Fange – Poisse

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Fange
Poisse
Cold Dark Matter

Fange are a trio from Rennes, France, specializing in dirty, harsh, downtuned sludge, with ‘Poisse’, their debut release, exemplifying what you’d expect to hear from a band of such description – indeed the amount of quality sludge and doom I’ve already heard this year is meaning have to really pore through the fibres of each release. ‘Poisse’, I’m pleased to say, is among the better ones. They feature drummer Baptiste Gautier-Lorenzo (of Brain Pyramid) in their line-up, but this is far from the psychedelic retro worship of that band, and instead what they do is in no way trippy or upbeat. Fange are jarring, viscous and thoroughly oppressive in nature, striding firmly amidst stomach-churning riffage and noise elements. They do nod to certain allowances of atmosphere (the awesome feedback/noise intro to ‘Cloches Fendues’ sets the tone brilliantly), while the start of ‘Ammoniac’ sets off on a ripping hardcore punk tangent before settling back into what the band does best. And they do it really well – it’s not original (not much is these days) but its succeeds in creating a downtrodden vibe. The band’s name translates as ‘mire’, which is quite appropriate considering the depth of groove, fuzz and snarl, amidst a swirling brew of discordant aggravation existing in the interminable void they create. Check out the stream below and enjoy some of the harshest noise to come from over the Channel.

<p style="text-align:right;”>Peter Clegg

Buy/download ‘Poisse’ here (name-your-price download/limited CD)
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Best albums of 2012

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We’ve finally reached the end of 2012, and my has it been a blast. The greatest year in the UK’s sporting history. A supposed prophecy that was never realised. A glorious year for rock and metal and all its various forms.

The music this year has been so exceptional that its been harder than ever deciding on the final ten. As such, honourable mentions must go to the following:

Ginger – 555% (Round/Pledge Music)
Dope Body – Natural History (Drag City)
Eagle Twin – The Feather Tipped the Serpent’s Scale (Southern Lord)
Burning Love – Rotten Thing to Say (Southern Lord)
Every Time I Die – Ex Lives (Epitaph)
Napalm Death – Utilitarian (Century Media)

All of which are records which you should check out, if you haven’t already, and they only missed the final cut by a whisker. Damn, if 2013 is better than this we will truly be spoilt.

Without further ado, we present our top ten albums of the year.

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10. Deftones – Koi No Yokan (Warner Bros)

The Sacramento crew continue to impress on album number seven, despite, for me, not reaching the stratospheric heights of ‘Diamond Eyes’ on this occasion. From start to finish its another wildly esoteric ride reaching soaring heights and dark depths, creating a new set of anthems that Deftones fans will sure echo throughout cavernous arenas well into 2013 and beyond. Tracks such as ‘Romantic Dreams’, ‘Entombed’ and ‘Tempest’ are absolutely lush, and there’s not many bands these days who can create the level of atmosphere around a song like Deftones can. There’s simply no stopping them right now. 

 

wpid-898529953-1.jpg9. Krallice – Years Past Matter (self-released) 

In a year which has seen Felix Baumgartner skydive from the stratosphere, and in a year where Voyager 1 is reached the interstellar medium, I have wondered what soundtrack would best embody a human odyssey into the far outer reaches of space. And no, I’m not talking about the Voyager Golden Record. Now a human venture going that far is not likely to happen in our time, our offspring’s time, or the next generation, or the next generation…but if it did, and we can preserve a vinyl pressing of Krallice’s ‘Years Past Matter’, then that voyage will go beyond anything what even Carl Sagan imagined. Maybe that’s an overexaggeration. But still, ‘Years’ is without question Krallice’s finest vision yet, where all out speed subsides slightly to a more bombastic and expansive approach. The artwork alone should tell you what a vast journey this is, and it doesn’t disappoint, whether it’s the propulsion into the interstellar void (‘IIIIIIIII’) or the thrilling closing 16-minute epic (‘IIIIIIIIIIII’).

