We have finally cleared out the backlog of great music and present some new episodes.
Episode 711 features music from The Jesus and Mary Chain, Zola Jesus, Duster, Sangre Nueva, Dialect, The Bug, Cleared, Mount Eerie, Mulatu Astatke & Hoodna Orchestra, Hayden Pedigo, Bistro Boy, and Ibukun Sunday.
Episode 712 has tunes by Mazza Vision, Waveskania, Black Pus, Sam Gendel, Benny Bock, and Hans Kjorstad, Katharina Grosse, Carina Khorkhordina, Tintin Patrone, Billy Roisz, and Stefan Schneider, His Name Is Alive, artificial memory trace, mclusky, Justin Walter, mastroKristo, Başak Günak, and William Basinski.
Episode 713 brings you sounds from Mouse On Mars, Leavs, Lawrence English, Mo Dotti, Wendy Eisenberg, Envy, Ben Lukas Boysen, Cindytalk, Mercury Rev, White Poppy, Anadol & Marie Klock, and Galaxie 500.
Skolavordustigur Street in Reykjavík photo by Jon (your Podcast DJ).
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Dark, brooding music from Norway usually involves corpse paint and an obscure relationship with Satan or other so-called dark forces; indeed, restraint and delicacy are hard to come by in the world of spiked gauntlets and troll vocalists. On the other hand, bands like Ulver write albums like Shadows of the Sun, demonstrating that fragile arrangements and understatement are often more oppressive than any heavy-handed guitar riff.
Ulver have been reinventing themselves over the past 14 years, providing substantially varied records that would please everyone from the black metal enthusiast to the Vangelis junky. When the band's reach exceeds its grasp, the results are shaky at best, but when their focus overrides any tendency towards flamboyance, they're just as likely to seem brilliant. Shadows of the Sun represents their brilliance; despite a number of contributors and a string quartet, this record is ascetic and tightly knit. It resonates and hums meditatively, avoiding bombast in favor of careful dynamics and subtle crescendos. The environment of sound they build over 40 minutes is lethargic and murky, beginning with the icy "Eos." The simple melody of a cathedral-like organ burns slowly beneath Kristoffer Rygg's half-whispered, half-sung vocals before Pamelia Kurstin's beautiful theremin playing elevates the song and adds an oddly enchanting quality to it. By the time the string quartet has entered, it is difficult to distinguish the various instruments from each other as they all breathe together and create an immense gravity that gives the song an almost religious quality.
"Eos" makes the plain this album's strongest and weakest points. The arrangements are, from start to finish, elegant and simple without ever being dull. The lyrics, however, always leave a little to be desired. Rygg's voice is a pleasant tenor, but his poetry is sometimes over-simple and sometimes outright silly. As a human instrument he adds a priceless depth to many of the record's best songs (especially "All the Love"), but as a man of words he often fails to invoke much more than romantic idealism or youthful wonder. Nevertheless, songs such as "Vigil" call to mind hopeless scenarios and impossible odds rather than the vibrancy of life. "Vigil" in particular utilizes chanted vocals and edited sounds to evoke desolation and destruction; Christian Fennesz's contributions to the track are well-employed. As the tension of that track breaks, the swirling title track takes over and establishes a stasis that would not be as effective if it weren't for the way the band arranged these songs and drew them together.
Also of note is the band's exemplary cover of Black Sabbath's "Solitude." With melody and rhythm intact, Ulver take the song apart piece by piece and reassemble it with war drums, ravaged vocal chords, and a muted trumpet performance that speaks of more loneliness and pain than any flute ever could. I had not paid any attention to the tracklisting the first time I listened to this and when the cover came on it was both a shock and a welcome surprise. It fits in with the rest of the record and though it is perhaps the most conventionally arranged song on the album, it almost comes as a relief. The familiar bass line breaks up the suffocating elements of the record and give it a liveliness it would not have without the cover. The final songs are filled with extended string notes and bass-heavy piano performances that are as crushing as Sabbath's heaviest riffs; it is an uneasy ending to a record, but a fitting one. As morose as these songs are, I find myself returning to them over and over again. Gloom-ridden as it is, Shadows of the Sun is a spellbinding blend of careful composition and exact production.
