Showing posts with label Funeral Doom. Show all posts
Showing posts with label Funeral Doom. Show all posts

Sunday, December 20, 2015

Tyranny - Aeons in Tectonic Interment

Ph'nglui mglw'nafh Cthulhu R'lyeh wgah'nagl fhtagn

Fuck.

I don't know what else to say, Tyranny is just ludicrously heavy, and basically nothing this year had me quite as hyped up as the promise of a followup to the stellar Tides of Awakening a decade prior.  I'm not the most well versed in funeral doom, but I know good music when I hear it, and Tyranny was damn fucking good at what they did.  Ten years is a long time to go with nary a peep from a band, so I'm sure that skepticism (I'm so fucking clever) was high leading up to this album, but I can confidently say that the band hasn't missed a step.

Now, that's not to say that Aeons in Tectonic Interment surpasses its predecessor, because it doesn't, but it's pretty close to being on equal footing.  The skull squeezing heaviness and overwhelming crunch of everything is just as apparent as ever, and the fathomless misery is on full display here, but overall I feel like it's missing some sort of intangible to push it over the top like Tides of Awakening did.  It's a fantastic album, and I love almost everything about it, but it doesn't quite have that latent ability to make me want to kill myself, perhaps it's the cleaned up and slightly less murky production, I dunno.

Regardless, this is a brooding, deathly dirge of an album, and the glacial paced riffage still evokes the appropriate mood and atmosphere to set the stage for the eldtrich summoning ritual they probably had going on in the studio.  The otherworldly gurgle of the vocals just swallows everything around it, and these riffs are just the musical manifestation of Lou Ferrigno.  "Sunless Deluge" has a fucking brilliant section near the seven minute mark that exemplifies what I'm talking about exquisitely, focusing not on that crushing monolith of a riff that the song sets up earlier, instead slowly building up to a climax with low tom hits that might as well be played with fucking mjolnir.  The climax is also immensely satisfying, with a haunting lead playing over the slowest double bass you'll ever hear, it all coalesces into this gigantic release that makes the dreary mood of the previous ten minutes pay off wonderfully.  Every track does something to this effect, keeping the mood as bleak as necessary and clawing the ground as the slowly descend back into the depths from whence they came.  Tides of Awakening felt like being crushed by the entire ocean, and Aeons in Tectonic Interment feels like getting the Giles Corey treatment with the entirety of stonehenge.  This is dank and grimy, and it's perfect in that regard, and easily stands as the top doom album of the year for me and an easy year-end finisher in my personal top 13.

I'm going to wrap this up by borrowing a quote from a very strange person, because this gorgeous sentence was the only thing running through my head upon first listen, and say this album has "riffs that sound like 8-foot vertical concrete cocks and has a guitar tone like a bus with marble windows, traveling at 8 miles an hour, on its side."  If that doesn't make you want to hear this, then I don't want to know you.


RATING - 90%

Wednesday, December 11, 2013

Tyranny - Tides of Awakening

An album for the mentally ill

Remember back in my review for The Crimson Idol where I mentioned that when I'm feeling blue, I tend to just listen to depressing music to wallow in for a time?  And do you also remember my review for The Day It All Came Down where I basically wrote a really roundabout suicide note and framed it around a review?  Well I'm in that kind of mood again.  And since I don't drink or beat my children, I purge my negativity and cope with sadness by writing reviews about depressing metal albums and covering them with swaths of esoteric imagery.  The culprit today?  The ever absorbent Tides of Awakening, the only album from Finnish undertakers, Tyranny.

As far as I know, this is the first funeral doom album I've ever reviewed (depends on if you count Year of No Light I suppose), and one of the reasons I've always held off on writing about this genre, despite liking it plenty, is because I feel like once I write one, I'll have written them all.  It's a good style, no doubt, and it's all about mood and atmosphere as opposed to riffing or melodies or something, like most of the high octane music I listen to.  But the problem with the genre as a whole is that you can use the same four words to describe every album, and then just fluctuate how well each band handles every element.  We know it's gonna be atmospheric, we know it's gonna be slow, we know it's gonna be based in doom/death, we know the vocals are going to be distant and deep, the only new information I can provide is whether or not each of these elements are handled competently on whichever album I'm talking about.

As far as I'm concerned, Tyranny handles everything marvelously.  And yet, at the same time, I don't even really know what it is that they do at all.  I mean, I can gather that there are Lovecraftian themes, but I don't give a shit.  I hear they take big heaps of influence from genre progenitors like Thergothon and Skepticism, but I couldn't care less about that if I tried.  All that really matters to me, and all that should matter to you, is that Tides of Awakening is monumentally heavy, and completely suffocating in its unbelievably oppressive atmosphere.

The songs themselves don't do much to differentiate themselves from one another, but once again that's not really the point.  "Coalescent of the Inhumane Awareness" has a really haunting lead melody, but that lead melody doesn't sound all that different from the rest of the melodies to be found, so I wouldn't feel right singling it out like I just did, but I'm a hypocrite in the throes of crippling depression rambling about depressing music.  The point is that when it comes to the actual musical aspects, this is exactly what you'd expect.  Glacial pace doom/death riffs underneath layered backing synths and melancholic, haunting lead guitar.  What I love about this guitar is that it doesn't ever come off like a guitar normally would, it instead manifests as this completely different entity; a completely abstract spirit that sends down gentle coos of reassuring warmth that get twisted into demonic abominations by the time they reach your ears.  It's both pleasant and unnerving at the same time, and it works towards the overwhelming atmosphere in ways I previously couldn't imagine.

