InAeona – Force Rise the Sun


InAeona Force Rise The Sun album cover 2015

Boston-based InAeona are new to Prosthetic Records, but are not new to the heavy music scene. It is their well-honed sound that makes them sound confident on their latest album, Force Rise the Sun. Their first major label release puts them between post-modern metal and modern Pink Floyd style psychedelic sounds.

Album opener ‘Bright Black’ makes one feel as if they are watching the opening scene of a movie similar somewhere between Tron and Star Wars. The music director or composer for The Force Awakens should take note. Like its title, ‘A Ways Away’ is an instrumental that is simultaneously hollow and brimming with forlorn emotion. It too might go well with a pivotal movie scene.

Vocalist Bridge shines on the sublime ‘Ghosts’ while she wails with her guitar. Bassist Dave and drummer James provide the explosive support to her voice. Bridge also does wonders on ‘Soldier’. This is where she shows the most of her range and pours her emotion into the song. The end result is as fierce as Bridge appears. ‘Soldier’ is also the song most likely to get stuck in a person’s head; fitting for the end of the album. With this the band proves they can write tunes that are catchy and do not sacrifice their core sound.

InAeona are serious about making music true to their signature sound. However, they are not so serious that the album suffers in any way. With Force Rise the Sun they have created an album that may someday be looked upon as an early classic when the beginnings of post-modern metal are a part of history. One is left with an interest as to what they may put together next, but there is plenty to be sonically explored with this album until then.

 

8.5/10

MELISSA CAMPBELL

 


We Never Learned To Live – Silently, I Threw Them Skywards


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It’s an unquantifiable, ethereal thing, is atmosphere. It is can be created accidentally, or cultivated with utmost planning and precision, and shattered and changed by the slightest inaccuracy being present. It’s clear from the shimmering clean guitar note that slips into understated vocal of intro/opener ‘Shadows In Hibernation’ that on their début album Silently, I Threw Them Skywards (Holy Roar) Brighton, UK, based quintet We Never Learned To Live are meticulously aiming for a pervading atmosphere of deep, immersive melancholy.

To achieve this, there is detail and precision at every step of their emo-meets-post-rock catharsis, and that an incredible amount of thought has gone into things, from the reflective and meditative backing and complimentary guitars to the connections and meanderings that link the songs. At their peak, such as on the jangling, progressive, Karnivool-esque ‘Vesalius’, WNLTL show not just an understanding of how to meld post-rock and depressive music into a meaningful output, but also that they are able to craft it into songs that provoke the desired response in the listener of drawing them away from the outside world into the introspection and immersion required to genuinely get something out of this music.

Yet, fastidiousness doesn’t always equal results, particularly not emotive ones, in the music field, and constancy is even harder to maintain than atmosphere. Sean Mahon’s vocals are inconsistent, jarring and grating as often as his flat cleans croon down another cul-de-sac. Alongside this, the creation of a continuous, similar soundscape serves to feed the feeling of monotony; as, alongside a re-occurring lack of vocal hooks – and I don’t necessarily mean choruses – there is a gaping hole in terms of dynamics (having a section that comes in with a bit of shouting and a some distorted chords is not a crescendo), and the song-writing element seems to have been lost in amongst the being neat (and boring).

Post-rock, particularly of the more morose, introverted kind, treads a fine line at the best of times, and despite moments of promise, We Never Learned To Live, more often than not, are unable to consistently produce the emotive, powerful compositions required to stand out in this field; fading, as with several of their tunes, into the background, defined as much by their inadequacies as their strengths.

 

5.5/10

 

STEVE TOVEY

 


A Light Within – Body Matter EP


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Each track of Body Matter (Static Tension), the second EP from Kansas City’s A Light Within, is a notebook page torn from a collective, containing “substance of a person’s mind, body and soul while their time was spent on Earth”, and such depth of thought is born out in the intelligent post-rock aesthetics the band present along with the overall thematic arc of their music.

A Light Within are keen to inject genuine emotion into their art, and prove they are more than just a cerebral matter, with Kyle Brandt’s voice the most prevalent emotive vehicle.

Behind him is a mixture of clean, spacious guitar interplay from Jeff Irvine and Josh Bennett, and subtle, unobtrusive bass lines from Andy Schiller, who teases subtle grooves and works in and around the space left by Nick Sloan’s airy percussion.

Calling to mind the relaxed, natural unwinding of Kevin Moore’s early work with Chroma Key, and the more relaxed, thoughtful moments of Karnivool, Body Matter does fall foul, though, of that most abundant of post-rock barriers; the thin line between true transcendent inclusion and music that fades into the background.  Both ‘Page #22 – No Charge’ and ‘Page #52 – Between Shores’ begin promisingly, with shimmering clean tremolo picking and Brandt’s sensitivity, but with no proper dynamic to them, as with closing epic ‘Page #47-#48 Glaso’ whose stately chords, descending harmonics and sneaky bass line threatens to explode before introverting to a Tool-esque wind down, things meander to an unspectacular close.

A grasp of what post-rock is and does is only part of the trick, and while A Light Within intrinsically add a lilting melancholy and sensitivity to this understanding, what they don’t yet consistently do is add to this beauty the requisite reasons to invest in their music, because it is the songs that don’t quite measure up to everything else. Post-rock asks of its listener to invest; to give of themselves to the tides of the music, and despite some interesting detours, A Light Within currently offer good sections, but not whole songs, which leaves no real lasting reason to repeat the journey.

