Albany Sonic Arts Collective – Experimental New Music (C)

Featuring Century Plants, Grab Ass Cowboys, Ghoul Poon, Bad Costume, and Bone Parade

After nearly a year of watching good shows pass me up at the Upstate Artists Guild down the street from my apartment in the lovely lands of Albany, I decided to brave the unseasonably warm February weather to see Century Plants for the second time. To seal the deal, I perused the myspaces of the other acts playing and started getting pretty psyched for Bone Parade and Bad Costume, as well. So, I headed down to the fabled UAG to see what all the fuss was about, grabbed myself a seat, and waited. For a long time. Apparently Grab Ass Cowboys were supposed to be the opening act and one of their members was running late, so the show was delayed for about an hour. Eventually Century Plants offered to go first, and first they did go.

I had high hopes for Century Plants, of course, after their smashing success with Sunburned Hand of the Man last year. Unsurprisingly, their set was entirely different than the one I had experienced before. Where the “Sunburned” set trafficked in drones and beauty, this one began in stark contrast. The drones from before were still there, but this time they were pierced, interrupted, and ushered by the furious and percussive abuse of the second guitar. The set’s steady progression from beginning to end, eventually switching from bowed soundscapes to more chaotic tremolo picking, was gorgeous. The set was a highlight of the night, and ended up being a fantastic starting place.

Grab Ass Cowboys were up next. They had a cool noise set with a decent drummer backing them. Unfortunately, the drums were mostly inaudible, but what I could hear was a cool addition. The most memorable aspect of the set was seeing a rather tall dude climb on top of a precarious stack of amps, lay his guitar down, and then climb on top of that as well - all to have what I can only describe as a personal adventure with his head up between the rafters of the gallery. The music that ensued was a good mix of noise and face-ripping guitar solos that would do Matt Pike proud. The only proper way to wind down music of this proportion was the unorthodox, and fun-to-watch method picked by our gallery-astronaut… And that would be to get off his guitar, and use it as a tool to unplug everything in sight one by one until there were no sounds left but the backing ambience and drums.

Ghoul Poon. Apparently they played too long, but I didn’t notice until somebody turned the lights on. I’ll admit I never really understood Ghoul Poon on record, I don’t know whether it’s just not my thing or if it’s because I’ve never heard anything like it before, but it just strikes me as kind of confusing… Their set was good, though. Much more centered and slow than I was expecting. It ended up being sort of drones with pulsing bass underneath. It did run a bit long, long enough for the pre-recorded projections to run once and a half, and there wasn’t much to watch, but the projections were well done and provided a good companion to the music.

Bad Costume were easily the highlight of the night. Their improvised set, half electronics and half drums, was nearly flawless. Hella-mad-dumb-wicked-stupid props go out to the drummer for being able to play so intensely for so long. Until that night, Sunburned’s drummer was my hero… And now I have two. His playing style was innovative, full of unique fills great rhythm changes, and musicality. The electronics aspect was various samples mixed with lots and lots of heavy synthesizer to create a whirlwind of sound that could be compared with noise, but in no way similar. The combination of such a powerful sonic experience with easily the best projector piece of the evening was mind-blowing.

Bone Parade were a great cap for the evening. Right before their set I picked up a t-shirt and an album (Along with some Century plants, and a free Ghoul Poon album since nobody else was selling merch… If only I could get my hands on something bad-costume-related!), and hunkered in for some great dark-ambient-ish-industrial-whatever. Bone Parade offered a great, if a little repetitive, set full of material that would fit right on Einsturzende Neubauten’s Silence is Sexy right between “Alles” and “Redukt”. The very full bass and drum machine sounds created a fantastically desolate atmosphere as a platform for some great operatic vocals. To top it off, they made the excellent selection of a largely high-contrast black and white video that added some excellent light play t the atmosphere. A+, I say. Very enjoyable in all respects.

The Albany Sonic Arts collective managed to gather a great and diverse group of artists for a fantastic show. I really do look forward to seeing many more in the future, and encourage those that have the opportunity to attend shows by any of these artists to do so without fail!

