Debut album from Is And Of The out now

Heads Phased For Dreamless Sleep, the debut release from Is And Of The, was initially conceived as an ambient piece designed to alleviate the insomnia of the album’s creator, Drew Bandos. Building on a platform of minimalism, elements of shoegaze, post-rock, and psychedelia started to creep their way into the mix, and the project quickly grew into something much more expansive. Produced and mixed alone over countless hours in dorm rooms and basements, and supplemented by collaborations with musicians who had never heard the songs and recorded their contributions in one take, there is a balance of obsessive tinkering and loose inspiration in each track. The music leaps from emotional peak to valley, yet somehow maintains an order in the cyclone of ideas that makes the journey cohesive. Between the sampled soundscapes, distant screams and layered melodies, Heads Phased For Dreamless Sleep is an eye-opening precursor for what’s to come from Is And Of The, be it sleepy ambience or explosions of noise.

http://soundcloud.com/mushrecords/is-and-of-the-sleepless-dream

Can – Tago Mago (40th Anniversary Reissue)

Having been on a shamefully belated personal Can back catalogue trawl over the last year, it’s clearly apparent that not one album can truly represent and illustrate what made the band so special and so important.  Even the over-polished and disjointed albums from the band’s twilight years are at least, in parts, crucial in explaining their meteoric and innovative sonic journey.  That said; if you were only to acquire four Can albums then 1971’s Tago Mago would certainly have to be one of them, which in part justifies this 40th Anniversary deluxe reissue (bolstered by a disc of contemporary live material) being used as a trailer for next year’s promised collection of outtakes/live material and a gargantuan oil reserves-draining vinyl reissue boxset.

Although being the first album to fully feature passing-through and much-loved vocalist Damo Suzuki, Tago Mago is perhaps more notable for the galvanising group dynamics of Irmin Schmidt (keyboards), Holger Czukay (bass/tape-editing), Michael Karoli (guitar) and Jaki Liebezeit (drums) being stretched and folded in the studio.  No better is this illustrated than on the towering epic 18+ minute centrepiece “Halleluhwah,” wherein Liebezeit’s colossal drums drive relentlessly, Czukay’s bass throbs with rubbery menace, Karoli’s guitar twists into multiple bastardised-funk shapes and Schmidt’s keyboards swirl into the impervious latticed grooves.  Listening to “Halleluhwah” you can hear what the likes of Public Image Limited, The Fall, The Happy Mondays, Primal Scream, Tortoise and Wooden Shjips (amongst innumerable others) have stolen to make their own over the years but have never quite matched in terms of ego-less breath-taking democratic synergy.

Whilst nothing comes close to “Halleluhwah,” there is still much else to be recommended across Tago Mago.  “Paperhouse” and “Oh Yeah” capture more peerless interlocking between Liebezeit’s trance-inducing drums and Karoli’s distended-funk guitar; the apocalyptic visioning of “Mushroom” fuses Suzuki’s most desperate vocals to a sublimely sinister polyrhythmic soundscape; and the closing electro-acoustic shimmering of “Bring Me Coffee Or Tea” reveals the softer more elegiac side that the quintet would develop most extensively across 1973’s equally essential Future Days.  Perhaps the two tracks that will test the tolerance of newcomers and less obsessive fans alike are the lengthy “Augmn” and “Peking O,” which both example Schmidt and Czukay’s avant-garde roles more than elsewhere on the album, with tape-loops/editing, analogue synths, treated vocals, primitive drum machines and found sounds bending the studio rules of the time.

If the main album captures Can exploring the studio as an instrument then the appended bonus live disc, compiling three extended tracks from a 1972 concert, reminds us of Can the live band.  Rough in sound quality, heavier instead of looser and with much more muscular vocals from Suzuki, there is a nagging feeling that there is stronger live material being held back for the aforementioned rarities set.  Nevertheless, it’s still an intriguing trio of tracks.  The opening take on “Mushroom” is almost unrecognisable in its arrangement in comparison to the Tago Mago version, being darker and murkier, to the point where it almost sounds like an outtake from the on-stage portion of Pink Floyd’s Ummagumma.  In its wake, an insanely long half-hour version of “Spoon” (onetime hit single from 1972’s Ege Bamyasi LP) sprawls into a borderline garage-prog jam, with shades of The MC5 and Soft Machine slipping-in, which is hard to judge as a good or a bad thing.  The closing performance of “Halleluhwah” is thankfully far less questionable, although it is slightly let-down by dips in fidelity and by being cruelly faded-out after nine minutes.  Whilst ultimately it’s a nice enough bonus for those that might have purchased Tago Mago once or twice before, the live disc feels somewhat insubstantial next to main album it is supporting.