 

6.5/10

 

STEVE TOVEY


Cynic Books European Headline Tour Next Fall


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Progressive rock masters Cynic have announced a headline tour of Europe for next Fall, comprising 10 dates total so far. Supporting the, will be post-rockers Tides from Nebula and Onward With Love, which includes Cynic’s Paul Masvidal and Amy Correia in its lineup. Cynic is still touring behind 2014’s Kindly Bent To Free Us (Season of Mist).

Cynic tour dates with Tides From Nebula and Onward With Love:

Oct 01: Magnet – Berlin, DE
Oct 02: Voxhall – Aarhus, DK
Oct 03: Euroblast – Koln, DE
Oct 04: Volt – Sittard, NL
Oct 05: Underworld – London, UK
Oct 06: La Maroquinerie – Paris, FR
Oct 07: Circolo Colony – Brescia, IT
Oct 08: Channel Zero – Ljubljana, SL
Oct 09: Blue Hell – Budapest, HU
Oct 10: Backstage- Munchen, DE


Abyssal – Antikatastaseis


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In every musical movement, the leaders are the ones who bring their own twist, their own innovation, to the collective sound. Since Portal’s cross-over from novelty clock-head band to serious underground phenomenon, the number of bands following them into abstract Noise-damaged eldritch Death Metal have steadily increased until it constitutes a genuine – if deeply underground – trend. We’re still at the point where even the orthodox followers can still deliver a genuine impact, but the big hitters are already identifiable as the ones with their own distinctive contribution to the formula; Portal, of course, with their ferocious creativity and nightmarish song structures; Aevangelist with their super-dense wall of Noise overload and Impetuous Ritual with their underpants. With their let’s-have-fun-with-syllables third album Antikatastaseis (Profound Lore), British one-piece Abyssal step firmly up to join the top tier.

Having mastered their thick, oppressive brand of Murky Death Metal over two previous albums, Abyssal’s grand bid for innovation here is to mix it up with a hefty dose of what I’ll grudgingly call “post-rock” – the expansive, contemplative sound-scaping (another grudgingly used term) that’s been an increasing part of Metal’s musical landscape since Neurosis.  On paper it sounds hackneyed and forced, and the first listen may not do much to dispel that impression – the more post-heavy passages sound surprisingly conventional, almost twee, to ears prepared for eldritch cacophony, and the transition between them and the more typically murky passages seem a little abrupt – but give it time and it develops into something genuinely distinctive and unsettling.

The key to Antikatastaseis’ success is probably that Abyssal haven’t softened the attack of their Death Metal elements in any way – they’re still as cavernous and oppressive as anything on Novit Enim Dominus… (Independent) – but they have put them in a different context. Whirlwinds of chaotic Death Metal are dragged and distorted into unexpected, atmospheric shapes that would almost be beautiful if they weren’t so ugly. Passages of genuine harmony collapse into sudden, jarring violence, or fade into chilling ambient drones. At times the effect calls to mind Black Metal bands like Fen or Winterfylleth, but with their bucolic pastoralism replaced with nightmarish horror. This isn’t Portal-lite  – though it may have the potential to cross over to a wider audience than some of their peers – it’s the work of a band who are putting their inspirations into a new and distinctive form, just like all innovators.

The temptation to make a joke about Antikatastaseis being as hard to listen to as it is to say is pretty hard to resist, but they deserve better.  It’s also not true – once you’ve adjusted to the combination of elements, it’s a surprisingly intuitive and engaging sound that develops with each listen. Whatever you think of the current state of spooky abstract Death Metal, Abyssal have simultaneously appointed themselves to the top tiers of the scene, and created an album with the potential to draw in fans from outside it.

 

9.0/10

Abyssal. Too kvlt for Social Media.

 

RICHIE HR


Codas – Currents EP


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Largely, samples and Electronica really piss me off. Where’s the musical aesthetic or skill in roughing-up a squealing knob, for Christ’s sake (unless it’s George Osborne…)? When those bleeps are accompanied by low-fi riffs and drums which gradually increase in pulverising power, however, as with the opening track to this EP from one-man Brooklyn project Codas, the amalgam can be very effective.

An instrumental affair, Currents (Crowquill) is an Industrial sequence-fest. Sound effects twist and growl through ‘Follow The Blind’, which begins with an artificial drum section before the guitar grabs the song by its lapels to take us on a viciously swirling journey of grime-coated riffs and ‘Post’ leadwork. It remains as beguiling as it is compelling; the closing mess of howling feedback going absolutely nowhere, yet retaining a curious interest.

The nasty, fuzzed guitar and rapid drum battery, reminiscent of Royal Blood, marks ‘White Black’ as the most attractive track for those of us who appreciate more structured, less synthesised outbursts. The closing title track, however, returns to the tiresome ‘scratching’ and stuttering samples, only briefly punctuated by the warning growl of the strings. Rare, Post-rock lead strains occasionally threaten to keep the interest alive and there’s a harsher edge to the second half, with an eerie poignancy; but overall it’s an irritating quarter of an hour that I’ll never get back, and sadly indicative of the EP as a whole.

There’s obviously interest in this stuff, but really it’s nought more than incidental music in a movie scene and, for this technophobe, as dull as dishwater.

 

4.5/10

Codas on Facebook

 

PAUL QUINN