Recently discovered within the pages of facebook...
Direct from the band's bio: d.USK is the now the final embodiment to the life of diSEMBOWELMENT. Conceived in early 2010, the d.USK entity was the chance to finally realize the sonic palette that was diSEMBOWELMENT, and allow us to present the music to the underground in a truly live context. As a result, this project encapsulates the classic, brooding, sombre brutality of diSEMBOWELMENT, and brings with it the antecedents of classic Trial of The Bow ambience and atmosphere. In context we have added a healthy dose of our old-school roots ... this can be sampled in our most recently recorded Demo. The d.USK live show is a study in dynamic control, intense mood-swings and sonic devastation. We hope that those present will be taken on a journey - to be actively engaged in a deep sensory procession ..... This is our gift to those of the underground that care to receive..... .. Melbourne, Australia's dark devotees of devastating doom DISEMBOWELMENT delivered the ultimate in transcendental doom. Not for trendy ears!!
Members: Matt - Guitars, Paul - Drums, Ben - Vocals, Mark - Guitars, Tony - Bass
The band have just posted this update on their facebook page: "Remember guys this is d.USK and not diSEMBOWELMENT. though we are half diSEMBOWELMENT we totally respect what d. was and the other members. we have been working hard on creating the heaviness mixed in with ambiance but still keeping it brutal for a live set and will play diSEMBOWELMENT tunes as part of the package. Really appreciate everyones support here....."
To stay updated with their progress you can join that page by clicking HERE
Day 0: Well this was actually not a part of the NWN fest, Vulcano supposed to play NWN fest but they pulled out and did this gig at K-17. They were supported by Black Witchery, Deiphago and 2 German bands. I didn't really watch those 2 German bands and I was half asleep during Deiphago, and I'll write about Black Witchery later since they also played on the 2nd day of NWN fest. Vulcano ruled hard and they pretty much ripped the place to pieces with their lengthy set featuring many tracks off their classic albums "Live!" and "Bloody Vengeance". The new line-up is surprisingly tight and it's a great experience to see their guitarist who is probably in his 50's or 60's playing passionfully, and I love how their singer always had a dodgy smile on his face...
Day 1: Embrace of Thorns I didn't like their albums in the first place so I could be biased... They were rather dull overall, the music wasn't quite cutting it and they didn't have much stage presence although I can tell they've tried. It was also hilarious to see their guitarist using a Dimebag signature guitar. 5/10 Miasmal They sounded more like an average D-Beat band than Swedish death metal to me. They did a decent set but I didn't really get why they are so popular nowadays. 6/10 Bone Awl It's great to be able to see one of my favourite bands ever live finally. They sounded a bit fuller live than the recordings, probably because the bass was quite up in the mix. I was also quite surprised that Brandon used a Squier Telecaster this time (he usually used Jackson). He basically didn't move and just stared at the front (maybe we could call that an Undying Glare now hahaha). Their overall presence was pretty weird though, Brandon looked like some random metalhead down the road and Marco kinda looked like a hipster, Volahn looked like a mixture between crusty and war metal warrior... The only pity is that they did a rather short set (half an hour-ish) considering the huge amount of materials they have under their belt. I talked to Volahn a bit before the show and he's a nice bloke (don't know what's taking him so long to send out orders though but I rather not to ask), he also played a bit Axeman and Kuxan Suum during soundcheck, I was tempted to shout "play some Blue Hummingbird" but I didn't haha. 9.9/10 Blasphemophagher I missed the first half of their set since they went on earlier than what the timetable said. They totally crushed so I have to say I was quite gutted since I wasn't able to witness the entire set... 8/10
Xibalba I wasn't sure about what to expect since they've been inactive for quite a few years but that was a hell of a ritual and hypnotizing as fuck, even if the guitarist and bassist looked like they've just got off their office work and the drummer had that random as pavo decoration on his head. 10/10 Mystifier Again I wasn't sure about what to expect, but they were really, really good. They delivered those old materials very well and they also did an excellent cover of Sarcofago's Nightmare. Plus I love how the bassist was tapping his bass with the left hand and playing keyboard with the other hand at the same time... 10/10 Order From Chaos This is seriously one of the bands that I never thought I would be able to witness live, and this was definitely the top set during the fest for me. It's a dream come true for me to be able to hear songs like Plateau of Invincibility and Forsake Me this Mortal Coil live, too bad they didn't play Blood & Thunder though... 9.999999999999999/10
Day 2:
Vanhelgd Those guys totally owned Miasmal. Fucking ripping traditional Swedish death metal with a dark overtone. People need to pay more attention to this than those bands who reissue their 20-minute demo tape on 12" two months after the initial release. 9.5/10 Faustcoven They picked some of the more rocky songs rather than the really doomy ones for their set and I think it was a very good idea. The main guy just standed still playing his guitar but their session singer is the man and he knew how to handle it live, without him it could've been potentially quite dull even if their music is absolutely killer. 9.5/10 Von Goat I was really surprised to find out that Brandon from Bone Awl was playing bass, dunno if he was actually on the album. Wrest didn't come and Blood from the new Von line-up played drums, he was a solid drummer though. The lead guitarist also didn't make it and without him the new songs sounded pretty thin. Goat tried to rearrange the guitar parts a bit to combine the lead and rhythm parts on one guitar, but it's definitely missing something without two guitarists. It was cool nevertheless but they were not able to reproduce the psychedelic vibe on the album. But there was a huge surprise for me, they ended up play 3 classic Von songs (Lamb, Satanic Blood & Devil Pig) and they did it right compared to the pointless rearrangements they did at the UK show earlier this year. It totally blew my mind and I was pretty much going mad during those songs. 9.6/10
Black Witchery They were ridiculously hilarious and crushing at the same time. I just can't stop laughing when looking at Impuriath's facial expression and the way Tregenda was turning his head around, but the sound was fucking massive and Vaz played like a beast. 10/10
Proclamation Why you need some imposter when you can get the originator on the same night? 2/10 Dead Congregation They played quite well but the songs from the album sounded quite blurry live, the songs from the MCD sounded much better under live situation. They were also the only band that used trigger on this fest, but it actually sounded quite good and if the drummer didn't use it half of the set would probably just be a big blur. 8/10 Ares Kingdom Professor Keller was pretty much a bloody shredding machine, killer solos in every song and he even played solos between each songs. The set was totally epic although they were kinda out of place in this fest haha. 10/10 Blasphemy I was already burnt out before they were on and was feeling quite unrealistic during their set. I was extremely tired since I didn't have a decent sleep for the last 4 days, plus Von Goat basically stole the night away from Blasphemy for me with their surprise attack with old Von songs. Anyway they were simply great, although Black Winds sounded like he lost a bit of his voice. Ryan and Phil K did it quite well as live members and being able to see Caller playing guitar is such a pleasure. All the other bands were watching at the side of the stage and Beelzeebubth from Mystifier was air-guitaring the whole way through. 10/10
PS: 1. Apparently someone saw Varg there, I found it hard to believe but I won't be too surprised if he was there to see Von Goat.
2. I found it pretty funny how lots of people were too drunk and passed out on the floor later in the evening, made me wonder why they came all the way just to sleep on the floor...
After selling several thousand albums internationally on both CD and vinyl formats and playing shows in Southeast Asia, Ireland, across Europe and most recently the US, Diocletian are one of New Zealand music's dirtiest secrets. A secret that New Zealand Music it's self probably doesn't even know about and most likely the way the band like it.
Diocletian play 'War Metal' , a style which was founded, or at least popularised by bands such as Order from Chaos and Canada's Blasphemy (The later of which Diocletian member VK is currently the live session bassist for). To describe the sound of War Metal and Diocletian in particular, picture a giant Nuclear armed tank, 50 meters high with each of it's tracks the width of a four lane motorway. Riding on top of it of it is a giant repulsive non human multi tentacled being barking out orders in an unknown violent language to the thousands of solders marching in front of it. The Solders are oversized black clad gas mask wearing figures that may or may not be human, but are definitely of some sort of mutant barbarian genetic strain. Each one of them is carrying a 50 cal. machine gun with a chainsaw bayonet revved up full bore. Then imagine that image channeled through Guitars, Bass, drums and vocals in order to get an idea of what Diocletian sound like.
Among all this chaos it's hard to pin point exactly what it is I like about this album more so than it's predecessor 'Doom Cult'. It could be the a more naturally focussed feel that's come from the band being together for a longer amount of time (Honed chaos if you will), the more upfront definition/bite in the production, the evolved sound of the vocals, the seemingly more pronounced heavy riffs or maybe a combination of all theses things.
To give a graphic comparison, refer to the previous described image of said War machine. If the Doom Cult version were destroying everything in it's path, then this version would be doing the same thing except it would be placing extra focus on strategic targets to ensure greater efficiency in it's destruction.
Listening to a Diocletian album is an experience rather than a collection of songs. "War Of All Against All" is not recommended for the weak hearted, but is a necessity for those with an Iron will, black blood and a lust for war.
Since I toured them in 1999, I've maintained my friendship with Impaled Nazarene main man Mika Luttinen. After chatting with him on line today I was informed that they have a new album "Road to the Octagon" coming out this month (review coming soon) with an impressive video 'Enlightenment Process' to accompany it. You can watch that below. Mika also informed me that the band are about to celebrate their 20th anniversary as a band with a live show that is to be filmed and released on a forth coming DVD.
