ALBUM REVIEW: Controlled Bleeding/Sparkle In Grey (Split)- "Perversions Of The Aging Savant" [CD & Digital Editions] (2015)

So I discovered this release after poking around on the Controlled Bleeding facebook and decided to give it a whirl. For those unfamiliar, Controlled Bleeding (and founding member Paul Lemos) have had a widely varied career, but perhaps are best known for noisy industrial assaults, ambient passages, and Wax Trax!/Nettwerk type Industrialized EBM. I was previously unfamiliar with Sparkle In Grey, prior to purchasing this album. You can order physical copies (digipack CD, limited to 300 copies, some signed by Paul Lemos) or digital downloads here. The split has 10 tracks, 6 for Controlled Bleeding, 4 for Sparkle In Grey, with the CD and digital versions having 1 unique bonus track from each artist. That means each release has 12 tracks, with 14 total available for purchase from this split/session. I bought the CD, was pleased, and downloaded the 2 tracks unique to the digital version.

The split is broken up into 2 parts, the 1st being "The Perks of Being a Perv" AKA the Controlled Bleeding section. The 'Intro' track has some chill acoustic guitar devolving into bizarre bongo and distorted voice madness, followed by the head-bobbing drive of 'Garage Dub;' a bass guitar riff droning behind some snazzy jazzy drums and a reverbed-to-psychedelic-fuzzed-out guitar lead that's quite exceptional. I haven't heard anything quite like it this side of 60's Germany. Maybe I'm just ignorant of experimental rock post-'Krautrock' movement, but this definitely felt like it could belong to that time and mindset. 'Spingtime In Brooklyn' is a tender and calming keys and tripped-out guitar type of tune. I really dig it, but my version of springtime in Brooklyn (having lived here for 4+ years) would be far angrier, probably much more in line with the vibe of the next track, 'Perks Pt. 1' which is a nasty Merzbow-meets-Throbbing Gristle noise-punishment endurance test. This is followed by the mildly noise-to-calming guitar-jazz ambience of 'Birdcanned Pt.1.' Good come down there, with just enough variance to keep you paying attention for the next track. 'Birdcanned Pt. 2' starts with distorted chicken vocals leading into demented near-No-Wave jazz insanity.

Sparkle in Grey take the helm next with 'The Rant Of The Idiot Savant- Idiot Savant Pt.1-4.' Pt. 1 is tender keys and strings with strange found-sound background textures that feel like slipping into a depressive fugue in a haunted house. Pt. 2 takes it into a more beautiful direction, perhaps as the fugue turns into personal fantasy with lots of strings, subtle keys, and interesting percussion. I say interesting because the recording sounds very low-fi, adding some dirt to the otherwise very clean track. Perhaps the very grounding element of percussion, time-keeping, prevents the track from pulling away from reality entirely. It seamlessly flows into Pt. 3 which keeps most of the same elements, except they become eclipsed by terrifying noise bits that would be most unsettling to listen to in the dark, alone. It's like the suspension from reality's distractions begun in Pt. 1 has now lead to hellish introspection, personal demons loosed over a near-pristine daydream. The track drops elements out until it's reduced to only keys for a somber and lonely finish. Pt. 4 takes a new direction with a loud, wet bass drum and jangly guitars. The suspense is higher if you've listened all the way through Pt.'s 1-4, as you don't know what might come next. It slowly builds and adds/subtracts elements, never really reaching a hard climax, but satisfying nonetheless, finishing with a reduction to only a jangly guitar and then many seconds of silence. Perhaps this is the sound of working through and resolving underlying psychological issues uncovered with by a meditative fantastic-turned-phantasmagoric fugue through music. May your experience be so enlightening.

BONUS TRACKS (AKA 'Extra Perversions'):
CD Version: Sparkle In Grey 'Melvano Pt. 1'- combines eerie strings, bongos, cymbals, and found-sound water samples to produce disturbing atmosphere.

Controlled Bleeding 'Live In Brooklyn, 2012'- more psychedelic guitar riffs and textures. Dreamy, transcendent, highly recommended.

