Desperation Finds Hunger In All Men is Lord’s final album. I’m not aware if they made the decision to disband before, during or after recording this album, but I am aware that this is it for this band. So, what have Lord produced for their swan-song? Desperation Finds Hunger In All Men is a complex beast, and it is a beast of an album. The album comes in at an hour and five minutes, and is mainly doom; I say mainly as there are a lot of other things going on as well as the really rather heavy doom. A lot of the songs have fast, hardcorey style sections in them to mix things up.
The vocals are interesting as well, there are 3 main voices on this album, 2 harsh and one clean. 1 of the harsh voices is huge and deep, death metal style vocal, the second is high register, almost shrill in quality. This high register shriek could be problematic to some listeners, it feels like the band is challenging the audience, if you give it time you get used to it and it stops being a problem. The clean voice makes me wonder why the band have used harsh vocals at all. Vocalist, Steven Kerchner has a huge voice, deep and gravelly, but incredibly soulful. It reminds me a little of Chris Cornell, or maybe a lower register John Bush, and is fantastic. At times it feels like the 3 voices are combative, fighting for dominance in a fairly full mix. This isn’t a problem, in fact, I think it’s exactly the effect the band were going for. This is a band that was happy to experiment and take risks, and I think this has worked.
The track Nature Knows No Kings is a case in point. The track is very complex, doomy parts that give way to hardcore, all three voices are used, some of which are spoken, and this track has that combative feel I mentioned earlier. La Fleur De Cobalt is another standout track, again a mix of doom and hardcore, although maybe a little less unhinged, the clean voice feels like it has dominance on this track, and by god it sounds great. The album is brought to a end by the track This Lonesome Linger, a beautiful acoustic track that also features female vocals, which in some parts are exquisite harmonies, and brings the album to a close in a very satisfying way.
Desperation Finds Hunger In All Men is a difficult album. It takes a while to get your head around it, and some effort. But if you allow it, this album will get into your head, and you will find it satisfying. All you need is a little time and an open mind, and you’ll get a lot out of it. I don’t suppose I can convince the band to try getting back together. 8/10
Panegyrist: Hierurgy (I, Voidhanger Records) [Sean]
A bell breaks the silence, bright as it is sonorous before diminishing into night. Eerie plainchant fills the empty void, uttered by hooded figures obscured in the thick, cloying incense emanating from an open brazier. A single voice continues the canticle, giving praise to something ancient and unknowable. Esoteric whispers slither and twist their way into the recital, with more malevolent energies inviting themselves amongst the unsuspecting congregation. Or something envisioned to that effect. So begins the opening track Hymn Of Inversion off Hierurgy, debut album of American avante-garde black metallers Panegyrist.
Idylls Of The Cave erupts with harrowing power, both the vocals and guitars swirling seamlessly in a controlled yet chaotic fashion. Panegyrist heap layer upon layer of sound, yet never losing themselves and create a fine balance amongst the dense cacophony with neither element encumbering the other. The complexity on offer is almost dizzying and devoid of meaningless self indulgence, the riffs continuously shifting but not until they have wormed their way into my subconsciousness. As the ritual continues on To Quicken Stone, the clean introduction briefly allows me a quick gasp for air before being plunged into it’s unfathomable depths. Slightly more straightforward than it’s predecessor, To Quicken Stone embraces the discordant but providing enough hooks to provide some sense of tangibility amid the maelstrom.
The Void Is The Heart Of The Flame substitutes the fury of the two former song for an eerie dreamscape, ushering in a greater sense of dynamics and once again showing the impressive capability of the band. The mental image conjured is one of a soul separated from it’s fleshy vessel, aimlessly wandering the dark aether. Pretentious musing aside, Panegyrist have me utterly transfixed in this dark pilgrimage of theirs. Ophidian Crucifix utilises the established elements of earlier songs, reintroducing the melody from Hymn Of Inversion to great effect. Bolstered by haunting solos and weeping keys, it's the most varied track on the album, perfectly encapsulating the essence and sheer diverse nature that is Panegyrist.
The end to this occultic exodus bring us to closer Hierurgy, a 12 minute bombastic excursion recounting Panegyrists otherworldly creativity. Although it’s a touch congested and slightly meandering in places, Hierurgy is a fitting closer to a thrilling and exhausting voyage. I gather my thoughts, or what is left of them. Hierurgy is wonderfully crafted debut of haunting peculiarity, forged by individuals with a deep understanding of their craft.
