Church of Misery at Myspace

Japan’s Church of Misery have offered up another solid album of groovy stoner doom metal  with Houses of the Unholy. The first thing that I should mention is that while this is a fine album, it’s not innovative by any stretch of the imagination, with the songwriting based firmly in the 1970′s. However, the Church do a great job within those confines. The band’s lyrics are all about serial killers, much like the band Macabre, but the similarities end there, as there’s little of Macabre’s grim humor in these lyrics. I have to commend vocalist Yoshiaki Negishi; he chooses to downplay his Japanese accent (not that I have anything against them), and does it extremely well; I never once would have suspected this band was Japanese if I listened to this release blind. His delivery is raspy without straying far from the style of 70′s metal vocalists.

The songs are frequently lengthy (five of the album’s eight cuts are more than seven and a half minutes long), so the grooves have plenty of room to breathe. The musicianship is fine but really takes a back seat to the hypnotic chord sequences; doom metal is more about the songwriting and riffs than technical skills. Fans of 70′s metal and hard rock would do well to check this out.

Villains play mid 80’s esque death metal with plenty of influence from the first wave of black metal that sounds like it came straight from a teenager’s basement in 1980’s. I can almost picture it now, the poodle haircuts, the homemade Venom T shirts and the disused ALF merchandise in a corner and that Villains can summon up that vibe as a modern day band is pretty impressive indeed. Yes this hits the spot just right, very primitive nasty stuff; so primitive it would be rejected by the inhabitants of the Stone Age for being too backwards and basic.

This of course is a good thing as with all the technicality and modernity around extreme metal at the moment it’s could to have some bands all about blasting back to the past. At 28 minutes it’s just the right length and if you want a record to knock back the brews to, then well there’s fewer better candidates than “Drenched in the Poisons”.

Toxic Holocaust at Myspace

Long time underground darlings Toxic Holocaust were the first significant American Thrash revival band and “An Overdose of Death” their third full length and their debut for Relapse Records is definitely an album that lives up the hype. Toxic Holocaust have the most original sound of any thrash revival band and instead of taking the usual influence from the big four, crossover thrash and the bay area the sounds of 80’s UK Hardcore Punk (Discharge, G.B.H), 80’s First wave Black Metal (Venom, Bathory, Sarcofago) and Canadian Speed metal (Razor, Exciter) are most prevalent.

“An Overdose of Death” displays a style that is punky without falling into the usual D.R.I/Crumbsuckers clichés that say Cross Examination have, and the Blackened edge is exquisite as it is primeval and raw whilst taking the concept of blackened thrash further than the typical nostalgic Luddite concepts that plague the genre. With the Punk elements Toxic Holocaust are more reminiscent of Abigail/Barbatos genius Yasuyuki Suzuki (who Toxic Holocaust mainman Joel Grind collaborated with on the Tiger Junkies side project) than say Destroyer 666 or Nifelheim. The Speed Metal elements differentiate Toxic Holocaust from Suzuki’s approach with their meaty leads and classic metal-esque yet lightning quick solo’s making “An Overdose of Death” a very different beast from say Barbatos’s “Rocking Metal Motherfucker”.

Like all good thrash revival records this is a record that would have sounded as fresh as in 1985 as it does now. Listen to the riff at 0:40 of “Feedback, Blood, and Distortion” and tell you don’t feel the urge to hurl yourself at the nearest object of a similar mass to yourself whether it’s a water cooler or your grandma. If you don’t, then you should probably listen to Fairyland or whatever kind of lame metal most paintywaist’s like to listen to as this is one for real thrashers.

Bongripper at Myspace

Bongripper is a stoner/doom/post-metal outfit from Chicago. All of the members are just in it for the love of music and don’t care about money; from what I read in another review of this album, one of them even leaked it onto the internet. The brand of sludgy psychedelia on Hippie Killer is excellent; it is almost entirely instrumental (with the exception of the track “Terrible Bear Attack”) I do have to admit that I didn’t enjoy the drumless, dronier tracks as much as the doomier ones, but the latter type tend to be much longer so it’s okay. I also thought the album went on a bit too long; at just under the maximum 80 minutes for a CD, it felt like the band was just trying too hard to fill out the entire thing. Also, I felt the vocals on “Terrible Bear Attack” were really annoying, and I was glad that track was just 3 minutes long.

