And to the opposite end of the spectrum with this delightful release from And So I Watch You From Afar (truncated to ASIWYFA to save my fingers) which formed part of the Boss’s random selection for August. It’s one of those releases that seem to pop up from nowhere and just attach themselves to you, leaving you wondering where it’s been all your life. And it’s even more surprising that this is their 20th year and that they sound as fresh, as energised as a new band taking their first steps in releasing music.
Did I mention it’s an instrumental album?
The two guitars open with a looping melody as North Coast Megafauna starts our journey. Joined by bass and drums, that opening guitar sound evokes a feeling of summer, soon to take on an overdriven touch as the two-swop lead and rhythm duties, always complimenting the other and In doing so making sure the song gets the service it needs. And this is the thing, the song itself takes on many twists and turns, and different tempos but always it is moving, never stopping or repeating itself but constantly adjusting to find that sweet spot and in the end, they drop something that you will come back to again and again. This strong start continues with Do Mór, a faster, more direct piece with precise drumming that has a deft touch which lets everyone else go for it and the final minute is like a controlled collapse.
Gallery Of Honour – a gentle opening dropping into a faster riff along, supplanted with a return to those gentle chords once more, allowing them to catch a breath and kick on. That keen eye for song craft is on point here, a lot is going on and that never overwhelms even during the ending moments when they set phasers to freak out. Mother Belfast (Part 1) with a stunning selection of chords during the quiet moments that spring into action, that telepathic interplay striding forward once more whilst Mother Belfast (Part 2) comes in off the back of a stomping measure that constantly expands as they drop some quality chordal movements. I know that on guitar sometimes we are enthralled by virtuosity, but the rhythm-come leads on display are just top-class.
They are the sort of songs that you would get a buzz playing, there is so much fun to be had doing that and it comes across in the listening experience. It is just so good. And so it goes: Years Ago, has a more controlled focus, still possesses that interplay between Rory Friers & Niall Kennedy, and comes in like a refreshing sorbet after a heavy meal. It has that joy that bleeds through and infects, constantly engaging your interest while Any Joy offers a softer, almost melancholic approach with a gradual expansion of their sound, it spreading to include strings that build to a climax that bursts, fading as quickly as it came. The ending piece is breath taking, put together beautifully, and is one of the best things you will hear this year.
There is a happier slant to Button Days, having a positive almost bouncy feel to it (as descriptions go, I know that is pretty poor but listen to it and then complain) and once again Chris Wee (on drums) is just playing a blinder. The drums are a real standout, instinctively knowing what works whilst making sure the band remains anchored. They are at a consistently high level and are a masterclass in how to keep the song going.
Me And Dunbar is our closing track after 40-odd minutes of great music and like those that came before it is just chock-full of those sublime musical ideas that have been front and centre from the start. The sheer breadth of musicality from them is amazing, the ideas deployed and the way they do it is phenomenal, it really is. They don’t rehash or repeat nor is there a set pattern within their arrangements. It is a fine collection of songs that shows that there is room for instrumental albums within the modern music scene.
I appreciate that instrumental albums are not for everyone and that is fine. For some, it could be a carryover from a painful listening experience but recently there have been some fierce albums from Din Of Celestial Birds last year and Mountain Caller this year, both were superb examples of modern instrumental rock, and this is no different. It is an exceptional collection of songs that lay claim to putting ASIWYFA at the summit of that particular genre. I won’t say that if you detest instrumentals this will bring you round. That would be a stupid statement. What I will say is that it is a fantastic album and if you fancy dipping a toe into this pool, then this would be the place to start. 9/10
Heilung – Lifa Iotungard: Live At Red Rocks 2021 (Season Of Mist) [Zak Skane]
Since 2015 the European folk outfit Heilung have released two full length studio albums Ofnirin in 2015 and Futha in 2018. Since then the group have spread their amplified history from playing their debut live show at Castlefest in 2017 to touring through out Europe, Australia and New Zealand. Their music has featured in popular shows like Game of Thrones, Vikings and The Northman, whilst also featuring in the video game such as like Conqueror’s Blade VII: “Wolves of Ragnarök and Senua’s Saga: Hellblade II. In 2021 the Band played their most sold out show in the Red Rocks Theatre in 2021, which is captured for the world to see…and for us to review.
Through out this live album the tribal drums have been captured with perfection. The low end comes in crisp and punchy that captures the listeners heart beat and puts them into a trace that makes them feel like they are just about to be initiated as part of the tribe. A great example of this is on the opening track In Maidjan where the drums come in at a stamping pace whilst the thunderous pulses appear on Svanrand. The percussion that consists of the shimmering and rattling of bones and chiming metal shakers create this this mesmerising ear candy to the listeners especially on songs like Krigsgaldr and Traust where the percussive instruments are panned and tucked in the corners of the sonic mix. The low droning throat singing through out this album is captured to perfection with it capturing every roll of the tongue from start to finish.
