Ufomammut tour hits the UK tonight!

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That’s right folks, psychedelic doom riff lords Ufomammut bring their latest tour to these shores tonight with three shows in the offing for the next few days, hitting Bristol tonight, then Leeds & London. Entitled, “the Magickal Mastery tour”, the idea is to present music from across their entire canon as this will mark their last tour for the foreseeable future whilst they work on new material. 

You can watch the latest trailer for the Magickal Mastery Tour here: http://youtu.be/cQz67NFueXs

(Contains flashing images)

Promoted by the good folks at Desertscene, support comes from the fantastic Zolle.

ZOLLE – https://www.facebook.com/zollezollezolle

And Leeds people, you can still get tickets here:

Tickets – http://www.leedstickets.com/eventinfo/3835/Ufomammut-plus-guests-Leeds  

Below is the press release for this incredible tour:

Like a snake biting its own tail, time is circular, and with their upcoming tour, Ufomammut further corroborate ouroboric tendencies…

This autumn, Ufomammut will excavate items from their pliocenic past, keeping their third eye pointed at the future – the ‘Magickal Mastery Tour’ is a journey through fifteen years of Ufomammut music, performing under a new light songs from Godlike Snake to ORO, as thanksgiving to people for their support and devotion.

The band commented…”We are very excited to come out and play material from across our album catalogue, whereas recent focus has been on ORO, an album which we are most proud of, we are looking forward to playing older material also, it’s been a while! This marks the last tour we shall do for a period, whilst we concentrate on writing a new album”

UFOMAMMUT is a power trio formed in 1999 in Italy by Poia, Urlo and Vita. With long songs, droning vocals and massive effects the band combines a monumental riffing attitude with the psychedelia of the more visionary Pink Floyd.

In ten years the band has played several times around Europe reaching the US West Coast in 2009 as well as performing at international music festivals including Roadburn, Hellfest, Assymetry and alongside bands such as Down, Baroness, Lento, Motorpsycho, Orange Goblin and many more.

Ufomammut’s live show is supported by the internationally acclaimed video and graphic art of Malleus, a rock artists collective who conjure the entirety of Ufomammut’s visual impact. 
UFOMAMMUT is a power trio formed in 1999 in Italy by Poia, Urlo and Vita. With long songs, droning vocals and massive effects the band combines a monumental riffing attitude with the psychedelia of the more visionary Pink Floyd.

In ten years the band has played several times around Europe reaching the US West Coast in 2009 as well as performing at international music festivals including Roadburn, Hellfest, Assymetry and alongside bands such as Down, Baroness, Lento, Motorpsycho, Orange Goblin and many more.

Ufomammut’s live show is supported by the internationally acclaimed video and graphic art of Malleus, a rock artists collective who conjure the entirety of Ufomammut’s visual impact. 

Peter Clegg

Special thanks to Rarely Unable for the material

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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

Children of Technology – It’s Time to Face the Doomsday

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It’s entirely possible you’ve never heard of the crust-filled speed thrash troupe known as Children of Technology. The quartet from Padua, Italy are staunchly underground and exist perhaps as a throwback to the gritty, muddy sounding bands of the late 80’s. Yet all this talk of driving ourselves to extinction, it feels like we’re one idiot from sealing our own demise most of the time. And that’s where Children of Technology come in.

The second you start to listen to ‘It’s Time to Face the Doomsday’ (Hells Headbangers, 2010), you know you’re facing an image of nuclear winter on Earth. By the end of the first listen, you’ll have taken a journey through it. And you’ll have enjoyed that image so much you’ll want to go back to it again. And again. And again.

Children of Technology describe their sound as ‘post-apocalyptic motorcharged speedcrust’ and ‘ITtFtD’ is a none more truer statement of that. Eight tracks of scuzzy thrash punk are beholden, coming across like Darkthrone jamming with Discharge with a Motorhead mentality. Detractors will say it’s the same thing over and over again. I say if you can’t handle it, then you’re in grave danger. Gleefully over the top, ‘ITtFtD’ is Children of Technology simply revelling in their influences, and this is possibly their claim to be Earth’s official nuclear winter house band.

Children of Technology – It’s Time to Face the Doomsday (full album)

‘No Man’s Land’ itself, with it bass-line intro building up into a fast punk riff really has ‘death race’ written all over it. The bass intro is the vehicles taking up their positions. The guitar that comes in over the top is the countdown to race start. The drums signal the lights are green, and the race is on. When the chorus hits, you can actually picture the Tusken Raiders from Star Wars hidden in the dunes, thrusting their maces in the air as the band shout ‘the wasteland!’. That would make for a totally awesome music video.

The only let up in the record comes towards the end. As ‘Screams from the Earth’ begins with a lone guitar, vocalist DeathLord Astwülf uttering ‘the Earth is dying’. When the rest of the band come in, one final assault begins, and its just as over the top as the rest of album, with the sounds of bombs exploding and missiles crashing accompanying the refrain of the title during the chorus.

Championed by Darkthrone drummer and all round legend Fenriz, Children of Technology are a band worth seeking out… wait, what’s that? Oh. The apocalypse is nigh. Balls.

I guess this is where we sign off. Thanks for everything everyone. You’ve been awesome.

Peter Clegg

Ufomammut – Oro: Opus Alter

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Ufomammut
Oro: Opus Alter
Neurot

The indelible and esoteric trio from Italy known as Ufomammut have already dropped one stunner on us this year, the first part of this two-part trip, ‘Oro: Opus Primum‘, and as promised, the second part, ‘Opus Alter‘ now greets our ears.

It’s impossible not to compare ‘Opus Alter‘ with ‘Primum‘, unfair as it seems. It’s more than a companion piece, its a continuation of ‘Oro‘s theme. And that feels evident as this latest part progresses. Opening track ‘Oroborus’ features a groove-shaking riff that only changes nearly four minutes in for another riff, going round and around like the self-consuming serpent of lore, with some effects designed to unsettle just slightly. Repetition seems to be a theme running through ‘Oro‘; the aptly-titled ‘Sublime’ utilizes a build-up into one cracking riff and then back out again, while ‘Luxon’ is basically a reprise of ‘Infearnatural’ from ‘Primum‘. It seems to feel more immediate than ‘Primum‘ too, with less of the slow brooding and a little more forward purpose. Any questions asked about the truth that statement are firmly answered when ‘Deityrant’ brings down the curtain on ‘Oro‘ with a straightforward verve and a penchant for grooviness.

Overall, I feel as though I can’t resist a comparison with ‘Primum‘, and with that said, ‘Alter‘ is just a shade behind its predecessor in terms of its overall quality – but still a fantastic album in its own right, and in its entirety, ‘Oro‘ is nothing short of quintessential.

Peter Clegg

Ufomammut – Oroborus

Buy ‘Oro: Opus Alter‘ here

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