Tag Archives: Neurot Recordings

Corrections House – Know How To Carry A Whip

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Know How To Carry A Whip is Corrections House‘s second album following on from 2013’s unique Last City Zero (both Neurot). Colder, Harder, Bleaker than before, Know How To Carry A Whip takes that what they did before and refines it.

A potent mix of clashing styles hung together with a framework of pounding industrial beats and loops, punctuated with mechanical clanking courtesy of Sanford Parker, leave the listener on the back foot as the rhythm travels down the off-beaten track. This mechanical cacophony brings to mind the factory sounds of the industrial English midlands which famously inspired Black Sabbath and continued with bands like Godflesh of which this shares a sense of aesthetics.

Layers are hammered together disjointedly with crushing and oppressive riffs courtesy of Scott Kelly (Neurosis) and Bruce Lamont (Yakuza), which feels like you could imagine Dälek covering Neurosis’ Through Silver In Blood (Relapse) would sound like, whilst also having a similar feel to DHG in the way the styles are shoved together.

Added to this potent mix, Mikey IX Williams (Eyehategod) puts in one of his finest performances to date with his distinctive lyrics and poetry that’s both persuasive and abrasive, a dystopian flow of decadent imagery and sharp-witted wordplay as evidenced on song titles such as ‘Crossing My One Good Finger’ and ‘I Was Never Any Good At Meth’ delivered with fervour of a manic street preacher who’s doing it for his own amusement rather than to save anyone in particular.

This is most notable on the tracks ‘Superglued Tooth’ and ‘Hopeless Moronic’ which contains some Mikey’s more memorable lines, delivered with cold calculated fury and working in tandem with Scott Kelly‘s intoned incantations and reverberating roars: layer upon oppressive layer of jarring discordance and a cold machine-like calculation make this album a step up from their first album.

‘When Push Comes to Shank’ shows more than a smidgen of influence from Joy Division, but with even more despair: love won’t tear you apart it’ll leave you in an alley missing a kidney. The album finishes on the lengthy ‘Burn The Witness’ a bleak meditation on the industrial world grinding to a halt and tearing itself apart with a fury and efficiency, machines drown in a black sludge of despair.

Know How To Carry A Whip sounds like a soundtrack to the end of the world as we know it, and it sounds more relevant with each and every listen.

 

9.0/10

 

RICH PRICE


Kowloon Walled City – Grievances

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Despite the fraught hostility coursing through the first two albums from San Francisco Sludge quartet Kowloon Walled City, there was evidence of a Post-hardcore sensibility. It’s no surprise, therefore, to see a heightening of the band’s melody on third album Grievances (Neurot).

Brief flurries of lead are evident from the outset, but so is a slow pace; Ian Miller’s rumbling bass, especially throughout tolling closer ‘Daughters and Sons’; and Scott Evans’ embittered yell. What opener ‘Your Best Years’ misses in urgency and frenetic neurosis, it gains in feeling and an almost unbearable tension: sections where brakes are applied evoke scenes of tethered wild animals straining to be free. The ensuing title track has the same doleful, stone-kicking pace: violent desires suffocated by a Doom-like oppression which leaves every synapse twitching with the harrowing drama of it all. When the explosion occurs at the track’s midway point, it too is sufficiently reined to maximise its powerful statement. Less, here, is more…

It is this skill which Kowloon Walled City possess in buckets: the ability to move further toward the more touching, tortured elements of Touché Amoré without sacrificing their own aggravated, pummelling core. Timing, especially with the introduction of Evans’ vocal, is immaculate and delivered to optimum effect with always a word left out there hanging past the instrumentation: the “Weaknesses…” refrain to ‘Backlit’ is positively chilling. Yet it all feels so organic, a fluid part of the breathing whole.

That anger is occasionally allowed its freedom, within the crashing ire of ‘The Grift’ for example, yet it remains tempered by a complexity of sound: the guilt after lashing out which even the tweak of strings at the track’s coda highlights. This is the embodiment of pure expression: an album depicting a person with so much justified anger, yet is too nice to show it or feels like shit when they do. An album fizzing with pain and frustration yet constantly, feverishly, grasping at its reins for fear of what could happen if let loose. The pregnant ‘True Believer’ epitomises this fragile balance: a squall of pent-up hurt and aggression which flays the skin when the bubble pops.