There is a happier slant to Button Days, having a positive almost bouncy feel to it (as descriptions go, I know that is pretty poor but listen to it and then complain) and once again Chris Wee (on drums) is just playing a blinder. The drums are a real standout, instinctively knowing what works whilst making sure the band remains anchored. They are at a consistently high level and are a masterclass in how to keep the song going.
Me And Dunbar is our closing track after 40-odd minutes of great music and like those that came before it is just chock-full of those sublime musical ideas that have been front and centre from the start. The sheer breadth of musicality from them is amazing, the ideas deployed and the way they do it is phenomenal, it really is. They don’t rehash or repeat nor is there a set pattern within their arrangements. It is a fine collection of songs that shows that there is room for instrumental albums within the modern music scene.
I appreciate that instrumental albums are not for everyone and that is fine. For some, it could be a carryover from a painful listening experience but recently there have been some fierce albums from Din Of Celestial Birds last year and Mountain Caller this year, both were superb examples of modern instrumental rock, and this is no different. It is an exceptional collection of songs that lay claim to putting ASIWYFA at the summit of that particular genre. I won’t say that if you detest instrumentals this will bring you round. That would be a stupid statement. What I will say is that it is a fantastic album and if you fancy dipping a toe into this pool, then this would be the place to start. 9/10
Heilung – Lifa Iotungard: Live At Red Rocks 2021 (Season Of Mist) [Zak Skane]
Since 2015 the European folk outfit Heilung have released two full length studio albums Ofnirin in 2015 and Futha in 2018. Since then the group have spread their amplified history from playing their debut live show at Castlefest in 2017 to touring through out Europe, Australia and New Zealand. Their music has featured in popular shows like Game of Thrones, Vikings and The Northman, whilst also featuring in the video game such as like Conqueror’s Blade VII: “Wolves of Ragnarök and Senua’s Saga: Hellblade II. In 2021 the Band played their most sold out show in the Red Rocks Theatre in 2021, which is captured for the world to see…and for us to review.
Through out this live album the tribal drums have been captured with perfection. The low end comes in crisp and punchy that captures the listeners heart beat and puts them into a trace that makes them feel like they are just about to be initiated as part of the tribe. A great example of this is on the opening track In Maidjan where the drums come in at a stamping pace whilst the thunderous pulses appear on Svanrand. The percussion that consists of the shimmering and rattling of bones and chiming metal shakers create this this mesmerising ear candy to the listeners especially on songs like Krigsgaldr and Traust where the percussive instruments are panned and tucked in the corners of the sonic mix. The low droning throat singing through out this album is captured to perfection with it capturing every roll of the tongue from start to finish.
In songs like Hamrer Hippyer the production has really captured the immersive listening experience of the grouped panting vocals having their own space panned in the mix, whilst the chilling banshee style vocals are creepily tucked in amongst the ambient drones and female vocals. Finally speaking of the female vocals, songs like Krigsgald, where the female vocals are taking front and centre with these heavenly Celtic melodies cut and echo through the mix of tribal drums and harsh cynical throat singing. On tracks like Svanrand we are greeted with heavenly female vocal harmonies that spread across the mix in cinematic stereo fashion. The perfect production helps us hear all of the resonating frequencies that is captured by each note dancing in harmony with one another whilst blissfully hypnotising the listener into a calm state.
If you have never explored the art of native European folk music than look not further than this album. This live recording of Heilung set is not just a great capture of their performance but it is also a great listening experience. The pounding percussion sounds thunderous as if you were in the room, whilst the vocal arrangements creates this deep yin and yang approach with demonic throat singing bringing these haunting menacing textures whilst the heavenly Celtic harmonies bring this angelic light into their darkness. Please listen to this with headphones to get the best experience. 10/10
Fulci - Duck Face Killings (20 Buck Spin) [GC]
No reviews from me last week but this week I am back in action with another release from a death metal go to label, Fucli are signed to 20 Buck Spin which has released some of the best death metal records of the year so far, time to see where the album based on the New York Ripper film from Lucio Fulci, Duck Face Killings fits in.
Starting with a clip from the film that which describes how the Ripper has murdered someone it sets the tone of what we can expect as Vile Butchery is a savage blast of gruesome and pummelling lo-fi death metal that has a wonderful and expertly done groove running through the song that takes hold and continues right to the end but never loses any of its edge, A Blade In The Dark is a slightly unneeded interlude this early into the album before the charmingly titled Fucked With A Broken Bottle as you would expect manages to paint a picture of the violent nature of the albums subject matter and is a beautiful and ugly stroke of pummelling and violent storytelling done in just over 2 minutes which is always the best way to tell a story short, sharp and to the point.
