Ihsahn: Pharos EP (Candlelight Records) [Alyn Hunter]
Opening with Losing Altitude, a synth heavy dark-rock number akin to fellow Scandinavians Katatonia but very much in Ihsahn's own inimitable style. Backing is split between Ihsahn's clever yet understated rhythm/lead writing when things need some beef and synth lines for the build up with some lush string countermelodies. It's an apt opener that doesn't outstay its welcome. Single Spectre At The Feast was released with a visualiser not too long ago and it's as radio-friendly a song as you'd ever get from Ihsahn with a memorable verse/chorus pop structure, using lot of similar vocal phrasing that Ihsahn has relied on in previous material over the top of strings. It's a safe number which is an unusual thing to associate with the man who released Das Seelenbrechen, but he does it as well as anyone. Title track Pharos as a song does a brilliant job of showcasing how far Ihsahn's vocals have come along alongside cementing how diverse his repertoire of compositional skills is. It's practically lounge at times with intelligent drumming courtesy of Tobias Solbakk adding nuance to haunting piano melodies. And then he'll turn on the menace for just a short while building a dense brooding atmosphere with choir & strings adding weight to the most sinister moment of the record.
This point in the EP is where I develop mixed feelings though. Earlier I mentioned that there's an ambitious cover of Portishead's Roads, and it's ambitious because there are seldom few vocalists full stop who could ever dream of even hoping to get close to how much pressure, emotion and weight that Beth Gibbons injects into that track. Ihsahn has had his foray's into trip-hop before with his own track Pulse which was a real highlight of Das Seelenbrechen, but as good a rendition of Roads as this is, and believe me there's lots of talented musicians out there who couldn't do better, it doesn't do the same thing to or for me, particularly as it feels that Ihsahn is really trying to push his voice into unchartered territory. As much as it is laudable, it also means that it just loses that natural touch that carried the rawness present in the original. Ironic that the one vocalist whom I think COULD do this would be Ihsahn's Nephew and often co-conspirator Einar Solberg of Leprous fame, who takes the vocals on second cover Manhattan Skyline by Norwegian's A-Ha.
As it happens, I'm not familiar with the original, so in making myself familiar with it for reviewing purposes (and trying to avoid just trying to hear Take On Me given their penchant for repeating video styles) I can see why Einar was picked for this as there's definite vocal similarities. It's a strong enough cover and brings an 80's number firmly into the modern era but for what it is it'll always feel a little awkward sitting next to Ihsahn's own work. Overall, solid EP and counterweight to Telemark. As expected the original material stands head and shoulders above the covers – they're certainly not bad, but I'd take original Ihsahn material over the covers every day of the week . Extra credit for a crystal production especially as Ihsahn handles that himself too. Whilst I'd struggle to really pick out any gleaming gems that I'd be begging to hear from a live set particularly when there's such a strong back-catalogue, it's as strong as a release as you'd expect from the Norwegian mastermind when he's releasing two in one year without pulling too many surprises. 7/10
Instrumental biker rock with a twist. The second album from the Canadian quartet is a soundtrack to a fictional “bikesploitation” movie – that never happened. Now, I’d not caught these guys before but there’s a uniqueness about their style that resonated. Their inspiration comes from a wide range of styles which would include instrumental rock, proto-metal, punk and even funk. Think Motörhead, The Cramps and Dick Dale, uncompromisingly blended with rawness and power. Recorded in 48 hours in a live setting, the old school approach is evident and welcome in the days of multi-layered editing.
So, how to draft a description of the band’s sound. Well, fuzzy riffing is central, and imagine the soundtrack to an old-style B-movie with the odd pinch of psychedelic rock thrown in for good measure.
This is a no bullshit, get on and deliver album. Interspersed with sound clips, each of the 11 tracks on the album brings a different angle and sound. There’s opening song Ditchfinder General with its nod to the Shadows, the punky DTA (Suicycle Tendencies) which harks back to the rampant psychobilly rock, or Motörgasm (Carnal Pleasures Pt. 1) full of Hendrix-esque smouldering blues feel. Divine Filth is an apt title for an album that has a sordid feel. Here’s the synopsis. It’s 1982. Spurcity is run-down. The crime rate is up and so is drug use. A new kind of kick has hit the streets and it ain’t pretty. DTA, a powerful and highly addictive hallucinogenic drug, is transforming its loyal citizens into undead trash. Its users experience an indescribable high, but it leaves them rotting away within days, craving human flesh. No one knows who is dealing this new potent drug, but rumour has it that the motorcycle cult, The Death Wheelers, is behind this concoction.
Could this be the end of civilization as we know it? What is motivating this group of psychotic individuals? Whilst the plot is cliched, the soundtrack is incredibly enjoyable. In the absence of the movie, sit back and get involved with The Death Wheelers. You may not get the DTA, but you’ll certainly get over 40 minutes of filthy biker rock. That can’t be bad. 7/10
Valvera: Cycle Of Disaster (Brutal Records) [Lucas Tuckwood]
Cycle Of Disaster is the fresh new full length from the brutal Brazilians, Valvera. Smashing out of the gates, it’s a nine-strong assault of killer thrash that savages the ears, spitting out riff after riff. Since the release of their last album in 2017, they’ve recruited a fresh new skin basher by the name of Leandro Peixoto. This new conscript brings the thunder and then some, his jackhammer footwork present on each song, thunders through the mix, providing a rock solid foundation from which the rest of the band launches riff after riff, like a metal-launching nuclear submarine. Heavy as it is though, it falls just shy of excellence in my eyes. Beginning with a slow, chugging opener, this album quickly kicks into gear with a fierce thrasher called Nothing Left To Burn. Peixoto’s drumming chops are quickly put on display, as his lightning-fast footwork could rival legends like Lombardo, and he frankly steals the show.
His masterful drumming is present throughout the whole album, complimenting the fearsome fretwork and chugging basslines that weave in and out of one another in perfect harmony, giving way to soaring solos that each serve as sweet cherries atop nine superb tracks. The only sour note for me are Glauber Barreto’s vocals- while they’re certainly energetic, I can’t help but find them a little grating, and his range leaves a little something to be desired. I’ve always been rather picky about my singers though, and I’m sure there will be countless among you who will absolutely adore Barreto’s brutal bars. In all, Cycle Of Disaster is yet another lethal weapon in Valvera’s rapidly expanding arsenal. Valvera certainly have the necessary oomph to survive, as well as thrive in the modern thrash scene, and I have no problem recommending this album, despite my gripes with the vocals. 7/10
Lord Loud: Timid Beast (Kozmik Artifactz) [Matt Bladen]
Lord Loud are a garage/psych rock band from LA, made up of Michael Feld (drums/percussion) and Chris Allison (vocals/guitars/other instruments) their music has a fuzz not unlike the MC5 and The Stooges but with that direct blues rocking of two-pieces such as The White Stripes, Royal Blood and The Graveltones. At times though, much like on the closing Turbulence, they peel off into desert rock wooziness or some 60's psychedelia on Dirty Seeds. Tmid Beast is their second full length album and it takes you into the post-Woodstock era where the hippie dream was washed away in strong mind-altering drugs while also harking to the 90's rock revival where bands like Oasis, Blur and even The Hives (Lady Sunday) all also looming large. With most of the songs not running much past 4 minutes Lord Loud, arrive, plug in and turn it up loud for an 11 song blast of brain frying rock n roll. 7/10
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