Album Review: Ninth Moon Black – Chronophage

Finding a moment for ourselves in this fast-paced, hectic world of ours, amidst the madcap dash to stay ahead of the game, is often pretty hard work. The demand upon us to constantly multi-task means that, when we do get that hour to rest, we owe it to ourselves to embrace it. Holding on to this thought, when we grab for a piece of music, there is something to be said for listening to leisurely, immersive pieces; songs that start with a riff or hook, gently rotate around it, repeating the soul of the track until you fully appreciate it from every angle. One band who live to create such mood music is the instrumental Oregonian outfit Ninth Moon Black.

Their sophomore effort, available as a name your price download via Bandcamp, is an organic, cohesive album – a gently-burning candle that deserves your full attention. The six songs within show an honest, clear train of thought with the tracks often merging into one another; a steady recycling of patterns to form a universal mood. Most consist of a thick, treacle-like sludge, a coming-together of the black arts and the gnarled hands of doom, and all seem to be centred around the two saw-toothed waveforms of the admittedly lengthy 14-minute “Animus Lumino”. They are slow burns that build whilst displaying both verve and emotion.

One thing that will put many off is the restrictive amount of added padding that submerges large chunks of the recording. To maintain a warm, cohesive sound, local producer Billy Barnett (Yob, Cherry Poppin’ Daddies) and mix-master Billy Anderson (Neurosis, Sleep, Melvins) have deliberately kept the more fiery edges well and truly suppressed as the band keep it low and slow – an unpredictable spitting, crackling bonfire this is not. Conversely this means the smaller flickers of brilliance, the intricate layering and changes between movements, are hard to pick out and you do actually have to listen quite closely. Lose focus and you lose half the album. Sadly, it’s like this from the off too; from those generic opening heartbeat footsteps and the eerie psychedelic touches of “Renascentia”, and on into the resultant, understated pulses of “Via Dolarosa”. The crunchy bass/drum dual kicker in “Bestia Devorat Tempus”, like your alarm call, is the point where you’ll suddenly realise just how much you’ve missed so far. With “Numeratio” resorting to type with another dulled, unambitious, slowly-repeating chord structure, it could merely be seen as an alert to your next opportunity to nod off.

So, essentially, with the music smothered, the band, unlike the more effusive, groove-laden Russian Circles or the crisp, bright brushstrokes that Red Sparowes, Explosions In The Sky and Pelican employ, has rather neglected to demand your attention. With, what amounts to a 6-minute intro and an album that feels almost like a jam that craves the full-stop marks that lyrics so often provide, this could well be an album that ends up being played in the background whilst you flit between jobs. Having devoted so many hours to this opus, determinedly hitting the replay button, I decided that it was actually quite apt that the album should be called Chronophage, literally meaning time-eater (a term I first came across when this beast appeared a few doors down). Whether you choose to see this closing remark as a backhanded compliment or a straight-up affront may just depend on whether you prefer staring at the candle or the bonfire.

Also online @ The NewReview = http://thenewreview.net/reviews/ninth-moon-black-chronophage

Album Review: Cherry Bloom – Open & Die

The Fennec Fox – what an amazing creature. Did you know… with their huge 6-inch ears, which are half as long as their body to help regulate their body temperature, they may look a bit feline, but they are actually one of the smallest members of the dog family and the smallest of all the foxes. They can be found in deserts (when you can spot them – they are camouflaged by their colour) where their main threat comes, surprisingly (considering the arid zones they live in) and yet unsurprisingly, from indigenous humans who hunt them for what little fur they have or for sale to tourists. Being social animals, they mate for life and their cubs can weigh as little as 50g. You won’t, however, see one at a rock concert (with those ears?) so quite why they are on the front cover of the new Cherry Bloom album is beyond me, but it gave me a chance to let you know just how cool they are (literally).

So now you want to know about the aforementioned band? Well, despite having one of the worst band-names in rock, they’re from Paris, France and they formed in 2005. However, the funnest fact about them is they’re a duo. To make up for their lack of bassist friends they, unlike the instrument switcheroo that Winnebago Deal perform, simply do without. They merely lay the vocals on thick, the crazily-named Octave Zangs performs all kinds of dynamic trickery with his guitar, and Julien Jourdan thrashes the living crap out of his kit. Open & Die, currently streaming in full here, is their second long-player and, like the best rock albums, it’s divided into gritty ragers and crafty structures that lurch between attack and release.

