regarding TAU CROSS

I've already written a little something about it quite a while ago, but since my Tau Cross reviews keep getting clicks, I think it's time for a little update of how I feel about the band with Rob Miller being lost to conspiracy nutjobism.

First of all: I have double standards for these kind of things.
Judging the art by the flaws of its creators is not always a simple task with universally valid rules.

We probably all have those double standards. For example everyone knows that Miles Davis or James Brown were pretty shitty persons, but it doesn't really affect the relevance of their musical legacy.
Gary Glitter however has been completely canceled, which is not only the right thing to do, but also easy, because in his case the art just isn't that relevant.

So were do I stand with Tau Cross now?

I still think the name should be history and I still like to think that Miller's descend is a rather recent thing, so I can still enjoy the memories of two great shows of this band.

I still enjoy the music of the first two albums when a song pops up during shuffle play, but do I actively seek them out to listen to them? So far not. In fact I just sold my vinyl copies on Discogs.

The limited Roadburn 2016 poster, as great as it looks, was not something to look at daily anymore, so I replaced it with another Costin Chioreanu artwork for Grave Miasma with a similar colour palette.


Yeah, so that's it.

Still got that poster, if anyone's interested. It has been rolled up and is now folded, so it needs to be straightened, but overall it's in a decent condition.

So my last TAU CROSS review is getting clicks now ...

... and I wonder why.

No shit, I know why.

So should I write something about it or not?

Fuck, no. Not much at least. I really can't add anything to that disappointment.

So apparantly Rob Miller has duck too deep in his research for conspiracy-themed lyrics and became a nutjob, who gets inspiration from Holocaust deniers, in the process. That's just sad.

It's sad for him and it's even sadder for his unsuspecting (ex-)band members, who  now have this shit stain on their résumé.

I just wish he would stop insisting on continuing the band and just drop and bury the name Tau Cross, so we can all at least fondly remember the first two albums and the live shows in a healthy way.

But I guess for now he's still caught in the cycle of writing drunken facebook rants, then sobering up, making the Tau Cross page invisible and then drinking again and writing another weird victim text...

Fuck, man. This is embarrassing.

TAU CROSS - Pillar Of Fire

[EDIT: Since this is still regularily getting views, please also consider reading my last post regarding Tau Cross - or the one before that when the BS was very fresh.]

Ok, let's start directly with the obvious question: Is this second album better than the self-titled debut from 2015?

And let me not answer that question with: Fuck you, man! What do I know?

TAU CROSS - Pillar Of Fire (2LP) (2017)

So the crust super power Tau Cross, led by ex-Amebix mastermind Robb "The Baron" Miller and relentlessly driven forward by Voivod drummer Michel "Away" Langewin is back, this time with a shitload of fourteen tracks on two LPs.

That goes at least for the record version and the digital download. With fan favorite "Hangmans Hyll" and "Stonecracker" the previous album lacked two songs on the vinyl version and it seems like Relapse Records is compensating for this now, because this time it's the CD version that misses three tracks, among those one of my personal highlights, the hymn "We Are The Terror", so I advise at least to check those additional songs out on bandcamp if you're a CD listener. The running orders are also different, but I changed my download to match the vinyl, so I can't really judge what's better.

The gatefold is crested with great artwork, more than unmistakebly by  Costin Chioreanu, and also includes a lyric sheet.

Speaking of the lyrics, Miller shines again with great verses, which are simple yet deep at the same time, worldy and mystical, clearly political, but symbolic enough to remain timeless.

If you know his past work and the first album, of course this doesn't came as a surprise at all. Neither does the musical direction. Everything on "Pillar Of Fire" is kind of more of the same, but rightfully with a capital MORE - and this is not in the slightest a negative criticism, because obviously the established formula is fucking awesome, so there's absolutely no need for drastic modifications.

That means you can expect a rough ride through a diverse collection of songs, which all share a level of aggressive urgency and subtle eeriness, as well as an undeniable catchiness.
Post punk, hardcore, thrash are the words, put together in a manner that doesn't make any prisoners. On several songs like the title track there's also that dark folk influence again, which felt a little underrepresented on the recent tour, where I saw them in Hamburg.

Tau Cross live 2017

The main spectacle on top of all that however is Robb Miller's voice. His gargling inhumane organ remains as unique as unexplainable and ensures that there's just nothing else out there like Tau Cross.

Has "Pillar Of Fire" any weaknesses?

It's probably too long to fully digest and appreciate it at the first listen, but that's not a bad thing.

