Posted in Whathaveyou on November 18th, 2019 by JJ Koczan
Welcome back, Undersmile. The last post I had concerning the UK atmospheric megasludge four-piece — posted on Sept. 19, 2016 — was titled simply “Undersmile Break Up.” Hard to get more straightforward with that. Now that they’ve just announced they’re re-banded — as opposed to disbanded — it seems only fair to lead with something likewise terse.
The group called it quits on the heels of their best work, which was 2015’s Anhedonia (review here) on Black Bow Records, and as the UK underground has continued to grow in amorphous fashion, their lurking, lingering misty heft has been missed. The reasons for the breakup were simple enough: life, school, other concerns, and so on, but they’ll play Chaos Theory Festival in London on Feb. 29 as their first show back and are looking to do more throughout 2020 as well. Hey guys, did you know that in your absence Desertfest opened a base of operations in New York? Just an idea.
And while I’m getting ahead of myself because I’m stoked Undersmile have returned, I asked if they might have new material written during their time away from the stage and studio, and yeah, they do. Quite reasonably, they’re getting older songs re-nailed down for the fest in Feb. and then they’ll start to think about piecing together and finalizing a follow-up for Anhedonia. From that timeline I’d say maybe 2021?
When I hear something, I’ll post accordingly. In the meantime, they had this to say about the reunion:
We’ve all really missed playing together in Undersmile for the last few years while personal commitments took precedence, but now we’re ready to get back to being an active band, playing gigs, and writing the next Undersmile album. We’re very excited to get back to business.
Posted in Whathaveyou on September 19th, 2016 by JJ Koczan
Thus ends the tale of atmospheric megadoomers Undersmile. A rather unceremonious finish, actually, but so it goes. The UK four-piece have decided to call it a day after seven years. No farewell show, no drawn out fanfare, just “hey we’re not a band anymore and that’s it.” They’ve always had something of a cold streak running through their music. I guess it would make sense they’d finish their run in similar fashion.
During their time together, Undersmile released two full-length albums. Their debut came in 2012 with Narwhal (review here), and they followed it up last year with Anhedonia (review here), released through Jon Davis of Conan‘s Black Bow Records imprint. Both records were mesmerizing in their darkness, the kind of lumbering weight that seemed at all times to be dragging you further down into some impossibly claustrophobic abyss. Needless to say, I’m glad I got to see them live, and they’ll be missed.
They’ve got a couple shows they’re pulling the plug on, and you’ll find those dates and their announcement below, as well as the Anhedonia stream, in case you’d like to climb that mountain of madness one more time. Goes without saying that I wish all the best to everyone in the band.
Here’s what they had on it:
We’ve decided, as friends, that Undersmile has come to an end as of today. We’re all hugely proud of what we’ve achieved with the band. We’ve been honoured and humbled by the support we’ve received from fans of the band and the international doom community as a whole in the seven years that we’ve been together. With so many things going on in our lives at the moment we don’t have the time and energy necessary to move the band forward.
All outstanding merch orders will be shipped this weekend, all outstanding gigs are regrettably cancelled.
Undersmile cancelled shows: Oct 01 O2 Academy Sheffield Sheffield, UK Oct 15 Rebellion Manchester, UK
Undersmile: Tom McKibbin – Drums Olly Corona-Brown – Bass Hel Sterne – Vocals and Lead Guitars Taz Corona-Brown – Vocals and Guitars
Aesthetic continues to play a large role for UK dual-vocal four-piece Undersmile, whose second full-length, Anhedonia, is out on vinyl through Black Bow Records. The Oxfordshire outfit released their debut, Narwhal (review here), back in 2012 and since then have embarked on an acoustic side-project called Coma Wall, even releasing a split called Wood and Wire between the two bands in 2013 (they also had a split with Bismuth out that year). Because that alter ego contains all four members of Undersmile — guitarist/vocalists Hel Sterne and Taz Corona-Brown, bassist Olly Corona-Brown and drummer Tom McKibbin — I wondered if perhaps some of that influence might sneak its way into the workings of the new Undersmile offering. Aside from a shared theatrical sensibility between them and an enduring penchant for slow pacing, both of which Undersmile already had in their arsenal, almost not at all.
