Coheed and Cambria- The Afterman: Ascension(2012) and Descension(2013)

The Afterman: Ascension

The Afterman: Descension

It's been a long time coming.  Hell if feels like an eternity since I felt this tingle down my spine, this electricity in the air...this obsession.  But I can safely say this, and it's been way too long let me tell you:

Welcome home, Coheed and Cambria.  I've missed you, and I forgive you.

It felt as if the Keywork itself fell apart after Co&Ca, the purveyors behind some of the best Prog and Pop albums of the previous decade with their first 3 masterpieces Second Stage Turbine Blade, In Keeping Secrets of Silent Earth: 3 and Good Apollo I'm Burning Star IV: From Fear Through the Eyes of Madness, had dropped the bane that-should-not-be with Year of the Black Rainbow.  It was an album that was so devastatingly bad, so poorly produced and so lifeless that it drove many diehard fans of this once mighty group, myself most of all, into a pit of musical cynicism and despair.  A bit dramatic?  Certainly, but then again this is what real passion does to the person infected by it.  It leads to dizzying highs and subterranean lows, and after Year of the Black Rainbow and it's utter lack of anything, well, Coheed and Cambria in it, I was buried under miles of defeat.

So when faced with The Afterman: Ascension/Descension, I felt like a jilted lover face to face with an old, painful flame for the first time in ages.  I felt cold and angry, but also intrigued.  I had to know what they had been up to since we had been apart, I had to see if this old flame would once again feed my obsession...

Ascension/Descension in fact did satisfy me in more ways than I could have imagined.  It may not have been a complete return to the bands classic, incredibly epic Prog-Metal-Pop they had mastered, but instead a new evolution on those same genre's to produce something wholly new and exciting.  By increasing the focus on the Pop elements of the bands sound, which were completely missing from Year of the Black Rainbow, and layering the Prog and occasional Metal on top of the hook-driven sing-along compositions, Ascension/Descension felt like as though it were both a brilliant return to form and a completely new sound: familiar yet fresh.  Ascension/Descension features only a handful of songs over 5 minutes, and the epic single track yarn-spinning of earlier albums is replaced by a more accessible and textured songs which are less exhausting but even more infectious.  Led by Claudio Sanchez's unique falsetto, Ascension/Descension is like a pied piper, leading any within earshot to start dancing like an idiot and singing along like no one is listening.

Not that Ascension(album 1) doesn't have it's classic Co&Ca moments, bu they are few and far between.  "Key Entity Extraction I:  Domino the Destitute" would have felt right at home on Good Apollo I or II, with it's saga of Metallic riffs, shredding solos and orchestral trappings, not to mention those glorious sing-scream along moments specifically designed to incite a crowd.  But beyond this track(and IMO, the best one between both albums), Ascension is largely new territory for the band.  Tracks like "The Afterman" and "Subtraction" sound closer to something from Claudio's solo project The Prize Fighter Inferno, mixing Electronic music and textures with understated or acoustic guitars and soft, whispered vocals, while "Goodnight, Fair Lady" is pure no frills Pop Rock.  It's also incredibly contagious, so good luck not singing it in the grocery line.  And "Key Entity Extraction IV: Evangira the Faithful" is a truly unique beast: Blues-y, psychedelic, ominous yet beautiful, it's a far more subdued and atmospheric track that we have come to expect from Co&Ca in the past.  The rest of this album is so god damn fucking awesome, I can forgive the lone mis-step: "Key Entity Extraction II: Holly Wood the Cracked."  Imagine Coheed playing Nu-Metal, and you about get the idea... it's an atrocious, ugly, frankly stupid song which stands out like Nicolas Cage in a good movie with talented actors, and the lone pock-mark between the two albums

One simply cannot under-state the importance of one key line-up change that occurred between Year of the Black Rainbow and Ascension/Descension: the departure of drummer Chris Pennie and the return of Josh Eppard, the man behind the kit for Coheed and Cambria's first 3 albums.  Now, I am reluctant to place the blame of Year of the Black Rainbow on Pennie: Claudio writes the songs after all, and Pennie has serious chops and is a tremendous drummer.  But it doesn't seem like a coincidence that Eppards return helped make Ascension and Descension the bands best material in nearly a decade.  Eppard's performance on the kit for both albums is the highlight bar-none.  He seems to literally play the hooks, and his punch-y kick drum becomes a beloved companion throughout the entire experience.