There are a few passages though, which have me on the edge. I've never been a punk kid, so especially during the first couple of tracks there are some riffs which feel a little shallow and worn out. There are also some instances where Miller goes for a cleaner vocal approach and... damn, there's no proper english word for "knödeln" I guess... well, just say he sounds a bit off.

But in both of those cases there's no further harm done, because either the weaker riffs are redeemed by killer vocals or the other way around. And all of the rest of the album is ace anyway.


Which brings me back to the initial question.

"Pillar Of Fire" surely is on par with the debut album, maybe it's even slightly or significantly better. But I just don't know yet.
The chances that songs like "The Big House" or the fantastic "Killing The King" (love that merging of lead guitars and synth noises) will leave the same lasting impact on me as the modern classics "You People" or "We Control The Fear" are pretty high though.

But only some more time can surely tell.

So until this is settled I probably just have to spin and enjoy both Tau Cross works to the death. Lucky me.

Highlights: Killing The King, We Are The Terror, Deep State, The Big House, Bread And Circuses, Pillar Of Fire

TAU CROSS und KILLBITE live im Hafenklang, Hamburg (04.08.2017)

Tau Cross

"Was machst Du denn hier?"

"Wieso bist Du denn nicht in Wacken?"

Wie oft habe ich diese Fragen in den letzten Tagen gehört...

Nur Freitag im Hafenklang hat man mich damit in Ruhe gelassen, denn dort fand für Punks und Wackenverweigerer ein Konzert für das Clubsgeschichtsbuch statt. Und auch ohne die zwei, drei Leute die heute nicht konnten, weil sie auf dem Open Air waren, war die Bude rappelvoll.

Killbite

Killbite aus Bremen eröffneten den Abend mit schnell nach vorne preschendem Crust Metal. Der direkte Straight-in-die-Fresse-Ansatz erlaubt keine blumige Analyse des Gehörten, hat aber einfach gut reingehauen und Laune gemacht. Keine Musik, die ich jetzt ganz dringend auf Konserve haben muss, aber live in seiner punkig prügelnden Hardcorebrülligkeit auf jeden Fall sehr geil.

Stilistisch waren Killbite zumindest auf dem Papier auch nicht allzu weit vom Headliner entfernt. Gut zusammengebookt, sage ich mal.

 

Tau Cross

Tau Cross sind (auch wenn sie nicht deren Songs spielen) als legitime Amebix-Nachfolge ja im Grunde schon Kult, seit ihre Existenz bekannt gegeben wurde.

Das 2015 erschienene Debütalbum und  das fantastische Europa-Debüt auf dem Roadburn-Festival 2016 konnten dann wohl so ziemlich alle Erwartungen bedienen, wenn nicht sogar übertreffen. Um es gleich vorwegzunehmen: Ich könnte mich nicht entscheiden, welche der beiden Shows von Tau Cross nun die bessere war. Sound, die große Bühnenproduktion und der Reiz des Neuen sprechen für Roadburn. Im Hafenklang gab es dagegen das schweißtreibende Saunakonzert im kleinen Club, mit Songs aus zwei Alben. Schwierig, sich da zu entscheiden. Eines ist jedoch klar: Die sechsköpfige Gruppe (der Mann für Samples und Synths-Gedöns ist so unauffällig am Bühnenrand untergebracht, dass man ihn für Soundcrew halten könnte) um Sänger Robb Miller und Voivod-Drummer Away ist einfach - ich sagte es schon - Kult Kult Kult.

Ich habe nicht gezählt oder gespickt, aber die Setlist war gefühlt ziemlich ausgeglichen, mit leichtem Überhang des Materials vom ersten Album. Da kann ich mich aber auch irren. Da ich die neue Scheibe "Pillar Of Fire" noch nicht komplett gehört und auch erst nach dem Konzert am Merchtisch gekauft habe, war ich mit den neuen Stücken ja noch nicht so vertraut.

Eines ist aber klar: Wenn es darum geht, live zu killen, stehen Stücke wie "On The Water" oder "Killing The King" den alten Krachern wie "Lazarus" oder "You People" in nichts nach.

Powervoll, derbe, düster. Punk, Crust, Rock'nRoll!

Und wo Miller diese ultrafiese Gurgelstimme herzaubert, habe ich immer noch nicht durchschaut.

Hammer Konzert!

Auf dem Rückweg musste ich in Itzehoe tanken. "Gar nicht in Wacken?", fragte mich der Kunde, der nach mir ans SB-Terminal trat.

Leute, es gibt noch eine so schöne Welt jenseits des Matschackers!

Killbite:

Tau Cross:

MUSIC 2016: top albums and concerts

Comparability just isn't one of music's greatest strenghts.

