Tag Archives: Brain Tentacle

Michael Toland: Throwing Horns Pt.666.10

 

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Hard rock! Stoner metal! Crustcore! Psychedelia! Grunge! Thrash! Skronk! Black metal! Trash punk! Bad boy boogie! (huh?) Smell the glove and make the sign of the umlaut, kids, it’s the seventh installment in our latest genre study, with Metallica, Opeth (pictured above), Helmet, Sodom, Wretch, Brain Tentacle, and more. Go here to read the first episode, Pt. 666.1, here for Pt. 666.2, here for Pt. 666.3, here for Pt. 666.4, here for Pt. 666.5, here for 666.6, here for 666.7 , here for 666.8 and here for 666.9—if you dare. Incidentally, following the album and band blurbs are links to audio and video, so check ’em out.

BY METAL MIKE TOLAND

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When Metallica releases an album – something that’s become an oddly rare occurrence in the past couple of decades – it’s an event. The San Fran band is such a major player in its genre – arguably the most important act in metal still in full flower – that the quality of the music is almost beside the point. Fortunately, Hardwired…to Self-Destruct (Blackened) finds the nearly 40-year-old band closer to its original mojo than it’s been since the early 90s – maybe even the late 80s. The quartet has made no secret of its desire to revisit the whipcrack thrash it pioneered in the mid-80s – members have filled interviews with assurances of a return to their original sound, and recent shows have relied almost solely on its Reagan-era repertoire. Unsurprisingly for an album with such high expectations, the results are mixed. Much of the record takes the heavier tracks on the massively successful and still controversial Black Album as core inspiration – anyone expecting Master of Puppets II will be disappointed. Plus a lot of the lyrics are seriously dire – the chorus of “Hardwired” (“We’re so fucked/Shit out of luck/Hardwired to self-destruct”) would embarrass a 12-year-old. And James Hetfield’s mighty voice is starting to sound thin on a few tracks – on “Dream No More,” he’s nearly unrecognizable. But when the band locks in on what it does best – the raised-fist power metal of “Atlas, Rise!,” the hatchet prog metal of “Confusion,” the neckbreaking attack of “Spit Out the Bone,” “Moth Into Flame” and even “Hardwired” – with all the power, precision and, most significantly, enthusiasm of their younger selves, all the carping falls away in a haze of headbanging and air guitar. Hardwired…to Self-Destruct may not be the new masterpiece most of us were hoping for, but it’s absolutely the best Metallica record in a quarter of a century. TRACK: Metallica – “Moth Into Flame”: https://www.youtube.com/watch?v=4tdKl-gTpZg

 

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Instrumental metal usually takes the form of either prog-like epics or shredfests designed to let the musicians show off. Philadelphia’s Dysrhythmia can certainly be accused of the latter, as the trio is made up of virtuoso technicians who can play nearly anything. But on The Veil of Control (Profound Lore), the band’s eighth LP, guitarist Kevin Hufnagel, bassist Colin Marston and drummer Jeff Eber use their powers for good. Taking cues from jazz in their interplay and punk rock in their elevation of intensity over technique, Dysrhythmia grab hold of riffs that are complex more in feel than in form and don’t let go, driving them to levels of power and tension that takes telepathic reciprocity and a lot of time in the practice space. Anyone looking for insanely complex solos worthy of Guitar Face may need to go elsewhere – Dysrhythmia’s compositional smarts and interwoven musicianship creates a space where solos aren’t needed to make the songs compelling. TRACK: Dysrhythmia – Veil of Control Bandcamp: https://profoundlorerecords.bandcamp.com/album/the-veil-of-control

 

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More overtly referencing jazz fusion than Dysrhythmia, Animals As Leaders takes similar influences to different places on The Madness of Many (Sumerian), the D.C. trio’s fourth album. Eight-string guitarists Tobin Abasi and Javier Reyes are quite capable of soloing with GIT-soaked abandon, but are more interested in textures than technique. The axemen’s string slashes – which contribute both bass and guitar tones – clash in a way that creates polyrhythms with drummer Matt Garstka, and a subtle funk undercurrent keeps the tracks percolating. TRACK: Animals As Leaders – “Inner Assassins”: https://www.youtube.com/watch?v=LEYt2GtfQJk

