Review: Ippu Mitsui / Annie & The Station Orchestra – 'Split EP'

IPPU MITSUI / ANNIE & THE STATION ORCHESTRA
'Split EP'
BEARSUIT RECORDS

This is a genuine split of two sides. First of all we have the Japanese electronic producer Ippu Mitsui who is known for blending a range of electronic genres in interesting ways. Secondly we have Annie & The Station Orchestra with a more melodic and restrained approach to composition. Two very different artists but they compliment each other quite well.

Ippu Mitsui opens with the glitching techno and eclectic experimentalism of 'Lalanona' which recalls the likes of Aphex Twin and Squarepusher at their most rhythmic. 'Doramyo-Kick Off' is a hard and dance-orientated blend of techno synths and hard beets interspersed with experimental flourishes that don't detract from the dance-appeal at its core. 'Dodein Odori' plays with noise and experimental textures further in a more minimalistic way that incorporates simple beats and circuit bent sounds under a veil of noise. 'Impurities' closes out the first half with a display of restrained rhythmic bass and beats that border on the experimental end of witch house before descending into devilish noise.

Annie & The Station Orchestra also have a flair for the experimental but in a more melodic, considered and almost cinematic way. 'Time' marks their first contribution with a mass of simple beats, avant garde loops and simple synthesizer leads to create a melodic but intelligent composition. 'No More Pirates' emerges form its ambient and choppy loops with another simple blend of melody and rhythm that is reminiscent of the soundtrack work of Yoko Kanno. 'Heavy Artillery Ward' begins with a strong hiss of noise which again the more melodic and ambient elements emerge before a middle part which seems lifted entirely from another track. The final track on the release 'Bustippers' follows the formula of the past two tracks with a long introduction of more minimal experimental sounds before a quite pleasing mix of ambient synths, stuttering rhythms and a central loop create a melodic counterpoint.

This is one of those releases by artists who are master craters of sound. On the one hand they can sound noisy and abrasive, and on the other melodic and uplifting. So the production does just what it needs to and gives everything a nice even presentation and mix down.

This is a great release for fans of avant garde / experimental music. Two great artists for the price of one, each bringing something different but complimentary to the table. Whether Ippu Mitsui floats your boat, or you'd like to explore Annie & The Station Orchestra more this release has a lot to offer.  

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Review: Primitive Man / Northless – 'Split LP'

PRIMITIVE MAN / NORTHLESS
'Split LP'
HALO OF FLIES

Split EPs are always great because if you know one of the bands and not the other, you never quite know what you're going to get. Sometimes though, you do know and youre left wondering how these two bands will co-exist on a single album together, and that's the case with this split release from Primitive Man and Northless. Primitive Man have been prolific in their output of filthy, fuzzy and distorted doom metal, while Northless favour a more anything goes post-metal approach instead. However in this case it works well.

Primitive Man kick the track list off with the filthy and doomy sludge of 'Empty Husk', which on its own accounts for a full fifteen minutes of the album's run time in all of its feedback drenched and monolithic glory. It is an utterly demonic and thunderous beast of a track that sounds like being dragged through the bowels of hell.

Northless offer up three shorter tracks for their contribution starting off with the cacophonous strains of 'Deleted Heartstrings' resplendent with shifting riffs, noisy distortion and hardcore influenced sludge metal at its core it is a forceful track. 'The 10,000 Year Wound' shift into doom territory while keeping those post metal guitars at the head of their attack for a more focussed and deliberate assault. 'Wasted Breath' closes the album in spectacular style at one point shifting from clear and almost uplifting before crashing back into grim despair.

The production is pretty even throughout with the feedback of Primitive Man and the reckless abandon of Northless being every engineer's worst nightmare it still sounds evenly mixed and the bands end up complimenting each other nicely.

This is quite a nice release. Primitive Man knock it out of the park with ease and despite the long pieces of feedback helping to drag the song out it still flies by. Northless show off a fierce intensity that is justly intoxicating and anyone new to them will certainly be wanting to explore them further based on this.  

