It’s a resonant but difficult to place course that Brooklyn trio Eidetic Seeing chart on their second, self-released full-length, Against Nature. The band — guitarist Sean Forlenza, drummer Paul Feitzinger (also synth) and bassist Danilo Randjic-Coleman — shift easily between pulses of aggro-jazz and post-rocking doom, resulting in a kind of gritty wash made all the more immersive by their mostly-instrumental approach. Particularly on side B’s “Ashplant Blues” and “K2,” both of which top 10 minutes, it’s hard to know where one stops and the other ends, and that’s obviously on purpose on the part of the three-piece, who seem to arrive at an airy dreariness on the 11-minute finale, like Crippled Black Phoenix gone wandering and slamming into a brick wall of stylized freakout, dense fuzz and those gravity waves from the Big Bang that I keep hearing so much about.

Tonal warmth is high, both on “K2” and throughout most of what precedes it, which makes the cooler greys of the matte-finish LP cover — the record itself is black vinyl housed in a black dust jacket — somewhat mysterious, but I suppose multicolor psychedelia has been done to death and rebirth, black and white less so. If that’s representative of a drive toward individualism, it’s mirrored in the five songs included on Against Nature as well. From the opening strums of side A’s launch with “A Snake Whose Years are Long,” which give a deceptive impression of Americana that the song ultimately has little interest in fulfilling, Eidetic Seeing show themselves as patient when they want to be and propulsive in kind. The shortest inclusion on Against Nature is the third track, “Frôleuse,” and even that tops six and a half minutes, so there’s plenty of space for the trio to flesh out and pursue sonic whims where and when they might.

And while there is a suitable meandering sense for (mostly) instrumental heavy psych, this is somewhat offset by shifts into grounded, densely weighted riffs. “A Snake Whose Years are Long” establishes an expertise in the technique, not so much trading back and forth as oozing between one side and the other, and “White Flight” moves from a dreamy synth opening to some of the most dead-on traditional Sabbathian tonality I’ve heard. The kicker is Eidetic Seeing don’t use it to mimic Sabbath. Instead they just ride the riff momentarily on the way to a stomping verse of building intensity that, in turn, cuts back to smoky jazz, undercutting its class with abrasive feedback before moving on to more glorious space riffing. A noisy finish cuts cold into the start of “Frôleuse,” the capstone of an A side that shows no less delight in ignoring the Lego instructions of genre as it constructs a somewhat more tempered spaceship of its own design.

“Frôleuse” hands down disenchantment in a chaotically swirling culmination made rawer through natural-sounding production — that is, they’re not lush even at their farthest out — and after the flip, “Ashplant Blues” seems to answer back with some initially doomed-out lumbering, but the personality of the song and of the second side as a whole is distinct from the first half of Against Nature and shows Eidetic Seeing are comfortable pitting longform works against each other as they are the sounds of Morricone and Russian Circles. Ultimately, Against Nature — which presumably was not named in honor of the Maryland classic heavy rock outfit featuring the members of Revelation, though one never knows — stands as an intriguing and self-directed LP, and while Eidetic Seeing present an approach with some rougher edges, they seem more to delight in riding the sharp corners than to be in need of smoothing out. If it’s to be a long-term creative progression, Against Nature makes a solid argument for following it.

Eidetic Seeing, Against Nature (2013)

Eidetic Seeing on Bandcamp

Eidetic Seeing on Thee Facebooks

If you haven’t yet, head over to Doommantia and donate some cash to help Ed Barnard, the owner of that site, get back on his feet. Anyone who’s ever spoken to him, myself included, will tell you Ed‘s a great dude, and a huge supporter of this weird underground community, and it’s times like this that the community needs to come together for one of its own.

Back at the end of July, Ed suffered a heart attack and as a result of not being able to pay the ensuing nightmarish medical bills, is homeless and living in a tent. It’s pretty bleak times, and as an admirer of Ed‘s work and his dedication, I encourage you to please, please take a couple seconds and throw a couple bucks his way. I didn’t realize it at the time, but he’s apparently also giving away Wizardrone CDs to anyone who donates $20 or more.

But seriously, don’t do it for the free CD. Do it because this is a small community as compared to the outside world, and if we don’t take care of each other when we need to, we suck just as much as everyone else.

On Oct. 13, at Lallo’s in Knoxville, Maryland, they’ll be throwing a Doommantia Bash to help out Ed‘s cause. Bands are still being confirmed, but so far on the bill are War Injun, Against Nature, When the Deadbolt Breaks, Fire Faithful, Foghound, Ghutt, Akris, and Balam, with more to come.

