Tag Archives: thrash

Trappist: Hell bent for brews

Sometimes a band just finds that golden ticket, combining topics that were not before really connected. Metal and punk have a long history with beer. Good beer, bad beer, truly bad beer and so forth, but everyone has an appraisal for the glorious taste of Trappist. Naming your band after the brewing monks concoction only seems natural when you really look at it.

Trappist combine thrashing metal, d-beat punk and tongue-in-cheek humor to create a tasty bit of music to be savored with high-pace and sturdy drinks. The band consists out of Chris Dodge (Spazz, ex-Despise You, ex-Infest, etc.), Phil Vera (Crom, Despise You, ex-(16)-) and Ryan Harkins (co-owner of popular heavy metal-themed burger joint Grill Em’ All), I’m excited to have found the gents willing to answer some questions for Stranger Aeons. So here it goes!

Brew’m all: Trappist

Can you tell me how Trappist got started? And what role does Hour of the Barbarian play in it?

Ryan and Chris were fucking off doing some songs together and we’re going to just release a 7”. They asked me to join and we started writing all kinds of songs and realized we could do a whole record. Hour of the Barbarian is our time to get drunk and bullshit and talk about the crap we’ve been doing and also go on extra long tangents and interrupt Ryan whenever we get the chance.

You’ve all been in other bands, what is different about this project?

All the bands I’ve either played in or still play in have been different that’s for sure. It helps to actually be playing in a trio though. Less fucking people to deal with to get stuff done. That’s a major difference.

Do you guys also actually brew beer? I have the feeling you do. 

Dodge has brewed beer with a couple guys from Eagle Rock Brewery, but I can’t remember what they brewed?

Can you tell me about the process of creating ‘Ancient Brewing Tactics’? Over what period did it happen and how did it go down?

We originally did a 10 song demo that we were going to try to put out ourselves, but Relapse was interested so we used some of the demo songs and wrote a bunch more for the record. From the beginning of the recording to the actual release date it took about a year. That includes getting the artwork together, consuming beverages, etc.

You are all in prolific bands, so how did you find time for this record? 

We all got our stuff going on, but we make time for this since it’s a blast to do. We also do the podcast (Hour Of The Barbarian) here and there so it breaks up the whole practice and writing songs monotony so we can just sit around and bullshit.

How did you compose the beer list to accompany the album? How much sampling and testing went with compiling it?

Dodge did the whole composing and compiling of the beer list. He did very extensive research for this (have you seen his Big Year in Beer blog?). (Ed. Now I did, so check it out here).

What would you rather do: brew your own Trappist or tour the Trappist locations in Belgium (and sample their brews)?

Hmmm, that’s a tough call. I don’t think we would be welcome in the actual Trappist locations so I would be down to just brew our own Trappist beer.

If you had to pick one Trappist beer that sums up your band, which would it be and why?

I’m not the biggest beer nerd in the band (I mostly just drink them), but I would have to say the Westvleteren 12. Goddamn, it’s delicious and bold and I wish I had another one right now.

What future plans do you guys have with the band?

We’ll be heading to the east coast in November for a few shows. Trying to get over to Europe as well as Japan next year. Already writing new stuff so we’re not going away anytime soon.

Cover image press image by Paul Lee

Power Trip - Nightmare Logic

Underground Sounds: Power Trip – Nightmare Logic

Label: Southern Lord Records
Origin: United States
Band: Power Trip

I’m perfectly aware that Power Trip does not need one of my Stranger Aeons reviews to get them some attention, but ever since hearing this band, I had to pen a bit about them. Why? Have you heard  ‘Nightmare Logic’? A master piece of crossover thrash that seems to come to us now as a relic of the eighties, right when its needed.

This album is the second full length from this band, which has been around since 2008 and hails from Dallas, Texas. There’s definitely a flavor of hardcore to their sound, hence the notion of crossover, but they are also battle ready and heavy enough to carry a tune at a death metal show. In fact, I have to think of Bolt Thrower now and then, listening to these upstarts play. They do nothing really new, but like Skeletonwitch and maybe Iron Reagan they bring back some simple, primitive thrashing to the forefront in an era when we need these sounds.

This record moves about and groves in all directions. Live the band actually is even more entertaining, with a high energy performance befitting of a bunch of rabid dogs playing thrash metal. The casual vibe of the guitar play, the fun that just displays in the tunes, it makes this band so incredibly catchy and entertaining to hear. At the right moments, they add elements like gang shouts to make it even more awesome. But just listen to that ballzy intro of ‘Soul Sacrifice’, which is a tune for raised fists and feet stomping.

The pace is frantic, the energy high and boundless on a track like ‘Firing Squad’. I really thought that thrash was dead, but this band has awoken the genre from its slumbers. This makes me want to jump around and beat stuff. Not in a violent way though, this music is just so brimming with vitality, with contained and directed fury, that you need to move your feet to it. The rabid screams and shouts of Riley Gale, the riffs like razorblades and the awesome artwork, it all makes sense.

