New music review – Blanck Mass – Silent Treament

Never heard of Blanck Mass before this, although I remember plenty of people getting on my case for not listening to Dumb Flesh, but I love the mix of heavier electronic sounds mixed with the dreamier/ethereal bleeps and bloops that make for an interesting listen.

Well, it makes for interesting multiple listens. It certainly feels like there are a lot of changes in this song that you might not fully appreciate on your first listen through.

Silent Treatment is taken of Blanck Mass‘ new album, World Eater, set to be released on March 3rd 2017 via Sacred Bones.

Check it out.

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Live music videos you need to see #1 Foxing – Medic

Come up with a new feature to try and get more people checking out bands that might not usually come across using, what I feel, is the best way of finding out what a band is really like – live performances.

This week, I’m looking at the band Foxing. These guys are a five-piece indie-emo-post-rock type thing with emotionally driven lyrics and vocals that’ll have you running home to the safest place you can find.

This song used to hit really hard for me personally (and it still does on late Saturday nights), but I think everyone can relate to and hear the passion that this band puts forward.

Not too keen on the new album though. Give their first album, The Albatross, a go.

Review: Code Orange – Forever

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Band: Code Orange
Album: Forever
Genre: Hardcore punk, sludge, metalcore
Social Media: Official site/Facebook/Twitter

Almost done with January and I’ve already got a favourite album for the year. At least, I’ve got a favourite loud/mean sounding album.

Code Orange, formerly known as Code Orange Kids, are a hardcore, experimental, punkish band from Pittsburgh, Pennsylvania and this album is their third, full-length album, Forever.

Forever is, from the beginning, a vicious and aggressive ride that allows a listener few chances to catch their breath, besides maybe one or two points. One such break comes with the third song fourth song on the album, Bleeding In The Blur, which has clean vocals provided by the band’s bassist, Reba Meyers.

This song honestly caught me off guard with it sounding more like an alternative rock song than anything else present on the album. I love the way the song sounds and it offers up a surprising amount of versatility.

The band also brings these strange little editing flourishes into some songs, like stutters and sudden audio stops, and while it is interesting to see the band going for something different, it doesn’t feel necessary. Thankfully, they don’t happen often and when they do, they are brief.

The band also brings these strange little editing flourishes into some songs, like stutters and sudden audio stops, and while it is interesting to see the band going for something different, it doesn’t feel necessary. Thankfully, they don’t happen often and when they do, they are brief.

Speaking of things that may be unnecessary, the last song, dream2, doesn’t really do it for me as a closer. As a stand-alone track, it’s fine, but as a closer, it just shouldn’t be there. Maybe try it as an interlude somewhere in the middle of the track listing.

However, the rest of the album, aside from maybe two other tracks (dream2 and Hurt Goes On), is a complete onslaught of abrasive and girthy punk that proves, the scene still has massive balls. You just need to look for it and looking at Code Orange shows you why this is the band that’s making waves.

The title track, Forever, is brutal,  Just have to know where to finds it. Ugly feels like a grunge throwback until the vocals come in, it’s Code Orange playing with our expectations and it is a blast. You can also hear these expectations challenged in Hurt Goes On.

This album is just a delight, in a sick, twisted way that’ll have you head banging and deciding to just say ‘fuck you to authority, expectations and your dreams.’

Listen to it if you like anything mean, gross, punk, industrial, or sludge sounding.

Albums of 2016

I’ve been away awhile, sorry, but life is busy and I’m hitting my stride/prime. Promise I will give you more of my time, because talking about music is uber cathartic for me and it’s always great to introduce people to new music they may or may not like.

Probably not as many artists on here as there should be, but I fell behind a bit last year. Forgive me and find something here that you like.

Love and kisses, Music Gleaner x

 

The Weeknd – Starboy

I don’t give a shit if Selena Gomez is bangin’ The Weeknd, but I do like this album. Especially the singles, because I’m a complete piece of trash.