Back in 1993, Inade released Burning Flesh on two cassettes which immediately made an impression on the underground music scene, with its blackest of black dark ambient sketches and soul-crushing gloom, and established the reputation and credentials of the two protagonists René Lehmann and Knut Enderlein. The follow-up, Aldebaran, originally released in 1996 equally caused something of a commotion when news of its imminent reissue–in a new third, unlimited, edition–emerged earlier this year. For those of us who missed it the first time around, myself included, this has been something of a much anticipated release.
Aldebaran is eight tracks of gloriously gloomy and hellish doom ambience lasting for over an hour. Mikael Stavöstrand’s Inanna had also explored similar territory around the same time, but Inade had brought the genre to a pitch of perfection with this release; the duo floated to the top of the black pool that is the dark ambient genre and their reputation became totally entrenched, both in terms of their vision and the quality of the releases.
Aldebaran is based around the German Vril Society of the interwar years and their myths concerning the star. It was considered to be the Black Sun of the Secret Knowledge, in other words, unadulterated spiritual power. According to their doctrines the origin of that universal spirituality emanated from this very star—along with the human race—but given the later developments in German interwar politics and with the creation of organisations such as the Vril and Thule Societies the malign aspects of so-called 'spiritual' power became all too apparent.
With this in mind, there is, above all, a vast freezing coldness bestriding the entire album, a reflection of that malignity and the cold stretches of airless space in the gulf between our supposed origins and our home perhaps. It must be supposed that members of this society lamented the separation from their 'brethren' and that they keenly felt that separation. On here it is captured in that very freezing coldness to perfection. In keeping with history's view of later events, a streak of hidden malice runs through this, with walls of solid black tones, pulsating waves of bitterness, crushing explosions of noise, wails and voices dragged from the very depths of hell itself, along with blanketing swathes of night-encrusted hatred, alien skitterings echoing in dank cathedral spaces and, brooding over all, a coldly calculating demonic intelligence that is the inhuman heartbeat of the album. The word uplifting could never be applied to this release, the malicious vein of misanthropy is almost a tangible force that beats you around the head.
Just like any other type of music there are those whose output is merely competent and workmanlike. There's no pretence at originality—simply taking what others have done and regurgitating it—and they offer nothing ground-breaking. Inade however were forging a new style then, pushing the envelope to use the vernacular, and even today, nearly 12 years later and with all the developments within the genre during that time, it still feels fresh and innovative and can hold its own. I can almost guarantee that the same will hold true of Aldebaran in another 12 year's time.
All the trademark stylings and sensibilities that have helped to propel Masami Akita's name to the top of the list of respected noise artists are here in abundance on this single 41:29 track CD, released on No Fun's own No Fun Productions label and wrapped in a gorgeous cover drawn by Akita himself.
Within those 41 minutes and 29 seconds is everything from explosions of harsh electronic grind, bursts of whispering static, and grating insectoid rasping; to screeching feedback, thick washes of overwhelming wall-of-noise blasts, siren wails, and rhythmic pulsing. The real trick though that makes this a successful release is the artfulness with which Akita constructs the piece. Rather than assaulting the ears with a constant barrage of barely listenable noise he has layered his material in such a way as to keep the listener constantly engaged, sculpting his creation carefully and precisely. I normally have to be 'in the mood' to listen to extreme noise, but a mark of the quality of Akita's music on this live recording is that I never once found myself thinking "When is this going to end?". Instead, I followed the constantly evolving musical landscape unfolding avidly, as well as the twists and turns, the building and breaking down. What's more—and this for me is something of a litmus test of quality—I can listen to this repeatedly and find something new every time.
