Weekly Rant 12/2/12: And the winners are...

We have moved into the twelfth and final month of the year, the month where in the Northeastern US, snow is never far away. So, as we wind down the end of the year, we have come to the time where we highlight the nest and brightest that 2012 has to offer. Over the next three weeks, we will be unveiling three lists.

Next Sunday, 12/9, we will be releasing our list of the five best new artists of 2012. This is for bands who released their first album or EP this year, who stood out from the rest of the pack. Narrowing it down to five was nearly impossible, but necessary.

The following week, the 16th of December, our list of the Top 10 EPs of 2012 goes live. Short form records  are important to bands, and important to the music industry as a whole. We picked 10 out of hundreds and thousands that deserved an extra mention. Hopefully our winners here will become our winners overall next year.

Finally, the 23rd will see the release of the big one: The Top 10 Albums of 2012. I thought last year was hard. I thought our mid-year list was harder. But this one is a killer. 300+ reveiews, boiled down to 10. Difficult? Fuck. But, as with every year, there were so many great metal albums to listen to. You may not agree with our choices, and that is okay. In fact, we would love to see what your lists look like. Feel free to e-mail them to us, or post them on our Facebook. Hell, we may have slept on something altogether.

So, to start the festivities, This first Sunday of December is reserved for our 12th and final band of the month for 2012. The honors this time, go to Malnàtt. With the artist profile for the band going up a mere days ago, I encourage you to go read it, listen to the album, and buy it wherever you can. Will they make the Top 10? I guess you'll have to wait and see.

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Wizard Smoke - The Tickler (EP) (2012)

It would seem that the US has become the home for all things stoner doom, both in music and life. With marijuana being legalized in two states this year, with many more to follow, the culture is growing at an equally impressive rate. Enter Wizard Smoke, from Atlanta, Georgia. With six members in tow, they easily dwarf bands cut from the same cloth. And with a two song EP that spans over twenty minutes of smoky distortion and lyrics, it wouldn't be out of bounds to say they are painting a pretty large picture in the process. But where there is smoke, there had better be fire, something that you may spend a litte extra time looking for on 'The Tickler" and beyond.

The electronic aspect of the music is immediately on display in the opening to "Christian Cross," igniting an uptempo bit of psychedelia. The groove laden instrumental is interrupted only by a round of coarse screams that ma, or may not, actually fit the music. But very quickly, and without warning, the tempo slows to a crawl which sets up an entirely different dynamic between each of the moving parts. Between the booming drum beats and the rattling distortion of two guitars, you may be left floating on the layer of hazy feedback that emanates from your speakers. That groove that was so integral to the first movement hasn't disappeared entirely, but has moved backwards in the mix. There is still a defined melody to the whole thing as well, but its role is diminished amidst a more assertive lead. And, in typical stoner doom fashion, an extended outro takes over far too early and cruises to a rattling finish.

Unlike its predecessor, "Old Snake," has no delusion of grandeur. Right from the onset, you get a taste of what is in store. The vocals stray from the screams of before, and go for a more basic yelling pattern, devoid of melody or any real notes whatsoever. But as the song progresses, you do wander into and out of some more ambient moments, where synthesizers paint and entirely different picture than before, with a bizarre combination of dipping bass lines and thunderous, crunching guitar riffs. The only constant is change, with beats, tempos and levels coming and going at will. There are times where old Pantera riffs will come to mind, minus the raw power. And rather than coast to a finish as they did before, the outro hear is a ripping affair packed with crashing cymbals and solos coming from every direction. You are now surrounded by the music, as opposed to sitting in front of it.

Not everything in the world of music has to be complicated and complex to be good. I would venture t say that the old adage about keeping it simple is still applicable here. So, for me to say that Wizard Smoke don't do enough to keep your attention isn't entirely fair or accurate. But for two songs to occupy twenty or so minutes of times, an extra turn or twist every now and then may have been beneficial. Every second of the material presented does exactly as it was intended, and it is all done with the skill and gusto that you would hope for. But even more than that, it opens up a window, a door, and a wall for what comes next. If "The Tickler" becomes the foundation for a full length album in the near future, we might all be in for a treat. But standing on it's own, the cloud of smoke that follows it may have us questioning our place in the universe.

7.5/10

Official Site - http://www.wizardsmoke.net/
Bandcamp - http://wizardsmoke.bandcamp.com/

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Artist Profile: Malnatt

We don't find all of our new music by spending hours a day cruising the interwebs, doing random Google searches. No, unfortunately there are day jobs that get in the way of that. Sometimes, we have to rely on bands, labels and fans for help. It was about a year ago that we starting corresponding with Enzo, from Bakerteam Records. And through his e-mails, we have been introduced to a slew of new bands; some great, some not. So, when his name pops up in our e-mail, it means we have something we have to hear.