 

Touche Amore – Stage Four

How ’bout that tongue twister? Killer post-hardcore stuff from these legends. It’s also easy to fall for the lyricism here, so enjoy that.

 

Swain – Long Dark Blue

Kind of grunge and kind of punk, but I kind of adored this album throughout the bum end of 2016.

 

Gojira – Magma

Co-worker played the shit out of this album and I kind of just ignored it for the longest time. But then I cranked it open on one hungover morning aaaannnnddd damn. I absolutely heart the direction Gojira have taken.

 

Sia – This is Acting

Pop brilliance from one of my favourite artists ever. Wish she would take a break and stop releasing her… less than brilliant stuff. Get in the ocean The Greatest.

 

Wormrot – Voices

Probably the best baby-making music you’ll ever come across. Might need a glass of water after listening to these raunchy grindcore bastards.

 

Telefone – noname

Cosy hip-hop from my favourite, and only, gypsy artist. Kudos to making something that is this easy to listen to.

 

Weezer – White Album

Duh, this album is the return to form Weezer have been needing to pull for some time now.

 

Diarrhea Planet – Turn To Gold

As much as this album frustrates me with so much going on all at once, I still loved it’s general vibe, instrumentation and amount of major key solos. Top banana from this six-piece.

 

Red Fang – Only Ghosts

Yeah, it’s pretty good. Cool album to work-out to if you like heavy, sludgy riffs and mean vocals.

 

British Theatre – Mastery

My dick gets rock hard for anything from Mike Vennart and Richard Ingram. My dick aside, there is some genuinely stellar experimental electronic music here.  Also, seems heavier than Vennart’s solo album Demon Joke, that’s groovy.

 

Radiohead – A Moon shaped Pool

A lovely album from these old chaps. Special shout-out to True Love Waits and Identikit. Everything about this album is just nice and lovely.

 

Cult of Luna – Mariner

How I came across Julie Christmas, who sometimes scares me, but most of the time tickles me pink. Awesome post-metal album that hits that certain metal g-spot.

 

John Congleton – Until The Horror Goes

Angular, catchy, but difficult to explain when people ask you what you’re listening to, John Congleton’s Until The Horror Goes is a welcomed return to the music release scene.

 

The Avalanches – Wildflower

I prefer it to Since I Left You, what are you going to do about it? This is some tight pluderphonic-shit right here.

 

Ulcerate – Shrines of Paralysis

Graphic metal that just won’t quit and why should it when the riffs are this banging?

New Jamie Lenman single , ‘Mississippi’

I'm sorry, I don't know who took the OG picture. I think it's  Chris Baker.

I’m sorry, I don’t know who took the OG picture. I think it’s Chris Baker.

Just a quick one to let you all know you should listen to Jamie Lenman’s new song, Mississippi.

I would embed it here, but it won’t let me, so I’ll just link you here.

“I’m super excited for people to hear the new material,” he says, “and I’m looking forward to seeing folks in person throughout the year.” Thoughts? Absolutely, yes. And there’s potential tour dates coming up? Get in.

Listen to the song if you want something from Jamie that feels… sludgy? Let’s not label it and just say it’s a fun listen if you like rock music.

New Music Review – RedWater – Day 1

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Artist: RedWater
Album: Day 1
Genre: Electronic, ambient
Social media: Soundcloud/Bandcamp

Listen:

And:

Let’s do some more ambient/electronic music, because why not? I mean I’m totally getting encapsulated within it recently with all this Boards of Canada and such.

RedWater, is the instrumental, electronic project of this Utah based produced that has previously released two other bits (an EP and another LP) both of which sound surprisingly different to RedWater’s most recent effort, the effort we’re looking at today, Day 1. When I say different, I don’t mean anything leaps and light-years away from the previous sound, but there’s a bigger focus on some interesting synth textures and percussion than the previous album, Natural Division.