I admit I'm a fan; I find Merzbow's music a form of sonic alchemy and Akita having been around for nigh on three decades—and having released somewhere in the region of 300 or more albums in that time—he has had the time to finely hone his craft and get to know the essences of his base materials. The finesse with which he marshals, molds, and creatively manipulates the lead of the raw sounds, finally transmuting them into the gold of his art is, for me, astonishing. Most of us go out of our way to avoid noise in our daily lives but artists such as Merzbow encourage us to look at noise in a different way, to embrace it and see it as a thing of beauty. That is what good art SHOULD do.
This Portland, Maine based group are members of art-punk-prog-chaos collective Cerberus Shoal along with North East Indie labelmate Micah Blue Smaldone reinvented as a kind of mutant 'bluegrass/folky' quintet using traditional instruments (plus a few unusual ones) such as upright bass, banjo, piano, harmonium, and accordion in addition to harmonized vocals. This is anything but traditional bluegrass or folk, however, as there's a distinctly uneasy edge and fractured sense of reality bordering on dark psychedelia that removes it a million miles from the mainstream forms of those genres, while also acknowledging the debt owed to those uniquely American styles of music.
This is a Web site/live gig only release and comes in beautiful handmade packaging: an original piece of artwork by band member Colleen Kinsella and printed on good quality card stock while the lyrics and credits are printed on vellum. According to the Young God Web site Michael Gira—who also shared production credits with FoF's Caleb Mulkerin—has "an adamant belief in the music" and, to be blunt, I couldn't agree with him more.
This is startlingly haunting, atmospheric, shimmering, and scintillating music, channeling directly into the true heart of life and America, in much the same way as Britain's dark folk current does, scratching beneath the surface glitz and glamor to the hidden and unvarnished every day. Mulkerin's tremulous voice, reminding me of Neil Young without the nasally whine, is a perfect foil for the themes of liberty betrayed, life, death, the curse of old age, and amnesia. Running through each of the five songs is a frisson of edgy tension between the deliciously dark and poetic lyrics—often sung in male/female harmonization—that contrast sharply with the musical backdrop of picked banjos, guitar, piano, and simple percussion. I had shivers running up and down my spine, such was the effect of these offbeat tales of modern life.
Love, loss, friendship, pain, and just the plain old job of getting on with living: it's all there in buckets and delivered with an uncomplicated passion and, moreover, a simplicity that's refreshing. This is, quite simply, a breathtakingly beautiful set of songs.
Although Rhythm & Sound's estimable reissue campaign of the Bronx’s formidable and nearly forgotten Wackies label has garnered much praise among critics and fans, just about every new resurrected release from the comparatively hodgepodge Basic Replay sister imprint garners at least as much if nor more excitement among sound system selectors and hungry collectors. Compiling sixteen mostly vinyl-only tracks from the label’s small yet potent catalog, this overdue disc finally brings these scorching, mostly digital tunes to the unaware masses.
Those who enjoyed the dancehall style of Basic Replay's 2006 essentials White Mice and White Mice Versions have plenty to get excited about here. As should be expected, young Allan Crichton, sounding significantly more mature here on "Nothing Ever Done Before The Time" than the high-pitched boy of those essential Intelitec collections, absolutely kills it over tough machine beats and horns. Chuck Turner and Professor Grizzly go head-to-head with their respective vocal takes over one of the most fantastic riddims I have ever heard. Although Turner's marginally superior "Trying To Conquer I" rails courageously against the vampires that attempt to undermine righteous Jah people, Grizzly more than holds his own while scatting rapid-fire over "Fight The Professor." Onetime Black Uhuru vocalist Andrew Bees wails exquisitely in the tradition of his predecessors Michael Rose and Junior Reid with "Militant." Spouting a signature "tu tu twang" over the bubbly grooves, the underestimated soloist's performance dares wonder-stricken listeners not to seek out his hard-to-find 1995 Music Lion / Ras Records album of the same name.