Although a little flawed, taken overall this repackage of Tago Mago is a strong reminder of an inspirational band that – like sometime peers Kraftwerk – can still be enjoyed directly in the present, due to a combination timelessness and foresight that sustains a remarkably intense freshness. Roll on the boxsets…

Mute

Official news from The Ropes

Our new 7″/EP “Lack of Technology Made Me a Killer” is out now.

You can download the title track for free @ Soundcloud

The 7″ and digital EP can be purchased from our official store at http://theropesmusic.com/

Track Listing:

1. Lack of Technology Made Me a Killer

2. The Whores Are Funny Again

3. Designer Beggars

4. Take Your Seatbelt Off

“A time machine over a gun would be my preference, but lack of technology made me a killer.”

Yours,

TR

Lana Del Rey – “Video Games” video

Now-ubiquitous YouTube sensation Lana Del Rey, who hasn’t even released a debut album yet, is shooting to fame based on the strength of the video for her song “Video Games”.  The self-made video, which has over 6 million-and-counting views on YouTube, features lots of close-ups of Lana intercut with California-centric found footage and faded home movies.

Lana’s confessional songstress style and elegantly pensive, vintage-sounding voice recalls the likes of Amy Winehouse, Adele, and Gemma Ray.  She languidly draws out her words with a longing, pensive ache.  There are shades of Stevie Nick’s introspection (but Lana’s voice is clear and not wavering) and of Hope Sandoval’s soporific tone, but Lana infuses the song with a more womanly, alluring inflection as she sing-talks “It’s all for you / – everything I do.” And “Heaven is a place on earth with you.”

There is a strangely displacing, nouveau-retro mash-up to the “Video Games” video, starting with Lana’s appearance.  Her long-waved tresses are fluffed and swept back from her forehead for a bouffant look that’s reminiscent of the iconic, 1960s styles of Bridget Bardot and Catherine Deneuve.  Her make-up is minimal save for some under-eye mascara and eyeliner application and pale shadow shimmer on the lids.

Lana’s self-described “HOLLYWOOD SAD CORE, SUMMERTIME SADNESS” video works in shots of quintessential Los Angeles landmarks like the Hollywood Walk Of Fame, the Roxy, and the Hollywood sign (with the Pioneer Club casino in Las Vegas thrown in for good measure).  Lana mixes recent filming of starlet Paz La Huerta taking a misfortunate tumble at the Chateau Marmont with 1950s footage of shutterbugs snapping pix with their clunky cameras and outsized flash bulbs.  She then juxtaposes this incident with grainy black ‘n’ white video of skaterboarders wiping out on the pavement.  Faded home movies suffused with a golden California glow unreel images of friends on vacation, giving the video a nostalgic vibe.

Official Video: http://www.youtube.com/watch?v=HO1OV5B_JDw

Official Site: http://lanadelrey.com/

Björk – Biophilia

Through many kinds of sounds, styles and substance, Björk has always supported a poignant affection of splendid music. For practically twenty years the Icelandic musician has stepped out of her skin, time after time, to craft some of the better albums of these decades. Post and Vespertine nestle within the realm of masterpiece territory and much of her music prevails on extraordinary vocal ability and pure heart and spirit. Most recently Volta left much to be desired; however, Björk comes back with Biophilia: her terrific return to form.

Fortunately, the music continues to step ahead with more than just a forward-thinking method of release. Although this album was intended as music to be used partly as an application on a tablet, Björk did once make albums that were subdued and discreet in supplementary parts that shined with colorful palettes of sounds with songs like “Come to Me” and/or “Isobel,” for example. Opportunely, Biophilia takes the music and encompasses a wide array of sounds that compliment Björk’s spectacular voice. On “Virus” she compares her craving for her lover to that of a host and its accompanying parasite and how they are intertwined together, bound by love. The lulling and gentle keyboard refrain is supported by chiming percussion and electronically-infused beats as Björk sings “The perfect match, you and me, I adapt, contagious. You open up, say welcome.” The concept is as endearing as her lullaby-like ballad and its adoring music displaying a strong sense of focus.

