Link here.
LOCRIAN - TERRITORIES (CD by Bloodlust!)
Somewhere else we look into a solo CD of Andre Foisy but here is a CD by his band Locrian, a duo of himself and T. Hannum. They played guitars and electronics. Seeing this release on Bloodlust! its hardly a surprise that it contains noise. A slow menacing sound of pounding drums, piercing electronics (derived from guitar playing? I am not sure here) and more loud guitars. That is the opening track 'Inverted Ruins', which includes Mark Solotroff, head honcho of Bloodlust, on vocals but Locrian has more to offer than just that. Each track seems to be recorded with the help of other people, so that's why things are probably more varied, beyond the boundaries of pure noise. 'Between Barrows', the second piece on the CD, is a much more subdued piece of music, carefully improvised. Although Locrian don't return to the careful style in this album again, its not said that every piece is one of loud noise only. The closing statement, 'The Columnless Arcade' is a finely driven motor like rock song, bursting out half way through, full of energy. 'Ring Road' sees the burning of a guitar (metaphorically speaking of course), like a giant dark beast bursting out, while 'Antediluvian Territory' is an almost ambient like guitar tune. The epic 'Procession Of Ancestral Brutalism' is then the noise centre of this album. Locrian delivered a great album with this CD. Here too we are dealing with the notion of noise that is varied, like we have discussed more recently: not that endless walls of feedback and distortion, but a varied bunch of pieces, some of which happen to be very loud and some not. But Locrian does all of that outside the world of pure electronics and that is a great achievement. An excellent CD! (FdW)
Address: http://www.bloodlust.blogspot.com
VW also reviews the new André Foisy 3" CDR as well as the new releases from Small Doses. Nice!
André Foisy - THEORY OF PROGRESS (3"CDR on Small Doses)
Andre Foisy is one half of Locrian, a more noise oriented band, but here the true ambient music comes out. Foisy plays guitar and adds a bit of electronics. The music is very mellow and relaxed. Foisy uses e-bow or other bows to play his guitar, adds a substantial dose of reverb to create a great textured sound, but keeps the effects within a fair, controlled state. Over the course of the piece things are build up, but not extensively and never in a hurry. A delicate and refined release. (FdW)
Address: http://www.small-doses.com
Showing posts with label Territories Reviews. Show all posts
Showing posts with label Territories Reviews. Show all posts
Tuesday, November 23, 2010
Friday, November 12, 2010
"Territories" Reviewed by Collective Zine
Link here.
Locrian
Territories
Year Released: 2010
Format: LP
Label: Basses Frequences - At War With False Noise - Bloodlust! - Small Doses
Reviewed by Alex Deller
Locrian is a world of hate, hell and endless misery. Dark, forbidding dronescapes cloud the senses. Minor-key Pentastar descensions chart a course deep into the abyss. Gurgled oaths and directionless, mind-searing static interference ensure that paranoia becomes a customary state of being while occasional blasts of raw, blackened metal and blood-curdling shrieks are almost a relief when they arrive, providing cold, jagged firmament upon which to cling. As unsettling as it is engrossing, "Territories" is a chilling journey into the all-consuming void and one that fans of Nekrasov, The Human Quena Orchestra and Gnaw Their Tongues will doubtless be keen to immerse themselves in.
Recommended record by Collective Zine!
Locrian
Territories
Year Released: 2010
Format: LP
Label: Basses Frequences - At War With False Noise - Bloodlust! - Small Doses
Reviewed by Alex Deller
Locrian is a world of hate, hell and endless misery. Dark, forbidding dronescapes cloud the senses. Minor-key Pentastar descensions chart a course deep into the abyss. Gurgled oaths and directionless, mind-searing static interference ensure that paranoia becomes a customary state of being while occasional blasts of raw, blackened metal and blood-curdling shrieks are almost a relief when they arrive, providing cold, jagged firmament upon which to cling. As unsettling as it is engrossing, "Territories" is a chilling journey into the all-consuming void and one that fans of Nekrasov, The Human Quena Orchestra and Gnaw Their Tongues will doubtless be keen to immerse themselves in.
Recommended record by Collective Zine!
Monday, November 8, 2010
All Music Guide's Eduardo Rivadavia on Locrian "Territories"
Link here.
Chicago's Locrian spent the second half of the ‘00s making bite-sized sonic experiments (almost two-dozen mini releases) before committing their eclectic mixture of black metal, electronics, drone, and noise rock to a full-length format for 2009's Drenched Lands and the following year's eye-opening sophomore album, Territories. Opening statement "Inverted Ruins" sets the stage (or burns it to the ground, rather) with a snail-paced post-metal grind shrouded in decayed industrial textures à la Neurosis, and capped by eardrum-rupturing feedback screeches that may have some listeners convinced their CD is defective (the same is true for the epic dronefest "Ring Road"). But no, this is quite intentional on the band's part and but one jarring facet of their discomfiting musical strategy, which also entails a thrumming, Eno-esque meditation awash with cymbal crashes and processed saxophone waves ("Between Barrows"); a modern black metal showstopper of formidable violence and layered complexity ("Procession of Ancestral Brutality"); an Isis-like collection of improbably beautiful echoed melodies and swarming atmospherics ("Antediluvian Territory"); and a hypnotizing combination of densely interwoven evil drones reminiscent of Sunn 0)))'s Black One opus ("The Columnless Arcade"). It should also be noted that Locrian's central duo of André Foisy and Steven Hess invited numerous outsiders to guest on the album, including Nachtmystium's Blake Judd, Bloodyminded's Mark Solotroff, Yakuza's Bruce Lamont, and Velnias' Andrew Scherer, and its obvious that their pooled talents and distinct visions contributed significantly to Territories' oftentimes unique, if at times perplexingly diverse material. There's never a dull moment here, that's for sure.
Chicago's Locrian spent the second half of the ‘00s making bite-sized sonic experiments (almost two-dozen mini releases) before committing their eclectic mixture of black metal, electronics, drone, and noise rock to a full-length format for 2009's Drenched Lands and the following year's eye-opening sophomore album, Territories. Opening statement "Inverted Ruins" sets the stage (or burns it to the ground, rather) with a snail-paced post-metal grind shrouded in decayed industrial textures à la Neurosis, and capped by eardrum-rupturing feedback screeches that may have some listeners convinced their CD is defective (the same is true for the epic dronefest "Ring Road"). But no, this is quite intentional on the band's part and but one jarring facet of their discomfiting musical strategy, which also entails a thrumming, Eno-esque meditation awash with cymbal crashes and processed saxophone waves ("Between Barrows"); a modern black metal showstopper of formidable violence and layered complexity ("Procession of Ancestral Brutality"); an Isis-like collection of improbably beautiful echoed melodies and swarming atmospherics ("Antediluvian Territory"); and a hypnotizing combination of densely interwoven evil drones reminiscent of Sunn 0)))'s Black One opus ("The Columnless Arcade"). It should also be noted that Locrian's central duo of André Foisy and Steven Hess invited numerous outsiders to guest on the album, including Nachtmystium's Blake Judd, Bloodyminded's Mark Solotroff, Yakuza's Bruce Lamont, and Velnias' Andrew Scherer, and its obvious that their pooled talents and distinct visions contributed significantly to Territories' oftentimes unique, if at times perplexingly diverse material. There's never a dull moment here, that's for sure.