If Ascension feels like a new Co&Ca, than Descension(album 2) will feel even more alien, yet like Ascension it still feels like a true Co&Ca album.  The Pop elements take an even stronger hold on the album, and there is a much greater emphasis on just pure Pop Rock and even more Prize Fighter Inferno-esque moments.  "Key Entity Extraction V: Sentry the Defiant" is about as close as we get to the bands classic sound, featuring a more Metallic approach and an epic acoustic intro, but it's still very thick and heavy more in killer vocal hooks than head-banging moments.  "Number City" is like a brain slug: prepare to be it's host for a long, long time.  It's funky, Pop-y bubble-gum they way it should be, and Co&Ca always find a way to make even their happiest of songs feature a twinge of sadness and darkness that lets you know that the song is more substantial than sugary sweet cotton candy.  "Gravity's Union" truly stands out: for a moment, I thought I was listening to a lost track from In Keeping Secrets of Silent Earth: 3.  It has those serpentine riffs, those sudden one-off sections that never repeat but amp up the atmosphere to 11, and of course the bands patented intense bridge-section that the band has become famous for.  But like the rest of the album, it has a unique feel from any previous Co&Ca effort, with the vocal hooks taking center stage and the drums thundering and smashing about, leaving the guitars to create texture and atmosphere.

The atmosphere of Ascension/Descension is without question the greatest strength of the albums.  They may be infectiously catchy, but there is an air of sadness and despair over both of them which leaves a powerful, lasting impact on the listener.  As you sing and scream along to these tracks, you can feel the real emotional weight behind each and every track, the power of the story and of the characters who inhabit it.  Coheed and Cambria have truly bounced back in a massive way, completely blowing the lid off of low expectations and once again basking in the light of the sun.  Do either of these albums compare to the band classic album?  Nothing really does, but that is an unfair comparison.  Ascension/Descension is the kind of thing which can completely rehabilitate a bands damaged image.  Well done sirs... well fucking done.

And welcome home.

Ratings:

Ascension: 8.5/10

Descension: 9/10

Flourishing- The Sum of All Fossils(2011)

 Flourishing- The Sum of All Fossils

The Sum of All Fossils represents the hope of Death Metal.

New York's Flourishing are a fresh face, formed in 2009 with The Sum of All Fossils being the bands first full length release, yet also a last proud member of a dying breed: a breed of innovators and fearless song-writers in the Death Metal scene.  It's not hard to see that Death Metal has, at the very least, become a regressive and trend happy genre: the scene is dominated by imitators, flavor of the month worship acts and tired veterans grinding out the same releases every year for a quick buck and a reason to go on tour.  Flourishing do not fit into any of the categories, which in and of itself is worth praise: while the Gorguts influence is obvious, The Sum of All Fossils is in no way a cheap imitation or easy worship, but a unique album with a new, explosive sound.  This is so rare in Death Metal now, it's almost a shock to hear it and I wasn't sure how to approach The Sum of All Fossils, as I could not easily categorize it, and any genre that I placed on it sounded either stupid, fake or failed to encompass the full scope of the album.  Not being able to stick "Incantation clone" or "stupid wanky, clean BS" on it was a bit intimidating.  But that's what makes The Sum of All Fossils so damn special.  While other bands pose tough and grunt about Satan to stolen riffs, Flourishing have created an album which is actually tough to listen to. It's what Death Metal was always supposed to be: challenging, nihilistic and heavy as fuck.