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8. Gorod – A Perfect Absolution (Listenable)

I was perhaps one of the few slightly disappointed by French tech-deathers Gorod’s previous album ‘Process of a New Decline’, so I was particularly impressed by the results shown on ‘A Perfect Absolution’. Don’t mistake their inclusion in their list for one of mere marked improvement, because Gorod have never lacked the quality – there’s just something about this album in particular that had real oomph. In a year where people went nuts for The Faceless’ ridiculous aping of more celebrated progressive greats, Gorod put on a technical masterclass in death metal, knowing when to bring on bursts of speed, when to usher in groove phases, even shaking with a bit of flamenco that won’t have gone amiss to, say Athiest or Cynic. All with excellent skill and precision. Lyrically, it all centres on 10th Century Kiev. Jolly good! All in all Gorod ought to be a bigger name in these circles, and it’s their noticeable inclusion on next year’s Bonecrusher Fest (with Job for a Cowboy) that has got me excited for 2013 already.

wpid-Converge-All-We-Love-We-Leave-Behind-album-cover.jpg7. Converge – All We Love We Leave Behind (Epitaph) 

After the guest-laden ‘Axe to Fall’, which for my liking didn’t fire on all cylinders, Converge returned with the excellent ‘All We Love We Leave Behind’ to the widespread critical acclaim they’re surely used to by now. A searing block of molten anger, despair and reflection, the desperate on-the-edge approach to their craft is what continues to set Converge apart from everyone else. I truly felt like I’d gone seven rounds with Ballou, Newton and co after the first three tracks, and how the rest of the album developed delivered knockout punch after knockout punch, even during the ocean drift of ‘Coral Blue’. A superb record from a band still unashamedly as energetic as when they began. Youngsters, take note.

 

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6. Ufomammut – Oro: Opus Primum (Neurot) 

High things were expected of Ufomammut following their switch to Neurot Recordings, and boy oh boy oh boy oh boy did they deliver. Many people seem to prefer the second, slightly leaner part of ‘Oro’ – ‘Opus Alter’ – to ‘Opus Primum’, but for me, the longer, more intense ‘Primum’ is the power element of this couple. Every thick groove oozes through swathes of abstract elements, spoken words and psychedelic trips, further empowered by the band’s visual collaborators, Malleus whose images made ‘Oro’ even more hypnotizing. The album’s third track, ‘Infearnatural’, is particularly embodying of this description, where guitarist Urlo delivers an echoey chant before landing back into the sweet, slow, crushing doom groove. By far the most inebriating ride of the year, ‘Oro’, and in particular ‘Opus Primum’, not only lived up to the hype; it squashed it flat too!

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5. Neurosis – Honor Found In Decay (Neurot)

An album I got around to too late to publish a full review for before the turn of the year, but undoubtedly deserving of its spot on this list. Scott Kelly has immersed himself in numerous projects since the last Neurosis album, ‘Given to the Rising’, and especially so in the last year; but none is more immersive and rewarding as his main band’s latest. Everyone’s got their own take on the best Neurosis album, and while I don’t rate this as high as, say ‘Enemy of the Sun’, its still pretty darn close to their best – and that is leagues above many other bands’ best. An enthralling journey through darkness and doom, ambience and hush, there’s many a fine moment to behold – ‘My Heart in Deliverance’ in particular stands out as one of the songs of the year, not just the album itself. As always, completely encapsulating.