Thursday, September 2, 2010
"Territories" Review from Ox Fanzine (Germay)
Link here.
This is verbatim from the Goodge translator. Notice how it changed the author's name from André Bohnensack to André bean bag. Awesome:)
---------------
Terence Hannum, and Andre Foisy grew up in the province and with hardcore and metal, but eventually landed in Chicago and in experimental and mostly electronic music.
Locrian than the two already several CDs, tapes and vinyl with drones, soundscapes and noise have filled up and published, for "Territories," they have their musical socialization reminded again and sometimes almost repositioned as a real band.
As guests were loaded Velnias the drummer Andrew Scherer, the NACHTMYSTIUM guitarist Blake Judd and Bruce Lamont of Yakuza and Mark Solotroff of BLOODYMINDED as a singer and saxophonist, respectively Snythie operator and singer.
Dominates will Territories "of course, typical of Locrian extremely dark and brutal Ambient, the contributions from the guests, however, provide a previously existing access to the music.
Easy to consume Locrian, although still not, but at least tangible. With this fascination for the atmosphere, which may arise out of the elements of Black Metal, including at the last, just as fantastic album "Rain of Ashes" was felt.
Terence Hannum, and Andre Foisy grew up in the province and with hardcore and metal, but eventually landed in Chicago and in experimental and mostly electronic music. Als LOCRIAN haben die beiden schon diverse CDs, Tapes und Vinyl mit Drones, Soundscapes und Noise gefüllt und veröffentlicht, für „Territories“ haben sie sich ihrer musikalischen Sozialisation zum Teil wieder erinnert und sich beinahe als richtige Band neu aufgestellt. Locrian than the two already several CDs, tapes and vinyl with drones, soundscapes and noise have filled up and published, for "Territories," they have their musical socialization reminded again and sometimes almost repositioned as a real band.
Als Gäste geladen wurden der VELNIAS-Schlagzeuger Andrew Scherer, der NACHTMYSTIUM-Gitarrist Blake Judd sowie Bruce Lamont von YAKUZA und Mark Solotroff von BLOODYMINDED als Sänger und Saxophonist, respektive Snythie-Bediener und Sänger.
Dominiert wird „Territories“ natürlich vom für LOCRIAN typischen extrem düsteren und brutalen Ambient, die Beiträge der Gäste aber sorgen für eine bisher nicht vorhandene Zugänglichkeit zur Musik.
Leicht zu konsumieren sind LOCRIAN zwar immer noch nicht, aber zumindest greifbarer. Wobei diese Faszination für die Atmosphäre, die aus den Elementen des Black Metals entstehen kann, auch schon auf dem letzten, ebenso fantastischen, Album „Rain Of Ashes“ spürbar war.
Als Gäste geladen wurden der VELNIAS-Schlagzeuger Andrew Scherer, der NACHTMYSTIUM-Gitarrist Blake Judd sowie Bruce Lamont von YAKUZA und Mark Solotroff von BLOODYMINDED als Sänger und Saxophonist, respektive Snythie-Bediener und Sänger.
Dominiert wird „Territories“ natürlich vom für LOCRIAN typischen extrem düsteren und brutalen Ambient, die Beiträge der Gäste aber sorgen für eine bisher nicht vorhandene Zugänglichkeit zur Musik.
Leicht zu konsumieren sind LOCRIAN zwar immer noch nicht, aber zumindest greifbarer. Wobei diese Faszination für die Atmosphäre, die aus den Elementen des Black Metals entstehen kann, auch schon auf dem letzten, ebenso fantastischen, Album „Rain Of Ashes“ spürbar war.
André Bohnensack
------------
This is verbatim from the Goodge translator. Notice how it changed the author's name from André Bohnensack to André bean bag. Awesome:)
---------------
Locrian
Territories Territories
Format: CD Format: CD
Label: Basses Frequences Label: Bass Frequence
Spielzeit: 47:52 Running time: 47:52
Genre: Metal Genre: Metal
Wertung: Rating:
Terence Hannum, and Andre Foisy grew up in the province and with hardcore and metal, but eventually landed in Chicago and in experimental and mostly electronic music.
Locrian than the two already several CDs, tapes and vinyl with drones, soundscapes and noise have filled up and published, for "Territories," they have their musical socialization reminded again and sometimes almost repositioned as a real band.
As guests were loaded Velnias the drummer Andrew Scherer, the NACHTMYSTIUM guitarist Blake Judd and Bruce Lamont of Yakuza and Mark Solotroff of BLOODYMINDED as a singer and saxophonist, respectively Snythie operator and singer.
Dominates will Territories "of course, typical of Locrian extremely dark and brutal Ambient, the contributions from the guests, however, provide a previously existing access to the music.
Easy to consume Locrian, although still not, but at least tangible. With this fascination for the atmosphere, which may arise out of the elements of Black Metal, including at the last, just as fantastic album "Rain of Ashes" was felt.
André bean bag
Thursday, August 12, 2010
Locrian "Rain of Ashes" and "Territories" Review from Womblife
Thanks again to Lee!
Link here.
The CD digipak for the "Territories" CD is currently underway. The labels will hopefully get that to the plant soon.
-------------
Locrian Rain of Ashes (Basses Frequencies) / Territories (At War With False Noise/Basses Frequencies/Bloodlust!/Small Doses) CD / LP - Two more doses of dismal metallic drone from Chicago's mighty Locrian, a band that possibly takes its cues from the bad boys mentioned above, Wolf Eyes, early Swans, black metal and even Fripp/Eno. Rain of Ashes offers an hour of live delirium captured for a radio broadcast. It opens on a sedated repetitive note with distant minor keys crawling up the spine like tiny black spiders before immersing the listener in an enveloping cacophony of tortured howls and feedback blizzards designed to disorient and overpower at extreme volumes. It's not a bad soundtrack for trailing off into a nightmare slumber if you can pass out before the screams come in.
Even more satisfying is the newer Territories, a Locrian big band affair that features members of Bloodyminded, Nachtmystium, Velnias and Yoakuza along with the core of Andre Foisy and Terrance Hannum. As a result things definitely get opened up in terms of dynamics and diversity. "Inverted Ruins" offers a lurching funeral march of murky electronics and feedback beneath vocal howls that grow more intense and pissed off with each cycle across its 8 plus minutes. "Procession of Ancestral Brutalism," with Blake Judd on guitar and vocals, is a straight up black metal howler the likes of which his own band (Nachtmystium) has never conjured before -- atonal, screeching, howling at the bottomless black void metal -- designed to make your head explode before your soul crumbles into a ball of ash. How fun! Combine this with the more spectral hypnotic vibe of earlier Locrian disks, and you have something that's hard to ignore in the experimental drone metal realm. Territories comes in an edition of 500 on black vinyl, so don't dilly dally, you doom fixated dregs.
Link here.
The CD digipak for the "Territories" CD is currently underway. The labels will hopefully get that to the plant soon.
-------------
Locrian Rain of Ashes (Basses Frequencies) / Territories (At War With False Noise/Basses Frequencies/Bloodlust!/Small Doses) CD / LP - Two more doses of dismal metallic drone from Chicago's mighty Locrian, a band that possibly takes its cues from the bad boys mentioned above, Wolf Eyes, early Swans, black metal and even Fripp/Eno. Rain of Ashes offers an hour of live delirium captured for a radio broadcast. It opens on a sedated repetitive note with distant minor keys crawling up the spine like tiny black spiders before immersing the listener in an enveloping cacophony of tortured howls and feedback blizzards designed to disorient and overpower at extreme volumes. It's not a bad soundtrack for trailing off into a nightmare slumber if you can pass out before the screams come in.
