2007 in review - The not-metal part
1.
Ulver - Shadows Of The Sun
It's a shame that most people who listen to this album will already know who Ulver are. This is a band, or a collective, or whatever you want to call Garm and Knutt, who deserve infinitely more exposure than they ever receive. Hell, the listeners of the world deserve to hear their music. From the early years of folk metal, black metal, and through the middle years of William Blake exploration and electronic mish mashery, Ulver have remained unique in every sense. Their music, even when entering soundscapes never before trodden by any member of the group, has remained at the forefront of any similar artistic endeavors. The skills of this band, and now of its 2 sole provocateurs cannot be overstated. Anyway, enough hero worship. Onto the album. Shadows of the sun, not surprisingly, finds Ulver in a new paradigm of sound yet again. Gone is the shifting scope and bombast of Blood inside, as is some of the reliance on electronic sampling. In their place; a clear influence from classical and jazz sounds. There is still a fairly constant hum and roll of samples and other electronic oddities, but rather than being the sound, they are merely additions to the more ephemeral natural sounding instruments. Much like Blood inside/Perdition city, this is an album that rewards listeners who are willing to sit in the dark and listen via high quality headphones. The depth and clarity of the recording is amazing, allowing minute details to reveal themselves clearly and without struggle. Rather than climb skywards and then come flying back down repeatedly, or go from bombast to mourning, this album finds its equilibrium easily and comfortably, and proceeds in a melancholic, but never repetitive, sort of haze. The soundtrack to a night in an opium den, or for walking through steamy nights in a haze of detachment. Amazing.
2.
Pimentola - Misantropolis
I really like this album. On first listen it sounded a little kitsch, but over time it has really grown on me. This is an extremely diverse release. At times feeling like a cold meat industrial grindfest, at others a slightly comical carnivale, and at others still, a quasi classical soundtrack for a looming apocalypse. There are few genres that aren’t in some way touched on, or that don’t receive a hat-tip of some sort. There is a bit more vocal content here than on previous releases, and for me the overall solidity (even within the vast ranges of change and style fluctuation) is much better. Perhaps the recording is also slightly better with less repetition in not only the styles but some of the sampling being used. I really want to get fucked up and listen to this. I imagine it would be massively satisfying. Even chronically sleep deprived I find this albums strange thought inducing qualities rather amusing and have often fallen asleep listening to it to induce odd dreams. The packaging and presentation of the album, as with any CMI release, is top notch and won’t fail to impress.
3.
Dax Riggs - We Sing Of Only Blood Or Love
Yes, I am quite the Dax Riggs fan boy, so it may come as no surprise that this cracks my top 10. It didn’t make it higher for 2 reasons. 1) This has been a bumper year for music and 2) it’s not the best thing he has ever done. Having said that, it has 3 or 4 tracks which are utterly fantastic, a bunch more that are ok, and only one or two that really let the album down by not necessarily being bad, but just being.. plain. What is evident is that the style Dax Riggs is keen to play his music in, is certainly more akin to indie, than any other overall genre type. Unfortunately for me, as soon as most people say indie, I assume they mean whinging fucks with shitty hairdo’s wearing converse, playing crappy chord progressions. I hope not too many other people assume the same if they hear this album described as indie in sound style, as it may put some people off that would find this very satisfying. The lyrics are still intense and uneasy, as all Dax’s works have been, and whilst minimal (in the same sense as Deadboy and The Elephantmen) the music still carries a great deal of power. As always, it is the combination of the lyrical content and Dax’s amazingly emotional and powerful (yet subtle in turns) voice that really carry this album and make it worth hearing many times.
4.
Elend - A World In Their Screams
Elend have released some genuinely satisfying albums over the years, but also a few that have left me feeling altogether underwhelmed. As a result of this, I always approach their releases with some hesitation. As with most of their works, this is not an overly easy listen. It demands your attention and dedication to get the most from it, and thankfully, if you give it this, there are great rewards to be had. AWITS is the third in the scheduled 5 album work, preceeded by Winds Devouring Men (part 1) and then Sunwar The Dead, you have some idea of what to expect. What I wasn’t expecting was how much further towards decay and chaos this album was going to go. There are points on this album when listened to intensely, that time ceases to be a certain thing, and where perceptions about what the listener is hearing, begin to become part of what the listener is hearing, such is the chaos involved. Many people will hate this album for its raw, vehement and aggressive nature. Others will be in utter bliss within the contortions of the screaming, writhing monster that it is. Truly a musical experience (for Clive Barker fans - this is the soundtrack to the Iad’s arrival and the initial comprehension of their presence!)
5.