Those are my only real quibbles with the album, though; it’s wonderfully atmospheric with crushing riffs, and I totally would’ve gotten high to this if my social skills were good enough to obtain weed. My personal favorite track was the 16-minute “Reefer Sutherland,” although most of the album was strong. Fans of this style of metal will love Hippie Killer.

Capricorns at myspace

London supergroup Capricorns featuring members and ex members of Iron Monkey, Orange Goblin and Bridge and Tunnel play a form of instrumental stoner/post metal that takes significant influence from post rock yet is not another band that follows in the footsteps of Neurosis and Isis. There is a slight influence drawn from those two bands yes, but the music on display has a sinister foreboding edge to counter the usual spacey thoughtfulness of the genre, Pelican would be another obvious comparison but there is far too much aggression both naked and under the surface in Capricorns music for that to suffice. This is not to say there aren’t moments of calm yet eerie tension as exhibited on “A savage race by shipwrecks fed”.

For fans of stoner and post-metal who want something that isn’t the same old Oceanic/through silver in blood worship but don’t want something too out of the box, “river, bear your bones might be just what you are looking for.

Saviours at myspace

Mixing the old school classic rock of Thin Lizzy with the raging fast tempo stoner of High on Fire with the progressive experimentation of Baroness, Saviours are quite an intriguing proposition for Stoner Metal fans. Duelling lead guitars in a traditional heavy metal fashion are fused into a rhythm of resin soaked groove and a galloping rhythm section featuring the understated but powerful percussion of Scott Batiste.

Although this release can come under the banner of stoner metal it can be seen as basically a slightly diluted form of heavy metal itself. It’s as pure as any form of heavy metal that remains true to the greats of the genre whilst keeping the subsequent generations of thrash and those which came before it in reference. With one eye on the past and one on the future, Saviours are just one in a long line of bands creating metal that is both forward thinking but yet keeps the old traditions alive.

Baroness at Myspace

“The Red album” is a record that is of the age it was created but yet seems ageless. Combining  both metal influences (Mastodon, Isis, Opeth, Floor) and non metal (Fugazi, Yes, Tool, Pink Floyd) influences to give birth to a sound that is so individual its hard to describe. The foundation of this sound is Stoner tinged progressive metal that is both extremely technical yet flows organically. More than in most metal releases, the vocals play second fiddle to the guitars. The leads and riffs twist and turn down many musical passageways and wormholes yet each songs highly unique and memorable melodies remains as a central cornerstone anchoring the experimentation and innovation that happens in each song.

Baroness could certainly teach the Symphony X’s and other widdle-fest lovers out there how to do progressive metal properly. This musical technicality with a deep emotional resonance and an a ambience that harks back to the early 70’s glory days of prog rock itself. The production is warm and earthy and gives the music a splendidly human feel to it. There are notable psychedelic touches to it with the cosmic “Wailing Wintry Wind” being a notable example with its calm and chilled out Pink Floydian intro segueing into a post rock influenced stoner rock epic that although having a fairly relaxed tone has just the right amount of drama and tension.

There are some Appalachian folk elements with “Cockroach en Fleur” country acoustic instrumental being a prime example. Baroness are one of many acts to be hailed as “the new Mastodon” but they are perhaps the only of one those acts who could not only equal such a tag but might go on to beat Mastodon themselves in the Progressive metal stakes.

Sahg at Myspace

‘Sahg II’ is unsurprisingly the Second album by Norwegian Doom Metal super-group Sahg. Their first album, unsurprisingly titled ‘Sahg I’, was a superb piece of inventive trad doom inspired principally by Black Sabbath and Candlemass. Their second effort expands both the range of influences and range of contrasting style contained with Sahg’s sound immensely. There are two main directions that Sahg are pulling on ‘Sahg II’. The first is 60′s and 70′s psychedelia with the likes of Pink Floyd, Jefferson Airplane, Cream and Hawkwind being key references points. The swirling, lush and almost seductive tones of the ‘Echoes Ring Forever’ with its epic, seductive drugged-up outro and the chilled out and inventive instrumental that follows it, “from conscious sleep” being prime examples of this.

