The Golden Sores – A Peaceable Kingdom

From the opening moments of A Peaceable Kingdom’s first track, “Double Gyres,” it’s difficult to pinpoint just what will become of The Golden Sores’ new record. Will the droning organ discard its slow buzzing sustain for a more prominent melody? Will the tones that take the forefront become a lead-in to post-rock leanings? How many layers will they use, and will they combine together in an effervescent climax?

As is soon apparent, though, The Golden Sores bring about an uplifting drone concept. Fuzzy, shifting, and pulsing layers push and pull, finally converging together in most songs to create a swell that is often magical and high-spirited. Oftentimes, drone can be a very dark genre, focusing more on the low end of the audial spectrum rather than higher notes. The Golden Sores prove that bleak, grim songs are not the only compositions to entrance a listener, however, as their hypnotic brand of peaceful (as the title suggests) and exultant drone is so effective in inducing trance-like qualities in the listener that it serves less as ambience and more as a sense of enlightenment.

Most of the songs on this disc tend towards a simple setup – start with a slow-moving rhythm, preferably one with sustained chords, snake in a more melodic and generally louder layer, and gradually move towards a crescendo of shimmery bliss. But while almost every song on the album follows this format, it doesn’t get repetitive simply because of how varied each song becomes. There’s something to be said about Steve Fors’ and Chris Miller’s virtuosity with their keyboards and their push-pull duality. When the layers are apart, they are constantly thriving around and through each other, where the listener loses no focus on either part. When they are together, it feels rightfully so: an inevitable convergence of two patterns that creates a stronger whole.

One may be thinking that The Golden Sores’ more upbeat, optimistic sound would lose their interest; part of the draw of some noise and drone is its confrontational demeanor. A Peaceable Kingdom may be peaceful as a whole, but a brooding tone encapsulates parts of the lengthy songs. “The Awful Rowing Toward God” starts out menacing with low bass-y notes, only to escalate into a more joyous eruption. “We’ll Wield Fire” begins with ominous buzzing, only to slowly work in a lulling organ. And most importantly, not all of the songs collide with each other into an ecstatic climax. “Klonopin” is content to hum away in aural bliss, acknowledging the fact that it needs no flashy conclusion. For those who like their music a tad harsher, The Golden Sores deliver as well. The mix for some of the songs’ crescendos can get very loud, a suitable dynamic for the album’s more triumphant heralds. There’s a lot to like and pick out here over repeated listens, mainly because some of the more subtle layers can hide their natural elegance on first listens.s

A Peaceable Kingdom delivers its title with a grace and finesse that emphasizes the lamb that graces the album cover. Even the simple picture exudes the album’s main feature – a shimmering mass of pleasant drone that leads one to believe there’s a bright future ahead of the two artists, one that hopefully includes more of their brand of fresh, epiphanic sound to stand out in the dark wash of bleak drone.

Buy it here, please

Piandrone goes on and on

Got another (exciting) piece of digital catharsis here for everyone who has been checking out my one song as Shapeshitter. This is still a short experiment in drone, but there’s a bit of harsh noise feedback going on as well. This time we’ve got a recurring organ theme downtuned to utter shit-inducing lows, plus a few Slayer guitars, one of which is adjusted so much that makes that squealing sound. PLAY AT HIGH VOLUME. I hope it startles you, at least a little.

Again, these are just short demos, done on FruityLoops. I’m not trying to get “big” or “popular” or become “mainstream,” they’re for my own and hopefully others’ pleasure. If you enjoy them, why not tell me? Or if you hate them, I’d love to hear from you too. And any suggestions would be more than helpful.

Shapeshitter – Piandrone Goes On and On – 2:50

Experimenting with drone and noise myself

Below is a demo experiment I created using FruityLoops software. It’s mostly drone with what FL calls a Slayer guitar sound, muffled, feedback’d, and detuned all to nothing. There’s a few different guitar parts going down in there to create the fuzz, but I realize it’s not doing a hell of a whole lot besides a very reminiscent Sunn O))) song off of OO Void.

Right now I’m just messing around, not really knowing what I’m doing. At this point, it’s all digital, and I don’t really have any equipment to do this as a live recording (nor do I play guitar or know a lot about electronics), so most of my forays will be digital for right now. I’ll probably mix some more later, preferably longer and more varied than this first one. I’d love to hear something about it (tips, likes, dislikes) – Matt, got anything to add?