Every track on this little album feels like an intimate little snapshot of RedWater’s life and composition style, and because of this, nothing ever feels too similar. From the poppy/lounge feel of Second Chance, to the largely progressive electronics going on in Temporary Permanence, you’ll find a brief little moment to fall for. Even the tracks I’d consider to be lesser than the others still have aspects that make them interesting and worth listening to – Entropy and the Intervals didn’t particularly thrill me, but I appreciated some of the fascinating aspects in each tune. I mean Entropy almost sounds industrial at times and that’s sweet when you consider the majority of the material here is all rather major sounding.

The End Of April, also contrasts this major sound well by being one of the more serene tracks that I’ve heard this year.

I guess if we’re nit-picking, I’d like to nit-pick at the intro to Day And Night, it seems to go on way to long with some rather plain piano and synth chords before things take a more interesting turn later in the song. However, I do like the erratic percussion on this track and the twinkling arpeggios in the second half… Oh and the skanky beat that in the second half as well. Oh, I suppose the track RedWater is a little dull when compared to the rest as well…

Final Thoughts:

I don’t really have much to say on this album because I think it’s worth your time in its gorgeous simplicity. Day 1 is varied, curious and delightful for it’s short playtime, so why not at least give it a quick listen? If you like music from electronic producers, or you love music you can stick on in the background while you enjoy a book, grab this album. It’s a name your price album and it’s worth however much you can give RedWater and then some.

New Music Review – Helicopter Quartet – Ghost Machine

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Band: Helicopter Quartet
Album: Ghost Machine
Genre: Post-rock, ambient, dark ambient
Social Media: Facebook/Twitter/Bandcamp

Listen:

And:

One year ago I reviewed the album, Leading Edges, by Leeds dark ambient duo, Helicopter Quartet. Leading Edges was dark, dismal and oppressive, but with a post-rock leaning in some of the songs, which created this, thankfully, not stock post-rock sound that’s being pushed everywhere these days. And so, one year on from Leading Edges and Helicopter Quartet have released their new album, Ghost Machine. Let’s start things off by saying that, the dark ambient is fully out on this release, darkly teeth gnashing and snarling with the frightening viola and synth tones produced by Chrissie Caulfield.

The oppressive and dreary nature of the songs on Ghost Machine has been turned way up and never have these two sounded so doomed. Romanze is looks like it would be right at home in a post-apocalyptic soundtrack, very akin to that of Godspeed You! Black Emperor, but without the monolith run times and bombastic build-ups. The guitar from Michael Capstick and the viola work on this track are so damning and remind me eternally of East Hastings by GY!BE, but dronier and less driving than that track. Because of this droning, it can be rather hard to listen to casually. To truly enjoy this track, or any of them, you have to be paying attention, or at least not doing anything that takes up to much RAM, because this music requires your attention.

This mood strikes me as the kind of atmosphere that this album is hitting. All of the tracks seem a lot longer than they really are, but this gives a feeling that each of the creeping sounds in each song has a chance to grow. Cortege, is the best example of these dark tones shifting and growing throughout the song. The guitar contrasts with the massive and constant booming here and even the viola has moments of not sounding likes it’s been bathing in complete despair. This track travels in a lot of different ways in a lot of very subtle manners. The booming on this track did make me wish for a bit more percussion though, as a tool to help break things up a little bit.

Even with so few instruments blaring off in this mix, it sounds like a lot is going on, but I think there’s room in there for more, nothing large and obnoxious, but something subtle to help space things out.

Just like last time, subtle is what these two are here to do – Each song starts with a little idea and grows from there in a carefully considered way. The title track starts with something being dropped and dragged along some strings and it grows from there. It’s like a machine winding up and getting ready to haunt your ass. When this song is ready to haunt your ass, about halfway through, it lets you know and catches you off guard. It made me jump the first time I heard it, but I’m a complete wuss.

Final thoughts:

This album is massively comparable to the last one, but it does do enough for me to think that it treads interesting enough ground for it to not get boring. This Leeds duo has managed to pull off dark and oppressive even darker and more oppressive than last time, but I would like some more percussion play next time, something of a personal preference, but something breaking up this massive textures would be more than welcome.