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Posts mit dem Label The Lord werden angezeigt. Alle Posts anzeigen
Posts mit dem Label The Lord werden angezeigt. Alle Posts anzeigen

2025-02-17

digital delights with COLLIGNON, SENYAWA, SUBSCUM and THE LORD


Yeah, this combination of artworks looks weird. And no, I'm not exactly looking for coherence when I'm putting together quadruple reviews like this. These are just four of the most recent digital additions to my collection.




SENYAWA - Samudera (2025)

The Indonesian Experimental duo has started a series of releases containing previously unreased tracks, And that's really all the information we get about this EP. No backround about when and where "Samudera 01" to "Samudera 04" were recorded, just the pure music.

And that music is a bit atypical, since the insane vocal shenanigans of Rully Shabara are absent for half of the tracks, where instead we get a chaotic backdrop of Ambient sounds and samples, above which the Industrial or soft acoustic instrumentation of Wukir Suryadi.
The third track however is a slow Drone which heavily relies on multiple layer of vocals, before we go back to a rhythmic sound collage closer to the beginning again.

Even for Senyawa's standards this EP feels very unconventional, more like a collection of aural sketches than actual songs, and at times surely closer to Suryadi's solo stuff than what we're used to from the band. This material frankly isn't as strong as their albums, but it certainly is interesting and expands the context of their creative work.






THE LORD - (like) Christ Naked Ice (2025)

Inspired by French composer Olivier Maessiaen comes a new eleven-minute track by Sunn O)))) member Greg Anderson aka The Lord.

The rich Drone Metal tone of his crawling guitar is paired with a clerical atmosphere and... not really a really big melody, but a very pronounced sense of it. There is a curve, a build-up, as if the song was reaching for a mountain ridge it never quite reaches. A suspenseful piece of Drone goodness from one of the prime masters.






COLLIGNON - Bicicleta (2025)

Ok, I hear you! Let's get some happier, easier digestable stuff! Collignon from Portugal are a musically colourful, Progressive but very danceable Instrumental World Psych trio. Incorporating influences from all over the globe (Latin, Afro-Beat, Asian Disco) into their very percussive upbeat Rock they sound somehow like a halfway stop between Yīn Yīn and Mohama Saz with a strong focus on a wide array of keyboard sounds.

Written on tour "Bicicleta" exudes a lot of positive travelling vibes, making this a perfect summer party album. So maybe the release in February is a little early? Nah, I guess people have to be made addicted to this before the outdoor chillaxation season begins. This is just fun - and prove that party music definitely doesn't have to be stupid.

So far "Bicicleta" is the only release of this bunch, which is not exclusively digital, but also available on vinyl.






SUBSCUM - Massgrave Summit (2025)

The name of the band in connection with the cover artwork strongly suggests an inspiration by Napalm Death's classic "Scum" and that this is not for the (always right-wing) Keep-poltics-out-of-music! crowd.

And how could a Grindcore / Extreme Punk quartet from Kiew of all places possible not be political and vocal against the authoritarian powers which now seemingly want to divide Ukraine among themselves?

The language of Subscum's outcry is a pure heavily grooving and explosively blasting brutal Grind attack of five tracks in ten minutes with titles loke "Genosiege", "Radical Infantilism" or "Cognitive Massacre". So don't expect any reiventions of the wheel here; you'll get exactly what the cover promises, which is absolutely fine.

And since all proceeds are forwarded to victims of Putin's war, you're also supporting a good cause.







2024-08-02

THE LORD - Worship: Bernard Herrmann Tribute

Amen! The Lord hath returneth!

Greg Anderson continues his streak of Drone masterclass solo releases with a new mini album dedicated to the scores of Alfred Hitchcock, Martin Scorsese, François Truffaut and Orson Welles film classics.


THE LORD - Worship: Bernard Herrmann Tribute (45rpm LP) (2024)

After this introduction one thing is for sure: I'm deeply disqualified to write about this record. Because honestly and as unbelievable as it may sound: I'm so little of a cineaste, I haven't even watched a single one of the movies appearing on this album in full. But at least that ensures that my opinion on this tribute to composer Bernard Herrmann isn't informed by nostalgia, right?

