Queen Elephantine - Scarab (2014)

Guilty. We're guilty of it just as much as any other party. Genre tagging, as we have ranted and raved about numerous times before, is a cancer on the music world. It's one part opinion and one part bullshit; words used to essentially group bands together by the slimmest of criteria. As a result, bands good and bad fall under the same umbrella, which is a disservice to the former, and an undue boost to the latter. It lets the genres get diluted by bands who have no place being there. When we were first introduced to drone metal some years ago, many of the bands we experimented with had a lot in common. Minimalist approach to music, with few notes per minute. Long tracks, often beginning and ending at the same point with little in between. It seemed boring, if not hard to understand. Unfortunately, those experiences sullied us to new ones, often panning albums marked with the scarlet letter of drone. But in 2014, we realized it was time to put that aside and open those doors again. Queen Elephantine, a band split between New York, Providence and Hong Kong, turned the knob. And for the foreseeable future, "Scarab" left the door wide open.

If "Veil" became the new poster child for the drone movement, it would see popularity skyrocket as a result. It brings something to the table that was sorely lacking, and that is a sense of style. Whether it is in the light tapping of drums or the echoing distortion, or the wailing cry of the vocals, something stands out to almost every set of ears without wearing thin on the listener's sense of forward progress. It takes a minimalist approach to doom that, somehow, resonates. Even as the counter resets and "Crone" starts, it feels like parts of the same whole. Yes, there is a main body to the track; but there is also a collection of smaller pieces dwelling just below the surface. In the left channel a light repeated plucking of strings. In the right channel, a similar sound, but distant and clearer. It is an eerie calm, only made moreso by the brief vocal passage. As a building voice breathes the line, "It builds up," a head to toe shiver is all you can feel. What follows is an exercise in dark psychedelia, hazy and cloudy as it may be, that may be the reason for, or ending to, an herbal remedy. Intoxicated or not, the alternating moments of chaos and calm are sure to bring about some sort of internal awakening.

Much like its namesake, "Snake" slithers back and forth. The low roar of bass and guitar form the backdrop of the high cry of a guitar. It isn't exactly black on white in contrast, but it does boast a depth of sound that seems almost impossible for a track that bares any resemblance to drone metal. But it is also on this song, more than the others, that the vocals stake a claim to being a major player in the grand scheme. Psychedelic, yes, but always akin to that of the blues in both their sway and emotional touch. Not to be lost, mind you, is the detailed pieces of melodic guitar that buzz and hum through the frame, backed by a sea of howling reverb. The last track, though not the longest, has, arguably, the longest lasting appeal. Beginning with a building vocal chant over scant noise and pops, it takes the album to a more pronounced place, even if things haven't erupted into a full on thrash. With each pluck of a guitar or bass string, another layer is added to the resonating sound, a cloud of ambient noise that is just enough to be heard, without overwhelming the lead. It is more than noise, though; that hum is layer after layer of notes played together and compacted.

It's hard to separate labels that we, as fans or critics, give to music with those the band give to themselves. If everything called drone or experiemental sounded the same, genre tagging might helpful in attracting or repelling listeners. But with Queen Elephantine, the tag of drone doesn't quite do their process justice. This is minimalist in the same way that many drone bands operate; one note, ringing for minutes at a time, no progression for sound or direction. There are melodies here, grooves and loops to be found. More importantly, you get more pounds per square inch, a crushing piece of haunting background music that could either be a release or give you nightmares. It stirs a color spectrum, like those than Windows Media Player uses; a color visualization within your mind that is only reinforced by the highs and lows of the album at large. Somewhere along the way, no one ever told these musicians that drone music was supped to be one dimensional or boring. "Scarab" is not of the above. And we can all be happy for that.

8/10

Bandcamp - http://queenelephantine.bandcamp.com/
Facebook - https://www.facebook.com/queenelephantine

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Barishi - Barishi (2013)

Vermont isn't all maple syrup and forests that span miles; yes, those things exist in varying amounts, but there is more to one of the bedrock states of the north eats United States. One thing that might not have ever been equated with New Hampshire's neighbor is eclectic and rich styles of metal. They, too, exist in some form or another, but it has taken far too long for us to find the band that could become the face of Vermont metal for years to come. Barishi, a four piece outfit from Brattleboro, could easily be mistaken for a Black Crowes cover band when you view some of the band photos. There is something about their look that could fool you into thinking you've stumbled into a hippie commune. But when you press play, those thoughts are smashed to bits in a sea of ebbing and flowing psychedelic metal, melodically based, by heavily rooted in distortion and blissful accuracy. How a band can embody a look and sound that stand at odds with one another is something that this many years around the music business has yet to explain. But their self titled album fairly spits in the face of convention, and gives rise to mountain metal.