Yes, if you have three bands trying to sound like Slayer you probably can match them against each other. But other than that the moods, intentions and overall experiences of most works or concerts are just too vastly different. Which is good. But it makes "best of" lists a pain in the ass and me always feeling like unfairly dismissing a shitload of artists. If you could see my whole TOP 40+ albums here, I'd possibly have almost the same love for rank 35 as I do for rank 15.

As always the postulate for every recording to possibly appear here is that I have to own it in physical form. I don't need to stress that all this is super highly subjective, right?

Ok, here we go:

ALBUM TOP 22:

1. DAVID BOWIE - Blackstar
   

   

   Yes, I'm going with the obvious choice here. A decidedly challenging, exciting, bold and daring album for an artist so late in his career. Love the jazz ensemble! That was my main impression from the start, a few days before that fateful Monday. Would "Blackstar" also be in the top spot, if Bowie was still alive and well? - The question is obsolete, because without his passing this unsparing album dedicated to farewell and death simply wouldn't have happened.

2. SWANS - The Glowing Man
   

   "The Seer", "To Be Kind" and now "The Glowing Man". Michael Gira finishes a singular album trilogy of enormous scope and depth with the probably most epic incarnation of the Swans. Subsequently this form of the band is being laid to rest now. Luckily this gigantic album remains for eternity.

3. SUBROSA - For This We Fought The Battle Of Ages
   

   

   Blunt, bleak and breathtakingly beautiful. Crushing riffs and raging violins paint a dystopian masterpiece. Even though every song is a monument in its own right the closing track "Troubled Cells" stands out as especially heart-breaking. Especially given the technical problems at their show in Hamburg I can't wait for the complete performance of the album at Roadburn 2017.
   

4. COSTIN CHIOREANO - The Quest For A Morning Star
   

   

   Costin Chioreano is best known in the metal scene as a very busy cover and poster artist. Indeed in this very list there are two more albums (7&8) featuring his work. But this is him as a musical solo artist. Probably the most obscure album here, this collection of dark ambient soundscapes with black metal influences just keeps moving me on a profound level. It's not wholly within the realm of the explainable, but "The Quest For A Morning Star" already feels like a timeless classic.

5. VEKTOR - Terminal Redux

   

   How about an epic sci-fi space story told through an enormous concept album of brilliant brutal blackened thrash metal? With "Terminal Redux" the canadian Voivod / Death / Slayer worshippers released nothing less than one of the greatest thrash records of all time.
   If you dig this album and also lean towards ultra-technical death metal with strong classic Cynic influences, I highly recommend Obscura's "Acróasis" as well.

6.  THANK YOU SCIENTIST - Stranger Heads Prevail
   

   

   Support of Haken (whose crazy 80s trip "Affinity" also deserves a more than honorable mention here) on their US tour, Thank You Scientist share and even improve their positivity. With a funky brass section and true soul singer Salvatore Sarrano this seven-headed party monster establishes an all-over-the-place, yet highly accessible and addictive brand of prog metal jazz fusion.

7. SEVEN IMPALE - Contrapasso

   

   What a creative, explosive advantgarde metal prog rock psychedelic jazz fusion extravaganza! Weird, wild, captivating, dark, saxophony and fun. Just how I like my prog. Yes, the description in parts reads similar to Thank You Scientist. This stuff is totally different though, but I guess you could view both albums as good or evil twin of each other.  
   

8. OCEANS OF SLUMBER- Winter
   

   Blues. Blast beats. Emotions. Virtuosity. Doom. "Nights In White Satin". Piano. Death Metal. More blast beats... On "Winter" anything can happen at any given time. An album which broadens the spectrum of prog metal with almost every song, yet somehow manages to stay consistent. The icing on the cake is stunning singer Cammie Gilbert. 

9. NEW KEEPERS OF THE WATER TOWERS - Infernal Machine
   

   

   Carrying the hypnotic darkness and bold experimental spirit of Pink Floyd "live in Pompeji" into the everyday-is-doomsday present of fucked up 2016, the swedish masters of cramming every square centimeter of club stages with effects and instruments on "Infernal Machine" suck you into an ever flowing maelstrom of pumping, menacing psychedelic rock.

10.  BLUES PILLS - Lady In Gold
    

    

    Elin Larsson is a fireball of energy. And the Blues Pills know how to make use of this more than ever. Knowing their shit about music history the sound of the band is infused with some serious 60s and 70s soul and gospel influences. Organ and mellotron are other welcome additions to the sound of the retro rock shooting stars. (The vinyl quality however is *meh* as fuck, so better buy the CD version including a live DVD!) 