Woods of Ypres - Woods 5: Grey Skies & Electric Light4. Woods of Ypres – Woods 5: Grey Skies and Electric Light (Earache)

It was the album that was supposed to launch Woods of Ypres towards the mainstream, a new beginning. The tragic accident that took singer and founder David Gold’s life at 31 means not only a premature termination of a potentially commercially successful band, but that ‘Woods 5: Grey Skies and Electric Light‘ feels like more than just another album. It’s doomy metal with a few less of the black metal pervading their sound on previous releases touches, but with songwriting and musicianship par excellance. Throughout the fragility of life and its tipping point into death are lyrically displayed, with a sadly prophetic feel to it all. But what a final album to end on, with tracks such as the slightly tongue-in-cheek ‘Career Suicide (Is Not Real Suicide)’ and the poignant funeral march of ‘Kiss My Ashes (Goodbye)’ showcasing exactly how great a loss Gold is to metal in general.

wpid-Between-the-Buried-and-Me-Parallax-II.jpg3. Between the Buried and Me – The Parallax II: Future Sequence (Metal Blade)

The juggernaut that is Between the Buried and Me shows no sign of slowing down, now on their seventh album barely into their thirties. And if ‘The Parallax II: Future Sequence’ is anything to go, then they’re maturing very well indeed. Those Pink Floydian-tendencies seem stronger than ever in the quintet, as ‘Parallax II’ is a space-opera deluxe from start to finish, continuing the story that began on 2011’s ‘Parallax I: Hypersleep Dialogues’ EP. Every second is thoroughly compelling, twisting through dream-like melodies, frenetic riff-fests, ambience, blastbeats, and those oddball moments which you’re either a fan of or not. I fall firmly in the first category. Everything truly comes together on this record, with ‘Silent Night Parliament’ and the reprise of ‘Goodbye to Everything’ being a fitting epic finale worthy of stadiums, not clubs. A wonderful album set in glorious spaaaaaaaaaace. 

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2. High on Fire – De Vermis Mysteriis (E1 Music)

2012 was in many ways the year of Pike – specifically for his recorded ventures and rereleased material, if not specifically the spell in rehab from which he has emerged victorious. Pike’s pre-HoF band Sleep were being celebrated by the rerelease of ‘Dopesmoker’, and indeed the early HoF days were being relived through the rerelease of ‘The Art of Self Defense’, but if ‘De Vermis Mysteriis’ showed anything, it was that Pike and his crew are more than capable of recreating that superb form. Previous High on Fire Records have ranged from anything to brilliant, to…well, alright I suppose. ‘De Vermis Mysteriis’ was something else. The most varied HoF record yet, it drew heavily on the fictional grimoire authored by Robert Block and picked up by H.P. Lovecraft, styled on an idea Pike derived about the Immaculate Conception and time travel, and featured many a centrepiece moment, whether the Jeff Matz-led instrumental ‘Samsara’, so evocative of the great Cliff Burton, or the truly majestic ‘King of Days’, one of Pike’s finest vocal performances to date. The traditional power drive of the band is always present, but the varied approach to their latest record makes it their most essential since ‘Blessed Black Wings’.

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1. Panopticon – Kentucky (Handmade Birds/Pagan Flames)

We already saw evidence in 2011 of US black metal coming to the fore with acts like Wolves in the Throne Room providing undeniably transcending moments and Liturgy shaking things up with their divisive take on the genre, along with the Krallices and Nachtmystiums of America doing very well indeed. This year, it has further aged into a fine creature, showing it is capable once again of further breaking any shackles that confined the genre. No one act – or indeed, one man – showed that more than Austin Lunn, aka A. Lundr, aka Panopticon, on the breathtaking fourth album ‘Kentucky’. 

Folk and metal may not be unusual bedfellows any more, but to take a further strain of folk, bluegrass, and to attempt to meld it to black metal is daring by anyone’s standards. To truly pull it off requires a masterstroke. Lunn does that, and so much more. It’s the ultimate love letter to his home state, from the two bluegrass instrumentals that bookend the album, every bit as beautiful and evocative of the images of Blenheim Forest contained in the vinyl releases, to his depiction of the issues that Kentucky struggled with through its history – the massacre of Cherokee Indian women and children at Ywahoo Falls (‘Bodies Under The Falls’), and in the main, the story of the toil, the uprising, and the demise of coal miners in the 1930s. The heavy songs appear between the traditional miner songs that are covered here, and you’d be a soulless individual not to want to sing along to ‘Which Side Are You On’. It absolutely nails the passion of the miners in that time period – partly achieved through samples – but more to the point, it becomes utterly flooring. The sprawling ‘Killing the Giants as they Sleep’ combines with a truly haunting rendition of ‘Black Waters’ that will emotionally drain you, leaving just the title track jam to pick you back up as the credits roll.

