Battered bits of meaty doomtastic morsels, with some stoner chipotlé, ambient honey hickory and sweet n’ sour sludge sauces for your munching and dipping ecstasy!
Sonance, Like Ghosts: Sounds like a sonic sister city to Milwaukee’s Northless– high gain, puregrain, high abv psychosis, blended with ice and major depressive disorder. Lurching doom/ambient/blackened sludge… Godfleshy… the soundtrack to the internal monologe of the average decompensating schizophrenic. [Note: I am recommending this.]
Northless, Split with Light Bearer: …and it’s Northless with two tracks here, “Tears From Crime,” and “For as Long as You Shall Walk the Earth, Your Will Reek of Failure,” with a combined running time of around 14 minutes; and Light Bearer with one, “Celestium Apocrypha: Book of Watchers,” which clocks in at nearly 22 minutes.
“Tears From Crime” is pretty standard Northless, the Northern version of Eyehategod with some Godflesh influences– rage and throat-bloodyingly-hateful vocals/screams over churning riffs that very rarely but occasionally turn beautifully melodic. They are, indeed as one might full well feel really rather quite confident in declaring, heavy. The slightly-longer-named following track that follows is at once more melodic and noisy than its predecessor– like if… Sonic Young played sludge, right? And they lived in a parallel universe where everything happened at half its normal speed compared to here– and then, they were thrown suddenly and for-no-good-reason-whatsoever into this universe– so now they’re playing what they think is half-time, but to us, in our own universe, it’s actually quarter-time, ya dig…?
These sonic profiles also inspire a tendency to ingest marijuana, if that’s not already clear. It’s mellow, trippy hollow rage.
Light Bearer and “Celestium Apocrypha…” move in with a Roots-long opus… one replete with ambiguous ambient noise interludes and introductions, some white with brown static, and metal upon metal in the background… eventually it upswells into: a death metal cassette in a radio that is old and so plays it too slowly, which makes the tape sound really low and down and loaded with low-end, and then the tape melts a little in the hot desert sun, and then you tried to play the tape again and somehow succeeded in getting it running, only now it’s so slow that only dogs hear it– that’s what Light Bearer sounds like.
Saint Vitus, Lillie: F-65: Meh at first, eventually moving up to thrilled and loving it. The new version of the American blues, lapsteel-playing, deal-with-devil-making howls of despair. Top 10 of the year.
Black Shape of Nexus, Negative Black: doom sludge noise that is strange— for a strange reason: it’s like an hour’s worth of tape of Tony Iommi almost writing every one of the classic sab riffs– it’s his “scratch” tape that was thrown away and forgotten.
They very nearly, though never completely, play riffs/songs as good as “Into the Void,” “Cornocopeia,” “Hole in the Sky,” “Snowblind,” “Supernaut,” “Symptom of the Universe.”
It’s routinely almost great. But never is. And is only sometimes good. But in that “sometimes”… it can be pretty awesome. BSoN very well could be great someday. Negative Black is their terrible audition for this greatness. Like when you saw Robert DeNiro, Kurt Russell and Christopher Walken audition for Star Wars.
Windhand, Windhand: much like St Vitus’s latest, above– grows on you. Initially its simplicity makes it seem simplistic, when it’s actually deep and vibrant, living stoner metal that is played simply. No. 4 of the year.
Kadaver, Kadaver–sounds like the band who does “Long Cool Woman in a Black Dress,” The Hollies– if they wrote their songs by throwing runes, and lived in the frostbitten north. With big fuck-off beards.