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Posts Tagged ‘Alan Averill’

Pyrrhon, An Excellent Servant But A Terrible Master (2011)

Which is worse: Never being rocked, or always being not rocked?

Full disclosure: I approached this review with a fair amount of trepidation, because Doug Moore, Pyrrhon’s vocalist and lyricist, is not only a fellow staff writer over at Metal Review, but is also an all-around Good Dude.  Still, it would take an overweening amount of Good Dude-ness to make me overlook shitty music, of which I am happy to report Pyrrhon delivers precisely zero.

You and I and your grandmother all know that overly technical metal follows the law of diminishing returns: the first squiggly insane bit blows one’s mind, but keep it up for too long, and squiggly insane bits number two through x will assuredly fall on tired ears.  Thus, New York’s own Pyrrhon succeeds where a lot of ultra-technical death metal acts fail by actually allowing the listener to get her rhythmic bearings before going off on a fret-abusing tear (see “Glossolalian” for a prime example of this at work).  Too many of the glitchy meth-or-Red-Bull-heads in tech death bands start by writing frantically technical parts, then attempt to wedge them into loosely recognizable songs.  Pyrrhon’s approach is the opposite: creating a solid frame of a song, which is then adorned with and debased by flights of sheer heart attack (see “Correcting a Mistake,” where the bass-only opening is not simply a solo spot, but actually previews the skewed melodic riffing of the guitars).

This is technical death metal not on the model of Decrepit Birth, Obscura, or any of that other relentlessly modern fare, but more on the queasy, churning darkness of Ulcerate.  Or, perhaps, imagine if Gorguts had written an album halfway between the styles of The Erosion Of Sanity and Obscura.  All of which is a roundabout way of saying, Pyrrhon is technical as all shit, but the guitars aren’t just senselessly puking up pinches and squeals and taps – when they do appear, they function as effective rhythmic landmarks (see the opening of “Flesh Isolation Chamber,” for example).  Just as one’s senses are ruthlessly toyed with, jerked half a beat this way before being yanked entirely in another direction, there are always little footstools of solidity, fleeting though they may be.

Check out the guitars at around the three-minute mark of “New Parasite” and the clean guitar section in “Gamma Knife” for some excellently woozy pitch-bending, sounding like some alien deep space radar, quietly pinging out the dead oceans of time.  Dylan DeLilla’s solo sections are wonderfully psychedelic, and very atypical for this kind of death metal – see especially the midsection of “The Architect Confesses,” with Erik Malave’s thick, purling bass backing an otherworldly spaghetti Western Hendrix.  Alex Cohen’s drumming alternately blasts and breathes, smoothly cocooning the broken shard guitar riffing.  “Idiot Circles” is a fine example of the monomaniacal dismantling of the tenuous border fences between the great bruising beatdowns of hardcore and the harrowing land of avant-garde death metal, throwing in some Suffocation influence to complement the skronky dissonance of Deathspell Omega and the jerky time-stretch fuckery of Gorguts and Ulcerate that prevail throughout An Excellent Servant…

Moore’s vocals are a hugely versatile instrument used to great effect throughout the album.  “Gamma Knife” in particular is a great vocal showcase, featuring a huge range of techniques: spacey effects, deep, throaty bellows, and mid-range snarls.  The overwhelming effect, though, is that the vocals are always nervily focused on throttling intensity of delivery rather than dry perfection of techniques.  You may also find yourself quite the paranoiac, constantly stealing glances over your shoulder during the spooky clean section of “Flesh Isolation Chamber,” which shows off the clean enunciation of Moore’s dangerously-unhinged vocals.  The song, in fact, is probably the best one on the album, as it displays the full range of Pyrrhon’s stylistic touches, plus the way it keeps lurching and threatening to come apart at the seams toward the end is a nice effect.

Since I’ve made a right fuss about Moore’s expressive vocal delivery, it certainly doesn’t hurt that the man’s lyrics are a masterful blend of evocative imagery and forceful economy, one that finds a certain apocalyptic resonance not in the overwrought violence of world wars or collapsing cities, but rather in the quotidian tyranny of alienation and disaffection.  The lyrics to “Gamma Knife” read like a Kafka-esque version of Tom Waits’s “Alice”:

“A great, silent heart
Sprouting vein-trees and capillary branches
Rendered obsolete
and spinning lonely through the ice.”