Christian Fennesz & Ryuichi Sakamoto - Cendre
When 2 big names get together, sometimes it means good things will flow and other times it leads to a rather convoluted and confused musical sound. This release is thankfully not the latter. For an album that was made by 2 men who were almost never in the same place, there is an amazing sense of cohesion. No instrument sounds as if it is battling against the other. Rather they all compliment each other perfectly. Being largely acoustic guitar and piano driven, this is a very mellow journey, for rainy afternoons, cloudy cold evenings and let nights alone. The electronic elements are perfectly fused with the subtle guitar and piano work, creating a meandering and slow paced drift. As important as the actual piano notes and guitar notes on this release, is the silence. Each break seems so perfectly placed, so perfect in length. I guess that’s what such amazing experience will bring. Even if the thought of gentle electronic fuzz, with piano and simple guitar doesn’t interest you, this album should be heard simply because of its significance as a work of art; as a coming together of two great musicians who each in their own right are considered legends. Beautifully simple
6.
Boris & Michio Kurihara - Rainbow
Boris are a busy bunch. And each release they have seems to tread an entirely different place, without ever losing the sound that makes it obvious Boris are involved somewhere. Here they take some of the Shogaze and post-rock styling of Pink opener “Farewell” and with the help of Kurihara head off into very droney, psychedelic sort of landscapes. Even though the songs aren’t overly long, they feel like they are, in a good sense. They feel like they wander around, as if staring in an amazed stupor at the night sky. Very dreamy and lazy. Super cool, retro and psychedelic. Totally Boris!
7.
Pelican - City Of Echoes
City of Echoes is the most accomplished and satisfying Pelican release to date. Rather than relying on extensive passages of droning melancholic repetition (and I don’t mean to suggest that style is bad, its not, and early Pelican was great) a different type of rise and fall and interplay are now at work. With broader more textured but slightly less dense sounds, the music sounds more alive. Although less repetitious this is by no means a boring or simple album. At times when the speed lifts, there is an ambiguity to the rolling and crossing guitars, which is not entirely unsatisfying, and certainly adds to relisten potential. The only pitfall with this album, is the sometimes average drumming. It’s not terrible, but it certainly fails to capture the same ambience and subtlety that the main guitar sections do. Which is a shame. Still fantastically rewarding overall though.
8.
Manes - How The World Cam To An End
Many people upon hearing this, will not link this Manes, to that Manes. The Norweigan Metal ones. But it’s the same band. This album carries a little bit of everything; metal, jazz, electronic, madness, goth pop and more. Although not a metal album, there are still some atmospheric connections to the bands earlier blackmetal; there is still an unease in the music, a dark atmosphere, which will keep old fans (with open minds) satisfied. The only downside to this album is the complexity is not isolated, that is, really, for full effect, this album should be listened to as a whole. Which isn’t always an easy thing, as it can at times be quite abrasive. If you want to hear what’s possible, what can come from blackmetal, are a fan of Ulver or Fleurety and the like, or if you are just curious; Well worth a listen!
9.
Explosions In The Sky - All Of A Sudden I Miss Everyone
Many people don’t consider EITS a Post-rock band, but I see no better place to lump them. They are for me what post-rock should be, what it can be, and what I seek in this style of sound. At times a contorted scream, at others a gentle wave in an ocean of ambience, and without a rough or jagged transition from one to the other in site. I think the only reason I can’t rank this higher is that the limitation of their style, is, well… limiting. A minor complaint though, and within the confines of the 4 basic instruments a truly amazing range of emotions are able to be captured when so dutifully approached. A fantastic release to get lost in, like all their albums. Very much looking forward to seeing them live! 3 weeks or so now :D!!!!
10.
Nordvargr - For The Life Is The Blood
Lucky last in 2007’s top not-metal 10, is from another man that I am quite a fanboy of, Henrik Nordvargr Bjorkk (HNB). HNB has a habit of making music that is truly uneasy listening. Be it his grim and disgusting sounding work with MZ.412, the horrific grind of Incinerator International, or the blend of industrial and noise of Goatvargr. The work he releases under his own surname, and variations thereof, is no different. What is slightly different about this latest release is its palpability. Sure, it’s still a pretty bleak little journey to go on, but there are elements that verge on groove, and even some hints of melody underneath the electronic/dark ambience that we are more used to. Also released during 2007 was the slightly less satisfying “In Oceans Abandoned by Life I Drown... To Live Again as a Servant of Darkness”, so it was a busy year for the prince of electronic darkness.
Worth a mention
Amber Asylum - still point
Let downs
Samael - Solar Soul
Just another shitty same same same same BLAH release. What happened to these guys :(((((
Antimatter - Leaving eden
I had high hopes for some seriously moving release from Antimatter. This is quite poor. Shit in fact.
In other news
- Liv and I have been together 7 years now :)
- Tramadol gives me REALLY bad side/after effects. I felt so fucked up after, yet still badly craved. WTF?
