At the age of 78, Nik Turner shows no sign of slowing down and the former Hawkwind man’s latest album is as psychedelic in parts as those early space rock albums where he donned bizarre outfits and played freestyle jazz saxophone. Indeed, at times it is hard to distinguish where Hawkwind ends and Turner begins. Aided by Nicky Garrett (UK Subs), Jürgen Engler of Die Krupps as well as former Hawkwind members Simon Howe and Paul Rudolph, The Final Frontier ranges from the opening surge of Out Of Control and the space rock of Interstellar Aliens to the Eastern influences of the two part title track. A relaxing, calming album, this provides me with all the stimulus I need to explore more of Turner’s extensive back catalogue. Massively enjoyable. 7/10
Nekhrah: Cosmic Apostasy (Self Released) [Paul H]
Established in Nicosia, Cyprus in 2011, under the name Impalement, this four-piece black metal outfit’s debut is quite something. A massive wall of spine-crushing riffs blended with enough melody alongside some of the most brutal guttural vocals all add to a blistering face melting 29 minutes. Tracks such as Closed Casket Funeral, the seriously intense title track and the rage of opener Acheron
With their name an Anglicised version of the Greek word “Νέκρα” which means Death/Deadness and/or emptiness in Greek, it’s apparent early into this release that there is some pent-up rage manifesting, such is the brutal approach. With a nihilistic philosophy rooted deep in the band it’s no wonder that the lyrics revolve heavily around misanthropy, cataclysm, self-destruction and a desire of non-existence. Cruel and vicious in delivery, hauntingly aggressive but strangely captivating, this raw album is hopefully the first of many. We can but hope as there is much promise contained in this dark and evil collection. 6/10
Callus: Hogpocalypse (Self Released) [Mark]
Can’t fault a band with ambition and Callus seem to have no short supply, self described stoner with doom, sludge and thrash thrown in for good measure, that’s a healthy mix of genres and all of which I have a healthy dose of in my regular listening schedule. Boar opens the album with an uptempo affair, riff and snare drum driven, in your face with attitude and approach. An uneasy feeling is left by the kick drum sound, like the original has been replaced with a sample, and one that lacks any real weight behind it at all, not the mark of a stoner, doom or sludge outfit, the track does flip on its head about halfway through into a more deserty stoner feel with a very rhythmic build-up, the leads over this section are well managed and really help the melody of the song, then the track ends like it starts, with more of an uptempo offering, unfortunately the vocal performance feels a little forced and the song structure a little obvious.
Infinite Beef Machine, great title, is the second track that is another mish mash of styles, more along the stoner lines, if you’re stoned and on amphetamines at the same time, cancelling each other out into a kind of middle of the road, mid paced jog through a swamp, I feel that a track called Infinite Beef Machine should be dripping with all the vitriol the title suggests, but this doesn’t quite capture that, the middle section is really well put together, but what surrounds that section is a bit damp. Callus are a band brave enough to post their lyrics online, I had a chuckle at these but truthfully they are not great.
Track four makes its entrance with a more considered and well paced feel, I can see a room full of doom fans with their hoods up rocking along to Skunk, the vocals seem to take a departure and the slightly less gruff and more melodic performance here are a welcome change to the shouting style on much of the other material. The end of this track does completely depart and end up in almost-thrash territory which throws off the balance of the track for me. Much of Hogpocalypse follows the same pattern as the tracks mentioned. This album is ambitious but flawed. 5/10
Arabrot: Die Nibelungen (Pelagic Records) [Mark]
A landscape of avantgarde noises flutter between my speakers as I am reminded of something almost anti-music at times, like Scott Walker but without much in the way of song structure, or semblance of being melody driven. This is a challenging piece to review, it’s hard to place what this is in the terms of an album, which I suppose is right for the soundtrack to a silent movie. I was expecting a wall of noise, a cornucopia of distortion and unusual vocals but that’s not what I am greeted with.
