Space age transmissions broadcast from the outer reaches of... Bury...

Stupid Cosmonaut

Digitalis

Stupid Cosmonaut, one of those band names that explains pretty much everything you need to know about a band's music. Since they started 2016 this space and synth obsessed outfit have been busy, dropping several music releases up to now. They have experimented with sounds ranging from electronic, ambient and post rock to conjure the vast cosmic soundscapes contained within their records. Their newest release, Digitalis, once again shows their versatility of sound. Digitalis takes a step away from the more ambient sounds of their last solo release, Algol, to once again show us their prowess with synth and electronica. The music contained within the record sounds like it is straight from a classic Sci-Fi soundtrack. Electronic drum beats that seem to pulse and croak paired with long yawning ambient howls. Over the top this they layer delicate chiming synths. Their approach to song writing lends a lot from post rock, often starting from basic beginnings and using a motif throughout a song to build up a sound that is thickly layered and complex. Tracks often feel organic, like they are evolving throughout their duration. You can hear a range of inspirations in their sound; Classic Sci-Fi soundtracks, John Carpenter soundtracks, classic synth music. These are influences that aren’t uncommon in electronic music at the moment especially with the emergence of nostalgia-centric genres such as synth-wave. What stupid cosmonaut manage to do that sets them apart is take these inspirations and sounds and add their own flavour, often adding a fresh modern twist on them. This can be heard in the erratic drum beats that open the track Offline also the delicate strings and clean pianos that accent title Track Digitalis, just to name a couple of examples. It is this ability to make musical tropes sound fresh by adding their own spin on them coupled with their versatility that makes Stupid Cosmonaut so exciting. If you aren’t listening to this band already, my question is… why?

8/10

FFO; John Carpenter, Perturbator, Kraftwerk.

Top ten music releases of 2017

There is no doubt that 2017 has been an excellent year for live music, especially for myself. But how did it fair in terms of new music releases? This post is going to be a little looser in format than some of my reviews, something that I might continue into the future. So here is my list, the top ten music releases of 2017... presented in no particular order except for the number one spot. 

10. Ecostrike - Time is now

I've got a big soft spot for metallic hardcore... so I always enjoy when I see it done right. This EP definitely does it right. Filled with stompy mosh-pit riffs from start to finish. It's reminiscent of early Earth Crisis in both style and lyrical content (not a bad thing in my book). Though it is a little rough around the edges at points this EP is an excellent statement of intent. A great EP that makes me excited to see what Ecostrike have in store for us in the future.

If you only listen to one track: Act Of Militance

9. Boak - Movies

Aberdeen's Boak provided us with a masterclass in brevity with their EP Movies. Short and violent, this six track EP clocks in at under six minutes itself with no track breaking the minute marker. Boak are one of the best powerviolence bands active in the UK at the moment and this EP shows why. 

If you only listen to one track: Just listen to the whole thing, it's only 6 minutes long. haha

8. The Domestics - Cherry Blossom Life

The Domestics came to my attention through a friend and I glad this one didn't manage to slip me by. Cherry Blossom Life is the hard hitting punk album that I had been waiting to listen to all year. Fast paced, angry and belligerent. Track 6, Human Ikizukuri, a spoken word piece actually gave me goosebumps the first time I heard it. The Domestics and Pizza Tramp are the two most exciting modern UK hardcore bands.

If you only listen to one track: Don't Tell Me What Love Is

7. Dalek - Endangered Philosophies

2017 felt like a slow year for Hip-Hop, maybe that is because 2016 for me was such a great year for the genre. When I went back to some of the releases from this year and mopping up some of the releases I had managed to miss along the way I realised my initial assesment may have been a little unfair. One album, for me, stood head and shoulders above the rest... Endangered Philosophies. Probably the moodiest Hip-Hop release from 2017, this album is built on dark minimalistic beats and howling ambient noise. Dalek might be something a little different but I think that is something to get excited about.

If you only listen to one track: The Son Of Immigrants

6. Mastiff - BORK

I've said it before and I'll say it again... Mastiff are better than your band. But seriously, Mastiff are the one of the best sludge metal bands in the UK at the moment. One of my favourite things about Mastiff is they don't forget the hardcore punk roots of sludge metal... And BORK is no different. An aggressive and confrontational EP that makes good on all the threats they had made in previous releases.