Of course I still recognize themes. I may live under a rock when it comes to classic cinema, but the music of films like "Cape Fear", "Cizizen Kane", "Psycho" or "Vertigo" has of course splashed over the celluloid into the general canon of pop culture and reached my ears in many other coherences without me even knowing what it was.

The Sunn O))) guitarist, who was responsible for all instruments and arrangements on his own, of course presents the scenes and themes with the overwhelming might of his typical Drone Metal amp worship sound. And even though the sometimes quite short and fragmentary nature of this record (which reminds me of the "VHSFNDEMOS" bonus tracks on the Japanese CD version of "Forest Nocturne"), counteracts the sonic enormity a bit, one cannot help to be struck with awe by the mighty roaring vibration of these nine tracks.

Is any of these movies awaiting a remake? This would surely be a great approach to score it. This actually feels very close to the soundtrack of the terrifying phantasmagoric horror flick "Mandy", which was composed by the great late Jóhann Jóhannsson and featured Drone guitars by Anderson's Sunn O)) mate Stephen O'Malley. Well, their tone is of course very tightly related.

Yeah, this may only be twenty-eight minutes of worship, but they are exquisitely spent. Once again I can only praise The Lord!

And I'm not gonna lie: My favorite part of the artwork by far is that nice classic vertigo swirl on the record itself. Never gets dull to watch it spinning.







2023-12-02

Bandcamp Friday haul December 2023 feat. THE LORD & MARTHE and TROPICAL FUCK STORM & KING GIZZARD AND THE LIZARD WIZARD


Yeah, that's quiet a long post title for just two EPs. So appearantly, as of now, Bandcamp Friday is still a thing. And this is the exclusively digital stuff I bought this time:




TROPICAL FUCK STORM & KING GIZZARD AND THE LIZARD WIZARD - Satanic Slumber Party (2022)

Does this even count? I only just got this collaborative EP on one-sided picture vinyl for a small price and could have digitalized these three tracks, which actually equal just one wild Psychedelic Rock tune sandwiched between an intro and utterly chaotic sound collage. But I was lazy and also wanted this brilliant Experimental Garage Fuzz excess in my Bandcamp collection.
This surely works as a warning in case you're ever planning on visiting Australia. When you're down under and see a couple of bands hanging around on the sidewalk, better don't come near them without substance consumption beforehand, or you'll be seriously confused!





THE LORD & MARTHE - The Eye of Destiny (2023)

Sunn O))) member Greg Anderson aka The Lord has teamed up with another artist yet again. On this two-track EP it's new Southern Lord signing Marthe and they're both paying tribute to Quorton. I've actually never immersed myself into the discography of Bathory, so I'm just familiar with the work through covers and the undeniably still ongoing wide influence on the whole Metal scene. So here's another piece of that puzzle!

The title track "The Eye of Destiny" is a mix of Drone with conanthebarbarianous fanfares and a vocal performance quite akin to Ana von Hausswolff's evil banshee mode. A haunting piece, one of the best The Lord's collaborations have called into existence yet.
"Wisps of the Black Serpent" has a little more of a folksy storytelling vibe - if can can call it that in this thick and mighty Drone Metal soundscape - and with the some very Black Metal-ish vocal deliveries.

All in all thirteen and a half minutes of low frequency greatness and epic atmosphere.






2023-11-04

BANDCAMP Friday haul November 2023 feat. BRUTUS, LINGUA IGNOTA, SLIFT and THE LORD & DANIEL KUBINSKI


A new owner yet again, half of the employees laid off, among them curiously not only many responsible for editorial content, but also those running their union - there's definitely a process of enshittification going on over at our beloved Bandcamp, because it's the internet in the year 2023, so the last good things can't just stay that way.

