Ortega - The Serpent Stirs

(Narshardaa Records/Tartarus Records, 2013)

Originally released late last year as a limited edition cassette on rising Dutch DIY tape label Tartarus Records, this single/EP from Ortega (who are themselves a rising Dutch doom band) is now being issued on vinyl, courtesy of Narshardaa Records. The band, who have made quite a name for themselves in their native Holland and across mainland Europe by regularly touring and off the back of their previous releases A Flame Never Rises on Its Own and 1634 have now released their most ambitious work yet with “The Serpent Stirs” – a 19 minute epic that brings together the slovenly pace of doom, the muddy guitars of sludge and some progressive, psychedelic lead guitar work, decorated with Richard Postma’s torturous howl.

 

In terms of length this would probably be classified as an EP although by virtue of the fact that “The Serpent Stirs” is one lumbering sea-monster of a tune this could also be classified as their latest “single.” Whatever it is, it’s a majestic work – progressive, elegantly constructed and ultimately Ouroboros-like in its circularity. Like the ominous serpents that grace the vinyl jacket, the twin guitars of Postma and Alex Loots intertwine and weave, alternately pensive and ferocious whilst Postma chews the scenery and spews it out in the venomous fashion we’ve come to expect from the frontman. All the while, the dynamic rhythm section, drummer Sven Jurgens’ and bass player Frank de Boer, manage to keep the track sounding grounded and hefty, whilst also creating a sense of space in a track where it feels like you might eventually suffocate by dramatically pausing or missing occasional beats. The song brings to mind the likes of Neurosis, Yob, Tool and even some of Boris’ slower, moodier compositions.

 

When I say that the song is Ouroboros-like, it’s not just a way of ham-fisting another snake pun into this review – I mean that the song manages to come full circle on itself, starting and ending on a similar note whilst having covered a fair amount of ground in between. With “The Serpent Stirs”, Ortega have raised their already-high standards and released their most impressive work in the process.

 

[Originally published by the Sleeping Shaman, 14/08/2013]

http://www.thesleepingshaman.com/reviews/album-reviews/o/ortega-the-serpent-stirs-cs-lp-dd-2013/

Interview with Aaron Harris of Palms, Isis

Palms is the union of Chino Moreno (Deftones) and three members of the now (sadly) defunct ISIS. Their debut album, recently released on Mike Patton’s Ipecac Recordings, plays like a waking dream, combining lush layers of chiming guitars and a restless rhythm section with Moreno’s unmistakable croon. Rightly considered to be one of the most highly anticipated albums of the summer, the album has just entered the Billboard 200 at Number 55 as the band is preparing to play their first shows as a live band. Tom McKibbin spoke to Palms’ drummer Aaron Harris to discuss the band’s origins, the writing process, recording techniques, and what the future holds for the band.

 

Hey Aaron, thank you for taking the time to answer some questions for us. I’ll jump straight into it…

 

No problem

 

I’ve read an interview in which Chino stated that he was a fan of ISIS, and I assume that this admiration was mutual. How did your paths come to cross?

We’ve been Deftones fans for years. I’ve turned so many people on to Deftones who thought they sounded like something else. They often get lumped into something that they’re not. I’ve always admired their songwriting, the players, and Chino’s voice. He has a sound that’s immediately recognizable. I love his dynamics and knew he’d be great for the music we were writing for Palms. Chino and I bonded over runs and hikes here in LA. We shared a lot of the same interests and would bounce ideas and music we were listening to back and forth. He had asked about Palms and what we were writing. He wanted to hear some. I sent him some demos and he sent one back with a vocal demo over it. It grew from there.

 

So how has the writing process worked on the album? Do you all get together in a room or is it a case of sending ideas back and forth over the internet?

 

We get together in our practice space. It’s very important to us to all be there working off of each other when we write. We record a lot, and demo things. We listen back and make changes. We worked that way in ISIS too.

 

From what I’ve read, the album seems to have been recorded in a somewhat fractured way, with your drums being recorded in one session at a home studio, and the vocals being recorded in a similar fashion. Was this a conscious decision and, if so, do you think it has lent a relaxed feeling to the album?

