Icke when I should be paying attention.

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Biohazard - Reborn In Defiance

I never really thought Biohazard would release another album. I thought they were done. The members had moved on to bigger and better boobs, I mean, things. But in reality, none of those things was bigger or better than the 'Hazard. So it was with great delight that I read they had reformed (sadly short-lived however) and were releasing a new album. So you could say, the band was "Reborn In Defiance" of my expectations.

On first listen, even the next couple, I thought it was actually kind of weak. I wasn't expecting them to beat down the door like it was '94 but I was hoping for more. This turned out to be one of those cases of overreaching expectations. The best course of action was to step back and take the music for what it is. It just happens to be a very strong album after all.

Sometimes I can hear the maturity that inevitably wiggles its way into the album. The choruses on songs such as "Decay" and "Vows of Redemption" reel back on the aggression a bit and the instrumental closer "Season The Sky" doesn't sound like Biohazard at all. The vocals of Evan Seinfeld and Billy Graziadei are such an integral part of the Biohazard sound that their absence really caught me off guard. The results however, are quite pleasant.

Back to the meat and potatoes of the album. Biohazard are known as being innovators in the fusion of rap and metal/hardcore. Reborn In Defiance doesn't stray far from the formula Biohazard has laid down. But it's not in the least formulaic. Songs like "Skullcrusher", "Come Alive" and album highlight "Reborn" are hardcore heavyweights with huge riffs/breakdowns, gang shouts and all the heft you need.  In fact, the majority of the album would translate well to the live environment.  The opportunities for singing along run rampant. Especially on the aforementioned "Reborn". "From sickness I am torn/ Through suffering reborn/ No compassion, no control/ Only black inside my soul". The rhythms are tailor made for headbangin' and when the mosh parts hit, someone's getting hurt.  They've got the feel of a hundred mountain gorillas stomping poachers to dust in unison.

I haven't been a fan of rap since grade school (Run DMC!!) but when Seinfeld raps, I can dig it. My assumption is that it's mostly context related. The backdrop isn't hip-hop and the lyrics aren't about bitches, blunts and poppin' caps. They're about real life. Coupled with Graziadei's shouts (Seinfeld's too) and that vicious heavy hardcore, I hardly think of it as rap at all. 

All in all, Reborn In Defiance offers a tremendous return from pioneers of a style freakishly distorted by "rap metal" bands of the '00s. Most of which have faded into obscurity. Thankfully, Biohazard has stuck to their strengths and given us what will most likely be "Comeback Album of the Year".

Hopefully a North American release date is announced soon. The album was released in Europe back in January on Nuclear Blast.  I'm also interested to see what they will sound like with new bassist/vocalist Scott Roberts.

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Beneath The Massacre - Incongruous

I am trying not to rag on bands so much. Especially Canadian bands. But BTM's Incongruous just doesn't inspire my praise. Monochromatic death grunts over hyperspeed technicality completely devoid of any sense of melody. Yes, it's fast. Yes, it's extremely technical and executed brilliantly but it lacks any sort of soul. It's more of a simple display of chops than songs. The only times it slows down long enough to catch a breath is for mindless breakdowns. Incongruous has to be the biggest misnomer of 2012 thus far. Every song sounds completely interchangeable. I couldn't identify one from another if it was "Matrix-ed" on to my cerebral cortex. Is the title supposed to be sarcastic? Doubtful. If you were all about lightning fast riffs and drums, unintelligible grunts and growls and (admitted) brutality, Incongruous should do the trick for you. But if variation, a touch of melody and perhaps some breathing room sounds more like your style of death metal, steer clear.

If you want, the album is available now from Prosthetic Records.

BARN BURNER and guests at The Mansion, Feb. 25, 2012

Some things in life are a given. The oceans will be salty. The government will suck. And Barn Burner will put on a great show. It's natural. It's logical. It's a universal law. In this case, Barn Burner just happened to be headlining. As an added bonus, the three local support acts didn't totally suck. Win-win!

The night's festivities were kicked off by a band called Basalisk. This young band really impressed me. Definitely not a one-dimensional band, they mixed a handful of styles into their songs. I could hear influences ranging from Iron Maiden, to latter-day Mastodon and other proggy outfits. The keyboards were a pleasant surprise. I'm not much for keyboards unless  they're Hammonds and I was worried the Korgs would remind me too much of Dragonforce but that wasn't the case at all. I could put it this way, when I noticed the drummer was wearing a Scale The Summit shirt, I was not in the least surprised. The band gave me a copy of their demo and I look forward to giving it the full treatment in a future KofN post.

 I have to be honest. I don't remember much of Ponderous Chain. Their set coincided with the peak of my 3 tall cans of PBR buzz. I haven't seen them play with a clear head yet. It's not intentional though. The tiny stage at The Mansion can tend to hinder the performance of the band but these guys didn't let it get in the way. However, the somewhat technically precise nature of their music doesn't necessarily lend itself to much in the way of jumping around and such. I originally labelled them "Meshuggah-core". While not entirely inaccurate, it was kind of an off the cuff remark. While not nearly as "djent" as Meshuggah, that "flavour" struck me along with their otherwise melodic deathcore sound. I'd have to hear them again to really figure it out, but I can say, their performances have been improving each time I see them.