That being said there haven't been any of the feared big potential changes for users of the platform... yet. Buying music on Bandcamp still is a thousand percent more moral than the streaming scam of Spotify, it still remains the last standing safe haven with global reach for independent artists to release digital music and sell merchandise, a place where they don't get completely ripped off and receive most of the earnings themselves. And on several first Fridays of the months during the year they can even keep the full revenue. As of now it seems that Bandcamp Fridays are still a thing, like the one that just ended proved.

I bought a couple of things. Here's the haul of my strictly digital purchases:





LINGUA IGNOTA - The End: Live at Islington Assembly Hall (2023)

The final release of Kristin Hayter under the moniker of Lingua Ignota? If she doesn't unearth or reissue some older material this will probably be it. A recording of the last show, where she played Lingua Ignota songs. It's already a different beast than the performances which supported her work until "Caligula". The music is all based on piano, there are no other noises, drones and samples, she doesn't scream as unhinged and unhealthy as when I saw her the first time at Roadburn 2019. The heart-wrenching emotional intensity of her lyrics and versatile voice, which wanders between intimate crying, operatic wailing and terrifying screeches however hasn't changed a bit.
So of course the songs all sound distictly different than their studio versions. More bearable perhaps, but definitely also fantastic, with the added feeling of relief as Hayter leaves some of the personal pain they carry with them behind.

Witnessing the fifteen songs of this show in London live must have been a unique experience - and I will admit I am an envious, because the cancellation of her previous European tour robbed me of the chance to have this goodbye in Copenhagen. (I ultimately ended up changing my Colossal Weekend visit, so that I also went on Friday instead of Sunday as intented, seeing many good shows. So ultimately I've actually made my peace with it.)

It for sure is great that we at least have this live album now. It ends with an encore of her most famous (?) cover versions: Chris Isaak's "Wicked Game" and Dolly Parton's "Jolene". What more do you need? This surely is also a great spiritual companion to hear in a row with Emma Ruth Rundle's "Engine of Hell - Live at Roadburn"






BRUTUS - Love Won't Hide The Ugliness (2023)

A band I very much will see live again soon in its current form is the Belgian Post Hardcore trio Brutus.

They already released this new track from the "Unison Life" sessions in September, and now I finally got it too. Lively drumming, Stefanie's raw and beautiful vocals, rumbling bass, epic Post Rock guitars... this has all the qualities and can live up to anything of the album. If you love Brutus - and who doesn't? - you'll love this track, too. Even if it won't hide the ugliness.






SLIFT - Unseen (2022)

A release I slept on last year is this EP by the wild French Psych Rock trio Slift, whose coming new album you can already pre-order. "Unseen" however is an outtake from their last masterpiece "Ummon", which probably just was already full enough. Good that this Space Rock track has been published later in this way. Same thing as with Brutus: just as good as the album stuff. Maybe the vibe is a little bit different.

The B side "The Real Unseen" is a Noise improvisation, which they spontanously played directly after the song while the recording was still running. It's basically like the finale of real long and great live show, where the band just doesn't want to leave the stage. That would surely have been a little too much for the album, but here it's cool. So why not?






THE LORD & DANIAL KUBINSKI - Palliare (2023)

We're ending this haul with another single track. Drone Metal grandmaster Anderson from Sunn O))) has released yet another collaboration, this time with Die Kreuzen vocalist Daniel Kubinski.

When The Lord slows down time with the tectonic tone of his guitar you already know you have a killer foundation. Kubinski's layered vocal performance on top of it is eery, haunting, pained. All in all nothing ouside the realm of what we've come to expect from Anderson, so yes, this is of course a great tune. Brrrzzzt.






2022-12-31

last tracks of the year, feat. BRUIT ≤, DEAD NEANDERTHALS, LAIBACH, THE LORD & DAVID PAJO, THE LOVECRAFT SEXTET and ZEAL & ARDOR


Ok, since in a couple of hours from now the world will have changed drastically - and I will have to come up with a new title for this blog after sticking to 20 + 22 = 42 for a whole year -, lets go to Bandcamp and grab some recent digital only singles and EPs!