You can keep up with the show’s lineup at the Thee Facebooks event page, and don’t forget to donate to Ed through Doommantia’s Paypal link.

There are a few things that remain consistent throughout Against Nature releases, and chief among them is that it’s never too long until the next one. To wit, the Maryland trio’s latest, Ground Down, was released late in 2011. It was their second album of the year behind Stone Over Stone, and their 18th record overall since 2005. They are staggeringly prolific and almost completely self-contained. Guitarist/vocalist John Brenner handles most of the writing, all of the engineering and mixing, creates the artwork that accompanies the internet and limited physical releases, and puts them out at his own pace on his Bland Hand Records label. Perhaps most amazing of all is that Brenner, in all my interaction with him over the last several years, has never shown any sign of pretense, of rockstar fantasizing or of being sustained in his creativity by anything other than the love of what he does. Against Nature – the three-piece including the rhythm section of bassist Bert Hall, Jr. and drummer Steve Branagan – does not change its lineup or stray too far from its subdued and classical aesthetic, and perpetually, what you see is what you get. It’s rare you’d think of heavy rock as having a sense of humility, but Against Nature have done it 18 times now and already announced their next album, Fallen Rock, which is slated for release early in 2012.

Self-reliance taken to such a degree can have its perils, but Against Nature fall prey to almost none of them on Ground Down. They don’t have time to give into over-indulgence as some self-recorded, self-released bands might – they’re too busy already writing the next album. Yet none of their material ever sounds rushed or as manic as you might think. Ground Down opener “First Things First” offers mid-paced blues and is among the album’s more active tracks, Hall throwing serious groove into a start-stop bassline that’s pure Marylander, and Brenner picking away at a lead that’s the perfect complement to the song’s downtrodden vocal. By and large, “First Things First” sets the tone for Ground Down, but they work in and around the bluesy aesthetic. Brenner’s keys give “Written in Bone” a semi-Southern feel, layered in with the guitar, put the production here, as ever, highlights a sense of restraint in the music that connotes a peaceful mood no matter where the album actually goes, and that includes the more rocking “Sky up, Ground Down,” from whence the record takes its name. Where in the hands of Stone Axe, it might bristle with Thin Lizzy-esque energy (and anyone with a soul will tell you there’s nothing wrong with that), Against Nature make it almost pastoral and keep that vibe into “Evergreen,” which grooves out a sincere ‘70s influence while asking nothing more from its audience than a few nods for Brenner’s solo, which is among the album’s best.

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Taking the day off work to get down here in time was the right choice. I sat in traffic on I-83 for long enough that, had I put in even the most temporary, in-and-out-type appearance at the office, I’d have been late. And the south side was just rubbernecking. There was an overturned 18-wheeler that had spilled whatever it was carrying on the northbound side, and it was closed off. They were redirecting traffic through wherever the hell it was, and it added an hour onto my trip, easy, but it could’ve been much worse. I could have been driving that truck.

Because it’s already two in the morning, and because I’m tired, and because there’s a lot to get to, I’m going to cover Stoner Hands of Doom XI in note form. That seems like the most direct line between point A (the show) and point B (the coverage). Tomorrow, pending sobriety and/or the requisite energy — both of which are in short supply at the moment — I might decide to do something completely different. I reserve that right. For now, here goes:

Borracho: After the ride down from NJ and the arrival at the Days Inn where I’m staying, I opened up the bottle of wine I brought with me, turned on the stream of the Yankees radio broadcast and tried to relax a bit before heading back out over to Krug’s Place. Needless to say, the “fuck it” demons were out in full force, but not missing Borracho was a big part of what got me off my ass and back in the car over to the venue. Really. They were even better tonight than they were with Truckfighters, and they basically started their set with the soundcheck. I guess it was kind of a stutter way to kick off the fest, but once they got going, they were locked in for sure. They still need to tighten up their presentation, but already they were too good for the early-showing crowd that caught them. I felt fortunate to be in that number.

Ancient Astronaught: I didn’t realize it until I talked with guitarist/vocalist Skipper (who identified himself as such) following their performance, but all three members of the Fairfax, Virginia, three-piece are formerly of Ol’ Scratch. Skipper was in the band in 2008 and toured with them, and some of the lessons he learned in that now-defunct outfit he’s obviously brought to Ancient Astronaught — most pivotally in tone. Theirs was the first of several truly sick Sunn tones throughout the night, and though their songs were basically vehicles for conveying riffs and shouts and the occasional bit of stonerdelia, I’ve zero complaints with that. They were loud as hell and I dug it as one of several instances tonight in which my earplugs were rendered useless.