On November 9th, we received a promo of the new album from Malnàtt, a four piece avant black metal band from Italy. Admittedly, with black metal not being my favorite genre, it took far too long for me to sit down and listen to the album, "Principia Discordia." But when I finally did, something clicked in my head that had never really happened with a black metal album before. It all made sense, despite having a lyric sheet that was written completely in the Bolognese dialect. The production values were excellent, leaving each layer with a crystal clear place in the mix. There were melodies, there were thrashing guitars, and there was a vocalist who either didn't know his limits, or simply didn't have any. I read their two paragraph bio over and over, trying to figure out what it was about this band that was different from my previous black metal experiences.

Malnàtt is an Italian black metal band formed in Bologna, Italy in 1999. They are the first and only extreme metal band who have introduced an accordion in the line up and, and before many others, female screaming vocals, trumpets and lyrics in Bolognese dialect. People were astonished by the extreme contrast between their humorous approach and obscure lyrics, focused on decadent poetry, death and nihilism. The band was also chosen to play themselves on a very successful episode of the popular Italian TV show ‘L’ispettore Coliandro’, a crime fiction broadcasted on the national TV networks.

‘Principia Discordia’ was recorded and mixed at Domination Studios in San Marino, with the artistic supervision of renowned musician Simone Mularoni (DGM, Empyrios). ‘Principia Discordia’ moves away from the folk approach of the early albums to focus on much more extreme and experimental sounds. The lyrics take their inspiration both from the great Italian poets and the band’s mastermind Porz himself, who enjoys writing hermetic songs struck between suicide and irony. 

Whatever it was, the album had struck a chord with me, and reinvented the way I listened to not only black metal, but metal in general. It asserted two things that I had always suspected, but never had proof of; first, black metal is evolving and changing day to day, and there simply isn't room to be complacent. Second, Italy may very well be the home for the future of metal. With hundreds of great new bands cropping up almost every day, we need only look to the country shaped like a boot for the next big thing.

In the meantime, buy this album and enjoy it. I know that I did. And I have Enzo and Malnàtt to thank for it.

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Malnatt - Principia Discordia (2012)

The accordion. That is the answer to a question you may, or may not, have been asking. The question? What sets Malnatt apart from the slew of other black metal bands coming out of Italy? But it isn't just the instrument made famous by two men with the last name Yankovic that makes Malnatt intriguing. With lyrics in the Bolognese dialect, an inherent sense of humor, and focus on innovation, this four piece is taking a fresh and avant approach to one of the most raw and misunderstood sub sects of metal. Moving into their second decade of existence, and moving away from the heavy folk influence that dominated their early work, "Principia Discordia" is every bit as entertaining as you would hope; and even more epic. The only real question that remains is what lasting impression we will have when the music is over and done.

It takes no time for "Manifesto Nichilista" to leave your head in a state of shock. A crystal clear mix rings through your speakers, carrying with it a mass of pounding drums and guitars. But this is more than standard black metal fare; the blazing speed and precision of the guitars leave you feeling like you are in the middle of a thrash exhibition. A never ending sea of kicks and snares fuels the fire, and a harsh vocal lets it all go up in flames. The first show of pure strength comes on "Lamor Sen Va," where a funk inspired bass line shines through a crowded but balanced attack. It is in the guitar work that the genius lies, with a catchy riff dominating our ears time and again. The variations from the typical are at a high here, spotlighting all of the subtleties that so often go unnoticed. There is something about the way an accordion syncs up with bass and guitar that is both amazing and awe inspiring. And with an outro that is as unearthly as this one, the momentum is like that of a runaway train. Leaning more to the traditional, "Il Canto Dell'Odio" begins with an absolutely deadly alliance of guitars, bass and drums, pulverizing you with every stroke. But as you move into the second half, you have a variety of changes coming at you. A catchy, almost intoxicating guitar melody trades blows with an aggressive chugging one. But even more incredible is the short use of clean vocals, with singer Porz showing off a bit of versatility along the way.