If you only listen to one track: Eternal Regret


5. Blanck Mass - World Eater

Dropping fairly early in the year, World Eater is the electronic album that makes this list because how many times it has had me coming back for repeat listens. Drawing on a wide range of genres, this album has elements of electronica, noise, ambient and vaporwave... whilst also having a sound that is distinctly it's own. Though there have been some more challenging electronic albums released this year World Eater has a replay-ability that is undeniable.

If you only listen to one track: John Doe's Carnival Of Error


4. Power Trip - Nightmare Logic

 Power Trip are giving crossover thrash the boot up the arse that it needs. Nightmare logic absolutely left this years releases from both Municipal Waste and Iron Reagan for dust with its catchy neanderthalic riffs. The entire album has a party mosh pit vibe to the sound but with a clenched teeth anger behind it. And if you get the chance you absolutely need to catch Power Trip live.

If you only listen to one track: Executioner's Tax (Swing Of The Axe)

3. Corrupt Moral Altar -Eunoia

Eunoia is the best release to come out of Corrupt Moral Altar so far. Their sound is one that is hard to completely pin down but this album has elements of grindcore, powerviolence, hardcore, death and black metal and blends them all seamlessly. Essential listening for anyone who likes their music intense.

 If you only listen to one track: Survivor's Guilt

2. Stupid Cosmonaut - Algol

It's been a busy year for newcomers Stupid Cosmonaut after a hand full of releases and slew of live shows. The yawning spacescapes contained within Algol perfectly showcases their blend of electronics and ambient post-rock. Stupid Cosmonaut are definitely one to watch.

If you only listen to one track: The Demon Star Pilot

1. Bell Witch - Mirror Reaper

In my opinion Bell Witch's Mirror Reaper is the best release we saw in 2017. An album that commands your full attention. The emotion contained within the 83 minute composition is palpable. Extremely heavy, mournful, moody and dark. Although for a lot of people a single 83 minute track is a big slog it is well worth the effort you have to put in whilst listening to it.

If You only listen to one track: Hahahaha

A perfect soundtrack for crying.

Bell Witch

Mirror Reaper

 Seattle based two piece Bell Witch have been making miserable music for a number of years now. Their extremely down tempo brand of Funeral Doom is both powerful and haunting at the same time. Over their tenure they have dealt with the themes such as ghosts, supernatural events, life, death and loss within their music. After their former drummer Adrian Guerra passed away last year these themes took on a much more cathartic meaning. Although he had already made his departure from the band the loss hit Dylan Desmond hard and Mirror Reaper is the first album the band has released since his passing and is dedicated to his memory. What they produced in this record is an extremely fitting and heart felt piece of art. Mirror Reaper is not for the feint of heart. This 86 minute long single track composition is challenging and the requires undivided attention of the listener (preferably in a darkened room). However the payoff from this album is definitely worthwhile. As is to be expected with a Bell Witch, Mirror Reaper is a slow and methodical piece of music building on themes and motifs throughout the entirety of the track. In many ways it isn't as heavy as some of their previous works, employing even thicker ethereal atmosphere than previous with extended lighter guitar sections and dizzying amounts of amounts of reverb. Whilst the addiction of organs add an almost mass like quality, like the listener is being given a peek into some kind of dark ceremony. This doesn't mean however that Mirror Reaper isn't a heavy record. Passages of crushingly heavy guitars are paired up with thunderous and methodically deliberate drums. Low inhuman guttural roars or echoed shrieks often sound like they coming straight from a dungeon. These harsh vocals are balanced perfectly with stunning clean vocals that deliver abstract and melancholic lyrics. Chanted vocals in the later half of the record add too the aura of a ceremony for the listener. The atmosphere in the record is palpable from start to finish managing to be both haunting and beautiful. Album artwork is something a don't really cover in any of my reviews, but the artwork for this album feels like a perfect accompaniment to the music. An eerie image reminiscent of the art of Zdzisław Beksiński that reveals more depth the more time you spend looking at it.  As I've already mentioned Mirror Reaper Is an incredibly cathartic piece of work. It feels introspective and mournful  but in many ways isn't as bleak as previous Bell Witch releases. The cathartic nature of the record almost feeling uplifting, especially in the latter half. You can feel the emotion that has been poured into Mirror Reaper... and what that amounts to ultimately is a haunting and accomplished work of art. 

FFO; Ahab, Mournful Congregation, Nortt

9/10 

BA'AL THO...

