Label: Hathenter/Giliad Media Band: Krallice Origin: USA
How do you even get to this level of productivity, without slacking somehow in your quality? I have no idea how they do it, but here’s the new Krallice, titled ‘Go Be Forgotten’. It’s their second full length of 2017 and one hell of a record, mixing jazzy noise with black metal and hardcore-sludge or whatever.
The band has sort of just released ‘Löum’, together with Dave Edwardson from Neurosis. You’d say that we may have slightly recovered from that piece of work. This is the latest and it actually made it to various end of year lists. Good on you guys, I’d say. I was just a bit baffled after listening to it because these New Yorkers rarely make for an easy listen.
It seems like Krallice is moving in the direction of noise or even something akin to industrial, with the gritty beats on ‘This Forest For Which We Have Killed’. A solid layer of bass forms, like a curtain of pulverized glass or construction residue. Beyond that layer is space, for the vocals to bark into the void. Relentless aptly describes the flow of fury that Krallice directs at the listener. Frantically paced and never opening up for a breath, the band sounds more and more like a blend of hardcore, noise and black metal to me.
Remarkably, a grand experience can also be a part of that violent, abrasive sound. The title track embraces big arches and soaring synths. The wide contrast opens up a whole new space for Krallice to play in. The sound explores restlessness, dynamics, and complex structures, sometimes verging on jazz even? The 10-minute onslaught of ‘Ground Prayer’ for example, seems to meander from different pace as much as in intensity, with every new measure, while the vocals keep insistently barking at you.
Krallice may be one of the most intense and surprising bands out there and like every one of their records, this may take you some time to wrap your head around.
Originally this project by Alessio Antoni was started in 2009 under the name NHART. NHART became NERATERRÆ and after a long period of time the music made in those early days is available to the listener. ‘The NHART Demo[n]s’ offer haunting creations from the past that need to be set free. That is what this release is all about.
Antoni also plays in Alma Flua, a band playing pretty straight forward rock and roll. The beast unleashes in this project though, which is a mixture of ambient, death industrial, power electronics, noise and drone. Te record consists of three demo’s from those early NHART days with truly intriguing sounds and sonic experiences to bask in.
The record feels a lot like being way to close to machines and devices in factories. Trains coming through tunnels and engines rattling. Fluid, mechanized and continuous are terms that describe the way the sound moves. There’s little to no song structure present, you simply get the cold, blaring sounds of an industrialized world presented in 4 minute formats. It chops up bits of that reality and freezes them in time. Some tunes follow a more industrial orchestration, but it remains an unpleasant experience.
If you imagine this music as part of our daily surroundings, isolated and ripped from the daily noise, the oddness sinks in. Otherworldly effects are part of what we hear on a daily basis and yet we hardly manage to distinguish them. The sounds NERATERRÆ captures on this record are testament to our alienated world. It captures a radical disonnect from the many aspects and layers of our daily experience I might read to much into it, but the almost David Lynch-like (check the Eraserhead soundtrack) quality of this record feels particularly confrontational. Dark and full of despair, a record of clarity.
Label: Gilead Media Band: Couch Slut Origin: United States
CouchSlut is an interesting band name, but it simply fits. You can almost sink into the rolling waves of sound like you do on a couch. This is useless information, but I’m trying to express how vast and full on the sound of this band is. The group from New York knows how to shock and hurt a crowd with their sound on Contempt.
Landing on the scene with a bang in 2014, their debut My Life As A Woman crushed. Not just the shocking artwork, but the whole sound of the band was mesmerizing. Somehow the gang sounds familiar, but also completely overwhelmingly new and free of any boundaries. This is grindjazznoise with fierce vocals for all I care, just listen to this amazing piece of music.