Grievances is an at times unsettling and traumatic but always potent experience, blowing this year’s closest relative, Black Sheep Wall’s I’m Going to Kill Myself (Season of Mist), from the water by more accurately personalising the rawness and unpredictability of suppressed emotion.

 

8.5/10.0

 

PAUL QUINN


Neurosis – Sumac – Brothers of The Sonic Cloth: Live At The Paradise, Boston MA

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If I learned anything from spending my Saturday afternoon at the Paradise Rock Club in Boston it’s that silence can be crushingly heavy. That’s if coupled with the right music and atmosphere of course.

And there was music. And what wonderful music it was. Concrete like slabs of riffs and drums that slammed like vault doors. Unnerving electronics drowning in waves of feedback squeal. But between the noise and the fury, all four performers, Neurosis with support from Sumac, Brothers of the Sonic Cloth and The Body had nothing to say between their numbers. It was eerie, yet quite refreshing. I’ve been to too many metal and hardcore shows, so I’ve grown accustomed to frontmen demanding for circle pits or to throw the horns in the air. Not the case here. Just a whole lot of heavy.

The Body, by Hillarie Jason Photography

The Body, by Hillarie Jason Photography

The Body took the stage first and set the mood with a sound that I can only describe as a future Eyehategod that travelled back in time to preach of the upcoming apocalypse. The only thing harsher than their cold electronic noises were the nihilistic shrieks let out by guitarist Chip King.

Brothers of the Sonic Cloth, by Hillarie Jason Photography

Brothers of the Sonic Cloth, by Hillarie Jason Photography

Seattle legend Tad Doyle (TAD, Hog Molly) was next with his newest musical endeavor, Brothers of the Sonic Cloth. Despite being involved in extreme music for close to 30 years, Doyle can still churn out Sabbath strength riffs in rippers like ‘La Mano Poderosa’ and ‘Unnamed.’ Interestingly, Brothers of the Sonic Cloth’s self-titled début (Neurot Recordings) was just released earlier this year, but they ended their set a new song not featured on that LP, ‘Magnetar.’ New music so quickly? No complaints from me.

Sumac, by Hillarie Jason Photography

Sumac, by Hillarie Jason Photography

I was very excited to get to see guitarist and vocalist Aaron Turner’s new and bone snapping project, Sumac, live as I am still mourning the passing of the mighty Isis (Boston band, not terrorist organization). While they may lack the melodic touches or musical finesse that Isis was displaying in their mid to late years, Sumac is as crushing live as they are on their debut The Deal LP (Profound Lore). Personal highlight was watching skinsman Nick Yacyshyn pound out the jazz freakout in the middle of ‘Hollow King.’ Bearded wonder Turner says he intends to keep Sumac going as a full time band. Let’s certainly hope he does.

Neurosis, by Hillarie Jason Photography

Neurosis, by Hillarie Jason Photography

But for all the intensity and knee-buckling volume that the aforementioned bands brought, nothing was quite like watching Neurosis live. Few bands can make thrash and death metal sound quaint, but Neurosis is one of them. Eschewing their elaborate visual presentation of yore and going for a more spartan aesthetic, these rugged Oaklanders took the stage with no backdrop and sparse lighting. This after all was their most wide reaching tour in more than ten years, so the music was front and center. The set moved almost as an ocean ranging from the more passive sounds of set opener (and highly underrated) ‘A Sun that Never Sets’ and ‘My Heart For Deliverance’ to the earth rattling bits like ‘The Doorway’ and ‘Times of Grace.’ While they covered a wide selection of their discography, tracks from early Neurosis standards Souls at Zero and Enemy of the Sun were unfortunately absent.