I’ll note that Taz and Hel work together more dynamically as vocalists here than on the debut, but with a few years between and some considerable stage time throughout that span, there’s nothing to say that wouldn’t have been the case anyhow. What Anhedonia is, however, is monolithic. At seven tracks, 75 minutes, it dips below the 10-minute mark just once for second cut “Sky Burial” (8:02), and spends the rest of its time reveling in a near-complete wash of darkness and grueling lumber. One might be tempted to call it drone-doom for the overbearing plod it enacts on “Song of Stones” or opener “Labyrinths,” but the truth of the listening experience isn’t that cut and dry, and for all its (purposeful, useful) unipolar churn, Anhedonia creates rich atmospheres.
We could almost call those atmospheres colorful if we were talking about the deep purples and blacks of the album’s fitting Peacevillean cover art, but either way, they play into the stylized drawl of the material — Hel and Taz‘s vocals either sung clean or shouted, but almost always in a drawn-out delivery to match the nodding material behind, which opens gradually on “Labyrinths” and proceeds to trade back and forth throughout the album in massive swells of volume and minimalist spaciousness, an early flair of strings showing up on the opener that will play in again deeper into the abyss on the penultimate “Emmenagogue” and elsewhere. Rhythmically, the course of Anhedonia impresses perhaps most of all in that it manages to hold together and not — as one might be inclined to do while listening — stop halfway through, have a good cry for days gone and what could have been made of them, and go back to the rest later.
“Sky Burial” works with similar explosive tendencies, and by the time it’s done, Undersmile‘s intent to absolutely overwhelm their audience is writ large. Pushing toward the midsection, “Song of Stones” builds to a heavy push in its middle and again near the end — strings coming forward around the halfway point of the track only to be consumed by the grueling distortion captured at Skyhammer Studio by producer Chris Fielding (also of Conan), reappear, and be swallowed again for the effort. Take that, any sense of hope whatsoever. Centerpiece “Atacama Sunburn” would seem to draw together a water theme present in the band’s past works — Narwhal had its nautical moments, as did Wood and Wire, and even their 2010 debut EP, A Sea of Dead Snakes, was a sea — and a huge vision of waves remains an appropriate image for the undulating force of Undersmile‘s groove — but the real standout of Anhedonia is “Aeris,” which follows.
As one would expect of Undersmile at this point in their tenure, it’s consistent atmospherically with its surrounding pieces, but “Aeris” offers a melodic fullness all its own, and it doesn’t quite stand in contrast to what’s around it, but it marks a definite broadening of the context. It winds up affecting the listening experience for “Emmenagogue” and closer “Knucklesucker” as well, though the finale has its own intentions, which it keeps secret almost to the very end as if to see who among those who’ve taken Anhedonia on might make it that far. After an oozing linear build for its first nine minutes, feedback transitions into faster (gasp!) riffing that solidifies around McKibbin‘s drums and shifts into a more ’90s-style noise rock, the repeated lines, “I don’t feel hollow/I don’t feel sorrow/I don’t feel anything, really,” metered out over a push of growing intensity. It slows down prior to deconstructing at the finish, but even if for just a minute, Undersmile proved it’s possible to make a sound of such enduring thickness move, and I wouldn’t be at all surprised to find them pushing it further next time.
Of course, with that there comes a full 74 minutes of suffocating doom, but that’s precisely the point. Undersmile‘s intent isn’t to make it easy on the listener, but to challenge their audience to plunge these emotional and sonic depths with them. As a result, Anhedonia is successful because it feels throughout its course like the four-piece are dragging you along with them on their slog through this oppressive ambience. The party album of 2015 it ain’t, but in its progression beyond what Undersmile have done before, for a more personal feel throughout and for the still-monstrous scope with which it plays out, it’s hard not to stand in awe of the wide waters the band continue to cast, be haunted by the otherworldly presence in their melodies and get lost in the tidal sway of their rhythms.