BRUIT ≤ - Parasite (The Boycott Manifesto)

My first download is weirdly meta. A normally instrumental Post Metal band with Modern Classical influences teams up with a narrator to explain why this track is the only music from them you'll ever find on Spotify. Luckily what could have turned to a preachy embarrasment actually is quite a poignant powerful statement. And most importantly the epic music on "Parasite (The Boycott Manifesto)" is just great!





LAIBACH - The Future

From the exploitation of artists in the present to... The Future! Laibach's version of Leonard Cohen's stark and brutal prophecy has been out for a while, but somehow I missed the Bandcamp release, which features the seven minutes long track sung by Milan Fras and Donna Marina Mårtensson in three different mixes, of which I shockingly dig the 1990's Euro Dance style Blast from the Past Remix the most. Laibach - Cohen. It's a match!
(Video can't be embedded and is only available directly on YouTube.)





THE LOVECRAFT SEXTET - Seekers Who Are Lovers (Tribute to Cocteau Twins)

There are probably songs of them I would recognize without knowing the artist, but otherwise the Cocteau Twins are one of those gaping holes in my Eighties/Nineties popcultural knowledge. Luckily familiarity isn't required to enjoy Jason Köhnen's tribute to the dreamy guitar pop band, because his half hour long odyssey of a cover version takes you on a journey of everything The Lovecraft Sextet stands for (so far): meandering Ambient, spooky Doomjazz Opera, saxophony Gothic Synthpop and misty Black Metal - "Seekers Who Are Lovers" has it all! What an amazing mammoth track!






ZEAL & ARDOR - Firewake

Let's enjoy something shorter now! "Firewake" is a typically all over the place Soul/Blues/Prog/Black Metal mashup with English and German vocals and some particularly awesome bass lines, which somehow didn't fit on the self-titled album, but is just as great as everything on there. The second track "Cinq" is one of those soothing lullaby instrumentals which Manuel Gagneux has also made part of Zeal & Ardor's DNA from the beginning. The quality stuff you expect from this project. Short and sweet.






THE LORD & DAVID PAJO - Nazarite

Let's keep the beauty of the last Z&A track, but fuck it up with some of Sunn O))) guitarist Greg Anderson's signature drone! The Lord had quite a prolific year with one solo album, one collaborative album with Petra Haden and three standalone cooperative singles with Robin Wattie, William Duvall and now David Pajo from Slint. And just like all those previous releases this spoken words over increasing drone arrangements track just hits that exactly right spot again. Intriguing!






DEAD NEANDERTHALS - Click

Click. Load Kokke-Bot. Click. Heat up Aquarius machine. Click. Melting IXXO with Metal. Click. Start engines. Click. Engage! Click. Brutal synth kraut monotony ensues. Click. Brain fried. Click. Mind freed. Click. Ride through space and time... Click. ...'till you die. Click. Never die. Click. You knew this one was coming! Click. The Dead Neanderthalgorithm never misses New Year's Eve. Click. Great artwork btw. Click. Click. Click. Click. The button is stuck! Click. Click. Clickclickcklick. Click! Cli. Cl. Clllllll. Cccc.







2022-12-18

THE LORD † PETRA HADEN - Devotional

Darf ich mit Ihnen über unseren Herrn sprechen?

Greg Anderson aka The Lord hat nach dem Düsterhorror-Dronemetal auf seinem Debüt-Soloalbum "Forest Nocturne" dieses Jahr noch ein weiteres Album herausgebracht, zusammen mit einer Musikerin, mit der er zuletzt im Jahr 2000 auf  "ØØ Void" von seiner Hauptband Sunn O))) zu hören war.


