…preparing for the Apocalypse: SEA OF BONES – ‘The Earth Wants Us Dead’

Few bands manage to match their chosen moniker with the music they play with such precision and accuracy as Connecticut three-piece Sea of Bones—a band whose name more than adequately describes the desolate, laid-to-waste atmospherics that is as suggestive of a great pestilence as it is of evoking visions of the remnants of a centuries old hecatomb. The band has also managed to release an album that rivals the malignant, misanthropic sludge/doom of Fister’s ‘Gemini’, an album that until this point was unmatched in terms of downtuned, acerbic sludgery in 2013. At six tracks and a runtime of over ninety minutes Sea of Bones’ ‘The Earth Wants Us Dead’ is a harrowing journey that tests the listener’s propensity for enduring prolonged exposure to seismic, gut-wrenching riffs, tortured vocals, and atmospheric blight on a grand scale.

The potent album opener “The Stone the Slave and the Architect” recalls the earth-quaking rumble found on Conan’s ‘Monnos’, and it relentlessly heaves and struggles under its own weight for nearly nine minutes. While ‘The Earth Wants Us Dead’ is, at its basest level, an exercise in monolithic, slow-motion drudgery, most of the tunes are embellished with enough subtle tempo changes and ambient textures to keep the album moving, albeit it at a glacial pace. “Failure of Light” is the best example of how the band deftly manages to include spacier moments into their uncompromising aural battery, particularly with the song’s intro. Despite the trippy calm, it doesn’t take long for “Failure of Light” to devolve into another writhing, unsettled beast of a track. Following in a similar vein to “Failure of Light” is the album standout “The Bridge”. Distant drums, calm, undulating noise, and clean guitar slowly build into what is one of the finest tracks on the album. After a four minute smolder, “The Bridge” launches into a mid-paced chug that is reminiscent of Neurosis’ “Through Silver in Blood”. If ‘The Earth Wants Us Dead’ gets released as a CD it’s going to be a two disc set, which leads to the closing title-track—an album in itself due to its forty minute runtime. As the entirety of ‘The Earth Wants Us Dead’ progresses so does the inclusion of ambient noise, a trend that peaks and ultimately conquers with the eponymous album closer—an instrumental tune wrought with a tension that falls somewhere between serenity and escalating dread.

Sea of Bones have released one of the ugliest sludge/doom albums of the year, not an easy feat considering some of the band’s competition from the likes of both Fister and In the Company of Serpents. Despite the album’s ugliness there are still fleeting moments of calm, though they are inevitably engulfed by heaving waves of distortion. If it wasn’t for the group’s deft handling of ethereal sounds and ambient textures, ‘The Earth Wants Us Dead’ could run the risk of falling prey to gratuitous, mind-numbing repetition. Instead, the band has crafted a subtly dynamic album that pays off in the long run. Fans of Neurosis, Conan, Yob, and even Gravecode Nebula should appreciate Sea of Bones’ brand of atmospheric sludge.

Words: Steve Miller
(Originally published at Temple of Perdition)

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…you hear the ancients call your name: BRIMSTONE COVEN – ‘II’

On the eve of the vinyl release of their excellent self-titled debut courtesy of STB Records, Brimstone Coven have conjured forth ‘II’, an album that expands on the vintage vibes that the band established on their 2012 release. Rather than simply going through the motions by trying to recreate past successes the band has expanded on their sound by incorporating a wider range of influences and seemingly spending more time translating their tunes into a final recorded product. The end result is that ‘II’ is a richer listening experience reflecting subtle nuances that were not as apparent on their debut. Overall ‘II’ is a more subdued album that foregoes the predominant doom-laden groove of its predecessor in favor of a singular, melancholic mood that is perfect for an autumn day. This isn’t to say that ‘II’ is devoid of heavy grooves—quite the contrary—but the album is masked by a monochromatic filter that produces an all-enveloping atmosphere that is forlorn and distant.

Where the self-titled album had an unwavering focus on proto-doom and 70’s inspired psychedelia—still a priority for the band—‘II’ seems to include within its gaze the entirety of 70’ hard rock and early metal which has yielded tunes that are more complex and varied. Album outlier “The Black Door”, “Blood on the Wall”, and “Vying” are examples of the band’s growth and willingness to experiment. The “retro-future” vocal effect during the chorus of “The Black Door” is a bit disarming at first, but the mesmerizing bassline and layered clean vocals more than make up for it. “The Black Door” is easily the catchiest track on the album due to the pulsating groove and layered vocal harmonies of John Williams who, again, does an outstanding job complementing the songs with a dose of soul. The morose “Blood on the Wall” has a dusty, road-weary feel that fits right in with the overall tone of the album. “Vying”, for the most part, is a scorcher where rhythm section swing is emblazoned with killer leads until the song fizzles to a slow-burn instrumental fadeout.