Oxfordshire four-piece Undersmile released their sophomore full-length, Anhedonia (review pending), last month on Black Bow Records as the titanic follow-up to their 2012 debut, Narwhal (review here). Recorded at Skyhammer Studios with house producer Chris Fielding (also of Conan, whose Jon Davis owns both Skyhammer and Black Bow), it is a more dynamic outing overall than the debut, utilizing some of the lessons learned from Undersmile‘s operation under the unplugged alter-ego of Coma Wall, with whom they — Undersmile — released a split back in 2013.
They weren’t exactly lacking for atmosphere before, but one can hear the progression in the gradual, patient unfolding of “Song of Stones,” for which Undersmile has a new video rife with all the creepy imagery, candlelight and averted eyes one might expect from guitarist/vocalists Hel Sterne and Taz Corona-Brown, bassist Olly Corona-Brown and drummer Tom McKibbin, and ultimately it makes them a stronger band. “Song of Stones” follows a largely linear pattern, but trades back and forth between spacious, minimalist stretches through which McKibbin‘s ride cymbal seems to be the only thing keeping it all together, and crushing, lumbering doom, the quiet, eerie vocals of Hel and Taz changing to more vicious shouts as surely as the wardrobe cuts from white veils to black dresses. Through these changes, a consistent bleakness is maintained such that, loud or quiet, Undersmile never really veer from the overarching darkness that consumes the track.
The video, likewise, is dark. Actually, it starts out dark and then it gets even darker. But you’ll just have to turn up the brightness on your screen or take my word for it that they’re all in there. Undersmile, who were positively leveling when they played Roadburn in April (review here), worked with Mondo Cheapo Productions on the new clip, which you’ll find on the player below. Dig in and get really to be swallowed whole:
Undersmile, “Song of Stones” official video
The official video for “Song of Stones”, taken from Undersmile’s second album Anhedonia (available on 12″ on Black Bow Records / CD on bttfck srprs rcrds).
Posted in Whathaveyou on November 13th, 2013 by JJ Koczan
As far as I’m concerned, this one gets a twofold fucking a: It exists and you can hear it now. Disgruntled sludgers Bismuth and drone-minded nightmare-conjurers Undersmile have partnered, each with a vinyl side of their own brand of sonic madness. Put some Tony Roberts art on it, press it to tape and LP, and you’re good to go. Tartarus Records has the beast available for preorder and that’s great, but what’s even better is being able to listen to its low end drag before you make your purchase.
This is the first I’m hearing of Bismuth and it’s pretty clear from “Collapse” that I need to go back and check out their 2012 Eternal Marshesdemo. For Undersmile, they follow-up the split with their acoustic alter ego, Coma Wall, with a 23-minute behemoth of a track as tonally huge as it is melodically disturbed. It’s not easy listening, but I dig the challenge.
Preorder link, Tony Roberts artwork and the standard Bandcamp player follow, hot off of the PR wire:
TAR023 Bismuth / Undersmile split
Amp worship meets agonizing doom. Finally a split release between two of UK’s heavyweights in female fronted doom and sludge. Bismuth from Nottingham offer Collapse, a worthy follow-up to the Eternal Marshes demo tape, released last year. More bleak drone landscapes and torturous vocals by Tanya. Undersmile from Witney chose for an atmospheric approach on their side of the split and came up with Titanaboa; a dark, nightmarish beast of a track. Truly their best offering so far. The artwork was made by the amazing Tony Roberts, which fits perfectly with both bands.
FFO: Khanate, Corrupted, Bell Witch, Ensorcelor.
The LP is a co-release between Graanrepubliek Records, Tartarus Records and At War With False Noise
Posted in Whathaveyou on November 6th, 2012 by JJ Koczan
Yeah, this one makes sense. Shaman Recordings, the label incarnation of much-respected UK heavy blog The Sleeping Shaman, have picked up nautical UK doomers Undersmile. The band hinted in their recent interview here that they had an acoustic side-project in the works, and it seems that Shaman Recordings will release that as well. Undersmile and their unplugged incarnation ComaWall will issue a split 12″ vinyl this coming February.