Locrian - Drenched Lands (V)

I've been a fan of Locrian since I first saw them - probably not a surprise for a veteran pair whose performance consists of incredibly building passion, raw volume, and sound ritually and emotionally evocative throughout their work.

I've often found that a vantage point at the top of a PA speaker is often a perfect way of experiencing Locrian, but last night at the Mopery in Chicago I couldn't help but add a semi-prone form of self-reflection and blind, thoughtless emotion. It comes through in the recordings on Drenched Lands.

This recorded material spends a great deal of time away from the walls of sound that I'm accustomed to seeing Hannum and Foisy create live, but perfectly captures the atmosphere of their rituals and tells a story that resonates perfectly with the almost colorless images of human loss and civilisational decay in the oddly black metal case. And when Hannum first cuts through the ache of their soft sounds with passionate screams in "Barren Temple Obscured By Contaminated Fogs," the images of "stagnant pools [infinite depths]/among the pylons" come through as a painful, tearful memory of an empty, lonely dream.

Locrian has no problem carrying their emotions and visions through this masterful work and through all 30 minutes of the closing track, "Greyfield Shrines." Locrian explores new and intense sounds and images throughout this work, and I'm still reeling in the experience.

Sunn O))) - Domkirke (C)

Sunn O)))’s latest masterpiece, Domkirke, is marketed as a “live album”, it really is just an original studio album that happens to have been recorded in a church in Norway in front of a crowd of what sounds to be about 10 people (all of whom I assume are either involved in the band, trained sound technicians, or close friends invited to witness the momentous occasion) if the clapping at the beginning of the album is to be believed. After the tremendous display of clapping, Sunn choose to start off the only way they know… Slowly. Why Dost Thou Hide Thyself in Clouds is, for me, possibly one of the greatest things Sunn has produced in their entire career. The first five minutes of low feedback eventually gives into pipe organ and deep, Gregorian chants. As the sparse, but powerful backing (dominated by the church’s featured pipe organ) plods onwards, the vocals go for a dramatic tromp through Norway’s mountain ranges, belting like a Wagnerian epic only to reduce themselves to the rumbling valleys once again like a cascading avalanche. This song, in the end, is what made Domkirke a worthwhile purchase. It truly demonstrates that Sunn, for all the shit they get (refrigerator metal, no talent hacks, just lean your guitar against your amp, anyone can do it, etc.), truly do maintain the ability to take their entire history and improve upon it time after time, and turn something admittedly intrinsically stagnant into a refreshing and enjoyable piece. As for the rest of the album, Sunn take a few more steps forward by allowing their influences to shine through like elegant stained glass – Steve Moore provides trombone on some tracks that adds elements of newer Earth pieces, while retaining the noisy despair of Sunn. The songwriting really displays Sunn’s functional use of the church’s space, as well as paying homage to its past. Domkirke, is, in my opinion, while not necessarily going to be hailed as “THE BEST SUNN ALBUM EVER!” easily a marked improvement on Sunn’s material, and a great step forward for them. It is a solid album from start to finish.

Njiqahdda – Nji.Njijn.Njiijn (J)

A few months ago I did a review of Njiqahdda’s (pronounced Nee-Gee-Kaa-Da) astounding 2007 debut, “Njimajikal Arts,” which consisted of black metal flirting with funeral doom metal, shoegaze, ambient, and psychedelic rock. One year and 9 (NINE? HOLY GOD) releases later, we are presented with the highly experimental and crushing full-length release, “Nji.Njiijn.Njiiijn.”

In “Nji.Njiijn.Njiiijn,” we see Njiqahdda distance themselves from the shoegazer elements of previous releases and instead incorporate more drone and noise influences into their songs. To accommodate the new drone-influenced direction, this release features a much thicker, crunchier distortion on the guitars and bass as well as the incorporation of more field recordings and background noise/fuzz. These elements make this CD much more monotonous, but in a good, EARTH kind of way. The riffs drone on and repeat as more and more fuzz enters the background until you have this wonderful melodic noise that ebbs and flows (hey, I used that phrase about the last album, too! Hooray consistency). This is the kind of album you listen to alone whilst spacing out in a dark room (perhaps with candles, too, if you’re into that stuff).