Its testament to Lunn’s ability as a multi-instrumentalist that he doesn’t sound sloppy at all, not on one single instrument. He can match any extreme drummer for speed and ability, adds a hardcore-esque buzz to those guitars that distinguish it just slightly Panopticon’s sound away from traditional black metal, and the flute that he plays over the top of the heavier tracks completely works, every time. Admittedly, this heavy brew won’t be for everyone, and no doubt there’s some smug so-and-so’s out there who won’t be able to get off their elitist pedestals long enough to truly appreciate this. Their loss. ‘Kentucky’ is unquestionably the boldest statement of creativity in 2012, a fantastic snapshot of the Bluegrass state, of how far metal has progressed, and what it has achieved over the course of forty plus years.

Peter Clegg

Gojira – L’Enfant Sauvage

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Gojira
L’Enfant Sauvage
Roadrunner

It feels like such a long time since Gojira released ‘The Way of All Flesh’, the 2009 album that cemented the French death-metallers reputation as true metal heavyweights following the monstrous ‘From Mars to Sirius’. Three years isn’t the longest between albums for any band – in fact it’s not unusual – but with Gojira it has felt like an eternity, with only the promise of the ‘Sea Shepherd’ EP for the charity of the same name still in the works, having been announced seemingly ages ago, and the live ‘The Flesh Alive’ DVD as something to tide Gojira fans the world over in anticipation of their new release. Then they signed to Roadrunner, things sped up a little and here we are, with their new album ‘L’Enfant Sauvage’.

The most noticeable difference between their latest work and their predecessors appears to be a shift towards vocal-driven harmonies rather than the bludgeoning riff patterns that we’ve become accustomed to setting their tone. ‘Liquid Fire’ is one example, released as a single for this album and it shows too, possessing a chorus that switches between gruff and clean spoken vocals. At times ‘L’Enfant Sauvage’ feels less dynamic that its predecessors, in the riff department at least – towards the end there’s an unfamiliar feeling of drag, particularly ‘The Fall’, by which time it really begins to feel like by-numbers metal. There’s still times when they deliver earth-shattering grooved aggression with their usual aplomb, such as on ‘The Axe’, which has one hell of a pulsating twin-pedal chugging groove that Gojira have become well known for, and the proverbial battering ram of ‘Planned Obsolescence’.

Gojira – Planned Obsolescence

Ultimately ‘L’Enfant Sauvage’ is a difficult one to surmise. Did I enjoy it? Mostly. Did it have some truly explosive sections where I wanted to go ape? Yes it did. Is it a letdown? Hmmm…considering how Gojira have been lorded since ‘From Mars to Sirius’ and ‘The Way of All Flesh’ dropped, you’d have to say yes. I don’t feel as though that, as good as some of the tracks are, there’s anything half as explosive as on previous albums. ‘The Way of All Flesh’ had marauding technical numbers like ‘Oroborus’, and the raw power of ‘All The Tears’ or ‘Adoration for None’. ‘From Mars to Sirius’ had ‘In The Wilderness’, ‘From the Sky’, to name a couple. Remember, for a death metal band, Gojira aren’t exactly about riff salad – and ‘L’Enfant Sauvage’ in particular features a lot of simple riffs that often threaten to blend into one big soufflé, but for some great shifts in tempo and verve from drummer Mario Duplantier.

