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Posts Tagged ‘Mike Scalzi’

In praise of some of this year’s releases that have featured prominently around Spinal Tapdance HQ lately, and in avoidance of some of the actual work I ought to be doing, I present a quick rundown of, as the title says, some of the new(ish) shit I’ve been spinning.

Beware the mad monk

Slough Feg, The Animal Spirits – Officially out today [ed.: Tuesday], I believe (along with enough other new metal releases to choke a horse, or at least force it into an equestrian approximation of headbanging), this is a nonstop grin-fest of everything wonderful and energetic about classic heavy metal.  Mike Scalzi’s vocals are as potent as ever, and the songs are both carefully honed and gloriously meandering.  Put it in yr ears and smile, smile, smile.

Color-by-numbers skeleton

Intronaut, Valley Of Smoke – For whatever reason, I’ve missed all the previous releases from this band.  This new album, though, really shook me by the shoulders and slapped me around a bit.  Excellent songwriting, beautiful textures, great clear bass lines and tasteful jazz-inflected drumming have kept this spinning over and over around here.  The instrumental title track may be the best thing here, though that’s not to downplay the judicious use of both harsh and clean harmonized vocals throughout.  Definitely recommended.

Climb it

Horseback, The Invisible Mountain – Tough to describe, but equally tough to ignore once it has sunk its claws in your flesh, this hypnotic album is something like an Americana act discovering krautrock and throwing in the menacing undertones of black metal.  Oh, plus the entire second side is a lilting ambient piece, the trip down the other side of the mountain after the first side’s arduous ascent.  A curious piece of work, but kudos to Relapse for picking this up for wider distribution.

It's good to remember how much you missed them

Autopsy, The Tomb Within – Brilliantly atavistic, mud-sodden death metal for murdering zombies.  It’s only five tunes, but all the death and doom you could hope for is alive and (un)well.  Welcome back, you perverts.

Brilliant artwork

Cough, Ritual Abuse – I haven’t got my grubby hands on the new Electric Wizard yet, but this new Stateside entry in the grand tradition of nihilistic sludge metal goes down just fine, all ragged edges and shaking hands.  Also playing of late has been Cough’s tremendous split with The Wounded Kings (reviewed at this very site by yours truly last week), out in November.  I’m pretty sure both sides of the split are streaming somewhere out there in computer-land, so get yourself to Google and soak in the doom.

Like 'Walden', but heavy metal

Celestiial, Where Life Springs Eternal – One of the most atmospheric albums I’ve heard this year.  Exceedingly nature-touched, overdriven-to-the-point-of-ambient ‘funeral doom’, though that genre description is hopelessly inadequate to describe the equally soothing and crushing sounds at work within.  Reminds one of neo-folk, without actually forcing one to listen to neo-folk.

It's a dead polar bear. Weep for this world.

Antony & The Johnsons, Swanlights – Antony Hegarty simply will not rest until he has made each and every one of us weep bittersweet tears.  This is fragile, strong, desperate, haunting music.  His duet with Björk is especially stunning, but the variety of songwriting styles on display throughout the album is most impressive.

Move your body

Gilles Peterson, Gilles Peterson Presents Havana Cultura: Remixed – Last year’s original issue of the Havana Cultura recordings were already excellent enough, but here Gilles has enlisted the help of some top-notch remixers and reinterpreters to put a more club-friendly (without the horrific connotations that phrase can entail) spin on this broad pool of Cuban musics past and present.  Funky, soulful, and always a lot of fun.  It can’t all be heavy metal all the time, friends.  Gilles is there for you in your time of need.

Exhaustive, though not exhausting

Bob Dylan, The Witmark Demos: 1962-1964 – A massive two-disc set of early demos of future Dylan classics, plus something like fifteen previously unheard songs.  This is a treasure chest to be explored, and in which to lose yourself.  The man is clearly not a ‘record once and move on’ kind of studio musician, as the strikingly alternate versions of some of these tunes illustrates.  Perhaps the most jarring alternate on here is the demo version of “The Times They Are A-Changin’,” which is slowed way down, and led by piano only.

Hallucinatory shoegaze metal

Sailors With Wax Wings, Sailors With Wax Wings – Debut album from this side project of R. Loren from Texan weirdos Pyramids.  Features a shit-ton of guest vocalists and musicians, but succeeds largely because it doesn’t seem bogged down by that fact.  The album still presents itself as a coherent aesthetic whole, featuring a gorgeous variety of textures and moods.  Best heard as a piece, straight through, with mind set a-wandering.

Mind-bogglingly fantastic, dastardly metal art

Akercocke, Words That Go Unspoken, Deeds That Go Undone – Okay, so this is clearly not a new album.  In fact, it’s from way back in the Stone Ages of 2005.  But SONOFABITCH this album is so good.  You should play it all the time.  Each and every day.  Also, if the gentlemen of Akercocke would see fit to give us another album one of these days, why, that would be just swell.

