Quarterly Review: Beastmaker, Low Flying Hawks, CHVE, Brujas del Sol, Mammoth Weed Wizard Bastard, The Shooters, Boss Keloid, Hors Sujet, Warchief, Seedship
Posted in Reviews on March 31st, 2016 by JJ KoczanIt seems like a day doesn’t go by that I don’t find something in one of these piles (metaphorical, sometimes literal) of records that keeps me coming back. Today is once again spread across a pretty wide stylistic swath, and that’s by design to keep my brain from going numb, but if there’s a unifying theme across all of it, let it be a sense of scope and bands and artists who are trying to take what’s been done before and push it forward or in some new direction. That’s not universal — nothing is — but today might be the most adventurous of the days included this quarter, so I hope you’ll keep open ears and an open mind as you make your way though.
Quarterly Review #31-40:
Beastmaker, Lusus Naturae
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Low Flying Hawks, Kofuku
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CHVE, Rasa
The crux of CHVEâs Rasa is in resonance. Amenra frontman Colin H. van Eeckhout (his solo-projectâs name derived from his initials) constructs a flowing half-hour of fluid drone, intermittent percussion â first tribal, then a straightforward kind of march, slow but not still â and atmospheric vocal on the single track that comprises the work, seeming to take influence from calls to prayer as much as atmospheric noise. At higher volumes, the piece is consuming, his voice surrounds with the almost constant wash of tone, but even at more reasonable levels, the sense of purpose and ritual remains. Of course, Amenra are noted for the use of the word âmassâ in their album titles, and while Rasa departs from the direct tonal heft of much of what van Eeckhout does in his main outfit, there is a sense of mass here in terms both of presence and in terms of the worship being enacted.
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Brujas del Sol, Starquake
How do you fit an 11-minute track onto a 7â release? Easy, you break it in half. Such is the method of Ohio instrumentalists Brujas del Sol, who follow their Moonliner EP trilogy with the late-2015 single Starquake, presented on the limited H42 Records platter as âStarquake Pt. Iâ and âStarquake Pt. IIâ but comprising nonetheless a single piece that backs airy, post-rock-tinged guitar with a decided forward rhythmic motion, resulting in an overarching build that, while thereâs a natural moment for the split, is hypnotic front to back, a swirl of effects calling it mind space rock improvisation even as the plotted momentum of drums and bass resumes. Starquake is enough to make one imagine what kind of variety and spontaneity Brujas del Sol would bring to a debut full-length, so in that it very much does its job, but it makes a good case for standing on its own as well as it hits its second apex and finishes in a residual wash of cosmic noise.
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Mammoth Weed Wizard Bastard, Noeth ac Anoeth
Offered through New Heavy Sounds, Noeth Ac Anoeth is the debut full-length from Welsh cosmic doom four-piece Mammoth Weed Wizard Bastard. It is comprised of three songs and incorporates the half-hour-long âNachthexen,â which was also the title-track of the bandâs prior 2015 EP (review here), their rumble brought to bear through the capable knob-turning of Conanâs Chris Fielding at Skyhammer Studio. The vocals of Jessica Ball manage to cut through the ensuing tonal murk of her bass and the guitars of Paul Michael Davies and Wez Leon, and James Carringtonâs drums live up to the near-impossible task of making âLes Paradis Artificiels,â âSlave Moonâ and âNachthexenâ go, each developing its own plodding momentum amid the purposeful thickness overdose and atmospheric sensibility enhanced both by Daviesâ work on keys and Ballâs vocals. âSlave Moonâ winds up at a gallop and almost operatic, but thereâs no way the highlight wasnât going to be âNachthexen,â which offers chug dense enough and spaces wide open enough to easily get lost in. Time well spent, all around.
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The Shooters, Dead Wilderness
Spanish heavy rock four-piece The Shooters present their third album, Dead Wilderness (on Red Sun Records/Nooirax Producciones), as two sides even on the CD pressing, each half of the record ending with an extended cut over the 10-minute mark. All told itâs six songs/49 minutes of solidified, mostly straightforward Euro-style riff-led heavy grooves, tapping into some Dozer influence on âWar on Youâ but offering more spacious burl on âLuciferâs Word,â which starts side B after the push of âRootsâ rounds out side A. Thereâs little by way of letup, but moments like the quiet start and bridge of âBlack Mountainâ do a lot of work in adding complexity to The Shootersâ hook-minded approach, and 11-minute finale âCandelabrumâ builds on that with a patient linear unfolding that casts off some tonal heft in favor of a more atmospheric take. That ultimately lets Dead Wilderness bring an individual edge to established stylistic parameters, from which it greatly benefits.