“Blood Rights” is a pacy, pounding track run through with screaming, distorted guitars and an adversely laid-back vocal delivery, whilst the title-track merely swaggers, ripped with a soulfully infectious bite. “Breaking Down”, with its prominently feisty wah-wah effect and affected, harmonised vocal is, unquestionably, like listening to Alice In Chains on happy pills. Similarly, there’s no doubting the burnt-out dynamics of Rival Schools (and possibly Reuben too) in the lo-fi, garage rock of “Weeping Lights”.

The sweet heart of the album takes us from the lurching yaw and pinged strings of the excellent “Fall Of A Dead Whale” to the undersold acoustics and light, vibrato lead of “Flying Over”, swamping us with grungy elements. The half-spoken wordplay and dirty meandering around moods are caught betwixt and between sounding a bit like Queens Of The Stone Age and a little like Foo Fighters’ debut. When they bite into the distortion, they do so with a swift crack of the whip. Then, for the crushing smack of “Lovely Deer”, they even manage to eke out a sweet Fu Manchu-esque stoner vibe.

Being a two-instrument band, they definitely benefit from striking superbly clean lines; that freedom from instrument confliction that comes naturally with such a set-up. However, unlike The White Stripes’ Jack White who manages to hold back from overcompensating with power, they occasionally hit the same brick wall that occurs when a twitchy sole and a distortion pedal come into contact. You can’t expect to simply plug gaps by colouring them in with a deafening scrawl. That’s half my problem with the collapsing wall of sound that Black Cobra’s Jason Landrian creates with his crass pedal abuse and linked triple-amp set-up. For the opening wedge of the album, I simply had to yank up the level on my big sub-woofer to get anything like an acceptable level of balance – you simply cannot listen to this with standard issue iPod earbuds and get away with it.

However, even when you take this ever-present failing on board, there is more to love than to hate here, and you simply cannot argue when tracks like “Sick Rabbit” are being bandied about. Those snappy string-strikes and pitching, barbaric riff grip you like a vice. To be honest, even without it, “Fall Of A Dead Whale” swallows me hook, line and sinker every time.

Like the Fennec Fox, Cherry Bloom are an odd-looking animal who, because of their innate differences, face more problems than most but, by evolving in just the right way, they have so far managed to overcome them. Time will tell whether they continue to survive in this barren and hostile environment.

Also online @ The NewReview = http://thenewreview.net/reviews/cherry-bloom-open-die

Album Review: Hummune – Crafted In Darkness

Formed in 2009, Southampton’s Hummune, a conglomerate force made up of former members of the bands Older Than Dirt, Kill-Joy, Dissentient Revolt and Parade Of Enemies, have just released their debut long-player, Crafted In Darkness, and it sounds like it could be a bit of a beast.

They, personally, cite Unsane as an influence and that most definitely comes across in the grumbling backline and unhinged, roaring vocal, but considering the degree of vocal intensity in the combined howling of Stu Woodward and bassist Mike Barrow and just how deliberate the punches are, the band could also, just as easily, be citing influences such as the powerful, depth-plunging mania of High On Fire or the pounding assault that Kylesa dish out.

Being a debut album, understandably the recording cuts up a little rough around the edges. One thing that does stick out from the end result, and I’m sure this was intentional, is Rik Godfrey’s resonant snare strikes and cymbal hits which sound, at times, vague, distant and freakishly hollow. Whilst you wouldn’t think this ideal next to the ascerbic guitar thrum and scowling vocal, it does engender the package with a curiously tribal feel. This could be a little bit special, this.

“Moth” opens up with a brutish, jinking hook to latch onto as Hummune immediately sink their teeth in deep. Not overly complex, it’s a perfect set-up for the journey through the murkier waters of “Into Dust” and the scrabbling, experimentation that breaks “Claw” into mere spoken word and echoing string strikes. Naturally, the pace-change back into neck-busting chug that “Rise” and the heavy-lidded “Driven To Husk” bring, followed by the call-and-response fist-thrower “Bullets”, forms the triple-play spinal column around which this whole demon has been built.

From here, the album falls away a little with those tribal drums steaming to the fore to sweep all of the plaudits alone. Woodward’s Lemmy-esque growl comes to the fore for “Puzzle” and the power of “Crush My Heart” mires the music deep into sludge metal territory, the guitar grasping fistfuls of grunge to pull at the same oppressive edge that the dirtier end of Bleach-era Nirvana dished out. As the finale rolls around with the 8-minute “Era”, the dancing drums reach an Ozric Tentacles-esque intensity and the lysergic tribalism reaches its zenith.