My moniker is temporarily Shapeshitter I guess. Thought it was clever…

Give a listen?

Shapeshitter – Drone 1 – 3:00

Bullet to Binary, Pt. Two, WHAT!?

PLEASE RELEASE NOW!

New leakage… starring Kylesa!

Some good releases are shaping up for 2009; I’ve already talked about some of Merzbow’s (Somei), Napalm Death’s (Time Waits for No Slave ), and Cattle Decapitation’s (The Harvest Floor). But wait; there’s still more.

The Appleseed Cast’s new album has recently leaked. Titled Sagarmatha, it takes us through TAC’s ever increasing fascination with post-rock, coupled with their 90’s emo undertones. Oh yeah, it also has some killer xylophone like the cover promises, and it jumps through moods like a pregnant woman. Might review this soon.

Kylesa’s got a new one coming out that just leaked a couple days ago. It’s Static Tensions, 40 minutes of sludge/stoner rock at it’s best. There’s some good tribal drum beats going on, female vocals, and some of the heavy Kylesa riffs you know are modified to crunchy goodness. I just picked it up and am already a big fan, even when their older stuff was starting to wear on me.

Who else have I been listening to lately…

…And You Will Know Us By the Trail of Dead also released a new album, The Century of Self. I haven’t given the band too many listens, and all I know of their output is their last album, So Divided (which I wasn’t too huge a fan of), and this new album. I’m digging it a lot more, especially the early-to-mid portion of the disc, and it’s got some cool little ditties on there. Check it out.

Black Dice have made a good comeback in my book with their new album Repo. I was not an avid listener of 2007’s Load Blown, and while it was okay, it wasn’t anything spectacular, and certainly not as fascinating as some of the other noise rock that came out. It felt like they were doing Battles badly. But no… Black Dice have given us a new album full of rhythmic noise that, while returning to the same form as Load Blown, is executed a lot more successfully. I’ve been chomping on this one a little bit, though still not my favorite.

Also got some new Zombi, called Spirit Animal, that came out a little while ago. Dark synths, horror soundtrack-esque stuff coming out of the duo that comprise the band, and while I don’t feel this album is as good as their previous masterpiece Surface to Air, it’s still got some great synth sine waves going on. I really like it when Zombi’s pieces take on a darker vibe, but the lighter stuff is still working for them here.

I think that’s about it for right now. Cannibal Corpse released a new one as well (Evisceration Plague), and while it’s in the same form as other CC and it brings some heavy riffs to the table, it’s not varied enough for my tastes for me to give it more listens. Dude, give us some new drum beats too. The same old blasts for every song with barely any fills leaves a lot of us drummers wanting more.

In other news, Cursive will soon be releasing their highly anticipated new album (at least for me anyway) called Mama, I’m Swollen. I’ve heard a few songs off of it – two of them done live which I wasn’t that impressed with – but the other two that I’ve heard are promising mixes between Cursive and Tim Kasher’s other band, The Good Life. Some sweet, sweet sounds coming from Kasher’s mind that I can’t wait to implant into my brain.

Right now, I’ve got some noisy/free-jazzy Jazzfinger on. It’s my second listen, and I don’t know if I like it or not. It meanders and I can’t really grasp a direction. We’ll see…

Keep listening… Matt, I’m getting to your album, I swear! Going home this weekend to give it a listen on my stereo.

Merzbow’s Somei

So far, I’m impressed by what it’s bringing to the table. Part drum solo fest, part destruction, it has equal parts of both that make it interesting in two layers.

Interesting to note how Masami Akita leaves some of his static-y ambience out of the songs, focusing on more of the drums and less on the noise at some points. I think that’s what’s different here than in his recent releases; he’s trying different things here, rather than just layers upon layers of surging, squealing undertones.

In other news, I am working on reviewing Matt Henshaw’s album Unfurled. I meant to listen to it at home on my nice stereo this weekend, where it should be properly listened to, but I didn’t get a chance. I’m still holding out for that opportunity.

Two great streams, one low price – free.

So, how’s 2009 been for new albums lately? Well, Thursday will be releasing a pretty good album, Common Existence, which is a huge comeback from A City by the Light Divided.

But oh yeah… we’ve got two new albums coming out sure to please death metal and grind fans.

First off, Napalm Death is streaming their new album, Time Waits For No Slave, over at Myspace. Check it out here, and I STRONGLY urge it. What a great piece of blistering speed that album is.

