Neurosis

Bloodiest

Q&A: Bloodiest

Bloodiest: DescentBloodiest: Descent (Relapse, 3/29/11)

Bloodiest: “Pastures”

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In structure and sound, Chicago post-metal septet Bloodiest is a vast and diverse experience. All members keep a busy schedule with their other projects (past and current bands include Yakuza, Atombombpocketknife, 90 Day Men, and Follows), but they also bring something quite particular to the massive sound that is Bloodiest.  Their newest album, Descent, is a barrage of grinding bass textures, heavy percussion, sonorous piano chords, and hazy yet potent vocals. It’s a bleak atmosphere, but with further inspection, it also offers a deep sense of vulnerability.

Not unlike the sprawling landscapes of their favorite films and the thunderous sounds of the oft-compared Swans, these arrangements are meant to be dramatic and wide in scope. When listening to the six movements on Descent, one may be reminded of a scene in Nicolas Winding Refn’s film Valhalla Rising. These are dire, heavy orchestrations for those who expect nothing less from their music.

During this discussion, guitarist Tony Lazzara shares some of the band’s non-musical influences and what it’s like to work in a larger lineup.

How would you describe the sound and direction of Bloodiest?

At the core, we are a rock band, plain and simple. We are interested in creating an environment that is dynamic and dark, but beautiful and repulsive at times.

Discuss the dynamic of writing or performing in a larger ensemble. Is this new for most of you?

A few of us have worked in larger groups, but for the most part, Bloodiest operates as a small cast and crew making a film during the writing process. For example, when you work on a collaborative project, often times everyone shares tasks. At one point, you could be the director and the next minute you could be the camera man. By this I mean we all contribute to every aspect of the writing process in some way.

The key for us is that the people in the band have diverse skill sets. Once the overall theme is established, you have to decide who will best develop the details to reinforce the concepts. One of our strengths is that we have all been close friends for many years. This allows us insight into each other’s strong suits and weaknesses. The important element is getting everyone to maintain the aesthetic decided upon. If you are working on a horror film, you can’t have someone writing in a slapstick comedy routine.

A Storm of Light

The Metal Examiner: A Storm Of Light’s As the Valley of Death Becomes Us, Our Silver Memories Fade

Every Friday, The Metal Examiner delves metal’s endless depths to present the genre’s most important and exciting albums.

A Storm of Light: As the Valley of Death Becomes Us, Our Silver Memories FadeA Storm Of Light: As the Valley of Death Becomes Us, Our Silver Memories Fade (Profound Lore, 5/17/11)

A Storm Of Light: “Destroyer”

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Since its inception, Josh Graham’s A Storm Of Light has adopted a model that’s based squarely on collective evolution, be it in something as complex as its musical aspirations or something as simple as its personnel. With its fourth release, As the Valley of Death Becomes Us, Our Silver Memories Fade, the group seemingly moves a little further from its loose “project” designation yet seemingly keeps the “band” label at arm’s length.

With its sound rooted firmly in no-frills rock, Valley’s style could best be described as “talk metal” or, barring that, “verbal doom.” Graham’s vocals tend to avoid conventional melody, or at least anything too advanced, instead coming off more as pitched declarations of ideology over the anvil attack of bassist Dominic Seita and newcomer drummer B.J. Graves. Though the obvious comparisons to contemporaries Neurosis or Unsane will make sense, Valley really borrows more heavily from mid-1990s hard rock — the half-spoken, hard-truth heaviness of Rollins Band, or the sludgy Sabbath nods of Soundgarden (fittingly, guitarist Kim Thayil pops in for a pair of guest spots: “Missing” and “Black Wolves”). The chugging “Collapse” evokes a less tom-reliant form of Tool, and the environmentalist-turned-existentialist “Destroyer” finally explains what a Queensrÿche / Alice in Chains / Rage Against the Machine collaboration might have sounded like.

Helms Alee

Helms Alee: Unapologetic, Unwieldy Post-Rock

Led by guitarist/vocalist Ben Verellen, Seattle-based post-punk band Helms Alee makes melodic heaviness that evokes grunge and post-metal — but with harmonized moments of clean-channel clarity.

Intronaut

The Metal Examiner: Intronaut’s Valley Of Smoke

Every Friday, The Metal Examiner delves metal’s endless depths to present the genre’s most important and exciting albums.

Intronaut: Valley of Smoke

Intronaut: Valley of Smoke (Century Media, 10/12/10)

Intronaut: “Elegy”
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Intronaut made its name in forward-thinking metal circles by understanding that pure metal moments hit harder by sandwiching them between other styles — in this case, passages that are closer to fusion or jazz. Rather than a guitar spotlight, the group reaches for a fretless bass solo; in lieu of a unison run, Intronaut deploys a spacey, percussive breakdown.

But whereas the group’s previous releases (especially Prehistoricisms in 2008) suggested a band poised squarely in art-metal territory, Valley Of Smoke shows the band moving simultaneously toward and away from modern metal. It’s moving toward in its increasingly overt nods to the group’s sonic peers (Neurosis, Isis, and, at times, Pelican), but away in its refusal to ever really stick to one thing at a time, resulting in a disc that’s not easily classifiable as metal, but not easily classifiable as anything else either.

100 Unheralded Albums from 2010

Among the thousands of under-appreciated or under-publicized albums that were released in 2010, hundreds became our favorites and were presented in ALARM and on AlarmPress.com. Of those, we pared down to 100 outstanding releases, leaving no genre unexplored in our list of this year’s overlooked gems.

This Month In Metal: Ion Dissonance, Cephalic Carnage, ex-Animosity

Listening to all of this insane music is making my summer even hotter, but it’s good practice, because eventually, Hell awaits!