Neurosis, by Hillarie Jason Photography

Neurosis, by Hillarie Jason Photography

And just when you thought you had reached the zenith of heavy music, Neurosis closed with the song. The title track. I think you know this one. A certain little song called ‘Through Silver in Blood.’ If you’re like me then you’ve heard this song about 4 million times in your room or car, but live is a different animal. As soon as the opening sample kicks in you will feel something otherworldly seize your spine and it won’t let go until the final pounding tribal rhythms. The audience was in a full trance. And as soon as it ended they walked off the stage with nothing to say. Musical bliss finally had been achieved.

Neurosis, by Hillarie Jason Photography

Neurosis, by Hillarie Jason Photography

It may have possibly been the heaviest show I have ever been too, but at the same time it didn’t necessarily feel like one. I now learned that I could live without some obnoxious frontman shouting to mask his insecurities. If your band is truly heavy then don’t say a word. We’ll know how extreme you are by the silence and the storm that follows it.

Neurosis, by Hillarie Jason Photography

Neurosis, by Hillarie Jason Photography

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WORDS BY HANSEL LOPEZ

PHOTOS BY HILLARIE JASON PHOTOGRAPHY


Steve Von Til – A Life Unto Itself

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Just like Wino, or fellow bandmate Scott Kelly, when taking time off from his day job, Neurosis vocalist/guitarist Steve Von Til likes to stray from metal and dabble in acoustic albums. A Life Unto Itself is Til’s fourth under his own name, following on from 2008’s A Grave is a Grim Horse [both Neurot Recordings]

Much like his previous solo outings, it’s an acoustic album of dark Americana; sometimes folky, sometimes straying into more country territory, but always fuelled by a slow burning melancholy. Accompanying Til’s gravelly baritone are slide and steel guitars, fiddles, piano, plus occasional synths, and the variety of styles and sounds on offer ensure that while the mood rarely lifts it remains a compelling listen throughout.

Whether it’s the haunting seven minutes of the title track, the eerie ‘Night of the Moon’ or the introspective ‘Birch Bark Box’, every track boats layers of subtlety, texture and emotion. Til’s poetic introspection moulds the best of latter day Johnny Cash and Nick Cave and feels very personal, and suit the leaden pace yet sombre atmosphere that Til’s music creates.

While musically Til’s solo material is worlds away from his work with Neurosis, it retains that same crushing feeling of oppression. A Life Unto Itself is a hard, tiring listen and not one for those wanting an acoustic experience to relax to [Wino’s outings with Conny Ochs are far more uplifting in comparison], but it’s a rewarding listen for those willing to revel in the misery.

 

7.5/10

Steve von Til on Facebook

 

DAN SWINHOE


Ides Of Gemini Announce Upcoming West Coast Tour

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Ides of Gemini have announced an upcoming West Coast tour with Clay Rendering. They are supporting their current album Old World New Wave, released last September via Neurot Recordings, as well as a special, limited Carthage/Strange Fruit seven-inch via Magic Bullet Records last month in honor of Record Store Day. They will employ the services of drummer Sash Popovic (Black Math Horseman), who will be filling in for Kelly Johnston-Gibson, who was injured on their last tour.

Guitarist J. Bennett stated:

“After the disappointment of having to drop off the Mountain Goats tour last month, we’re looking forward to getting out on the road again. Unfortunately, Kelly’s injury is still healing so she won’t be able to join us for the June shows with Oxbow and Demon Lung or our appearance at Cruficalfest in Salt Lake. The good news is that our friend Sash Popovic, formerly of [singer/bassist] Sera’s [Timms] old band, Black Math Horseman, will be filling in for those. He’s a killer drummer and a great guy, so we’re very thankful that he’s agreed to help us out. If all goes according to plan, Kelly should be back in action for the July run with Clay Rendering.”