Poking through a sea of feedback, a wandering saxophone sets the mood for what will become an album full of surprises. "Sky Burial" is an introductory track of a different kind; not a direct two minutes, but a squealing, crying dawn over the mountain. It pulls the sun over the peaks, and shines a light directly onto "Holy Mountain," which is the beginning of things, in earnest. It's would be far too simple to take the easy way out and lump this into the generic progressive metal arena, but it would be difficult to eliminate that thought all together. As the saxophone, provided by Ron Kelley, screams over the top of a surgically precise brigade of drums and bass, it brings to mind the work of Ihsahn, not only in sound, but in vision. But the melodies here are stronger, lean more heavily on flowing vocal harmonies to set up screamed verses. But even when the vocals become aggressive and standoffish, the instrumental is crystal clear and brilliantly clean. An infusion of deft finger work complements what can only be described as an ear worm of a groove. The talent for creating lasting riffs seems to be what guitarist Graham Brooks has in spades, with each segment of "The Rider" burrowing deep into your ear canal. For his part, vocalist Sascha Simms matches the intensity of his counterpart, but also captures a sense of intellectualism in his lyrics, however gritty their delivery may be. The entire five minute duration of the track is an up and down, side to side, obstacle course.

But if versatility is important to you, musically, you won't be disappointed with where the album goes from here. It is on "Exibiche" that you find a strong grasp on the melodic and bright, clean strums of the guitar joined so flawlessly by a flowing bass line. It is almost mechanical the way everything remains in lock step with all of the other elements, but it is anything but rigid. There is a sway to it all, a soul to the music that shines through not only in the solo work, but the way the rhythm section and guitar leads elevate each other. It is musical symbiosis at work, something rarely heard in such a pure form. But arguably the most mesmerizing piece of art on the album, aside from the front cover that bends the mind, is the eight minute titan titled "Through Mountains, Through Plains." It is not the length that makes this track work, but rather the dedication to its construction. The vocals bend and soar over what would, at first glance, seem to be a rather simple mix beneath. Drummer Dylan Blake works in ways that are not mysterious, but purposeful. Every snap of the snare drum, every kick, snare, cymbal combination, pops through your speakers. It reels in the chaotic latter stages of the track, keeping the entire thing from going off the rails.

For every action, though, there is an equal and opposite one, something that "The Waves" will not soon let you forget. It crushes down on you with every bit of force the name would indicate, Simms screaming in the most deafening tone over a battery of drums and guitar. There is simply nothing held back, to such a degree that it's a wonder there is anything left for the final two tracks. It's insistent without being overbearing, and heavy without exhausting the listener. Conversely, "A Place that Swallows All Rivers" gives you ample time to sit back and let your head sway to some brilliantly conceived and executed guitar work. It comes back to those same melodic sensibilities you heard earlier, an organic growth from passage to passage, bolstered only by the constant of the bass work. Jonathan Kelley, much like his rhythm section mate, is blissfully accurate, and even more detailed than this music could reveal. His work, especially in the fluttery melody that comes before the three minute mark, is as steadfast and steadying as any in the business. That leaves only "Jaguar Scarification Ritual," a track as diverse and eclectic as the name itself. The beauty is the honesty with which it is written, recorded and played; this isn't weird for weirds sake, or winding just to say it can be. No, it plays out on digital media the way the band would hear it in their own heads. And that is a magical moment to behold.

I'm not exactly sure what it is inside the band dynamic that separates a half hearted garage band from a band with everything in their corner. It would seem that the smallest difference in talent and mentality can make the entire life of a band change for the better. Barishi have something going between the four of them that just seems to work on all levels; their is a comfort in each others abilities that allows them to relax and let the music flow from their collective minds. It would be an interesting day spent watching them write. The resulting music, whatever genre tag you choose to slap onto it, is harder to capture with mere words than you would have probably guessed. Where else have you heard this combination of sound and fury, with grace and dexterity, without once feeling ironic or contrived? In modern melodic metal, you might think for hours and not come up with another name. This four piece has something, personal, professional, mental, physical, that is hypnotic. And this self titled album is one that won't soon leave your iPod, or your mind.

