We are now in the throes of the "Best of 2011" music, film and pop culture lists, and I've submitted two and I am preparing to do a third for the Village Voice's Pazz and Jop music critics poll. As I have done for the past number of years, I reviewed a lot of music, but my personal preference veered towards listening to previously released material. As like in 2010, I was greatly influenced by going to shows as a reviewer, the Maryland DeathFest, which is always a great opportunity to check out new and previously established bands, and podcasts, my favourite being WFCS's Gateway to Oblivion, which might not be continuing in 2012. DJ Dave Polce's musical tastes were simply incredible, and I was really happy to gain more musical knowledge and appreciation of those bands that fit into the stoner / doom realm.
Here is the list of bands that I have previously submitted to publications this year. This is always difficult, as there are more albums that I really enjoyed but for various reasons as a 'critic' I did not put on the list. In terms of reviewing, I'm interested the production and mixing quality, the versatility of the music (does every song sound the same?) and originality. Are they doing something unique? Are they merging musical styles together in a cohesive manner? Music listening is extremely subjective, and over the years I've learned that the only opinion that you need to pay attention to - especially with online lists where people can comment - is your own.
Tombs –Path of Totality (Relapse)
Mastodon –The Hunter (Reprise)
Yob – Atma (Profound Lore)
Hail! Hornet – Disperse the Curse (Relapse)
Red Flags – Murder the Mountains (Relapse)
Electric Wizard – Black Masses (Rise Above)
Today is the Day – Pain is a Warning (Black Market Activities)
Black Tusk – Set the Dial (Relapse)
Wolves In the Throne Room – Celestial Lineage (Profound Lore)
Atlas Moth – An Ache For the Distance (Profound Lore)
Sulaco - Build and Burn (Handshake Inc.)
In Solitude - The World. The Flesh. The Devil. (Metal Blade)
Surachai - To No Avail (Handshake Inc.)
Here are some album reviews I did for Exclaim! on three of my top 10's:
Wolves in the Throne Room
Celestial Lineage
Black Metal might be the only genre of music where the artists are vilified if they become too public. In 2011, there were bands that got slammed for trying to make a name for themselves and bands that you desperately wanted to get more attention, as their music was, while an acquired taste, perfectly executed. Celestial Lineage falls into the latter not because it isn’t for the faint at heart and not because it is ‘brootal,’ but because it is masterful, intense, beautiful and rich with wonder. After six or seven listens you still find lush passages you never heard or felt before, amazed at the story that while difficult to articulate, runs from “Thuja Magus Imperium” to “Prayer of Transformation.” Sure the brothers Weaver live on a self-sufficient farm somewhere in the remote part of Washington State, and there are rumours that Celestial Lineage might be their last, but the band’s fifth album has definitely made a lasting impression in the USBM scene and they deserve to have a non-ironic moment in the spotlight.
Tombs
Path of Totality
Mike Hill is a no-nonsense kinda man. Despite his rugged exterior and his seemingly permanent emotionally vacant demeanour, With Path of Totality, it was evident that the founder of Tombs not only wears his heart on his sleeve, but also his inner turmoil. The third album from the Brooklyn trio is their best, filled with their signature sound consisting of a unique blend of blackened metal, 80’s noise rock and sheer emotion that only comes with the weariness that only age can bring, but was met this year with an infectious vigor. One could chalk it up to stellar production and incredible drummer Andrew Hernandez, and Hill’s first (and successful) attempt on clean singing on"Silent World." The title track, “Path of Totality” with its incredible, heavy riffs, and makes you realize that you don’t need frills to get your point across. Outside of the dark lyrics, and there is a heavy simplicity that hunkers down and urges the listener to temporarily enjoy the dark elements in life, but slowly gives you a way out.
Atlas Moth
An Ache for the Distance
The Chicago band’s second album is, among other things, why more folks should pay attention to extreme music: the daringness to take risks, to meld musical genres that on face value, wouldn’t make any sense, but on an Ache for the Distance, they make it work. While this album isn’t perfect, it is worth a listen because it is unique, beautiful, ugly and messy all at once. There are outlets that would categorize Atlas Moth as USBM, and at face value, perhaps, but they are more than that. Experimental at best, meandering at their worst, the dual vocals of Stavros Giannopoulos and Dave Kush make their music interesting, the layers and textures, especially on “ Gemini” and “Horse Thieves” the sound is lush and full. In an earlier review for Exclaim! It was mentioned that at times there was too much texture, but it is the creativity that led the quintet to be where they are, applaudable. What is also, and probably just, if not more interesting is that melding of USBM, Jazz and blues music, which in thinking about the rich culture of music in Chicago, a great representative of the city, of being (relatively) young and soaking it all and applying it as a muse. There is an honesty in their music that is refreshing.
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