Although the dancehall numbers dominate, roots-and-culture devotees will relish the soulful Rastafarian vibes of arists like King Culture that define the other side of Basic Replay's output. Ijahman Levi treats us to two gloriously deep tracks, "I Am A Levi," heard by many on his Haile I Hymn LP, and its expansive dub "Part 2." Digging deeper, the late dark prince of reggae Keith Hudson graces us with his presence with the brief but effectively jarring tribalism of "Hunting," while a haunting organ line and some sparse vocals, male and female, drive the legendary Jackie Mittoo's "Ayatollah" into a shadowy corner worth exploring further.
While it is an altogether unparalleled tastemakers' selection, my sole grievance with Basic Replay is an admittedly selfish one. Save for rare cases, the flipsides of the cuts featured here are tragically missing, something that could have been rectified with a second disc at an appropriately higher price. Naturally, this allows the aforementioned vinyl coveters to maintain some precious exclusivity in their crates, adding an intangible value best experienced in a dancehall than on an iPod.
This double live album documents the group's first foray into Polish territory. The sound quality is vastly superior to last year's In Autumn box set of live recordings. Each little noise right up to the mightiest clamour is captured quite clearly; it is almost possible to smell the sweat.
Faust open with a new song called "Sex," an improvisation leading on from a recording of a man speaking about sex in German (referring to the act, not the number). This piece sets a high standard for the rest of the album, the raw power of the band is like a truck hurtling out of control and heading straight for where I am sitting. "We Are Not Here…" raises the bar again in terms of sheer brute musical beauty. Although I unfortunately must experience Faust live only through these second hand experiences, on Od Serca Do Duszy it is possible to feel the danger and excitement that the group are renowned for.
It is not all flexing muscles and battering sheet metal into smithereens; the gorgeous "Our Soul to Your Ears" provides a welcome breather amidst the raucous din. Here Jean-Hervé Péron urges the crowd to shut up and (amazingly!) they do. The band then use this almost blank canvas to sketch out a delicate piece of music that proves that they are not just living off the glory days of their youth. This is only the eye in the storm as the peace quickly gives way to "Ist Rund Schoen?" I have never been big on this song in any of its previous incarnations but Poland must have brought something great out in Faust as it is a cracker here.
The second disc sees Faust in improv mode, half of this disc is given up to two wild tracks of jamming. "Impro: Krakow I" is the kind of song that would make Acid Mothers Temple extremely jealous. An encore of their signature tune ("Rainy Day Sunshine Girl") is the icing on an already sweet cake. It is as vivid an image of an instant in time as one could hope for. Indeed, as live albums go (and live Faust recordings for that matter), Od Serca Do Duszy is a decent stab at capturing a band in the moment.
This is a mixed bag; there are sections that are incredible and beautiful but unfortunately there is an equal amount of music that is difficult to digest. It sounds like something I should be into, however there is something missing or that I am not getting that is preventing me from fully appreciating this album. Maybe it is the fact that many of these pieces were written and recorded for exhibitions and installations that leaves the music feeling a little empty.
"The Stillness of Chinese Jars" and "Kettleblack" both reflect Mouldycliff's best musical sides. The chiming calm of "The Stillness of Chinese Jars" makes for an exceptionally pretty piece of music. Taking this prettiness and warping it, "Kettleblack" makes for an unsettling and disorientating five minutes. There is a strong sniff of David Lynch-style atmospherics throughout the piece and the sounds conjure up very lucid images; in my mind's eye I can see a very slow shot panning across an empty, rather ordinary but slightly askew room.
The longest piece on Written on Water breaks the spell that Mouldycliff initially casts on the listener. It is hard to pick out what it is exactly that makes "A Speculative Atlas (for David Mitchell)" so hard to listen to. It all sounds a bit clichéd, the sustained notes on the wind instruments and the flurries of piano noodlings bursting in every now and then. One element that I felt did work is the sound of children pushed way back in the mix. The first time I listened to it I did not know whether kids were causing havoc outside or whether it was on the CD.