Ba'al

In Gallows By Mass

Ba'al have been a name whispered on the UK metal scene for a while now. This post metal quintet from Sheffield have quietly been making a name for themselves over the past year or so through  their  sporadic yet heartfelt and enigmatic live shows. So far their sludge infused take on post metal has managed to win over audiences, leaving many people wanting to finally see a studio release. Well, the wait is over as Ba'al become the next member of the ever growing APF family with their debut EP In Gallows By Mass. This 3 track EP clocks in at just over 30 minutes and in that time Ba'al manage to deliver much have what they have become known for during their time on the live circuit. Each track is a journey in it's own right, building upon motifs and taking the listener through passages of spacious post rock up to the more crushing ends of sludge metal. Songs twist and turn from being ethereal and introspective before the guitars and drums swoop in to deliver much chunkier metal and breakdowns. Steffan's vocals throughout the EP mirror this format, with his ability to switch between echoey yet soaring clean vocals to throaty screeches, whilst the lyrics seem to mirror the introspective nature of the music. The EPs highlight, closing track Days Of Yore, takes all of these elements to create a triumphantly building track that journeys through everything that Ba'al has to offer. In Gallows By Mass isn't an EP without issues though. Unfortunately some areas do feel like they need tightening up slightly, especially the timing from the drums on the odd occasion. The production does also leave something to be desired and I can't help thinking some of the heavier passages would feel heavier if the EP was produced slightly different. Having said that In Gallows By Mass is still a decent post metal EP and a decent debut effort as well. 

FFO: Cult of Luna, Hundred Year Old Man, Bossk, Isis 

7/10

In Gallows By Mass is available from the 11th of November on CD and digital formats through APF

As heavy as a really heavy thing

Primitive Man

Caustic

Colorado three piece Primitive Man have been attacking the metal scene with their depressing, violent, misanthropic take on sludge metal for a number of years now. This is a band that has made a name for themselves by making extremely heavy terse music and performing dark and sinister live shows. The bands latest full length offering, Caustic, doesn't breakaway from this tradition. Right from the word go you are hit in the face with a tonne of feedback that breaks into crushingly heavy guitars on opening track My Will. The vocals are a terrifying mix of low inhuman growls and gutturals. This paired with the slow, methodical and crushingly heavy guitars helps to create the uneasy and claustrophobic atmosphere that Primitive Man are known for. The sound they manage to create often feels like it sits somewhere between Sludge metal and Funeral Doom. The entire album is uncomfortably tense. Despite the slow pace of the album the drummer manages to earn his keep, never missing an opportunity to fit in flurrys of drum fills in between the slow caveman-like crashes and slams. The album does also find room to pick up the pace with vicious bursts of grindcore, these moments make up some of the highlights of the album such as the closing section of second track The Victim and track from deeper in the album Sterility. I'm also personally very fond of the fact that their are several named tracks on the album, Caustic, Ash and closing track Absolutes entirely dedicated to harsh and uncomfortable feedback. Absolutes especially, a track close to the nine minute mark and made up entirely of samples, yawning ambient noise and feedback is another highlight and a great way to close an already tense album. This isn't to say however that it isn't an album without its problems. Caustic is an incredibly long album clocking in at close to an hour and twenty minutes and with a large number of tracks that are over the ten minute mark. This makes for an incredibly exhausting musical experience especially once you manage to get about three quarters of the way through the record. I think in a lot of ways Primitive mans music may lend itself better to the EPs and Splits we are used to them releasing as apposed to a full length album like this. That doesn't change the fact that Caustic is still an extremely heavy album and definitely a worthwhile listen for fans of Primitive Man and any fan of extremely heavy music.


FFO: Thou, Seabastard, Meth Drinker, Corrupted

7/10

Remember... they own your scene...

