Idre - Idre

Written by Matt Hinch.


I'm gonna get this out of the way early. I don't listen to much Neurosis. I haven't even heard Through Silver in Blood for heaven's sake. I know, I know.) That alone should preclude me from reviewing ANYTHING, especially the debut self-titled from Oklahoma City's Idre. The Neurosis influence is thick and leans on the Americana side of that sphere which is in fact the side of Neurosis I have trouble grasping. Across Tundras delving further into that too made me shy away from them. But that's not to say I wasn't going to give Idre the benefit of the doubt.

Idre is steeped in forlorn, dustbowl melodies and slow, plodding movements making for the type of album that requires a certain mood to be fully appreciated. At the same time, Idre is all about creating mood. They do so by shifting volumes, instrumentation and pace over decidedly long songs.

“Factorie”, the first of two tracks clocks in around 26 minutes. A simple crashing thump slowly builds into a flow to open the track. It morphs into a desert landscape of sorrow, loneliness and regret. It's painfully plodding cadence is that of a man mentally agonized to put one foot in front of the other yet undeniably compelled to do so knowing what fate lies at the end of the road. Depressing vocals narrate with a Steve Von Till/Johnny Cash resignation until the sun sets around the halfway mark. Tension mounts as darkness surrounds lo-fi guitars buried under mountains of distortion. An extended instrumental section hypnotizes the listener as the molasses-thick rhythms meander through the plains searching for a peace that cannot be found.

“Witch Trial” comes in at half the time as its predecessor but is no less circuitous or sorrowful. A militant snare marches on through the track's opening movements. It's a more menacing tone but still slow, despairing and hypnotic. Loud/quiet dynamics and varying degrees of urgency and force soundtrack melancholy and sadness. Near the track's conclusion the heavy rolls in like thunder clouds. The fuzz level reaches doom proportions and a heavy drone sets in ensuring burial, not ascendance.

Idre is very chill but like rays of sun peaking between broken clouds, moments of more fevered blood find their place. The slow and hypnotic nature settles the listener into a trance. The patient listener is rewarded by the syrupy dynamics and myriad subtleties that continue to manifest over multiple listens. Idre's vision is clear and well executed. While I enjoyed the louder/faster sections more, I was surprised by how much Idre grew on me. It's apparent that this band could go in a number of directions on future releases and succeed. Or simply soldier on through the haze.

[Go to the post to view the Bandcamp player]

Krieg - Transient

By Steven Leslie. Krieg has returned. For anyone even remotely familiar with US black metal this demonic wrecking crew needs no introduction. Over the course of their 19-year career they have produced some of the finest albums to emerge from the US black metal scene. And their latest is no exception. Transient, which is being released by Candlelight Records

By Steven Leslie.


Krieg has returned. For anyone even remotely familiar with US black metal this demonic wrecking crew needs no introduction. Over the course of their 19-year career they have produced some of the finest albums to emerge from the US black metal scene. And their latest is no exception. Transient, which is being released by Candlelight Records, continues their tradition of challenging and expanding the boundaries of the genre.

Right from the opening track you can feel that this is a special record. This is not the black metal of old. Instead of wind swept forests and icy mountains, what you get is the soul crushing negativity and hatred that only city life can create. This is the sound of urban decay and detritus as you are dragged through the decrepit streets and filthy sewers of the modern world. It’s a journey into the demented mind of street junkies and mental patients. And it is utterly captivating.

Krieg 2013. Photo by Carmelo Española.

Band founder and mastermind Neil Jameson has managed to find the perfect supporting cast to bring his disturbed vision to life. From start to finish this record is dripping with misanthropy and disgust. Jameson’s time in his myriad of side projects, the most notable being The Royal Arch Blaspheme and US black metal “supergroup” Twilight, has clearly rubbed off on his compositions for Krieg, in all the best ways. While Transient has all the hallmarks of previous Krieg releases, the album benefits significantly from Jameson’s vastly improved songwriting skills. Subtle melodies briefly emerge like a glimmer of light, before the seething and swarming onslaught drags you back down into the harsh reality of a meaningless existence. Mesmerizing riffs and drums cascade over you, sucking you in and pulling you into the deepest recesses of a demented mind. All of this is aided by a fantastic production and mixing job. Every instrument is clearly audible, but none of the dirt and grime that are so essential to the bands sound is lost.

Krieg 2013. Photo by Carmelo Española.

Jameson’s vocal performance is gut wrenching throughout. Some of his side projects and previous works have suffered from a lack of variety, but this is definitely not the case with Transient. You can feel the venom and vitriol oozing from every syllable. His vocal attack fits perfectly into each of the songs. From deathly bellows to throat shredding growls, Jameson puts in the vocal performance of his career. It’s a far cry from the standard black metal screech we have all heard a thousand times since the dawn of the second wave in Norway.

This is a master class in album creation from start to finish. What is most remarkable is the bands ability to take a traditional black metal template and seamlessly integrate influences from other genres. The song "Winter" is a perfect example. "Winter" is essentially a crust punk song from start to finish, which in lesser hands would easily stick out like a sore thumb. In Krieg’s case however, the song fits flawlessly alongside the more traditional black metal tracks. Krieg continues to challenge the boundaries of black metal, while staying true to the individualist spirit that is at the core of all great records. The best black metal takes you on a journey, and Transient is no exception. Hatred and disgust have never sounded so good.

Suggested track: "Time".

Rather Be Alive - Resiliència

Written by Justin C.


Way back in the late 90s or early 00s, when I was still living in NYC, I saw one of the strangest, avant garde guitar performances I've ever experienced. A relatively unassuming man came on stage with just an electric guitar and one amp, and he treated us to 90 minutes of squeals, feedback, pick scrapes, plinking the strings above the nut, and all manner of other tomfoolery. There was almost no melodic or harmonic structure to hang onto at all. After the show, I went to the men’s room and heard this brilliant summing up from some random drunk dude: "That's art. It's not music, but it's art."

That pretty well sums up how I feel about mathcore bands. Before hordes of Dillinger Escape Plan and Converge fans accost me, I don't mean that as an insult. When done well, I appreciate bands that play in that general territory, including Dillinger. But the unrelenting assault of dissonance, jagged rhythms, and general whatthefuckery engage a part of my brain that's adjacent to, but not directly connected, to the part that engages with music in general, so it's not a subgenre I revisit very often.

Enter the Barcelona-based band Rather Be Alive and their EP Resiliència. They self-identify as mathcore on their Bandcamp page, and I think that's a fair description. The vocals are hardcore bellows, the music is intricate, and there are plenty of quick-change shifts both melodically and rhythmically. But in spite of that, I find Rather Be Alive to be insanely catchy instead of mildly exhausting. The vocals are the perfect level of abrasiveness. When the vocals kick in the opening track, "Acaba amb Mi," I actually sing along with the line, "observa al teu voltan!" That's in Catalan, and I have no idea what it means, but the energy is so infectious that I still sing along. (A quick trip to Google translate gave laughably and obviously bad English translations of the lyrics provided on Bandcamp.)

The instrumental performances are all top grade as well. Check out the jazzy bass solo in "Acaba am Mi"--and when I say jazzy, I mean legitimate, high-quality jazz, not just a half-hearted attempt. The guitar solo that breaks out immediately afterward is a study in simplicity and catchiness. And that nuclear-powered-freight-train riff that opens up "Sense Fugir"! All of this is over drumming that's deceptive in its complexity, intricate without sounding like it's being done by dome futuristic drum-bot.

The EP is just a quick blast of three songs, offered for free download, but here's hoping we get a full length some time in the near future.

[Go to the post to view the Bandcamp player]