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Review: Orations – 'Incantation'

ORATIONS
'Incantation'
SHEETS OF TENS 

There is always a bit of a danger with a modern band looking back to the early years of a movement that there is going to be too much focus on replicating the sound of those influential records rather than the actual songwriting. Fortunately that isn't the case with Buffalo, NY post-punk quartet Orations. Their new EP 'Incantation' owes a heavy debt to the likes of Joy Division, The Smiths, The Cure and The Chameleons, but it is fresh, original and unique. Those Mancunian bass lines and near psychedelic jangling guitars complete with a vocal performance reminiscent of early Siouxsie Sioux come together to create something very familiar, yet the band have the songwriting skills to make it their own.

Opening with 'Curses' The Cure meets The Smiths melancholic pop-friendly post-punk is sublime in its execution and does a great job at drawing you in deeper. 'Circus Of Currents' then hits you hard with a Peter Hook bass line and a Chameleons style raucous guitar line to show off the band's harder edge.

'Nosedive' then goes deeper into a much darker Joy Division meets Bauhaus direction propelled by a solid bass line and atmospheric scratchy guitars to create a wonderful proto-gothic anthem. The EP is then brought to a close by 'Strangely Safe' which returns to the sublimely dark pop leanings of the opener to round things off in a very satisfying way.

In terms of production it is evident that in terms of guitar and bass tones the band have paid close attention to those influential records, but the overall product still sounds nice and modern in its execution.

This is a very satisfying EP and those who like their post-punk to be as strong as those early records will find this release to be a real treat. Orations definitely have the skills to carve their own path, and hopefully a full-length release will solidify their presence in the scene.  

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Review: The Glen And Joe Show – 'Lock Me Out'

THE GLEN AND JOE SHOW
'Lock Me Out'
ARTOFFACT RECORDS

Sat on ice for 30 years after being cut by Images In Vogue members Glen Nelson and Joe Vizvary and under the supervision of producer Dave Ogilvie, 'Lock Me Out' is a sublime piece of New Order style synthpop straight from 1983. A relic of the early Vancouver electronic scene it is a shame this single and its b-side 'Gravel' hadn't seen a real release until now, because they are seriously good.

The a-side 'Lock Me Out' is a classic piece of synthpop that despite its 1983 vintage still sounds brilliant today. The steady dance beats, classic synths sound and crystal clear vocals have withstood the test of time and it would have done well had it been released at the time it was recorded, and even today it more than holds its own.

The b-side 'Gravel' is an instrumental recorded at a similar time to the a-side and subsequently re-recorded last year for inclusion on this single, and again it sounds great. It has an almost Ultravox meets Moroder flavour to it that begs to be included on an 80s sci-fi soundtrack, yet remains quite dance friendly.

This is a nice but very long overdue release. Despite the tracks early 80s construction they still sound fresh, if a little retro. The mix is crisp and surprisingly modern and the production as a whole is great.

This may appeal more to hardcore collectors and completeists, however it is nonetheless a great single with plenty of potential. Hopefully this will be a catalyst for Glen and Joe to drag more out of their archive or forge ahead with new recordings. 

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Review: Frozen Ocean – 'The Prowess Of Dormition'

FROZEN OCEAN
'The Prowess Of Dormition'
APOCALYPTIC WITCHCRAFT

From the depths of Russia comes the atmospheric metal of Frozen Ocean. The solo project of Vaarwel, Frozen Ocean has been around for a decade now in which time he has explored not only metal but also downtempo electronics, triphop, drone, ambient noise, punk, shoegaze, post rock and neoclasical styles amongst other. His latest offering 'The Prowess Of Dormition' returns to a more metal orientated sound by way of the epic black metal structures we'd expect from the likes of Emperor and Immortal.

'No Blizzard' opens the album with a spacey introduction that gives way to frantic blackened metal core completed by death metal vocals and haunting electronic atmospheres suspended throughout. 'Once Aglow' follows up with the electronic elements higher in the mix for a more epic and cinematic sound while the metal core takes on a more melodic death metal mantle with some blackened elements in the vocals and guitars. 'Det Siste Snøfallet' is a fine central piece of unrelenting black metal riffs, thunderous blast beats and subtle electronics that is so strong it makes you forget there are no vocals included. The title track closes the album out in a big way with a blend of blackened guitars, melodic death metal and dark metal elements coming together for a phenomenal finale.