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Drawing on different inspiration than its fellow trios, Russian Circles eschews solo-happy arrangements and just goes for the jugular on Guidance (Sargent House), the Chicago band’s sixth record. Guitarist Mike Sullivan, bassist Brian Cook and drummer Dave Turncrantz ride a fine line between doom metal and post rock, infusing the soaring dynamics of the latter with the power chord chug and thundering crunch of the former. TRACK: Sodom – “Caligula”: https://www.youtube.com/watch?v=nI6GXnBPDuQ&feature=youtu.be

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Ottawa quartet The Night Watch adds prog rock sweep to its second record Boundaries (self-released). Guitarist Nathanael Larochette and violinist Evan Runge – both also of equally wordless experimental act Musk Ox – balance power chords and soaring string lines over the course of one 36-minute tune that never loses steam. TRACK: The Night Watch – Boundaries Bandcamp: https://thenightwatch.bandcamp.com/

 

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Veteran Seattle black metal duo Inquisition has endured its fair share of bad press lately, due to accusations of Nazism. (Which seems unlikely, given this decidedly non-Aryan act hails originally from Colombia.) While denying all charges, guitarist/vocalist Dagon and drummer Incubus spit out Bloodshed Across the Empyrean Altar Beyond the Celestial Zenith (Season of Mist). The title alone indicates more interest in high-falutin Luciferian fooferaw than National Socialism, and Dagon’s guttural rumble makes meaning hard to discern in any case. In truth, the band’s passion is for grinding but catchy riffs and blastbeat rhythms that conjure up that most rare of demons in black metal: a groove. (All the more impressive given the lack of bass.) “The Flames of Infinite Blackness Before Creation” and “Through the Divine Spirit of Satan a Glorious Universe is Known” don’t court controversy so much as headbanging glory. TRACK: Inquisition – “Power From the Center of the Cosmic Black Spiral”: https://www.youtube.com/watch?v=5C-W3Tq-zgM

 

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Also no stranger to controversy, Norway’s legendary Darkthrone returns with its sixteenth LP Arctic Thunder (Peaceville). Singer/guitarist/bassist Nocturno Culto and drummer/lyricist Fenriz forgo the usual chaotic blast beats for a powerhouse marriage of blackened extreme metal and NWOBHM riffery. “Tundra Leech,” “Boreal Fiends” (which ends with a synth solo!) and “Deep Lae Trespass” sound, a quarter of a century after the band released its first album, less like black metal classicism and more like classic metal. TRACK: Darkthrone – “Tundra Leech”: https://www.youtube.com/watch?v=Lwz7gucE7x0

 

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German headbanger vet Sodom also make a big return with Decision Day (Steamhammer/SPV), the trio’s 15th record, released 30 years after its debut. The band’s blackened thrash is as teeth-gnashingly powerful as ever, blazing through ugly anthems “Rolling Thunder,” “Vaginal Born Evil” and “Caligula” with nasty (and faintly ridiculous) intent. What else would you expect from a group whose singer is called Tom Angelripper? TRACK: Sodom – “Caligula”: https://www.youtube.com/watch?v=nI6GXnBPDuQ&feature=youtu.be

 

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Witchery keep the Satanic vibe rolling on In His Infernal Majesty’s Service (Century Media), the long-running Swedish ensemble’s sixth LP. The quintet has always blended its bloody black metal with other styles (particularly thrash and power metal) for an evil brew that appeals to more than just the corpsepainted crowd. The powerhouse whipcrack of “Netherworld Emperor” sidles up to the blastbeat explosion of “The Burning of Salem,” both of which contrast with the heads-down stampede of “Zoroast” and the straight-up anthemry of “Oath Breaker.” Good headbanging fodder whether you worship Lucifer or not. TRACK: Witchery- “Oath Breaker”: https://www.youtube.com/watch?v=DMBynqpUzdE

 

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Norway’s In the Woods… never bothered with all that Satan stuff, finding its eerie weirdness inside its own collective head. Pure (Debemur Morti Productions), the innovative band’s first album in 17 years, keeps the menacing atmosphere of darkness, but skips most of the other BM signifiers. Exchanging blastbeats and vampire-on-crack singing for sweeping minor-key melodies and a gruff baritone, ItW uses its black metal roots as foundation for moody progressive anthems “Blue Oceans (Rise Like a War)” and the massive “Transmission KRS.” TRACK: In the Woods… – “Blue Oceans Rise (Like a War)”: https://www.youtube.com/watch?v=iY0nBdumDr0

