I was not aware of the Swiss band Fomies until I received the promo to review and thank whoever I did because their latest record, Liminality, is some crazy psych goodness. These guys throw the kitchen sink at you, bringing some garage rock, punk, stoner, Krautrock, and all sorts of other fun stuff over the twelve tracks on their latest offering.
Everything gets all fuzzed up right off the bat with The Onion Man, which plods a bit, but is a nice set up for what is to come. The echoed vocals along with the fuzz, a total late 60s vibe, and a charming weirdness starts off the record in an unconventional, yet effective way. There is a build to the opener that makes you feel something is just lurking around the corner, and it sure is in the form of the jangly psych of Reflections, which also brings the fuzz in bucket loads. There is a Krautrock / Devo thing happening with The Pull, and boy does it work.
The next three tracks are parts 1-3 of Colossus. Part one is led by some cool bass work and a garage in outer space feel with a more chill vibe, which transitions to the ripper that is part two, a frantic punk/Kraut mashup that would get anyone up and moving. Shout out to the drummer on this one. Seamlessly we move to part 3, which brings back more of that jangle and is almost a combination of the first two parts, sounding like a more revved up and spaced-out version of The Velvet Underground’s What Goes On, and it rules.
If that three part set of awesome didn’t get you, the late 60s garage feel of Pause Cigarette will. Anyone remember the late Jay Reatard? If so, you will know what I mean when you listen to Neon Gloom. Man do I love when the heavy kicks in on Blurred Sight. Happiness Relay is more Devo if they were a space rock band (a wonderful idea) while Fomies goes all 60s dreamy psych on Secluded. We even get a little funky on the closer, Upheaval, to go along with all of the other cool stuff that gets thrown at you on Liminality.
In a perfect world this is what The Strokes second record would have sounded like. Fomies brings everything that band could have been on Liminality. A spaced out, fuzzed out, Velvet Underground meets the Stooges meets Hawkwind mashup and boy am I here for it. 9/10
Ungraven - Hollows Made Homes In Their Sunken Cheeks (Heavy Psych Sounds Records) [Mark Young]
Ok, so the boss likes to set challenges every once in a while. Something that shifts you from a particular comfort zone into an area or genre of music that you normally wouldn’t touch down on.
Such a challenge is Ungraven. The conversation went like this:
‘That Ungraven album only has two songs on it. Is this where you tell me they are both 40 minutes long?’
‘They are both 22 minutes long’
‘Ok, thank you for that. Most Sincerely’
(What can I say? I'm a conversationalist - Ed)
In a perfect world this is what The Strokes second record would have sounded like. Fomies brings everything that band could have been on Liminality. A spaced out, fuzzed out, Velvet Underground meets the Stooges meets Hawkwind mashup and boy am I here for it. 9/10
Ungraven - Hollows Made Homes In Their Sunken Cheeks (Heavy Psych Sounds Records) [Mark Young]
Ok, so the boss likes to set challenges every once in a while. Something that shifts you from a particular comfort zone into an area or genre of music that you normally wouldn’t touch down on.
Such a challenge is Ungraven. The conversation went like this:
‘That Ungraven album only has two songs on it. Is this where you tell me they are both 40 minutes long?’
‘They are both 22 minutes long’
‘Ok, thank you for that. Most Sincerely’
(What can I say? I'm a conversationalist - Ed)
Made up of founder Jon Davis and joined by David Perry who have decided that conventional songs are for others and have gone wholeheartedly with sonic experimentation that is in parts bleak with shafts of light shining through. Kind of.
So, let’s dive in.
Nothing Is Less Than Zero is side 1 and any pre-conceived idea I had of what this would sound like dissipates almost straight away. It just starts with guitar ringing and then degrading whilst the organ is firing up, building and moving, its shape forming continually. Its isn’t just slabs of noise that are dropped and then left without purpose. Its part composed, part improvised and all totally unique.
So, let’s dive in.
Nothing Is Less Than Zero is side 1 and any pre-conceived idea I had of what this would sound like dissipates almost straight away. It just starts with guitar ringing and then degrading whilst the organ is firing up, building and moving, its shape forming continually. Its isn’t just slabs of noise that are dropped and then left without purpose. Its part composed, part improvised and all totally unique.
The time is spent with that guitar and synths just doing their thing with the synths coming across like it was composed as soundtrack for a film. The guitars provide the discord, an abrasive and grinding sound that provides the ugliness against the beauty of those keys. It’s just a question of how much of this you can absorb because it is effectively 20 odd minutes of that same build but that could be the point. When Heavy Psych tell you it’s pummelling, they are telling no lies.
The second half, Hollows Made Home continues where Nothing left off. Drenched in guitar and those almost bright sounding keys you could be fooled into thinking that its more of the same which Is not quite right. It feels that it has more of a momentum to it but one thing that is constant is that guitar. The life after each strike is incredible, the sound degrading and breaking acting as that counterpoint to the synths which are almost majestic in comparison.