Against Nature: They’re another one. Speaking of Sunn amps, Against Nature guitarist/vocalist John Brenner played pedal-less (quite a contrast to Skipper‘s setup during Ancient Astonaught; his pedal board literally lit up) through a Sunn Beta Lead, and it was one of the most gorgeous tones of the night. Bassist Bert Hall, Jr., also won out on the night’s best bass sound, as it was crisp and clear, but still full and totally fuzzed. Having been a fan of Against Nature‘s work for so long from the albums, it was excellent to finally see them live. The laid back air Brenner brings to the recordings was still intact, but they definitely had a vibrancy to their set as well. Killer to get some classic rock on the SHoD bill. I spent their whole set thinking about how much ass a tour of them and Stone Axe would kick.

Windhand: I’d seen their name forever, and they had the drummer from Facedowninshit (he might also be in The Might Could — and where the hell, might I ask, are those guys this weekend?), so I was excited to finally see Windhand in-person, and they didn’t disappoint. They laid it on thick and viscous with Electric Wizard-style riffing, and that was enjoyable enough, but their considerable noise element only made the whole affair heavier. Strange to have that kind of noise following Against Nature, but it worked. It was that kind of bill, and the people who were there were more than willing to go along for the ride. They were a lot of fun, and I tried to acquire a CD, asking both vocalist Dorothea Cottrell and guitarist Garrett Morris,  to no avail. The Richmond outfit continue to elude me, but they killed.

Apostle of Solitude: Here’s who I was at the show. I was the guy who, as Apostle of Solitude — now featuring Devil to Pay axeman Steve Janiak on second guitar/vocals alongside bassist “Iron” Bob Fouts, drummer Corey Webbb and guitarist/vocalist Chuck Brown — was setting up, yelled out “Celtic Frost!” I have zero regrets at having done so, especially since they wound up closing with “Procreation of the Wicked.” They played one or two new songs before getting there (I seem to recall one was called “Good Riddance” or something like that), and were generally awesome. I’d seen them in NYC a while back and they were good enough at that time for me to buy not one, but two, t-shirts, both of which I still wear on the regular. If they’d had a third to go with their SHoD set, I’d totally have picked it up. Their split CD with The Flight of Sleipnir and Rituals of the Oak would have to suffice, and as I’m sitting here in survival testimony, indeed it did.

Negative Reaction was supposed to headline tonight in place of The Gates of Slumber (Lord, also listed on the poster above, will play Sunday), but fest organizer Rob Levey got on stage as Apostle of Solitude were finishing what would have been their regular set to announce that a member of the band had an immediate medical emergency. Guitarist/vocalist Ken-E Bones and drummer John “Old” MacDonald were hanging out in the Krug’s parking lot, so pretty safe to assume it was bassist Damon who had the trouble. They’ll hopefully be able to round out the bill tomorrow.

Against Nature know the score. The Baltimore trio have put out at least 15 full-lengths since 2005 on guitarist/vocalist John Brenner’s Bland Hand Records imprint, the latest of which is Stone Over Stone, and they’ve given them away for free the whole time. Physical CDs are pressed sometimes in limited numbers with accompanying artwork from Brenner – joined in Against Nature by bassist Bert Hall, Jr. and drummer Steve Branagan – but by and large, they just home record albums and put them up on the label’s website for those who find them to enjoy. Music for the love of music. It’s a beautiful ideal to work from, and Against Nature’s songs, humbly-toned, classically-styled and engaging, are perfectly suited to it. Stone Over Stone collects five solid traditional rockers and one more extended jam into about 29 minutes’ worth of material, paying homage to the LP ethic of old in the album’s relatively short runtime.

One thing about Against Nature’s material in every iteration I’ve heard (and at this point, I’ve heard a few): influences at work can vary by record, but in both tone and Brenner’s voice, Against Nature are distinctly themselves. Some material is more active, some more passive, but all of Against Nature’s work – and indeed this applies to Stone Over Stone as well – is completely lacking pretense and operating on a “what you see is what you get” level. Brenner is an accomplished solo guitarist, and he shows that off a bit later into this record on “Clod” or “Walking on Stilts in Sand,” and Hall and Branagan are as tight as ever in the rhythm section, the latter injecting some rocking fills into “Clod” that are as driven as anything I’ve heard from Against Nature in a while. The production style is the same as it ever was in its smooth but still home-recorded warmth, and though that can lead to some of the albums having a similar feel, the trio actually works in some different avenues on each record. It’s not quite a thematic concept, but the drive behind Stone Over Stone seems to be to capture a more spontaneous vibe. The seven-minute closing jam “Off the Cuff” is a big clue in that regard, but it’s true for some of the other songs as well.