This may be a short album (or a long EP depending on your outlook on life) but it certainly packs a punch. Frozen Ocean may not be a well-know name but his songwriting and production skills are up their with the best. The album is crisp and modern throughout and nothing gets bogged down or lost in the mix.

'The Prowess Of Dormition' is a very strong album, and while its reach might be limited to an extent, those who seek it out will certainly find something to take away from it. Especially fans of Enslaved and Moonsorrow. It will be interesting which direction the next release will follow. 

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Review: Beastmaker – 'Lusus Naturae'

BEASTMAKER
'Lusus Naturae'
RISE ABOVE RECORDS

Beastmaker by name, Beastmaker by nature. This trio from Fresno, USA come out swinging on their full-length début. Hard Sabbath riffs, blusey grooves and demonic psychedelia form 'Lusus Naturae' delves into influences from the likes of Black Sabbath, The Zombies, Pentagram, Witchfinder General, Danzig, and Witchcraft for an uncompromising slab of psychedelic doom.

A good début album has got to grab you straight away and Beastmaker know this as 'Clouds In the Sky' opens with bells tolling before dropping a hard Iomi-esque riff straight into the mix. Songs such as 'Eyes Are Watching', 'You Must Sin', 'Mask Of Satan', 'Lusus Naturae', and 'The Strain' follow on with the riffs and solos at the heart of the song's construction but ably complimented by strong rhythms and grooves.

The album really doesn't let up, with every song bringing something to the table. There's no filler, no messing around, just tight, steadily paced doom. And that is all they need. The song writing is strong, so strong in fact that you'd be forgiven for not realising this is their début offering.

The production has a nice analogue sound to it. Almost as if it was recorded on a four track tape live with a couple of overdubs. There is something very organic and honest about this album. A DIY attitude but some seriously good production skills thrown in as well.

'Lusus Naturae' is a great début. It hits hard and fast with a tonne of great material that will make you want to catch them live, and recommend them to a friend. Fans of doom, stoner rock, and occult rock will have a great time with this album, and hopefully this is just the first step on a long career path for the band.  

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Review: Blood Ceremony – 'Lord Of Misrule'

BLOOD CEREMONY
'Lord Of Misrule'
RISE ABOVE RECORDS
Toronto's Blood Ceremony have been one of the shining lights in the revival of the occult rock movement for a number of years and the band's fourth album 'Lord Of Misrule' shows that they are definitely not going away any time soon. Blending hard fuzzy guitars, vintage organ,flute and distinctive female vocals the band have honed their sound into a powerful and unique one that sets them apart from a growing number of imitators.

The new album continues the dark path the band have been on since day one. The continued evolution of the folk rock and progressive rock elements is evident in a number of tracks, yet they remain steadfastly true to the power of the riff and the allure of the bass groove. Songs such as 'The Devil's Widow', 'The Rogue's Lot', 'The Weird Of Finistere', and 'Things Present, Things Past' effortlessly blend folk and prog elements into their core formula and the result is perhaps some of their strongest work to date. While songs such as 'Lord Of Misrule', 'Flower Phantoms', and 'Old Fires' go straight for a more concise psychedelic-tinged rock approach.

The album is reminiscent of classic acts such as Black Sabbath, Uriah Heep, Jethro Tull, and The Shocking Blue and continues the thematic exploration of folk-horror-lore for which this kind of music is just perfect for. The production sounds warm and analogue giving it a recognisably retro edge, but in terms of the quality and the mixing it can hold its own with any modern release.

'Lord Of Misrule' is a fantastic album, and a highpoint of Blood Ceremony's career so far. The balance of folk, prog and doom elements makes this an accessible but nonetheless stunning album that is sure to put many of their imitators in their place. It is an absolute joy to listen to from start to finish.