Even more satisfying is the newer Territories, a Locrian big band affair that features members of Bloodyminded, Nachtmystium, Velnias and Yoakuza along with the core of Andre Foisy and Terrance Hannum. As a result things definitely get opened up in terms of dynamics and diversity. "Inverted Ruins" offers a lurching funeral march of murky electronics and feedback beneath vocal howls that grow more intense and pissed off with each cycle across its 8 plus minutes. "Procession of Ancestral Brutalism," with Blake Judd on guitar and vocals, is a straight up black metal howler the likes of which his own band (Nachtmystium) has never conjured before -- atonal, screeching, howling at the bottomless black void metal -- designed to make your head explode before your soul crumbles into a ball of ash. How fun! Combine this with the more spectral hypnotic vibe of earlier Locrian disks, and you have something that's hard to ignore in the experimental drone metal realm. Territories comes in an edition of 500 on black vinyl, so don't dilly dally, you doom fixated dregs.
Tuesday, August 10, 2010
Locrian "Territories" Review from Chain D.L.K.
They say it takes a village to raise a child, but in this case it took a village to release this album. This album seems to have been released by four different labels: At War With False Noise, Basses Frequences, BloodLust!, and Small Doses. Evidently this is an LP, but I got a CDR version of it, so I can say little about the packaging for the vinyl fetishists out there. I think that I have become the resident Locrian expert, having reviewed several of their releases for ChainDLK at this point. Overall, I think that this is the best album Locrian has put out so far. Where some of the others have been too minimalist for my taste, this one has a lot more variety. For example, the disc opens with 'Inverted Ruins,' which is everything that you would expect from this band'guitar noise and feedback. But then it shifts into 'Between Barrows,' which is a droning, atmospheric piece that features organ. However, I have to admit that 'Procession of Ancestral Brutalism' sounded too much like a metal band trying to be experimental. But 'Ring Road' brings us back into the realm of brooding, ominous atmosphere and the rest of the album continues this trajectory, although 'The Columnless Arcade' briefly slips into metal mode. Even so, the second half of the disc is Locrian at their best'dark, atmospheric, and heavy. This album is limited to 500 copies, so you will probably want to get it while you can. The album weighs in at around 48 minutes.
Friday, August 6, 2010
"Territories" Review at Evening of Light
The CD version of "Territories" is currently in the planning stages. This will be released on Small Doses & Bloodlust!
Link here.
-----------
artist: Locrian
release: Territories
format: LP
year of release: 2010
label: At War With False Noise, Basses Frequences, BloodLust!, Small Doses
duration: 47:47
detailed info: discogs.com
Locrian‘s discography keeps growing at a steady pace, and with releases like this year’s Territories filling up the ranks, that is nothing to be ashamed of. The solid base of tearing guitars, drones, subtle synths and screeching noise is still here, but this time around, Andre Foisy and Terrence Hannum are joined by a variety of guest musicians, adding drums and other elements into the dystopian music.
“Inverted Ruins” starts off slow, with plodding drums and ear-piercing high frequencies accompanying slowly descending chords and raw, dirty vocals. “Between Barrows” is a subtle layered ambient piece with organs and cymbal swells. The A-side closes with a short noisy guitar soundscape that morphs into a raw black metal track, opening new vistas for the band.
The second half of the album has a similar curve, with “Ring Road” and “Antediluvian Territory” exploring melodies and drones, and the excellent final track, bringing more black metal after an otherworldly dual-guitar intro, and ending with some great melodic guitar leads over slower drums.
This Territories LP is yet another example of the fascinating music of Locrian. It’s not quite metal, not quite ambient, but something in its own right: urban, industrial, raw, visionary, and dystopian. Genre-crossing music for the 21st century.
Reviewed by O.S.
Tracklist:
I. Inverted Ruins (8:35)
II. Between Barrows (5:54)
III. Procession Of Ancestral Brutalism (10:48)
IV. Ring Road (9:41)
V. Antediluvian Territory (4:02)
VI. The Columnless Arcade (8:50)
Link here.
-----------
artist: Locrian
release: Territories
format: LP
year of release: 2010
label: At War With False Noise, Basses Frequences, BloodLust!, Small Doses
duration: 47:47
detailed info: discogs.com
Locrian‘s discography keeps growing at a steady pace, and with releases like this year’s Territories filling up the ranks, that is nothing to be ashamed of. The solid base of tearing guitars, drones, subtle synths and screeching noise is still here, but this time around, Andre Foisy and Terrence Hannum are joined by a variety of guest musicians, adding drums and other elements into the dystopian music.
“Inverted Ruins” starts off slow, with plodding drums and ear-piercing high frequencies accompanying slowly descending chords and raw, dirty vocals. “Between Barrows” is a subtle layered ambient piece with organs and cymbal swells. The A-side closes with a short noisy guitar soundscape that morphs into a raw black metal track, opening new vistas for the band.
The second half of the album has a similar curve, with “Ring Road” and “Antediluvian Territory” exploring melodies and drones, and the excellent final track, bringing more black metal after an otherworldly dual-guitar intro, and ending with some great melodic guitar leads over slower drums.
This Territories LP is yet another example of the fascinating music of Locrian. It’s not quite metal, not quite ambient, but something in its own right: urban, industrial, raw, visionary, and dystopian. Genre-crossing music for the 21st century.
Reviewed by O.S.
Tracklist:
I. Inverted Ruins (8:35)
II. Between Barrows (5:54)
III. Procession Of Ancestral Brutalism (10:48)
IV. Ring Road (9:41)
V. Antediluvian Territory (4:02)
VI. The Columnless Arcade (8:50)
Thursday, July 15, 2010
Saturday, July 3, 2010
Metal - Temple on "Territories" and Locrian "Land of Failure" 2x Loop CS
We're fairly certain that we'll have LOD 008 - Locrian "Land of Failure" 2x Loop CS out later this week. Keep your eyes peeled since this will be a very limited edition of 13 copies.
link here.
LOCRIAN is a band that, while only having been around for about five years at the time of this review, has a large number of releases under their belt. These releases range from 7”, cassette tapes, splits, CD-r’s and LP’s. Their sound is a mix of drone, Black Metal, ambient. One could classify parts as “avant-garde” and “experimental.” The last album of theirs that I reviewed, “Rain of Ashes,” wasn’t my cup of tea. However, there is a noticeable change towards actual songwriting on “Territories.”
The opening song, “Inverted Ruins,” is a very simple song, with a series of long, drawn out notes which is actually successful in creating an atmosphere. I enjoy listening to this song (as well as the similar “Ring Road”) when I’m stressed out and it helps me relax. On the other end of the spectrum, you have “Procession of Ancestral Brutalism,” which is rather brutal, in a black metal sense. There’s plenty of tremolo riffing along with some barely-above-demo quality sound that fans of the genre seem to enjoy so much.
