Reviews: Year Of No Light • Whores.

Year Of No Light
«Tocsin»
(Debemur Morti)

The third proper full length of Bordeaux-based instrumental outfit Year Of No Light (if you discount this year's «Vampyr» soundtrack-of-sorts, that is) gets going with a low, single synth key drone making you immediately feel ill at ease, like something bad is brewing somewhere, setting the tone for what follows. Juggling crescendos with a firm yet dynamic grip, these french have been evolving their atmospheric brand of post-metal in a very deliberate way ever since doing without their former vocalist after 2006's «Nord» and where «Ausserwelt» already hinted that something was very right with the new approach, «Tocsin» reveals an even more developed beast, crystalizing the sextet's current phase. Extremely cathartic, it succeeds by having desolation and hope joining hands throughout in an uncanny marriage, something Godspeed You! Black Emperor usually master to perfection. The shortest song, «Gehénne», actually wouldn't be out of place in those canadians latest record, its euphoric galloping making it the album's catchiest and most immediate cut. And while the remainder of «Tocsin» demands time to be properly digested, it's a fully rewarding process in the end. In a day and age where most seem to be looking for the quick fix, thankfully some bands still have it in them to be at odds with that. [PA]

Whores.
«Clean.»
(Brutal Panda)

There's a sense of abandon on Whores.' sophomore effort, «Clean.», like this Atlanta-based noise rock trio simply has nothing to lose. Whereas their rage was directed at the outside world in their late 2011 debut «Ruiner.», now they turn inwards in a self-deprecating way, yet soaked in irony and defiance. Sounding in-your-face enough to bring Shellac's Steve Albini to mind soundwise - recording engineer Ryan Boesch's credits are no small feat either having worked with Melvins and Fu Manchu - «Clean.» contains so many grooves and ecstatic riffing, being so damn catchy, that its biggest disappointment comes when it abruptly ends after only 25 minutes. Vibes of Unsane and even the feral, unbridled agression of KEN mode come to mind, but the in-the-pocket playing of the bass/drums combo of Travis Owen and Jake Shultz, coupled with Christian Lembach guitar leads and especially his urgent, overdriven voice, gives Whores. a signature all their own. Leimbach in particular leads you to believe he's constantly on the verge of a mental breakdown. And breaking down never sounded this good. [PA]

Reviews: Obelyskkh • Satyricon

Obelyskkh
«Hymn To Pan»
(Exile On Mainstream)

There's a certain irony in the fact that Germany-based quartet Obelyskkh were assembled with no intention of putting out any of their recorded music. The benefit of hindsight makes it all the more funny as the sprawling «Hymn To Pan» now marks their third release in as many years. So much for reclusiveness, thankfully. While the first two tracks won't surprise those already privy to their brand of trippy, psychedelic doom in a segue-of-sorts from what they had already laid on wax last year with «White Lightnin'», «The Man Within» shows a more punishing side, the necro-infused raspy vocals of Woitek "The Polish Hammer" Broslowki spewing considerable amounts of bile over the heavy grooves that get your head bobbing back and forth way before you actually notice it. The piéce de resistance, though, is the 22-minute «Revelations: The Will To Nothingness» which closes proceedings with an hyperbole of everything that preceded it, completed with a brief piano-only epitaph. Perhaps Obelyskkh still have an actual masterpiece in them, but up until now this is their most accomplished effort yet and a very satisfying one at that. [PA]

Satyricon
«Satyricon»
(Roadrunner)

Five years is a long time and for Satyricon that is the longest they have gone between full-length releases. If someone, somewhere, was still hoping for them to go back to their second wave roots, «Satyricon» is definitely not the ticket as this material, while not as much of a stylistic jump between records as they have undergone before, sonically moves even further away from their acclaimed «Nemesis Divina» era. Going all analog helps the warm, introspective mood evident in songs like «Tro Og Kraft» or closer «Natt», yet the poisonous edge has not been lost, «Walker Upon The Wind» and «Our World, It Rumbles Tonight» being prime examples of that, with Frost's drumming taking turns between his renowned all-out attack and the novelty of a softer, more refined and imaginative touch. Deceptively lukewarm at first, that feeling evaporates as the almost anthological «The Infinity Of Time And Space» sinks in or the criminally melodic hooks of «Phoenix», featuring Madrugada's vocalist Sivert Høyem, take hold and turn it into compulsive listening. For those who cherish and embrace change, who allow for evolution away from the genre's core and still rightfully believe the band to be a black metal institution at heart, «Satyricon» is not only their most organic album to date but also the one that perfectly ties almost every thread of their two decade career. [PA]