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Random bit of old news that I’m still bumming hard about:

Soooooo good

Beatrik went and broke themselves up a while back.  Dude also broke up his more straight-ahead black metal act Tenebrae In Perpetuum, which is also too bad, but man, Beatrik was where it was at.  If you haven’t listened to Beatrik’s second album Requiem Of December yet, well my goodness, you just really ought to do so.  All the best bits of depressive black metal, proper black/doom (like Nortt, see), and the great organ textures of Skepticism, topped off with fabulously excruciating vocals…  A really tasty treat, is what I’m trying to say to you.

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So, what’s been keeping you lot auditorially-occupied of late?  Don’t be shy.

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The Terrible Airplane, 2013 (2010)

The Future Is Now

The Terrible Airplane is a two-piece band from Kansas, formed by brothers Mark (guitar, vocals) and Todd Woolard (drums).  Their newest release is the full-length album 2013, on which they ply a somewhat unique blend of 90s-styled noise rock with post-hardcore flourishes and a taut, instrumental minimalism.

The vocals affect a number of different styles throughout the record, from a very loose 1990s rock croon, to a more impassioned tenor pitch occasionally reminiscent of Mike Scalzi (of the Lord Weird Slough Feg and Hammers Of Misfortune), to an impressively throaty hardcore bellow.

The instrumental approach seems to have the greatest affinity for the Amphetamine Reptile school of noise rock, flitting between straight-ahead rock and slightly angular metallic riffing.  Imagine the sounds of Helmet, Unsane, or even Melvins and The Jesus Lizard (albeit at their least bizarre), and you’re well on your way to grasping the sound of The Terrible Airplane.

Still, we’re not talking about some nostalgia act, here.  The band are at their best when taut, tension-building instrumental sections proceed measuredly, twitchingly, to their inevitable metallic payoff.  These sections work not by virtue of instrumental virtuosity (you’ll find no fretboard fireworks here), but rather through the patient pacing of their minimalist attack.

A few places on the record even approach the dynamics of everyone’s favorite post-metal luminaries such as Neurosis and Isis, although the muted production keeps the sound closer to the rock/hardcore side of the auditory continuum.  This is the case on “Projected Trajectory” and, especially, the 9+ minutes of “Efficiency Deficient,” the latter of which is, for my money, the best song of the bunch.

As far as other individual songs go, the vocal chants in “Television” show The Terrible Airplane at their most Melvins-ish (think especially of the double-tracked vocals throughout much of Melvins’ recent album Nude With Boots).  “Radio Song,” at a mere 1:30, is clearly intended somewhat ironically, though the fact that it sounds like nothing else so much as Soul Coughing attempting a cover of Nirvana circa Bleach muddies the ironic waters more than a little.

Moments like this inform one of my main criticisms of this record.  Every now and then, such as on “Radio Song,” and, particularly, the mellower sections of “Roleplaying the Audience,” the band veers too close to the blandness of 90s alternative rock for my comfort.*  This only crops up occasionally throughout the album, though, so it remains something of a minor nuisance.

One of the strongest showings on here is the relatively brief instrumental “Pandameet.”  Its sinuous take on song composition works very much to its advantage, jumping back and forth between off-kilter and straight-ahead rock rhythms quite deftly.  In general, however, I think the band is at its most effective when they really stretch out, as on the above-mentioned “Efficiency Deficient.”  The tune starts off noisy before falling back into a ruthlessly minimal quiet section, and eventually crashes its way back with waves of slow, crushing stomp.  It’s at moments like this that I really want to hear things through a fuller production (adding a second guitar wouldn’t hurt, either); this song could be absolutely fucking massive, where here such potential remains somewhat implicit.

This is a very strong showing from a promising band.  For the most part, their songwriting weaves together some very disparate strands of rockish skronk, hardcore bluster, and carefully apportioned metal.  My own preference would be to see these guys take their metal even further into METAL territory, leaving behind some of what sound to these ears like 90s anachronisms.  Nevertheless, their instrumental attack is, as I keep rambling on about, incredibly taut, and they have a very persuasive grasp on tense song dynamics.  Plus, their whole album can be streamed here, so really, what the fuck are you waiting for?

I, for one, would like to see some of the potential energy here go kinetic, because that shit could EXPLODE.

Overall rating: 70%.  Compact noise rock sparks with carefully contained metallic undercurrents.
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* For the record, this ‘blandness’ is quite effectively dispelled by the live version of “Roleplaying the Audience” also available on the band’s Myspace page.  Dudes are loud enough on record, but live, the loudness is louder, the drums crackle as they flail about, and the hardcore vocals rattle the ribcage.  Do check it out.

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