On the final piece, "Spirit of Place," there are elements both of The Hafler Trio and Nurse With Wound which is not surprising considering the involvement of Colin Potter as producer. This is where Mouldycliff actually shines, even if it is heavily indebted to what other artists have done before. Mouldycliff never reaches the same psychedelic heights as these other artists but it is hard not to slip into a daydream listening to the heady drones of this piece.
Aside from those few pieces where Mouldycliff loses his footing, Writing on Water is an enjoyable but a bit of a journeyman selection of experimentations. When he is at his weakest, he is still at least worth a listen to try and figure out what is not sitting right with me. I feel his music is something I should appreciate but cannot pinpoint the cause of my discomfort while listening. Every year I read Conrad's Heart of Darkness because I do not enjoy it and feel I must. One day it surely will fall into place. I get the same feeling from this album. There is something worth investigating here but there is also some invisible barrier in my way.
The phenomenal Trunk label keep up their unique work by giving Marc Wilkinson's score for a 1971 cult British horror movie its first ever release. Film fans, soundtrack aficionados, and addicts of obscure music will all be thrilled, as Blood on Satan's Claw is beautiful and disconcerting in equal measure.
Most of my memories of the golden age of British horror involve sitting on couches in the homes of various friends sometime around 11:45 pm on a Friday or Saturday night, drunk, eating chips or toast. Hopefully, on the television would be a historical drama that was ever so slightly camp, fairly nasty (without excessive gore), reassuringly predictable in terms of plot, and full of titillating flesh! Ideally, the craft of solid character actors could allow the proceedings to avoid both tongue-in-cheek complacency or wooden heroics, and the nudity might provide lashings of conflicting evidence for what may now be called the Darryl Hannah/Betty Page conundrum. For sure, the shifting atmospheres of suspense, lust, confusion, mystery and fear would always depend upon the music.
As befits the soundtrack to a quality movie from the Tigon production team that three years earlier had made the remarkable Witchfinder General,there is something decidedly off-kilter and addictive about this music. It was designed that way. For starters, composer Marc< Wilkinson added a couple of twists to the standard orchestral lineup. The eerie swooping sounds were created by using the Ondes Martinet, a keyboard which he describes as "without doubt the first really successful electronic instrument." In addition he used the cimbalom, a kind of piano played with mallets that in Eastern Europe has sometimes been associated with the Devil. The unease that this music stirs has roots that are deep and ancient. As Wilkinson reveals: "The descending chromatic scale which features throughout the music omits the perfect fifth (the only true consonant in the chromatic scale) and therefore highlights the diminished fifth, which ever since the middle ages in Europe has been known as the Devil's Interval!"
If that all sounds rather academic then fear not, for parts of this disc are almost as lush as the theme from the 1964 TV series Robinson Crusoe, a tad spookier than the Dr Who theme, and as alluring as both. Blood on Satan's Claw fits perfectly with the vision of label boss Jonny Trunk. Trunk unearths gems which transcend kitsch and nostalgia by celebrating the sonic quality of their essence. The label has issued John Cameron's music from Kes, sublime smut from a 1970s English porn queen on Mary Millington Talks Dirty,original music by Delia Derbyshire and others from the TV series The Tomorrow People, and the lost advertising sounds of Music For Biscuits. Trunk has also put out an unreleased soundtrack to George Romero's Dawn Of The Dead,Oliver Postage's music from the children's TV show The Clangers (the first 26 vinyl copies in pink and gold hand knitted sleeves) the soundtrack to the insane biker movie Psychomania, and music from Gerry Anderson's still sexy and hip space TV show UFO. That's not to mention Resurrection (an album of holy jazz, altar rock and Christian freakouts) or Desmond Leslie's Music Of The Future—the "musique concrete" of an ex-spitfire pilot who created music from the sound of the destruction of musical instruments. It would be remiss to forget to mention the records of "ambient godfather" Basil Kirchin. His band sometimes included Jimmy Page and Tubby Hayes and Abstractions of The Industrial North is but one of his fabulous records. Doing justice to the Trunk catalog in a single paragraph is impossible but it's safe to say that the wise will want to avoid missing their limited issues. The recent sampler Now We Are Ten is a great place to start.
