Column of Heaven- Mission From God(2012)

Column of Heaven- Mission From God

Column of Heaven appear to be a new group on the surface, but a closer look reveals the project is really more of a reinvention then a completely new concept.  The band is really a continuation of the now defunct The Endless Blockade, it featuring former members of the project, in both sound and substance.  Both bands play noise-y, dischordant Powerviolence and Grindcore with a healthy dose of Power Electronics and pure vein-popping anger.  Listening to the bands new EP Mission From God certainly evokes the same feelings and intensity that The Endless Blockade did in their hey-day.  That's not a bad thing: The Endless Blockade were one of the best bands in the genre, and their break-up in 2010 was a painful body shot for their fans.  So it's a nice plus that Mission From God also feels like an evolution as much as a continuation: Column of Heaven is a more technical, Grindcore influenced project, something a bit darker and more monolithic then The Endless Blockade were.  This is a new experience worth checking out regardless of the project's history: the music speaks for itself.

Big fans of The Endless Blockade might even be a little turned off by Mission From God at first, considering some key differences between the two projects.  The vocals will be the first to stand out: gone are the more traditional Powerviolence vocals, replaced by a very competent J.R. Hayes impersonator.  This isn't necessarily an improvement, but the vocals mesh well with the Grindcore-focused approach and the labyrinth-dwelling Sludge sections.  The guitar sound is more metallic as well, though it remains crusty and grime covered, and it works with the complex guitar play that crops up across the album.  Column of Heaven will never be mistaken for Discordance Axis, but some of these riffs give off an early Pig Destroyer-vibe; highly dissonant and textured.  All told, it's a more metallic approach to songwriting and texture, but it's more then crusty and angry enough to remain appealing to the Punk crowds.

What hasn't changed from The Endless Blockade is the relentless aggression, hateful speed and mad electronic rampages.  Mission From God is a non-stop barrage of nihilism and disenfranchisement that clocks in at a brisk seventeen minutes.  There is very little fluff or filler, and with most tracks playing into each other, it's a seamless and satisfying album.  "Entheogen": is a cavernous and oppressive torrent of soundwaves, equal parts hypnotic and devastating.  It takes equal parts Man is the Bastard and Godflesh, fabricating a flawless fragment of Industrial Powerviolence, constructed with animosity and malice.  "Pharmakos" jumps between good ol' Violence and dissonant, atmospheric sections that are as intensely creepy as they are strangely beautiful.  It's a track of stark contrasts, a trademark of The Endless Blockade, and in this regard Column of Heaven is a worthy successor.

Mission From God is fantastic.  It's not a masterpiece, nor do I think it stands on the same level as Primitive overall.  It is, however, an album with no faults: everything works and sounds the way it should, being both instantly familiar yet fresh and dynamic.  I've said this before, but it works for Mission From God as well; this is what happens when a group of talented and smart musicians get together and make something meaningful and solid.  The foundations of this album are tempered and strong, allowing for organic experimentation and good old skull-fucking alike.  I have a sneaking suspicion that some old school fans of The Endless Blockade might not like what they hear on Mission From God, but for just about anyone else, this album is essential listening.

Rating: 8.5/10

As if this album were not awesome enough, Mission From God is also available for "pay-what-you-want" download on the labels Bandcamp page.  Stream it there, and throw a few bucks the bands way for the download.  The album will also be out on vinyl soon, so be on the look-out.  I'll put the link below.

Download Mission From God Here

Wreck and Reference- No Youth(2012)

 

Wreck and Reference- No Youth

Deconstructive, ethereal, dripping with a noxious mix of disgust and listlessness, No Youth is this years sound-track of total defeat.  The California twosome of Wreck and Reference have been rolling on a pretty big hype machine since their demo Black Cassette, but No Youth is a different monster entirely.  It heralds the arrival of one of Extreme Music's new titans while exemplifying the limitless potential of a project devoid of barriers, genres and fear.  No Youth is a Universe of sound that expands beyond the horizon into reaches of the void that have rarely, if ever, been tread.  I don't want to use too much hyperbole: No Youth is a triumph of an album and easily one of the best records released this year and this decade, but in and of itself it might not reach the truly hallowed lands of immortality.  What makes No Youth so completely fascinating is the aforementioned formlessness of the album and the fearlessness of the song-writing.  No idea was too big or intimidating for the band, yet the album remains focused, controlled and melancholic. No Youth is the ultimate piece of cathartic expression and flawless craftsmanship.