Unfortunately, this album didn’t wow me as much as “Njimajikal Arts,” considering that album set a new threshold of expectance for atmospheric black metal, BUT this album is still great, nonetheless.

Recommended for fans of: Darkspace, Nachtmystium, Drudkh, Agalloch, and all the other bands I mentioned in the other Njiqahdda review.

Light - A Million Dead beneath the Ice (C)

Now here's an album that came to me by surprise. I was checking my usual blogs, and one of them had a review of this two-piece outfit from Iowa which ticked all the right boxes for me. I decided to give them a check out, and purchase a couple albums since I couldn't pass up on an album for which "All the CD cases are all handmade and numbered, and the CD itself is smeared with menstrual blood..." Well my blind-buy paid off and I managed to score a class album (Not that I was expecting any less). Light manage to put themselves somewhere between Worship and Skepticism on A Million Dead Beneath the Ice, plodding hopelessly towards droning destruction. The organ-tinted funeral doom creates a creepy apocalyptic atmosphere that perfectly fits titles such as "When the Green Midwestern Sky Comes Crashing Down", "When the Flood Waters come Rushing In" and "When Biting Winds Slice Across the Prairies, They Will Carry the Seeds of Death Upon Them". Each track is interspersed with very sparse percussion and vocals that manifest as shrieks, howls, moans, wails, and infernal growling which manage to tell a story of a world speeding steadily towards the end. And it must be said that though this album is choc-full of funeral doom and drone, it also contains slight hints here and there of plenty of other influences that come and go like a stranger's hand gently caressing your neck when you least expect it. This album may not be easy for everyone to digest, but is definitely recommended for fans of funeral doom, drone, and people into the outlook of crust-punk and bands like Sterbend or Silencer (Though certainly not terribly similar music-wise to the latter if you find that to be a turn-off.). This album comes highly recommended, and luckily for everyone it is also available for free on their myspace!

www.myspace.com/greenmidwesternsky

Stars of the Lid - Tired Sounds of Stars of the Lid (C)

Stars of the Lid. Where do I start? For one, this is how drone SHOULD be done. Stars of the Lid create ambient droning soundscapes that sound like nothing. They literally sound like nothing. The main bits certainly don't sound like the guitars they are, they're so effects-treated, and the few string and brass and piano parts are the only distinguishable parts of the music. Stars of the Lid are beauty. Pure, distilled beauty. Their music embodies aesthetic perfection in all its form. Simply stated, if you have not heard Tired Sounds of Stars of the Lid, then you ought not to ever use the word "happiness." The soundscapes of Tired Sounds… are unencumbered by the drums and vocals so often added by other drone supergroups. This album is lying in the grass on a fair spring day, watching clouds passing overhead. It's the feeling of the sun on your face while you sit at the beach. It's lying cozily in your bed next to someone you care about on a cold winter night. Stars of the Lid have managed to concentrate emotion, add it to powdered landscape, and coat it over a perfect batch of chocolate chip fuzzy feelings. Sometimes I listen to this album and feel like I might cry (Which is okay, guys. Just let those tears out), and sometimes it makes me feel lonely and isolated, and other times it makes me feel warm and happy to be around so many wonderful people.

Stars of the Lid are a perfect dreamtime experiment. Spin Tired Sounds of Stars of the Lid and get ready to start spinning.

Nordlicht - Nebelmeer (A)

Alright, a sentence might suffice, that being if you're a fan of Paysage D'hiver you will NEED this. Not to say this is a clone but there are some definite similiarities. Might also help to know that Nimosh, the man behind Nordlicht runs Kunsthall Productions with none other than Wintherr (Paysage D'hiver). Now, this being the only material put forth by Nordlicht (except for a song on the "Schneesturm" compilation) I'd say this is one of the best debuts (black metal or otherwhise) i've heard in awhile. A curious thing though, apparently the band was started in 1996 but "Nebelmeer" wasn't released until 2002. So perhaps this was a long in the works endeavor, even with the length not reaching a half hour. Anyways, onto the black and beautiful sonic mysteries that lurk within. Comprised of nine tracks, four being actual songs. The other five are murky, watery drone interludes underpinned by constant static. Transitioning from one piece to the next, they help to create a cohesive, almost one-long-song feel to the album. The songs themselves are walls of sound, thick tremolo picked guitars tangling up within each other making it hard to distinguish individual notes, smeared into a dense, blackened epic noise. All sorts of ambiences lurk beneath the surface, occasionally fully revealing themselves when the distorted guitars die down and offer some respite. Sometimes if listened closely enough to, you might hear, or think you're hearing the same murky drone that serves as interludes between the main songs constantly in the background. The guitars even slip into a downtuned chug every once in a while, reminding one of Darkspace. So again, completely recommended for those already under the wintry spell of Paysage D'hiver. It definetely creates the same image in the minds eye of snow blanketed forests, a shadowy figure hiding 'neath the branches ...