Whereas Volta featured some defining achievements like “Earth Intruders” and its seamless shake and groove, the walls were stretched so thin that even the most complex songs were too much to take for the most die-hard fans. Björk was always about changing the scene and as much as Volta tried to defy, it mostly blindsided with difficult mixtures. Now, “Moon” opens with a Joanna Newsom-like arrangement that is light on electronics and heavy on harp and string exposure, and later on “Dark Matter,” the music is both dissonant and harshly minor. The latter finds Björk reveling in cluster chords that both entice and obstruct the light of the melody: there’s a dark matter embedded deep in the chords and Björk adds spectral touches with choral layers reminiscent of the ones found on Medúlla. The organ-tinged sounds of “Mutual Core” reveal a sparse composition at first, before swelling into a gradual discourse of beats behind Björk’s timely vocals. On Biophilia the music is able to freely travel throughout the album’s ten songs thus revealing a relaxed, even-keeled segue of music.

There was never a moment where people doubted Björk and her skilful merits – it’s always been remarkably clear how magical her music is – but after pouring out albums of tremendous music, Biophilia continues to offer more dramatically dazzling moments. On “Crystalline” she features a slashing melody that displays the range of her voice in fantastic fashion and the ensuing “Cosmonogy” at first sounds like a classical excerpt from something out of Wagner’s book. Cosmonogy refers to ‘The Big Bang Theory’ and Björk sings about her own take on the existence of the universe with soaring harmonies and towering, ominous chords of lush instrumentation.

It certainly feels trite, in this day and age, to refer to anything as a return to form. Music is so subjective in its pure aesthetic form that whose form is anything supposed to return to? In the end, there’s still a great expectation artists like Björk have learned to come by and whether it’s advancement in art, release style or evidently great music, Biophilia is an excellent addition to her glorious discography.

One Little Indian

Interview with Fiona

Hello Fiona! How are you doing? Wow, I can’t believe it’s been about two decades since you’re last album, and now, as if no time has passed by at all, you’re back with a spectacular and powerful new album (with your spirited and compelling vocals in top form) titled Unbroken which was released in October. I also can’t believe I’m doing this interview with you (I’m pinching myself to make sure this is happening – LOL) because you are one of my main rock inspirations from the 1980s, and I’ve been wondering for so long if you were still in the music sphere.

Oh. Really? That makes me laugh – the part about you wondering if I was in the music sphere. No, I was just living my life and covering my ears as my kids started music lessons! Thanks for the compliments, though! Love that!

Before we take a cruise down memory lane, could you go into some details about the songs on Unbroken, which can be purchased at your official website: http://www.fionarock.com/homepage.html . How long have the songs been in gestation? Have you carried around the seeds of certain songs for years, which have now come to fruition, or has it been a quicker creative process?

No. We wrote them cold, hard and fast. I haven’t written or tried to write for years. A few of the songs were written for the Squeeze CD but the new ones are from the past few months.

You’ve collaborated with various musicians on the songwriting and music for this album, including Tommy Deander, Bobby Messano, Marc Tanner, and producer James Christian (of House Of Lords fame). Did it feel like the (hopefully) good old days working with these guys? How did you handle the songwriting? Did you come into the studio armed with lyrics in advance or did you hash it all out while also composing the songs?

This time we were separated. We did it by computer. I stood in my computer room and sang to tracks until it felt right and then I’d record and send my ideas to James. Sometimes he had suggestions, sometimes he just said NO WAY. I didn’t mind. I tried different melodies. The lyrics he never bothered me about. I was stuck on the chorus of “Broken” so he wrote those words and melody. Bobby Messano came over one day and helped with two songs. That was in person, but he lives near me.

You perform a duet with singer Robin Beck and it’s really cool and unusual to hear two female lead vocalists on the same track! How did this come about?

I was staying at her house and we thought it would be really cool. She is an amazing singer so we thought we could have a voice battle. A duel instead of a duet. It was really fun. She’s crazy and her voice is so different than mine, more flexible in my opinion and just amazing up high.

You cover “Shadows of the Night”, which I always assumed was written by Pat Benatar, but the lyrics are by D. L. Byron. What drew you to cover this song in particular and did you, from what I understand, use alternate lyrics that D. L. Byron wrote that were not in Pat Benatar’s version?

Bobby Messano suggested I check out D. L. Byron, so I did and I got stuck on his original version of the song. I just loved it and decided to sing it. I did it in a low key on purpose. I wanted to do a duet with John Eddie but he said no. I’m laughing. I thought, this is going well… He’s my friend.  He is amazing live, and I just thought it would be fun. It would have been very difficult to arrange, logistically. I sang in Florida. He’s on the road almost all year. We’ll do it onstage sometime.  Anyway, it came out just the way I wanted it to I guess – except without John!