To really get to the bones of what this release was all about, I had to dig and do some research, on the film in question, I haven’t watched it and at 5 hours long, I don’t think I will, but it’s a fantasy tale following the exploits of a hero named Siegfried. Part I - accentuated by breathing noises and a note combination that appears often throughout the 22 minutes, the end of this section does build up with a melody which is a nice break from the monotones of the rest of the track. Part II - this part has more in the way of a rhythmic build with something akin to almost being a song, but it’s more soundtrack-esque than a song really has the right to be so again, it’s 22 minutes of noise and ambience with the odd build or break, the last four or so minutes do jarr you out of any sense of complacency while listening with heavy guitars and gunfire, I can only assume that this goes along with a part of the movie, but without context it’s difficult and not nice.
I am sure this will have its place in someone’s collection, probably fans of Sunn O)))) or Scott Walker, but not my own, I don’t dislike what’s being offered I just find it an accompaniment to nothing am going to do, it isn’t something I will put on to get pumped up, to relax to in the evening, to drive along with, it doesn’t really fit for me and feel like it should have two separate ratings, 8/10 for the performance they managed to put together as an accompaniment to a silent movie but a 4/10 as a record to sit and listen to. 4/10
Infinite Beef Machine, great title, is the second track that is another mish mash of styles, more along the stoner lines, if you’re stoned and on amphetamines at the same time, cancelling each other out into a kind of middle of the road, mid paced jog through a swamp, I feel that a track called Infinite Beef Machine should be dripping with all the vitriol the title suggests, but this doesn’t quite capture that, the middle section is really well put together, but what surrounds that section is a bit damp. Callus are a band brave enough to post their lyrics online, I had a chuckle at these but truthfully they are not great.
Track four makes its entrance with a more considered and well paced feel, I can see a room full of doom fans with their hoods up rocking along to Skunk, the vocals seem to take a departure and the slightly less gruff and more melodic performance here are a welcome change to the shouting style on much of the other material. The end of this track does completely depart and end up in almost-thrash territory which throws off the balance of the track for me. Much of Hogpocalypse follows the same pattern as the tracks mentioned. This album is ambitious but flawed. 5/10
Arabrot: Die Nibelungen (Pelagic Records) [Mark]
A landscape of avantgarde noises flutter between my speakers as I am reminded of something almost anti-music at times, like Scott Walker but without much in the way of song structure, or semblance of being melody driven. This is a challenging piece to review, it’s hard to place what this is in the terms of an album, which I suppose is right for the soundtrack to a silent movie. I was expecting a wall of noise, a cornucopia of distortion and unusual vocals but that’s not what I am greeted with.
To really get to the bones of what this release was all about, I had to dig and do some research, on the film in question, I haven’t watched it and at 5 hours long, I don’t think I will, but it’s a fantasy tale following the exploits of a hero named Siegfried. Part I - accentuated by breathing noises and a note combination that appears often throughout the 22 minutes, the end of this section does build up with a melody which is a nice break from the monotones of the rest of the track. Part II - this part has more in the way of a rhythmic build with something akin to almost being a song, but it’s more soundtrack-esque than a song really has the right to be so again, it’s 22 minutes of noise and ambience with the odd build or break, the last four or so minutes do jarr you out of any sense of complacency while listening with heavy guitars and gunfire, I can only assume that this goes along with a part of the movie, but without context it’s difficult and not nice.
I am sure this will have its place in someone’s collection, probably fans of Sunn O)))) or Scott Walker, but not my own, I don’t dislike what’s being offered I just find it an accompaniment to nothing am going to do, it isn’t something I will put on to get pumped up, to relax to in the evening, to drive along with, it doesn’t really fit for me and feel like it should have two separate ratings, 8/10 for the performance they managed to put together as an accompaniment to a silent movie but a 4/10 as a record to sit and listen to. 4/10
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