Every few years for some reason or other I go through periods of rediscovering the Swans. This time it's due to both witnessing Jarboe perform solo (Note: Jarboe isn't featured in the new Swans line up) at the Supersonic festival in Birmingham last year and not long after hearing that Michael Girahad reformed the band. The eight song 'My Father Will Guide Me Up A Rope To The Sky' being the first recorded product of this new incarnation of the Swans.
Highlight tracks for me include album opener 'No Words/No thoughts', a ten minute epic that seems to be split in to four unique parts. The first being of a chorus of bells which is followed by rythmic slabs of sound not to dissimilar to a more textural version of the bands very early releases. Then comes a more standard but dark rock section where Gira's Vocals are first introduced. This section builds up and down in tension until the finally kicks in - An undescribably intense passage that apears to be made up of keys, bells, guitar and percussion all rapidly coliding together until the songs final silence.
Next highlight is 'Reeling the Liars in' which reminds me of early Leonard Cohen style folk music containing dark lyrics like "We are reeling the liars in, We are removing their face, collecting their skin, we are reeling the liars in" that paint pictures in your mind.
Then there's 'You fucking people make me sick', a melodic twisted ditty featuring the addition of haunting duet vocals from gira's daughter and suddenly cutting to a percussive section that seems to be made up of the repetition of a rumbling Kettle drum which then triggers off the texture of rumbling low Piano keys.
I recently read an interview where Michael Gira stated that after he wrote and recorded 'Eden prison' He discovered that ironically there was a prison called Mt Eden Prison in Auckland, New Zealand that seemed to fit the description of his lyrics.
Upon this album's release, I was excited to discover that the Swans will be playing at Auckland's Power Station on 6 March 2011. Ironically when the Swans play that show, they will be performing only a few hundred meters from the walls of the previously mentioned song's name sake.
For those unfamiliar with the Swans, I'd recommend 'My Father Will Guide Me Up A Rope To The Sky' to anyone who likes dark experimental Metal like Neurosis or early/mid 90s era Nick Cave ('Henry's Dream' in particular). For those who are familiar with them, imagine a cross of each part of Swans musical career (i.e. the very Early brutal slabs of noise, the mid era folk styles and the later era experimentation with repetitive rythims) but played by the Bad seeds.
10 out of 10 Fishhooks through the eye sockets
For a taste of the Swans live, the below Youtube link is of the current Swans line up performing a rendition of the 'Greed/Holy Money' era (Mid 80s) song 'I Crawled'.
I recently discovered Canada's two piece Nadja via the Avalanchers forum, a forum dedicated to fans of Godflesh, Justin Broadrick and other such sonic noise. It's hard to describe the sound of Nadja except that they seem to fit within the description of and tastes of those who frequent said space on the internet. The fact that Nadja were actually playing NZ and I was getting to witness them live was one of the things that made me finally decide to start up this webzine/blog thing.
The Whammy Bar is a perfect place for ambient drone and dirge music. It's an underground concrete bunker with irregular walls that seem perfect for creating standing wave harmonic reinforcement. As it was the sound from all the acts was impressive. Upon arriving at the door, I ensured I made the most of the cheaper than usual CDs at the merch stand and picked up a decent number of Nadja (from their extensive discography) as well as an Aidan Baker solo release. I've written up some brief reviews after the below live review and the awesome bit of footage from the show taken by Rangiofthelight.
Once inside the Whammy bar, local electronic ambient artist Nigel Wright had just begun his set. I hadn't seen anything like this live in years. It was refreshing seeing someone performing washes of ambient Tangerine Dream style sounds through an electronic medium. Occasionally he would reach over and pluck the string of a guitar which seemed to be channelled though a laptop and a keyboard. The resulting sweeping sounds built up and up on top of each other creating an intense deep ambience. I'd be keen to check him out again some time.
Next up was Nadja's Aidan Baker performing his own solo material. This had a lot of similarity to Nigel Wright's, only the method of creation was different. Aidan's guitar fed into a table covered in guitar pedals arranged in a way that made sense only to him. By manipulating loop sequences, delays, reverbs and god knows what else, the sound coming out of his guitar was transformed into something dense and intense.
The Nadja set started where Aidan's solo stuff left off when he was joined onstage by his wife Leah. The sonic waves of spacious texture continued, but got more intense with heavy distorted guitar tones, Leah's bass adding a welcome low end and when the preprogrammed industrial drums kicked it felt like the earth was being moved. The set ebbed and flowed like a tide, building up and down without an obvious break between songs, although "songs" is probably not the right way to talk about the music. There was no verse chorus verse structure, it was just one big ugly beautiful soundscape. The recorded Nadja can range from quiet dream ambient to the most crushingly heavy dirge riffs and noise. This live performance seemed to capture equal amounts of both of these elements. Its not regular music made by regular musicians, its 2 people and a bunch of gear (Picture a table centre stage full of effects pedals and sound equipment from beyond. Aidan standing front on to the Audience with his Guitar and Leah Facing away from the crowd with her Bass) creating some kind of sonic alchemy. Its soaring and beautiful and brutal all at the same time. It's a sound that so many post-whatever bands try to capture, but no one seems to come close. The sound of staring into the void.
