Towers - II

(Eolian Empire, 2014)

Providing further evidence that Oregon is literally built upon an ancient Indian burial ground, yet another otherworldly and insanely heavy band comes forth proclaiming Oregon as their home state. Of course, there’s already Yob, Norska, Lumbar, Lord Dying, Red Fang, Unsea, Atriarch, and a plethora of others – a very healthy showing indeed. But here come Towers, a bass and drum duo from Portland whose second album – the appropriately named ‘II’ – is a very small slither of hell caught on record.

 

Coming in as they mean to go on (i.e. on a wave of unsettling noise), opening track ‘Hell’ sets the mood for the whole record. Rick Duncan’s bass set-up is rigged to facilitate both penetrating treble and punishing low end so when combined with various effects pedals and the energetic drumming of Darryl Swan, the hugeness of the sound betrays the fact that Towers are a two-piece. ‘Hell‘ is an unsettling melting pot of post-punk, noise rock, art rock, and heavy metal, framed like one of Tom Waits’ nightmare visions. In fact the tone is so full-on that it gives off a strange circus atmosphere, almost comedic in its overblown execution but too close to the nerve to be anything but terrifying.

 

Elsewhere ‘The Door At The End Of The Hall‘, with its Theremin-like atmospherics and Duncan’s dramatic proclamations and forlorn backing vocals, has a horror soundtrack feel to it, suitable for any number of 1970’s exploitation movies. But it’s the bleak penultimate track ‘The Chosen‘ which is the most haunting song here; the monk-like, counter-melodic chants are nauseating and discomforting, a final demonic taunt before the violently chaotic final track ‘The Room Of Misfortune‘ which hammers home the vision of suffering which ‘Hell’ started. And then as quickly as it arrived, the deranged circus leaves town.

 

As an album ‘II’ is mournful, but not in a gothic, woe-is-me kind of way. Rather, it’s demented and theatrical, revelling in bringing you bad tidings and burying a feeling of doom in your guts until you’re left weeping in a corner. In fact, for a band who don’t throw the term ‘doom’ down your throat like so-many so-called doom bands do, they’ve released one of the most doom-instilling albums I’ve heard in the last year. Towers aren’t strictly a doom band – they bring together a wide range of heavy influences from the full spectrum of punk and metal and combine them with a cinematic quality to create compelling, creepy and hypnotic songs to wallow in. And the results are magnificent. So if ‘II’ is a glimpse of hell, then pray for my soul, dear readers, because it sounds fucking grim.

[Originally published by the Sleeping Shaman, 14/03/2014]
http://www.thesleepingshaman.com/reviews/album-reviews/t/towers-ii-lp-dd-2014/

Iron Witch - 'Her Cheating Heart' / The Atrocity Exhibit - 'Throne of Bile'

(Witch Hunter Records / Dead Chemist Records, 2014)

Witch Hunter Records and Dead Chemist Records have conspired to release this beastly 7” split between Liverpool’s Iron Witch and Northampton’s The Atrocity Exhibit, two respected names on the UK’s sludge and grindcore scenes. While on paper this difference of genre could make for a slightly lopsided split release, the sense of spite inherent in both bands’ music creates a cohesion across the two sides, helped by the fact that The Atrocity Exhibit have chosen to contribute one long sludge song rather than several shorter ones.

 

Iron Witch‘s contribution – ‘Her Cheating Heart’ – is a pleasing, lumbering slab of sludge misery inspired, unfortunately, by a series of “lying, cheating whores.” Charming. But Iron Witch clearly aren’t here to charm anyone, as evidenced by ‘Her Cheating Heart’’s waves of deafening feedback and an arching rhythm so drunken that it seems ever on the verge of collapsing in a corner and pissing all over itself. Chris Fane’s voice is quite probably flammable as he screams Jameson-tainted bile over a cacophony of Dopesick-inspired riffs (indeed, Iron Witch might like to consider changing their names to IronHateGod if ‘Her Cheating Heart’ is anything to go by). But it doesn’t matter that Iron Witch wear their influences on their sleeves, particularly when they execute their swaggering homage this well. For those of us eagerly awaiting the next EHG album, ‘Her Cheating Heart’ is a tantalising and essential stop-gap.

 

As if Iron Witch weren’t bilious enough, flip the record over and you have The Atrocity Exhibit’s ‘Throne Of Bile’ to contend with. Again, these guys mean serious business and for this particular pairing they’ve written a song at least twice as long as most of their other, faster songs. This slowing of pace does nothing to lessen their impact, and in fact the torturous to and fro of the guitars gives the impression of flesh being torn apart. You won’t find anything remotely resembling a melody to hang your hat on here – ‘Throne Of Bile’ is discordant in every way, from the tense, careening guitars to the Johnny Morrow-esque vocals. The Atrocity Exhibit have gained a formidable reputation for their brand of crust and grindcore, but ‘Throne Of Bile’ puts forward a strong argument that they ought to make a full-on sludge album next.

 

All in all thirteen minutes of utter misery then, but, as the old adage goes, misery loves company, and here at the Sleeping Shaman we welcome misery and grief with open arms. Iron Witch and The Atrocity Exhibit have given us two mighty and differing takes on sludge, making this an essential purchase for all fans of the genre.