The lyrics also invoke a blighted urbanism, rather like a resigned instead of revolutionary version of Alan Averill’s fanatical protagonist on Blood Revolt’s Indoctrine.  One of the absolute finest phrases in this style comes from “Flesh Isolation Chamber”:

“Which is worse:
Always being watched
Or never being seen?”

Moore’s lyrics are most clearly distinguished at the most crucial point, the last lines of the album: “I don’t give a fuck what happens to me / All I want is to go to sleep.”  What follows that final exhortation is yet another twisted guitar solo section, singing for all the damned world a demented lullaby.  An Excellent Servant But A Terrible Master is delightfully entropic; or, at the very least, its musical text can be read as a dialectic between order and chaos, surging, heaving, lunging onward to respite or ruin.  But tending – as always, with everything – to entropy.

This is a remarkable debut from a confident and talented band, and there is absolutely no reason that Pyrrhon should still be without a label.  Willowtip, Crucial Blast, Relapse, Profound Lore, somebody: get on this shit now.

Overall rating: 85%.

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For no particular reason other than a few serendipitous songs popping up when I was playing my music on random the other day, I thought I might do a little bit of a country profile here.  Well, scratch that.  I’m not particularly interested in surveying all of Italy, scouring its lacquered boot from thigh to heel for all the heavy metal fit to print.  Instead, I present for your edification and/or casual annoyance a few of my favorite metal albums from the center of history’s most whined-about empire.

The land of Berlusconi is, if the records I’ve chosen to highlight here are any indication, far more than the libidinous Mediterranean caricature and reckless administrative policy would suggest.  By no purposeful design, just about all of these albums tend toward the black-ish side of heavy metal’s family tree.  Perhaps most notably, then, given the genre similarities, is that for the most part, these acts don’t seem to all be coming from one centralized black metal scene* (the way we imagine things do in France, Finland, Mozambique, or wherever).  Chalk it up to the proximity of Vatican City, perhaps, or a lingering fondness for the somewhat corpulent severity of Il Duce.  Who knows.  Something is rotten in the state of Italy, a confused Hamlet might emote (well, not Hamlet himself, of course, but, just fuck along and let me have my wordplay, you ass).
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Spite Extreme Wing, Vltra (2008)

This black metal band first intrigued me with their previous full-length, Non Dvcor, Dvco, but it’s on this, their most recent and, sadly, last album,  that they really shine.  A great dry production lends excellent clarity to the generally straight-ahead black metal within, which is given just enough touches of the avant-garde to keep the listener on her toes.  The tracks are all untitled, though the band slips in both a Misfits and a Beatles cover, which blend in rather better than one might suppose.  Special credit should also be given to that gorgeously evocative cover art.  No need to be tethered to the ol’ black and gray tones forever, black metal chums.
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Stormlord, Mare Nostrum (2008)

This album kicks so many tremendous servings of ass that it really ought to be illegal.  I suppose the best way to describe Stormlord is ‘blackened power metal’, but lest that dreadful word-mash make one think of Children of Bodom or whatever fucking black metal Dragonforce churned out before they were Dragonforce, have no fear.  This is purely epic, regal metal that deserves a far greater audience.
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Void Of Silence, Human Antithesis (2004)

Void of Silence is a somewhat clean-sounding doom/death act from Italy, through which has rotated a number of excellent vocalists.  2004’s Human Antithesis has the distinction of featuring the unparalleled vocal talents of Alan Averill of Primordial fame.  Just earlier this year, the band released a brand new album which is also quite tasty, featuring the vocals of Brooke from The Axis Of Perdition.  His vocals on that new album are something of a revelation, given the bile-flecked delivery of pure caustic rage typical of TAOP; with Void Of Silence he sounds like someone who has just realized he can belt out true epic doom vocals, and wants to wring every last possible speck of emotion from each phrase.  Human Antithesis is probably still the better record, with sounder songwriting and the more stridently confident vocals of Nemtheanga.  Honestly, it’s worth the price of entry just for the title track along, a gargantuan 20 minute journey to the deep, dark recesses of doom, like the crumbling edifices of history so oft-represented in the band’s artwork.
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Absentia Lunae, In Vmbrarvm Imperii Gloria (2006)

Absentia Lunae is probably my favorite band of the ATMF stable, which also includes Melencolia Estatica, Locus Mortis, Urna, Arcana Coelestia, and others.  To be honest, most of those bands share a similar aesthetic and sound, so if you like one of them, chances are you’ll enjoy most (if not all) of the rest; still, Absentia Lunae’s first album ekes out a triumph in my book, for its rather stately take on this much-abused genre.  It has that rather depressive air, without ever veering anywhere near to the abominable pit of mawkishness and repetition known as ‘depressive’ or ‘suicidal black metal’.  Blech.  Go listen to Dio, you fucking mopes.
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Hiems, Worship Or Die (2009)