 

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The Gates of Slumber waved the flag for old-fashioned doom metal for over a decade, before the departure and subsequent death of bassist Jason McCash put a period on the end of that sentence. But guitarist/singer Karl Simon isn’t done laying down the thundering riffgroove just yet, picking up exactly where he left off with Wretch, named for TGoS’s final LP. The trio’s self-titled debut (Bad Omen) floweth over with deep sludgy grooves, lava-thick guitar waves and Simon’s plainspokenly gruff ruminations on “Grey Cast Mourning,” “Winter” and “Running Out of Days.” No psychedelic excursions, blackened atmospheres or noise dynamics here – just pure doom done well – better, possibly, than anyone else treading the boards not named Tony Iommi. Check out “Icebound” for a near-perfect encapsulation of everything doom is all about. TRACK: Wretch – s/t Bandcamp: https://badomenrecords.bandcamp.com/album/wretch

 

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Combining progressive rock melodics, death metal aggression and doom crunch, Vancouver’s Anciients blast to life on sophomore LP Voice of the Void (Season of Mist). Alternating carnivorous roars with keening croons, sweeping tunesmithery with thunderous riffology and soaring majesty with grimy brutality, the quartet lifts you up to heaven, only to drag you back through hell, usually within the same song. As such, the band is at its best on longer pieces where it can really flex its considerable muscle – “Worshipper” and “Ibex Eye” are particularly good examples. TRACK: Anciients – “Ibex Eye”: https://www.youtube.com/watch?v=dFJaeVS8L00

 

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Veteran Swedes Dark Tranquility skip the doom part of the equation, but aren’t a million miles away from prog metal on eleventh LP Atoma (Century Media). The band’s sense of majestic melody informs tracks like “Neutrality,” “When the World Screams” and “Encircled” – it’s just one clean vocal away from a radio-ready anthem. TRACK: Dark Tranquility – “Forward Momentum”: https://www.youtube.com/watch?v=suhuQlYZwtE

 

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Pioneering avant metal act Neurosis lets enough years go between releases that any new album is a big deal. Fires Within Fires (Neurot), the influential Oakland quintet’s twelfth album and first in four years, serves as a thirtieth anniversary record, and a summing up of the group’s long career to date. Over the course of five long tracks, Neurosis takes a journey through noise and silence, chaos and order, alternating high volume and maximum crunch with delicate beauty and near-ambient intonation. Guitarists Scott Kelly and Steve Von Till interweave steely webs of thorny latticework before crashing into wall-shaking thunder; drummer Jason Roeder modulates the dynamics while still keeping to the crunge. Keyboardist Noah Landis and bassist Dave Edwardson fill out the sound without drawing attention. As vocalists, Kelly and Von Till evoke the album title in their performances, calling up a harsh passion undiminished in their three decades around the metal block. “A Shadow Memory” and “Fire is the End Lesson” present masterclasses in how to manipulate sturm und drang without becoming tiresome, while the awesome closing epic “Reach” is a summary of everything that makes Neurosis great. TRACK: Neurosis – Fires Within Fires Bandcamp: https://neurosis.bandcamp.com/album/fires-within-fires

 

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Every time we think NYC alt.metal icon Helmet has finally given up the ghost, we’re proven wrong. Since its reactivation in the early ‘aughts, Page Hamilton likes to take his time between records and tours, so the confusion is understandable. Six years since the underwhelming Seeing Eye Dog, Hamilton and co. return with Dead To the World (earMUSIC), Helmet’s eighth LP. The guitarist’s voice has gotten rougher over the years – indeed, he’s almost unrecognizable to his former mellifluous yet harsh singing self. Otherwise, though, the song remains the same – growling riffs, grungy melodies, noisy guitar breaks, the occasional unusual lick or chord progression to remind us of Hamilton’s jazz training. “Bad News,” “Life or Death” and “Expect the World” likely won’t change the minds of the unconverted, but fans will feel a familiar warm and steely buzz. TRACK: Helmet – “Bad News”: https://www.youtube.com/watch?v=TkFMvststF0