Jun 05: Brick & Mortar – San Francisco, CA (w/ Oxbow)
Jun 07: The Echo – Los Angeles, CA (w/ Oxbow)
Jun 19: Crucialfest – Salt Lake City, UT
Jun 20: Dive Bar – Las Vegas, NV (Demon Lung Record Release Show)

w/ Clay Rendering:
Jul 14: Golden Bull – Oakland, CA
Jul 15: Club 66 – Ashland, OR
Jul 16: Wandering Goat – Eugene, OR
Jul 17: Ash St Saloon – Portland, OR (w/ Jex Thoth, Atriarch, Barrowlands (no Clay Rendering)
Jul 18: Media Club – Vancouver, BC
Jul 19: Highline – Seattle, WA
Jul 21: Press Club – Sacramento, CA
Jul 22: Elbo Room – San Francisco, CA
Jul 23: Sweet Springs – Los Osos, CA
Jul 24: Complex – Glendale, CA

Ides of Gemini on Facebook
Ides of Gemini on Bandcamp
Neurot Recordings on Facebook
Magic Bullet Records on Facebook


Brothers Of The Sonic Cloth On West Coast Tour, Tour Trailer Streaming

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Brothers of the Sonic Cloth. Photo Credit: Invisible Hour

Brothers of the Sonic Cloth. Photo Credit: Invisible Hour

Brothers Of The Sonic Cloth is currently in the midst of their West Coast tour. The band features featuring iconic guitarist/vocalist Tad Doyle (formerly of Tad and Hog Molly) veteran bassist Peggy Doyle and drummer Dave French (The Anunnaki). They are supporting their self titled album out now via Neurot Recordings. Watch the tour trailer below.

May 23: Starlight Lounge – Sacramento, CA
May 24: Parkside – San Francisco, CA
May 25: Echoplex – Los Angeles, CA
May 27: Sister – Albuquerque, NM
May 28: Hi-Dive – Denver, CO
May 29: Metro Bar – Salt Lake City, UT
May 30/2015 Neurolux – Boise, ID

Neurot Recordings on Facebook

BOTSC West Coast Tour 2015 from WitchApeStudio on Vimeo.


YOB Confirmed Australian Dates In August

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Photo Credit: Hillarie Jason

Northwestern psychedelic doom trio YOB has confirmed their first trek to Australia this summer. They are promoting Clearing The Path To Ascend out now via Neurot Recordings. Confirmed dates are posted below.

May 21: Ram’s Head Live (Maryland Deathfest) – Baltimore, MD
Australian Tour August 2015:
Aug 19: Rosemount Hotel – Perth (AU)
Aug 20: Enigma Bar – Adelaide (AU)
Aug 21: Max Watt’s -Melbourne (AU)
Aug 22: Manning Bar – Sydney (AU)
Aug 23: Crowbar – Brisbane (AU)

Neurot Recordings on Facebook


Audio: Steve Von Till – In Your Wings

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Steve Von Till is streaming “In Your Wings,” off of his forthcoming album A Life Unto Itself, out May 12, 2015 via Neurot Recordings. The album was recorded at Avast! Recording Co in Seattle, WA with producer Randall Dunn (Earth, Sunn O))), Wolves In The Throne Room, Marissa Nadler and Rose Windows). Von Till was joined by viola master Eyvind Kang, pedal steel wizard J. Kardong and percussionist Pat Schowe for the recording, and cover art was done by Aaron Turner (Sumac, Isis, Old Man Gloom, Hydra Head). Stream it below.

Steve Von Till on Facebook
Neurot Recordings on Facebook


Enslaved – YOB – Ecstatic Vision: Live at The Sinclair, Cambridge MA

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Not much in this life beats seeing some great bands play live, except for when you see great bands play live and it is the last stop on the tour. On March 24th in front of an eager Cambridge crowd at The Sinclair, Ecstatic Vision, YOB, and Enslaved brought forth a memorable show to close out the first quarter of the year. For me, I had never heard/listened to Ecstatic Vision, only recently started listening to YOB after they were announced for Maryland Deathfest 2015, and have become a big Enslaved fan over the years. To top it all off, this was the final stop on the tour and was curious to see what sort of shenanigans or special moments could occur. To be honest, I still can’t believe some of the things I saw and how ‘Isa’ by Enslaved is now ruined for me forever (in a good way of course).