Released through Kunsthall Produktionen.

Nadja - Thaumogenesis (V)

Thaumogenesis is clearly an epic piece of work, apparent even when the CD first goes into the machine. The album's sole track - Thaumogenesis - comes in at 61:43, over an hour of Nadja's trademark all-consuming atmosphere of sound. Seldon Hunt's art reflects the nature of the music fairly well, or would if the CD folder took up all four walls of a large room. Both art and music combines a complex of familiar elements

within a framework of controlled, slowly building and dissolving chaos that makes even the familiar into a new layer of something simultaneously instinctive and otherworldly.

The variety of timbres and musical aesthetics throughout Thaumogenesis is breathtaking, especially in a piece so singularly coherent and beautiful. Leah Buckareff successfully combines extended, meditative moments of soft, clean motifs and collosal doom riffs - and strikingly "other" segments - within Aidan Baker's atmospheric layers. It is truly a peaceful and inspiring experience to watch the pair combine their work into such a powerful greater whole. The independant layers do not give an impression of chaotically combined concepts, but rather a distinctive and beautiful form of larger orchestration.

Thaumogenesis is really very good. If you like Nadja, I recommend Thaumogenesis - an example of Nadja turning from mere 13-or-so minute songs to a proper hour-long epic. Unless you'd prefer their more quick, in-your-face material . . .

Nadja - Long Dark Twenties (J)

Well, today I decided I was going to get back into Nadja, and it's a good thing I did. I must have grabbed about one and a half gigabytes of releases (I'm almost done!) and by far this EP has stuck out as one of Aidan Baker's most beautiful works.

This song is has its similarities and differences from the rest of the nadja discography. The standard thick-and-slow-as-chilled-molasses rhythm riff over an industrial drum machine is still apparent, but this release has more similarities to shoegaze mainstays such as Slowdive or My Bloody Valentine.

Aidan's light vocals are mixed much higher above the music than before, but this isn't a bad thing. One can definitely make ties to Justin Broadrick's work in Jesu just by hearing the vocal work.

Wonderful ephemeral guitars flutter in the background and mingle with keyboards and flutes, giving this piece a very light and airy feel, contrasting the heavy sludge riffing beneath.

Overall, this EP is beautiful, one of Aidan's best, and I highly recommend it to anyone who is a fan of doom metal, shoegaze, or even ambient music.

Nadja - Desire in Uneasiness (A)

Nine albums. Nine fucking albums. That's how many releases Nadja has already put out THIS YEAR (and we're only at the half-way point!). Most artists/band never release that amount in their existence. Saying it's prolific is an understatement. But suprisingly all the material released by duo (husband and wife too) Aidan Baker and Leah Buckareff is quality stuff. Ok, some might not completely agree with that previous statement, saying some of the material can be too samey, but fuck it, I love everything they've put out, granted ever since hearing "Truth Becomes Death" some odd years ago i've been a HUGE fan. Just couldn't resist some kind of dreamy drone/doom/dirge/ambient/post-rock/shoegaze hybrid! It manages to be totally blissed out AND crushing at the same time. So with that said, onto one of the latest of Nadja's releases.