I love the song title “I Love You But Shut Up”. Who is that directed at?

The Elements wrote the song and let me take a few liberties with the verse lyrics which was really kind of them. It was originally a little bit more about sports, but I wanted to relate it to my own life which is a bit broader. My kid was working on a simple pulley machine and CNBC is always on about stocks and bonds – and who cares – the world is nuts right now and the news is crazy and I just want the TV to shut up (and the kids, too, sometimes – they want to tell me EVERYTHING and I feel like my head is going to explode).

“Everything You Are” is a sweet change of pace from the hard (yet still melodic) rock, with you singing in a more delicate and less menacing tone. Do you enjoy singing in this style or do you prefer to let loose and press your emotions to the forefront on the more rockin’ tracks?

I think that was the first song I sang and I like the high notes, but if I had it to do again I might push more on the B sections. Honestly. I was just getting warmed up. It’s accidental art. It sounds different but I’m very glad it does.

Unbroken is released on Retrospect Records, but I noticed at your website that you also listed Life On The Moon Records. Is this your own record label?

It’s stressful. Pain in the neck. I dislike details when it has to do with me. I would prefer a separation. I like to sing. Period.

You’re previous albums are hard to find and sell for big bucks (well, at least on my budget! LOL) at Amazon. Are you planning on (re)releasing your back catalog at your official site? That would be cool!

They don’t belong to me, so no.

Even though it’s been about 20 years since the release of your album Squeeze, I think you’ve still been involved in the music world, albeit sporadically. There’s some live footage at YouTube of you singing at shows in 2010 and you’ve done some songwriting and backing vocals for other artists. I didn’t realize that you did backing vocals for Warrant’s “Cherry Pie” (rest in peace Jani Lane) and Roger Daltrey’s song on The Lost Boys soundtrack, and were a guest vocalist on a Dweezil Zappa song! How did these awesome side projects come about?

All three of those were because I was married to the producer, Beau Hill, or at least dating – I can’t remember the years. If he needed a girl he called me! I’m very grateful to him. I think maybe Warrant asked for me because we were all friends. I agree, Jani Lane dead is very sad.

Your duet (and accompanying video) with Kip Winger on “Everything You Do (You’re Sexing Me)” from your 1989 album Heart Like A Gun is incredibly sizzlin’. How did you end up collaborating with him?

Once again, Beau. They had been friends in Colorado and then he produced those Winger records. Kip and I obviously got to know each other very well (and his entire family). He was on Atlantic and in my opinion he did me a favor. I love that guy. I just saw him a few nights ago. He is one of the most talented people I’ve ever met. He just wrote a freaking ballet that is performed all over the world. Now HE is someone to ask about the past 20 years!!!

Going back to your self-titled debut in 1985, I was floored by the raw emotion of the single “Talk To Me”. It was a heady time for you, with the release of your sophomore album Beyond The Pale just a year later. Were you prepared at all for the critical accolades, public adoration, and photoshoot requests? I remember you were featured, along with Chris Isaak (well, in a separate section, I think) in a prominent magazine at that time period…

No. I had a very high opinion of myself, which I think most 24 year olds do, but I was VERY unprepared for all the business work. I just thought I’d be at airports a lot. I had no role models, no one explaining what was going on. It was very weird and I feel for all the kids that it happens to, even though they do want it and go for it, they have NO idea unless their parents did it, too.

From what I’ve read, you were also interested in acting as a wee lass, although I’m not sure how much of that was due to parental pressure to “make something of yourself” (as is their wont). You co-starred alongside legend Bob Dylan and actor Rupert Everett in the 1987 film Hearts Of Fire and the Little Miss Dangerous episode of Miami Vice. I’m sure everyone asks you what it was like to work with Bob Dylan, so instead I’m going to ask you what it was like to work with Rupert Everett (who I thought was the bee’s knees at that time period in cinema). LOL

Rupert, I think, hated me. I wanted so much for him to like me – maybe I tried too hard. You’d have to ask him. I was in every scene and though I was prepared, I was pretty tired. I didn’t understand the pace of it all. It’s very intense. I was interested in acting but music was where my head was and I just stopped trying at anything in the arts.

So I guess you didn’t ever consider switching careers and going into the acting field?