Side project of dude from Forgotten Tomb, which project, frankly, I couldn’t give two shits about.  I really dug Hiems’ first record Cold Void Journey, but it was really just a perfection of a particular crisp, blasting version of black metal, whereas its follow-up adds a bit of black and roll spite and a touch more experimentalism, to quite headbangingly catchy effect.
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Beatrik, Requiem Of December (2005)


I know, I know.  I’ve just been yelling at you about this album recently.  Thing is, Beatrik’s swansong of an album is so utterly gripping that I feel like it needs to be shared.  Seriously, why aren’t you listening to this album RIGHT NOW?
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HomSelvareg, HomSelvareg (2005)


This band is also broken up now, which is a shame, really.  Their self-titled album (which, in its re-release – pictured above – also features bonus tracks from an earlier demo) is absolutely nothing new in the realm of black metal blasting, but it just feels so right.  The 1990s had the paradigmatic Grieghallen production, with its lofty reverb and wispy clarity; HomSelvareg’s album – rather like Hiems’ Cold Void Journey – has an entirely different way of doing things, and it just touches me in all the right places.  Gross.
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Thee Maldoror Kollective, A Clockwork Highway (2004)


This lot are a bunch of fucking weirdos, that’s for sure.  While the previous album from the Kollective, New Era Viral Order, will probably speak a bit more clearly to one’s blackened inclinations, I prefer A Clockwork Highway, on which the ambient, industrial, soundtrack elements become the actual building blocks of the songs, rather than superficial drapings atop fuzzily elastic-sounding ‘industrial metal’ riffing, as was too much the case on the previous album.  Alongside the strangeness of latter Manes and (maybe) Ulver, this TMK album is a great mood piece, albeit one that will never quite let you fully relegate it to mere background.
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Aborym, Fire Walk With Us! (2001)

Aborym have also just put out a new album – Psychogrotesque, out now on Season Of Mist – but for my money, this remains their best moment.  Fire Walk With Us! is genuinely unsettling music that ripples with a current of untamed electricity.  Yeah, it’s black/industrial, so if that’s not really your thing, I understand the hesitation to fully engage with this.  But, c’mon, it’s got Attila Csihar (of Tormentor, Mayhem, etc., etc.) on vocals, and the album closes out with the great tandem shot of a woozy cover of Burzum’s “Det Som Engang Var” and a seriously disorienting ambient/noise track in “Theta Paranoia.”  This record won’t just raise the hair on your arms; it will turn your arms into robot appendages, which will corrode and rust before your eyes while your gaze is transfixed by album cover’s red moon rising over a technological apocalypse.  Give it a chance – let this album get under your skin.
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This is, of course, ignoring your Bulldozers and your Ephel Duaths and your Abgotts and your, erm, Rhapsodies of Fire.  Exhaustiveness is not the point.  However, finding something new (note that every one of these releases comes from the past decade) from one of Europe’s less prominent extreme metal breeding grounds, well, it’s like picking out a choice figure out of the pandemonium (should that be panangelium?) of the Sistine Chapel.  (This preceding sentence brought to you by the familiar trope in music criticism that Michelangelo’s paintings are an easy analogue to a few dozen angsty young musicians bashing out hymns to the devil.)  Salute!
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*Though such congregations do crop up here and there – see the grouping of artists around the ATMF label/ethos for a prime example of that in action, or, more loosely, the always-intriguing Code666 label.  Always curious to know if a few bands develop, followed by a sympathetic label, or if it goes the other way around.  Case studies abound, assuredly.

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Blood Revolt, Indoctrine (2010)

Ruthlessly intense

Indoctrine will almost certainly go down as one of the most realistically frightening extreme metal releases of the year.  This album isn’t about praising Satan, or hating Christians, or the myriad unwholesome things one can do with a chainsaw; no, this album attempts to bring the listener inside the motivations of those who commit real-world violence in the service of some form of righteousness.  It’s pretty fucking successful, too.

Let’s get the preliminaries out of the way first, though.  Blood Revolt is a three-man unit featuring Alan Averill (also known as Nemtheanga, of Irish epic black metallers Primordial) on vocals, C. Ross (of Revenge and Axis of Advance) on guitars and bass, and J. Read (of Revenge, Axis of Advance, and Conqueror) on drums.  If that lineup isn’t enough to get you salivating, then I’m not sure there’s much I can do for you here.