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Boss Keloid, Herb Your Enthusiasm
Granted, a title playing off Curb Your Enthusiasm and, well, herb, might make you think the band is just goofing around, but UK riffers Boss Keloid offer more substance with their second album, Herb Your Enthusiasm, than they do wackiness. The sound â captured by Chris Fielding at Skyhammer Studio â is positively massive, bolstered by guest appearances from Fielding himself and his Conan bandmate, Jon Davis, who also owns Skyhammer and Black Bow Records, the imprint releasing the LP, and given to swells of largesse and huge rolling grooves that still remain righteously fuzzed, as on âEscapegoatâ or âLung Valleyâ the quieter complement to opener âLung Mountain.â Vocalist Alex Hurst assures any quota of burl is met, but has more to his approach melodically than riff-following chestbeating, and guitarist Paul Swarbrick, bassist Adam Swarbrick and drummer Stephen Arands present instrumental flow and turns behind that give the record a sense of personality beyond its weedian play. Not a minor undertaking at an hour long, but satisfying in tone and execution.
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Hors Sujet, Nous N’y Trouvons que le Doute
I guess itâs fair to call late 2015âs Nous Nây Trouvons que le Doute the debut full-length from Toulouse-based one-man outfit Hors Sujet, though multi-instrumentalist/atmosphere-conjurer Florent Paris has done a variety of soundtrack work and released numerous other textures in EPs and a variety of other offerings, so take that for what itâs worth. More important is the rich sense of ambience Paris brings to Hors Sujet in the seven included songs, from the dystopian doom of âAu Plus Loin, la Mer / L’hiver Peureuxâ to the wistful drone wash of âLe Souffle, Peu Ă Peu (Pt. 2),â which has its companion piece earlier in the album. Of special note should be 27-minute closer âEt Maintenant, le Ombres,â acting as a summary of the proceedings as much as expansion thereupon, concluding an often quiet outing with a stark cacophony that gorgeously builds from the minimalism before it to a raucous finish worth of the breadth Paris shows in his work throughout.
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Warchief, Warchief
Initially released by the band in summer 2015, the self-titled debut from Finnish progressive heavy rockers Warchief sees vinyl issue through Phonosphera Records, its two sides consumed by organic execution across four tracks moving beyond traditional structure in favor of a more varied approach, from the rumbling heft that emerges in opener âGiveâ through the goes-anywhere near-psychedelia of 21-minute closer âFor Heavy Damage.â Warchief, the JyvĂ€skylĂ€-based four-piece of Teemu PellonpÀÀ, Juho Saarikoski, Esa PirttimĂ€ki and Tommi Rintala, feel right at home working in longer-form material, whether itâs that closer or the nine-minute âLife Went Onâ preceding, and given their breadth I wouldnât be surprised if they would up with a single-song album sometime in the future. With that in mind, perhaps most encouraging about their self-titled is the fact that it seems so exploratory, very much like the beginning of creative growth rather than a finished product on display. One hopes they continue to flesh out stylistically and build on the foundation theyâve set here.
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Seedship, Demo 2015
Riffing their way into the post-Electric Wizard league of rumble purveyors, Minneapolis newcomers Seedship avoid any cultish trappings on last fallâs Demo 2015, their first release. A marked tonal thickness is nearly immediate, but along with the slow-motion nod and overarching density, melodic vocals cut through the morass to give a human aspect to the groove. Of the three tracks, âThe Edge of Expiry,â âThe Condemned Adriftâ and âThe Desperate Odyssey,â not a one is under eight minutes long, and as they plod their way through the opener (also the longest track; immediate points), Seedship enact a sci-fi theme that carries through the release as a whole, which scuffs up the approach some in the closer, but always keeps its spacier elements intact, even as it kicks the pace in the ass at around six minutes in and lets loose a release for all the tension built up prior before a final slowdown ends out. They seem to have a lot already worked out sound-wise, so should be interesting to hear where they go with it.
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