THE LORD † PETRA HADEN - Devotional (CD) (2022)

Das Riffing auf "Devotional" ist tatsächlich die von Anderson gewohnte, durchdringende Dröhnschule, so langsam, kraftvoll und mit lavaartig blubberndem Eigenleben gefüllt, dass kaum perkussive Elemente - geschweige denn ein Schlagzeug - benötigt werden. Wenn nicht z.B. die Orgel mitvibriert, dann schweben darüber mitunter allerdings ungewohnt hoffnungsvolle, hymnische Leadgitarren, welche hervorragend mit Petra Hadens Anteil an diesem Album korrespondieren.

Haden steuert hier und da Geige bei, prägt das Album jedoch vor allem front and center durch ihren äußerst ungewöhnlichen Gesang, der vor allem dadurch auffällt, wie er sich wagemutig selbst orchestriert. Exzentrische Wege vom spukenden Gewölbe zum Himmelreich beschreitend, erinnernt sein Arrangement dabei an andere Experimentalistinnen wie Jarboe, Björk oder Lingua Ignota, erreicht durchaus oft ein vergleichbares Nivau, ist dabei allerdings von der Stimmfarbe her nur punktuell mal hier mal dort mit jenen Künstlerinnen zu vergleichen.

Die Absicht des Duos ist es, ohne Worte mit Gitarre und Gesang ein Frage-Antwort-Spiel zwischen den Mantras eines Guru und seiner Gemeinde nachvollzuziehen, die Verlockung und den Rausch religiöser Ekstase in musikalischer Form zu binden.
Und dies gelingt höchst eindrucksvoll. "Devotional" ist eine gewollt überzeichnete, aus der Tiefe in stratosphärische Höhen transzendierende Klangübung, die in geringeren Händen zur Karikatur hätte geraten können, in ihrem unbedingten Willen zum Zuviel tatsächlich aber gerade überaus wirksam und berührend ist.

Es ist ein bisschen, wie wenn Laibach einen zu übertriebenstem Kitsch und Bombast innerlich marschieren lassen, man dabei genau weiß, dass man ihnen auf den Leim geht - und es trotzdem genussvoll tut, da die Musik unabhängig davon einfach absolut überzeugend klingt.

Und solange man sich der Manipulation einvernehmlich bewusst ist, stellt Musik ja auch einen sicheren Rahmen dar, um Handlungen und Gefühle zu simulieren. Im echten Leben möchte ich nicht vor mit Schlangen tanzenden Tele-Evangelisten gottesberauscht mit den Extremitäten zappeln und in Zungen reden. Nö, muss nicht sein.
Aber dank The Lord und Petra Haden kann ich das so erlebte Hochgefühl zumindest einfach mal so im still dröhnenden Kämmerchen für mich ausprobieren.

Drone worship mal anders. Preiset den Herrn - und die Dame!  






2022-07-30

THE LORD - Forest Nocturne

Preiset den Herrn! Sunn O)))-Dröhnmeister Greg Anderson hat sein erstes Soloalbum veröffentlicht. Es ist dunkel, böse, klerikal und hat ein old-school-todesmetallisches Coverartwork von Dan Seagrave. Was braucht man mehr?

Ich würde sagen: noch räudiger und brutaler klingende Demo-Bonustracks. Und dafür gibt es von dem ansonsten auf dem Heimlabel Southern Lord veröffentlichten "Forest Nocturne" die erweiterte japanische CD-Version von Daymare Recordings.


THE LORD - Forest Nocturne (Daymare CD) (2022)

Zwei starke Singles waren dem Album vorausgegangen. Das schamanistisch eindringliche "Needle Cast" überzeugte mit Sängerin Robin Wattie von Big|Brave,  "We Who Walk In Light" mit noch prominenterem Gastgesang durch William Duvall von Alice In Chains.




Besser kann man ein Album eigentlich nicht anteasen.

Tatsächlich jedoch befinden sich diese beiden Songs nun gar nicht auf "Forest Nocturne"! Das ist beinahe schon frech, macht aber anderseits auch gar nichts, da das wesentlich instrumentaler angelegte Album sie in dieser Form nicht einmal nötig hat.
Ich sage "in dieser Form", da ich durchaus das Gefühl habe, dass es immerhin abgewandelte Varianten ihrer Riffs auf den Longplayer geschafft haben.

