Odd Fellows Rest

At New Orleans moderate temperatures, 70s Black Sabbath and hardcore punk riffs are known to fuse, forming what we now know as sludge. Crowbar simply crystallized it into a grinding atmospheric doom. It’s downtuned to the abyss and propelled by stocky hardcore punk riffs, usually dragged out to its limits. Rare bluesy strumming and more than adequate raspy vocals – “Slave to no one but your misery. Broken man lies where you used to be” – adds to the essential low. But even at this bleak pace, anyone can easily sense the grinding force that Crowbar inflicts.

These thoroughly grayed out hues may not be everyone’s delight. Crowbar’s creations are essentially tailored – to just fit into the two percentile of the brooding end of the emotional spectrum. But, if gloom is what you seek, ‘Odd Fellows Rest’ is splendid company.

Image Attribution:
Nonexyst [CC BY-SA 4.0], via Wikimedia Commons

Progression

Might sound like a cliché, but progression is the only constant in life, and this is especially true in music. In fact, incessant change is the norm in prog. For instance, Dream Theater used to define progressive metal. But it’s safe to say that benchmark is now comfortably buried — under layers of odd time signatures, robotic precision and polyrhythms.

But change is also an obvious broader pattern, manifesting over time and at numerous levels.

Both artists and their listeners tend to evolve, often in different trajectories. We are all simply wired differently and more importantly — we constantly learn. At least most of us do. In that sense, it’s also impossible to listen to the same song twice – because each iteration would be perceived through a slightly different neural filter.

Nothing illustrates this more than going back and listening to our decade old favorites. This will inevitably reveal a new facet to the very same sound, something which was never obvious before. Essentially, artistic experiences tend to forge new sets of mental connections, and this way we progressively develop our own individual palate.

A fellow metal-head and a Progarchy reader had recently managed to summarize her own progression, and that also in just about six artists. This sort of prompted me to jot down and share my own seven song list. Needless to say, Powerslave to Funeral Fog took a few years.

Heavy Birthday, Metal

13th Feb 1970 – close to five decades and we are still trying to measure up.

https://www.youtube.com/watch?v=2KnyL4IFcwo

——— Image Attribution ———

By Warner Bros. Records (Billboard, page 7, 18 July 1970) [Public domain], via Wikimedia Commons

Stained Class

It’s 40th year of Stained Class.

70s sort of form that bedrock of heavy metal, those initial rungs of a genre now riddled with thousands of sub-categories. With early Judas Priest we actually get to experience that seismic shift – how that relatively upbeat hard rock and electric blues start to exhibit darker tones. In other words, Stained Class provides numerous glimpses into the impending transformation of metal.

“The streets run with blood from the mass mutilation, as carnage took toll for the bell” – is definitely not characteristic blues rock Led Zeppelin or an Aerosmith. Nor is that intense and multi-faceted– “You poisoned my tribe with civilized progress, baptizing our blood with disease” – lyrics which could be easily perceived as a commentary, critique or British sarcasm.

Scorching leads, layered and progressive dual guitar melody and that inimitable steely Rob Halford scream. All the vital components which would later shape 80s metal can be traced back to Judas Priest. Essentially, they accentuate the downtuned darker aspects of blues rock, and did that without significant deviation from that blueprint. Stained Class is part of that framework which directly leads to speed, progressive and power metal – essentially triggering a wave – still mutating, afflicting all corners of the civilized world.

By Sibuachu (Own work) [CC BY-SA 4.0], via Wikimedia Commons

Southern Storm

Couple of seconds of blast beats and we can discern Southern Storm is no misnomer. From the land of Sepultura emerged another force named Krisiun. But their extraordinary precision and extremity can be a tad overwhelming. These compositions, quite like a complex death metal alloy, elevates that already intricate electric blues to over-the-top intensity. The steady hammer of drums, constantly daunting, and recedes only when getting carved up by piercing guitars. Rooted in Terrorizer, Grave, Immolation and Nile school of death – Krisiun’s craft is flawless. In other words, they reflect all the essential deathly qualities — constant and subtle shifts in flow, melodic leads and demanding riff/drum patterns. Quite like Sepultura, this band of brothers consistently push musicianship to disturbing levels of fury. With songs titles like “Slaying Steel”, “Minotaur” and “Massacre Under the Sun” – lyrics become that last cowing piece of this technical death storm.