It's utterly amazing to think that No Youth is an entirely electronic album, considering the massive drone and deluge of static and feedback that comes whirling and whipping from the speakers.  If we are moving into a future of purely electronic music, then No Youth may be a defining release, though the bombastic, explosive drumming on the record keeps it grounded in the real and tangible.  The percussion here is massive and powerful, thundering across the tracks and keeping the often dream-like compositions drowned in hopeless reality.  "Nausea," easily my favorite track on the record, is a perfect example: a slow, Drone intro gives way to an almost oil-and-water mix of slow, ethereal Swans-esque madness driven by thundering Darkthrone-style blast beats.  I can honestly say I have never heard such a dynamic combination of sounds before, and No Youth is over-flowing with these odd, exhilarating moments.

If there is any obvious influence on No Youth and Wreck and Reference in general, it has to be the Swans.  "If" being the key word, but there are a handful of similarities: the utter hopelessness of the vocals and lyrics and the mostly short, concise tracks that still drip atmosphere and anger were both trademarks of Michael Gira's signature project, and both elements are featured prominently on No Youth.  But so is the deluge of static-y, dense Drone/Doom, and at times Wreck and Reference effectively mix both, such as on "Cannot," which dances between somber, dark spoken word poetry to soul-siophoning Doom.  Once again, everything meshes so flawlessly that this seemingly awkward approach to songwriting feels completely natural and focused.  The atmosphere of self-hatred and melancholy remains wholly intact, no matter how ferocious of defeated the music gets.

No Youth is a damn difficult album to talk about: it's easy to heap praise on it, yet tough to pin down  Genre classifications are very hard to come by listening to No Youth, and trying to prepare a listener for the experience is near impossible.  No Youth is an album that just kind of has to be experienced, and the outcome of the experience will be colored by the one who lives it.  No doubt some will find all the sopping wet depression and self-inflicted damage as overkill, or even a bit silly.  Others will be touched deeply by it, and relate with the hopelessness and cathartic intensity of the album.  I can say unequivocally that No Youth is not for everyone.  It's not accessible, rarely melodic and never fun.

It all comes down to craftsmanship and creativity.  Some have one, some have the other and a rare few albums have both.  No Youth clearly has both.  The natural barrier of entry in how dark and defeated the moans and tones No Youth features leads to tough sailing even for the heartened and curious.  No doubt some will be unable to make it into the deeper layers of No Youth.  I can't say that I blame them.  But for the most masochistic, driven listeners among us, No Youth is a can't miss album.  It's an album that doesn't even feel like it ever had any boundaries in the first place, guided only by an unseen hand which dutifully orchestrates the madness and sorrow into a handful of notes and lyrics that evoke a sickened spirit of humanity.

Rating: 10/10

Sutekh Hexen - Larvae (2012)

Sutekh Hexen - Larvae

Now, I'm a fan of Sutekh Hexen. I like all of their previous releases. If you listened to them, you would know that they're pretty much noisy black metal riffs and...noise. But the previous releases were somewhat harsh and actually had some black metal in them; you could hear the black rasps and drums and whatnot, but this time, it’s much more subtle, transendental, melancholic. Now of course it has plenty of black metal and noise, but it’s less obvious here, since it’s all a haze of noise to the “unexperienced” ear.

The first track, “Isvar Savasana,” is a track composed of poignant synths, noisy drones, and remote guitar notes in the background. The distorted vocals build up along with the guitar sounds until it all crashes into a void of black noise. This is also a proof that production helps noise artists as well: if it was shitty on this track, this would end up as a wall of ugly noise that does nothing but random clamor. Instead, you have a dynamic arena of demonic vocals, drums and riffs, walls of blissful static, and other black noise paraphernalia. This sense is what helps the record from failing into an ugly salad of random noise.

The second track, “Lead Us in Warfare,” also the shortest one, opens with a doom-like riff and noise, and then aptly changes into a martial rhythm with high distorted vocals and crushing bass. The track plods in a lugubrious pace and creates the sense of a battlefield. The combination of the vocals and bass here sounds like some broken military equipment while its surroundings are being bombarded into oblivion. The vocals fade out, and the bass lingers on some more. Felicitous primordial audio-terror.

The third and final track, “Let There Be Light,” is the zenith. Dolorous and mournful, it brings forth stark and grim walls of bleak winters. At first, the track evokes a sense of an eternal and frostbitten winter, with forlorn chants and howls, until it breaks into flaring riffs accompanied with noise that slowly include a void-like guitar riff. It clearly shows that Sutekh Hexen knows its black noise and how to aptly deal with juxtaposed black metal and noise.

Larvae is an interesting album, to say the least. It’s a meditation in chaos, with many ideas and layers, that most of them have been executed well enough. Naturally, it has some flaws: some points aren’t clear enough, other ones aren’t engaging enough, many parts with generic studio pitch corrections, not enough awe-inspiring moments, and the likes. But if you like black noise, experimentation, or just need something new in your black metal, you should most definitely give this album a shot.

Rating: 8.5/10