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Review: Psy'Aviah – 'Seven Sorrows, Seven Stars'

PSY'AVIAH
'Seven Sorrows, Seven Stars'
ALFA MATRIX

'Seven Sorrows, Seven Stars' marks the seventh full-length release from Belgian electronic producer Yves Schelpe under the Psy'Aviah moniker. Continuing with the multiple vocalist approach of his previous album, 2014's 'The Xenogamous Endevour', Schelpe continues to blend multiple electronic genres in new ways while maintaining a deeply emotional core. Synthpop, ebm, triphop, electroclash, techno, edm, and eurodance come together with nods to artists like Moby, Faithless, Enigma, and Praga Khanto create an uplifting and introspective journey.

The album kicks off with the short Enigma-like introduction 'Seven Sorrows, Seven Stars' that underlines the concept before diving into the opening track 'Alcubierre Drive' featuring Kyoko Baertsoen on vocals partnered with a heady blend of sultry pop, triphop and progressive electronics. Songs such as 'Face to Face (feat. Roeland van der Velde)', 'From Another World (feat. Bernard Feron)', 'Liberosis (feat. Alvin River)', 'Not What I Expected (feat. Fallon Nieves)', and 'Wild Ride (feat. Miss FD)' keep the dance-friendly backbone of the album intact with big beats, beautiful vocal contributions, and memorable leads powering the tracks along. While the likes of 'Lessons From The Past (feat. Mari Kattman)', 'Opia (feat. Pieter Van Vaerenbergh)', 'Peace Paradox' and 'Starstruck (feat. Diana S.)' explore the deeper and more conceptual end of Shelpe's songwriting.

The whole album is perfectly balanced between accessible and dance friendly electronic music and more progressive and even cinematic aspirations. Schelpe pulls it off with ease. The whole album is a delight to listen to and the production is wonderful sounding right up-to date and crisp throughout.

Even the bonus remix CD throws out some unexpected delights in the form of 'Wild Ride (feat. Miss FD) (Alex Dalliance remix)', 'Opia (feat. Pieter Van Vaerenbergh) (Liquid Divine remix)', 'Not What I Expected (feat. Fallon Nieves) (Cutoff:Sky remix)', 'Alcubierre Drive (feat. Kyoko Baertsoen) (KONER remix)', and 'Wild Ride (feat. Miss FD) (Girlflesh remix)' in particular taking the originals and taking them off into new and intriguing directions.

'Seven Sorrows, Seven Stars' is perhaps the most complete and sonically stunning album in the Psy'Aviah back catalogue to date. Once again Schelpe has pushed the boundaries of electronic music and continued to explore and experiment with different approaches and it has once again paid off for him. Simply, this album shows why Psy'Aviah is one of the stand-out names on the Alfa Matrix roster.

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Review: Abbey Death – 'Realignment'

ABBEY DEATH
'Realignment'
SELF-RELEASED

Valerie Abbey (Gentile) & Abbey Nex come together to form a brand new entity in Abbey Death. The duo known respectively for their contributions to luminary acts such as Combichrist, The Crushadows, Psyclon Nine, Angelspit, Genitorturers, and Black Tape For A Blue Girl meld their experience in gothic, industrial and darkwave music into a rather unique product. The band's début EP, 'Realignment' is a heady cocktail of industrial electronics, gothic style dual vocals, and darkwave guitars and beats. It is a formula that at first glance doesn't look all that special but with the experience and skills of these two central to the process it takes on an instant identity all of its own.

The EP kicks off with 'The Outside', a wonderfully dance-friendly blend of classic gothic rock elements and modern experimental electronics that is instantly addictive. 'Subtract Your Mind' moves into a more electronically dominated direction that has an air of late 90s Genitorturers meets Bella Morte vibe to it that while nostalgic in a sense, doesn't sound at all dated.

'Dirty Confessional' perhaps is the most scatter-gun sounding in its execution, however the elements are there – nice grungy guitars, and those late 90s style industrial rock electronics – it just doesn’t quite live up to the other tracks on the EP. The track list is brought to a close by the dirty and nasty 'Star Mercia' that delves headlong into Wax Trax! and Nothing era industrial rock for an instantly classic sounding finale to an enjoyable début.