The music of Couch Slut often gets described as noise rock. I get that, but take it from me… that barely does justice to the ferocious hale storm of sound that assaults the listener who dares to just dip their toes in that maelstrom. Spiteful and abrasive, Couch Slut violently attacks with a saxophone blurting underneath a pile of pitch black noise on ‘Funeral Dyke’. The vocals of Megan Osztrosits are savage and full of fuming rage. It’s as if Converge is jamming with SkinnyPuppy at times, particularly on the battery that is titled ‘Company Picnic With Dust Off’. It has the intensity of grindcore and the bravado of punkrock, bringing a mixture of SonicYouth and Today is the Day to the table. I just try to give you a feel of what they are like here…
To me, the music of Couch Slut is a primitive piece of violence. The riffs are menacing, always offering anticipation that gets turned upside down in the end. The vocals are completely raw outbursts of emotion. They slap you in the face like cold water. Then suddenly there’s an almost militant rhythm to nod along to, like on ‘Summer Smiles’. The music sounds harsh and direct while retaining atmosphere and detail. The flagellating, distorted guitars build walls that crash into the listener. Are those fucking church bells on ‘Penalty Scar’?
The band uses various instruments that are not completely traditional in this sort of sound, but perhaps that is exactly how they manage to create a sound unlike any other. Every cranny and nook is filled with squealing, buzzing and hammering music, while the frantic vocals of Ostrosits keep on coming. From start to end, this is a record of catharsis and punishing force. Both smartly done and with a brawn, Couch Slut leaves no contenders in violent music standing.
Band: La Torture Des Ténèbres
The first time I played this record by Canadian group La Torture Des Ténèbres, I was baffled. I turned it off after a few songs. Maybe it was not entirely what I expected when I read the tag ‘raw black metal’, but the sound makes much more sense if you look a bit deeper. This band creates something that lies between black metal and dense ambient sounds, thus evoking the sound of the city, of urban chaos.
La Torture Des Ténèbres has been around for a while and is the creation of Jessica Kinney. ‘Civilization Is The Tomb Of Our Noble Gods’ is the third album under this name and actually the third album in one year (2016). That makes this a rather productive act.
From peculiar intro ‘Column Of Astrological Memories’ onwards, you get into a weird sort of Sky Captain of Tomorrow -like story telling of past and future intertwined. The intro lets you hear samples, music and conversations, which launches into ‘The Great Escape From Capricorn’. A mesmerizing swirling chaos of music, ambient and noise, that holds hidden at the core vocals and lyrics that speak of a doomed world.
Civilization offers us but one choice. Conform to the collective architecture or perish beneath the weight of aeons.
The music is pretty much the unleashing of torrents of sound. ‘Descending Through Autumn Fields’ is a maddening flow, that somewhere coalesces into a melancholic melody. Surrounding is maddening howls. freakish barks and an overwhelming display of noise. The album is all the way like that, furthermore it never relents for a moment. A harsh experience for the listener, but one that has beauty hidden within. La Torture Des Ténèbres is definitely not for the casual listener I suppose. I t leaves you staring into the abyss, while waiting for the world to fall apart.
A roaring climax comes with the two parts of ‘Into The Metropolitan Abyss’. Two movements of despair and concrete madness. What a powerful record, especially relevant today.
There’s a joke in the name, because Trys just sounds like trees. The profile picture on bandcamp is a fat cat and you might start having doubts about the seriousness of Forest of Trys . Still the sound of the band is not one for light jokes and fun, but a grim affair indeed.
Forest of Trys only has one member listed on Metal Archives, namely Šmėkla. Another fact is that the band hails from Kaunas and did release a full lenght earlier in 2016, titled ‘Architect’.
‘Stars I’ is the opener, which starts with hazy, distorted noisy black metal. It feels like an industrial haze with the lecherous sound of Fat White Family somewhere hidden in the sonic fog (no clue how I take that from it). Then suddenly it merges into an old carnival tune, not dissimilar to the Eraserhead soundtrack by David Lynch. It all sounds just a bit of and wrong, which makes the vibe more slightly unnerving. Guided by martial drumming, the song moves back to the noisey dissonance. Shattering sampling and icy beats follow for the next part of the track, creating a noisy template of assault.
A more gritty sound can be heard on ‘Stars II’, where we seem to move away even further from the noisy black metal sound. Groaning noise pulsates in the air, while string elements create a semblance of style and class in sharp contrast to the colossal noise. Again, such a peculiar sound, but the final song, surprisingly titled ‘Starts III’ really takes the cake. Grim, desolate and full of industrial elements, it consists of more effects and samples of people speaking in an order that feels completely random. Pulsating, humming, squeeking the sont thunders on, with a seemingly random drum pattern offering a semblance of steadiness in the sound.