While the band has clearly expanded on their sound ‘II’ isn’t completely defined by songwriting progression. Brimstone Coven haven’t forsaken the doom and occult leanings that ran rampant on the debut. The second track “Behold, the Anunnaki”, is probably the best tune that Witchcraft or Burning Saviours never recorded. It’s a deceptively simple track that channels the best of 70’s inspired doom with catchy vocals and a shredding finale. Other album highlights in a similar vein include “The Grave” and “The Séance”—a tune that comes crashing in following the gentle denouement of “Vying”. “The Séance” flat-out rocks with an urgency unmatched by anything on the album and despite the fact that it’s one of the shortest tracks it still finds room to take a respite from the riffs for a breakdown that showcases the individual talents of the players. The ominous “Hades Hymn” is a simple, yet effective instrumental that features a lone organ accompanying a thunderstorm. At only a minute-and-a-half the instrumental doesn’t overstay its welcome and builds up perfectly to “The Folly of Faust”, an epic tale of woe and misery that finishes out ‘II’.

What’s interesting about Brimstone Coven’s ‘II’ is that though the songs are more varied, complex, and have greater depth, the album is united by an overarching mood that is cheerless and, at times, remote. And in a good way. While the self-titled album was instantly gratifying and familiar, ‘II’ is densely layered and rewards multiple listens. The band has minimized some of their more overt influences in favor of an all-inclusive approach to their songwriting allowing them to experiment and expand their sonic palette. Not only is ‘II’ a well-rounded, kickass record, but it also stands as a portal that gives a glimpse into the possibilities of prospective recordings. Brimstone Coven have made an impressive leap with their second outing and it will be interesting to see how the band further develops in the future. The vinyl of the band’s debut is about to be released through the excellent STB Records imprint. ‘II’ is available for download through the band’s Bandcamp page and on CD directly from the band upon request.

Words: Steve Miller
(Originally published at Temple of Perdition)

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…all has fallen: SUMMONER – ‘Atlantian’

With a subtle shift in direction and a name change from Riff Cannon, Boston’s atmospheric psych-rockers Summoner had released one of the great surprises of 2012 with their debut, ‘Phoenix’, a trippy, hard rocking album that didn’t receive the widespread attention that it deserved. Summoner have returned with their sophomore effort ‘Atlantian’, a sprawling, progressive journey that builds upon the elements that the band had developed on ‘Phoenix’. In addition to the catchy riffs, dual guitar harmonies, mesmerizing grooves, and psychedelic flourishes of the debut, ‘Atlantian’ swells with a languid, ethereal atmosphere resulting in an album that arguably has more depth than its predecessor. Over the span of forty-five minutes Summoner drenches the eight tracks of ‘Atlantian’ in moments of blissed-out psychedelia and bluesy, acid-tinged leads all of which are anchored by heavy riffs and an upbeat, groovy rhythm section.

What really separates ‘Atlantian’ from the band’s earlier work as either Summoner or Riff Cannon is the craftsmanship and refinement of the band’s songwriting. Rather than attack with the immediacy of ‘Phoenix’ or ‘Mercury Mountain’, ‘Atlantian’ unfolds to reveal a myriad of layers that engulf the listener. Initiated by “The Gatekeeper”, a track that captures the essence and feel of ‘Phoenix’, the album really begins to reveal its secrets on tracks two through four. “The Prophecy” begins with a mesmerizing, fluidic bassline before kicking into overdrive. The song heaves and swells, alternating between moments of lysergic groove and riff-slinging rock before plummeting into the depths of a watery abyss. “Horns of War”, another up-tempo burner, is accompanied by gusts of swirling psychedelia and intertwining dual guitar leads that melt and coalesce. “Changing Tides”, one of the softer tracks of the album, serves as an instrumental interlude that best captures the aquatic themes of ‘Atlantian’. It’s an easy-going, blissful ride that is punctuated by moments of turbulence and upheaval only to be lulled into complacency by slide guitar. Another album highlight, “Under the Crystalline Sky”, infuses elements of doom into the band’s distinct take on psychedelic stoner rock.