 

I recorded the drums at my friend Joe Barresi’s studio. We had a lot of fun with it. He had just gotten his 2″ tape machine repaired and he has a lot of really unique mic pres and microphones so we decided to use a lot of stuff that you wouldn’t normally see in a studio. Like Sphere and brown Helios mic pres. It was a lot of fun and we got some great sounds. I recorded the guitars and bass at our rehearsal spot. That was nice because we were able to pick away at it and work on getting cool sounds without being under and strict time restraints. I tracked the vocals at my home studio, and on the road with Deftones. That was really fun tracking vocals in hotel rooms and in backstage rooms. I think it really added to the vibe. I don’t think the record would have been possible if we had to book time at a studio every time we wanted to track. I think me being able to track this record and be flexible was really crucial to it coming together, and of course I was happy to do it and psyched that those guys trusted me play that role.

 

When I listen to the album I sense a great deal of sadness being released. Chino is able to relate a sense of nostalgia with his voice that is really poignant. Do you feel that this album has been a conduit for release for you guys?

 

I think it’s really interesting the way that people hear this record. Some people walk away with a sad and lonely vibe. Others say they feel very happy and relaxed. For instance “Antarctic Handshake” starts off with a very sad and lonely vibe to it. The first time I really listened to what Chino was singing I was crushed. But the song ends on a very hopeful vibe. We really strive to create music that provokes a feeling. To me if you can do that you know that you’ve got something special. It’s also the kind of music we enjoy listening to. Music is really powerful that way.

 

Although the album is quite melodic and relaxed as I mentioned before, there is also a restless, circular energy to the songs that create a sense of being lost in a purgatory (“Shortwave Radio” being the prime example). Do you agree with this interpretation? The end of that song is one of the most palpable, powerful moments I’ve heard on a record for a while.

 

Thanks man. Like I was saying before I think that these songs can bring up a variety of feelings for the listener, and can reflect the mood of the listener. I love when I find a record that can do that. A song that one day makes you feel really good can also on another day make you feel really contemplative. I’m happy to hear that these songs are having an impact on people. To me that’s the biggest compliment.

 

Would you agree that Palms’ songs are about moods and textures? The swathes of reverb and delay on the guitars for example seem to be quite impressionistic?

 

Absolutely. Texture is a good description. I remember when I was mixing this record having a hard time finding where everything fit. I tried going for a big ISIS type sound, but it just wasn’t working. I realized that this record has a lot of texture and vibe to it, and once I figured out how all the pieces fit together it all started to make sense to me sonically.

 

How are you feeling about playing these songs live on your upcoming tour? Is it a daunting prospect having never done it before?

 

Rehearsals have been sounding really great. Chino wasn’t able to play guitar on the record, so having him on guitar live has really added some new elements to the songs. We’re excited to play live!

 

How has the response to the album been? Was it what you expected it to be?

 

It seems to be really good. I’ve seen a lot of really positive feedback and that really makes us happy because we put a lot of work into this and believe in it. There was a certain amount of pressure on this record given the names involved, so we were a little scared of how it would be perceived because we knew that we sounded different than what most people were expecting. That said I don’t think it’s a huge departure from any of our past releases. It’s been really nice to hear that people are enjoying it and making connections with it. I especially like hearing that it’s providing peeps a soundtrack to their summer.

 

Yeah, there’s definitely a summer feel to the album. Is Palms going to become a relatively regular project or is it a one-off for the time being?

 

There will be more for sure. We’ve already started writing some new stuff.

 

Cool. So, after you’ve played the initial US dates do you have any plans to come to the UK or are you taking it one step at a time?

 

We hope to and I think in time we definitely will.

 

Excellent! Thanks for taking the time for this interview Aaron. Any final words?

 

Thank you as well. I appreciate the support and interest. It’s nice to be able to create music and have people be interested, so thanks again.

[Originally published by the Sleeping Shaman, 09/07/2013]
http://www.thesleepingshaman.com/interviews/g-q/palms-tom-interviews-drummer-arron-harris/

Palms - S/T

(Ipecac Records, 2013)

Isis and Deftones have both had an influence of modern rock music in their own ways and to differing degrees. For his part as frontman of Deftones, Chino Moreno was a genuine breath of fresh air during the mid to late 1990s when the band would often get lumped in with the nu-metal acts that they eventually came to transcend. Offering both an ear shattering scream and, more vitally, a smooth, melodic croon that belied the influence of 80s new wave acts like the Cure and Depeche Mode, Moreno has long been one of the more intriguing and daring frontmen in the masculine world of metal. His voice was always pretty core to the Deftones’ scream-core mass appeal – commercially viable enough to grant them chart success and expressive enough to gain them the respect of their musical peers and musos the world over.

 

Perhaps this, along with Moreno’s admiration for Isis, is the link that unites Moreno with three of the original four members of the post-metal innovators, whose own influence on metal, particularly in the underground scene, is also significant. Their partnership may initially come as a bit of a left-field surprise, but it also quickly makes perfect sense, to the point that I could already imagine what Palms would sound like before hearing them based on the proposition alone. In a recent interview with Decibel magazine, bassist Jeff Caxide noted that the material on Palms’ debut album is comprised of the kind of stuff “that I would never have presented to Isis. I don’t want to call this ‘pop music,’ but it’s more in that vein than anything I’ve ever done.” Cue the melodic vocal stylings of Moreno whose work with Deftones and Team Sleep has always put as much emphasis on melody as anything else.

 

Like Baroness’ recent left-turn towards a lighter touch on their polarising double-album Yellow & Green, it’s possible that Palms could divide opinion among fans of Deftones’ and Isis’ heavier work, but this collaboration brings together some of each bands’ finest attributes. “Patagonia” and “Shortwave Radio” are what I imagined and hoped the band would sound like – Isis-like waves of shimmering, chiming guitars paired with Moreno’s damaged, nostalgic voice. Caxide’s bass playing is a particular strength throughout, often drenching his bass parts with delay and reverb that marry with Bryant Clifford’s equally melodic guitar parts to hypnotic effect. Indeed, the extended outro on “Shortwave Radio” is an album highlight, particularly with Moreno’s increasingly desperate cries of “Ascending into heaven/ While staring into Hell/ You’re staring into heaven/ descending into Hell.” It’s one of the album’s heaviest moments, aurally and emotionally.

 

A criticism that could get lumped at the album could be also considered one of its strengths – some may consider the album wishy-washy or samey. It’s true that some of the songs tend to flash over you on the first few listens, and on a six track album that’s worrying. But repeated listens reveal layers of melody and rhythm that slowly creep in to your consciousness. Closing couplet “Tropics” and “Antarctic Handshake” are both perfect examples of this phenomenon; initially they seem to meld into one another and pass over you without event, but they contain some of the densest layers of sound and melody on the entire record and finish it off in suitably dream-like fashion.

 

This is an album that plays like a waking dream – on the one hand it feels restless and trapped in a perpetual cycle of longing and nostalgia, but there’s also a strong sense of serenity and resignation. For fans of Deftones and/or Isis, give Palms a chance and you’ll be in their grip.

[Originally published by the Sleeping Shaman, 20/06/2013]
http://www.thesleepingshaman.com/reviews/album-reviews/p/palms-st-cd-lp-dd-2013/

Space Witch - The Alchemy Paradox

(Cosmic Tomb, 2013)

You’ve got to have a good sense of humour with a name like Space Witch, haven’t you? With the market on prime ‘Bong’, ‘Witch’ and ‘Goat’ aided doom band names growing ever smaller, a band utilising these kinds of suffixes needs to really stand out of the pack musically to get noticed these days. Goat Witch. Goat Bong. Bong Witch. Bong Goat… apologies if any of these are actual bands, but you get the idea. I know I’m not the only person whose first reaction to another addition to the GoatBongWitch family is an extended, exasperated sigh. So, how will Space Witch fare?

 

On the one hand (and this almost certainly says more about my own prejudices than anything else) I had envisioned terrible, plodding trad doom from Space Witch, having never heard them before. Perhaps trad doom with a guy chanting ‘rites’ about the Salem Witch trials, or some intergalactic, cross-dimensional romance between a Princess Leia type and the eponymous witch. But my fears were soon allayed upon putting this record on; rest assured, there’s nothing funny about this latest release from burgeoning cassette label Cosmic Tomb (who have previously released the excellent Trollkraft’s Bogs and Brimstone EP). Stoke’s Space Witch (est. 2008) are an instrumental 5-piece who weave together a lot of ideas and mighty riffs over the course of this 3-track (and really rather good) EP.

 

The Alchemy Paradox sticks loosely to a theme (see song titles: “Hang the Witch”, “Cosmic Cauldron” and “Black Pyramid”) and to a musical formula too, but without ever becoming formulaic. The latter song in particular bucks a trend, for example, by staying relatively pacey, never shedding BPM in its singular, driving vision, akin to some of Kyuss’ more tumultuous moments. But it’s the opening two songs in particular that strike a doom-filled chord with this listener. After a tempestuous start, “Hang the Witch” settles into a laid-back crawl which carries on through to “Cosmic Cauldron.” In both songs, riffs start up, cast their slow enchantments and then either swell up as the distortion builds or fall back to make way for the next progression. In this sense Space Witch bring to mind Bongripper’s progressive, exploratory take on doom. “Cosmic Cauldron” features a disorienting and Ouroboros-like downwards spiral of notes, slowly pulling you down into a stupor before “Black Pyramid” blows away the cobwebs, taking you on a fast-paced whirlwind-tour of the cosmos.

 

The irony is that my initial scepticism about Space Witch’s name has long since been forgotten and I’ve actually used such pompous phrases such as “cast their slow enchantments” and “taking you on a fast-paced whirlwind-tour of the cosmos” in my attempt to describe the band’s EP, which suggests that this is a band for whom prejudices should be left at the door. The bottom line is that Space Witch are a great band who should do well with this new lineup, and fans of instrumental doom and sludge would be very well advised to check out The Alchemy Paradox and support the good folks at Cosmic Tomb Records because this sort of goodness needs to be encouraged.

Now cue a snappy closing sentiment about the band casting a spell on you. Sigh…

[Originally published by the Sleeping Shaman, 06/06/2013]
http://www.thesleepingshaman.com/reviews/album-reviews/s/space-witch-the-alchemy-paradox-cs-dd-2013/

Dallas Don't OMS Feature

“We formed about 3 years ago – Brian and I met through work, and me and Yan used to jam together,” remembers Dallas Don't frontman Niall. “Then we found Jenny on the internet and took her to a practice room out in the sticks on a cold winter night. That’s not what it sounds like...”

That's exactly the kind of smut you should expect from on-the-up freak pop-punks Dallas Don't whose most recent release, the rather excellent Retrace this Place EP, perfectly brings the band's love for well-crafted indie pop songs and post-hardcore noise into harmony, as Niall explains.

“We’re as influenced by Hefner, Seafood and Belle and Sebastian, as we are by Fugazi, Shellac and Fucked Up. I think this means that people are sometimes a bit confused about which side of that divide we fall on, but it keeps it interesting for us, as we like melody as much as we love heavy noise in songs.”

Coming to terms with the two seemingly disparate aesthetics is what brought the band to their current sound.

“Our first demo was very much us figuring out what sort of music we wanted to play. The second one was a bit of step up for us, and we’re still playing songs like “Lesson” and “Phoebe Henderson” from it live, but I think some of the tunes were a bit mismatched. The new EP is more linked thematically through the lyrics and it just has the strongest tunes we’ve written. “The Witches Stone” is the poppiest song we've written yet and although “Solution” and “New Wolf” are among the heaviest we've written, there’s still a strong melodic element to them.”

Beside the band's inherent sense of melody, one of the most striking elements of the band's sound is Niall's strong Scottish accent, something which also feeds into the lyrical themes in the songs.

“Lyrically, the influence is a mix of my own experience, particularly from the time I spent growing up in the North of Scotland, and re-tellings and reimaginings of stories from local history, pop culture and everyday life that help me to explore themes I find interesting, both personally, socially and occasionally politically too.”

But the band is very much tied to it's Oxford roots too; their last EP was recorded by former Xmas Lights man Umair Chaudhry at a session provided by winning Demo of the Month in Nightshift magazine. Oh, and Umair came highly recommended by Dallas Don't's good pals The Cellar Family. Singer and guitarist Jenny also goes on to champion the likes of We Aeronauts, Salvation Bill, X-1, Agness Pike, Von Braun, Listing Ships, Rhosyn, and Spring Offensive as among her favourite local acts, adding: “I think that list alone highlights that there is so much variety out there. Even though there is a definite “Oxford sound” which has been perpetuated by the success of Foals and This Town Needs Guns, Oxford is still a city that is keen to embrace anything new and different.”

[Originally published in Oxfordshire Music Magazine, issue 23, May 2013]

http://www.back2left.co.uk/wp-content/uploads/2013/05/oms-23.pdf

Kill Murray - Microscopic Feel EP

(Self-released, 2013)

Radiohead meets Animal Collective meets any number of anthemic nineties alternative acts on Kill Murray's latest EP of sturdy electro-pop, Microscopic Feel. Singer Gus Rogers sighs and falsettos like Thom Yorke while the band ploughs through a handful of synth-rock anthems that are tastefully put together, if sometimes a little out of whack on the style-to-substance ratio, the electronic sheen giving an unnecessary air of modernity to what are essentially quite traditional songs. In truth, the best moments occur when Gus' songwriting returns to Dial F territory on songs like "Hotel Zoo," if only because Kill Murray get back to sounding like four musicians playing together in a band rather than a sequencer, strategically programmed. You can't fault the craftsmanship, the performances or the production from a technical standpoint – the drums in particular sound huge – but everything feels a bit too metronomic and clean cut to make me feel much about it, microscopic or otherwise. 

[Originally published, in slightly editorially altered form, in Oxfordshire Music Magazine, issue 23, May 2013]
http://www.back2left.co.uk/wp-content/uploads/2013/05/oms-23.pdf

Conan / Bongripper - Split 12"

(Holy Roar Records, 2013)

 

If you are reading this then we are fortunate that the recent Bongripper / Conan UK tour hasn’t levelled our fair isles to rubble. As the cover of this co-release indicates (and indeed as both bands’ reputation will have preceded them) Conan and Bongripper are true worshippers of insane degrees of amplification, ever on a path of discovery for perfect tone and crushing noise. Coming off the back of celebrated Roadburn Festival performances and well-respected albums (Bongripper’s Satan Worshipping Doom and Conan’s Monnos) the bands being brought together on vinyl is every monolithic doom fan’s wet dream, and the fact that they decided to tour together to bring the music directly to your beating chest may well be the climax.

 

Anyone who is familiar with either band’s back catalogue ought to know what to expect, and certainly they will not be disappointed with this split. Both bands play the kind of incredibly loud, down-tuned and soul-destroying doom that makes your sphincter wobble and your heart pound twice as hard in your chest. On the one hand, both band’s appeal lies in primal, old fashioned riffs. But both bands are also masters of a sound that they have created, one that is dense, menacing and cinematic.

 

Starting with the hypnotic tribal drumming of Conan‘s Paul O’Neil and the growing drone of Matamp-approved feedback, the lowstrung grumble of the guitars gives way to the dual roar of Jon Davis and Phil Coumbe. “Beheaded” harks back to Horseback Battle Hammer-era Conan when the songs were given more time to plough through their surroundings, the notes more sparse and sparing than almost anything on Monnos but certainly no less punishing or menacing. As always, Conan manage to paint a mental image of destruction, war-torn battlefields and barbarians tearing through villages and revelling in the fire and brimstone of it all. For seventeen minutes, “Beheaded” rolls on – no break in the action, no looking back at the devastation left in its wake. This is doom that creates a heavy atmosphere and hits you at that gut level with no need for frills or tricks – the reward is in the weight of the sound.

 

Bongripper contribute a far more tumultuous offering in ‘Zero Talent’, a track that could have easily sat on Satan Worshipping Doom in terms of sound and the combination of styles that inform the band’s exploratory, progressive take on doom. Stoner riffs slide into depressive passages of monotone doom before blast beats pull you out of your stupor. While Bongripper don’t quite create the same level of all-consuming atmosphere, given the time constraints, ‘Zero Talent’ is nonetheless a mighty sampling of one of the heaviest bands currently making music and a near-perfect introduction to those who may not know the band’s sound. If Conan evoke a horde of barbarians wantonly pillaging, Bongripper are like the blackened visage of Death, grinning slyly from beneath his cloak at the squalor.

 

It’s not often that two bands who have mastered a unique sound of their own come together for a release like this which is what makes it such an absolute treat; one side of monotone, primal caveman doom and another of pitch-black stoner doom. While we wait for new albums from both bands, this is the perfect stop-gap, whetting our appetites for more aural destruction to come. As ever, the real heroes here are the amplifiers who have been given pride of place on the cover, acting as the “fifth member” throughout this mighty impressive release. Here’s an experiment: put this on your turntable and see if it can handle the weight.

[Originally published by the Sleeping Shaman, 02/05/2013]
http://www.thesleepingshaman.com/reviews/album-reviews/c/conan-bongripper-split-12inch-dd-2013/