In terms of the production there is a rough and ready vibe running throughout that is reminiscent of a cassette release. It isn't a bad thing though, it adds to the grungy rebellious atmosphere of the songs and actually compliments the more experimental and heavy electronic elements.

This is a very promising début from tow artists who individually already have the tools and experiences to craft great music, so together they should continue to create something truly special. Hopefully they will continue to explore this partnership on a full-length release sooner rather than later.  

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Lucky Thirteen: The IVM guide to... Doom Metal

Welcome to Lucky Thirteen, a new series of beginners guides to a number of musical genres old and new. For the first instalment we thought we'd look at one of heavy metals most fundamental but perhaps most underrated genres – Doom Metal.

The idea behind Lucky Thirteen is to give you an introductory selection of bands, albums and tracks that will undoubtedly start you on the slippery slope to full-on obsession. Or it might put you off entirely.

The history and development of Doom Metal is linked to the heavy metal genre as a whole. Starting with Black Sabbath's eponymous début album in 1970 the formula of slow, heavy and dark riffs has been at the core of the sound, and while new genres have appeared and developed in their own ways, these styles, such as death metal, black metal, gothic metal, and even industrial metal have all fed back into Doom and served it's evolution making it perhaps the most diverse genre in the metal spectrum.



1. Black Sabbath – 'Black Sabbath'

As we said in the above paragraph, it all begins with Black Sabbath and in particular the first album. Coming from a blues and hard rock background the band from Birmingham established the fundamentals of all metal to follow on their début. The signature tritone of the opening track 'Black Sabbath' with its slow and sinister pace, horror-influenced lyrics, thick bass line and macabre atmosphere set the standard for the doom genre to live up to.





Essential track: 'Black Sabbath'

2. Trouble – 'Psalm 9'

Americans Trouble crafted a landmark doom album with their 1984 début 'Psalm 9'. While Black Sabbath had laid the groundwork for the genre it wasn't until the 1980s when it would begin to coalesce into a separate entity from the first two waves of heavy metal bands. 'Psalm 9' married the influence of Sabbath and Judas Priest into a psychedelic mess of grooves and riffs that is thunderous to listen to. The band's influences may be English, however this is pure American muscle.






Essential track: 'The Tempter'





3. Saint Vitus – 'Born Too Late'

Along with Trouble, Saint Vitus' first album was arguably one of the first defining doom releases that would help establish the genre as a whole. However, it is the band's third album 'Born Too Late' that would be the band's most influential and successful. The first album to feature former The Obsessed vocalist Scott 'Wino' Weinrich, 'Born Too Late' is a thick concoction of sludgy riffs and gloom that would serve to be a big influence on not only later doom bands but also on the stoner rock and grunge movements that would follow.





Essential track: 'Dying Inside'





4. Candlemass – 'Nightfall'

Candlemass' début 'Epicus Doomicus Metallicus' established the principles of “Epic Doom Metal” with their mix of slow hard power chords and operatic baritone vocals. But with the arrival of new vocalist Messiah Marcollin came a new injection of ideas and 'Nightfall' reaps the benefits. This is the album that established Candlemass as a name in the growing doom metal scene and it is quite rightly considered a classic and influential album.






Essential track: 'Samarthian'





5. My Dying Bride – 'The Angel And The Dark River'

Along with contemporaries Anathema and Paradise Lost, Yorkshire's My Dying Bride would find their roots in death metal before evolving into the resplendent gothic melancholic doom metal they found on this album. The band's sound here was built around keyboards, violins. The pace was unremittingly slow throughout and vocalist Aaron Stainthorpe completely dispensed with his previous death grunts in favour of a more vulnerable and tortured style. The result is an undeniable and influential classic.





Essential track: 'The Cry Of Mankind'





6. Paradise Lost – 'Draconian Times'

Halifax natives Paradise Lost originated and perfected the death doom sound on their first couple of albums, and invented the gothic doom/metal moniker on their 1991 sophomore release. But the moniker didn't truly fit until the release of the heavy and despairing 'Draconian Times' augmented by opulent keyboards, varied pace, and a mix of hard and deep vocals, 'Draconian Times' saw the stars align for the band and realise the vision they had slowly been building towards.