Kudos to the band and right on to the label as well. Seems everybody wins, especially those who pick up the forthcoming and cleverly-titled Wood and Wirerelease:
UNDERSMILE & Their Acoustic Alter-Ego COMA WALL Sign To Shaman Recordings; Limited 12” Vinyl Set For Release During Feb 2013
Shaman Recordings are proud to announce their second release; Wood and Wire, a “self-split” between Oxford’s mighty drone/doom/sludge-bringers UNDERSMILE and their acoustic alter-ego COMA WALL. That’s one side of Americana-influenced, atmospheric doom-folk and one side of Undersmile’s characteristic, monolithic heaviness.
Following on from their debut EP A Sea of Dead Snakes, the Undertaker split (w/Caretaker) and their critically acclaimed debut album Narwhal, Wood and Wire marks the bands’ first foray onto vinyl and they have produced a record that reflects their diversity as a band and hints at what’s to come, for both incarnations.
Having played acoustic sets at the inaugural DesertFest and in support of Dylan Carlson (Earth)COMA WALL is the name UNDERSMILE have given to their acoustic project as a way to separate the two disparate but interlinked sides of their musical personality (highlighted by Coma Wall’s acoustic take on Undersmile’s “Cutter’s Choice”). Their contribution to this record is a taster for a future COMA WALL record.
Wood and Wire‘s acoustic side features production work from the band’s previous producers Jimmy “Evil” Hetherington (A Sea of Dead Snakes, Narwhal) and Umair Chaudhry (Undertaker split) while side B is produced by Justin Greaves (of Iron Monkey, Crippled Black Phoenix, Electric Wizard, Teeth of Lions Rule the Divine). Featuring three songs on either side, this is Undersmile as you’ve never heard them before.
The incredible artwork has been created by Craig Bryant (of Bast) whose work has previously been featured on posters for the likes of Dylan Carlson, Eagle Twin, Pombagira, Lattitudes and many more.
This slab o’wax is scheduled for release during February 2013 via Shaman Recordings and will be strictly limited to 300 copies on transparent purple vinyl with digital download card.
Posted in On the Radar on September 27th, 2011 by JJ Koczan
British foursome Undersmile are notable for a few reasons. Probably first among them is that they have not one, but two guitarist/vocalist frontwomen — Hel Sterne and Taz Corona-Brown — at the helm. Second, both sing, and trade off drawling stoner doom vocals for yelling sludge shouts. Third, they hit really, really hard. Listening to Undersmile‘s two tracks on their recent split with countrymen hardcore act Caretaker, even more than the sleepy vocals, it’s the punch the music packs that stands out. Tom McKibbin assaults his toms in the first part of “Big Wow,” setting a slow march, only to give way eventually to a faster groove, but either way, his kick drum feels like it’s taking the air out of your lungs.
Undersmile is rounded out by bassist Olly Corona-Brown, and on the split’s second extended cut, the 12:43 “Anchor,” his four strings follow the plodding start-stop course set by the guitars. “Anchor” ultimately takes a different path from its predecessor, veering into spooky minimalism and culminating in noisy oblivion instead of getting faster and then slowing back down, but shows nonetheless that Undersmile recognize their material is stronger when it moves in one direction or another, rather than just lumbering along. There’s still a considerable stomp to “Anchor,” but it’s dreamier and less outwardly aggressive, the guitars and vocals meshing in the second half like some nightmarishly-slowed ’90s throwback.
If you’re interested, Undersmile have the tracks up at their Bandcamp page and can be found on Thee Facebooks here. The split was released by Blindsight Records, whose page is here, and just in case you don’t feel like clicking any of those links (so much work!), here’s the player with Undersmile‘s tracks and Caretaker‘s:
