Valve - Apnée

Country: France
Genre: Sludge/Hardcore/Black Metal (kinda)

Valve perform an intriguing balancing act with Apnée. The combination of sludge, hardcore and black metal isn't anything particularly new, with bands such as Hexis, Celeste and This Gift Is A Curse making names for themselves in certain circles with their respective amalgams. However, whereas the aforementioned artists play a seamless blend of the three, Valve operate primarily by isolating one or two at a time, drip-feeding the listener with parts of each. This 'drip-feeding' approach means that across its five tracks Apnée feels as though it's constantly evolving, a boon in a style where mid-tempo stagnation can easily occur.

To illustrate this, it's best to look at Apnée as a whole. Opening tracks 'Lapsit Ex Illis' and the album's eponymous number sound remarkably Converge-like in their makeup, albeit slower and with a lower-register grounding that separates them from the seminal hardcore group. However, by the finale '777', a greater focus on the oppressive atmosphere associated with blackened hardcore is apparent, eschewing some of the initial catchiness in favour of distinguishable but serpentine passages. To bridge the gap between the former and the latter is the instrumental 'Odds', which provides not only respite but forms an integral part of the album's structure. By separating the more hardcore-influenced first half from the 13 minute sludge giant 'Une Carcasse Vide de Vie et de Sens', the transition between the two slightly differing halves doesn't feel as immediate, and is therefore less jarring. Admittedly, the linkage between 'Odds' and 'Une Carcasse...' could have been smoother (instead of 10 seconds of awkward silence), but as a compositional tool it allows Valve to experiment with a wider palette rather than boxing them into a singular, albeit well executed style.

Holding the audience's attention is of vital importance to the effectiveness of any artist's work. With such a potentially suffocating presence as sludge this could have proved particularly difficult, yet Valve manage the feat with seemingly consummate ease. By sparingly combining their influences rather than placing all of their eggs in one basket, each track has something different to offer whilst not detracting from the crushing aspect so important to the genre's appeal.

Stream

Fuath - I (2016)

 

Genre: Black Metal

Country: Scotland

A few weeks ago I posted the premiere single from Fuath's I, called "Blood"; it was an EXCELLENT atmospheric black metal track that encapsulated winter without sounding like some terrible second-wave rip-off. The full album was finally released yesterday, and no surprise here, it fucking rules. Like I said before, I am not usually a fan of wintry black metal aside from the classics, but this is totally worth it. Beautiful and hypnotic stuff here. 

Winter is Here 

Dissection - Reinkaos (2006)

 

Genre: Melodic Death Metal
Country: Sweden

I need to start by saying that I can't believe it's been ten years since this album was released. I still vividly remember all the hype leading up to it like it was yesterday. Those were my formative metal days, and it's because of all the attention this album was getting that I ever even decided to check out Dissection. Now, The Somberlain and Storm the Light's Bane are definitely better than this, but I've been jamming this a lot again recently, and it's still undeniably an excellent record. A straight-up melodeath album with plenty of Maiden-esque harmonies and Gothenburg styled riffs, this is a simpler, more streamlined approach from a band that used to create quite complex music. Jon still sounds great and overall, this album is definitely worth your time. Tohu Tehom Theli Than Leviathan Tanin'iver Taninsam!

Abominable Putridity - The Anomalies of Artificial Origin (2012)

Genre: Brutal Slamming Death Metal
Country: Russia

I'm being completely honest when I say that I think most brutal death metal is complete garbage; apparently ripping off Suffocation and Cryptopsy is harder than you think. Add in the whole "slamming" aspect and what you're left with is essentially deathcore.. which you know, generally stinks. That being said, Abominable Putridity is the exemplification of brutal slamming death metal and yet they are fucking awesome. They don't do anything particularly different from their contemporaries, they are simply just better. It's the perfect blend of old-school technicality, indomitable grooves and intelligible gurgles. Oh yes, there are plenty of gurgles - I mean IT IS Matti FUCKING Way - but his clever interplay with the monstrous chugs works amazingly well, creating tons of sickeningly memorable chops in the process. Usually albums like this tend to blend together, and though the tracks here definitely share some similarities, the variety grooves and moshing sections still gives each song its own distinctive feel. This is slamming brutal death metal for fans of the genre, and people who thought they could never appreciate music like this. Recommended.

Slams of Infinity

Piss Vortex - Piss Vortex (2014)

Genre: Grindcore/Sludge/Jazz
Country: Denmark

Jazz and grindcore have made surprisingly frequent acquaintances over the years. The complicated, semi-improvisational traits that comprise certain fields of the former combine well with the chaotic, balls-to-the-wall aggression so synonymous with the latter. This unlikely amalgam normally manifests itself in, quite frankly, barely comprehensible bedlam; flurries of sweeps, song structures that break the laws of music, and everything else besides. While this can be performed to a fantastic level (and indeed has been), it can also come across as a mere technical exercise, eschewing any attempt to connect with the listener to make room for auditory masturbation.  However, as the saying goes there is more than one way to skin a cat, and indeed there is more than one way of combining jazzy elements into grindcore. Copenhagen-based quartet Piss Vortex take a more coherent approach that focuses more on intelligent song structuring than flawless technicality.

Coherent, it should be stressed, does not mean that Piss Vortex are any less virtuosic than their contemporaries; the difference lies in the application of their music talents. Drummer Niclas Sauffaus offers up the most obviously impressive performance, with machine-gun kit rolls and intricate cymbal work underpinning the winding interplay of guitarist Christian Bonnesen and bass player Rasmus Moesby. While throughout his playing is stellar and consistent, on 'Beaten Womb' he goes as far to actually forming the skeleton of the entire track by the means of a 20 second solo at the start, which provides an infectious groove alongside the grimy riffing. While some tracks inevitably do fade into obscurity when considering the album as a whole, the appreciation for exciting, constantly shifting trackwriting means that there's plenty new to pick up on listen after listen.

Importantly though, despite all of their compositional ability, the resulting feeling after closer 'Our Maker's Invisible Hand' reaches its apocalyptic climax is one of pure, battered awe. Piss Vortex make use of a guitar tone as grim as their name would suggest in conjunction with nightmarish riffs and Sauffaus' terrific drumming to yield an experience not a hundred miles away from a more hardcore-influenced Gorguts. Additionally, a sludgy bass presence and vocalist Simon Stenbæk's mid-ranged roar contribute towards the doomier aesthetics on the slower tracks, and this adds a whole new dimension away from the fast-paced, aggressive riffs that savage much of the running time.

Rather than opt for a well-trodden style consisting of lightning-fast scales and start-stop song structures, Piss Vortex takes on a more controlled character that focuses more of the swing and feel of jazz than the technical elements, while still retaining the ability to leave the audience with the sensation of being hit in the face with a spade. By opting for a slightly more accessible vein this escapes much of the initial mindscrewing associated with the subgenre, but it arguably makes for a debut that only gets more intriguing with each listen.


Bandcamp

Verwüstung - Beyond the Watercolor Sunset, We Feel New Life (2011)

 

Genre: Post-Black Metal

Country: United States

Post-black metal can be pretty hit or miss. A lot of the times, I find many bands to be pretty unbalanced, either leaning too heavily on the "post" elements, or not using them enough, rendering them ineffective. Verwustung is one-man band based in California that has nailed this dichotomy time and again. He's released quite few things over the years (which you can find for free, here) but Beyond The Watercolor Sunset, We Feel New Life is in my opinion, his best. Before I even get to the music, have to say I just love the optimism of the title, and the stark simplicity of that gorgeous album cover. I'm glad to say the music behind it all, is just as gorgeous. In one 29 minute monolith of a track, Verwustung takes your breath away with this atmospheric masterpiece. If Hvis Lyset Tar Oss-era Burzum and Godspeed! You Black Emperor had a baby, it would most certainly sound like this; that description in itself should be enough to convince you to check this out. Drenched in noisy euphoria, the track slowly builds, tension in every guitar strum until it just EXPLODES into a full-blown black metal cacophony. This is where that balance comes into play. There's enough tremolo picking, blast beats and necrotic vocals to satisfy any extreme metal listener, but melodically it has all the heartwarming beauty of post-rock. The length of the song may seem daunting, but it is a surprisingly easy listen, and oftentimes I feel like the track is actually a little too brief. It's a testament to just how well crafted and dynamic the song is. Recommended. 

Godspeed! You Black Metal Emperor

Fuath - "Blood" (2015)

 

Genre: Atmospheric Black Metal

Country: Scotland

Fuath is the side project of Andy Marshall, the man behind black metal band Saor. For those of you unfamiliar with Saor, do yourself a favor and check them out immediately - 2014's Aura is an exceptional atmospheric black metal release delving in resplendent Celtic melodies and wondrous tales that will make you want to drop what you're doing and buy the first ticket out to Scotland. Fuath in a way is very similar; Marshall definitely has developed his style as far as crafting atmospheric black metal, but as the cover art would suggest, his newest endeavor transports you to snow-covered mountainsides as opposed to rolling green hills. It's actually very impressive how he's able to compartmentalize various influences and write projects behind one certain motif - this one being winter. Inspired by classic black metals like Burzum and Darkthrone, premiere track "Blood" is an exciting excursion into the frostbitten wilderness. These days, "cold" black metal is a dime a dozen; every band and their mom strive to create a wintry atmosphere, and as result, that sound has become completely played out. Not only are bands now sounding too similar, but they fail utterly to reach the treacherous heights of the classic bands. Fuath succeeds where these bands fail, creating a compelling and fresh soundtrack to your winter season. If "Blood" is any indication, Marshall's upcoming with Fuath, I, will be fucking excellent. You can listen to the track below.