Ulver - Shadows Of The Sun
It's a shame that most people who listen to this album will already know who Ulver are. This is a band, or a collective, or whatever you want to call Garm and Knutt, who deserve infinitely more exposure than they ever receive. Hell, the listeners of the world deserve to hear their music. From the early years of folk metal, black metal, and through the middle years of William Blake exploration and electronic mish mashery, Ulver have remained unique in every sense. Their music, even when entering soundscapes never before trodden by any member of the group, has remained at the forefront of any similar artistic endeavors. The skills of this band, and now of its 2 sole provocateurs cannot be overstated. Anyway, enough hero worship. Onto the album. Shadows of the sun, not surprisingly, finds Ulver in a new paradigm of sound yet again. Gone is the shifting scope and bombast of Blood inside, as is some of the reliance on electronic sampling. In their place; a clear influence from classical and jazz sounds. There is still a fairly constant hum and roll of samples and other electronic oddities, but rather than being the sound, they are merely additions to the more ephemeral natural sounding instruments. Much like Blood inside/Perdition city, this is an album that rewards listeners who are willing to sit in the dark and listen via high quality headphones. The depth and clarity of the recording is amazing, allowing minute details to reveal themselves clearly and without struggle. Rather than climb skywards and then come flying back down repeatedly, or go from bombast to mourning, this album finds its equilibrium easily and comfortably, and proceeds in a melancholic, but never repetitive, sort of haze. The soundtrack to a night in an opium den, or for walking through steamy nights in a haze of detachment. Amazing.
2.
Pimentola - Misantropolis
I really like this album. On first listen it sounded a little kitsch, but over time it has really grown on me. This is an extremely diverse release. At times feeling like a cold meat industrial grindfest, at others a slightly comical carnivale, and at others still, a quasi classical soundtrack for a looming apocalypse. There are few genres that aren’t in some way touched on, or that don’t receive a hat-tip of some sort. There is a bit more vocal content here than on previous releases, and for me the overall solidity (even within the vast ranges of change and style fluctuation) is much better. Perhaps the recording is also slightly better with less repetition in not only the styles but some of the sampling being used. I really want to get fucked up and listen to this. I imagine it would be massively satisfying. Even chronically sleep deprived I find this albums strange thought inducing qualities rather amusing and have often fallen asleep listening to it to induce odd dreams. The packaging and presentation of the album, as with any CMI release, is top notch and won’t fail to impress.
3.
Dax Riggs - We Sing Of Only Blood Or Love
Yes, I am quite the Dax Riggs fan boy, so it may come as no surprise that this cracks my top 10. It didn’t make it higher for 2 reasons. 1) This has been a bumper year for music and 2) it’s not the best thing he has ever done. Having said that, it has 3 or 4 tracks which are utterly fantastic, a bunch more that are ok, and only one or two that really let the album down by not necessarily being bad, but just being.. plain. What is evident is that the style Dax Riggs is keen to play his music in, is certainly more akin to indie, than any other overall genre type. Unfortunately for me, as soon as most people say indie, I assume they mean whinging fucks with shitty hairdo’s wearing converse, playing crappy chord progressions. I hope not too many other people assume the same if they hear this album described as indie in sound style, as it may put some people off that would find this very satisfying. The lyrics are still intense and uneasy, as all Dax’s works have been, and whilst minimal (in the same sense as Deadboy and The Elephantmen) the music still carries a great deal of power. As always, it is the combination of the lyrical content and Dax’s amazingly emotional and powerful (yet subtle in turns) voice that really carry this album and make it worth hearing many times.
4.
Elend - A World In Their Screams
Elend have released some genuinely satisfying albums over the years, but also a few that have left me feeling altogether underwhelmed. As a result of this, I always approach their releases with some hesitation. As with most of their works, this is not an overly easy listen. It demands your attention and dedication to get the most from it, and thankfully, if you give it this, there are great rewards to be had. AWITS is the third in the scheduled 5 album work, preceeded by Winds Devouring Men (part 1) and then Sunwar The Dead, you have some idea of what to expect. What I wasn’t expecting was how much further towards decay and chaos this album was going to go. There are points on this album when listened to intensely, that time ceases to be a certain thing, and where perceptions about what the listener is hearing, begin to become part of what the listener is hearing, such is the chaos involved. Many people will hate this album for its raw, vehement and aggressive nature. Others will be in utter bliss within the contortions of the screaming, writhing monster that it is. Truly a musical experience (for Clive Barker fans - this is the soundtrack to the Iad’s arrival and the initial comprehension of their presence!)
5.