In a vague, worthless attempt to categorize The Sum of All Fossils, it's fairly easy to hear the Gorguts influence here.  What's nice is that the influence is clearly From Wisdom to Hate and not Obscura: the bass sounds pretty similar, and like From Wisdom to Hate it's an album which would fall closer to atmospheric then Jazz-y.  Songs don't rely too heavily on speed or all out aggression to make their point, with each track taking the right amount of time to fully explore every idea.  But it never becomes tedious or worn out and tracks move at the perfect level of pacing.  While it remains largely mid-paced the band to a spectacular job mixing up tempos on a more subtle level, combing with the obvious technical chops on display to make The Sum of All Fossils one of the best active listening experiences I've heard from Death Metal in a long time.  This is not merely background music as you surf the internet or read or some stupid, not-actually-listening activity that most Death Metal seems perfectly designed for in the modern scene.  The Sum of All Fossils demands your maximum attention and energy to fully impress upon you just how complex, original and breathtaking it can be.

Flourishing accomplish all this by being fearless songwriters who don't care how stupid an idea might seem on it's surface, but instead take a level-headed, talent-guided shot at doing something new.  In this case, it's mixing complex, discordant Technical Death Metal in the vein of Gorguts with Post-Rock.  Now, that maybe doesn't sound like the best idea: it's one that would send your average musician running straight into the arms of Autopsy worship and never leaving that warm, gooey place again.  It's a testament to the members of Flourishing that they even attempted this, but even more so that they pull it off so fucking beautifully.  Despite sounding professionally recorded and played with actual skill and talent, The Sum of All Fossils is one of the deepest and emotional Death Metal albums I've heard in ages.  It frequently crosses over into beautiful territory, particularly the final track "As If Bathed in Excellence," which has not been a word I have used to describe a Death Metal album since Anata's The Conductors Departure... another genre-defining masterpiece.  It can also being extremely heavy and utterly chilling, while the Post-Rock elements bring so much to the table.  The dynamic vocal shifts of "By Which We Are Cemented" are at first a bit off-putting on a Death Metal album, but once they grow on you it's hard to imagine why more Death Metal bands are not trying new things vocally(or why Flourishing don't go back to this later in the album.)  Long sections of disonant, massive Rock guitars add a whole new level of immersion on The Sum of All Fossils, like the opening track "A Thimbles Worth," which starts off as a fairly typical Gorguts-style track before morphing wonderfully into a Shoegaze-y, wall-of-noise torrent that drenches you in longing and wonderment.

The fact you can't listen to a single track on The Sum of All Fossils without discovering something new and interesting, which more then makes up for the tiny nitpicks here and there.  I am not a huge fan of the primary vocals and wish the band had remained consistently adventurous with them, instead choosing to stick with an energetic yet somewhat grating mid-growl for most of the album.  I'm also not a huge fan of the drum production:  they actually don't sound triggered which is great, but they do sound very clean and uneven in the mix.   And not matter how impressed you might be with The Sum of All Fossils initially, it's a grower(it's not even in my top 20 albums of last year, as it took several listens to fully sink in).  Little things... things that don't even really fucking matter.  I am too impressed with The Sum of All Fossils as not only a wonderful, powerful album but as a piece of art.  The album drips with personality and identity while remaining viable and accessible, and I never picked up on any pretentiousness or cynicism.  And perhaps most impressive is that despite the Post-Rock elements, the professional production and the lyrics which don't in anyway touch on Satan or decapitating hookers, The Sum of All Fossils is a real Death Metal album.  It's a challenging album which doesn't pander, posture or worship. It strikes out into a harsh, barren wasteland and from dying soil produces vivid, all encompassing life.

Rating: 10/10

Abyssal- Denouement(2012)

Abyssal- Denouement

The UK Death Metal scene is as rich with talent and innovation as it has ever been. The country of colonization and Big Ben has never been particularly well known for its expansive Death Metal scene: sure, everybody knows Bolt Thrower and Akercocke, and the well informed can name Benediction, Korpse and Cancer, but in comparison to say Sweden or Florida, the ol' Land of Limey's has never been at the forefront of Death Metal. But these last few years has seen an explosion of new talent in England's Death Metal scene, from Cruciamentum to Spearhead to Grave Miasma. And now Abyssal can be counted as another of these young, up-and-coming acts looking to make waves with their debut album Denouement.