The record is an almost nightmarish trip. This is a peculiar album, with only black metal as a spirit present. Lithuania seems to have some interesting musicians out there. This record would go down well with noiseheads and experimental listeners too. Nice stuff!
This is the second sound of the Underground of 2015, with bands like Inquisitor, Odota, An Autumn For Crippled Children and Baptists. So much good stuff left over from last year.
Inquisitor – Clinamen | Episteme
The Lithuanian scene is a truly hidden gem and the band Inquisitor was recommended to me for listening. The band has been around for 12 years already and makes a dense combination of hard riffing and passionate melodies in what can be perceived as an organic whole. Funky, hectic grooves lace the song ‘Hearken, Memmius!’ that opens their new record. Soaring guitars. That playful weird sound is apparently their schtick, also the semi-clean vocals offer a new persective. ‘Hence The Mouthful of Time’ is full of progressive piano elements and peculiar elements.
Though progressive and embracing avant-garde, there is nothing tame about the groups sound. The album shows much variation, but also sheer brutality and grim atmospheres to the listener. The strenght however, is the detailed extremes the band seems to play with in their music, going from typical black metal to a form of jazz or funk and back again. The sound is always bleak and all you would expect from a band that labels as black metal. The intelligent sound of these guys is definitely worth the attention of the avid metal fan though and I cannot wait to hear more from them.
An Autumn For Crippled Children – try not to love everything you destroy EP
With probably the must fucked-up bandname in a long time of fucked-up bandnames, this group does make an extremely beautiful sort of post-black metal. Soaring film score elements accompany a layered, atmospheric barrage of guitar and sonic effects on the titletrack. There’s a warmth in the sound of this mysterious group from the Netherlands that has no equal. It’s the warmth of embracing a certain fatalism. Fun fact is the reference of the title to previous full lenght ‘Try Not to Destroy Everything You Love’.
The second song is ‘post war’, which has fierce guitar structures that even with their smooth effects sound like typical black metal riffing. The sound is rich and reminds the listener of obvious names like Deafheaven and Liturgy, but with a weird twist of their own. This is a band that has done amazing work this far and is worth recommending to anyone who is into this music, but also those outside of it.
Baptists – Bloodmines
Luckily, there are still good hardcore records coming out now and then and this new one by Vancouver residents Baptists is a true blistering masterpiece of what hardcore should be. A lot of squeeking guitar work and gritty rhythm combinations makes the sound of the Canadians agressive and controlled. Their aesthetic is something with man versus nature, which is displayed in the beautiful cover that expresses a dark perspective on this struggle. That darkness is taken into the sound of songs like ‘Vistas’ and ‘Harm Introduction’.
Grinding guitars and hectic breaks form the base of the raging songs the band keeps chugging out. The furious vocals are spat out at break-neck speed, furious at the world and followed by pounding drums. The sound is coherent and organic though, there is little artfical about this band and I guess that is one of their main charms. Hopefully they cross the ocean soon, so we can admire their live antics as well.
Odota – Fever Marshall
Jarmo Nuutre is a peculiar dude, who does fantastic tattoo’s and used to make mammoth-stomping sludge with Talbot. This is his new project and it is filled with a lot of awesome. Slow creeping sound, filled with strange atmospheric effects accompany the searing guitarwork. Black metal inspired, industrial tinged noise on a slow, doomy pace is what best captures the sound on this first release. The heavy distorted vocals and rest of the sound offer a sound that envelopes the listener. Tracks like ‘Bad Medicine’ stand out due to their dark and frightening atmosphere.
Strangely, a song like ‘Half Eagle’ feels more like a video game soundtrack mixed with an evil EBM song that you have to dance to in the intro. The sound samples Nuutre choses, betray an eclectic sound and a creative mind that is free of boundaries. Closer ‘Rattlesnakes Unfold’ is a tidal wave that keeps pushing you under in a dense rattling, drumming sound, waves of distorted guitar wafting over you, while vocals seem to just scream at the sky. This debut of Odota is an unholy experience of awesome and for those who like a little bit of experiment and doom in their blackened noise metal. Did I capture it there?