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Guitarist/vocalist John Brenner of Maryland outfits Against Nature and Revelation has probably the “healthiest” work ethic I’ve ever encountered when it comes to recording, and by “healthy,” I mean obsessive. Since 2005, Against Nature has put out no fewer than 14 records, and it always feels like the next one isn’t far off — because it isn’t. A little while ago, I reviewed Chasing Eagles, only to find out that Cross Street would be arriving shortly, with Stone over Stone due up thereafter.

They’re a lot to keep up with for sure. Releasing albums through their own Bland Hand Records imprint with art by Brenner himself, Against Nature is the vehicle by which Brenner, bassist Bert Hall, Jr. and drummer Steve Branagan explore their more rocking influences, from the early prog of Rush to the swaggering boogie of Humble Pie. When it comes time to doom out, the same lineup performs as Revelation, which has been active in one incarnation or another since 1986, and in the last two years put out albums through labels such as Japan‘s Leaf Hound, Germany‘s The Church Within, and Pittsburgh‘s Shadow Kingdom.

If two constantly expanding discographies wasn’t enough, Brenner is also partially responsible for the Born to be Doomed festival, which this year featured Revelation alongside acts like Apostle of Solitude, Black Pyramid and Blood Farmers on July 2 and 3, with Against Nature headlining a warm-up show the night before. It was on the first day of the festival that I called for the following interview, and found Brenner, unsurprisingly, to be moving quickly from one thing to the next.

In the conversation after the jump, John Brenner discusses the differences between Revelation and Against Nature, how one band grew out of the other, his writing methods and how he is able to maintain such a prolific level of output. I found him to be friendly, engaging and completely unpretentious. I hope you enjoy our conversation as much as I did. Read more »

You know, some bands, you expect when you haven’t checked in on them for a while they’ve maybe got some news that they’re touring or thinking about starting to put out a new album, maybe have some ideas for songs, all very nebulous, not yet willing to reveal titles, etc. Baltimore, Maryland’s Against Nature, meanwhile, have released two albums and have a third and fourth on the way. In about six months. And that’s not even counting their super-doomed alter ego, Revelation, who also put out a record in that time. They should call the next album Prolific Bloody Prolific.

In January, Against Nature self-released Drawing Arrows through their own Bland Hand Records, and a mere month later (presumably from the same sessions; though I don’t know that for sure) came Chasing Eagles, the band’s 13^th or 14^th release, which continues their seemingly overflowing run of ‘70s-style prog played at three-quarter speed and as unpretentiously as possible. Guitarist/vocalist John Brenner is as much at home with this material as I am on the couch, and whether it’s the bluesy “A Likely Story” or the more Sabbath-fueled “Snowed Under,” bassist Bert Hall, Jr. and drummer Steve Branagan have no trouble laying a solid foundation for the songs to build on.

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The remarkably prolific alter ego of traditional doomers Revelation, Baltimore trio Against Nature take a much different approach, pulling together elements of classic, unpretentious prog, ambient rock, psychedelia and mellow riffers to create a style both unique and amorphous. On their two records from 2008 — note that to date they have a full-length and an EP out in 2009 as well — Natural Blue and Accumulus, both self-released through the band’s own Bland Hand Records, Against Nature journey through a varied landscape of considered rock and roll, at times offering a Brant Bjork-style smoothness (as on Natural Blue opener “Sonic Tonic”) and at times tripping their way into a great mostly-instrumental beyond (as on Accumulus‘ “All in Motion”). Whatever sound they’re adopting, though, a consistency in tone and production ties each of the records to themselves and each other. There is a definite Against Nature sound, and it’s complex.

Both of the albums, as well as the 12 other releases the band has issued since 2005, are available for free download on the Against Nature website, and physical pressings of each are limited to 90 copies that come with hand-made covers signed by guitarist/vocalist John Brenner in gorgeous designs that jpegs fail to do justice. Obviously this is not a band with high commercial aspirations. Rather, what shines through on Accumulus and Natural Blue is a genuine love for the creative process. Memorable riffs pervade cuts like “NOS” and “Normal Nihilists,” linking the two albums together, but Accumulus has a more progressive feel than its predecessor, which is emblematic of the drive and willingness to experiment fueling the band on in place of mainstream notoriety, fame or a large cash flow. They do it to do it. If they didn’t enjoy it, there would be no reason to continue.

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