However, I would classify the majority of the material on here “post black metal,” and for what it is, it’s actually very good. It’s not going to bludgeon you with riffs or in-your-face attitude, but when I’m in the right mood for this type of music, “Territories” will usually find its way into my music player. As individual songs shuffled with other music on an Ipod, “Territories” is less successful. However, it is not meant to be listened to in that manner, which is probably why, as far as I know, this is only being released on vinyl (although I received my copy on CD-r). When put in a music player and listened from start to finish, one will be able to appreciate the full value of this release.
link here.
LOCRIAN is a band that, while only having been around for about five years at the time of this review, has a large number of releases under their belt. These releases range from 7”, cassette tapes, splits, CD-r’s and LP’s. Their sound is a mix of drone, Black Metal, ambient. One could classify parts as “avant-garde” and “experimental.” The last album of theirs that I reviewed, “Rain of Ashes,” wasn’t my cup of tea. However, there is a noticeable change towards actual songwriting on “Territories.”
The opening song, “Inverted Ruins,” is a very simple song, with a series of long, drawn out notes which is actually successful in creating an atmosphere. I enjoy listening to this song (as well as the similar “Ring Road”) when I’m stressed out and it helps me relax. On the other end of the spectrum, you have “Procession of Ancestral Brutalism,” which is rather brutal, in a black metal sense. There’s plenty of tremolo riffing along with some barely-above-demo quality sound that fans of the genre seem to enjoy so much.
However, I would classify the majority of the material on here “post black metal,” and for what it is, it’s actually very good. It’s not going to bludgeon you with riffs or in-your-face attitude, but when I’m in the right mood for this type of music, “Territories” will usually find its way into my music player. As individual songs shuffled with other music on an Ipod, “Territories” is less successful. However, it is not meant to be listened to in that manner, which is probably why, as far as I know, this is only being released on vinyl (although I received my copy on CD-r). When put in a music player and listened from start to finish, one will be able to appreciate the full value of this release.
Wednesday, June 30, 2010
Locrian "Territories" Review at Cracked Austria
Link here.
Dystopias always had a big place especially within noisy and dark circles of heavy music. From Wolf Eyes to Sunn0))) the aural description of the downfall of society, the destruction of nature by mankind and the ongoing global suicide by humanity has been a source for all kinds of impressive and great music. Especially droning, noisy and heavy music. And it is also true that there is an intricate beauty in these sentiments. That the random rust, obliteration or damage on abandoned buildings or factories has its own fascinating aesthetic. (Check out http://www.opacity.us/ for further input.) So far it seems there is no need to conjure up foreign fantasy worlds with dragons or demons or devils to find powerful images of destruction. Actually, to me, all this fantasy shit is a sign of lacking creativity to me.
The new Locrian CD somehow got buried underneath the rubble that stacks beneath my stereo system and seems to grow by itself like the trash mountains outside an urban metropolis. It is thematically a fitting place, but completely unfitting as �territories� is probably the most mature and evolved release of Locrian I have heard up to now. A lot has been said and written about the kinds of nightmares and storylines the music of Locrian has kindled in the minds of reviewers, but with their first full band approach the music has turned one step bigger, two steps more complex and three steps higher on impact. Andr� Foisy and Terence Hannum, who are still the main powerlines of Locrian, have recruited a small crew of likeminded musicians to blow up their visions into real nightmare size.
There are some names you might now if you are deep into the genres of doom, black metal and general darkness in music. And especially those parts where they mix with even further out ideas, such as urban noise, dark drones and ambient or the as of yet unnamed number of musicians interested in the humming and buzzing of deep bass sounds alone. To be specific: Andrew Scherer from Velnias on drums, Bruce Lamont from Yakuza on Saxophone, Black Judd from Nachtmystium on guitar and Mark Solotroff from Bloodyminded and Anatomy of Habit on more vocals and synthesizers. It is still astonishing how Locrian are one of the few bands employing a number of keyboards and even a saxophone and still sound dark, heavy and as doom as possible. Actually, it should be astonishing that this is still astonishing in the 21st century. Maybe it should be astonishing that we are still alive in the 21st century, but this is a different thought.
Locrian have always dwelled in slow paces, and they do so now within their self-defined, lose bandcontext as well. They dive into these long-winding powernoise drones with intricate shifts in frequencies that suddenly turn into a black metal track without ever losing the epic proportions (�Procession of ancestral Brutalism�). It is these moments that I think fit them best and work to the biggest impact in the new line-up. The pure explorations of bass versus feedback versus noise versus the sounds of urban decay are still interesting, darkly fascinating and able to induce all kinds of unruly thinking. Just how they mix a melancholic organ line with feedback and rumbling noise somewhere deep in �Ring Road� is a moment of radiating beauty. But finally it is those headbanging moments (even if it is very slow banging) that are new and powerful and therefore most remarkable.
Dystopias always had a big place especially within noisy and dark circles of heavy music. From Wolf Eyes to Sunn0))) the aural description of the downfall of society, the destruction of nature by mankind and the ongoing global suicide by humanity has been a source for all kinds of impressive and great music. Especially droning, noisy and heavy music. And it is also true that there is an intricate beauty in these sentiments. That the random rust, obliteration or damage on abandoned buildings or factories has its own fascinating aesthetic. (Check out http://www.opacity.us/ for further input.) So far it seems there is no need to conjure up foreign fantasy worlds with dragons or demons or devils to find powerful images of destruction. Actually, to me, all this fantasy shit is a sign of lacking creativity to me.
The new Locrian CD somehow got buried underneath the rubble that stacks beneath my stereo system and seems to grow by itself like the trash mountains outside an urban metropolis. It is thematically a fitting place, but completely unfitting as �territories� is probably the most mature and evolved release of Locrian I have heard up to now. A lot has been said and written about the kinds of nightmares and storylines the music of Locrian has kindled in the minds of reviewers, but with their first full band approach the music has turned one step bigger, two steps more complex and three steps higher on impact. Andr� Foisy and Terence Hannum, who are still the main powerlines of Locrian, have recruited a small crew of likeminded musicians to blow up their visions into real nightmare size.
There are some names you might now if you are deep into the genres of doom, black metal and general darkness in music. And especially those parts where they mix with even further out ideas, such as urban noise, dark drones and ambient or the as of yet unnamed number of musicians interested in the humming and buzzing of deep bass sounds alone. To be specific: Andrew Scherer from Velnias on drums, Bruce Lamont from Yakuza on Saxophone, Black Judd from Nachtmystium on guitar and Mark Solotroff from Bloodyminded and Anatomy of Habit on more vocals and synthesizers. It is still astonishing how Locrian are one of the few bands employing a number of keyboards and even a saxophone and still sound dark, heavy and as doom as possible. Actually, it should be astonishing that this is still astonishing in the 21st century. Maybe it should be astonishing that we are still alive in the 21st century, but this is a different thought.
Locrian have always dwelled in slow paces, and they do so now within their self-defined, lose bandcontext as well. They dive into these long-winding powernoise drones with intricate shifts in frequencies that suddenly turn into a black metal track without ever losing the epic proportions (�Procession of ancestral Brutalism�). It is these moments that I think fit them best and work to the biggest impact in the new line-up. The pure explorations of bass versus feedback versus noise versus the sounds of urban decay are still interesting, darkly fascinating and able to induce all kinds of unruly thinking. Just how they mix a melancholic organ line with feedback and rumbling noise somewhere deep in �Ring Road� is a moment of radiating beauty. But finally it is those headbanging moments (even if it is very slow banging) that are new and powerful and therefore most remarkable.