Rich with texture and dissonance, Denouement fits in beautifully with the current trend in Technical Death Metal: using complexity to create dense, Occult atmospheres. Elements of Black and Doom Metal add layers to the listening experience, but Abyssal also toy with some of the more brutal elements of Death Metal throughout Denouement. A consistent guttural growl, sudden bursts of blast beats and palm-muted riffs bring elements to Denouement that other bands in this burgeoning sub-genre lack(often on purpose). Just as we saw Flourishing do on The Sum of All Fossils with Post-Hardcore and Gigan on Quasi-Hallucinogenic Sonic Landscapes with Noise and Grindcore, Abyssal bring these Brutal Death Metal elements to the forefront to give Denouement a bit of distinction from the growing number of Ulcerate clones, though one should not expect too many breakdowns or pinch harmonics throughout Denouement(though the breakdown near the beginning of "Detritivore" is hard too miss).

There isn't a whole lot of fault with Denouement, but it never quite breaks through to the next level. The intensity and songwriting can be uneven, with less appealing sections of songs dragged out far too long. In fact, many of the tracks on Denouement could use some self-editing, particularly the final track "Swansong of a Dying Race," which could have used some of it's massive eleven minute run cut away. Bloated songs filled with too many unessecary concepts are the pratfalls of many a new group, and while Abyssal artfully dodge many other mistakes, they trip up in this regard.

Denouement is a brilliant start regardless of these minor mistakes. Abyssal have their own sound, a sound which I can honestly say I have never heard before, other than perhaps early Ulcerate before those New Zelander's dove head first into a sea of formless dissonance. All this band needs is time to develop their sound and their songwriting, and I have no doubt that Abyssal will be one of the bigger acts in progressive Death Metal in the near future.

Rating: 8/10

Abyssal are also among the more progressive bands in their distribution, as Denouement doesn't have any label support. The band are giving the album away through Bandcamp. If you are not familiar with Bandcamp, then this is the perfect opportunity to get acquainted with arguably the most important website in independent music today.

Download Denouement Free And Legally From The Band, Via Bandcamp

Liturgy- Aesthethica(2011)

Liturgy- Aesthethica

So far, my forays into so called “Hipster Black Metal” have left me incredibly confused about two very important things:

1. Who the Hell is labeling these bands as Black Metal?
2. What the Hell about these bands are so irredeemably terrible as to generate such vitriol against them?

And so far, both off those seemingly important questions have remained unanswered. It is a predicament that has left me with only one real option: listen to a lot of “Hipster Black Metal” and come up with my own damn opinion: an opinion that up until my time with Liturgy’s Aesthehtica has been a very positive one. After Liturgy’s Aesthethica, my cool has been damaged. Aesthethica helps me understand my second question a little bit more.

Lets get the positive out of the way right off the bat, because there is some positive to be found. There are some really, really cool individual riffs on this album. The dudes in this band clearly know how to play their instruments and clearly love dissonance as much as I do. Liturgy are not afraid to experiment and do not fear creativity, two qualities that is not common enough in today’s Metal scene. A lot has been made about the bands views on Black Metal, and issue I am not going to bother discussing, but I will say this for Hunter Hunt-Hendrix and Co.: they are fearless, and Aesthethica is a monument to the bands fearlessness.

It is also a testament to the bands arrogance and pretentiousness. Aesthethica is wealthy with ideas and barren of anything to keep these ideas from being utterly useless. Imagine a leg with no tendons; a book without a binding. Aesthethica feels like a recorded jam session: impromptu, herking and jerking to and fro, occasionally thrilling but mostly filled with throw-away material not worth remembering outside the heat of the moment. It is not hard to draw parallels between Liturgy and The Dave Mathews Band, which might be the most “insane-like-a-fox” thing I have ever had the (dis)pleasure to type. But the more time I spent with the amorphous blob of something vaguely Black Metal that is Aesthethica, the more that comparison makes total sense. Also, both bands feature some of the most horrid vocals ever recorded, which just makes the whole situation that much sadder.