The second major influence is that of NWOBHM and pre thrash 80’s heavy metal in general such as Witchfinder General, Angelwitch, Manilla Road, and Witchfynde. These elements are usually more subtly placed within the overall ‘Sahg II’ sound with them only coming to the foreground in the fast paced stomper ‘Pyromancer’ but just like the progression between their heroes Candlemass debut and sophomore, the trad heavy metal influences that are more prominent on ‘Sahg II’ than on ‘Sahg I’ change the chemistry of this slice of doom distinctly and when combined with the more overt and noticeable heady psychedelia create a cocktail of metal that is just about irresistible. From the Nostalgic Hammond Organ on ‘Starcrossed’ to the sinister campfire hymn to the dark side of the Age of Aquarius that is ‘Escape the Crimson Sun’, ending with the spacey epic album ender that is ‘Monomania’ this is one sophomore release that ends up bettering the bands stunning debut rather than paling in comparison to it.

Kruger at Myspace

Kruger are one of those special bands who at least at this stage in their career cannot be pigeonholed into any specific genre. Their unique sound contains elements of death metal, progressive metal and sludge metal, but cannot wholly fall within only one of those categories. Their one-of-a-kind brand of metal fuses the catharsis and melodic desolation found in such artists such as Cult of Luna, Isis and Baroness with the Stockholm death’n'roll sound of Entombed and Grave, topped off with a deeply progressive and innovative flavour that evokes the spirit of Mastodon and Gojira.

The songs on this album ebb and flow, with a fine example being the full frontal assault slowly dissipating into a post rock manor with the sombre low key passage in ‘Holy Fire’ before building up slowly and melodically into the bass heavy, Tool-like intro to the next track ‘Army of Lovers’. ‘Army of Lovers’ with its powerfully heavy yet catchy chorus is one of the two best tracks on this album, along with the opener ‘Ammunition Matters’, with its savage and furious and almost physical attack on the listener’s senses. Along with Knut and Nostromo, Kruger are proving that Switzerland is still a breeding ground for inventive yet crushingly heavy metal like it was in the days of Celtic Frost, Coroner, and Samael.

Taint at Myspace

Taint are a British Stoner band with progressive and epic tendencies despite on average, the songs on this their sophomore album being around the 4 or 5 minute mark. These are songs in which something is always happening and yet the hash fried groove still remains as gloriously delirious trippy as ever. Think members of Mastodon and Baroness smoking top quality weed for twelve hours straight whilst listening to Cathedral, Sleep and ‘Masters of Reality’-era Black Sabbath and you are nearly on top of how splendid this record is.

Lolloping riffs interplay with hillbillies on ganja-style psychedelic guitar leads all the while keeping within an intoxicating almost funky in a Clutch sort-of-way Groove. The groove on this record is immense; the songs change speed, density and direction regularly but each song’s distinct groove remains constant as the centrepiece of each track and indeed Taint’s entire sound. Highlights include the frantic bass solo on ‘Goddamn This City’ and the appearance of Circulus flutist Will Summers on ‘What the Raven Saw’.

The aforementioned track begins as a piece of neo-medieval folk rock, before transforming into an ethereal and haunting piece of Sabbathian hard rock with the final change coming four and a half minutes in when some spiffing surf-cum-stoner guitar leads duel off against Summers Flute in a segment that sounds like Boris dueling with Jethro Tull. Vocalist Jimbob’s intriguing vocal style make these moments even more terrific, with his plaintive barks and croons sounding not like a more impassioned and soulful version of Mastodon’s Brent Hinds. If you like your stoner metal to be of the highest quality and hate the idea of repetition in music then it would be a good idea to check this release out.