Though each of the tracks of ‘Atlantian’ unfold in countless directions and include a wide range of textures and tempos, it is not a huge departure from the band’s accomplishment with ‘Phoenix’. The aquatic themes of ‘Atlantian’ lend themselves to the tranquil moments and trippier atmospheres that trickle into each of the eight tracks to varying degrees. Summoner’s evolution from album-to-album has been a natural progression and despite an increase in serene, ethereal moments the album still rocks and it rocks hard. Aided by thoughtful and effective sequencing, ‘Atlantian’ is an engaging listen from start to finish, particularly for those who are seeking heavy, psychedelic metal with a progressive edge. ‘Atlantian’ is set for digital release on November 19th but “Horns of War” and “Under the Crystalline Sky” are available to stream on Magnetic Eye Records’ Bandcamp page.

Words: Steve Miller
(Originally published at Temple of Perdition)

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…waking to an endless Hell: LUMBAR – ‘The First & Last Days of Unwelcome’

Numbness, disbelief, denial, anger, and rage—a whirlwind of five emotions that barely begins to encompass the tumultuous, world-shattering doom represented on ‘The First & Last Days of Unwelcome’, the debut from one-off project Lumbar featuring artist/musician Aaron Edge with additional support and camaraderie from Tad Doyle and Mike Scheidt. The seven tracks of ‘The First & Last Days of Unwelcome’, entitled “Day One” through “Day Seven”, chronicles the visceral reaction to the sudden and unexpected onset of life-altering events, namely Aaron Edge’s diagnosis of multiple sclerosis. While it’s difficult to ignore the context in which Lumbar was ultimately conceived and formed, the album stands on its own merits though is made more poignant with proper perspective and understanding. ‘The First & Last Days of Unwelcome’ is an uncompromisingly heavy sonic journey—both thematically and musically—that is as ugly as it is cathartic.

Beginning with a sample from The Twilight Zone episode “The Little People”, “Day One” seems to suggest the miniscule place that man occupies in the cosmos and how, as a species, humankind is at the mercy of chance and chaos. This futility and helplessness is echoed in a sound bite from the opening sample, “And if you've got tears to shed, you save them for bedtime and weep them into your pillow; don't spray them all over me! It's a waste of time, and it's a waste of effort; it's also dull, and it's tough to live with…And while you're dwelling on it, you might count a few blessings.” In other words, you had better look deep within yourself to find the strength to stand up to the forces beyond your control, or succumb to those forces by choosing to curl up and die. This sentiment contrasted with Edge’s lyrics of loss and numbness found on “Day One” seems to stand as the inciting incident and impetus for crafting ‘The First & Last Days of Unwelcome’. Despite the lyrical bewilderment and associated numbness of “Day One”, musically the song has an ethereal beauty unmatched by the remaining six tracks.

If “Day One” represents the loss of innocence and the lingering splendor of the not-too-distant past, then the remainder of the album is the exacerbation of neurological symptoms and the associated turmoil on body and mind. What began on a note not completely devoid of beauty—perhaps related to the incomprehension of the severity of a diagnosis—even if in passing, turns woefully sour as time progresses. “Day Two” is the antithesis of shock and numbness as it channels pure hate and rage—a trend that spreads like disease through the remaining six tracks. “Day Five” in particular is a seething, atmospheric beast that acknowledges the severity of illness from the depths of a heart of darkness. With lyrics consisting of only two words over the span of four lines, “Careless/Cureless/Cureless/Cureless”, it represents the harsh reality of a severe, progressive chronic illness and the despair associated with that realization.

While the album can essentially be characterized by rage—a smoldering rage that questions the quality of and potential for a future—the album is also underscored by a glimmer of hope, of overcoming adversity no matter what the struggle. And pain. Incomprehensible and overwhelming pain that few people can truly understand, but thought processes and emotional turmoil that some may identify with. The overall sound is what you would expect from the union of Edge, Scheidt, and Doyle. ‘The First & Last Days of Unwelcome’ is a wounded monstrosity of rumbling bass tones and crushing, heavily distorted guitars. Though all of the instruments were played by Edge, the stylistic execution coupled with vocals provided by Scheidt lands ‘The First & Last Days of Unwelcome’ somewhere between Yob’s ‘The Great Cessation’ and Scheidt’s work with Middian. Unfortunately, this is probably the only release we’ll see from Lumbar, but the band’s sole album, despite its overall themes of loss, pain, and rage, will stand as a beacon of hope and inspiration for those willing to defiantly look catastrophe and affliction in the eyes and say, “Fuck you”.

Words: Steve Miller
(Originally published at Temple of Perdition)

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