Monday, May 24, 2010
Compulsion on "Territories"
link here.
--------
Locrian's previous album Drenched Lands was an impressive combination of guitar and keyboard improvisations carrying elements of drone, noise and pitch-black industrial ambience together with a slight nod towards black metal. With Territories the core duo Andre Foisy and Terence Hannum further develop their blackened atmospherics aided by an expanded line-up, featuring fellow Chicago based musicians including Mark Solotroff (Bloodyminded and proprietor of BloodLust! label), Blake Judd (Nachtmystium), Bruce Lamont (Yakuza) and Andrew Scherer (Velnias).
Right from the off you're surrounded by the controlled feedback squeals and electronic pulses of 'Inverted Ruins'. It carries over the Locrian sound of Drenched Lands but the presence of the collaborators is obvious; in the distant holler of Solotroff and the simple rock styled drum pounding from Andrew Scherer. The doom pace is filled with stuttering synthesiser howls and industrial ambience ebbing out on pulselike throbs. The static buzz drone of 'Between Barrows', punctuated by short bursts of crashing cymbal rolls, is accompanied by some restrained sax blurt and further on it picks up some sustained tense organ drone.
Drenched Lands featured some stark and skeletal guitar work and that makes a welcome reappearance on 'Antediluvian Territory', the only track restricted to the core duo of Andre Foisy and Terence Hannum. Here spiralling shards of guitar are played off against ominous organ drone. It is wonderful stuff and way too brief. It's an approach I hope they pursue on future releases.
And while there's elements of noise throughout Territories there's a definite power electronics feel to the opening minutes of 'Ring Road' with Solotroff's haranguing holler over wavering shrill feedback and monstrous low-end roar. It doesn't stay too long in power electronics mode as it gradually leads into dense churning electronics, with some guitar improvisation and crackling textures.
One of the pivotal tracks of Territories, 'Procession of Ancestral Brutalism' starts quietly with feint feedback squeals and industrial ambience before upping the stakes with scorching black metal riffing, powerhouse drumming and screamed black hole aggro vocals spat out by Solotroff, Judd, Lamont and Hannum. 'Procession of Ancestral Brutalism' is inspired and dynamic like black metal filtered through the noise-rock of Zeni Geva or something. It may be black metal but with Locrian it is direct and resolutely shorn of the ideology or cliché.
I guess much will be written about the black metal influenced tracks on Territories but the focus of Locrian remains very much on improvisation. If it's black metal you're seeking then I'm afraid you're gonna have to wade through a lot of black atmospherics to get there. Just listen to the shared guitar improvisations that comprise the opening minutes of 'The Columnless Arcade' before it cuts to the surging metal riffing, martial snare drum rolls and distant tortured screamed vocals. As ever it doesn't wallow too long in one place as Locrian cast their net wide trawling through wigged out terrain casting off elements of black metal with post-rock tunings into dense psychedelic murk.
Given the amount of collaborators here Locrian never lose their identity; their sound is never engulfed by the collaborators. Territories is very much a Locrian record. All the hallmarks of their sound, as evidenced on their previous Drenched Lands release, can be found here. This time though with the aid of the collaborators they've been able to further explore areas only tentatively pursued before. Anyone interested in drone/doom sonics and noise/power electronics would be foolish to miss this as Territories is something of an avant metal drone fest. It's also a blast. As prolific as they are Locrian are running on a very low shit quotient and I'm already looking forward to wherever they go next. Great stuff. Released via the labels At War With False Noise, Basses Frequences, Bloodlust! And Small Doses on vinyl in an edition of 500 copies in and now on CD. For more information go to www.atwarwithfalsenoise.com or www.bassesfrequences.org or bloodlust.blogspot.com or www.small-doses.com
--------
Locrian's previous album Drenched Lands was an impressive combination of guitar and keyboard improvisations carrying elements of drone, noise and pitch-black industrial ambience together with a slight nod towards black metal. With Territories the core duo Andre Foisy and Terence Hannum further develop their blackened atmospherics aided by an expanded line-up, featuring fellow Chicago based musicians including Mark Solotroff (Bloodyminded and proprietor of BloodLust! label), Blake Judd (Nachtmystium), Bruce Lamont (Yakuza) and Andrew Scherer (Velnias).
Right from the off you're surrounded by the controlled feedback squeals and electronic pulses of 'Inverted Ruins'. It carries over the Locrian sound of Drenched Lands but the presence of the collaborators is obvious; in the distant holler of Solotroff and the simple rock styled drum pounding from Andrew Scherer. The doom pace is filled with stuttering synthesiser howls and industrial ambience ebbing out on pulselike throbs. The static buzz drone of 'Between Barrows', punctuated by short bursts of crashing cymbal rolls, is accompanied by some restrained sax blurt and further on it picks up some sustained tense organ drone.
Drenched Lands featured some stark and skeletal guitar work and that makes a welcome reappearance on 'Antediluvian Territory', the only track restricted to the core duo of Andre Foisy and Terence Hannum. Here spiralling shards of guitar are played off against ominous organ drone. It is wonderful stuff and way too brief. It's an approach I hope they pursue on future releases.
And while there's elements of noise throughout Territories there's a definite power electronics feel to the opening minutes of 'Ring Road' with Solotroff's haranguing holler over wavering shrill feedback and monstrous low-end roar. It doesn't stay too long in power electronics mode as it gradually leads into dense churning electronics, with some guitar improvisation and crackling textures.
One of the pivotal tracks of Territories, 'Procession of Ancestral Brutalism' starts quietly with feint feedback squeals and industrial ambience before upping the stakes with scorching black metal riffing, powerhouse drumming and screamed black hole aggro vocals spat out by Solotroff, Judd, Lamont and Hannum. 'Procession of Ancestral Brutalism' is inspired and dynamic like black metal filtered through the noise-rock of Zeni Geva or something. It may be black metal but with Locrian it is direct and resolutely shorn of the ideology or cliché.
I guess much will be written about the black metal influenced tracks on Territories but the focus of Locrian remains very much on improvisation. If it's black metal you're seeking then I'm afraid you're gonna have to wade through a lot of black atmospherics to get there. Just listen to the shared guitar improvisations that comprise the opening minutes of 'The Columnless Arcade' before it cuts to the surging metal riffing, martial snare drum rolls and distant tortured screamed vocals. As ever it doesn't wallow too long in one place as Locrian cast their net wide trawling through wigged out terrain casting off elements of black metal with post-rock tunings into dense psychedelic murk.
Given the amount of collaborators here Locrian never lose their identity; their sound is never engulfed by the collaborators. Territories is very much a Locrian record. All the hallmarks of their sound, as evidenced on their previous Drenched Lands release, can be found here. This time though with the aid of the collaborators they've been able to further explore areas only tentatively pursued before. Anyone interested in drone/doom sonics and noise/power electronics would be foolish to miss this as Territories is something of an avant metal drone fest. It's also a blast. As prolific as they are Locrian are running on a very low shit quotient and I'm already looking forward to wherever they go next. Great stuff. Released via the labels At War With False Noise, Basses Frequences, Bloodlust! And Small Doses on vinyl in an edition of 500 copies in and now on CD. For more information go to www.atwarwithfalsenoise.com or www.bassesfrequences.org or bloodlust.blogspot.com or www.small-doses.com
Cerebral Metalhead on "Territories"
Link here.