And as with every one of these albums I have reviewed so far, I have a hard time with classifying this album as Black Metal. Is shrieking vocals and tremolo picking all that is needed to slap the Black Metal label on a band now? Aesthethica does have it’s moments where is sounds kind of like Black Metal, but the often cheery arrangements evoke a very positive sound. “Returner” sounds more like a Converge on anti-depressants, while “Glory Bronze” starts with an upbeat intro that for some fucking reason reminded me of Green Day played at inhuman speed. That song later heads into one of the most Black Metal sounding arrangements on the album, but the intro of the song could be a Weezer hit if the band slowed it down from warp speed. Yeah, I did just write that.

Aesthethica represents the dark side of unbridled creativity: when self-absorbed and self-serving experimentation destroys self-editing and common sense, it often creates something that can’t stay grounded because it is too insubstantial. Aesthethica stands up to listening like a whisp of smoke stands up to a stiff breeze, and leaves about the same impression on the world around it. I give Liturgy points for their effort, but Aesthethica is the kind of wasted musical effort that comes about when the only people the band are trying to impress are themselves.

Rating: 5/10

deafheaven- Roads to Judah(2011)

deafheaven- Roads to Judah

This is not Black Metal.

I hate to break the news to deafheaven's supporters, or vindicate their detractors for that matter, but in my time with Roads to Judah one of my dominating thoughts was simply: "This is not Black Metal." Nothing about Roads to Judah fits the genre for which it is most commonly associated with, no matter how much justification their fans may try to provide. This is not about the bands appearance, their ideology or their "kvltness": from a purely musical standpoint, any Black Metal that might be found here is negligible at best. The bands over-arching sounds hems much closer to the progressive Sludge of Neurosis and the melodic intensity of Defeater(not to mention the shoegaze-y elements of bands like My Bloody Valentine) than anything Black Metal.

Which is not a bad thing: while not Black Metal, Roads to Judah is still a fantastic record. Haunting, technical and at times very beautiful, Roads to Judah is as fine a progressive Metal album as to be released this year. At times, like the absolutely gorgeous intro of "Violet," Roads to Judah is an emotional experience, one that does not evoke feelings of cold grimmness, but almost a hopeful tone. This in an of itself might be enough to disqualify deafheaven as a Black Metal band, but more likely it is the moments of obvious Melodic Hardcore influence, like on "Language Games," when the band enter a low-key section, complete with clean guitars and a drumroll that would do Defeater proud. The vocal attack is the closest thing to Black Metal here, and I actually find it a bit disappointing, considering how amazing Kerry MecCoy and George Clark were at them with Rise of Caligula, a fantastic Technical Deathgrind band you should check out post haste.

There is something about this shoegaze-ified, people-call-it-Black-Metal-for-some-reason Progressive Metal that keeps me from completely getting in to it: at times, riffs and sections run together, and I lose entire sections of songs, committing them to the Recycle Bin of my memory as soon as they enter my brain. Roads to Judah does not evoke that same feeling in me anywhere near as often as many of these other bands, which makes it such a joy to listen to. It still happens: about a 3rd of the way into "Violet" I had completely tuned the song out on pure instinct, only to be drawn back in later, but compared to say Litugry(a review is... forthcoming), deafheaven maintain a level of interest that few acts within this sub-genre can match. I should not be surprised, considering the connection to Rise of Caligula, but after reading much of the haters perspective on deafheaven, and similar bands, my expectations have been consistently skewed to the negative.

I can't really explain where the band picked up the Black Metal label: maybe it is self produced(in which case, I would recommend the band change their perspective), maybe others are forcing it on them. What I can say is this: Roads to Judah is a damn fine record. For what it is, this album is an emotional, musically complex and consistently interesting. For those looking for some progessive, thought provoking Metal, I would recommend Roads to Judah in a flash.

Rating: 8.5/10