Digital Version: Sparkle In Grey 'Iurop Pt. 2'- an instrumental track containing more strings and jangly guitar over jazzy drums (recorded in a dirty low-fi style). It feels very chill yet energizing; it's refreshing like a cool drink on a hot day. It's really a great track but wouldn't have fit in the 'Savant' progression on their portion of the split. Definitely worth picking up if you enjoyed their tracks on the split proper.

Controlled Bleeding 'Untitled Trang Song'- a really fun song that's easy to dance to and very upbeat in composition. It's basically some pleasant female vocals with a repeating progression over jazzy drums and bass lines, with some fuzzy, tripped out guitar making its appearance towards the end. It's a bit repetitive, but the repeated bits work so well that I can't get enough of them; the portions which deviate make the return more powerful.

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Overall, a great release to put on and chill out to, I like to use it to wake up while I'm exercising or walking in the morning with the rising sun. It's varied enough that it keeps my attention but not so abrasive that I have to give it my full attention; I bob along with its passages as I move about doing whatever else. For me, this will be a release that I don't put on every day, but when I want it, nothing else will do.

*Review and photos copyright The Samnambulist, 2015*

ALBUM REVIEW: Tau Cross "Tau Cross"

 
Another awesome super-group collaboration for 2015 (see my upcoming posts on Gruesome and Johansson & Speckman), Tau Cross most notably (to me) combines the mighty D-beats of Away on drums and on loan (from space-thrashers Voivod) with the stirring vocals of Rob "The Baron" Miller of crust godfathers Amebix.

I ordered the colored vinyl version (orange and green splatter) that adds to the atmosphere of the cover photo, setting a tone of Autumn, of fulfillment, death, and preparation for rebirth; which are common lyrical themes on the album.

 "Lazarus" kicks off the album with a crustier sounding Killing Joke riff that Voivod space-prog-ified. In other words, EXACTLY what you want in this album. Minor chords add some darkness and early Death Rock undercurrents mixed with recent Amebix stylings. Prepare to sing along when the Baron bellows out the chorus, LAAZARUUUS!!!!

"Fire In The Sky" opens with a brief keyboard intro and drops the guitar, but fast. The riff and keyboard/guitar interplay make for another catchy song.

"Stonecracker" baffles and delights me in that the riff feels like an Amebix appropriated KMFDM riff (specifically I'm thinking "A Drug Against War" and "Light"). Away's hammering is very 80's here, and I love every second of it.

"Midsummer" is depressive as hell with another great Baron-chorus to stretch your vocal chords on. Some more Killing Joke beats and flavor surface towards the end of the track before bridging back to the main riff progression.

"Hangman's Hyll" gives us another depressive sing along, you'll be remembering all your lost and dead friends, tearing up. Practically guaranteed. Should be on the cover with a warning sticker, methinks. The vocals here sound a bit muppet-ish at times, which is always a bonus for me, even if they sound more Bert than Cookie Monster.

"We Control The Fear" relies mostly on acoustic guitar riffs with some electric guitar and drums adroitly inserted to punctuate central moments.

"You People" feels more like Tau Cross did a mid-period Prong cover, not too fast, decent chorus, but not my favorite from the album.

"Prison" has some more Killing Joke vibes mixed with early Voivod (say, "Rooaar") drumming and gang vocals. Pretty solid.

"Sons Of The Soil" has some trippy guitar/synth effects behind the Baron's rasp until the Muppet-vocals return. A very slow, pensive song. Minimal aggression but quite enjoyable.

"The Lie" picks it back up but I find it to be the weakest song on the album, the least memorable.

"Our Day" has a minute-and-a-half of buildup before breaking into some decent speedin' an' hollerin' but also not my favorite track.

"The Devil Knows His Own" closes the album out with some depressive Baron-vocals and acoustic guitar, not much else (excepting a cello). This would have worked much better if the previous songs were stronger, but the second half of the album brings you back to earth while the first casts you into the sky, perhaps now ready for the long hibernation of winter, until the next harvest of this very exciting collective.

