Category Archives: Special Features

Under The Surface – Underground Bands Spotlight

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Under the Surface is our new column in which we take a listen to and critique artists with independently released albums. As with our website, we will explore the boundaries of heavy music by reviewing releases that range from fringes of post-rock to the heaviest of the heavy. The releases will be scored from on our 10 scale (poor – fantastic). The goal is to promote the underground and give artists the chance to be heard, providing descriptive overviews, kudos – and constructive criticism – as necessary, giving our readers the opportunity to check these artists out and support our scene.

 

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Alek Darson – Panopticon

Alek Darson is a Berklee College graduate by way of Serbia, and has the guitar chops to prove it. After paying his dues for a decade, he has released Panopticon, which clearly showcases both his virtuosity and songwriting skill. Conceived to reflect the range of emotions he has experienced throughout his life, his influences of Dream Theater and Steve Vai are pretty clear. However, this release reminds me very much of Animals As Leaders. If you enjoy those artists, you will totally love this release. It is primarily instrumental, using three drummers, a flautist, keyboards and a string section over the course of five songs, which are all carefully crafted. The last song, The Rind, finally brings in vocals courtesy of Vladimir Lalić, and while his vocal performance is excellent, he sounds so much like Devin Townsend that it is uncanny – and a bit distracting. Lalić also wrote the lyrics, which, while cool and interesting, are also very Townsend-esque. I hope that on a future release Darson will utilize Lalić more so we can get a better gauge of his range – and hopefully individuality – as a vocalist. But even with that, sounding like Mr. Townsend is never a bad thing, and what he does is perfect for the song. This EP is quite impressive on a few levels, and if you love music that is not shy with the technicality but still manages to incorporate some dynamics and feeling, this is a must-have. Purportedly Dream Theater’s Jordan Rudess is a fan, and after listening to what Mr. Darson is capable of, I can understand it. This fellow is as good as anyone out there, and he definitely should be given the opportunity to flex his musical muscle in front of a much larger audience.

9/10

Alek Darson on Bandcamp

p18e61bt8784f5hdqqj14tl1cbp4Palefeather – (self-titled)

Formed by members of In Mourning, October Tide, Majalis and others, this is an instrumental, psychedelic Post-Rock journey with an ambient bent. Palefeather is a very relaxing and downright pretty release and easily reminds one of Opeth, Devin Townsend or even Tiamat in their mellower moments crossed with Pink Floyd. Since I do enjoy that type of stuff, I really enjoyed this CD. Great as ‘chill out’ music or for spacing out, hell, I’d even do yoga to this. Mind-expanding without being overly prog, this is well worth checking out. 7.5/10

Palefeather on Bandcamp

The Cloud Shoveler – Les Jeûnes de la Chair

Nicolas Aubé-Lanctôt, alias Le Pelteux de nuages (The Cloud Shoveler) is a celestial-sounding post-rock release. This album is the first of a trilogy entitled Sahara d’endorphine, and while there is no indication of what the remaining two albums will sound like, this one is clearly out to set a melancholic

mood. The guitars are layered with effects, and combined with the onomatopoeic vocals (which are overused a bit for my taste), lends a very dream-like quality to all of the songs. There are other instruments involved, such as accordion and piano, and altogether creates a release that may intend to be soothing, but there is an undercurrent of tension that, for me, keeps it from being relaxing; in fact, at times it is a little creepy. So, if you like your ambient music to have a little bit of a Gothic bite to it, you’ll probably love having this in the background of your next dinner party.

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6/10

The Cloud Shoveler on Bandcamp

Minimal Bogart – Cosmic Caveman Blues

Formed in 2008, Minimal Bogart is stoner/psychedelic/blues from Bulgaria. The music is instrumental and quite musical without getting either boring or totally distracting. There is a very strong 60’s influence, with a good amount of keyboards and harmonica. As far as execution, it is a bit loosey-goosey in spots, and the production is pretty lo-fi (perhaps that is where the ‘Minimal’ in their name comes from), but that definitely lends to the 60’s rock feel if that’s your thing. Picture an old Kyuss jam crossed with some 60’s dudes in someone basement or a crusty bar on the edge of town. Titles such as ‘The Intergalactic Drug Baron’, ‘Reefer Madness’ and ‘Interlude – Quest for Shrooms’ should further give you an idea of what you should expect sonically. The guitar tone did get a little grating after awhile, but he has got some chops. Unfortunately, the band members are not named on any of the links that were provided.