Furthering that notion, the opening moments of "Iper Pagano" show an excellent use of contrast, using clean guitar chords to lead into blistering passages of distortion. The vocals go deep, releasing guttural growls that may convince you Satan is speaking to you from below. And despite the heavy use of percussion, there is some kind of melody driving it all forward. Chanting vocals join the abrasive screams for a devilish harmony. A bizarre two minute interlude, "Intermezzo Erisiano," is a mood setter. With the sounds of a whimpering baby meeting with a haunting set of strings, and eventually consoled by a spooky music box, you are sure to experience chills. The choir that leads the track to an end is amazing, if not altogether terrifying. The synthesizers on "Nel Di Dei Morti" are absolutely key to making the track a success. With an added layer of eerie noise attached, you get the band at their absolute best. Every guitar riff comes through with clarity and crispness, which is what allows the band to wander off on tangents, as they around the midway point here. By avoiding stereotypical structures, there is room for beautiful melodies to be inserted. Following a great bass line, guitars ascend and unleash a chanting vocal section that shows off a daring melodic sensibility.

With a screeching piece of feedback and great set of rolls courtesy of drummer Lerd, "Don Matteo" takes over your consciousness. Easily standing out as the best track on the album, this is a showcase of every ounce of talent the four band members possess. This is an evolved take on black metal and its subsidiary styles, infusing a healthy dose of melody to a blissfully heavy track. Everything you could want from heavy music is contained here, from borderline operatic vocals, to the harshest of screams; earthquakes of percussion, both flowing and crushing distorted guitars, and a display of bass work that eclipses the majority of the genre. When things finally break down, a majestic outro of acoustic guitars leaves a lasting impression. As if a catchy guitar riff wasn't enough, the bass line that opens "Ave Discordia" might very well stick with you for days. With a sound that sounds like modern Enslaved, there is a balance between light and dark thathas to be heard to be appreciated. Chanting vocals are a nice touch, especially when contrasted with a verse of Italian screeches and growls. A highlight comes in the bridge section, where the top notch production can be fully sppreciated, allowing every note, string, drum, and cymbal to share equal time.

Showing off a blast of unbridled aggression, "Ho Sceso Dandoti Il Braccio" is the most in-your-face track on the album, beating you down with a tidal wave of distortion and rage. Don't confuse aggression for sloppiness, however, as the band remains as tight as ever, delivering near flawless instrumentation as every turn. You are left hanging on every note, including a sharp inhale before yet another low growling section. A perfectly designed clean to distorted bridge comes through on every level, giving you one last gasp before a flurrying finish. Just when you think the opening riffs of "Ulver Nostalgia" are going to be the beginning of a straightforward black metal affair, an amazing clean voice comes through. The combination is breathtaking in so many ways, a true joining of beauty and the beast. As if that wasn't enough, the instrumental that occupies the three minute mark and beyond is one of the most complete and enjoyable that these ears have ever heard. The bass and guitar work alone are award worthy. A short acoustic passage takes over most of the bridge, leaving you in the midst of a haunting lullaby before you the explosion wakes you. Without hesitation, you move directly into the final track, "Il Sentiero Dei Nidi Di Ragnarok," that is the perfect summation of the album. What better way to end things than with an overhwelmingly picturesque finish?

Music has been reinvented for me many times in my life. There are bands that simply amaze me (and you) with the way they take everything we know, and turn it upside down. On this day, Malnatt did it for me once again. There are moments where you are flooded by basic black metal tenets, executed to perfection; but these aren't what will stick with you. What lasts beyond the music itself is the notion that there can be, and is, so much more to be had in this and any other style. Melody and horror, humor and drama, light and heavy; they can all live together in a fractured harmony that elevates all, rather than tearing any one of them down. No gimmicks; no flash in the pan, one off experiments. The songs on "Principia Discordia" are good enough and strong enough to change the way we see black metal for centuries to come.

9.5/10

Official Site - http://www.malnatt.org/
Facebook - http://www.facebook.com/malnattbologna

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Playlist 11/27/12: Behind every successful man, is a woman

November 27, 2012

For fans of metal, old and new, the easiest way to convert outsiders is through the use of female fronted metal. Our wives and girlfriends may be resistant at first, but when a smooth, accessible voice comes pouring through the speakers, it is both comforting and intriguing. And for a genre that is still widely considered to be a "boys club," what better time than now to give you a playlist full of female fronted metal, done right.

