FOR THE LOVE OF METAL
An original effort of epic proportions, Rest takes the music of Neurosis/Isis into the 21st century, with their own unique southern touch. Often, songs this long have me nodding off, but there is enough dynamic fluidity, changes of tempo, pace and styles to keep me interested throughout.
For an album stacked with layers of instrumentation, nothing’s been overwhelmed. The aggressive and melodious parts marry up nicely, and the production isn’t overly busy, although a bit of thinness creeps in here and there. Kroda induces some genuinely mead-swilling moments that capture the feel of nature at its most capricious.
This record adds another solid chapter to a long and storied career. Wino is God.
Chaos Of Forms is stunningly complex, completely vicious and, above all else, a hugely confident release.
While it’s obvious that the album is to be a showcase for the guitar playing, the song is always kept in mind and the solos don’t wander into ‘jam’ (DANGER!) territory. Drover has ensured that the song is the focus and kept things very tight and tasteful. The guitar work and song composition on Metalusion will not allow you to turn this into background music, it’s an album that you will definitely want turned up loud in the car.
For the most part, Dixie Witch straddles the line between southern and stadium rock, and while this album mostly hits the mark, there isn’t that much separating one song from the next. That said, Let It Roll doesn’t drag, at 36 minutes long, so you get your fill before it becomes too much to handle.
A drop of proto-electronica, a dash of Gorguts’ unpredictability, splashes of Florida’s meanest (to add some bite), a little Voivod eccentricity and a beaker of left-field nimble-fingered guitar athletics. Gigan’s mix of ideas sets them way ahead of the tech-metal pack, and although they are a state-of-the-art riffing launch pad into the celestial unknown, that disheveled mad-scientist inventiveness ensures there’s not a hint of any mechanized navel-gazing.
In the hands of a producer who specializes in this style of music (this band was born to work with Sanford Parker), these guys could be capable of a record that sounds even more massive. For now, though, we’re perfectly content listening to one hell of a fun debut, one of the very best Canadian metal/rock albums of 2011, singer or no singer. Besides, with grooves this contagious, who needs a singer, anyway?
Make no mistake, this is not a metal album, this is early, dirty underground hardcore for folks who loved it and miss it, and a lesson for those who have no idea what hardcore is but are open minded enough to check it out. Start here then, go find the bands that influenced Arson Anthem you won’t be disappointed.
Neurosis has been reissuing a lot of their older material of late (see “Souls At Zero” review from a little while back). And while this four-song EP, the first to be released on Neurot back in 2000, doesn’t have the historical significance of prior reissues, it’s certainly worthy of a second lease on life, considering that the title track never appeared on any subsequent release.