Of course, not everyone has Trunk's ear or cultural instinct: the film Blood on Satan's Claw was released in the US as Satan's Skin but, without wishing to give away the plot, it's hard to escape the feeling that whoever chose that title missed a great opportunity to call it Satan's Eyebrows.
Presented as a follow up to 2004's Grapes from the Estate, this album continues Ambarchi's exploration of crystal clear ambience.Sharing the same mix of patient tempos and penetrating subsonics, these songs could fit unnoticed right beside their predecessors. The difference emerges in the details, and the increased use of untreated guitar, strings, and voice makes for a understated yet compelling departure.
For a while, I had trouble placing Ambarchi in Southern Lord's aesthetic. Despite his notable contributions as a Sunn O)) and Grave Temple Trio member, his solo material seemed removed from the label's doom and sludge metal mainstays. The one notable connection being the obsessive use of sub-bass. The booms and cracks of Ambarchi's mangled guitar mimic the detuned riffing of doom metal, but with the distortion scrubbed completely off, leaving only a chest rattling thud. Before, these heavier elements were balanced out with chiming tones and jazzy drum fills. The mood of In the Pendulum's Embrace is darker and the rhythms plodding, more of kind to Ambarchi's collaborative work for the label.
The label-centric similarities don't end with Ambarchi's amp-worship. The spacious twang of "Fever, A Warm Poison" is reminiscent of Dylan Carson's recent clean, countrified sound. Because of his unique arrangements, Ambarchi avoids the dreary repetition Earth can get mired in. Piano, bells, and processed harmonics merge together sounding like a continuum of the same tone rather than separate instruments. These jagged but tightly interlocked elements provide a solid base for the Ambarchi's electric guitar to meander over.
Ambarchi shines most on his more subtle compositions. On "Inamorata" a string section gradually swells in, vibrating the song into a tremulous boil. But instead of reaching the expected crescendo, the strings vanish, like a departing gust of cold air. "Trailing Moss in Mystic Glow" gently ends the album with acoustic finger picking and the surprising addition of vocals. Ambarchi sings wordlessly, confining himself to soft moaning. That brief touch of humanity softens the dour mood of album, ending it with a delicate and plaintive fade out.
When first listening to the album, I was worried that Ambarchi would simply repeat Grapes from the Estate and settle into a single style of playing. That's not the case. Instead, Ambarchi borrows the best from what is around him, enriching his already diverse body of work.
This duo issue their first album ("The Toy" in English) two years after their Audiotrauma Processing Industry EP, in a joint release between that label and Ant-zen. Le Jouet explores the many different aspects of toys, from those that children play with to those used by adults, either in role-play or, as they claim, those "deadly weapons used like toys by grown-ups who can never negate the children they once were." The duo do this by utilizing a combination of beat styles, samples, and ambient passages together with distorted vocals and simple melodic structures, ranging across a variety of styles in the process.
The two men responsible, Yves Cornu and J.B. Leduc, in taking all these styles have concocted a wide-ranging mix of songs. Certainly they have tried to keep moving stylistically, refusing to be constrained by any boundaries or particular genre parameters. It is all too easy these days, given the democratization of (musical) technology and the ease of access to it, for people to simply regurgitate what has gone before, then record, package and release it. Twinkle are to be commended for avoiding that trap, instead giving us a varied but solid set of thematically-linked songs. Despite that variety, there exists a coherence binding the entire album together, especially in the latter half where everything takes on a much harder edge. I heard a definite linear progression from innocence to darkness, from the inventive play of children to the 'games' of adults, with their sexual and dominatory subtetxs.