As of yet, I have been unable to find any sort of internet presence for Vera Pearl. Thus, I had no idea what to expect. Sometimes that's for the best. You can't be disappointed that way. There would be no chance of disappointment anyway. Vera Pearl floored me. Despite being down a couple regular members and having the venerable Dan Vokey (ex-I Hate Sally, ex-The Chariot) fill in on bass/vocals, they still delivered an extremely energetic and intense show. Math-core, noise-core, whatever you want to call it, it hit me like a cinder block to the face. Complicated arrangements, red-faced screams/bellows/yells, absolutely crushing (on a small kit) drums and a tight, tight performance left nothing to be desired. Except more of it. These guys could do some damage on the Canadian scene alongside KEN Mode and Fuck The Facts. And beyond.

 With what little hearing I had left at this point, it was time to damage some other parts of my body. You guessed it. Bangin' time! Montreal's Barn Burner blew the roof off that place. By my estimate, the turnout was low for a Saturday night. But what may have lacked in numbers, was counter-balanced by enthusiasm. Adequately lubricated by $4.25 tall cans of PBR, the gathering of bangers put on a clinic in "How To Fuck Up Your Neck." But that's typical for a Barn Burner show. Tunes like "Scum of the Earth" and "Holy Smokes" were made for banging your head. The Kingston show was originally supposed to be in support of Priestess (as I assume the rest of the date on the mini-tour were). But from what I hear Priestess is pretty much kaput. Barn Burner decided to press on and as such, turned the string of dates into headlining gigs. Deservedly so. During part of guitarist/vocalist K. Keegan's always entertaining between song banter, he informed the attendees that the last handful of shows all went very well. He said "That's what we call steady giggin'".That would actually sound pretty good as the name of their as yet untitled third album. Bangers III: Steady Giggin' sounds pretty good to me. In fact, Barn Burner played two songs from said (unsaid?) album. The first was untitled and the second was dubbed "No Rest For The WIccan".Both were rip-tacular. Don't you just love the BB play on words? As on other setlist inclusions such as "Beer Today, Bong Tomorrow "(one of my personal faves), "Dark Side of the Barn", and "Brohemoth". Their phenomenal set was bookended by "Earth's Crust" and "Wizard Island". They say "Saturday night's alright for fighting". Not this Saturday night. This Saturday night was alright for banging. I can't think of a better band for a night of beers, bongs, bangin', and the brotherhood of metal camaraderie. All hail the Giggernaut!!

Barn Burner's most recent release, Bangers II: Scum of the Earth is now available on vinyl! Get it here: www.barnburner.bigcartel.com  But, um, save me one will ya? I've been busy.

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Alcest - Les Voyages De L'Ame

Upon first listen this, the third full-length from the Stephane "Neige" Paut fronted project, appeared to me as soft and weak. Boring even. But then I read an article about the album which included a discussion with Neige himself. After that, I decided I owed the album another shot. This time, with open ears and an open mind. That openness is the key. The key to unlocking the experience of Les Voyages De L'Ame. This works reciprocally as well. Experiencing the album will open your mind. If you allow it, the expansiveness will permeate your senses take you to a state of relaxation. Much like the way Wolves In The Throne Room conjure images of thick, moss-drenched red wood forests, or the icy, wind-swept peaks envisioned by any number of Nordic Black Metal bands, Alcest feels like an auditory representation of meadows, rolling hills and sunny willow trees swaying in the wind. A far cry from Paut's frosty moniker. The connection to the band's Black Metal roots are subtle. Some screamed vocals and more thunderous drums make appearances in some songs such as "La Ou Naissent Les Colours Nouvelles" and "Faiseurs De Mondes". Those moments may dissuade listeners not as familiar with music's more extreme factions, but in the overall scheme, they balance out against the more delicate ones. Intricate guitar lines and a general wash of atmosphere warm the listener as Neige croons. (About what, I don't know. It's mostly in French) While the soothing vocals and tinkly guitar (like sunlight sparkling on a softly flowing stream) dominate the album, the "black"-er moments serve as a reminder that life isn't all butterflies and rainbows. There is still pain in the world. But you can't hold on to that. You need to embrace the beautiful things in life and channel them. Create something beautiful. The soaring melodies, lush soundscape and soul-baring vocals may not endear themselves to hardcore tough guys or die-hard death-heads but all you need to do is open your mind and let Alcest take your soul on a journey.

Les Voyages De L'Ame is available now from Prophecy Productions.

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N.B. I cannot stress enough the importance of listening to this with quality equipment. Lackluster gear will do the album absolutely no justice.