*Review and photos copyright The Samnambulist, 2015*

CONCERT REVIEW: High On Fire, Pallbearer, Lucifer, Venomous Maximus at Irving Plaza, Saturday August 15th, 2015

I know it's been a while since I've posted much, but I promise I've got a ton of album reviews in the caverns, ready to spread their wings and spread aural rabies via your computer screen. Life has also been super busy but it's stabilizing now. Why so personal for this post? Well, it was a personal show. I've already seen High On Fire (with Goatwhore, great show!) and Pallbearer (twice), so why so special? Company. There's nothing like sharing a show with a friend (especially one you don't get to see often), both rocking out like idiots to some great tunes. If you can throw in some great pre-/post-show food (we did), then better still.

So, all that in mind (and likely now forgotten), let's move on to the actual review. Venomous Maximus played an energetic set, but I found the traditional Heavy Metal riffs a bit too dull. Their best feature was their frontman and rhythm guitarist, he needs a filthier, speedier Motorband behind him and his career is SET.

Lucifer delivered some (to me) uninspired 'occult' Hard Rock/Heavy Metal, very much still in vogue. I found great amusement in their practice of explaining song titles like "Morning Star" and "Azrael." If you don't know what these terms traditionally mean, you've got a LOOOONG way to go down the occult path my friend. Perhaps they are a good gateway band. To each their own (lefthand?) path I suppose.

Pallbearer continue to bore and frustrate me. I can really dig an act that has a slow burn, a huge buildup (see Black Shape of Nexus, a SUPER slow German Noise/Doom band), but there has to be a payoff! Pallbearer zigs when I want them to zag, seemingly dropping the casket at the least opportune time. Or, perhaps a more accurate metaphor, considering my Death Metal proclivities, Pallbearer drops the casket right into the hole, delivers a brief sermon and everyone goes home. No casket-smashing leaving a rotting corpse exposed to the rainy, storm-ridden elements; no tombstone-crushing hammering, no Mausoleum-heavy atmosphere,. Though I will say that their vocal harmonics are tighter now.

THEN, FINALLY, High On Fire. Their set was fairly heavy on the heavies, meaning faster songs. Their sound was spot on, better than the albums, especially for older releases. Perhaps it was the power trio, or the excellent sound, or maybe Matt Pike's new facial hair, but a distinct Motorvibe was in the air, and I picked up on more Motorhead influences in the songs than I had previously noted. And about Matt Pike... what a fantastic performance! I've even seen Sleep twice, and this was BY FAR his best performance. His playing was tight and the solos were incredible! If you have even a passing interest in his work, go see High On Fire on this tour!

In the spirit of making briefer, more focused posts, I'll leave you with that, hopefully tantalized and drooling enough to go see High On Fire, even if just for them (like me) and take a buddy, make it a night (also like me), and other commands (to be just like me)!

*Review copyright The Samnambulist, 2015*

ALBUM REVIEW: Morpheus Descends "From Blackened Crypts" CD/DVD [Compilation Box Set]

Let's start off this review with a digressive story, how I discovered and met Morpheus Descends. I first became aware of them when they re-united to play Martyrdoom Fest II in 2013. While researching other unfamiliar bands to prepare for the fest, I was blown away by Morpheus Descends; they are an integral and original part of the influential NYDM scene that has escaped me for years! How had I missed them? Well, having only one full-length and a small host of rare demos and EP's, I suppose I can forgive myself... a little. Anyway, I have more on them in a separate post for their MDF appearance. I managed to run into current (and incredible) singer Craig Campbell (may former singer Jeff Reimer be remembered) after their MDF set, to express my enthusiasm for the band and the show (as well as ask for an autograph). He was in a hurry but advised me to drop by their merch stand later and he'd round up the band for signatures. I did this, and he followed through... with a twist. I got to talking with Sam Inzerra, who was totally infatuated with the idea of us both being the many-eth Sam in a line of Sams (neither of us are a seventh son, however). It was he who rounded up the rest of the band for me, walking around the fest with me, shooting the shit, and being an all-around awesome guy! In fact, the whole band was really approachable and grateful for my enthusiasm. I wish I could have been more eloquent than "YOU GUYS FUKCING RULED" but I suppose my point came across. Thanks again to Sam and the gang, you guys really made my day, I felt like VIP royalty!