Ecstatic Vision, Photo by Hillarie Jason Photography

 

To start off the night on what turned out to be a great note, Ecstatic Vision rocked out and certainly made a vast amount of new fans in Cambridge, MA. The entire set I tried to place what I was listening to, and the best description I could come up with was Deep Purple with Rob Zombie during the White Zombie era on vocals. Naturally, this combination got me excited from the start of the set and straight through until the house lights came on. In a strange moment during one of the epic tracks in the set, Enslaved’s own Grutle Kjellson (lead vocals/bass) and Herbrand Larsen (keyboards, synthesizer, clean vocals) appears on stage to provide some manly hugs to the guys in Ecstatic Vision. Strangest of all was Grutle walking around in a t-shirt and his underwear. Due up next, doom titans, YOB.

 

Yob, Photo by Hillarie Jason Photography

Having only got around to really listening to the latest album from YOB and a select few other tracks, I had high hopes for their live performance. I am happy to say that my high hopes were met, and then some. Given the length of the available set time and the average length of a YOB song, I was not anticipating anymore than a few songs and more than likely one or two off the latest album. Turned out they played a total of four tracks, three of which came off of the new album. The set kicked off with ‘In Our Blood’ which shook the very foundation of The Sinclair and the souls of its guests. In a surprise turn of events, Grutle made his way out to center stage again where a spare microphone was waiting for him as he provided guest vocals for ‘Nothing To Win.’ This would not be the end of Enslaved’s appearances as Grutle, Herbrand, and the rest of the crew would come out and provide more manly hugs to the guys from YOB. It appeared YOB may have been done after just three songs, but Mike Scheidt announced they had time for one last song, ‘Burning the Altar.’ The threesome from Oregon had absolutely blown me away with their live stage presence and I am more than excited to catch them again at MDF this year!

YOB and Enslaved, Photo by Hillarie Jason Photography

At long last, it was time for Enslaved to return to the stage, but actually play some music rather than provide comic relief. The set list from the long time extreme metal favorites was obviously in support of their latest release, In Times (Nuclear Blast), so a couple or so songs could be expected and then a few other songs sprinkled in. Off of the new album, the Cambridge audience got to hear ‘Thurisaz Dreaming’, ‘Building With Fire’, and the album title track, ‘In Times.’ On top of that, the set included a track from 8 other albums such as: Axioma Ethica Odini, Below the Lights, Frost, RIITIIR, and Ruun! Normally when I order a flight, I expect a couple of sample size beers for tasting. However, Enslaved truly put on a flight of their catalog for fans both new and old. Personally, I really enjoyed hearing some of the older tracks such as ‘The Watcher’ and ‘Fenris’. In case there was any question, yes, Grutle’s in between song banter and jokes were present and as funny as ever. Always nice to know that some bands out there today can still play some great heavy metal, but can avoid taking themselves so seriously and just have a good time. As most of the Enslaved fans could guess, the set ended with fan favorite ‘Isa’. However, the joke was on Enslaved at this point as members from both YOB and Ecstatic Vision rushed the stage playing pretending to play instruments unplugged. Also, and most notably, some members of the band and road crew were holding pieces of cardboard that looked to spell ‘Iza’ or someone had difficulty drawing the letter S. Then another Z came out, and then a P. Just when I realized that they had spelled out “pizza” (which is all I can hear now during said song now) some ladies from the merch tables came out on stage and started handing out pieces of pizza out to the crowd! This was certainly a first for me and I am not sure I will ever see anything like that again.

Enslaved, Photo by Hillarie Jason Photography Enslaved, Photo by Hillarie Jason Photography

 

 

Enslaved with YOB and Ecstatic Vision, Photo by Hillarie Jason Photography

 

It just goes to show you that not much can beat an Enslaved show, regardless of who comes with them. However, on this specific tour, I think the selection of support bands were damn near flawless. Also, I wanted to quickly mention my ever growing love for The Sinclair venue. I have been to this venue now for a handful of shows and the staff is always friendly, lighting/sound is perfect, and just the overall atmosphere just seems to really click. As for Enslaved, YOB, and Ecstatic Vision, I think the rest of the heavy metal world has a lot to cover at this point to bring such a diverse but entertaining group of bands together for a tour.

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WORDS BY TIM LEDIN

PHOTOS BY HILLARIE JASON PHOTOGRAPHY