If I had to choose between this record or any of Gojira’s previous works, I’d probably plump for one of the older records at least 90% of the time. That’s not to say it’s a bad record. Or that’s it’s necessarily their worst. ‘L’Enfant Sauvage’ is still a damn good metal album and better than a lot of what you’ll probably hear this year, but it isn’t immediate – it will take some of you a few listens to grow into it and indeed, some of you might well be doing similar chin-stroking to me when deciding how to sum up this album. Anticipation’s a bitch, isn’t it?

Peter Clegg

Buy ‘L’Enfant Sauvage’ here

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Gorod – A Perfect Absolution

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Gorod
A Perfect Absolution
Listenable

You might have thought by now that technical death metal had started to become the old whippersnapper whose best days were behind it, largely thanks to the swathe of Meshuggah clones who’ve pounded their own groove-laden, off-kilter route, an underground resurgence in old-school death metal and perhaps simply the failure of bands within the technical death metal sub-genre to really build on their previous successes. Yes, The Faceless*, Necrophagist – I am looking at you and pointing to my watch (*note: The Faceless have since confirmed a release date for their new album)

Yet despite that, its been proven that the weedly-weedly approach can still draw the punters, with Athiest returning strongly, and new bands such as Revocation and Spawn of Possession electrifying with their approaches to this niche. One such band I had reservations on were Gorod, who despite a boatload of hype upon their wider emergence a few years back didn’t really thrill me with their breakthrough fifth album ‘Process of a New Decline’, which at times really seemed to want to push how weedly-whoo one could get, over actual clever songwriting. Not that it was particularly bad – it certainly has its great moments, but not enough for it to really shine in comparison to the rest of their discography.

Gorod too, seemed to disappear off my radar for a little while, although they did come back with the ‘Transcendance’ EP last year, along with its sprawling 15-minute title track, before re-emerging with their sixth album, ‘A Perfect Absolution’. If anyone deserves a medal for most improved this year, then Gorod would certainly be contenders for the gold.

Known for their love of concepts, ‘A Perfect Absolution’ is based on Kiev in the year 945, “when Igor, King of Kiev, was murdered…while collecting a “tribute” while visiting his Pagan neighbours the Derevlians, who lived in a forest. After the incident, his widow, Olga, avenged him in an extremely harsh manner before converting to Orthodox Christianity“. Nice. Compared to ‘Process of a New Decline’, the song-writing appears to have gone up a notch, the songs sound a lot tighter, and the new members, Julien Deyres (vocals) and Nicolas Alberny (guitar) have bedded right in with the simplest of ease. No signs of any transitional problems whatsoever for their first album without previous members Guillaume and Arnaud. Key to this is the rediscovery of groove, and a refrained approach to the technical stuff. Instead of becoming a molten mass of wizardry, Gorod appear to have struck the right balance, ably to mix their usual flamboyance with catchy grooves and a much more precise attack.

Two key songs that sum up this improvement would be ‘5000 at the Funeral’, and ‘Varangian Paradise’, the former beginning with a piano-driven melody before getting right back into their usual swing. The chug is an overdone thing in metal, but its still one hell of a tool in priming for an assault, and Deyres’ low spoken growl at the beginning sits nicely atop it before they all really lower the boom. The latter is really the Bordeaux, France act’s supreme indulgence, kicking off with a massive stadium-sized riff that ought to have thousands, and not hundreds, pogoing in unison, before kicking back with some laid-back flamenco chords plucked directly from the schools of Athiest, Cynic and Latin America.

Overall, this is perhaps Gorod’s most diverse album to date, having sprung a move that I dare say will open them up to wider audiences, without shedding too much of their skill. They’ve created an album free completely free of filler and their urges to let the guitars have complete maraudering freedom have been pinned down and refined from a technical stew to a precise technical brew. And a concept album in 39 minutes! Wowzers. It seems there’s nothing Gorod won’t try out, and that’s what makes them all the more exciting. Let’s give them the attention they really deserve.

Peter Clegg

Buy ‘A Perfect Absolution’ here

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