Die acht Tracks teilen sich grob in zwei Kategorien auf. Zum einen haben wir riffzentrischen schlagzeuglosen Drone-Metal der "Black One"-Schule, wie wir ihn angesichts der Kombination von Künstler und Albumcover wohl auch als erstes erwarten.

Die zweite Kategorie ist eher an Horrorsoundtracks orientiert. Nervenzerrende Synthies und dröhnende Orgeln, die zwar dem vor allem durch seine Arbeiten für Alfred Hitchcock bekannten Komponisten Bernhard Herrmann huldigen, doch ausgerechnet in "Church Of Herrmann" auch unweigerlich an Anna von Hausswolff - und natürlich auch einige ähnlich orientierte Sunn O)))-Werke erinnern.

Oder die wie die allerminimalistischsten John Carpenter-Kompositionen wie "Deciduous" eigentlich nur aus atmosphärisch dröhnendem Geräusch bestehen.

Strikt trennen lassen sich diese Kategorien nicht. In "Left Hand Lullaby II" finden z.B. alle Arten des schaurigen und tonnenschweren Drones erstmals in geradezu symphonischem Maßstab zusammen.
In Kombination mit Dan Seagrave ist dieser Songtitel natürlich als Entombed-Referenz zu verstehen, zumal auch der Gitarrensound des nachfolgenden "Forest Wake" ganz klar die Sprache schwedischen Neunziger-Jahre-Death-Metals spricht.

Auch der epochale Doppelabschluss aus "Old Growth" und dem zum Finale noch den einzigen Gast des Albums, Extremvokalist Attila Csihar (Mayhem, Sunn O)))) obendrauf kredenzenden "Triumph Of The Oak" bedient sich wieder beider Kategorien, allerdings mit Übergewicht auf der Drone-Metal-Seite.
Csihars Performance ist vor allem auf Kopfhörern ein echter Hirnschmelzer, der einen vorsichtig mit dem Finger nachprüfen lässt, ob einem nicht kraniale Suppe aus den Ohren läuft. Brilliant!

Gewissermaßen kann man "Forest Nocturne" als sehr traditionalistisches Werk begreifen. Allerdings dürfte es schwer werden, Alben zu finden die gerade die hier zitierten Traditionen in ihrer spezifischen Kombination mit derartiger Wucht und Eindringlichkeit zusammenbringen. 


Im Miniatur-LP-Format gestaltet, also inklusive Hülle für den Tonträger und natürlich mit Obi-Streifen, gibt die japanische CD-Version optisch und haptisch schon ein hübsches Sammlerstück her. Sie enthält allerdings auch satte sieben Bonustracks.

Bruchstückhafter, aber auch noch rauer und direkter als die endgültigen Albumtracks, sind die "VHSFNDEMOS" kein überflüssiges Beiwerk des Beiwerks wegen, sondern lassen sich auch gut für sich getrennt vom Album hören. "Höhlenmenschaufnahmen" nennt The Lord selbst diese Demos. Und damit beschreibt er den eigenen brutalen Charme dieser Songskelette eigentlich auch schon ganz treffend. Sehr sehr heavy. 

Tatsächlich wurden diese Demos nun auch separat aus Bandcamp veröffentlicht:



Ob zusammen oder getrennt und egal in welcher Version: Musikalisch stimmt's immer. Wenn es mit urgewaltiger Brummgitarren- Orgelmacht den Magen durchkneten soll, dann hat Anderson hier eine echte Messlatte hingelegt. Drone-Metal-Fans kommen an diesem Düsterwald im Grunde gar nicht vorbei. Aber in diesem schaurig schönen "Forest Nocturne" verläuft man sich auch liebend gerne.

Bereits im September erscheint übrigens bereits The Lords nächstes, komplett zusammen mit Sängerin/Geigerin Petra Haden eingespieltes Album "Devotional"!