11. MOTORPSYCHO- Here Be Monsters

    

    Motorpsycho just being their legendary selfs once again. From the pop harmony of "Spin, Spin, Spin" to the "Big Black Dog" devouring everything, this is a masterpiece and lesson in dynamics. What a shame (but fully understandable) that drummer extraordinaire Kenneth Kapstad has left the band later this year to fully devote his attention to Spidergawd, whose third album "III" is also a must-listen for Psychonauts.

12. MONO - Requiem For Hell

    

    Here be another monster! I seriously have no idea whether Mono have just kept their stellar quality or outdone themselves with "Requiem For Hell". But one thing is for sure: in their field of dramatic instrumental post rock the japanese band is unrivaled. The eighteen minute title track is one of the mightiest musical behemoths unleashed this year.

13. KHEMMIS - Hunted

    

    Five epic hymns of heavy doom metal with majestic mournful lead vocals and royal Iron Maiden style twin guitars. Add some growling, sludge and dirty rock'n'roll here. Add some funeral doom and post metal there. Write some thrilling lyrics and wrap it all in a super badass cover artwork. There you have it: a masterpiece!

14. CULT OF LUNA and JULIE CHRISTMAS - Mariner

    

    Years after "The Bad Wife" here's finally a new vital sign from the excentric and versatile Ex-Made Out Of Babies singer Julie Christmas, a collaborative album with Sweden's post metal force Cult Of Luna! You get everything you could wish for from both involved parties.

15. THE NEAL MORSE BAND - The Similitude Of A Dream

    

    Wow, more prog in this list than I would have expected! While I put some others above this one for bringing more fresh twists to the genre in their overall approach, there's no way to ignore the sheer quality, creativity and joy of the traditional symphonic prog on The Neal Morse Band's giant concept album. Often reminiscent of Spock's Beard's "Snow" this is a fantastic - or dare I say truly *cough* astonishing? *wink* - work. 

16. SINISTRO - Semente

    

    Originally an instrumental quartet playing a mixture of post rock, doom and ambient film score music, Sinistro have since partnered with singer / theater actress Patricia Andrade, who is now fully incorporated into the band. Her dramatic portuguese vocals leave a huge imprint on this heavy, mesmerizing record. The hauntingly beautiful "Relíquia" is a composition for the ages.

17. THE CLAYPOOL LENNON DELIRIUM
    - Monolith Of Phobos

    

    Does it take any convincing to love an album which ends with an autobiographical(!) song about Michael Jackson's chimpanzee Bubbles, followed by an instrumental called "There's No Underwear In Space?" Well, that's just a small taste of all the craziness and greatness on this collaboration between Primus mastermind Les Claypool and Yoko Ono's son Sean Lennon, who both played every single instrument (and also did the artwork) of this record.

18. ALCEST - Kodama

    

    Cloud-caressing shoegaze dreams meet piercing post black metal screams. Otherworldly beauty merges with harsh intensity. No matter how you put it, this Japanese influenced work of the French duo Alcest wasn't made to be described in  inadequate mortal terms, but rather to be experienced. Feel the stream and float in its transcendency!
    

19.  WANG WEN - Sweet Home, Go!

    

    Mono's spiritual brothers from China strike and enlighten us with this beautifully packed double LP. (Kudos Pelagic Records for always implementing such unusual visual ideas!) This time almost fully instrumental, Wang Wen sound as big, wide, poetic and colourful as a Zhang Yimou movie, without trying to copy their previous masterpiece "Eight Horses". A phenomenal band.

20. VIRUS - Memento Collider

    

    Ever imagined Captain Beefheart covering Voivod's "Nothingface"? I hope so, because that's really the closest description of the sound of Virus I can give you. There's just nothing like this unique, slightly disharmonic brand of weirdadelic progressive rock, which always seems to be laid back and hyperactive at the same time. Fabulous stuff!

21. THE DILLINGER ESCAPE PLAN - Dissociation

    

    The world isn't worthy of The Dillinger Escape Plan. So fuck the world! But of course the mathcore pioneers don't leave us without fustigating our weak little minds through one last sonic and emotional excess of brutalization. As Greg Puciato channels his inner Mike Patton again, "Dissociation" combines all the strenghts of the band's history with some welcome surprises.
    

22. KANDODO / MCBAIN - Lost Chants / Last Chance

    

    And here I am already feeling bad for not including enough psych rock jams in this list. So let there at least be a shout-out to the great works of Monarch, Sula Bassana and Causa Sui, before I conclude with this outstanding "double double album", which is meant to be played at 33 or 45 rpm. And its trippy magic works in both speeds!
    