So, onwards to Golgotha... I mean the box set. Essentially a collection of everything the band has ever recorded, there's also a double-sided poster and a DVD featuring interviews and various shows. The DVD is really worth the price of the set itself, it is a strong document of the band's history and development, clearly dedicated to Jeff Reimer, now deceased. The box is heavy cardboard with black-on-black lacquered ink. The DVD comes in a CD case with a heavy card stock cover. The new Putrid artwork for the poster is pretty awesome, though I'm partial to the surrealism of Brad Moore on the "Ritual Of Infinity" album. The booklet is a bit confusing as there's no list anywhere as to where the songs on the CD come from, but if you follow along the booklet, the tracks follow the order listed there:

DISC 1

1-2 “From Blackened Crypts” recorded 2014, now a 7” in 2015 from Dark Descent Records

3-11 “Ritual Of Infinity” 1992

12-16 “Adipocere” EP, 1991 by (pre-Morpheus Descends band) Morpheus

17 a 1993 version of 'Cairn of Dumitru'

DISC 2

1-5 “Chronicles of the Shadowed Ones” EP, 1994

6-9 “Horror of the Truth” EP, 1997

10 live version of 'Corpse Under Glass' from Martyrdoom Fest II, Brooklyn NY, 2013 reunion show

11-13 Rehearsal 1990

14,16 Rehearsal 1991

15 pre-recording version of 'The Cruciform Hills' from 1994

17 a 1993 version of 'Autumn Bleeds'

The booklet includes all the artwork from all the releases as well, including front and back cover and all lyrics. Sound-wise, this release is solid, even the rehearsals are listenable while still having that lo-fi, unbalanced feel I find desirable in rehearsal recordings. For new fans, here's chance to catch up (like I did) on an important and interesting NYDM band that combines the local brutality of their neighbors with the bizarre-ness and darkness of their Scandinavian counterparts (Finland, I'm eyeing you) for a unique flavor of Death Metal. For old fans, here's a great chance to complete your collection and go for a shamble down memory lane to visit old cadavers long since cannibalized.

A great compilation, this box set closes the casket on Morpheus Descends' past while simultaneously opening the lid on their future, thus unleashing more undead hordes to reach from beyond the dimensions of mortal men.

*Review and photos copyright The Samnambulist, 2015*

Stardust V Fest: Saint Vitus Bar, Brooklyn NY Fri-Sun, June 26-28 2015

Despite many set-backs, such as headliners Taake and Bethlehem being unable to perform, this festival still managed to have a great line-up and be a fun, intimate experience. I only was able to attend the Friday and Saturday shows, so I missed the second sets of material that the bands slated for Sunday performed as well as Mutilation Rites' performance. I must admit that the only bands I was familiar with on the final line-up were Black Anvil and Tombs, so I was excited to hopefully experience some cool new bands.

Friday's lineup consisted of Anicon, Fell Voices, and Wolvserpent. Anicon played some very competent Black Metal with some interesting melodious parts reminiscent of mid-90's Sweden. Fell Voices, however, was remarkable and provided the most memorable set I witnessed all weekend. The guitar and bass style created huge, grim, walls of sound while their drummer pounded away mechanically. The drumming was easily the most remarkable part; while not terribly technical for this set, Mike displayed unbelievable endurance, essentially maintaining a blast beat for an entire set, with few fills in which to rest. He was incredibly intense, too! The whole set felt like a ritual extirpation of pain; all vocals were shouted, sans microphones. Upon the countenances of all band members, despair and rage gave way to transcendence as the set closed, demons exorcised (or should I say 'exercised'?). Also, the Sisters Of Mercy levels of fog added to the performance, I'm still unsure how the band could even see their instruments. I really like their incense too, I couldn't quite place the scent but it was meaty and woodsy. Wolvserpent closed the night with some heavy Blackened-Doom. I appreciated that both band members were multi-instrumentalists (drums and violin, guitar and electronics) who would switch as needed during songs. This was a challenging set to play live and loop stations were used brilliantly.