Iron Monkey

9-13

Anyone with a passing interest in sludge metal know who Iron Monkey were. Their aggressive brand of metal, dark cryptic lyrics and gargled black bile spewed out as vocals have made an indelible mark on the UK underground metal scene. This along with the band's incredibly short tenure after the untimely death of twistedly charismatic front man Johnny Morrow has given the band a mystique that  helped garner their cult status. The band's reformation in January of this year was met with a considerable amount of excitement and intrigue but after they announced their comeback album, 9-13, the cracks began to show and the whole affair started to split opinion. For the most part the album delivers what we would expect from an Iron Monkey release. Opening track crown of electrodes kicks off the tone with  a hardcore flurry before breaking into the meat of the album. The album is full low end groovy riffs played on crunchy distorted guitars that jolt and lurch their way through each track. The tempo swings between a slow trudge and faster paced hardcore sections. The vocals are probably the most interesting aspect of the entire album which is a pleasant surprise. The distorted snarls and gargles of Jim Rushby are distinctly his own as he delivers confrontational lyrics alongside straight howls and unsettling laughter. However, it doesn’t take long to realise that Iron Monkey don’t have a great deal of anything new to show us. Only a few tracks into the album the songs become repetitive and very formulaic as certain patterns emerge. The unremarkable drums are one of the blandest parts of the album. This isn’t to say that it  doesn’t have its highlights. Track 7, The Rope, is one of the high points of the album as it rolls in straight off the previous track and feels like an extended uneasy breakdown with it’s slow trudge and unsettling vocals which are mostly lyric-less growls and the track title barked in pain. For the most part however the album really does have very little to show us. It’s not necessarily a bad album… Just an incredibly average album which in a lot of ways feels worse. The whole album has an air of complacency about it, like the bare minimum effort has been put in to make a passable sludge metal album. Unfortunately something that has also worked to the album’s detriment is the inability to leave any preconceptions behind when listening to it. Because of Iron Monkey’s “legendary” status for certain fans this album was never going to be an easy sell. The band's general arrogance on the lead to this album hasn’t done anything to ease any of this apprehension. Comments like “we own your scene” have managed to turn a lot of people cold to the idea of Iron Monkey comeback. When framed with miscalculations and missteps like this even the album cover has an air of cynicism about it. Unfortunately with a band like Iron Monkey, for better or for worse, the expectations were always going to be high. It’s near impossible to recapture lightning in a bottle and this album goes a long way to proving that.

5/10

Mastiff are better than your band.

Mastiff

BORK

Seemingly bursting out of nowhere Mastiff have been making a huge name for themselves on the live music circuit with their dark brand of metal and intimidating live performances. By their own admission this hate sludge quintet from hull are a miserable band from a miserable town. Not here to make friends and definitely not here to make party music these lads have set out to carve their own black festering mark on the UK metal scene. Their first recorded effort Wrank acted as a kind of mission plan, giving listeners just a taste of the hostility yet to come. Mastiffs upcoming EP, BORK, makes good on all of these threats. Everything is turned up to 11... its nastier, more aggressive and more importantly heavier. Filled with downtuned heavy riffing and guitar tones so thick they will crack your teeth, BORK doesn't shy away from mixing up the tempos. Mastiff are able to switch from a methodical grinding trudge to faster paced hardcore beats at a moments notice all kept together by the tight drumming throughout the EP. This is one the things that is great about mastiff, they seem to have remembered the Hardcore punk roots of sludge bands like Eyehategod, Buzzoven and graveyard rodeo that many modern sludge bands seem to  have forgotten. Tracks like Nil By Mouth and Threats show their chops as a hardcore band just as much as a sludge band. All this is coupled with the confrontational, nihilistic lyrics. Jim's vocals throughout the EP sound great with his ability to switch between aggressive barks, piercing shrieks and gut wrenching low growls that at times almost sound inhuman. Blazing through the 6 tracks on the EP, BORK barely gives the listener time to breath, creating a dark and claustrophobic atmosphere throughout and eventually reaching a crescendo when yawning feedback breaks into the final track Eternal Regret. An excellent way to close out the EP, this track almost feels like a ballad compared to the rest of the album and with heavy shades of introspection and self loathing as the title suggests. Bork is one of the heaviest things to be released this year and with how heavy the EP sounds its almost unbelievable that the entire thing was recorded in two days! For fans of real sludge metal BORK is a really exciting EP. This isn't another wish washy affair from a band that don't know whether they want to be stoner, sludge or doom whilst somehow missing the point of all three. Mastiff know exactly what they want and what they want is to produce real nihilistic sludge metal, which in my opinion is something the UK music scene needs more of. There is no bullshit, there is no pretension... just pure fucking hatred. 

FFO: Eyehategod, Buzzoven, Seven Sisters Of Sleep, Methdrinker, Noothgrush, Fistula

9/10

BORK will be released on the 31st of august available in physical and digital formats through APF records.