Ion Dissonance: Cursed (Century Media)

Did you love Calculating Infinity? ADD got you down? Not nearly enough riffs on the last three albums you bought, combined? This Month In Metal is pleased to introduce you to Ion Dissonance‘s Cursed. With a heavy hardcore slant in both attitude and execution, Cursed whips right along, tosses you every which way, and then runs you down when you try to get your bearings. Trim off the last track’s eight minutes of weird alien noises and insane-dude rambling and you have a 40-minute scorcher that’s suitable for slam-dancing of all varieties.

Ion Dissonance: “You People Are Messed Up”
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Helen Money

Helen Money: One-Woman Cello Fury

As Helen Money, Chicago-based cellist Alison Chesley transforms a commonly known classical instrument into a mighty weapon for composing and arranging furious one-woman rock concertos. But unlike the explosive and menacing songs on her second album, In Tune, Chesley is unassuming in person.

Sunn O))) to curate 2011 Roadburn Festival

Since 1999, The Netherlands’ annual Roadburn Festival has showcased adventurous alt-metal, psychedelic, doom, noise, and experimental music from around the globe.

Drone-doom poster duo Sunn O))) will curate the 2011 festival, guaranteeing another exceptional lineup.  The two official members (Greg Anderson and Stephen O’Malley) have participated in various past Roadburns, and they will follow curators David Tibet and Neurosis from past years.  Specifically, the group will choose the events of Friday, April 15, personally selecting bands to play before headlining the event.

Last year’s stellar roster included Shining (Norway), Russian Circles, Earthless, Kylesa, Enslaved, Master Musicians of Bukkake, Jesu, Bohren Und Der Club of Gore, Nachtmystiuim, and Shrinebuilder.  The 2011 festival will take place on April 14-17 in Tilburg, Holland.

Om: Spiritual Work and Colossal Vibrations

When Om’s Al Cisneros isn’t playing bass guitar, he’s been known to teach chess. “They are complementary to each other and say the same thing in my heart,” he says. “They uncover the same things to me. In a lot of ways, practicing one is practicing the other. I’ve never really thought about it before, but I don’t usually pick up the bass until I have something, the same way you wouldn’t pick up a chess piece until you have a move.”

Cisneros has been a prominent figure in underground metal for years, but his gentle, unassuming demeanor is a far cry from what many would expect from a musician associated with what is typified as an aggressive, macho genre.

Om, the intense, hypnotic bass-and-drum duo that he founded with drummer Chris Haikus in 2003, has been reinventing the way that many people perceive heavy music. Its songs are cerebral but accessible, spiritual but unreligious. Om’s music could be used to excite the apathetic as much as it could serve as a meditative soundtrack for the hyperactive.

In a live setting, Om takes on another dimension. The walls rattle under the colossal vibrations from Cisneros’ bass cabinets, fuelled by his carefully selected custom amps; the huge, warm sounds that come out of them seem to enter the body, resulting in a feel that is like being caught in the eye of a storm.

“I feel really safe sometimes, if that’s the right word, when the speakers [fuzz out] like that,” Cisneros says. “Descriptions [of music] can be stereotypes. It’s very peaceful.”

When Haikus amicably left the band in the spring of 2008, Cisneros sought out Grails drummer and Holy Sons mastermind Emil Amos to take his place. Things have been good ever since, as the title of Om’s fourth studio album and first featuring Amos on drums, God is Good (Drag City), suggests.

“It’s just true,” Cisneros says of the title, which, true to form, decontextualizes religious iconography from its traditional meanings. “We’re in the journey right now, and we wanted to sing about it. It’s the word symbol we came up with. You can’t explain it. The more you try with words, the more you try to explain what it means.” As each word passes, Cisneros sounds vaguely frustrated at trying to communicate such esoteric thoughts out loud. “You can feel it,” he continues. “Everyone can feel it.”

Amos is more direct about the title. “It makes me think of a really hellish LSD trip,” he says, “where at the end of the whole thing, you meet this sobbing resolution that things actually are okay—the fact that you know, in some Jungian sense or in a Carl Sagan book, [that] the creation of this universe came from the first moment of good winning over evil.”

Cisneros began exploring the depths of heavy metal as a teenager in the late ’80s, when he and Haikus formed punk/metal hybrid Asbestosdeath. The band added second guitarist Matt Pike (now guitarist/frontman of High on Fire) and by the early 1990s morphed into Sleep—a riff-brandishing psychedelic power trio, a band that owed more to the bluesy grooves of Black Sabbath and Pentagram yet whose sound was filtered through a set of musicians that had also been exposed to Bay Area hardcore and thrash.

“We all dropped out of high school—I think every one of us,” Cisneros recalls. “We were all having hard times, and we were friends through music.” For the young friends, music became more than just a hobby. “[It was] our lifeline,” he corrects. “I wouldn’t have made it through those times without it.”

Sleep grew a following, and with the release of its second album, Sleep’s Holy Mountain, many believed that it had the potential to cross into the mainstream. The band signed with London Records to release its third album, tentatively titled Dopesmoker, a single, hour-long epic song that had taken the band years to perfect.

The label, rather than appreciating what it had, saw it as “noncommercial” and toyed with remixing it and dividing the song into pieces. The band was horrified and eventually broke up under the strain, but the album later surfaced as the segmented Jerusalem on Rise Above Records, and eventually, an unabridged version of Dopesmoker was released on Tee Pee.

Sleep left a legacy not only because of its primal, heavy sounds that have influenced others, but also because of its unwavering commitment to its vision of its art, no matter what the stakes.