    

Many more artist would have deserved to be mentioned here (like Kayo Dot, King Dude, Kendrick Lamar, Conan, A Dead Forest Index etc.) and of course there are countless more, who I would hold dear if I only knew them, or whose albums I should finally cross off my consideration / wish list and purchase. (I'm talking about you, Oranssi Pazuzu. Still not sure about Metallica.)

And then there's this late arrival:

• DISHARMONIC ORCHESTRA - Fear Of Angst

  

  After fourteen years of absence the Austrian Virus of Death Metal return with a crisp riff-heavy record which concentrates (almost) all the strengths of their discography to nine irresistible bastards of old school death metal, Coroner grooves and all that unmistakable, unique disharmonic stuff. I included the album here, because this is very likely TOP 22 stuff, but it's just too early to tell, and I want to publish this post now. 

SOLO/CLUB SHOW TOP 11:

1. LAIBACH - Krizanke, Ljubljana
   

   Even though it felt strange to be so far away from the stage, this is the unrivaled number one here, because... come on: Laibach! In Ljubljana! With an orchestra! *checks lifetime experience*

2. MAGMA - Markthalle, Hamburg
   

   Magma is Magma is Magma. And there is nothing else like Magma. Unbelievable!

3. MONO + ALCEST + PG.LOST
   - Uebel & Gefährlich, Hamburg
   

   The triumvirate of the transcendent. An escapist dream ride. Best tour package of the year!

4. SWANS + ANNA VON HAUSSWOLFF
   - Kampnagel, Hamburg

   All good things go by threes. The final Kampnagel show of this Swans incarnation, with a truly congenius support act.

5. BOHREN UND DER CLUB OF GORE
   - Kampnagel, Hamburg

   Smooth slow moving waves of doom jazz.

6. LAIBACH - Knust, Hamburg

   "The Sound Of Music" tour. Not the ideal location for their grandiosity, but Laibach always deliver.

7. RADARE - MS Stubnitz, Hamburg
   

   The whole night with Toby Driver and Nick Hudson was a special experience, but the concert of these german Bohren worshippers rose to the most out-of-body magical heights.

8. SUNN O))) + BIG|BRAVE - Feierwerk, München

   Damn travelling day through Germany! Or was it the small location? Anyway, I didn't survive the whole drone experience in the first row this time. And another show with a perfect support act.

9. KAMASI WASHINGTON - Grünspan, Hamburg
   

   No open air jazz session as expected, but much funkier than the last time.

10. LUCIFER - Hafenklang, Hamburg

    The addition of a second guitar player and the integration of more background vocals elevate the timeless doom rock of Lucifer to a new level.

11. ARCHIVE - Docks, Hamburg

    The new album is subpar to their previous releases, but luckily I had bought the ticket for the nonetheless  amazing show long before I heard it.

 

FESTIVAL SHOW TOP 11:

Tau Cross

1. TAU CROSS - Roadburn
   

   Rob "The Baron" Miller + Michel "Away" Langevin = absolutely legendary

2. LA MUERTE - Roadburn
   

   Kustom Kar Kompetition Kult!

3. SINISTRO - Roadburn
   

   Epic cinema from the Euro Champs (Portugal, you know...) of doom.

4. NEW KEEPERS OF THE WATER TOWERS - Roadburn

   So many great "Man, I was there!" performances on the tiny Cul de Sac club stage this year, and the New Keepers stood out among those.

5. TRIPTYKON - Wacken

   With death, doom and gloom and a set of Celtic Frost classics and Triptykon epics Thomas Gabriel Fischer ruled Wacken supreme.

6. KING DUDE - Wacken

   Blacker than most artists in Wacken, yet a slightly different kind of black.

7. DOOL - Roadburn

   With the release of their debut in February Dool will soon explode in popularity, that's for sure. Their combination of gothic rock and The Devil's Blood metal is just too damn good.

8. IRON MAIDEN - Wacken

   Promising up-and-coming heavy metal band. Worth checking out.

9. MYRKUR - Wacken

   Fairy and banshee in one, Myrkur evoked a truly otherworldy magic Wacken isn't used to. A performance that exceeded my high expectations.

10. MINISTRY - Wacken

    The mind is a terrible psalm of rape and honey. Halleluhjah!

11. HILLS - Roadburn

    The higher the Hills, the trippier the trip.

My favorite EPs, live recordings and other formats as well as my 2016 disappointments can be found... -->  HERE!