----------
Ronnie James Dio is dead. I never really knew him aside from his role as a talking head in VH1 documentaries and his popularization of the metal horns. Yet the more I read, the more samples of his work with Rainbow, Dio and Black Sabbath that I hear, the more real his death becomes. While I wouldn't say that my life feels any different, I do feel more connected to the metal world because of the collective outpouring of mourning. And so I mourn, as well.
The new Locrian album Territories is ideal for this mood. The emotions it inspires are fathoms deep and unnameable. It is everything that Dio's music was not -- fuzzy, oblique, meditative, often static. There will be no holy diving to the synth and bass throb of "Ring Road." Terence Hannum, Mark Solotroff (Bloodyminded), Blake Judd (Nachtmystium) and Bruce Lamont (Yakuza), each of whom contribute emaciated howls to "Procession of Ancestral Brutalism," could learn a few things about enunciation from Dio. This music feels dry and empty, even at its most energetic. Territories is the purgatory that Dio must wait in while his afterlife is determined. Heaven? Hell? Heaven and Hell?
Locrian's last album Drenched Lands soundtracked Chicago's urban dystopia with improvised windscapes and scratchy feedback. Half of Territories thaws out the desolation by setting its improvised electronics against warmly-recorded, Ulver-like black metal storms from Judd, Hannum, Locrian's Andre Foisy and drummer Andrew Scherer (Velnias). "Procession of Ancestral Brutalism," is really inspired black metal, and I hope to hear this expanded band record a whole record like it someday. But the two disparate styles feel frictive, especially when the latter erupts out of nowhere a few minutes in to "The Columnless Arcade." It's too Dio-like, its regal drum patterns and repeated harmonies clenching triumph from the jaws of horror. I am gratified that such bold improvisers as Locrian are taking steps away from their discomfort zone, even more gratified that they're putting Bruce Lamont's saxophone to good use (his layered braying on "Between Barrows" threatens to steal the album). I don't want to be woken from my drone-drenched reverie by blastbeats though. Too much emphasis on rhythm. Give me more organ, more queasiness. Let me mourn for Dio in improvised peace and quiet feedback.
-Etan Rosenblum
----------
Ronnie James Dio is dead. I never really knew him aside from his role as a talking head in VH1 documentaries and his popularization of the metal horns. Yet the more I read, the more samples of his work with Rainbow, Dio and Black Sabbath that I hear, the more real his death becomes. While I wouldn't say that my life feels any different, I do feel more connected to the metal world because of the collective outpouring of mourning. And so I mourn, as well.
The new Locrian album Territories is ideal for this mood. The emotions it inspires are fathoms deep and unnameable. It is everything that Dio's music was not -- fuzzy, oblique, meditative, often static. There will be no holy diving to the synth and bass throb of "Ring Road." Terence Hannum, Mark Solotroff (Bloodyminded), Blake Judd (Nachtmystium) and Bruce Lamont (Yakuza), each of whom contribute emaciated howls to "Procession of Ancestral Brutalism," could learn a few things about enunciation from Dio. This music feels dry and empty, even at its most energetic. Territories is the purgatory that Dio must wait in while his afterlife is determined. Heaven? Hell? Heaven and Hell?
Locrian's last album Drenched Lands soundtracked Chicago's urban dystopia with improvised windscapes and scratchy feedback. Half of Territories thaws out the desolation by setting its improvised electronics against warmly-recorded, Ulver-like black metal storms from Judd, Hannum, Locrian's Andre Foisy and drummer Andrew Scherer (Velnias). "Procession of Ancestral Brutalism," is really inspired black metal, and I hope to hear this expanded band record a whole record like it someday. But the two disparate styles feel frictive, especially when the latter erupts out of nowhere a few minutes in to "The Columnless Arcade." It's too Dio-like, its regal drum patterns and repeated harmonies clenching triumph from the jaws of horror. I am gratified that such bold improvisers as Locrian are taking steps away from their discomfort zone, even more gratified that they're putting Bruce Lamont's saxophone to good use (his layered braying on "Between Barrows" threatens to steal the album). I don't want to be woken from my drone-drenched reverie by blastbeats though. Too much emphasis on rhythm. Give me more organ, more queasiness. Let me mourn for Dio in improvised peace and quiet feedback.
-Etan Rosenblum
Audiodrome on "Territories"
Link here.
------------
I Locrian tornano con Territories, frutto di una serie di collaborazioni con pezzi della scena "pesante" di Chicago, la città dove i due vivono.
Blake Judd dei Nachtmystium porta in dote un po’ di riffing black metal, Bruce Lamont degli Yakuza regala il proprio sax, Mark Solotroff dell’etichetta Bloodlust!, esponente della scena noise americana, qui è un interprete vocale marcissimo e sofferente, infine alla batteria compare Andrew Scherer dei Velnias, altro gruppo black metal di cui già tempo fa i due Locrian caldeggiavano l’ascolto. Lamont, non dev’essere un caso, già era apparso in Assassins dei Nachtmystium e forse in qualche modo Terrence e André avranno voluto vedere cosa succedeva se partecipavano anche loro al gioco delle contaminazioni. I Locrian non copiano Skullflower o i Sunn o))), per quanto ci troviamo a quelle latitudini musicali, ma come Anderson e O’Malley qui mettono una scenografia, preparano un po' di costumi, le luci e l’idea generale, poi lasciano spazio ad attori di prestigio. Per dare un’idea di Territories bisogna pensare a uno sfondo di cemento, ferro e plastica, ottenuto con drone e rumorismi chitarristici più suoni di synth scassati. Su questo sfondo può apparire Solotroff, che non assomiglia né ad Attila né a Dubin, fermo restando che in “Inverted Ruins” - come loro - più che cantare "performa", recita. Può essere poi la volta del commento desolato del sax di Lamont o delle sfuriate della ditta nera Judd/Scherer. Gli attori si dividono anche la scena e in alcuni casi addirittura spiazzano tutti in positivo (eccezionale il dissonantissimo Lamont di “The Columnless Arcade”): non c’è mai la sensazione di avere a che fare con una sorta di underground all star game dove si vede la prodezza del campione ma non la squadra. Il gioco è in mano ai Locrian, il che significa rappresentazione di periferie squallide, acque inquinate e degrado, più la testimonianza gridata di chi incontrano nel loro girovagarci.
Come Drenched Lands, ma diverso e più ricco di situazioni, quindi proprio consigliato.
-Fabrizio Garau
------------
I Locrian tornano con Territories, frutto di una serie di collaborazioni con pezzi della scena "pesante" di Chicago, la città dove i due vivono.