7/10

Minimal Bogart on Bandcamp

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Hoth- Oathbreaker

Hoth is a two-member music project from Seattle consisting of Eric Peters and David Dees, and they have quite the release in Oathbreaker (Epicurus Records). A concept album about a person descending into darkness from birth, it’s a task that requires a lot of dynamics, thought and, of course musical execution. This record has all three qualities in spades, traveling through many Metal genres such as Black, melodic Death, and Traditional. The vocals, reminiscent of Dimmu Borgir‘s Shagrath, are not as dynamic and they do not stray from a Black/Death growl. They are heavily effected to convey the coldness tension that matches the storyline, so while not particularly unique, they do fit the music perfectly. They introduce violin, choir sounds, acoustic guitars and keyboards to really set the Black Metal mood, but it is so well-crafted and produced they know when to change it up and keep the listener engaged. Other musicians appear to have been involved and it is unclear what their contributions were, but overall every musician and element is used to best effect. Picture Dimmu, Opeth and a touch of Amon Amarth and maybe even a dash of The Haunted – that’s a mix you can’t go wrong with! I was truly impressed by this release from beginning to end, and it is something that I will actually keep and play as part of my regular collection.

9.5/10

Hoth on Bandcamp

LYNN JORDAN


One Hit Wonders (Fifteen Killer Albums) – Part III

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Burning Witch – Crippled Lucifer (Southern Lord, 1998)

 

Before he was lost in the murky drone world of Sunn0))), Stephen O’Malley knew his way around a doom riff or two and he demonstrated this with aplomb in the short-lived Burning Witch, arguably one of the most hideous and difficult bands possible to love. This was the sound of Black Sabbath forcibly injected with bad smack and made to get up and dance for the sick enjoyment of the assembled wasters in the shooting gallery as the relentless bad vibes of the likes of ‘Sacred Predictions’ and ‘Warning Signs’ bore down on the listener with pitiless intent. The drone sections hinted at horrors not yet to come, while the anguished screeches and mocking croons of deranged vocalist Edgy 59 were more than many could bear. Reissued several times with varied track listing, Crippled Lucifer is difficult to digest on every level and not something that can be endured by many. For those who crave the foulest of sludge however, it’s an addiction that can’t be sated.

 

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Weakling – Dead as Dreams (tUMULt, 2000)

 

With rumours that only one copy was going to be produced, and later that hand-drawn treasure maps would provide fans with the buried location of copies of the album turning out to be record company mischief, the truth was that San Francisco’s Weakling were in no need of gimmickry, for Dead as Dreams, their only album turned out to be one of the finest records of that genre ever, and one of the most influential to boot. Who would have thought that a member of a band as different as The Fucking Champs could be responsible for the seething mass of darkness, wide-eyed insanity and crushing extremity that was captured here? Who knew that the agonised vocals, half comprised of actual lyrics, the rest gibbering screams would terrify and enrapture in equal measure. Who would have anticipated the impact that a debut featuring songs tipping the scales at 20 minutes would have on a black metal scene that had always lagged behind its European rivals? No one was prepared for Dead as Dreams but a hell of a lot of people paid attention and its legacy is felt to this day. Still the finest USBM album ever.

 

 

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THORNS – THORNS (Moonfog, 2001)

 

It’s fair to say that Snorre W. Ruch made some mistakes in his early days. After joining Mayhem as a second guitarist just before the recording of De Mysteriis Dom Sathanas, one night he decided to take a car ride with Varg Vikernes to visit his erstwhile employer Euronymous and the rest is history. After a few years in prison he emerged keen to show the world what impact he would have made on the black metal scene had he been wiser in the company he kept. The result, with a little help from his friends was the towering, lethal and magnificent self-titled album under the THORNS moniker; a forty-eight minute assault on the senses that further dragged black metal kicking and screaming into the future. With far more emphasis on atmosphere and shifts in pace and tone, but still with litres of venom and a chilling, sterile atmosphere permeating every facet of the recording, especially Hellhammer’s artificially enhanced drumming, the likes of ‘World Playground Deceit’ sound challenging and evil as hell to this day, and that is Ruch’s true legacy.

 

 

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Warhorse – As Heaven Turns to Ash (Southern Lord, 2002)

No, not the Deep Purple side project, one of the finest examples of stoner/doom this side of Electric Wizard, who the band happened to be on tour with when the initial line-up crumbled. Operating as a three-piece, it’s staggering just how a band with only one guitar could be so monolithically heavy, so brutally crushing yet still find the time to forge memorable riffs and bluesy solos with such ease. Some brief interludes gave you time for a smoke-break, but it wasn’t long before the lysergic steamroller began moving again and the likes of ‘Devil’s Bride’ crushed you under its Jupiter-heavy weight, not that you’d want to stop nodding your head along enthusiastically. Music for dropouts, freaks and heads it may have been, but anyone who has ever enjoyed the music of an obscure band called Black Sabbath would do well to wrap their lugholes around As Heaven Turns to Ash before it collapses under its own corpulence.