Reviews: Hivelords • Malthusian

HIVELORDS

«Cavern Apothecary»
(Anthropic Records)

There's a hallucinatory aura emanating from the forty minutes of «Cavern Apothecary», as if Nachtmystium's misanthropy got overlaid with YOB's psychedelia not far from a bonfire lit by a less pine-scented, more damp version of Wolves In The Throne Room. Hivelords touch plenty of bases here, transitioning seamlessly between psychedelic doom, sludge and occasionally some tremolo-picked black metal on acid, with the longest cut «The Growing Overwhelm» being the highlight and displaying all their mighty through its 11-minute duration. Deliberately eschewing any type of rules or structure in favor of hypnotic atmospherics, Hivelords have grown from the rather amorphous first two EPs into something altogether more malevolent and abominable throughout, aided by the borderline despair ever present on Kevin North's reverb-drenched vocals. There may not be a lot of replay potential on such an unstructured, hook-impaired effort, yet «Cavern Apothecary» does the blackened sludge/doom thing very well and hints at even better works to come. [PA]


MALTHUSIAN
«Demo MMXIII»
(Invictus Productions)

While above ground Ireland keeps struggling to come out of recession, something very dark must be lurking under its green pastures. Inspired by the theme of overpopulation outpacing resource production leading society to an ugly collapse, Malthusian unites members of other domestic acts such as (now deceased) Altar Of Plagues, Mourning Beloveth, Wreck Of The Hesperus and On Pain Of Death in order to spawn what guitarist AC describes as a "pernicious, hallucinogenic, black death doom" entity. How further into the pits of hell can you really go would be an appropriate question, though, especially in an era where bands like Ulcerate, Mitochondrion or even Grave Miasma keep pushing the envelope of mouldy, rotten blackened death metal. Boasting an horrifying sense of impending doom from the initial ghastly hiss, «Demo MMXIII» is equally menacing both in the slower sections that bookend it and in the otherworldly, Portal-esque barrage of sound emanated for much of its duration. The thought of Mother Nature taking hold is sometimes idyllic but as far as Malthusian are concerned, it's an unpleasantly ugly and destructive affair. [PA]

Reviews: Vastum • Avatarium

VASTUM

«Patricidal Lust»
(20 Buck Spin)

There are different angles to Vastum's sophomore effort, «Patricidal Lust», but the one that instantly becomes obvious is how nobody could act surprised if told this came out in 1991. Well, it didn't, and such an album being a product of our times goes a long way to demonstrate how far reaching this new wave of old school death metal really is. Similar in approach to other contemporary acts such as Antediluvian and Anhedonist, featuring members of death/crust punk outfit Acephalix and also borrowing guitarist/vocalist Leila Abdul-Rauf from Hammers Of Misfortune, «Patricidal Lust» swings easily between death and doom, albeit providing nothing really new this side of, say, Coffins. Or a dozen others, for that matter. Lyrically, though, Vastum are a notch above average as a quick dig under the surface reveals them delving into themes of barbaric sexual perversion and desire («Repulsive Arousal» and «Libidinal Spring» should hint you at something). A point, however, which becomes a bit moot as the typical vocal assault renders words pretty much unintelligible. But take a look at the stunning artwork by italian artist Paolo Girardi, though, and not only the symbolism is evident, it's also one of the most horrific covers in years. [PA]

AVATARIUM
«Avatarium»
(Nuclear Blast)

The release of «Psalms For The Dead» last year came as a bittersweet event for Candlemass fans, as mastermind Leif Edling announced it to be the band's swan song. Unbeknownst to almost everyone though, Edling was already two steps ahead and the «Moonhorse» EP, complete with a Black Sabbath cover («War Pigs»), was the first manifestation of this new Avatarium entity. The two original tunes therein eventually found their way into this first full-length, a solid and embracing work of melody-laden epic doom boasting a perfect running time of 50 minutes. Combining heavy riffing with soft, often acoustic sections, «Avatarium» perfectly marries these two sides not only due to its exceptional songwriting - and a distinct Rainbow influence - but also a solid line-up of musicians Edling clearly trusts. The real gem here, though, is singer Jeannie-Ann Smith who came literally out of nowhere and would have easily stolen the entire show if the rest wasn't so competent. Her delivery being effortless and harmonious yet forceful enough when it needs to be, such as in «Bird Of Prey», and the way her vocal melodies rub shoulders with the huge riffs produced by ex-Evergrey and live Candlemass guitarist Marcus Jidell are ultimately what elevates «Avatarium» a good few notches above average. A surprisingly stellar debut. [PA]