Blake Judd dei Nachtmystium porta in dote un po’ di riffing black metal, Bruce Lamont degli Yakuza regala il proprio sax, Mark Solotroff dell’etichetta Bloodlust!, esponente della scena noise americana, qui è un interprete vocale marcissimo e sofferente, infine alla batteria compare Andrew Scherer dei Velnias, altro gruppo black metal di cui già tempo fa i due Locrian caldeggiavano l’ascolto. Lamont, non dev’essere un caso, già era apparso in Assassins dei Nachtmystium e forse in qualche modo Terrence e André avranno voluto vedere cosa succedeva se partecipavano anche loro al gioco delle contaminazioni. I Locrian non copiano Skullflower o i Sunn o))), per quanto ci troviamo a quelle latitudini musicali, ma come Anderson e O’Malley qui mettono una scenografia, preparano un po' di costumi, le luci e l’idea generale, poi lasciano spazio ad attori di prestigio. Per dare un’idea di Territories bisogna pensare a uno sfondo di cemento, ferro e plastica, ottenuto con drone e rumorismi chitarristici più suoni di synth scassati. Su questo sfondo può apparire Solotroff, che non assomiglia né ad Attila né a Dubin, fermo restando che in “Inverted Ruins” - come loro - più che cantare "performa", recita. Può essere poi la volta del commento desolato del sax di Lamont o delle sfuriate della ditta nera Judd/Scherer. Gli attori si dividono anche la scena e in alcuni casi addirittura spiazzano tutti in positivo (eccezionale il dissonantissimo Lamont di “The Columnless Arcade”): non c’è mai la sensazione di avere a che fare con una sorta di underground all star game dove si vede la prodezza del campione ma non la squadra. Il gioco è in mano ai Locrian, il che significa rappresentazione di periferie squallide, acque inquinate e degrado, più la testimonianza gridata di chi incontrano nel loro girovagarci.
Come Drenched Lands, ma diverso e più ricco di situazioni, quindi proprio consigliato.
-Fabrizio Garau
Tuesday, May 11, 2010
Locrian "Territories" Review from The Sleeping Shaman
Link here.
In order to fully accommodate the full scope of their vision, the core duo of Locrian – Andre Foisy and Terence Hannum – have enlisted an ensemble of players from the various outer reaches of musical extremity and four, count 'em, FOUR separate labels so that the vastness of 'Territories' can be fully unleashed upon the unsuspecting world at large. As excellent as their last full-length, 'Drenched Lands', was, 'Territories' is, well, a whole 'nother territory. The sound world created herein is truly expansive, spanning Locrian's usual pitch-black droning minimalism, through to black metal on an epic scale, taking in meditative post-space-rock guitar and icy synthscapes along the way, and often ALL of the afore-mentioned at once.
The four collaborators that Foisy and Hannum have recruited for 'Territories' are Mark Solotroff of Bloodyminded, on vocals and synths, Blake Judd of Nachtmystium, on guitar and vocals, Bruce Lamont of Yakuza, on vocals and sax, and Andrew Scherer of the unknown-to-me Velnias, on drums. These four help to flesh out the sound of Locrian, allowing them to function almost as a 'band', in real-time. The additional members and instruments allow for a greater, more well integrated, palette of tonal variety, and a more obvious use of dynamics.
Opening track 'Inverted Ruins' has the spine of a pulsing, ebbing skeletal synth throb and funereally paced drums, overlaid with layers of minimal yet piercing feedback and choppy, skittering insectile electronics. Beneath this Solotroff spills slow-burning throaty bile about the collapse of civilisation, whilst adding further sonic weight to the juddering processed synth tones that cloak him. The track ends, collapsing under its own weight into nothing but a heavily delayed synthesizer squelch, stuttering into empty space. 'Between Barrows' is a dead-black organ drone exploration, with the saxophone of Bruce Lamont hoving into earshot between dense fog-banks of shimmering cymbals and echoing ambience, like a ship lost at sea and sounding its mournful horn into blank space in hopes of a reply. Two minutes into the third track 'Procession of Ancestral Brutalism' is where everything changes, as the full-on black metal guitar assault of Nachtmystium's Blake Judd explodes out of the black hole of sound that preceded it. An icy blast of trebly BM riffing, ala Wolves In The Throne Room, and full-tilt blasting drums blare out of the speakers, whilst the anguished screaming vocals of Solotroff, Hannum, Judd AND Lamont let rip from what sounds like an echo chamber several miles below the earth. This in turn then opens out into a space of throbbing, surging bass notes, and whirling guitar, the drums punching and splashing in emphasis. Sounding at once arctic, organic and totally venomous, the track is unlike anything Locrian have done before. Fourth track 'Ring Road' is another dark, throbbing exploration of the lower depths, along lines of the opening track, but DENSER and, dare I say it, DARKER. The squalls of electronic skree and the blocks of analogue synth in even more abundance. Next track 'Antediluvian Territory' is what COULD be construed as a 'meditative' guitar piece, with plangent, delayed guitar lines and chiming harmonics ringing out in a way reminiscent of Robert Fripp....that is if it wasn't for the indefinable air of impending dread being conjured up by the accompanying collossal bass drone and the snake-like hissing ambience. Meditate to THIS and say hello to nightmares and cold sweat.
'The Columnless Arcade', the final track on 'Territories' is where everything that has gone before comes together in one kaleidoscopic auditory hallucination. Echoing, delayed and heavily processed syhths and electronics whirr and endlessly collapse into a vortex, from which emerges that icy black metal blast once again, whilst enormous bass notes judder and depth charge below the serpentine mass of sound. Solotroff howls as the guitars entwine in a post-psychedelic black metal tangle, chiming and swooping at each other through acidic delay like Helios Creed by way of Enslaved, and it has that same feel to it as the serpentine guitars of Beefheart's 'Kandy Korn'. At once fragile and epic. The track is cosmic in the truest sense, and a fitting ending to such an all-enveloping piece of work.
The scale of 'Territories' is vast indeed, and such a project on such a scale could have easily failed and fallen into the trap of throwing TOO much into the mix, but it has succeeded effortlessly. 'Territories' is a triumph of sound, and deserves to be heard by EVERYONE of an adventurous musical leaning. Especially those of us who do not usually care for black metal.
* Label: At War With False Noise / Basses Frequencies / Bloodlust! / Small Doses
* Website: lndofdecay.blogspot.com
In order to fully accommodate the full scope of their vision, the core duo of Locrian – Andre Foisy and Terence Hannum – have enlisted an ensemble of players from the various outer reaches of musical extremity and four, count 'em, FOUR separate labels so that the vastness of 'Territories' can be fully unleashed upon the unsuspecting world at large. As excellent as their last full-length, 'Drenched Lands', was, 'Territories' is, well, a whole 'nother territory. The sound world created herein is truly expansive, spanning Locrian's usual pitch-black droning minimalism, through to black metal on an epic scale, taking in meditative post-space-rock guitar and icy synthscapes along the way, and often ALL of the afore-mentioned at once.
The four collaborators that Foisy and Hannum have recruited for 'Territories' are Mark Solotroff of Bloodyminded, on vocals and synths, Blake Judd of Nachtmystium, on guitar and vocals, Bruce Lamont of Yakuza, on vocals and sax, and Andrew Scherer of the unknown-to-me Velnias, on drums. These four help to flesh out the sound of Locrian, allowing them to function almost as a 'band', in real-time. The additional members and instruments allow for a greater, more well integrated, palette of tonal variety, and a more obvious use of dynamics.