The tracklist:

Lacuna Coil - Swamped
Nightwish - Nemo
Nemesea - In Control
Within Temptation - Frozen
Avantasia - What Kind Of Love
Unleash The Archers - Dawn Of Ages
Delain - We Are The Others
Lethian Dreams - Raven
Dotma - Legend Of Blackbird
Nightwish - Bye Bye Beautiful

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Aleph Null - Dale (EP) (2012)

In true global metal style, you can travel far and wide, and find bands doing the same thing. From the farthest reaches of North America, to Asia and Australia, there will always be common ground. So it goes for the subgenre of stoner doom, a fast growing evolution of the classic sound pioneered by Black Sabbath. No matter where you call home, you are sure to find a handful, or boat load, of bands bringing this sound back to the fore. In Germany, a three piece band is doing exactly that, starting with an EP titled "Dale." Dusseldorf based Aleph Null may note be the first European band to carry the psychedelic sludge torch, but with the showcase of talent on this collection, they have potential to be the best. It isn't about how fast or how heavy the songs are, but how deep they drill into your head.

Sometimes you have to live with the hum, and sometimes you can enjoy it. The squealing feedback that opens the title track, "Dale," is a fitting place for things to start, evolving into a psychedelic groove. Harmony best describes the way the guitars and bass lock together in verse and chorus, forming a thumping level of low end that is completed by an airy, yet gritty, vocal line. Oddly enough, it is the murkiness of the mix that elevates the track, making the imperfect sound whole. Rarely does a spoken word clip fit more squarely into a metal track as the one that begins "Kill The Colossus." Much like the track itself, the clip is memorable if not a bit off the wall. But it is around the two minute mark that the band hits their stride, laying down a crushing mix of drums and bass, while also adding a healthy dose of infectious guitar riffs. They balance the inherent melody of the song with the chaotic touches, a difficult task that can be rewarding or devastating. In this case it is the former.

By the time the first real notes of "Protogrammar" flood your ear drums, you already have a good idea of where things are going. It is in the down tempo portions where the band succeeds the most; not just in the chugging distortion, but in the overall delivery of each instrument. It allows for every kick drums, every individual pluck of a bass string to be heard loud and clear. Even the vocals are more at home in the slower pace, doing a style of raspy crooning that brings to mind not only classic metal, but also the height of the grunge era. The airy singing and the low end groove form quite the formidable duo, resulting in one of the strongest tracks on the album. But it isn't until "Noah" that the band gives you a glimpse into some of the more avant visions they have for their music. They find a more artistic home in the midst of a battery of drums, incorporating more elements of post metal into the melodic guitar work. By no means is this saying that their foot has come off the pedal, or that they have traded in distortion for effects. But there is a deeper sound here that wasn't present before. And in those added layers, you find a wealth of tempo and tone changes, some more satisfying than others.

As the only track that fails to reach the five minute mark, don't dismiss "Sidewinder" until you have taken the time to listen to it two, three, or twelve times. Everything you could ever want from classic psychedelic doom is packed into this one offering, beginning with a guitar riff that is simple but wholly memorable. The vocals are at their best here, both in the more subtle verses and the bridge sections. It is hard to pinpoint exactly what sets this one apart from the others, but there is something significant that will make this a favorite for many a listener. Conversely, the staggeringly long closer, "Corridor," is a series of victories, strung together to form a whole. There are portions that are tremendous, groove heavy stoner metal. But at the same time, there are so many instances where a quicker turnover may have helped drive home each section. When a song begins and ends with thirty seconds or more of feedback, it is easy to identify areas that could be trimmed for time. This is not to say any of the aforementioned pieces are tedious or boring, but this is the only song that doesn't fly by in a blink. Preference is the only deciding factor.

When you put the screws to it, it is nearly impossible to find anything not to like from Aleph Null. What they give you is something straightforward, enjoyable, and something easy to listen to over and over again. Instead of tying themselves in knots, trying to put new and exciting twists on the old formula, they deliver an all systems go version of stoner doom that doesn't need bells and whistles to be good. A simple combination of bass, guitar, drums and vocals is all you need to build a wall of sound that could dwarf some of the bands that used to define the genre. And if the six songs on "Dale" are any indication of the future, we haven't heard the last of these three gentlemen. The future looks bright... and murky.

8/10

Facebook - http://www.facebook.com/AlephNull.sludge
Bandcamp - http://alephnull.bandcamp.com/

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Blizzard At Sea: The Interview... The Sequel

In the year between albums, a lot of things have changed in the world of progressive sludge three piece Blizzard At Sea. As if the Iwoa City based band weren't turning enough heads with their debut EP, "Invariance," they have added even more depth of sound and ingenuity to the follow up. We sat down to see how we got from point a to point b, and how "Individuation" came to be.

In the year or so between the release of "Invariance" and "Individuation," there were some changes going on in the Blizzard At Sea camp. Tell us a little bit about that, and how Pat came to join the band. 