[Originally published by the Sleeping Shaman, 06/03/2014]
http://www.thesleepingshaman.com/reviews/album-reviews/i/iron-witch-the-atrocity-exhibit-split-7inch-dd-2014/

Warpaint @ O2 Academy, Oxford - 25/01/2014

 

Considering it’s the day before Warpaint entered the top ten of the UK album charts with their eponymous second album, it’s little surprise that the sizeable downstairs part of the O2 is packed to capacity by the time the LA band grace the stage for tonight’s festivities. Inevitably the majority of tonight’s set is indebted to the newer material which has seen the band shift further towards a moody atmospheric trip hop sound, allowing keyboards and synthesisers to take some of the focus away from the guitars. Some of the criticism that has been lumped at the newer songs suggest that the songwriting has suffered at the hands of uber desk-jockey Flood’s sleek production style, but in this live setting the band are really quite bombastic, giving us a setlist that leans heavily on the livelier of the new songs, as well as encompassing some gems from their previous two releases, The Fool and Exquisite Corpse.

As ever, it’s the vocal interaction between the four band members that really sets Warpaint apart from their contemporaries and this is what shines tonight; whether it’s the haunting “Billie Holliday”, the fiendish gang-vocals of “Composure” or “Love is to Die,” Emily Kokal and co have mastered a style of sing-speak, alternatingly conversational, airy and strident, that leads their songs through emotional peaks and troughs. Musically, the band is in fine form too, having spent the last few years touring heavily on the back of The Fool. While it’s not always evident on record, Warpaint are a jam-band at heart, or at least they enjoy locking into bass-led grooves while reverb-heavy guitars intertwine, as is evidenced by some extended instrumental sections tonight. Drummer Stella Mozgawa does much of the heavy lifting in this capacity with some excellent hi-hat work punctuating some of the band’s jerky flights of fancy, while Theresa Wayman and the others continuously switch between guitars and keyboards throughout the set to add heft and lightness where necessary.

For most of the set the audience seem strangely subdued – respectful and clearly enjoying themselves but perhaps allowing themselves to become too awash in Warpaint’s emotional waters at the sake of an atmosphere. It’s only when the band crank out (ironically enough) “Undertow” – fan favourite and feel good hit of the summer 2011 – that the audience fully snap out of this haze and raise the roof. It’s the song that probably best encapsulates the band’s sound – a bass-led, vocally immaculate, emotionally ambiguous pop song with an almighty wig-out at the end of it to boot. Elsewhere new track “Biggy” is a particular highlight, with a dynamic keyboard lead part allowing the vocals to float delicately atop a gently shuffling rhythm, but inevitably it is the older songs that elicit the warmest responses tonight. Encoring with “Elephants” from the debut EP (and a sly interpolation of Donna Summer’s “I Feel Love” for good measure) the band ultimately leaves the stage victorious, warpaint smeared but intact.

[Originally published in Nightshift Magazine, Issue 224, March 2014]
http://nightshift.oxfordmusic.net/2014/mar.pdf

Ags Connolly - How About Now

(Drumfire Records, 2014)

Country isn't a dirty word, particularly when it's coming out of Ags Connolly's mouth. Anyone who has caught Ags in the last few years will likely be able to attest that he has a voice of extraordinary power, capable of transporting you from a dank open mic pub in Witney to the Grand Ole Opry. His songs are deeply rooted in country, full of hardened wisdom and homespun turns of phrase; Ags’ previous release, The Dim and Distant Past EP, was a solid demonstration of his songwriting skills – indeed all four songs are present again here, largely unchanged. But with a group of sympathetic country session musicians behind him, Ags has taken a bit of a star-turn.

While one could worry that session musicians could suck the soul out of Ags’ songs, or embellish them to the nth degree, the musicianship throughout How About Now is truly fantastic, lending Ags’ simple songs a classic, authentic country sound. Lap steels coo, a stand-up bass gently plods, and an electric guitar accents the chords in a manner that would make Luther Perkins proud. Perhaps the best compliment that can be paid to Mr. Connolly is to say that many of the songs on How About Now sound like country standards – ‘Good Memory for Pain’, ‘Get Out My Mind’, ‘The Dim and Distant Past’ and ‘Trusty Companion’ are all great songs by anyone’s standards, regardless of genre, strongly composed and sharply executed. There are also some deeply personal songs here, dotted with references to particular lovers and old haunts (I never thought I'd hear a shout-out to The Angel in a song); all of this helps to flesh out Ags' deeply likeable and genuine persona, a man who loves and hurts, with country – and perhaps some Old Hooky – pumping through his veins.

On the whole country music seems to have a bad rep for perceived flag-waving, finger-pointing, and general backwardness, but Ags’ music is full of heart – more 'Man in Black' than 'I Kiss My Baby With My Fist'. These are songs of love and loss from a good ol' boy, a perfect soundtrack for crying into your beer at the end of the night as you mull over missed chances and being dealt a bad hand. These are also odes to Ags' main muse - country music itself. Both 'When Country Was Proud' and 'I Saw James Hand' document his baptism and confirmation as a country fan and musician. How About Now is the most assured debut to come out of Oxford in some time, a very strong collection of songs from an artist with a clear handle on his identity. To paraphrase a good ol' boy, if you didn't know were country, then this might make up your mind.

[Originally published in Nightshift Magazine, Issue 224, March 2014]
http://nightshift.oxfordmusic.net/2014/mar.pdf