Even the military uses the term 'war-games,' which implies a form of play, a euphemism disguising the true intent of the exercise. From beginning to end there is a wonderfully subversive and sinister undertone running beneath the playful surface, especially noticeable in the first half of the album, which emphasizes the true nature of toys, play, and games, with the often hidden facets of politics and dominance. After all, this is how children learn about social interaction: lessons which are often carried through into later life, for better or worse.It is that undercurrent of subversion and deviousness that does it for me. The third track "Ton Style" is an example: initially it starts out as music-boxy but as it progresses it takes on more and more of a soiled edge until finally it ends with a dirty and distorted stutter, the song suffused with a subtle anger and malevolence. The next track, "La Victime Volontaire," is ostensibly a hip-swinging middle-eastern influenced number but perhaps it takes on a deeper and darker significance in today’s political climate; I can imagine how the sentence I used from the press-release in my introductory paragraph above could apply here.
The highlights of the album, the ultimate confluence of all the themes and ideas that form the various streams feeding into this album, are tracks eight and nine, "Le Joueur" and "Tu es Perdu" respectively, particularly the former, even though it only lasts for just under two minutes. There is something shiver-inducing about the use of a 'jolly' child-like melody coupled with speeded up samples and children singing over a distorted dance-floor workout. The following track is a full-on tribal stomp that wants to get you up and moving your feet, however reluctantly.
I haven't listened to rhythmic industrial since Frontline Assembly's Millennium, feeling at the time that the genre had run out of both steam and originality. On hearing this offering though I have come to realize though that I may have a bit premature in my assessment. Certainly I have heard considerably worse.
It's good to know that rock music isn't truly dead. Sure, the coroner has been called out many times to check the corpse, but as long as albums like this are around, there will be a bit of pulse left in the ol’ body. Here is yet another recontexualization of the various fragments of rock in the past four decades into a unique brew that doesn’t specifically sound like any previous band, but the vibe of their legacies are definitely there.
It's not tough to hear fragments of 1960s and '70s hard rock, a bit of progressive rock, a dash of 1980s post punk, and more contemporary sludge and drone metal. The opener, "Things Will Grow" makes for probably the most conventional piece to be found here with its pounding tribal drum opening (channeling Big Paul Ferguson from vintage Killing Joke) over which some harsh grating post-punk guitar lines and buried echoed vocals. Again, there are vestiges of other bands in the sound, but nothing that feels stolen or copied, just influenced.
That overblown "prog" sound does rear its Rick Wakeman attired head in a few of the longer tracks, but in the best possible way. Rather than through pretentious soloing or flute solos by elves, it is more in the form of longer tracks with more dynamic variation, like the closer. "Nervous Buzzing" starts out minimal and stripped down over electronic vibrations before slowly segueing in guitar and drums which blast into full on chaotic noise. It then ends on a gentle duo of bass and guitar. Even more prog is the 18 minute "Magic Jordan," which opens slow and with a choral backing that slides into some good old '70s hard rock riffing that gets thicker as the vocals get more and more harsh and violent. It is eventually stripped away into chimes and guitar solos much less violent but more expansive.
The sound never goes into full on wankery, thankfully. Things do stay more grounded in a hard rock vibe though, like the vaguely Sabbath guitar and chaotic drums with melodic (but still metal) vocals on "Tungsten Steel-Epilogue" that speeds up to hardcore thrash for a while and then slows WAY down to Khanate-like glacial pace. The more blues-rock lurch of the genre creeps in on "Kross," which becomes more about the space between the distorted riffs than the actual guitar.
It is always refreshing to hear different takes on rock/metal, considering how stagnant the genre seems to be at times. Just as soon as it seems like there is nothing new to happen, a band like Wildildlife comes along and puts a new spin on things while keeping true to their roots to give listeners a frame of reference that feels familiar, but still new.