GIGANTOUR (Megadeth, Motorhead, Volbeat, Lacuna Coil) @ the KRC, Kingston, ON Feb 5, 2012

Kingston has certainly had bigger concerts than this, but to the best of my knowledge, this is the biggest METAL concert to come to town. And it would have to be on Super Bowl Sunday too. No matter. Metal trumps football every time. The turnout at the K-Rock Centre was about what I expected (i.e. not sold out) but from what I understand, the crowd wasn't as rowdy as they should have been. I was 2-5 people deep front and center. Things were plenty rowdy down there. I had seen Megadeth play an acoustic set over 10 years ago but I'd never seen them play a real show. I've been listening to Megadeth for almost 20 years so I've waited a long time. Back in high school I couldn't get enough Megadeth. So needless to say, I was pretty excited. For this version of Gigantour, MegaDave chose a diverse mix of bands in Lacuna Coil, Volbeat and the legendary Motorhead.

Lacuna Coil opened the show to a somewhat sparse but relatively enthusiastic crowd. Some derisive comments were thrown about but the younger group seemed to really embrace them. I'm considering reviewing Dark Adrenaline so I won't go into too much detail. But the band did what they do to an effective degree. They belted out their radio-ready metal in an entertaining show. I will say I enjoyed them live more than on record. However, the male compliment to vocalist Christina Scabbia, Andrea Ferro, sounded a little flat. Maybe he was having an off night. All in all, they did a good job warming the crowd up. They were a lot better than most of the opening bands I see around town. They promised to come back as headliners but I bet they say that everywhere. I spoke with Lacuna Coil's manager (Adam "Doom" Sewell. You know him.) for an hour or so before the show and he was going to take me back to meet the bands but by the time Megadeth was done, Christina was already prepped for bed and everyone else booked it as well. Maybe next time.

Before Sunday night, I'd had zero exposure to Volbeat. So anything that didn't suck would be a pleasant surprise. Well, they didn't suck. They played a sort of metalized punkabilly. Lots of energy, great presence. As much as I wanted to be that "It's not fuckin' Megadeth. Fuck this." guy, I still found my toes tappin' or head noddin' for most of their set. It wasn't necessarily something I would seek out on my own but I was definitely not disappointed. Quite and interesting blend of influences. The sometimes Elvis-like and most times Load-era Hetfield vocal style (without some of the more annoying mannerisms) lends itself very well to singing along. I wouldn't be surprised at all if I found out these guys have a dedicated fan base. I did see quite a few Volbeat shirts making there way back in to the arena during the break. Thanks to them, I saw something I never expected to see before though. People moshing to a Johnny Cash cover. First time for everything. Speaking of covers, they teased us with the beginning of Slayer's "Raining Blood". Don't DO that! You get a guy all excited and then nothin'. I think the most interesting bit of info I learned was that Hank Shermann of Mercyful Fate fame was filling in on guitar for the tour. I'm not a huge MF fan, but that's still pretty cool.

I know Motorhead but I don't KNOW Motorhead. (I think the band itself is older than I am.) So I wasn't as outwardly excited as a large contingent of the older crowd. I do know enough that I recognize the worth in seeing them live. What metal fan doesn't want to see Motorhead? Lemmy is a legend. From the spot I was, I couldn't hear the vocals very well but even if I had, how much of it could I have understood anyway, right? I'm not sure what else I can say here. It was Motorhead playing Motorhead songs. They aren't flashy or anything. Well, except drummer Mikkey Dee. Dude is like Animal! He's a beast! Adam told me he was going to do a drum solo and it was un-fucking-real. Lemmy said he was the "best drummer in the world" and he played like it. It was pretty special. And I tell ya, if I didn't already have permanent hearing damage (tinnitus), I would after that set. It was so loud!  Maybe not Jucifer loud, but louder than anyone else that night. Another legendary band to check off on my list of "have seen live". I can't die happy yet though.

The Megadeth lineup of Mustaine, Ellefson, Broderick and Drover is as good as any lineup they've had. Yes, as good as the Rust In Peace lineup. And it's great to see Ellefson back in the band. Back when I started playing bass, "the other Dave" was someone I really looked up to. In fact, "Trust" was one of the first songs I learned to play. Coincidentally, "Trust" was the set opener! I hear the entire set list is available on the Cyber Army forums but I'll give some highlights. I missed a lot of the between songs banter because a) I wasn't in a good spot to hear the vocals to begin with. Good thing I knew pretty much all the words anyway; b) Some drunk fucker was basically just yelling the whole time in my vicinity; and c) some other ass requesting "Bite the Hand" between every song. Right behind me. So apparently. MegaDave asked if everyone was sleeping because the crowd was so tame. At the edge of the pit, where I was, it wasn't that tame. You would think you were at a hardcore show the way people were moshing. Megadeth isn't mosh music. Maybe I'm just getting old. I will tell you this, the crowd got some energy when Dave said this next one is about "little green men" and launched into "Hanger 18". I got nostalgic when they played the song that got me into Megadeth with "Symphony of Destruction". I believe they played 3 songs off the new album, TH1RT3EN, including "Public Enemy No. 1"and "Who's Life (Is It Anyway)". As expected/hoped for, Christina Scabbia joined them on stage for the updated version of "A Tout Le Monde". I lost my shit when Vic Rattlehead made an appearance for "Peace Sells". My constantly sleep deprived brain is having trouble with the details but I know they played "Wake Up Dead", "In My Darkest Hour" and "Sweating Bullets". Did that one ever bring back high school memories! I fully intended to keep track of the setlist but for a good majority of the set I couldn't move my arms enough to get my phone out. The "sleeping" crowd had me pinned between a fat guy, a drunk chick, and Decibel Reader of the Month, Gabe Hugh. Of course, what Megadeth show would be complete without set closer, "Holy Wars...The Punishment Due." By playing a collection of songs covering almost the entire spectrum of their career, Megadeth has emphasized how consistent they've been. I can say that I walked away from my first real Megadeth show fully satisfied. Walking away uninjured was a bonus too. I just hope I don't have to wait another 10 years to see them again.