Reviews: Melvins • Convulse

MELVINS

«Tres Cabrones»
(Ipecac)

In this day and age, you'd have a hard time coming up with a band with a better knack for reinventing itself than the Melvins, be it in terms of sound or even its line-up. But as long as good ol' Buzz and Dale are there you can count on it being the Melvins with all the racket, riffing and even good-hearted nonsense that it entails. Founding drummer Mike Dillard - who left before the band even released its first album - returns to the fold almost thirty years later, a move which sees usual sticksman Dale Crover picking up bass instead resulting in what Buzz himself describes as being the closest they are willing to get to their 80's lineup. What results is the exquisite feeling of listening to (Los) Melvins rocking like it's 1983 all over again yet brimming with a confidence acquired through more than twenty albums and a gazillion other releases.

The aptly titled «Tres Cabrones» showcases a band that never fell into the trap of taking itself too seriously, as is readily apparent on its three short joking tracks, but who can at the same time lay down a groove like no other, nowhere more incisively than in the gargantuan riff of opener «Dr. Mule», which keeps looping in your head long after you're done with the track. Most of these songs have already been released before in one format or another over the years but even the die-hard Melvins collector is bound to be deeply satisfied by this partial re-recording with a classic, yet never before seen line-up of a band that simply refuses to tread water. Quite the opposite, actually. [PA]

CONVULSE
«Evil Prevails»
(Svart)

Eighteen years may seem like a long time but to Finland's death metallers Convulse that's no reason not to pick up exactly where they left off almost two decades ago. With a crescent cult following as the newer generation got wind of their classic debut «World Without God» - largely thanks to a Relapse reissue in 2010 - Convulse now joins the ever growing ranks of classic bands coming back to spread the foul stench of their death metal again. No wheel whatsoever is reinvented here and while the band doesn't fall into the trap of attempting to "modernize" their sound, it also becomes fairly obvious that «Evil Prevails» has trouble attempting to surpass the earlier output. Suffering from a certain unevenness that was already present in their first incarnation, «Evil Prevails» has Convulse at its best when the vibe is punkier such as in «Unholy War», «World Downfall» or «Reborn In Chaos», resulting in very competent no-frills OSDM. Elsewhere, however, the band's third full-length sort of wanders around aimlessly, such as in the accoustic, Opeth-like accoustic dirges that hint at something but end up leading nowhere.

While being a worthwhile addition to the band's catalogue and easily justifying their coming back from the grave, it's hard not to compare it with the drive and irreverence found in the new breed of finnish first-wave influenced DM acts such as Vorum, Corpsessed or Krypts, and ultimately find it a bit lacking. [PA]

Reviews: Weekend Nachos • Earthless

WEEKEND NACHOS
«Still»
(Relapse)

Treading lightly is something that Chicago's Weekend Nachos, whose band name acts as a sort of comic relief whenever you think about it, simply are not tailored to do. Taking all the right cues from the school of Infest and Drop Dead, with «Still» they have completely outgrown their powerviolence roots, evolving not only into a much heavier beast but especially a more nuanced one, a path they had already set in a few years back with 2009's «Unforgivable». Sort of similar in construction to Nails' latest, «Still» is less urgent but equally menacing, letting its hardcore traits act as the foundation from which the band explores almost every conceivable edge of extreme music. From the defiant, sludgy grindcore of «You're Not Punk», to the gritty crust of «Late Night Walks», slowing down to really hit the nail in the head on the crawling, almost doom-laden second half of «Watch You Suffer», its individual tracks virtues notwithstanding, «Still» is best consumed as a 22-minute fit of continuous rage. [PA]

EARTHLESS
«From The Ages»
(Tee Pee)

Earthless fans were by now probably wondering if the San Diego trio still had it in their hearts. Afterall, their latest full-length goes back over half a decade and despite a few releases since then, their soul has been a lot more in different side projects. Those fears, however, are gloriously squashed the minute guitarist Isaiah Mitchell launches into a vicious, shredding guitar solo that actually takes up most of the nearly 15-minute long opener «Violence Of The Read Sea», passing a very clear message that the band is not only alive but also in the mood to kick some serious amount of ass. The album artwork gives the idea of an ancient proposal, a getting back to roots kind of thing and rightly so. In the way it's structured, the four songs feeding off the preceding one while being quite different from each other, «From The Ages» comes across as a history lesson on what constitutes great rock 'n roll, helped by the heavy psych of «Uluru Rock», the cosmic calling of «Equus October» or the mammoth half-hour anthology of the title track. Some will fault this last one for being a tad overlong, but then again, that didn't keep «Dopesmoker» from becoming a classic, now did it? [PA]