Christian Fennesz & Ryuichi Sakamoto - Cendre
When 2 big names get together, sometimes it means good things will flow and other times it leads to a rather convoluted and confused musical sound. This release is thankfully not the latter. For an album that was made by 2 men who were almost never in the same place, there is an amazing sense of cohesion. No instrument sounds as if it is battling against the other. Rather they all compliment each other perfectly. Being largely acoustic guitar and piano driven, this is a very mellow journey, for rainy afternoons, cloudy cold evenings and let nights alone. The electronic elements are perfectly fused with the subtle guitar and piano work, creating a meandering and slow paced drift. As important as the actual piano notes and guitar notes on this release, is the silence. Each break seems so perfectly placed, so perfect in length. I guess that’s what such amazing experience will bring. Even if the thought of gentle electronic fuzz, with piano and simple guitar doesn’t interest you, this album should be heard simply because of its significance as a work of art; as a coming together of two great musicians who each in their own right are considered legends. Beautifully simple
6.
Boris & Michio Kurihara - Rainbow
Boris are a busy bunch. And each release they have seems to tread an entirely different place, without ever losing the sound that makes it obvious Boris are involved somewhere. Here they take some of the Shogaze and post-rock styling of Pink opener “Farewell” and with the help of Kurihara head off into very droney, psychedelic sort of landscapes. Even though the songs aren’t overly long, they feel like they are, in a good sense. They feel like they wander around, as if staring in an amazed stupor at the night sky. Very dreamy and lazy. Super cool, retro and psychedelic. Totally Boris!
7.
Pelican - City Of Echoes
City of Echoes is the most accomplished and satisfying Pelican release to date. Rather than relying on extensive passages of droning melancholic repetition (and I don’t mean to suggest that style is bad, its not, and early Pelican was great) a different type of rise and fall and interplay are now at work. With broader more textured but slightly less dense sounds, the music sounds more alive. Although less repetitious this is by no means a boring or simple album. At times when the speed lifts, there is an ambiguity to the rolling and crossing guitars, which is not entirely unsatisfying, and certainly adds to relisten potential. The only pitfall with this album, is the sometimes average drumming. It’s not terrible, but it certainly fails to capture the same ambience and subtlety that the main guitar sections do. Which is a shame. Still fantastically rewarding overall though.
8.
Manes - How The World Cam To An End
Many people upon hearing this, will not link this Manes, to that Manes. The Norweigan Metal ones. But it’s the same band. This album carries a little bit of everything; metal, jazz, electronic, madness, goth pop and more. Although not a metal album, there are still some atmospheric connections to the bands earlier blackmetal; there is still an unease in the music, a dark atmosphere, which will keep old fans (with open minds) satisfied. The only downside to this album is the complexity is not isolated, that is, really, for full effect, this album should be listened to as a whole. Which isn’t always an easy thing, as it can at times be quite abrasive. If you want to hear what’s possible, what can come from blackmetal, are a fan of Ulver or Fleurety and the like, or if you are just curious; Well worth a listen!
9.
Explosions In The Sky - All Of A Sudden I Miss Everyone
Many people don’t consider EITS a Post-rock band, but I see no better place to lump them. They are for me what post-rock should be, what it can be, and what I seek in this style of sound. At times a contorted scream, at others a gentle wave in an ocean of ambience, and without a rough or jagged transition from one to the other in site. I think the only reason I can’t rank this higher is that the limitation of their style, is, well… limiting. A minor complaint though, and within the confines of the 4 basic instruments a truly amazing range of emotions are able to be captured when so dutifully approached. A fantastic release to get lost in, like all their albums. Very much looking forward to seeing them live! 3 weeks or so now :D!!!!
10.
Nordvargr - For The Life Is The Blood
Lucky last in 2007’s top not-metal 10, is from another man that I am quite a fanboy of, Henrik Nordvargr Bjorkk (HNB). HNB has a habit of making music that is truly uneasy listening. Be it his grim and disgusting sounding work with MZ.412, the horrific grind of Incinerator International, or the blend of industrial and noise of Goatvargr. The work he releases under his own surname, and variations thereof, is no different. What is slightly different about this latest release is its palpability. Sure, it’s still a pretty bleak little journey to go on, but there are elements that verge on groove, and even some hints of melody underneath the electronic/dark ambience that we are more used to. Also released during 2007 was the slightly less satisfying “In Oceans Abandoned by Life I Drown... To Live Again as a Servant of Darkness”, so it was a busy year for the prince of electronic darkness.
Worth a mention
Amber Asylum - still point
Let downs
Samael - Solar Soul
Just another shitty same same same same BLAH release. What happened to these guys :(((((
Antimatter - Leaving eden
I had high hopes for some seriously moving release from Antimatter. This is quite poor. Shit in fact.
In other news
- Liv and I have been together 7 years now :)
- Tramadol gives me REALLY bad side/after effects. I felt so fucked up after, yet still badly craved. WTF?