No. You really have to know what you are doing. I had a great coach in NY and a few great classes in LA where I could really feel it, feel what acting was, and it was amazing. I read with Benicio Del Toro once in class. It blows your mind. I wrote a play for that class and David Mamet’s brother told me to be a writer. That was a boost. Anyway, when I did act, I lowered my voice and that is REALLY bad for singing.

Speaking of performing, you have a gig lined up for mid-December. Any plans to do a tour or release a music video to tie in with your album release?

I’m just getting all that organized. December is on, February in Switzerland is on – I hope Germany, too. Rocklahoma, etc… I need more time in the day because I still have my regular life and my daughter is yelling at me. I didn’t know I was in charge of half time food for the soccer team until one minute ago and the game is in 30 minutes.. Why do they need food at half time?  Can’t they bring their own? AHHHHHHHHH.

Ah, yes, real life…  I hope everything else is going fine for you!

It’s fine now. We had no power for a few days. Made me understand how the rest of the people in the world feel who are not as fortunate at this particular time in the history of the world. Kids and husband are great – glad to have them. VERY. They take me higher. I’m just learning how to combine the sudden influx of music with the rest of the schedule. This is all very unexpected.

Various Artists – Music And Migration II

Whereas Second Language’s last compilation from earlier this year, Minute Papillon, went for grand conceptual ambition (featuring 60 artists contributing 60 second pieces), this latest compendium goes for a far more manageable 14-track thematic sequel to 2010’s acclaimed Music And Migration.  Whilst in lesser hands, another collection of pieces with an ornithological angle might have illustrated a chronic lack of imagination, in the 2L grip it translates into the most blissful and cohesive multi-artist round-up in the label’s short but illustrious story so far.

Although Music And Migration featured many choice bird-referencing moments, on reflection it was ultimately more of a showcase of the then nascent label’s discerning and distinctive tastes for multiple-streams of neo-classical experimentation, pan-global pastoralism and bedroom electronica. In contrast, Music And Migration II has a more self-defined and near-seamless collective character that pays tribute to the cycles of nature through the balm of some unrepentantly autumnal ambience.  It’s almost as if the 14 gathered artists recorded their pieces together in one tree leaf-covered studio location in one 2L super-session.  Meticulously sequenced to accommodate both instrumental and vocal tracks, Music And Migration II is the kind of album to sink all of your senses into, in order to soak up its immersive otherworldliness.

Many of the wordless cuts glide through with warm electro-acoustic arrangements that flow effortlessly through proceedings.  Highlights amongst the voice-free tracts come through Ellis Island Sound’s glorious bucolically-tilted Another Green World homage (“Snowdon Aviary”), The Home Current’s multi-movement ambient electro ghostliness (“Theme From Mizieb”), Sophie Hutchings’ charmingly mournful piano piece (“Between Two Hills”) and Chronomad’s middle-eastern sound collage (“Bolbol”).  Many of the vocal-led entries are just as effective at capturing the same subtle and restrained atmospheres as their instrumental siblings.  Whilst some go for ostensibly self-contained songs, others stretch out into multi-part suites.  In the former respect, Piano Magic deliver the magnificently bleak and baroque-shaped “The Way Of The Birds,” Marissa Nadler airs the forlorn acid-folk of “Dead Birds in Arkansaw,” Haruko unfurls the beatifically Ólöf Arnalds-like “We’ll Be Birds” and F.S. Blumm’s “Wandervogel” uncannily imagines an unplugged version of Brian McMahon’s The For Carnation.  In the latter regard, both Dollboy and The Cutty Wren string together wobbly psyche-folk, primitive synthscapes, shades of Robert Wyatt and ‘80s 4AD electronica into sprawling but well-crafted explorations.

Whilst detailed analysis of the 14 individual pieces does reveal a wealth of adaptable talents, undoubtedly it is the combination of each contribution into a massively satisfying – yet crucially not over-gorging – whole that makes Music And Migration II such a low-key triumph for unpretentious sophistication.

Second Language Records

Music from High Pop out now

High Pop is Sean Posila and Jordan Caulfield. They muster up fuzzy garage pop, written for the very dregs of youth culture which they sprout from. There is no doubt some weird, slightly demented chemistry between these two boys. All their songs are written and recorded in their basement. What goes on down there, I do not know. At any given time, you can find them somewhere between Boston and New York, loosely attending universities. Their songs are fast and short, but their music is forever. It’s kinda like the Beach Boys on crack.