9.5/10

Bandcamp - http://barishi.bandcamp.com/
Facebook - https://www.facebook.com/barishiband

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Woodwall - WoodEmpire (2013)

A rhetorical question: can an album give you exactly what you expected, and still be great? Has our musical pallet become so refined that we have to hear groundbreaking elements on each and every album just to enjoy them? You can speak for yourself, of course. But somehow, bands like Woodwall are speaking for all of us. We've heard stoner metal and doom, psychedelic metal and post; not every band can spark a change in those genres. But doing those things well, and really well at that, is just as impressive as changing the way we hear them. This Italian four piece are doing just that, taking their hazy sound on the road with a new album that is both the same old thing, and the same new thing in one. They are the personification of your favorite bar, clouded with the smoke of a thousand cigarettes, yet every puff is greeted by a breath of fresh air behind it. On this album, simply titled "WoodEmpire," they don't break new ground or tread too heavily on old ground, but tip toe through all the things that make these varying metal styles great. And the result won't surprise you; or maybe it will.

While it isn't a fast and furious start to the album, the smokey undertones that coat the opening to the title track, "WoodEmpire," are no mistake. They are hazy and clouded by design, something that quickly becomes the common thread in the album. Each crunching groove, furnished by guitarist Matteo Signanini, travels through a wall of pure distortion to reach it's intended goal. For his part, he not only delivers the central melodies, but his raspy, distant voice ties those pieces together. While it seems, at times, to be chaotic and unfocused, it is quite the opposite. It may meander in certain passages, as it does around the seven minute mark, but it always makes its way back to the mainline. At this stage, it is the shifting between songs that brings it back to Earth, as "Locrian" makes oddly great use of the keyboard element. By adding that slightly spacey sound just behind the guitars and bass, it gives great depth of sound to the mix, completed by a crisp drum sound at the hands and feet of Pietro Groppi. This is a far more driving track than the last, uptempo and pounding. It clearly suits the band well, as they are at their best here. Signanini's voice takes on an airy nature, one that is as melodic as it is exacerbating. But it is "King Stuste" that will leave the biggest impression, a headbobber's dream come true. The short three minute burst has all the pieces in the right places, leading to a maniacal stomp that only a musical prude could resist. A guitar lead like this one could unite enemies and friends under one banner.

The unsung hero of the stoner genre, and most musical styles, is the bass player. But Massimo Cornali's impact can be heard loud and clear throughout the album, adding his personal touch to the opening of "Red Toad." By nailing down the low end, in combination with Groppi, he makes a three minute instrumental all the more dynamic. This leaves the ultimate sound of the album, the way it sticks in your mind afterwards, to the wild card; synth master Paolo Cipolla might not have the biggest role, but his contributions are as important as any. The light touches he places so carefully throughout the album are crucial, if not completely necessary. But his command on the towering "Walden" is utterly essential. This track, more than any other on the album, speakers well beyond it's run time. The airy atmospherics, musically and vocally, are perfected here, and the band shifts their sound to a completely new level. For some, it may be hard to believe you've been listening to the same band as before; the change is a big one. It speaks to their ability to grow within the confines of an album, and each member has a hand in that. Signanini gives his best performance on both guitar and vocal, and drummer Groppi is as crisp as possible. The only failure here is that the track has to end. Back to their crushing riffs and boisterous drums, the band ends on a high note, "Holocene/Cambrian," though not as high as the note it began on. It's a more melodic take on sludge, confident and bottom heavy as it is. This is a track meant to be heard live, igniting a mosh pit and a crowd of hands in the air.

Let's revisit that not so rhetorical question; can an album give you exactly what you expected, and still be great? There are a million different answers you could give, and none of them would really affect the way you view this album. Woodwall are doing things you'll recognize, at a skill level that makes them sound as good as the first time you heard them. It's a victory that should be celebrated for it's quality, rather than whether it's shiny and new. Because even with the wear and tear on the sludge and stoner genres, there is still a lot of mileage left on those tires. More than that, though, is the notion that when you are good at something, old or new, you can make it work for you. Woodwall are doing exactly that, to a degree that should confound you. The beats are punchy, the rhythms are tight, and the vocals are a snug fit. If you're willing to take a step back and appreciate something for what it is, "WoodEmpire" is an album you'll go back to again and again. If you've evolved beyond that point where music has to be groundbreaking and innovative to give you any sort of satisfaction or enjoyment; it's going to be a lonely place to be.

8.5/10

Bandcamp - http://woodwall.bandcamp.com/
Facebook - https://www.facebook.com/woodwband

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