Essential track: 'Enchantment'





7. Type O Negative – 'Bloody Kisses'

You could argue that the band's 1996 follow-up 'October Rust' was the technically superior album, but the impact of 1994's 'Bloody Kisses' has been the most tangible of the two. Quickly evolving from a mix of hardcore and thrash tinged with gothic elements to a sublime, sensual and at times sarcastic masterpiece of true gothic doom Peter Steele brought Roadrunner records their first gold album with this and became a legend overnight. A lot has been said about this album over the years and none of it lives up to just how brilliant it actually is.



Essential track: 'Black No. 1 (Little Miss Scare All)'





8. Down – 'NOLA'

Despite already being known as the frontman for the wildly successful Pantera, Phil Anselmo had a deep love of doomy sounds. He began writing and demoing the ideas that would become Down in 1990 with Pepper Keenan (Corrosion Of Conformity). The end result was 1995's 'NOLA' a thick mass of sludgy riffs, hardcore style vocals and southern rock grooves. There have been arguments in terms of genre just where Down sit, but there is no denying this album's influence on the doom genre in the years since.




Essential track: 'Bury Me In Smoke'





9. Electric Wizard – 'Dopethrone'

By the time 'Dopethrone' was released in 2000, Electric Wizard were already a name with some weight to them. The band's third album and follow-up to the breakthrough 'Come My Fanatics...' was a definite turning point in the genre. The sound was thick, fuzzy and psychedelic. The vocals were heavily manipulated and left low in the mix. It was an all out onslaught of slow doomy riffs and abrasive aggression. In a decade where heavy often went hand in hand with blast beats, this felt like a complete swerve.




Essential track: 'Funeralopolis'





10. Sleep – 'Sleep's Holy Mountain'

Sleep are quite rightly cited as the ultimate stoner metal band. And 'Sleep's Holy Mountain' is the ultimate stoner metal album. Thick crunchy bluesy riffs and bass and watery vocals give the album a very 70s sound, but it doesn't sound dated, even by today's standards. It's thick, fuzzy sound has been the benchmark for the stoner metal scene ever since, and while bands like Kyuss and Monster Magnet were more successful, Sleep remain the kings.





Essential track: 'Dragonaut'





11. Cathedral – 'The Carnival Bizarre'

Cathedral had already been signed and dropped by a major record label by the time they released their third album 'The Carnival Bizarre' in 1995. The band's last effort had been a great blend of grooves and up-tempo writing. But for their third album everything came together perfectly with the band fully defining their sound and recording the most concise track list of their career. This album is home to some venerated classics not only in Cathedral's back catalogue but of the doom genre as a whole.

Essential track: 'Hopkins (The Witchfinder General)'





12. Anathema- 'The Silent Enigma'

The band's second album and first to feature the more diverse vocal style of Vincent Cavanagh saw Anathema branch out from death doom to incorporate gothic and progressive elements into their song writing. The end result, 'The Silent Enigma' is a true classic of the genre, even if it is possibly the last overtly doom metal orientated album the band would produce in their long career. None the less it is a strong offering of hard riffs, thunderous rhythms and near cinematic scale.




Essential track: 'Sunset Of Age'





13. Swallow The Sun – 'The Morning Never Came'

The Finns so far haven't released a bad album, which is an impressive run by anyone's standards, but for the sake of argument we're going to highlight their 2003 début 'The Morning Never Came' for this list – though any of their albums would have fit here. Taking death doom and filling ito with great riffs, a slow pace and soaring melodies, Swallow The Sun picked up where the likes of Paradise Lose, My Dying Bride and Anathema left off and updated it with some dark Arctic atmospheres.




Essential track: 'Out Of This Gloomy Light'





That's out first Lucky Thirteen list done to hopefully start you off on the long road to obsession with doom metal. If you think we missed any essential bands, albums or songs from this list please feel free to comment on our Facebook page, or even let us know what other genre lists you'd like to see. Otherwise: Tune Low, Play Slow, And Doom Out!

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