Saturday Vorde opened our journey to the stars with Burzum-heavy Black Metal riffs, again featuring the inimitable Mike of Fell Voices on drums. Very exciting riffs here, I can imagine this band's name carried far on ashen winds. Svart Crown from France took stage next, playing some brutal, technical Death Metal NYC style, with lightly-blackened elements (crispy croissant death metal?). They were enjoyable and energetic, but were eclipsed, for me, by openers Vorde. Next up was Black Anvil whose set was cut short for technical issues. They had a projector with some interesting images of mostly flash-animated medieval woodcut-like stills. While the set was energetic, what was played was light on material from Black Anvil's debut album (also my favorite one) Time Insults the Mind. Tombs took stage next and finished out the night (and for me, the fest) with a set heavy on their second LP, Paths of Totality, with a track or two from (my favorite) Winter Hours, and many from 2014's Savage Gold. Readers of my blog may recall that in my review of Savage Gold, I felt something was lacking. That something was found for this set in the many talents of Fade Kainer (Batillus, Theologian, Statiqbloom, etc.) who played keys/electronics and added backing vocals. Fade's addition of textured atmospheres and keys really filled out these songs, as well as Saint Vitus' always excellent and perfectly balanced sound system. I can only hope a live album for Tombs materializes, as this was an excellent performance and fans who haven't experienced this line-up NEED to see it. I hope Fade Kainer remains a member of Tombs and that we can look forward to some album material with his contributions.

*Review copyright The Samnambulist, 2015*

ALBUM REVIEW: Coffins- "Perpetual Penance" (Compilation)

Firstly, as the title of the post suggests, this is a compilation of previously released Coffins material. Mostly this consists of vinyl splits.

The first 100 orders for the 2 CD album also came with a free coffin keychain, though it contains no logos or indicators of the band (in fact appears to be a bulk ordered trinket item) it is still pretty cool. It'll be even cooler when I figure out what I'm going to put in it; it's hollow and has a pop out spoon thing that appears to be for snuff (or coke?). 

Right, so content time. What songs are on this compilation? This is the first collection to include any of the following tracks together:

DISC 1

1-3 from "Colossal Hole" demo cassette. These are early versions of tracks on "Fleshland" which were later re-issued on a 10" vinyl with barf bag and fake tickets by HPGD. My copy got signed by Coffins at MDF 2013!

4-5 from split with Noothgrush which was available on vinyl and CD

6 from July 2012 issue of Decibel magazine, released as a flexi 7"

7 from split with Macabra 7" vinyl. HPGD released this also with a cool pin and poster set. Very limited quantities, good luck finding the original press!

8 from split with Sourvein, which I got signed at MDF 2013. In an interesting turn of fate, Sourvein played before Coffins on the same stage, same night. It was like watching the split live!

DISC 2

1 from split with Warhammer

2 from split with Disgrace

3 from split with Hooded Menace

4-5 from split with Stormcrow

6-7 from "Live in Japan 2013"

8 is another live track, from Czech Republic in 2013. I don't believe this track was previously released.

Overall, a great compilation, there's some excellent tracks here, my favorite being the demo version of "Hellbringer." The artwork is really cool and a lot of these tracks are hard to find individually, not to mention this compilation collects 10+ releases! If you're not looking for the tracks from the other artists on the splits, this is a very economic way to get the Coffins tracks without extensive costs and time lost tracking them down and purchasing them separately.

At least this will hold me over until I start frothing at the mouth, rabid for more Coffins material!

*Review and photos copyright The Samnambulist, 2015*

ALBUM REVIEW: Destroyer 666 "Unchain The Wolves" 2015 Vinyl Re-Issue on Hells Headbangers

This new edition offers slightly different artwork in a drawing of a wolf opposed to the classic photo of a wolf on the original release. I personally prefer the photo, but this looks pretty cool. The blue colored vinyl helps add atmosphere to the packaging as well, though the focus on cold and snow for an Australian band always seemed head-scratchingly opposite to me. The photos are all high gloss and the liner notes detailing the writing process of the album and the band's early days are also value-adders that make this release worth picking up. Not to mention the huge poster of the cover art!

Anyway, the sound quality is good but quiet so you'll have to crank this beast for maximum head-banging effect. The mix sound like a cleaner version of CD mixes I've heard in that the instruments don't all sound blurred together cacophonously (or is that ca-coffin-ously?), however the guitar blasts through super-filthy and loud in comparison to the rest of the mix. That is perhaps my favorite thing about this version, the guitar sound. Totally dirty and rockin' blackness!

*Review and photos copyright The Samnambulist, 2015*