Envenomist – The Helix

Envenomist - The Helix

David Reed, the guy with the artistic handle Envenomist, is probably a really weird dude. That’s not a bad thing though. He’s probably weird in the awesome sense, like the one time I showed up to a house show an hour early and the dude that lived there was sitting in his living room, not too terribly surprised by my arrival, listening to a Whitehouse record and eating rice. We smoked a bone and it was cool, but there was just something overbearingly weird about the guy, a sort of thing you can’t quite put your finger on. And it’s those types of people that make this type of music.

What kind of music do I mean? Well, let’s put it this way. There is no melody here. Not a single hint of it, anywhere. No rhythm, no nothing. Just pure, dark, ambient noise. Which is great, but from a conventional standpoint it makes it that much harder to dissect, so forgive me noiseheads if I don’t give you what you’re looking for. As soon as the album starts I feel as though I’m transported into a color sequel to Eraserhead, in which instead of using black and white, there is much, much red. Blood red. Throughout the album, the sound of what I would imagine is lasers cutting you into little bits very slowly seems to be prevalent. The third track “Final Frontier” feels like a long hallucinatory Star Trek sequence in which Captain Kirk has to face his own demons or Evil Spock. “Gyres” vibrates like being digested by the Sarlacc, to move to Star Wars, maybe like taking a guitar string’s vibration to a thousandth of its real life speed and sending it into a metal hallway/particle accelerator.

Overall, The Helix makes some creepy soundscapes that David Lynch would be proud of. It can really dig into you, give you an inkling of the fear that only a bad psychedelic trip can really produce. And sometimes, that’s what people want out of music.