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2011 Record Label of the Year

The Second Annual Record Label of the Year, as decided by Kingdom of Noise, is awarded to.....Canada's own Profound Lore Records!!

 

The basis I use to determine the RLOTY is basically, the label that released the most albums on my Top 40 Albums of the Year list. This year the race wasn't even close. Profound Lore released a whopping 14 out of 41 albums on the list, including my Top 3! That's 34%!  Incredible! Now here's a label that knows how to pick 'em. Even the releases that didn't end up on my Top 41 were still solid, solid albums. Not a dud to be found. I can't say enough about founder Chris Bruni's ability to sign such amazing bands and get their music out there. Well done, sir. And thank you very, very much for making 2011 a great year for music.

 

I also have to mention the other labels that released multiple albums that made my Top 41. Last year's ranking in parentheses.

 

2nd Place, with 6 releases, Relapse Records. (1st. Relapse narrowly beat out Nuclear Blast and Season of Mist for last year's honour.)

3rd Place, with 4 releases, including 2 in the Top 10, Metal Blade Records. (T-4th)

4th Place, with 4 releases, Prosthetic Records. (5th)

5th Place, with 2 releases, Century Media.(Did not rank)

(If you count Megadeth and Cavalera Conspiracy (special mentions on my list) Roadrunner takes 5th with 3 releases.)

 

I have to give special mention to Gilead Media. I only discovered this label late in the year so I didn't get to spend very much time with the releases but their lineup is stellar. False, Barghest, Fell Voices, Ash Borer and Northless are all really good. Not to mention they distributed the vinyl version of my AOTY, Diotima by Krallice. (I think I saw the Yob LP on there too.) I look forward to seeing what Gilead has to offer for 2012.

 

I'd also like to thank the rest of the labels with releases that "charted".

Nuclear Blast, Seventh Rule, Earache, Reprise, Willowtip, Candlelight, E1, Indie, Tankcrimes, and although no album charted, Grindcore Karaoke.

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R.I.P. David Gold

As you most likely already know, Woods of Ypres frontman David Gold was killed in a car accident a few days before Christmas. I'd just like to say a few things.

I only became aware of Woods of Ypres last year.  I listened to Woods 4: The Green Album and became and instant fan. Later than day, I tweeted a couple thoughts about the album and before the screen had faded on my phone, David had responded to my thoughts. We had a little back and forth that day and that was it. That one brief conversation with him was the only time we ever "spoke" but it left a mark. See, I didn't initiate contact. He did. He was actively seeking out comments about Woods of Ypres and willfully interacting with the fans. I said to myself, "Wow. That's cool." This is but one small example of the dedication David had for his band and its fans.

I enjoyed following the progress of the making of Woods 5: Grey Skies and Electric Light.  I was very excited to see how it turned out. I wasn't the only one. The buzz surrounding the band seemed to be growing. It was looking like 2012 was going to be big for Woods of Ypres. Then the hammer blow.

I was on break in the middle of a night shift when I heard.  I was stunned. My eyes grew big as saucers and my jaw hit the floor. I didn't believe it at first. I didn't want to believe it. I wanted to find out it was a hoax. Soon enough it became apparent that wasn't the case. In the words of Gold himself, "Only death is real." I can't say I was 100% surprised that Gold met his end before his time. He didn't appear to be a happy man. Optimists and happy-go-lucky souls don't write that many songs about death. But with all the recognition and what not the band was getting, I had hoped that other kind of tragedy would be a non-issue. If you take my meaning. Although, if he believed what he sang about in "Death is Not an Exit", he realized that suicide is never the solution. It's a very small consolation that this was an accident, but nevertheless, a tremendous talent was taken away far too early.

Earache Records released a digital promo of Woods 5 shortly after Gold's death. Whenever I listen to it, I feel like it's being sung by a ghost. As if the album wasn't haunting enough. I was singing along to it on my drive to work this morning and I could hardly see for the tears. It doesn't make any sense why I should grieve so much for a man I didn't even know. I've been more upset these past few weeks about Gold's passing that I have been for some extended family members. Perhaps the tragic nature and the age of the deceased played a part. More than likely, my grief is born of selfishness. Woods 5 will be the last WoY album. I will never meet David. I'll never get to see him perform live. All those things are now denied to me. Of course, I also have the deepest compassion for his family, close friends and most rabid fans. The road to enlightenment is paved with compassion, and as a Buddhist practitioner, that's my ultimate goal. So deep down, most of those tears are shed for them.