High Pop on Bandcamp: http://highpopforever.bandcamp.com/

Harpoon – Deception Among Birds

The controlled chaos and staggering sounds arising from the blend of grindcore, hardcore, and punk within the new album Deception Among Birds from Chicago metallers Harpoon, has resulted in a release that is gloriously impressive and deeply satisfying. The album, released October 25th via Seventh Rule Recordings, is a creative triumph, a colossus of thoughtful songwriting, and the pinnacle of merged instinctive roaming melodies and rampantly devastating power.

Harpoon are no strangers to critical acclaim and high praise having garnered plenty with their debut 2009 album Double Gnarly /Triple Suicide and split releases with noise/drone/metal duo, Locrian (2009) and The Muzzler (2010). Deception Among Birds will certainly raise that praise immeasurably, as the band have leapt even further forward in their songwriting. Toney Vast-Binder (vocals), D.J. Barraca (bass), and Dean Costello (guitar, drum programming) have brought forth a release that oozes imaginative ingenuity alongside an intensity as ferocious and impacting as any violent storm. Engineered by Andy Nelson, returning from their debut album, Deception Among Birds is a constantly moving mix of ideas and sounds that eagerly whip around the ears with a firm and refreshing determination to deliver something new and unforgettable.

From the opener “To The Tall Trees”, the album shakes up the safety and security of the listener, challenging and testing their mettle and ability to appreciate music that coaxes and engages openly and agreeably as it collides potently into the ear. Right through to the discordant closer “Deception Among Birds”, the album delights and strips the senses with equal effect, inciting and bringing addictive flavours that are irresistible, whilst at the same time there is a menacing tone that almost wants people to not engage with the album. It is a wonderful effect and sound that one eagerly wants to be consumed by.  The two ‘bookends’ to Deception Among Birds are very different but similar too; both have a testing composition that intrigues and keeps one on their toes. The opener though has a more ordered direction, not predictable but straight forward and direct whereas the title track ends the album by building a dark and growing intensity, broken with disruptions and diversions delivered with sureness and confidence. Wrong footing the listener throughout, the track plays mischievously before eventually bringing in an ominous calm of false relief and stability, soon disposed by an overwhelming atmospheric and beckoning intolerance.

The whole album is impressively varied and all songs make their individual journeys a focused effort, rewarded with great enjoyment. “Prequel To A Lifetime Of Disappointment” intrudes and inspires with a semi drone of the harsh and melodic aspects of sound, whilst “Phlegm” eagerly stalks the ear as it ebbs and flows through intensity of its attack without ever showing the listener mercy. Add the primal glory of “Troglodyte’s Delight”, the hardcore punk fueled “Shit Wizard” lined with an addictive groove that makes one drool, and the vibrant tease of “’The Cut Of His Jib” that makes addiction a must with its incessant riffs and heart inflaming punk licks; urgency laced with melodic vocals that fall eagerly alongside frantic shouts and growls, and you have an album that goes far beyond essential listening.

Deception Among Birds is a glorious and welcome intruder on the senses, its freshness and innovation rare amongst current releases. From the album’s songwriting through Vast-Binder’s vocals, the striking manipulating guitars of Costello, and the imposing bass lines of Barraca, to the overall completeness of sound, Harpoon have pushed music up a level with this album, and made it tremendously exciting once more.

Craft – Void

In 2005 Craft released what was to be their final album, Fuck The Universe. Low and behold, 2011 marked the return of the Swedish Black Metal five piece. Craft bring something new to the table while re-inventing the genre. Obviously influenced by Darkthrone and Burzum, Craft’s Void takes the listener back to 1992.

Heavy, with orchestral undertones, Void reaches beyond the “standard” poor production value, whilst raising the bar with these 9 feral tracks. Songs like “I Want To Commit Murder” and “The Ground Surrenders” play with what are conceived as stereotypical Black Metal chord progressions and time signatures.

Vocalist Mikael Noxs’ sepulchral delivery pushes Craft over the edge, with lyrics filled with hatred, “I want to commit murder, knowing you exist makes me sick”, anti-establishment rage and apathy, “you sleep, you eat, in a pompous cycle of whatever”, and almost dreamlike, whimsical verse , “lost in hell we are dreaming of places out of reach; of worlds unharmed by humankind’s reality”.

Although Void‘s sound is reminiscent of both A Blaze In The Northern Sky by Darkthrone, and Filosofem by Burzum; somehow Craft manages to stand alone. This record simply draws you in. For fans of Black Metal, you’ll find it easy to come to grips with such blatant similarities to the classics. I guarantee that after one listen, not going back for more will be of the utmost difficulty for even the most die hard naysayers.

 

 

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