Musically speaking, Blood Revolt hews rather closely to the variety of bestial black/death/war metal sounds spat forth by Ross and Read’s former projects, and thus has clear historical roots in the purposeful atavism of early North American black metal (from Canada’s own Blasphemy, Conqueror, and Revenge through America’s Von, Demoncy, and all the other usual suspects).  However, the production is magnificently transparent, allowing each and every churning, heaving riff and chaotic drum fill space to flex their malignant muscle.

In fact, if until this point, you’ve found yourself somewhat in the cold with the chaotic attack of Conqueror, Revenge, et al., you may just be a convert after encountering this record.  Where those bands’ recordings feature echoing, cavernous production (in the case of Conqueror and Blasphemy, especially), or extremely muddled, everything-happens-at-once-and-at-11 production (in the case of Revenge), Indoctrine features a very dry, clear production, particularly with Read’s drumming.  His toms sound a bit like someone slapping a collection of aluminum pie tins, but each and every roll and fill comes through clearly articulated.

The guitars, for the most part, have an extremely compressed crunch to them, but there are also sections of cleaner-sounding tremelo picking, as well as a few spots of searingly clean leads.  The mix on the bass is an interesting case, as sometimes you will find it relegated primarily to the background, whereas at other times, you can feel the dense heft of the vibrating strings as though they were your own throbbing intestines.

One of the great pleasures of this album is that the musical attack never quite settles down into the clear conventions of extreme metal’s genres.  The essential building blocks of the album, arguably, are the overall sound and delivery of a death metal band playing black metal songs (this is generally the approach of Conqueror, Revenge, and Axis of Advance, the crucial differences between which I am willfully overlooking at the moment).  Still, the drums kick into a punkish mode frequently enough that portions of the album border on grindcore.  Plus, there are at least two songs I can think of in which the music breaks down into a doomed trudge.  Compositionally speaking, the clearest reference point I could bring to mind – apart from the other bands of all the participants – is Anaal Nathrakh, who similarly combine multiple genres into a melange of relentless extremity.

The clear focal point, of course, is the incredibly diverse vocal performance by Averill.  He careens between spoken word segments, seething whispers, vintage black metal snarling, impassioned wailing akin to his trademark vocals in Primordial, and frequent grunting and repetitious, non-lyrical vocal rhythms.  The man sounds absolutely possessed, which of course works wonders for selling the lyrical content.  At times, you can imagine him pacing around the studio, twitching nervously with the propulsive energy of the music’s focused attack, and the monomaniacal intent of the lyrics.

“Bite the Hand, Purge the Flesh” features one of Averill’s most venomous vocal performances of the entire album, and is also one of the spots where the band slows to a doom crawl.  When they hit this funereal pace, take a listen to the suspended tone of the bass, which just hangs there, stalking the listener like some sort of depraved monolith.  In general, this album doesn’t have any tracks which stand out above the rest, but this is less because of weak songwriting and more because the album absolutely begs to be listened to as a unitary whole.  Still, the lengthiest track on here, “My Name in Blood Across the Sky,” may just be a favorite, especially in its middle section’s regression to doomed waters.  This slow section features some of Averill’s most impassioned wailing, and is in many ways reminiscent of his stint with Italian doomsters Void Of Silence.

Now, generally I don’t pay too much attention to extreme metal lyrics.  In fact, I’ve found a few too many times that the more one studies what’s being said, the more disappointed one will get.  Which is to say, insight and intelligent discourse are something of a rarity in extreme metal.  With this record, though, I feel confident declaring that one won’t really feel the full impact of the music without also following along with the excellently composed lyrics.

This is, in essence, a concept album.  Or, rather, an album which tells a linear narrative that might just inform a greater appreciation of the musical violence at work in the background.  As I’ve already suggested, this isn’t your typical blood ‘n guts ‘n Satan fare.  Indoctrine follows the inner workings of an individual who feels at odds with society, and who turns a sense of inwardly-focused paranoia and impotent rage into outwardly-directed violence.

The album is book-ended with sounds meant to represent the firing of a sniper rifle and the aftermath of an explosion (likely from a suicide bombing, if we follow the lyrics closely).  I’m not particularly interested in commenting on what, if any, political position the band may be reflecting on with this album, nor to draw parallels either to Averill’s native Ireland or the ongoing conflicts in Iraq and Afghanistan.  Needless to say, plenty of extreme metal is violent, but that violence rarely seems as grounded in reality as it does on this album.