I didn't feel this bad about any of the metal figures that have passed recently. Not for Dio, nor Cory Smoot, nor Paul Gray, nor Peter Steele. All in bands with bigger profiles than WoY. Bands I've been fans of for years. I don't even think I felt this genuinely sad for Cobain. And I was a huge Nirvana fan. (I was more angry than anything.) Even though I've only been a Woods of Ypres fan less than a year, this hurts more than any of those. So much potential, lost in the blink of an eye.

I will leave you with a chilling thought. In the song "Alternate Ending" on Woods 5, there are the lyrics "Back on the highway, under the moon. My final moments, still wondering about you." It's like he knew.

Return In Peace, David. May your next life bring you happiness.

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"Guilty Pleasures" of 2011

When I started counting down my favourite albums of 2011 I mentioned that there were a couple of albums I intentionally left off. I left them off not because I wouldn't consider them among my favourite 40 but because I know they aren't among the best 40. My bias towards these artists is too strong to allow me to judge them fairly against the rest of the list. So instead of trying to find the proper place and then imagine people saying "Are you kidding me?!" I just decided to make a separate post.

 

Megadeth - TH1RT3EN: I don't really feel guilty per se for liking this album as much as I do. But I'm not going to pretend that it's AMAZING either. I'm also not going to pretend that 13 is their best album either. I thoroughly enjoyed it and I don't believe there are any duds. It's Megadeth doing what Megadeth does. You have to admit that besides Slayer, Megadeth are the best and most consistent band among the BIg 4. Megadeth played a big part in my early metalhead life. For a time, they were my favourite metal band of all time. This band has had so much influence on me, and holds a special place in my heart.  I actually framed my autographed sleeve for The World Needs a Hero. I met them, had it signed and saw them perform an acoustic on the day it was released. That's actually the only time I've seen them live. UNTIL FEBRUARY 5TH!!! For all that, I can't judge Megadeth. Unless they pull a Metallica. Then all bets are off.

 

Traditionally, any new release from Clutch graces the top spot on my list. I don't have to worry about bias. They ARE the best. But with no new release from them in 2011, (the Blast Tyrant re-issue doesn't count) a Clutch album doesn't come into play here. In such (disappointing) years as Clutch fail to release an album,.top honours usually go to Soulfly. Their release schedules are mostly staggered. Since no Soulfly album was released either, my second "guilty pleasure" of 2011 is:

 

Cavalera Conspiracy - Blunt Force Trauma: This feels like more of a guilty pleasure. CC get no respect. Soulfly doesn't get much either for that matter and really, in a blind taste test, you'd be hard pressed to tell the difference between the two. But I have a man-crush on Max Cavalera as a musician (he's not much to look at) so I really dig just about anything he is involved in. It's really unfortunate that his name is so associated with nu-metal. I really dig this album and I don't care what you think. Although, "I Speak Hate" isn't Max's best effort.

 

 

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The Kingdom of Noise Album of the Year for 2011: KRALLICE - DIOTIMA

No album of 2011 captured me the way Diotima (Profound Lore) did. Krallice have crafted a masterpiece that at times has left me literally speechless. Rendered mute and dumbfounded by the sheer brilliance of their creation. The immensity of talent that forms Krallice is mind-blowing. And I feel ashamed that I haven't realized that until this year. I can almost guarantee that I heard Dimensional Bleedthrough but for whatever reason it didn't click with me. As I've said before, Black Metal in general is a taste I have only acquired in the past couple years. The less black there is in my hair, the more black there is in my heart. Granted, Diotima is considered avant-garde as far as Black Metal goes but it hasn't transcended the genre altogether. One of the aspects of Black Metal that I particularly enjoy, and that Krallice perform with considerable success, is the sense of motion. Specifically a sense of flight. For the entire length of the album, my consciousness soars through time. Landscapes and colours shift and fade in my mind's eye. Darkness and light explode across my being or creep through my veins. My mind, body and spirit melt into one entity, content in nothing other than the absorption of the sound waves.

I may sound like I am being overly dramatic but this album affected me on a level much deeper than simply auditory pleasure. A sensory satisfaction that mundane can be satiated a thousand times over before you happen across something that is so good it hurts. That's what good art does. It makes you feel. You may feel joy. You may feel anxiety or fear. Anger, Sadness. Pride. Elation or disappointment. It could make you feel powerful, or weak. Or it may make you feel all of these things. The point is that it makes you feel something. That's what Diotima does for me. It makes me feel all those things. Often in the same song. As the soundscape unfolds, I envision it as the soundtrack to a world. It's stories and drama unravelling in sonic elegance. A journey beyond the speakers. An epic worthy of reverence for its ability to move your soul through the ether to a place outside of the everyday. And this is how I feel before I've even read the lyrics. The artfulness of the music is carried through into the words. The screams and growls and howls serve as more than just another instrument. They act as a vehicle for the poetic beauty of the written words. The juxtaposition of the cerebral lyrics and "animalistic" nature of the vocals is somewhat striking but not unexpected. Nothing about Diotima would suggest anything otherwise. One wouldn't expect such care to be taken musically to create such grandeur and nuance only to throw trivial lyrics over it. The lyrics get the listener thinking and the music sets the tone and fleshes out the details which together creates a magnificent singular piece of immensely satisfying art. For me, all this has enough impact to destroy a world. Perhaps similar to the impact that is theorized to have destroyed Tiamat and created our Solar System's asteroid belt. One of those asteroids is coincidentally named 423 Diotima. Named for the historical Greek figure, Diotima's discourses with Socrates are said to be the origins of the concept of Platonic love. While I assure you I have no intentions of proposing marriage to any members of the band, or my double vinyl copy of the album for that matter, my love for Diotima does push the very limits of the definition of Platonic.*