Opening track 'Inverted Ruins' has the spine of a pulsing, ebbing skeletal synth throb and funereally paced drums, overlaid with layers of minimal yet piercing feedback and choppy, skittering insectile electronics. Beneath this Solotroff spills slow-burning throaty bile about the collapse of civilisation, whilst adding further sonic weight to the juddering processed synth tones that cloak him. The track ends, collapsing under its own weight into nothing but a heavily delayed synthesizer squelch, stuttering into empty space. 'Between Barrows' is a dead-black organ drone exploration, with the saxophone of Bruce Lamont hoving into earshot between dense fog-banks of shimmering cymbals and echoing ambience, like a ship lost at sea and sounding its mournful horn into blank space in hopes of a reply. Two minutes into the third track 'Procession of Ancestral Brutalism' is where everything changes, as the full-on black metal guitar assault of Nachtmystium's Blake Judd explodes out of the black hole of sound that preceded it. An icy blast of trebly BM riffing, ala Wolves In The Throne Room, and full-tilt blasting drums blare out of the speakers, whilst the anguished screaming vocals of Solotroff, Hannum, Judd AND Lamont let rip from what sounds like an echo chamber several miles below the earth. This in turn then opens out into a space of throbbing, surging bass notes, and whirling guitar, the drums punching and splashing in emphasis. Sounding at once arctic, organic and totally venomous, the track is unlike anything Locrian have done before. Fourth track 'Ring Road' is another dark, throbbing exploration of the lower depths, along lines of the opening track, but DENSER and, dare I say it, DARKER. The squalls of electronic skree and the blocks of analogue synth in even more abundance. Next track 'Antediluvian Territory' is what COULD be construed as a 'meditative' guitar piece, with plangent, delayed guitar lines and chiming harmonics ringing out in a way reminiscent of Robert Fripp....that is if it wasn't for the indefinable air of impending dread being conjured up by the accompanying collossal bass drone and the snake-like hissing ambience. Meditate to THIS and say hello to nightmares and cold sweat.
'The Columnless Arcade', the final track on 'Territories' is where everything that has gone before comes together in one kaleidoscopic auditory hallucination. Echoing, delayed and heavily processed syhths and electronics whirr and endlessly collapse into a vortex, from which emerges that icy black metal blast once again, whilst enormous bass notes judder and depth charge below the serpentine mass of sound. Solotroff howls as the guitars entwine in a post-psychedelic black metal tangle, chiming and swooping at each other through acidic delay like Helios Creed by way of Enslaved, and it has that same feel to it as the serpentine guitars of Beefheart's 'Kandy Korn'. At once fragile and epic. The track is cosmic in the truest sense, and a fitting ending to such an all-enveloping piece of work.
The scale of 'Territories' is vast indeed, and such a project on such a scale could have easily failed and fallen into the trap of throwing TOO much into the mix, but it has succeeded effortlessly. 'Territories' is a triumph of sound, and deserves to be heard by EVERYONE of an adventurous musical leaning. Especially those of us who do not usually care for black metal.
* Label: At War With False Noise / Basses Frequencies / Bloodlust! / Small Doses
* Website: lndofdecay.blogspot.com
Monday, May 10, 2010
Locrian "Territories" At The Quietus
Link here.
Although 'Locrian' can refer to either a member of the ancient central Greek tribe, the Locrians, or a musical scale used primarily by jazz and death metal musicians, this has nothing to do with Chicago's 'post-industrial noise' duo Locrian. To be perfectly frank, on first listen Territories is a pretty bloody arduous listen, but here perseverance is the key. What at first comes across as unstructured, poorly executed racket recorded in an oil drum by a monkey with learning difficulties, eventually it reveals itself to be an intense 50 minute drone odyssey; the multitude of seemingly random clicks, glitches and oddities making for a deceptively textured and engrossing album.
Although 'Locrian' can refer to either a member of the ancient central Greek tribe, the Locrians, or a musical scale used primarily by jazz and death metal musicians, this has nothing to do with Chicago's 'post-industrial noise' duo Locrian. To be perfectly frank, on first listen Territories is a pretty bloody arduous listen, but here perseverance is the key. What at first comes across as unstructured, poorly executed racket recorded in an oil drum by a monkey with learning difficulties, eventually it reveals itself to be an intense 50 minute drone odyssey; the multitude of seemingly random clicks, glitches and oddities making for a deceptively textured and engrossing album.
Wednesday, April 14, 2010
Locrian "The Columnless Arcade" at Stereogum
Link here.
Locrian’s Territories ends with the torrentially uplifting “The Columnless Arcade.” The Chicago duo of André Foisy and Terence Hannum still create plenty of dark, crumbling, murky washes and spacious Prurient-on-Loren Mazzacane Connors noisescapes, but since their last collection Drenched Lands (and a handful of shorter 2009 releases), they’ve added a rock layer to the bleak ambiance. The assistance comes via a well-curated cast of Chicago-area metal/extreme music regulars:
On the aforementioned closer and 11-minute mid-collection epic “Procession of Ancestral Brutalism,” the guys are joined by Nachtmystium’s Black Judd on guitars (plus vocals on “Procession”), Yakuza’s Bruce Lamont on saxophone, and Velnias‘ Andrew Scherer on drums. (Elsewhere, Bloodyminded’s Mark Solotroff shreds his vocal cords and affixes dense synth drone.) Last July I booked Locrian on an intentionally weirdo bill with three different kinds of grindcore groups (Anal Cunt, Fuck The Facts, and Compremesis) and a more straightforward progressive Opeth-style crew (Gwynbleidd). At time the time, Foisy and Hannum’s electric, spacious sheets of synthesized/looped noise and dense smoke machines created a gorgeous, religious-seeming swerve from the rest of the bill. A year later they’d still be the odd-men out, but they’d also be creating blackened anthems that’d give just about anyone a run for their blast beats. You get a bit of both worlds in “The Columnless Arcade.”
* Locrian – “The Columnless Arcade”
Territories is out now on LP via At War with False Noise, Basses Frequences, Bloodlust!, and Small Doses. (It takes a nation.) It’ll be out on CD in August. More details on that soon. In the meantime, make room on your year-end lists.
Blastitude Reviews "Drenched Lands" and "Territories"
Link here.
LOCRIAN Drenched Lands CD (AT WAR WITH FALSE NOISE / SMALL DOSES) For Locrian's "first full-length studio recording of all new material," the ingredients may remain the same (metal, noise, drone, power electronics), but they are presented in their most confident and seamless blend yet. This duo can actually play music on their instruments, and use this ability to create extended compositions. Therefore, there's no need to hide behind drone and distortion, allowing these tactics to be used as weapons, and only when necessary. The result is a mostly quiet album that is still more brutal than a lot of today's amps-on-11 extreme music yawnfests.
LOCRIAN Territories (AT WAR WITH FALSE NOISE / BASSES FREQUENCIES / BLOODLUST! / SMALL DOSES) Showing a continued intent to develop and reinvent themselves, Locrian augment their duo lineup with various key guests from Chicago's metal, experimental, and experimental/metal scenes. The result is as solid and satisfying as all of Locrian's releases have been, but given several fresh twists, which we hear right off the bat on "Inverted Ruins," featuring Mark Solotroff of Bloodyminded doing a killer job singing bleak lyrics and Andrew Scherer of Velnias playing kit drums, I believe a first for Locrian. Other temporary members include Bruce Lamont of Yakuza on vocals and saxophone, and perhaps most notably Blake Judd of Nachtmystium on guitars and vocals. All four of these ringers appear throughout the album, in different combinations, but not on every track... though only one track ("Antediluvian Territory") is by the original Locrian duo lineup, there is also only one track ("Procession of Ancestral Brutalism") that features all six musicians. Not surprisingly, it explodes out of the middle of the album as the most raging and traditionally black metal sounding track on here, though I might prefer the nearly 10-minute Solotroff/Locrian trio cut "Ring Road."
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