 

 

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Insect Warfare – World Extermination (Six Two Five Thrashcore, 2007)

The shortest album on our list, and undeniably the most brutal. In fact, quite possibly the most brutal album ever recorded. If you thought Napalm Death and Brutal Truth were the heaviest grindcore had to offer than do yourself a favour and check out the twenty-two minute blast-a-thon that is World Extermination and when you’ve stopped crying and wretching on the floor, punch yourself in the face a few times for not having known about Insect Warfare and their ruinous, fast-as-fuck grind devastation. Despite a plethora of split releases as is the grindcore way, World Extermination is their only full-length release and one that pisses all over its competitors. Songs are short, ugly, chock full of screams, blasts, thrash-core, powerviolence and surprisingly catchy riffs and the album cover has a giant skeleton presiding over a swarm of bugs. What more could you want?

 

Disagree with our choices? Discovered someone new that has blown you away through this feature? Think we’ve missed someone? Let us know who you think about one-hit-wonder bands on our Facebook page, via Twitter or Google+

 

Read Part II here

Read Part I here 

 

JAMES CONWAY

 

 


Ernie C of Body Count Talks Lyrical Themes From Manslaughter

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Body Count has historically found a way to grab the attention of the listening public and shock the masses with its controversial themes to its songs while raising awareness to various social issues at the same time.

 

While their methods do not always sit well with everyone, Body Count always becomes the subject of conversation amongst the musical scene. As in past favorites such as ‘Momma’s Gonna Die Tonight’, ‘KKK Bitch’ and ‘Cop Killer’, the band has tackled controversial subjects such as racism and police brutality and brought it out into the national spotlight.

 

Their latest release Manslaughter (Sumerian Records) found new subjects to tackle including female empowerment, pop music and their takes on a couple of familiar songs.

 

Band guitarist Ernie C gave Ghost Cult Magazine a run down on a few high lights on Manslaughter:

 

‘Bitch In The Pit’

 

Ernie C: That’s a song about women empowerment – being empowered to control. Girls love that song. They want to be the bitch in the pit, and the girls are in the pit. That’s what that song is.

 

Jamey Jasta on ‘Pop Bubble’

 

Ernie C: He’s a fan and knows Ice. Ice was on his podcast, he called in and said he wanted to do a song. We were like ‘what song?’ The perfect song ‘Pop Bubble Full Of Bullshit…’ That’s a good song actually. I remember when working on it, Ice said ‘pop mutherfuckers don’t want no fight. Muthafucker’s pants too tight.’

 

‘Institutionalized’

Ernie C: It’s a rant. It’s bringing it contemporary. It’s the same rant that Mike [Muir] had 25 years ago about his parents, but we’re bringing it up to now. It’s a lot of fun. 

 

We had to get clearance to do that song. So we started calling around. We thought Mike had it. Mike didn’t own it. This guy named Glen Friedman owns the rights to the song. That’s Ice’s photographer from back in the day. We didn’t know who owned the song. So he gave us the rights to do it but he said…he’s a vegan so “you’re coming down hard on the vegans!”

 

You know Ice loves video games. We did the ‘Gears of War’ song two years ago (for Gears of War 3). He loves videos games. It’s like his second job. It’s therapy.

 

’99 Problems’

Ernie C: Ice did that on a record (1993’s Home Invasion). There’s a story in Rolling Stone about it. Chris Rock was talking to Rick Rubin and he said you should use his hook that Ice has on one of Jay Z’s songs. That’s how that came about. But Jay Z stole the song. People hear the song now and ‘Ice is doing Jay Z’s cover’. No, Jay Z did Ice’s cover. They act like it didn’t happen. The catch about is we didn’t have to get clearance from no one. He had to get clearance to do that. He has to pay Ice on royalties on that song. They act like nothing’s going on. So we just took it back. They can’t claim we stole their song. No, it’s our song.

 

‘Talk Shit Get Shot’

Ernie C: You know Body Count is extreme. It’s taking everything to the extreme level. So that song – ‘Talk Shit, Get Shot’ – it goes out to internet bloggers. People that are on there – sometimes I listen to things – ‘the band sucks…’ and this and that – you really haven’t heard the band. We really don’t suck. People might not like it. I can play guitar. I have played guitar for 42 years. I don’t really suck. I might not be as good as so and so but I don’t suck. So this really tells the truth about some people.

 

Body Count on Facebook 

 

REI NISHIMOTO