This is one of the coolest records out there, I’m sure.

Sounds of the Underground #41

My offerings of underground musics for you are this time ThränenkindKannabinõid, Musk Ox and Vektor.

Some out there stuff, specially the last blew me away and Musk Ox is one of the most haunting things in a while. It’s all good, check it out.

Thränenkind – King Apathy
Lifeforce Records

source: bandcamp

If you make your post black-metal band with a twist of crust, post-hardcore and post-rock (yes, that’s a lot of little genre labels) sound like a bad ass rocking outfit, you’ve got something good going. Wildly accesible, the music of Thraenenkind (not everyone deals with the proper writing that well) from Germany is something special to behold. They debuted in 2013 with their album ‘The Elk’, which also displayed the punk/hc roots of the band with anti-capitalist, environmentalist and more isms as inspiration and lyrical matter. That’s all wrapped up in a package of natural beauty.

There’s two faces to Thränenkind (screw this, I’m using the proper writing). One is a bit like Agalloch, embracing the more post-rock influences black metal sound. You can add some more names like Alcest to that list, but it makes the band sound a bit cliché. The other side is a gritty hardcore/crust vibe, more akin to Amebix and Isis mixed together. There are some bands the sound is very akin to, but you can read Angry Metal Guy for the comparisons everyone already stole (props for writing such a good review). The emotive guitar lines would appear to clash with the energetic drumming, but the dreary feel of the melodies is enlivened by that ferocity. It steels the apathy from King Apathy, making it a potent and stirring record. The sound is filled with sorrow, but also vibrant and struggling with itself. A great record for your stormy spring days.

Kannabinõid – Troon
Golem Records 

source: bandcamp

How do you call a stoner from Estonia? An Estoner I suppose, but that’s another band from the northest of the Baltic States. Here we’re talking about Kannabinõid, not their brother band with whom they are on tour. The band has released an EP a few years ago, but now the real work starts with their record ‘Troon’, which means ‘throne’. The style they play, the band describes as stonedoom, So I decided to give these guys from Tallinn a spin and check out the three song record they unleashed.

Drones, that’s what you get, long eerie passages of drones in your face. The tones are full of remorse, more akin to a funeral doom band, specially when the organ comes in. There’s no rush here, but the vocals are more confusing. Hushed voices give a ritualistic feel to the music, which adds to the build-up. Then it swells to roaring with the ever slowly cascading riffs crawling onwards. There’s something psychedelic in the sound of these Tallinn inhabitants though, something about the way the drones reverberate. It’s along, heavy trip, but well worth taking with these gents.

Musk Ox – Woodfall
Self Released

source: Bandcamp

Canada has some beautiful nature, and in my head much of it is unspoiled by civilized destruction. It speaks to the heart to know there’s still something akin to wilderness in the world. I feel that this is often what is embodied in neofolk music, letting music paint the land. In this case the one where the Musk Ox roams. The group has released many albums and even though ‘Woodfall’ is from 2014, I really wanted to feature it here.

The music is clean, sculpted and so captivatingly melancholic. Taking the lead is the guitar of Nathanaël Larochette, who plays the tantalizingly sweet little pickings that underline the music ensemble. It’s the cello of Raphael Weinroth-Browne and the violin of Evan Runge that soaringly play and tell the stories. It never becomes repetitive or boring, it keeps finding new shapes and movements that keep you enthralled. Its the sort of record that makes you want to stay at home or take a long walk in the forest on your own, its a solitary experience to revel in the tones of this threepiece. They borrow elements from many music styles, which helps create such layered, complex masterpiece. This album is definitely a great piece of music.

Vektor – Terminal Redux
Earache Records

source: bandcamp

I normally don’t cover records on bigger labels, but come on, this record is insane! Vektor are a progressive thrash band from Pensylvania, that has been around for a a good decade. Originally named Locrian, the band puts the word progressive in one of the most stale music genres around. Ok, I’m not trying to diss thrash, bu the genre is a bit retro. Luckily guys like this are pushing the envelope with their maddening sci-fi themed music, that packs quite a punch if I may say so. Wait, sci-fi themed thrash metal with progressive elements? Yes sir, so they did and its one hell of a ride to listen to this reocrd full of weird and amazing.

Look at the artwork! Just look at it, it’s awesome. Don’t doubt for a moment that this record shreds like a motherfucker. I mean, this is some serious thrash. It’s just that you don’t expect the epic synths, choirs and effect on everything. If you need nine minute sfor that, or 1,5 minute, it’s all good. As long as it completely blows you of your socks. The squeel of David Disanto is unmistakable and ever bordering on the insane. The guitars are slugging solo’s at you, like it ain’t no thang and the pace is relentless. Most astonishing is the lenght of the record, with songs clocking over five minutes only, usually closer to ten, filled to the brim with all sorts of unexpected elements.  It’s one hell of a ferocious bit of metal, which is hard to fully comprehend and transfer in words. Frantic riffing, hectic twists and turns but mainly a record that is ready to become a classic.