It’s sonically dense yet varied, daunting but not impenetrable. Coupled with the bands transcendental vision and musical daring, it effortlessly dances on the edge of complete and utter sensual (and spiritual) collapse. Armed with a bright production and prodigious talent, Panegyrist offer 6 sprawling psalms steeped in mystery and dread. Abandon your flesh, surrender your spirit and step into the dark. A bell breaks the silence, right as it is sonorous before diminishing into night. The ceremony begins anew. 9/10
Penance Stare: Scrying (Self Released)
Penance Stare is a blackened darkwave project based in Gateshead. This is a 1 person project, all instruments and vocals are performed by a woman known as Eln. The main sound here is electronic/industrial, with dissonant, dark guitar riffs, and vocals that are shimmering and ethereal. I can hear influences from Lycia, Cocteau Twins and Xastur, even a little bit of The Cure as well. The other artist that this bring to mind for me is Blut Aus Nord. Now, I am aware that B.A.N. have several different sounds, so I’d better be a bit more exact. Blut Aus Nord’s 2003 masterpiece The Work Which Transforms God contains 2 different types of song. Insanely fast, industrial black metal, and instrumental, dissonant soundscapes like Metamorphosis, Our Blessed Frozen Cells and Procession Of The Dead Clowns. Penance Stare’s sound is close to these instrumental tracks.
The vocals on Scrying are very interesting. The sound is quite reverb heavy, giving them an ethereal, almost hypnotic quality. The vocals are also quite low in the mix, definitely lower than most bands would do (maybe as the vocalist is also the person who plays all the instruments, there’s no petulant member insisting their contribution is to the fore). The style of the vocals give the tracks a floaty, ethereal quality, but the level they are at in the mix means they have the same importance as all the other instruments, so the vocals are just one of the instruments, not more or less important. The music on offer here is very dark in feel, but the vocals give a little light. This feels cathartic, it isn’t all darkness, there is a balance to the emotions on offer here. This is a darkwave album that has a lot more depth than a lot of Penance Stare’s contemporaries.
Scrying is a great piece of Darkwave/blackened ambient. The album is available on Bandcamp, you pay what you want, this deserves a decent amount of money. This is an album that is dark and dissonant, whilst being beautiful and ethereal at the same time. That is a pretty neat trick to pull off, and Penance Stare do it brilliantly! 8/10
Druglord: New Day Dying (Sludgelord Records)
This is Druglord’s second album, coming four years after their first album Enter Venus. The 3 piece from Richmond, Virginia, play a very heavy brand of doom/sludge, with maybe a little stoner influence thrown in for good measure. The sound on this album is massive; massive riffs, massive guitar sound, huge lurching rhythms, and vocals that cut through all the bass. The vocals are reminiscent of Yob’s Mike Scheidt, with a little of Lee Dorian as well. In some ways the sound of the music is a little like Dorians new project With The Dead. It isn’t all about heaviness though, the track Walk With God has an organ on it that gives the song depth, and makes it sound a little psychedelic as well. There are also some cracking Wah Wah infused, bluesy solo’s on offer here, which are very pleasing.
Although, all this is very good, there isn’t much in the way of variation. All the tracks have a similar feel to them, just small variations, there isn’t any massive experimentation, or mixing of styles. But having said that, what they do is a really great take on doom/stoner, so maybe variation isn’t needed. I get the feeling this material would go over really well live, I can imagine entire dance floors bouncing in time to these massive tunes. Thunderingly huge doom! 7/10
The track Nature Knows No Kings is a case in point. The track is very complex, doomy parts that give way to hardcore, all three voices are used, some of which are spoken, and this track has that combative feel I mentioned earlier. La Fleur De Cobalt is another standout track, again a mix of doom and hardcore, although maybe a little less unhinged, the clean voice feels like it has dominance on this track, and by god it sounds great. The album is brought to a end by the track This Lonesome Linger, a beautiful acoustic track that also features female vocals, which in some parts are exquisite harmonies, and brings the album to a close in a very satisfying way.
Desperation Finds Hunger In All Men is a difficult album. It takes a while to get your head around it, and some effort. But if you allow it, this album will get into your head, and you will find it satisfying. All you need is a little time and an open mind, and you’ll get a lot out of it. I don’t suppose I can convince the band to try getting back together. 8/10
Panegyrist: Hierurgy (I, Voidhanger Records) [Sean]
A bell breaks the silence, bright as it is sonorous before diminishing into night. Eerie plainchant fills the empty void, uttered by hooded figures obscured in the thick, cloying incense emanating from an open brazier. A single voice continues the canticle, giving praise to something ancient and unknowable. Esoteric whispers slither and twist their way into the recital, with more malevolent energies inviting themselves amongst the unsuspecting congregation. Or something envisioned to that effect. So begins the opening track Hymn Of Inversion off Hierurgy, debut album of American avante-garde black metallers Panegyrist.
Idylls Of The Cave erupts with harrowing power, both the vocals and guitars swirling seamlessly in a controlled yet chaotic fashion. Panegyrist heap layer upon layer of sound, yet never losing themselves and create a fine balance amongst the dense cacophony with neither element encumbering the other. The complexity on offer is almost dizzying and devoid of meaningless self indulgence, the riffs continuously shifting but not until they have wormed their way into my subconsciousness. As the ritual continues on To Quicken Stone, the clean introduction briefly allows me a quick gasp for air before being plunged into it’s unfathomable depths. Slightly more straightforward than it’s predecessor, To Quicken Stone embraces the discordant but providing enough hooks to provide some sense of tangibility amid the maelstrom.