Blizzard At Sea:

After recording Invariance last year and going on a short tour, the previous drummer let us know that he was no longer going to be able to commit time and effort to the band, and he left to pursue his studies. We were lucky enough to be sharing our practice space with some other musicians at the time and Pat was one of them. We had met through a mutual friend and just started jamming.  It was very fortunate for us.

With that in mind, how did the writing and recording process differ from the first EP, into "Individuation"?

Blizzard At Sea:

The writing process was similar for both albums. Steve would come up with a structure and some guitar parts and then bring that to the other guys. From there they wrote their parts and we usually did some re-arranging and fine-tuning of the song before we considered it done. Pat also offered a greater range of sounds from the drums, so we were able to try new approaches to the songwriting. As for recording, we were better prepared going in the second time around, and much more open to experimenting with each others inputs while in the studio. We recorded our parts simultaneously in the same room to try and preserve the live dynamics that compliments our music. We added additional instrumentation this time to widen the sound to really make the songs something different from what they were to start. Our engineer Dustin Sisson also took some time to work up some rough mixes while there in the studio, and that helped us understand what we needed to do to get the songs to really feel the way we wanted them to.

With two tracks topping the 10 minute mark, you packed a lot of different elements into a three track EP, with a lot of it showing a mastery of the heavy side, and the progressive side. Is the new balance of sound, and the way it sets you apart from other bands, the meaning behind the name "Individuation"?

Blizzard At Sea:

That's a good interpretation, but we again approached the lyrical and visual themes of the music through the lens of science fiction.  

Tell us about the lyrical content on the album. What are the main themes in the three tracks?

Blizzard At Sea:

Individuation is an album that contemplates, among other things, the future of how we will interact with the machines around us, and how our lives will be effected by the increasingly swift tides of technological innovation. Aside from our own speculative sci-fi elements, there are references to string theory, the many worlds interpretation of quantum mechanics, and the idea of the technological singularity.

What inspired the heavy dose of melody in the new songs? Did you have any reservations or difficulty at all in the writing or recording of the clean vocals?

Blizzard At Sea:

Although brief, we really liked the melodic moments in our first EP Invariance, and wanted to explore that side of our sound more on Individuation. The only reservation was that we knew that the melodic sections had to be used appropriately within the larger context. We needed to retain the heaviness of the rest of the album, while presenting it in an unexpected way. We were also a bit skeptical about what our singing voices were actually going to sound like, as Jesse put it: "I sound weird to myself." Going into the studio, we had already mapped out what we wanted to hear, so there were no unexpected problems recording. We're pretty excited with the results.

I hate to use the word "maturity" to describe these tracks, but I can't seem to escape it. If you had to pick one word to describe the evolution of your sound on this EP, what would it be?

Blizzard At Sea:

Progressive-ier

When it comes to your albums, we always have to talk artwork. The images you have released so far are just.... surreal. What is the story of this group of images, and how do you think they represent the work you did on "Individuation"?

Blizzard At Sea:

As with Invariance, there is a piece of art to accompany each song on Individuation. The art, much like the lyrics, are meant to encourage contemplative thought. We don't want to have a ultra-specific message to shove at people, or anything like that. We want to encourage people to put in a bit off effort on their own, fill in the gaps, and find some sort of meaning themselves.

Where did the idea to use Kickstarter to fund the album come from? Now that the project made it's projected $2000 goal, how do you feel about the process, and the people that contributed?

Blizzard At Sea:

We were actually pretty skeptical about kickstarter at first, but after some persuasion from our engineer Dustin Sisson, we saw what a useful tool it can be. After successfully raising the funds for our album, we are in full support of the website. It's a great tool for independent artists and musicians to get their projects exposure and funding. In the right hands, Kickstarter seems to be and important part of the new music industry landscape and for DIY supporters, but we've also seen how it can be abused; the potential for misuse is there as well.

One of the interesting aspects of the Kickstarter method is the ability to offer "rewards" based on the donations given. How did you decide what rewards you would offer, and which one seemed to draw the most interest?

Blizzard At Sea:

We wanted to offer our music and merch at reasonable prices so that anyone could help for just a few bucks. We've never had the intention of making a certain amount of money or selling a certain amount of merch, which is why we wanted to keep the reward tiers reasonable. The most popular was the $25 tier, which included both of our albums, a shirt, and stickers.

The CD release show is scheduled to take place on December 21, 2012 at Gabe's in Iowa City. What do you guys have planned to celebrate the special occasion? 

Blizzard At Sea:

 Excessive head banging and an extremely energetic show! Also for the first time, we're planning on some video installations to accompany our music. We're hoping to have a lot going on visually to really get people into the Blizzard at Sea world.

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