First off, something for those already familiar with Nadja that will certainly raise an eyebrow or two is the art, which certainly gets one ready to expect something different from the music. Cartoonish drawings of chickens, half-filled bottles and chairs with trees growing through a hole in the middle of them adorn the cover and insides of the album. Another quick glance will most likely elicit even more eyebrow raising as in, this album has a real drummer on it! This being the first album to date without programmed drums. And to date, this is probably the most organic sounding of Nadja's releases. Guitar takes to the back burner, smeared into more of an ambient blur than usual, present but never overpowering the other instruments although it menacingly rears its head from time to time. The focal point of "Desire in Uneasiness" is the bass and drums, which usually end up locking into a kind of laidback groove at some point in every song, wanting to stay that way and drift forever. A lack of vocals can be noticed too, which is also a tad unusual for Nadja. Though, it works quite well as I don't see how Aidan's vocals would fit over the "jams" provided. "Desire in Uneasiness" is a definite step forward for noticeable change, one that works rather well and see's a band able to have a recognizable sound and yet move forward in their approach.Something not just for obsessives (like me) and completists. Something that could work to win over new fans. Something to show the skeptics Nadja still has a few tricks up its sleeve.

Released through Crucial Blast.

Winters In Osaka - Red Tooth, Red Claw (V)

Red Tooth, Red Claw is a well-executed piece of noisework that drags up some bigger names in the noise circuit. The first track, Satyr's Birth, is intense and varied, and contains guest work from respected Japanese cyberpunk author/electronic musician Kenji Siratori as well as widely-respected Norwegian black noise artist Zweizz. This track is trully a blasting and varied work of pure harsh noise, completely delightful to the tongue and ears.

The second track, In the Form of a Siren and Foetus, is a collaboration with fellow Illinois noisician Mykel Boyd, and sticks to the low, consuming, ambient side of noise. Though less exciting, this 13-minute track is an excellently surrounding piece of ambience - like noise reaching out and holding you in its . . . tentacles?

Though sadly only a 23-minute EP, this Winters In Osaka release is very well-executed and I'm certainly considering using it in the future as part of an introduction to noise for a curious music fan. Check out Winters In Osaka and their collaborators when you get a chance - if you like noise, you won't regret it.

Vargr - The Twice High Holy Secret of Constant Generation (A)

With what sounds like a bugle the demo begins only to explode in a fury of buzzing guitars, sounding as if they were run through some sort of broken glass filter, sounding sharp enough to tear right through any unwary listeners eardrums. Everything is awash with noise, even the pounding, stumbling drums seem to have been recorded white hot. And the vocals, when they appear, threaten to overpower everything in a blanket of fuzz. Sometimes the discerning ear can even pick out tremolo picked melodies, but only at a very close listen. Yes, this is truly some harsh and noisy raw black metal. A tad odd too, like the bugle that starts this noisy affair, the rest of the songs are filled with old time miltary snippets. The fourth track rife with them, amidst menacing low end rumble. During this track the mind takes you to a bomb gutted city, a parade of ghostly marching bands leading you through the deserted streets. It makes more sense when you find out the man responsible for this disturbing racket is none other than drone master Henrik Nordvargr Bjorkk (Nordvargr, Toroidh, MZ .412, Folkstorm, etc). This being his third album with Vargr, and marking his third foray into the world of black metal. Here's to hoping for many more releases of "True Black Nekronoise Metal"!

Self-released.

Havohej - Tungkat Blood Wand EP (A)

The first offering from Havohej in seven years, clocking in at a mere 16 minutes, proves quality prevails over quantity. Taking elements of drone / noise and combining it with Paul Ledney's (of Profanatica and ex-Incantation fame) already fucked take on black metal proves to work in all the worst ways. Any guitars you hear, if any, are rendered beyond recognition, whether it be speaker crumbling, blackened droning feedback or wierd little looped "melodies". Over these disturbed ambiences are placed tribally simplistic and pounding drums, reminding one of such industrial (I use this term lightly) type bands as Swans or Godflesh albeit more primitive. Even an occasional militaristic snare roll pops up now and then or even that "doo dat dat" carnie beat. And the vocals, demonic roars that could only of come from the deepest bowels of Hell. All these elements come together in such a way as to paint some abstract (trance-induced) vision of the underworld, all (hellishly) droned out in its demonic glory. So if you're looking for something different than the black metal norm, something more on the noisy and droning side, or for you who just love their (black) metal fucked up then this EP is wholeheartedly recommended.

Available through Hell's Headbangers Records on 10" vinyl.