In some respects, trying to review this as you normally would is a doomed exercise. Generally, we talk about the songs, the music, what works and what doesn’t but on this it is so far outside of that conventional approach you have to look at this differently. I mean, just from the brief descriptions of both songs above, you would read it and think this sounds awful. Who in their right mind wants to listen to 40 minutes of feedback? Well, somebody does. This is intended to move beyond the traditional confines of extreme music, of the normal arrangement and just offer something that is totally different from everyone else.
The second half, Hollows Made Home continues where Nothing left off. Drenched in guitar and those almost bright sounding keys you could be fooled into thinking that its more of the same which Is not quite right. It feels that it has more of a momentum to it but one thing that is constant is that guitar. The life after each strike is incredible, the sound degrading and breaking acting as that counterpoint to the synths which are almost majestic in comparison.
In some respects, trying to review this as you normally would is a doomed exercise. Generally, we talk about the songs, the music, what works and what doesn’t but on this it is so far outside of that conventional approach you have to look at this differently. I mean, just from the brief descriptions of both songs above, you would read it and think this sounds awful. Who in their right mind wants to listen to 40 minutes of feedback? Well, somebody does. This is intended to move beyond the traditional confines of extreme music, of the normal arrangement and just offer something that is totally different from everyone else.
It is different, but how do I recommend it as worthwhile? It would be so easy for me to say that it is 40 minutes of noise and not much else but then I would be unfair by saying that. If you know these already, then it’s likely you already know what they are about, at least you would be aware of what their earlier form sounded like. This is for those who find no satisfaction in traditionally built music. This isn’t verse chorus verse, or even worse acoustic introduction into a long scream and blasting drums.
Is there a payoff at the end? For me this was when the second song ended and I’m being completely honest here. Its not something for me at all and yet you can appreciate it for being 100% honest and authentic to themselves. It follows no one and no trend 7/10
Red Moon Architect - October Decay (Noble Demon) [Mark Young]
The information sheet that came with this noted Red Moon Architect as melodic doom metal so you go in with possible idea of what is about to come next. Frozen Tomb starts, certainly without fanfare but giving you enough to say that this leans into conveying sadness as an overriding emotion. And then the vocals come in, firstly with Anni Viljanen, with a softly delivered lines brings that feeling ever closer until the song itself stops and changes into something else, almost like going from the light into the dark with the deep, almost incomprehensible vocals from Ville Rutanen. The build is the same, the doom side coming through with an almost glacial motion. I know that the use of cleans into dirt vocals is nothing new, but when its done like this with Anni’s delivery being so clear and the backing to it being just on the right side of understated it sounds amazing.
Red Moon Architect - October Decay (Noble Demon) [Mark Young]
The information sheet that came with this noted Red Moon Architect as melodic doom metal so you go in with possible idea of what is about to come next. Frozen Tomb starts, certainly without fanfare but giving you enough to say that this leans into conveying sadness as an overriding emotion. And then the vocals come in, firstly with Anni Viljanen, with a softly delivered lines brings that feeling ever closer until the song itself stops and changes into something else, almost like going from the light into the dark with the deep, almost incomprehensible vocals from Ville Rutanen. The build is the same, the doom side coming through with an almost glacial motion. I know that the use of cleans into dirt vocals is nothing new, but when its done like this with Anni’s delivery being so clear and the backing to it being just on the right side of understated it sounds amazing.
The whole arrangement is of a similar nature; keys used to expand that required atmosphere but used sparingly. The Depths follows, its slow pace allowing the space for those dual vocals to work their magic. Don’t get me wrong, if you don’t like doom, I don’t think there is anything here for you but Red Moon Architect have is an insane ability to fill the space in and around the core instruments so that it doesn’t feel as though it is standing still.
On one online source it mentioned that the band were originally from Kouvola, and said it was the saddest place in Finland. I don’t know if that is correct but two songs in there is a veil of sadness that hangs over everything and Decay Of Emotions does not do anything to change it. Some bands occupy the slower end of the spectrum, often utilising sparse arrangements or repeated measures to qualify themselves as doom. Not these, the melody lines they are using are purpose built to evoke feelings of, I was going to say negativity but that wouldn’t be right.
These are songs that are written with a sorrowful approach, but at the same time manage to sound beautiful because the music they choose is perfect. It is also makes for a tough listen for the likes of me who happens to like their music move a little faster because whilst each of the tracks on here are balanced so well they also don’t change in approach. What you get on Frozen Tomb is essentially what you get on In Silence, the latter starting with synths in place to expand that atmosphere beyond what the guitars can do but that pace doesn’t change, staying just above freezing, which should be commended because if you think that they have managed to craft six songs that all remain in the same tempo but without falling victim to repeating themselves.