 

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On their last album Clean., Whores. seemed just too angry and spiteful to live. But rage can keeps the blood pumping, as on the band’s follow-up Gold. (eOne). The Atlanta trio pummels its riffs with barbwire-wrapped baseball bats, while guitarist Christian Lembach rants and raves about whatever’s pissing him off at the moment. Same old same old, especially in the noise rawk world, but Whores. (spellcheck loves that period!) definitely possess that certain spark that elevates them above mere Unsane clonery. Maybe it’s because, like Unsane, Wrong and the other heads-above distortion mongers, Whores. writes real songs – “Baby Teeth,” “Mental Illness as Mating Ritual” and “Bloody Like the Day You Were Born” would hold up if they were being played by Lynyrd Skynyrd. Fortunately, they’re not. TRACK: Whores. – “Baby Teeth”: https://www.youtube.com/watch?v=AqPVISe4jhI

 

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If metal musicians are playing, is the result still metal? Hard to say, given how many active headbangers like to make goth rock, postpunk, prog, noise rock and various electronic and ambient musics. Case in point: Brain Tentacles, the membership of which includes dudes from Municipal Waste, Keelhaul and Yakuza. The trio’s self-titled LP (Relapse) plays smash ‘n’ grab with elements of free jazz, riff punk, noise rock and thrash for a gleefully frenzied tornado of sonic ass-whuppery. Bruce Lamont’s growling sax leads the charge, dragging bass guitar, drums and occasional synth waves and vocal expulsions in its wake with a chain. Four-stringer Aaron Dallison sometimes challenges Lamont and even threatens to win, but ultimately goes back to his corner, while drummer Dave Witte just keeps his head down and bashes away. “Sleestack Lightning,” “Fruitcake” and “The Sadist” are exciting and goofy and overwrought and brilliant all at once. Exactly what you want from a band called Brain Tentacles. TRACK: Brain Tentacles – s/t Bandcamp: https://braintentacles.bandcamp.com/

 

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Opeth hasn’t really been metal in several years at this point, ever since excising its death metal side with 2011’s Heritage. While the Stockholm quintet still hasn’t rediscovered the magic that made Blackwater Park and Watershed so distinctive and compelling, it gets closer with every post-Watershed album, as latest Sorceress (Nuclear Blast) shows. “Era” and “Will O’ the Wisp” mix progressive rock and psychedelia like there’s no difference betwixt them (is there?), while the Middle Eastern melodies of “The Seventh Sojourn” give the album a different flavor. “Chrysalis” and the title track also remind that Opeth still knows how to rock when required. Sorceress is this metal royalty’s best non-metal album so far. TRACK: Opeth – “Sorceress”: https://www.youtube.com/watch?v=LhqijfqecvA

 

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Opeth’s countrymen Witchcraft have followed a similar path from headbanging to headscratching, though starting from 70s doom rather than 80s death metal. Time (Nuclear Blast), Witchcraft leader Magnus Pelander’s first solo album, falls even further from the metal tree, its apple rolling off into fields of lite prog and acid folk. Given how stripped down these tracks are – mostly just acoustic guitar and voice – the nearly nine- and ten-minute lengths of “True Colour” and “Precious Swan” seem excessive. But Pelander’s melodic instincts serve him as well here as they do in his main band, keeping him out of trouble. TRACK: Pelander – “The Irony of Man”: https://www.youtube.com/watch?v=UXF7Y_QOV5g

 

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Similarly, Sweden never seems to tire of the heavy classic rock groove, as it spits out bands of that ilk like watermelon seeds. Örebros quartet Captain Crimson is the latest to cross over to domestic shores, via its third album Remind (Small Stone). The band sports a fairly traditional (if you can say that about this music) melodic blues rock sound – songs like “Money” and the title track sound familiar even if you’ve never heard them before. But singer Stefan Lillhager boasts a charismatic tenor and guitarist Andreas Eriksson knows when to let riff and when to let rip. “Black Rose” and “Drifting” score big on both counts. TRACK: Captain Crimson – Remind Bandcamp: https://smallstone.bandcamp.com/album/remind