Morbid Lust is just a full on grooving monster of a track showing another side of the Fucli sound showing they can mix the unbridled nastiness with the unrelenting brutality of the death metal side of their sound and as expected the barrage of violence continues with no time for a breath on Maniac Unleashed but the paces are mixed up here with the usual faster pace intertwining with some more subdued sections and the slow pace is another reminder that when death metal flexes its muscles it’s a wonderful artform.
Then it all gets a bit well rubbish as Knife is just a bit of a weird addition, its like a rap interlude and frankly to me sounds like a really bad misstep as it just doesn’t fit in with the whole feel of the album, thankfully the weirdness doesn’t last too long its straight back to business on Slashereality which is another short, sharp thud of sludgy and gloomy death metal that picks the pace back up but does a good of mixing thing up with some great wailing guitars, Human Scalp Condition is another mix of mid-paced and moody but also some thundering rhythm sections and yet more expertly added guitar solos that really lift the song.
On some album’s title tracks can define or ruin what they band are looking for well here Duck Face Killings is a glorious and album defining song, the sound is just horrible but in that good way that make you want more and the addition of some guttural pig squeals have been making there way into the songs and actually not affecting the sound and here they add to the dramatic and horrible feel of the song as a whole.
Rotten Apple has a disturbing clip from the New York Ripper film to begin and what we then get is another of the more mixed paced sectioned song that creates unease and pleasure at the same time and some of the layered guitars used are a truly wonderful addition, the grimness continues on Sadistic Murder which thunders its way along on the back of some huge and grooving riffs before Lo Squartatore is another interlude that I am sure is meant to add something to the whole feel of the album but just sort of doesn’t but Stabbed, Gutted And Loved once again gets everything back on track with the familiar groove infused but also lo-fi and grimy death metal thud and then Miele Del Diavolo is a really annoying interlude/instrumental end to the album that baffles me as to why this was chosen to finish an otherwise fantastic album.
The vast Majority Of Duck Face Killings was an absolute joy to listen to and is death metal at its feral and violent best, the interludes and instrumental were annoying and for me an inconvenience but I’m picky and that’s just my bug to bear, so just ignore those and what you have is a thoroughly enjoyable and brutally violent death metal record. 8/10
Mamaleek - Vida Blue (The Flenser) [James Jackson]
If I were to say that this album is madder than a box of frogs then it wouldn’t be too far off the mark.
The experimental duo from San Francisco offer an extremely unique sound to this album, to define it as metal would be far too restrictive and for the most part, wrong. A perfect example of how varied the album is would be the fourth track upon the album, Ancient Souls, No Longer Sorrowful it’s seven minutes of a trip through Middle Eastern influenced melody, a guitar lead that sounds like it ought to be Surf Rock, a brief leap into something more “Metal” before a very classical piano bridge takes us into the discordant ending.
The vast Majority Of Duck Face Killings was an absolute joy to listen to and is death metal at its feral and violent best, the interludes and instrumental were annoying and for me an inconvenience but I’m picky and that’s just my bug to bear, so just ignore those and what you have is a thoroughly enjoyable and brutally violent death metal record. 8/10
Mamaleek - Vida Blue (The Flenser) [James Jackson]
If I were to say that this album is madder than a box of frogs then it wouldn’t be too far off the mark.
The experimental duo from San Francisco offer an extremely unique sound to this album, to define it as metal would be far too restrictive and for the most part, wrong. A perfect example of how varied the album is would be the fourth track upon the album, Ancient Souls, No Longer Sorrowful it’s seven minutes of a trip through Middle Eastern influenced melody, a guitar lead that sounds like it ought to be Surf Rock, a brief leap into something more “Metal” before a very classical piano bridge takes us into the discordant ending.
I checked the genre tag on a certain streaming site and they’ve classified the band as Black/Death Metal, finding this to be rather confusing I have a previous album a quick listen and found that this was musically diverse as this year’s release. There must be an immense amount of imagination and talent that goes into crafting a song that incorporates influences that range from Electronic to Jazz, throwing in Prog and Psychedelic movements along the way, there’s a blend of harsher Metal tones in there from time to time but these are almost sideswiped by the other genres that Mamaleek have thrown into the mix, as such for me personally it makes it a tad hard to listen to.
It’s a strange album, a collage of genres and time changes culminating in something coherent but as equally abstract in its composition, not one that I’ll return to but absolute respect for the band. 5/10
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