But wait, there’s more. Cattle Decapitation is also offering a stream of their new release, The Harvest Floor, over here at Buzzgrinder. I haven’t been able to give it a listen yet, but I’m sure it will be a great release like most of their albums… but hopefully, it’s a little more lasting than Karma.Bloody.Karma.

Oh, in other, more drone-doom-y news, Khanate’s new album, Clean Hands Go Foul, has leaked. This is my first foray into their work, but I love Sunn O))) and they can’t really go wrong, I guess. Check this out too… the riffs and drums are really interesting and seem like they don’t go together, and yet they work. Plus, the vocals are absolutely tortured, like a man screaming after his torso has been run over by a truck, and yet he’s still alive.

Yeah – there’s some news for ya. I don’t do it that often, don’t get used to it.

New Animal Collective album, Merriweather Post Pavilion, leaks, indie kids everywhere spew gross exaggerations

It has been, what, five days now? Five days since Merriweather Post Pavilion, Animal Collective’s new album and their follow up to 2007’s full-length, Strawberry Jam (not counting the Water Curses EP), leaked to the Interwebz, leaving AC fans everywhere (and I don’t mean Anal Cunt) gasping for breath and thanking God, Jesus, or Santa for granting their prayers.

Pitchfork had been one of the first publications to comment on the Collective’s effort, having posted a first listen way back in October with mostly favorable views. Spin gave the album a solid four star rating, and various other sources began listing this new album as a keeper and a great start to 2009. Hey, wait… what the fuck? It’s still 2008.

That’s right. We’re still stuck in this year. And the album is not even released until January 20. So why all the hype?

Fans the world over are nutting all over this release, saying it’s the best album of 2009, when right now it may be the only album. I’m not dissing the Collective by any means; in fact, Strawberry Jam remains in rotation on my iPod all the time. What I am saying is that we all just need to settle down nah. Animal Collective have put out a nice array of danceable gems, more palatable than the noisier bits on Strawberry Jam and more engaging than Feels. Sure, they’ve progressed as a whole. Avey Tare has taken a cue from his vocal bits on Strawberry Jam and pushed more of a low and high juxtaposition on the new album; songs like “Lion in a Coma” even focus on some jew’s harp sounds to help create a beat. Most songs start out with some sort of ambience before taking a gigantic bite, as evidenced by the first song “In the Flowers;” and there’s definitely an abundance of dance synth-y pop songs that have replaced the more reclusive tracks found on the rest of AC’s discography.

But really, how much of the album differs from the rest of Animal Collective’s output? In fact, what are Animal Collective doing differently now, paired with the likes of MGMT, Black Kids, and Black Dice putting out electro-pop dance hits? I guess what I’m trying to say is that I’m not seeing the draw here. I just don’t understand how Merriweather can be lauded as standout of 2009, with there having been no other releases. I don’t see the pull on the album; sure, the songs are catchy, but they’re not jangling around in my head. I can barely remember them after I’ve listened to them once. And the 55 minute runtime kills me – I love long songs, don’t get me wrong, but Animal Collective’s beats just seem to linger, repeating over and over again in a dull roar that I tune out of.

In my mind, right now this release is just average fare from Animal Collective, and not really a step in a direction that I wanted to see from the group. Of course there’s the random liked tracks: “Bluish,” “Lion in a Coma,” and “My Girls” stand out at the moment, but 3 out of 11 songs, averaging only a meager 15 minutes, does not a good album make in my eyes. I’m an album guy; I love listening to whole albums, and that’s not cutting it. But I’m going to give Merriweather more chances, because I want to like it, if only to fit in with that elite indie crowd who proclaims the album’s triumph over all others. And I like the Collective’s work, although I rarely listen to this kind of music. Maybe I’m not feeling this album because no matter how bad I want it, I just don’t have a taste for indie like I do for metal. Or maybe it’s because we haven’t reached 2009 yet and I’m trying to rush the music’s sound. Or maybe – just maybe, the holiday cheer and anticipation has gotten to everyone’s heads, and they’ll soon find themselves shying away from Merriweather and rethinking their Myspace and Last.fm posts to AC saying, “Dudes youve released the BEST ALBUM EVARRRR or at least for ‘09!” Maybe.

Consider this album REVIEWED. Commence hate.