Of course, you could argue that having each song not going any faster is them repeating but I believe you would be wrong. For example, On The Edge Of Sanity still wrings the same level of emotion from what is a mournful arrangement but it sounds nothing like In Silence except for the use of synths. The real uniqueness comes from the vulnerable performance from Anni, it is just perfect for this music and they know how and when it is the optimum moment for its use.
All sad things must come to an end, and on here First Of October is their final words and it is an cracker. No, they don’t go mad for speed, it represents a positive and uplifting end whilst still remaining in that world of shadows.
This is an album of beauty despite coming from a gloomy background. The way that each song is built is done in a way to exact maximum emotion from the listener without it sounding overwrought. Musically, everything has a clarity to it which in turn amplifies those stunning vocals. Exceptional stuff from Red Moon Architect – 9/10
Slough Feg - Traveller Supplement 1: The Ephemeral Glades (Cruz Del Sur Music) [Rich Piva]
The Lord Weird Slough Feg, or simply Slough Feg are one of the more underappreciated American metal bands, pretty much ever. The San Francisco group put out their first demo tape in 1990 and have released at least a dozen albums and EPs, all great to excellent, playing in the NWOBHM/traditional metal style, sounding like they are right out of 1979, in the right sort of way. Their best record, Traveller, a sci-fi, fantasy concept record that just flat-out rules, was released in 2003. Now, some 22 years later, we get the follow up to that story, Traveller Supplement 1: The Ephemeral Glades, and boy are fans of the band excited, because Slough Feg have not missed a step with the seven songs on this EP.
I am not going to try to recap the story of Traveller, but what I will say is that these songs absolutely rip. Mike Scalzi is the only original member of the band, but Slough Fey has had a ton of members, so it is not surprising that this incarnation sounds just as great as any other configuration of the band. The core of this version has been together since 2006, with the only new member being drummer Austen Krater, who slid in behind the kit seamlessly given his effort on the EP. The guitar work of Scalzi and Angelo Tringali is excellent, this theory proved by just listening to the early Maiden dual guitar work on the opener, Knife World, and how it continues on the next track, the instrumental interlude, The Black Circle.
All sad things must come to an end, and on here First Of October is their final words and it is an cracker. No, they don’t go mad for speed, it represents a positive and uplifting end whilst still remaining in that world of shadows.
This is an album of beauty despite coming from a gloomy background. The way that each song is built is done in a way to exact maximum emotion from the listener without it sounding overwrought. Musically, everything has a clarity to it which in turn amplifies those stunning vocals. Exceptional stuff from Red Moon Architect – 9/10
Slough Feg - Traveller Supplement 1: The Ephemeral Glades (Cruz Del Sur Music) [Rich Piva]
The Lord Weird Slough Feg, or simply Slough Feg are one of the more underappreciated American metal bands, pretty much ever. The San Francisco group put out their first demo tape in 1990 and have released at least a dozen albums and EPs, all great to excellent, playing in the NWOBHM/traditional metal style, sounding like they are right out of 1979, in the right sort of way. Their best record, Traveller, a sci-fi, fantasy concept record that just flat-out rules, was released in 2003. Now, some 22 years later, we get the follow up to that story, Traveller Supplement 1: The Ephemeral Glades, and boy are fans of the band excited, because Slough Feg have not missed a step with the seven songs on this EP.
I am not going to try to recap the story of Traveller, but what I will say is that these songs absolutely rip. Mike Scalzi is the only original member of the band, but Slough Fey has had a ton of members, so it is not surprising that this incarnation sounds just as great as any other configuration of the band. The core of this version has been together since 2006, with the only new member being drummer Austen Krater, who slid in behind the kit seamlessly given his effort on the EP. The guitar work of Scalzi and Angelo Tringali is excellent, this theory proved by just listening to the early Maiden dual guitar work on the opener, Knife World, and how it continues on the next track, the instrumental interlude, The Black Circle.
Mission Of Mithril has the band sounding super tight, and Scalzi’s layered vocals sounding great. Ephemeral Glades can’t escape the early Maiden comparisons, with that trademarked gallop, executed by Slough Feg perfectly. Love the solos on this one too. Bassist Adrian Maestas does his best Steve Harris on Magnetic Fluctuations, which is something right off the 1979 NWOBHM compilation. Ice Shelf Stomp and Vargr Reprise close this chapter of the story out strong, with the former bringing some cool tempo changes and the latter showing how this band, as infrequent as their output is, can turn back on the awesome whenever they need to.
If you like the proto metal and the NWOBHM stuff, go listen to Traveller, then to Traveller Supplement 1: The Ephemeral Glades, then to the rest of the Slough Feg stuff. You will not be disappointed at all. If you don’t have the time for all that right now, this EP stands alone just fine in all of its 22-minute glory. 8/10
If you like the proto metal and the NWOBHM stuff, go listen to Traveller, then to Traveller Supplement 1: The Ephemeral Glades, then to the rest of the Slough Feg stuff. You will not be disappointed at all. If you don’t have the time for all that right now, this EP stands alone just fine in all of its 22-minute glory. 8/10
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