Emerging from the grip of Crafted In Darkness with a slurp, you’ll half expect to have pulled some of it’s hideous slime along with you. This thing is smeared with evil; it leers at you; reaches out to grasp your leg as you pass; lose focus and it’ll drag you into its dank pit. It’s the hideous troll of your nightmares. Its vile imperfections merely make it stronger, uglier, more dangerous. And, best of all, you just know Hummune, its creator, have harder, sharper, deadlier creatures just dying to be released.

Also online @ Ave Noctum  =  http://www.avenoctum.com/2012/08/hummune-crafted-in-darkness/

Album Stream: Hummune - Crafted In Darkness

If, like me, you've been lamenting the recent break-ups of the epic, progressive metal bands Isis, No Made Sense and Deftones, Hummune have just released their debut long-player with the potential to plug some of the gaps. Here's a full album stream for you to muse over, Crafted In Darkness. Have fun!



My bro, Aaron, has the review covered here: http://thenewreview.net/reviews/hummune-crafted-in-darkness

Album Review: Hellyeah – Band Of Brothers

The Texan supergroup, Hellyeah, have been around for several years so we’re probably all up to speed by now with who they are and where they come from, so for the uninitated, I’ll be brief. They consist of members from Mudvayne, Nothingface, Damageplan and Pantera and when I spied them first on stage at Download 2007 I loved every second of their high-intensity, groove-laden set. With cowboy hats, long leather coats and bandanas everywhere it set me in mind of a hard rock-backed Western movie and I found myself glued to the incredible stickwork of Vinnie Paul for most of the time they pistoned around the stage. They had, at times, an almost laconic, bluesy roll to their music, so when their latest opus Band Of Brothers landed on my desk I was taken aback by just how monstrously aggressive it was. It’s shedloads heavier than previous efforts with a real volatile kick to it.

The title alone hints at just how important the project has become to them and a clear willingness to reveal those close bonds they have formed over time. The component parts, from Chad Gray’s raucous howl through Greg Tribbett and Tom Maxwell’s crushing chugs and howling riffs, to the thundering bottom end of Bob Zilla’s bass and Vinnie Paul’s incredible percussive skills, all come together in a marriage of awe-inspiring assuredness in their ability to raise that collective flag into position time after time. Their impressive focus refuses to let them wander too far from their original design though, so the decision to “metal up” their sound is about as far as we will probably ever see them pushing the boat out.

Laying down the first marker, “War In Me” speed-chugs its way into oblivion with a dark fury, ingesting a solid beatdown and a fist-pumping anthemic quality, whilst for “Call It Like I See It” they slam down a foot on the accelerator and wind down the window to gob vitriol at passers-by. The vocals play just as big a role as the effortless selection of paced groove by rising from the spoken passage to a scouring yelp that scythes down all before it. Most menacing of all, “WM Free” (a reference to the metal-loving / “devil-worshipping” West Memphis Three, imprisoned for murder after a coerced, error-filled confession had been extracted) is a suitably hate-filled crush of a track that, musically, seems focussed on the exact point where Chimaira hits Lamb Of God.

Taking things down a notch the title-track sucks at the Pantera teat to swaggeringly ram its point home – “I got your back and you got mine, as long as we stand together, we’ll be fine” – and “Bigger God” lightens the rhythm, rocking itself up in the verses only to unload in the chorus. Oh, and they’ve still got time for a ballad – “Between You And Nowhere” submerges itself only to reappear at a point somewhere between Alice In Chains and Seether.

Never being ones to upset the applecart, they’ve always had a tendency to become a little predictable and there is an over-reliance on f-bomb fullstops and their rather obvious choices of subject matter. That’s the whole point of their bloody single-mindedness at sticking to their guns though, isn’t it? The alcohol-abusing, rabble-rousing “Drink Drank Drunk” is far less interesting than the introspective musings of “Dig Myself A Hole”, but it’s obvious which one you’re gonna be yelling along and fist-pumping to at their shows. Hellyeah are a riot and the colossal power within Band Of Brothers kicks your arse and hands it back to you on a bin-lid. They clearly have no intentions on slowing their roll at this time and I, for one, am right there with them riding the wave.

Also online @ Ave Noctum = http://www.avenoctum.com/2012/07/hellyeah-band-of-brothers-eleven-seven-music/