New Psyopus track – “The Burning Halo” – unbelievable

If you go to Psyopus’ Myspace, you will find a new track from their upcoming album, “Odd Senses,” being released February 17. Plus, you can also view a video of Psyopus live, with their new vocalist, playing a new song entitled “Medusa.”

At first, when I checked the song out, I was disappointed with the new vocals. I had been so accustomed to Adam Frappoli’s growl that I couldn’t really get into the new vocalist’s, Brian Woodruff, lower tone. Yet on second, third, and fourth listens, I’ve grown more fond of his approach to Psyopus.

I was also a bit let down with the intricacy of the song. At first, “The Burning Halo” starts off with a normal technical death metal riff, until it really gets into the song with a ton of harmonics. If one thought that earlier Psyopus was an assault on the ears, wait until you hear the onslaught of whines Chris Arp puts out with his guitar.

I’ve had this track on non-stop now, and it’s blowing me away. It took a listen or two to grow on me, but now I’m loving both the tones of the vocals and the unbelievable harmonics that are hit. The drums are a bit less technical than they were on Our Puzzling Encounters Considered, but they are still ridiculously breakneck and blastbeat.

I also love the whole subject matter of the song, based on the exorcism of Anneliese Michel, which the movie The Exorcism of Emily Rose was based off, and you’ll also catch an excerpt of the exorcism at the beginning of the song. The part that really gets me is when the vocals turn to southern preacher exorcist, and then we get a dual – even triple? – vocal growl of “Demon, who are you?” It works so well, because that is exactly what I’d expect a demon to sound like – Psyopus’ style is great for demonic possession subject matter.

What a great song to begin my anticipation of Odd Senses.

Here’s a live “The Burning Halo.”

Favorite Songs #1: City of Caterpillar – Minute Hour Day Week Month Year (The Faith’s In My Chest)

I would like to list some of my favorite tracks, and so I will start with City of Caterpillar. Here are the lyrics:

SIX AWAY to the present day. Couldn’t keep you away. All of you. Greetings in shapes of shadows connected to my feet. Under this LENGTHY SKY SLEEPS…all of you. Let the light in keep the door cracked. My faith’s in my chest. It holds this intact.

Although I’m not a huge fan of ambiguous lyrics, I think that a few of the lines really stand out in the song. But that’s not what I really love, since the vocals blend in to the overall feel of the song anyway.

I’m a big fan of ominous intros, and Minute Hour Day Week… has a ton of it. Actually, a lingering, dark guitar riff opens the song, and it continues on past the 4 minute mark. This is such a great lead-up; the pairing of high fingerings with the low notes really strikes a nerve with me. The bass and bass drum kick in, a low staccatic pulse that meshes with the guitars to create a really nervy feeling. Drums kick in with a second meandering guitar, finally increasing the tension and the build, while various electronics (feedbacks and whirs) set the chaotic background. There’s so much going on, but it really hits the suspense – what does that feedback mean, why is everything so dark! The atmosphere is pervading, the wailing guitars in the background signifying the unthinkable. One can barely imagine what this could be leading up to, what with the doomy sea of rhythmic and dying guitar leading us into a place where the drums drop out again and just a cymbal keeps the beat. This is almost more ominous – there was a climb, an ascent, and to have it just drop off into nothing but guitar and feedbacks signals the worst – maybe there is no end to suffering. The guitar keeps its moaning feedback until the rhythm dies off, and a buzzing and background repeating voice of some kind lead us into the actual hardcore portion of the song. We have technically hit a climax; we have turned omens into reality as the vocals begin.

The beat is fast and furious, guitars and vocals blending together into one rolling rhythm. We lose that darkness for a few minutes, where this has become almost neutral in tone. It’s a reflection on the omens that came before. These screamo parts don’t even last that long, only a couple minutes, until we drop into more electronics and whirring and feedback. Reflection turns into sorrow again. There’s a voiceover of a man talking about how businesses are taking over our world, ruining our lives. This is recognition; this is chaos; we are losing the battle to overcome our losses. The fact that the ominous tone was allowed to drop out seems like taking back power, but the feedback takes us back with chimes and beeps. It is the ultimate doom – we can’t escape this pain and dread.

I’m really enthralled with this song – the dread of the guitar speaks to me. I get shivers every time I hear the man speaking at the end. And I think that this is all real, it’s happening right now; what a terrible thing to think, yet it has to be done – and it just fills my emotions with darkness.