The Void Is The Heart Of The Flame substitutes the fury of the two former song for an eerie dreamscape, ushering in a greater sense of dynamics and once again showing the impressive capability of the band. The mental image conjured is one of a soul separated from it’s fleshy vessel, aimlessly wandering the dark aether. Pretentious musing aside, Panegyrist have me utterly transfixed in this dark pilgrimage of theirs. Ophidian Crucifix utilises the established elements of earlier songs, reintroducing the melody from Hymn Of Inversion to great effect. Bolstered by haunting solos and weeping keys, it's the most varied track on the album, perfectly encapsulating the essence and sheer diverse nature that is Panegyrist.
The end to this occultic exodus bring us to closer Hierurgy, a 12 minute bombastic excursion recounting Panegyrists otherworldly creativity. Although it’s a touch congested and slightly meandering in places, Hierurgy is a fitting closer to a thrilling and exhausting voyage. I gather my thoughts, or what is left of them. Hierurgy is wonderfully crafted debut of haunting peculiarity, forged by individuals with a deep understanding of their craft.
It’s sonically dense yet varied, daunting but not impenetrable. Coupled with the bands transcendental vision and musical daring, it effortlessly dances on the edge of complete and utter sensual (and spiritual) collapse. Armed with a bright production and prodigious talent, Panegyrist offer 6 sprawling psalms steeped in mystery and dread. Abandon your flesh, surrender your spirit and step into the dark. A bell breaks the silence, right as it is sonorous before diminishing into night. The ceremony begins anew. 9/10
Penance Stare: Scrying (Self Released)
Penance Stare is a blackened darkwave project based in Gateshead. This is a 1 person project, all instruments and vocals are performed by a woman known as Eln. The main sound here is electronic/industrial, with dissonant, dark guitar riffs, and vocals that are shimmering and ethereal. I can hear influences from Lycia, Cocteau Twins and Xastur, even a little bit of The Cure as well. The other artist that this bring to mind for me is Blut Aus Nord. Now, I am aware that B.A.N. have several different sounds, so I’d better be a bit more exact. Blut Aus Nord’s 2003 masterpiece The Work Which Transforms God contains 2 different types of song. Insanely fast, industrial black metal, and instrumental, dissonant soundscapes like Metamorphosis, Our Blessed Frozen Cells and Procession Of The Dead Clowns. Penance Stare’s sound is close to these instrumental tracks.
The vocals on Scrying are very interesting. The sound is quite reverb heavy, giving them an ethereal, almost hypnotic quality. The vocals are also quite low in the mix, definitely lower than most bands would do (maybe as the vocalist is also the person who plays all the instruments, there’s no petulant member insisting their contribution is to the fore). The style of the vocals give the tracks a floaty, ethereal quality, but the level they are at in the mix means they have the same importance as all the other instruments, so the vocals are just one of the instruments, not more or less important. The music on offer here is very dark in feel, but the vocals give a little light. This feels cathartic, it isn’t all darkness, there is a balance to the emotions on offer here. This is a darkwave album that has a lot more depth than a lot of Penance Stare’s contemporaries.
Scrying is a great piece of Darkwave/blackened ambient. The album is available on Bandcamp, you pay what you want, this deserves a decent amount of money. This is an album that is dark and dissonant, whilst being beautiful and ethereal at the same time. That is a pretty neat trick to pull off, and Penance Stare do it brilliantly! 8/10
Druglord: New Day Dying (Sludgelord Records)
This is Druglord’s second album, coming four years after their first album Enter Venus. The 3 piece from Richmond, Virginia, play a very heavy brand of doom/sludge, with maybe a little stoner influence thrown in for good measure. The sound on this album is massive; massive riffs, massive guitar sound, huge lurching rhythms, and vocals that cut through all the bass. The vocals are reminiscent of Yob’s Mike Scheidt, with a little of Lee Dorian as well. In some ways the sound of the music is a little like Dorians new project With The Dead. It isn’t all about heaviness though, the track Walk With God has an organ on it that gives the song depth, and makes it sound a little psychedelic as well. There are also some cracking Wah Wah infused, bluesy solo’s on offer here, which are very pleasing.
Although, all this is very good, there isn’t much in the way of variation. All the tracks have a similar feel to them, just small variations, there isn’t any massive experimentation, or mixing of styles. But having said that, what they do is a really great take on doom/stoner, so maybe variation isn’t needed. I get the feeling this material would go over really well live, I can imagine entire dance floors bouncing in time to these massive tunes. Thunderingly huge doom! 7/10
No comments:
Post a Comment