The dramatis personae performing this masterwork consists of vocalist/guitarist Mick Barr (Orthrelm, Ocrilim), guitarist Colin Marston (Behold...Arctopus, Dysrhythmia, Gorguts), bassist/vocalist Nick McMaster and drummer Lev Weinstein. This foursome possesses a superb wealth of talent. Each an absolute master of their craft. Thankfully, it appears that ego does not come part and parcel with all that ability. In the liner notes, writing credits are presented as "MUSIC INITIATED BY..." :LYRICS BY...". I love that term "initiated by". This would lead me to believe (and I have read elsewhere) that this is a total band effort. Each member contributing to and building on an idea, a concept, a framework, initiated by one member. In fact, every member's name appears in the music and/or lyrics. As much as I deride "artists" who don't write their own "songs", I applaud even more so for bands that collaborate as a team. On this their third album, Krallice are now champions.

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*According to the Wikipedia, entry for Diotima, "with genuine Platonic love, the beautiful or lovely other person inspires the mind and the soul and directs one's attention to spiritual things." That sounds about right. "Oh my GOD, this is awesome!"

CD available from Profound Lore here.
2LP vinyl available from Gilead Media here.

#2: Subrosa - No Help For The Mighty Ones

Subrosa is one of those bands I had never heard of until I saw posts about them on Twitter. Their record label, Profound Lore, was using tweets to promote the release of No Help For The Mighty Ones. After repeated posts I said to myself, "Well fuck. I should probably check it out." Don't tell me social media doesn't work! I was floored! I knew I was going to like it when I heard the Electric Wizard-esque opening riff on "Borrowed Time, Borrowed Eyes". I'm a sucker for tone and Subrosa nailed it. Love at first head nod. So you can imagine my jaw dropping when the already formidable wall of noise was joined by electric violins! At first I didn't even know what I was hearing. I thought at least one of them was a brass instrument. A little research cleared that up however. It wasn't so much ignorance that lead to the error as much as unexpectedness. On subsequent listens my appreciation of the contrast between the tones ripened even more. I now can't even entertain the notion of that insectile presence not being there to balance out the mammoth bottom end. It's a symbiotic relationship. Another unexpected surprise was how much I liked the singing. Yes singing. No quotation marks. Usually the only clean female singing I hear is from the crap my wife likes on the radio. Or worse, the crap my parents made me listen to growing up. I can't tell you how many times I found myself singing along unabashedly to those powerful, memorable, emotional choruses. A general sense of sorrow permeates the album. At times I felt myself on the verge of tears. Not only because of Subrosa's ability to draw out the emotions but also just because it's so damn good! Especially during "House Carpenter". The sometimes skittery, sometimes mournful violins, the subterranean oppressiveness of the Kyuss-ian guitars and the beautiful singing would be nothing if it weren't for the phenomenal song writing. Hooks both vocal and instrumental sink their barbs in deep. Every track is a testament to music as an art form. Brilliant in every way.

For a (much) more in depth treatise on my unrepentant fondness for No Help For The Mighty Ones, check out the detailed review I wrote earlier this year.

 

Who do you think will take the top spot this year?

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#3: Yob - Atma

When talking about the Batillus album I referred to it as "doom at its best". That's different than "the best doom". That honour goes to Atma (Profound Lore). Guitarist/vocalist Mike Scheidt, bassist Aaron Reiseberg and drummer Travis Foster have summoned forth a monumental slab of thunderous doom mastery. Thick as molasses riffs unfold at a glacial pace, as unstoppable as that very force of nature. The hypnotic nature of the riffs coupled with the fuzzed out, overdriven tone can lull you into a state of bliss that allows the music to permeate every fiber of your being. It is a transcendental and meditative experience. As doomy as it is, Atma doesn't bring me down. I feel uplifted by its positive energy. Although, the guest vocals by Scott Kelly of Neurosis on "Before We Dreamed of Two" are somewhat sombre. Kelly also appears on "Adrift in the Ocean". Also, Stevie Floyd of Dark Castle provided the stunning artwork. "Adrift in the Ocean" is actually a decent metaphor for another way I feel about the album. The fluidity of the album and the way the riffs rise and fall gives one the sense of riding waves. Also, sometimes the tension that is felt reminds me of the perils that lurk in the vastness of the open ocean. Above and below the water. Storm or serpent. That may not sound very uplifting, but I still feel good listening to Atma. In terms of the word "atma" itself, it is defined as "the self". Self in the vastest sense of the word. This gives me a somewhat personal connection to the album. As a practitioner of an Eastern philosophy (NKT Buddhism), the self or "I" is at the heart of the practice. We are taught that the "I" is not this body, is not a physical thing. It is a formless mental continuum that carries our karmic potentialities from consciousness to consciousness as long as we are trapped in the cycle of birth, suffering, death and rebirth called samsara. Heavy stuff. Heavy stuff calls for heavy music and you won't find many bands as heavy, or as good, as Yob.