By S. Bollmann (Own work) [CC BY-SA 4.0], via Wikimedia Commons

E

‘E’ becomes the most brazenly progressive Enslaved record. Experimental keyboards, abrupt temporal shifts and frequent bursts of aggressive riffs — all reminding us of their Viking metal roots. Basically, art rock to symphonic prog to post-metal atmosphere effortlessly brewed with some inhuman screams. Add the use of flute, a surprising jazz segment and a Norwegian electronic synth-pop cover — Enslaved has never been more firmly rooted in both extreme and avant-garde territory.

Without completely abandoning black metal, they has carefully adopted some unproven experimetal progressiveness. Within these uncharted fields, it’s not surprising that they sometimes lurch between sheer greatness to downright peculiar. But, for long time listeners there is nothing unexpected here. The band continues to walk their chosen path – constructing a curiously rich, polarizing, and at times uneven mosaic of progressive black metal symphonies.

Dark Apostrophe at English Wikipedia [CC BY 3.0], via Wikimedia Commons

The Evil Divide

Heavy metal is actually swarming with cross-genre bands, and then there are a few like Death Angel. Over thirty years, and they still wield an uncompromising arsenal of old school thrash. Decked with stunning guitar harmonies, intricate progressions and ultra-thrashy riffs — ‘The Evil Divide’ is a new album with mid-80s sound. Thrash at its creative best.

With that NWOBHM train of break neck riffs and pristine melodic hooks, Death Angel is elegant and loyal to their founding roots. They are sort of unique in persisting with this age old aggressive terrain. As expected, most of their illustrious contemporaries have mellowed, and now fear to tread through these very furious paths.

 

 

 

By Fileri (Own work) [CC BY-SA 3.0 or GFDL], via Wikimedia Commons

Under the Red Cloud

Unlike their neighbors to the west, Finnish scene evolved late and also in relative isolation. Quite like how they took their own time for economic industrialization, Finnish metallers were also sort of late to the planet’s extreme metal feast. Finns do come across as one wary lot. But, circa 1990, evolution took a huge leap. They seamlessly adapted their classic metal roots into a Black Sabbath influenced death/doom, and accomplished it within an absolutely meager time. Not surprising why Amorphis developed such distinct signatures — they never did follow that conventional trajectory.

Now, after twenty five years of folk and melodic metal, you would think they won’t have much to say. Go with that expectation and get ready to be mowed, by some quirky progressions and subtle rich melodies.

Moments where you get to experience glimpses of their glorious past are frequent. Creative folksy hooks and abrupt bursts into melodic death segments – guaranteed to overwhelm even their ardent listeners. Undoubtedly, Under the Red Cloud forges more than quite a few steps, onto a distinct path carved over the past two decades.

 

 

 

By Cecil (Own work) [GFDL, CC-BY-SA-3.0 or CC BY-SA 2.5-2.0-1.0], via Wikimedia Commons

Blackwater Park

Recently a fellow metal-head shared Opeths’s Blackwater Park; it’s been ages since I heard this album. Music has this uncanny ability to bring back memories. In this case, decade old vivid images from heavy metal pubs, long distance motorcycling and even longer days dedicated to embedded engineering.

Had once motorcycled six hours straight to see Opeth live, to this college town in a little known part of the world. Crowd simply exploded to the opening riffs of “Bleak”, ferocity matched only by Åkerfeldt’s own growls.

Blackwater Park is that one album which conveniently illustrates Opeth’s early years. Everything from gothic atmosphere to death metal riffs, all packed into one funereal epic! Wide range of actual genres fit into that melancholic sound, but still weaved into one cohesive symphony. Album seamlessly illustrates meandering proggy passages resembling Camel, to Tom Warrior like curt grunts. With blankets of blues, prog and folksy lament built straight into that vital progressive death framework, Opeth eclipses all genre boundaries.

After all these years, listening to them again made me realize, these Swedes sort of orchestrate all those vibrant influences more elegantly than most genre specialists themselves do.

By deep ghosh [CC BY 2.0], via Wikimedia Commons

Hunted

Black Sabbath, Iron Maiden and the remaining doom metal bells and whistles are obvious. But, Khemmis goes further, and shapes a melody built on mystical and sorrowful passages. Every aspect, including the distressing vocals is tailored to accentuate these very qualities.

Doom metal is a constrained and a well explored area populated with numerous Scandinavian and North American greats. In the past 30-40 years, they have managed to excavate all the darkest corners in this genre. But, Khemmis, quite confidently introduce sharp magical qualities to these stagnant waters. With an equally engaging Artwork, Hunted makes a compelling case for a brand new variant of old school doom.

By Benjamin Hutcherson (Own work) [CC BY-SA 4.0], via Wikimedia Commons