It's really the atmosphere that makes this album work.  If I'm being totally honest, it's the only element that I can even recall or appreciate about it in most instances.  Here I am giving a high score to an album that I'll fully admit to not even knowing the track names for (and there are only fuckin' five of them), but it's because this doesn't stick with you for the same reason something from a more energetic genre will.  I'm never going to hear a part in any given funeral doom album that makes me go "Whoa shit, that was awesome, what track was that?" like I would with an album in pretty much any other genre.  That's a characteristic of funeral doom as a whole to me, and Tides of Awakening just exemplifies it.  From start to finish, this is basically one monstrous plateau of misery and helplessness.  Sure, each song builds and climaxes appropriately, but at no point does the music take me anywhere other than the loneliest place imaginable.  It's basically just one huge, hour long experience where you just sit at the bottom of the ocean while the weight of all the water pushes down upon you, and you struggle for air for a short while before understanding the cosmic futility of your perseverance, and then simply waiting to lose consciousness underneath all the pressure.  The entire experience is just one long funeral dirge, wherein you spend all of the time alternating between reflecting upon the mistakes you made and then cursing yourself for allowing it all to end with those loose ends still hanging.  I can't even call this a "journey" like I tend to when trying to be vague and metaphorical with my description, because it's very static.  At no point do I feel like my story is progressing, I'm just sitting here, being pummeled ever so slowly by the increasing weight of each wave. 

See, I feel like the metal album that most accurately sums up the frustration of bipolarity, depression, anxiety, and most other self-crippling mental illnesses of the sort is City by Strapping Young Lad.  Hell, there are even other albums within this very genre that I'm sure deal with much more emotional themes than whatever dystopian ballyhoo Tyranny drones on and on about here, but the general mood is almost perfect for what this kind of lethargic self loathing represents.  When you're in a spot where the entire world is grey, and every attempt to move forward is met with your own body resisting you, sapping your will to even bother trying to improve yourself since you know that swimming ten feet upwards isn't going to get you out of that ocean, Tides of Awakening is the album that is playing in your mind.  It's just dirge after dirge after dirge, reminding you that you are worthless and weak and will never get ahead as long as every time you look upward, you're met with miles of crystal clear water.  You can see the surface, but my friend, you are not getting there.  The vocalist may be deeply roaring about Yog Sothoth's pubic lice for all I know, but in my mind it's just the disgruntled bellows of my subconscious reminding me of all the mistakes I've made in my life and why I'll never see better days. 

I can't keep doing this, all I can do is constantly compare the album to like being trapped under an ocean and then hamfistedly relate my own psychoses to it.  Most people who suffer from these same issue (the sads and the mads) can understand where I'm coming from, and can likely relate to the album in this way as well.  It's atmospherically debilitating and as emotionally weighty as a metaphoric iceberg.  The four traditional songs are crushing and monumental, and the ambient outro is reflective and moderately horrifying.  It's the extracurricular aspects of the album that makes Tides of Awakening so effective to me.  It's the fact that beyond all the suffocating atmosphere, there's a vivid image of myself drowning in my own misery.  Everything is overwhelming and I, personally, drown every time I experience it.  This is an album (and admittely, a review) for me, not for you.  This works because I can relate the smothering atmosphere to my own fears, it works because I react to certain stimuli the way that I do.  If you don't share these same problems, then this just simply isn't going to connect with you on the same emotional plane that it does for me.


RATING - 91%

Thursday, January 27, 2011

Year of No Light - Ausserwelt

O Darkness, O Solitude!


When it comes to the "post-" styles of music, I've strangely never been able to get into the subset that merges with my favorite genre, metal.  Post rock, I love.  I could listen to God is an Astronaut or Gifts from Enola or Up-C Down-C Blurbbity Bluh Bluckity all day and never get tired of it.  Now if you chuck some Isis into the mix?  Suddenly my interest is lost.  The juxtaposition of metallic aggression with the quiet atmosphere never really sat well with me.  It was great in theory, but the execution was always fairly shit.  Keeping this in mind, France's Year of No Light is a bit of an anomaly in my listening cycle.  MA lists their genre as "sludge/drone doom metal", but really I can't think of any other way to outline post metal than this.  Yeah, there's some sludginess, there's some doominess, but the dynamics, structure, and overall attitude of Ausserwelt is deeply rooted in the post rock ideal.

For example, the opening track, "Perséphone I", is based around the Explosions in the Sky template of "quiet... LOUD" songwriting.  There are two very long and drawn out buildups that lead to explosive climaxes.  The same can be said about most of the tracks, but the what separates Year of No Light from the heavier post rock bands like Gifts from Enloa lies in the almost funeral doomesque guitar work.  "Perséphone II" and "Hiérophante" really showcase that difference.  A majority of the record is taken up by this ultra slow, apocalyptic, monolithic riffing underneath dissonant, haunting melodies with a strong emphasis on dynamics.  Frankly, it works fantastically.  It doesn't try too hard to throw in a faster metallic riffing section anywhere because I think the band knows that what they're doing works very well already, and that trying to spice it up with something so ill fitting will only be detrimental.  This predictable build and release style should be old news by now, but the band does it so well it doesn't matter.  It's the same reason I don't scoff at each new Cannibal Corpse record.  Yeah, sure it's probably going to sound like the last six records but they all slayed.  Why fix what isn't broken?  What they've got here conveys crushing despair and futility so well that basically any change will just screw up what they've got going on.  The only issue I have with the Ausserwelt is that it's a bit samey at times.  Sure the first track is calmer and the last is the most intense and epic, but the lion's share of the music laid out here is pretty interchangeable.  Still, if you wish there was a bit more Tyranny or Wormphlegm in your Mogwai, this is definitely a good place to turn.  Very healthily doomy, with a post what-have-you attitude.

RATING - 86%