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#4: Rwake - Rest

And I thought Voices of Omens was good! Obviously the 4 years that past between its release and 2011's Rest (Relapse) was time well spent. I have a horrible memory and I haven't listened to Voices in at least three years. Therefore, I can't really make a direct comparison between the two albums. Rest is so good, however, that the fact that I can't quite remember Voices that well doesn't bother me a bit. I find the album very hypnotic. Not in a wholly psychedelic sense but more that I have a hard time keeping my eyes fully open. I prefer to close myself off from visual distraction and let the music flow through me. And flow it does. It might not seem like it should with all the tempo changes and non-traditional song structures but it does. Whether it's an acoustic passage, spoken word, a vicious pummeling or just straight sludge, every piece fits naturally. Almost like there is some supernatural force dictating how the album plays out. That follows with one of the general themes that I feel from the album. The theme that there is more to life than what can be seen. More in our environment, more in our world, more in our universe. There are forces at play that we can't begin to contemplate until we open our minds fully. This album is one of those albums that puts my mind into altered states without the use of drugs. The music itself gets me high. In addition to just plain blowing my mind, Rest also receives addition Kingdom of Noise "awards" for 2011. First, The Vocal Performance of the Year. The energy and passion displayed by vocalist CT and co-vocalist B puts a fire in my heart. Such conviction! Second, Song of the Year for "Was Only A Dream". That song just speaks to me. I could (and did) listen to it on repeat for days. It's so powerful. I have quite the affinity for trees. They are the life force of our planet. Deforestation for raising livestock is one of the reasons I became a vegetarian. (If I was single, without kids, I'd be vegan) So it would come as no surprise given my fondness for trees that the third award is for Album Cover of the Year. It depicts a gnarly, barren tree bathed in sunlight filtered through a light fog. Part of what I love about it is it looks strikingly similar to a couple of trees right in my very own yard. Those trees are part of the reason we bought the house. Also, the lack of foliage represents, to me, not only the cycle of the seasons but also the fact that our planet is slow dying. You would think that an album that I have bestowed so much praise upon would rank as #1 but remember, anything in my Top 5 could be #1 on any given day. It's like trying to chose my favourite child. It can't be done. But on some days, one can be more endearing than the others. I feel really bad that I have yet to purchase Rest. It needs to be part of my collection. And with that all important lyric sheet, my connection to and understanding of the album could only be deepened.

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#5: Batillus - Furnace

I heard the UPS guy threw out his back when he delivered my vinyl copy of Furnace (Seventh Rule). 180g my ass! This fucker is ungodly heavy. In fact, it's so heavy that when I asked my buddy Atlas (the Greek God) to hold it for me, he replied with an emphatic "FUCK. THAT."  Nevertheless, I somehow managed to summon my Herculean might and drop the needle on the heaviest release I've heard for 2011.  Furnace is rife with monolithic riffs so dense they must have been forged in the furnace that burns at the center of the Earth. This is DOOM at its best Ladies and Gents. But what makes it so great is the dynamics. It's not all plodding, mind-crushing/numbing drone. There are peaks and valleys to compliment the immensity. The impact of the crushing moments is heightened by the build up. The other side of the mountain isn't a gentle slope, it's a sheer cliff. There's no way to save yourself from being flattened. I have to give special mention to the track "Deadweight". It epitomizes the way  I feel about Furnace. The chorus is ridiculously heavy. The lyrics "Fall on your knees/Crushed by your soul/Poisoned your mind/That serves you no more" are accompanied by an absolutely pulverizing chug that literally compels me to fall on my knees. My soul is indeed crushed, mind poisoned. No album this year has elicited such an undeniable physical response from me. I don't claim to be any kind of format expert, but for maximum richness, I'd spend my money on the vinyl. And enjoy the soul-crushing.