The band has claimed in interviews (see the excellent interview by Josh Haun here, for example) that they do not intend to caution the listener against violence, but rather, or perhaps, to praise the single-minded dedication of the subject of the lyrics.  Still, the lyrics are intricate enough as to allow slightly differing interpretations, or at least to make the story somewhat more nuanced.

For example, in the album’s first track, the individual speaks a telling couplet:
“I will not hesitate / I cannot hesitate”
The confidence and certainty of the first line is somewhat undermined by that second line, wherein the individual is telling him- (or her-) self not to hesitate at the appropriate moment.  This seems to reflect an early attempt at convincing oneself of the right path of action.

Tracks two and three both deal with the state of the world in which the individual finds him/herself.  Interestingly, though, whereas the second track seems to display at least some remaining vestiges of compassion for human misery (speaking, as it does, about the ‘desperate, destitute, downtrodden’ and the unemployed), the third track erases any such sympathies and resolves into contempt and paranoia, talking about vomit, human shit, and streets filled with “nothing but scum.”  Moments like this recall the character of Rorschach from Alan Moore’s acclaimed graphic novel Watchmen.

Track four, which closes out the first side of the album, describes a religious dream or vision, the receipt of which fills this individual with a messianic mission to which his paranoiac fantasies attach, latching on to the singular notion of some sort of holy war.  This song fades out with one of the only instances of guitar soloing, closing out the first half of the album in a resolute fashion.

The second half of the album, and the narrative, seems to see the character questioning that righteous fervor somewhat (“When the demons come for you, do you fight them? Or do you become one of them?”), but eventually resolving nonetheless to “write [his] name in blood across the sky.” The title track of the album is, I think, the most crucial point in following the narrative.  After the original dedication was brought into question, “Indoctrine” addresses the issue of doubt head on, and finds the individual submitting to violence as a way to finally prove himself, to respond to the existential fear of the reproach of a vengeful god:
“If I ever doubted his plan for me / Doubted his words, or what I must do / To set them free…”

“Year Zero,” then, reads as the public justification for the impending act of violence as he prepares the physical materials for an attack.  We imagine this individual recording a video message in a crumbling, industrial slum, where the desolate realities of life are offset by the fanatical devotion to that Year Zero itself, the violence which will be the founding act, ushering in some new, great age.  Still, the individual seems somewhat tentative, but steels himself against doubt by discussing faith, at least, even if there is no attendant salvation.

The eighth and final song is tellingly called “The Martyr’s Brigade,” and finally features Averill’s language at its absolutely most stark and biblical, with locusts and lions and brimstone.  Even here, however, the speaker is not entirely convinced of the accuracy of his messianic vision, and thus speaks an absolutely crucial line: “Maybe there is no god but man…” Almost immediately, though, come the fierce howls of “Repent! Repent! Repent!”, and the album closes with the haunting words “I hear the master’s voice / Calling me to war.”

At this point, the musical attack traces a figure, a nimble and repeated tandem run of guitar and drums, which then settles on an open chord.  It sounds like a countdown, but instead of some great explosion of noise, the music fades to static, through which we then hear the faint sounds of sirens, and imagine dust and rubble and quiet.

This is a frightening album, and it is also a tremendous album.  In the end, it’s one of those things that I’m not quite sure if I “like,” at least in the sense that we traditionally “like” music, meaning that we find it enjoyable, or memorable, or intricate, or whatever.  The album is profoundly unsettling, both in the unblinking treatment of its subject matter, and in the musical vision itself.  Throughout the album, Averill’s vocals twist and pull at odd meter against the always forward-moving music.  At times, his vocals are delivered in a completely separate key from the music.  This is not to say he is singing off-key, but rather, that he is intentionally singing an entirely different key, as if to drive home to the listener that you are supposed to be unsettled by this.

Maybe the reason this album is so disturbing is that it recognizes that the difference between a terrorist in Afghanistan, a backwoods militia stockpiling weapons in the American Midwest, and an American soldier properly trained and officially sanctioned, is not so great after all.  This album wants to tell us that whatever difference there is between these individuals is not a reflection of the inner life of the mind, but simply of how society judges their goals to be legitimate or not, righteous and just or misguided and immoral.