- Co written in the first person by Chris Rigby and Rangiofthelight. Footage of Nadja live at Whammy bar courtesy of Rangiofthelight:
This was the one Nadja release that I was most familiar with already and was happy to finally get my own copy. It features the most conventional 'song' like recordings I've heard so far from the band. The main reason is that it's an album of cover songs receiving the Nadja treatment. To describe what that is is a slower than usual reenactment of each tune, played with not with what sounds like standard musical instruments, but by sounds from beyond that can only be compared with the musical equivalent of enveloping swarms of bees flying above you. Stand out tracks for me personally are 'Only Shallow' (My Bloody Valentine), 'Dead skin Mask' (Slayer) and the title tune (Ahha!).
Worth noting also is the awesome cover and internal artwork of by Klawful, who has provided a gothic cartoon graphic for each of the songs, each featuring a caricature of Aidan and Leah.
"When I see the Sun..." was an excellent introduction to Nadja for me and I'd recommend it to others for the same reason.
'Under a Jaguar Sun' has some very impressive packaging in the form of a four way in-folding box featuring different oil based paintings on each panel by Aidan. It's made up of two disks. Disc 1: Tezcatlipoca (Darkness) - features more obvious bass lines and riffs than some of Nadja's other work. It's made up of 5 'Suns' namely 'Jaguar', 'winstorm', fieryrain', 'flood' and 'earthquake'. Each song is different to the last and attempts to capture the particular sun's spirit within it's own.
Disc 2: Quetzalcoatl (Wind) contains five adjoined tracks of creeping dark soundscapes reminiscent to Ligeti's contributions to the '2001: A Space Odyssey' score i.e. 'Lux aeterna' or 'Atmospheres'. Not as instantaneous as CD 1, but a hunting sound experience never the less. 'Under a Jaguar Sun' wins the Subcide award for most interesting purchase of the night.
Update: Since writing this Aidan has informed that the two disc in the set have been created to be played together simultaneously. I'm yet to try this but hope to soon.
Aiden Baker - I will always and forever hold you in my heart and mind
There were a number of Aiden's CDs on sale that night, but as I was unfamiliar with his solo material and more focused on boosting up the Nadja content of my music collection, I chose to randomly get this one to find out what it was like. Much like Aiden's live set, this recording is made up of building layers of delicate effected ambient guitar tones. The result is a pleasurable relaxing melodic experience which would be most suited to a darkend room, with a candle and stick of Nag champa burning on a Sunday evening while trying to avoid contemplating the working week a head.
This release is part of a limited edition from the 'Latitudes' series put out and recorded by Southern Records in the UK. It has the most impressive and original packaging of my purchases (a spiral infolding cardboard slip with hand stamped cover design), but was the recording with the least impact on me. Not that it's bad at all. It's just that it has the sound of the a live studio recording session (which it is) that has been done quickly and maybe not had the blood, sweat and tears ingrained that some of the other Nadja recordings have had. There are two tracks on this recording. The first is 'Jaguar' which is made up of looped samples of noises, distant voices as well as slowly building guitar feedback/drone. The second is 'Sky burial' with more structure and rhythm by way of a pulsating building repeating loop of droning bass distortion and guitars evolving into a dreamy mid paced melodic texture. I have noticed this recording improving up one repeat listening. Sky burial is nice documentation of this studio event.
Excluding 'When I see the sun...', this was my favorite purchase of the evening.
Mastered by James Poltkin. Outstanding heavy as hell doom riffs preceded by ambient dreamscapes. I can't think of much else to say about this, except that I love it!
This, the latest Nadja release is in the vein of 'Radiance of Shadows' (i.e heavy doom riffs preceded by ambient dreamscapes) but with the key differences being the addition of orchestral instruments by other contributing musicians i.e. violin, double bass, trombone, flute, cello and more. Autopergamene, which is a spell or charm wherein you write in blood, on a fragment of skin, what you wish to happen,continues the theme of excellent and unique packaging and contains a selection of six folded over water based Rorschach styled prints. Some are simply coloured patterns whilst others contain sketches of ghostly figures. In a way with song titles like 'you write your name in my skin', 'you write your name in my head' and 'you write my name in your blood', these images describe the recording perfectly. This was a slow grower but has much to offer on repeated listening.