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#6: Wolves In The Throne Room - Celestial Lineage

This album is a perfect example of how my personal tastes are always evolving. Back in 2009 when I heard Black Cascade, I didn't "get it". I still wasn't much for Black Metal yet. Since then, the part of my brain that understands albums such as Celestial Lineage (Southern Lord) has woken up. And it's saying "go back and listen to the rest of the albums". (I will. Eventually.) I'm not going to go into all that "Cascadian Black Metal" stuff. I'll let other people debate that. What I can say is putting all preconceptions aside, the album does sound very natural, earthen, organic and well, celestial. Unlike the previous two entries on this AOTY list, WITTR are definitely Black Metal in my books. More than basement, corpsepainted BM yes, but still "troo" to me anyway. Much like their Norwegian counterparts draw inspiration from their frost-bitten habitat, Celestial Lineage feels like the environment that surrounds the Olympia, WA based band. It's incredibly rich, textured and life-giving like the the humus of the forest floor. Instruments and voices come and go as creatures of wing and foot move through the trees. Wind and rain play their part too as bells chime and the album is drenched in atmosphere. The power and beauty of nature in the Northwest US seems to transform itself into a sonic entity as complex and interdependent as a living ecosystem. To create you must destroy. Celestial Lineage perpetuates that truism in the delicate balance of devastating, cacophonous black metal and a reverent appreciation for dynamics and space. The Brothers Weaver could not have sculpted such a masterpiece without a little assistance however.  Helping to sing the album into existence, as Aslan did Narnia, was Aaron Turner of Isis fame, and the angelic voices of Turner's wife Faith Coloccia and Jessika Kenney. I don't live anywhere near the Northwest. I have actually never been farther west then Windsor,ON and the forests here are not near as lush as those on the other side of the Rockies but I nevertheless feel at home when I listen to Celestial Lineage. It feels like a musical representation of my ideal living environment. The energies of nature made into sound.

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#7: Altar of Plagues - Mammal

I'm definitely running into some descriptory fatigue. I'm even making up words. That bums me out more than the doomy, depressive, post-black metal of Ireland's Altar of Plagues. Mammal (Profound Lore) is very atmospheric and dark. The fuzzy, lo-fi guitars and other effects (reverb? I'm no gear head) make the album feel like it was recorded in a cavern. Damp, cold and devoid of sunlight. When AoP choose to go full-on BM, it's a bitter assault. I could handle a whole album of it. But it's the other aspects that make it such a great album. I'm not a patient man (at least in terms of music) but somehow Mammal is able to hold my attention during the gaze-y parts. I find myself entranced as the music soars, gliding above the sorrowful landscape below. The mote of consciousness climbing ever skyward only to plunge back into the blackened hole from which it sprang and erupting in an explosion of emotion.  Even the "keening' parts failed to bore me, as their inclusion only serves to enhance the mood of the album. '09's White Tomb was good, Mammal is better. If AoP can keep up this career trajectory, their future is looking bright. But bleak. Bleak-induced brightness? Sure.

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#8: Primordial - Redemption at the Puritan's Hand

This is my Album of Second Chances. The first time I listened to Redemption (Metal Blade) I don't think I made it past through the first track. The next time I might have got past the first two tracks. I must have been listening to a lot of death metal or something because I just couldn't get past the vocals. But something told me to keep trying. If I ever find that something I'm going to buy it a horn of ale. I owe it at least that for saving me from potentially missing out on an outstanding album. I always thought Primordial was a black metal band. Probably due to the inclusion of the band in a black metal documentary I watched. But since this is the first Primordial album I've heard, I can't say how it compares to their previous work. I can hear flashes of black metal on Redemption but I don't hear it as a "Black Metal" album. What I hear is epic in every sense of the word. The sweeping melodies bring to mind rolling green hills and windswept cliffs. A.A Nemtheanga's vocals/lyrics hearken back to the days when kings meant something, battles were won with blood, not bombs, and man and nature coexisted in balance. Just listening to it makes me feel like more of a man. What I especially like about RATPH is how it is put together. Every individual performer is represented amazingly compositionally and/or production wise. AA tells the story. I croon along best I can but I can't match his timbre or command. I yearn to fully comprehend everything that he sings about. The guitars paint the picture beautifully and weave their tendrils around the pleasure centers in my brain. The tone and clarity (and the fact that I can hear it. Well. And always.) of Pól MacAmlaigh's bass warms my heart and soul like you wouldn't believe. The drums hold the whole thing together. The style and resurfacing themes that pop up in the drumming links all the songs together. I once tweeted that Primordial should soundtrack A Game of Thrones and I stand by that. Redemption at the Puritan's Hand makes me proud that I am of Irish ancestry.

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#9: Barn Burner - Bangers II: Scum of the Earth

Montreal's Barn Burner are one of Canada's best young bands. On the their second album, Bangers II: Scum of the Earth (Metal Blade) they have further entrenched themselves as such. These beasts of the stage are equally as stimulating in recorded format. Last year I snuck Bangers on to my list due to a release date technicality. That wasn't necessary this year. There's nothing sneaky about Bangers II. Right from the opening/title track "Scum of the Earth" (bitchin' video) you know this baby is rip-tits. But it's not the kind of album that sounds all "FUCK YEAH!" the first few times but fails to garner the same reaction a dozen times later. I knew this barn burner (he he) was going to rank on my list. But the fact that I never got tired of it and actually as I got to listen to it more and more and picked up more lyrics and what not, it continued to grow on me and that vaulted it to its current position. It became my preferred album for making boring things better. Cooking Kraft Diner, cleaning house, mowing the grass for 3 hours + Bangers II = a kickass good time! I probably did a better job articulating my adoration when I reviewed the album a few months so I'll leave you with this: Buy the album. Go to the shows. Party hard and have your face melted off. Support Canadian Metal!

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