This album doesn’t necessarily ask you to praise or condemn the individual whose story it relates.  Instead, it asks of you what it does of its own accord: to watch, to wait.  To witness.
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Overall rating: Generally, the better an album, the more frequently I will listen to it.  I’m not sure that’s the case with this one, though.  This is an album to admire, to study, to focus on intently, but it is also whose too-frequent listening might prove injudicious.  I would not care to give it a number if this were not the structure I had set for myself when reviewing albums, and the number I do choose is just as arbitrary as the cruel, haphazard violence of our world.

Let’s call it 95%, and let’s hope you listen, and think, and learn, and learn when to stop listening.

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That's right, folks: rifles, not skyscrapers.

1) The debut album by Blood Revolt, entitled Indoctrine and out now on Profound Lore Records, is an absolute fucking FACE-MELTER.  The barrage of equal parts black and death metal (thanks to the instrumental prowess/degradation of former members of Canadian outfits Revenge and Axis Of Advance) is profoundly (har har) disorienting, but in a manner that always seems intentional.  The vocals of Alan Averill (of Irish pagan/black metallers Primordial) are a real treat, displaying not quite the same epic, soaring melodicisms of Primordial, but a broader range of spoken word, faster lyrical phrasing, and an all-around more aggressive vocal approach.

I suspect that I’ll be writing up an actual review of this album once it’s been given time to sink its gnarled teeth a bit further into my skin.  The real comment that I wanted to make here, however, is just to note how much of a pleasure it is to listen to an album whose pacing has been very thoughtfully constructed.  What I mean is, this album’s eight tracks seem to have been very intentionally arranged so that even when played on CD, the first four and latter four tracks play like sides A and B of an LP.  It’s a very nice symmetry which only works to enhance the nicely understated ‘concept album’ nature, as well as giving the listener the smallest of chances to catch his or her breath in between these slabs of furious metal onslaught.  This is definitely not to be missed.

Order it here, and learn more here.
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2) A little while back, I was whinging on and on about nostalgia, and about never having the opportunity any longer to be well and truly surprised by music (e.g., the time I bought my first Dream Theater or Swans album, never having heard of either).  Well, just a few days ago I was shopping at Reckless Records down in the loop, and happened to spot two (2!) brand new albums up on their ‘New Releases’ wall that I had not even the slightest inkling were being released.

One of these was a brand new album from David Tibet’s wonderfully cryptic and singular Current 93, entitled Baalstorm, Sing Omega.  So recent are these purchases, in fact, that I haven’t even listened to it yet.  I really just wanted to register my glee at having found this brand new full-length statement, fully formed and ready for the embrace of my earnest dollars.

The newest from everyone's favorite Coptic scholar and apocalyptic folkster

The second is the debut (and eponymous) album from a project called The Blood Of Heroes, which features Justin Broadrick (of Godflesh/Jesu/&c./&c.) on guitar, Bill Laswell (of, well, a fuckload of stuff) on bass, electronic artists Submerged and Enduser on, well, electronics, along with other electronic, live drums, and vocal collaborators.  I’ve only spun the thing once so far, but it’s a pretty interesting fusion of some of latter-day Godflesh’s dub-inflected experimentation, some of Jesu’s yearning melodies, with a bit of noise rock, not-quite-dancehall-but-close vocals, and a tasteful dollop of the slightly-less frenetic side of the breakcore/IDM/drum ‘n bass/whatever scene.

Toward a dark electro / post-industrial / metal synthetics.

I mean, clearly this is not exactly the same thing, since I already know (more or less) what Current 93 sounds like, and although The Blood Of Heroes is a new project, knowing a fair bit about several of the contributors gave me a pretty good sense of what the overall vibe might be.  Still, point is: Surprises are still possible in this here world of ours.

Or, maybe the moral is: If you don’t try and pay attention to every goddamned thing in the world of music, you’ll stumble across these gems, these bolts from the blue, more often.

3) On that same trip to Reckless, I came across a used copy of Summoning’s Dol Guldur in the clearance bin for $0.99.  Nothing much to add there, other than ‘Fuck yeah!’  These Austrian synth-obsessed symphonic/black metallers are equally obsessed with JRR Tolkien, so I’m just downright pleased as punch to have gotten so much Middle-Earth bang for my Regular Earth buck.

Sounds even better for $1

4) Overwrought expressions of grief always end up being more insulting, so I will just say that I offer my condolences to the family, friends, and band mates of Makh Daniels, vocalist of the promising band Early Graves.  Daniels was killed in a car accident earlier today while on tour.  The music world should mourn the loss of a very talented musician, but of course that all pales next to the real, human loss of those who knew him.

Ave atque vale.

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