Bosse-de-Nage - All Fours (2015)

First things first: listen to All Fours at Bandcamp.

Bosse-de-Nage is an enigmatic four piece from the Bay Area.  Their first two albums were by-the-book black metal with an emphasis on expressing the qualities embodied in the second-wave.

And then...something strange happened.

The band's sound opened up considerably on III, released on Profound Lore back in 2012.  Specifically, the drummer was given free reign to utterly destroy his kit on practically every track.

That sense of freedom is utterly palpable.  It improved the music tremendously.

After a break to rest and come up with new ideas (one would assume, at least), Bosse-de-Nage has returned with All Fours.  Unlike most other bands, they continue to evolve and improve.

All Fours continues the band's penchant of mixing black metal and hardcore, which usually presents itself as tremolo riffs underpinned by drumming that utilizes the entire kit and has a ton of energy to drive the songs forward. The presentation is often relentless and can be overwhelming.

But the band is not without subtlety.  "Washerwoman" is an example of how they can work in a slow build, only to release the tension in convulsive bursts.

It doesn't hurt that the lyrics written for the album are by turns funny and overtly sexual.  The aforementioned track describes a woman breaking and entering (via a window, no less) a building where a party or gathering of some sort is taking place; the woman will not rest until she's "washed every penis in this room".  Sounds like a joke?  No, that's the actual line.

They are intelligently written and have a certain flair if you can overlook a certain amount of crass honesty.

Overall, a very good record that I expect will be among the best of 2015.

Pallbearer - Foundations of Burden (2014)

When I acquire a new record, my instinct is to avoid judging it on first listen.  I try to go about 5-10 listens, depending on how much I enjoy the record's contents.  In the case of Pallbearer's sophomore full-length, I went five and then tapped out, basically.

Foundations of Burden may not be all that different from previous output, but in terms of presentation the music has been tweaked rather significantly.

Do I enjoy this record?  The simple answer is no.  The reasons I leave for after the cut.

If you're ready to hear why I dislike this record, by all means continue.  If not, then there's no need.  I won't be offended; I know a lot of people like and enjoy this record, and that's fine.

Avichi - Catharsis Absolute (2014)

USBM has a long reach, stylistically.  Bands that are labeled as such pull elements from diverse sources.  It is difficult (if not impossible) to convince anyone that USBM as a whole is a singular scene with a discernible "identity". It is the fact that the "scene" is so fractured that gives my country's contribution to the blackened arts its distinctive charm.

In the case of Avichi's latest, the listener will surely notice that Aamonael (that's a hard one to spell without double-checking) has added elements to the overall sound that are foreign and off-putting.  I don't think anyone really expects the presence of keyboards and clean vocals.  That's what we get here. And while they are well-executed, I can't help but think that they are a distraction.

"Repercussion" is a theme played on piano that is further developed and elaborated upon in the title track.  Seeing as these two songs operate as opening/closing of the record, they obviously take on a greater importance.

That's all well and good, but I don't consider piano to be a necessary element of black metal, and if I wanted to listen to piano, I'd choose something more appropriate.

The three shorter tracks are intense blasts that are played at a fairly high tempo and don't lack for energy.  Not surprisingly, I enjoy these the most.

"All Gods Fall", on the other hand, is played at a languid pace.  It's not a bad song, necessarily, but it's a bit directionless and lacks the intensity shown in the previous three tracks.  Also, since there are no engaging rhythms (in addition to the aforementioned lack of intensity), the song really doesn't draw me in like it should.  An epic-length track needs good pacing, solid rhythms, and maybe a touch of melodic content to really shine.  "All Gods Fall" lacks all of these things and basically goes nowhere.

When Catharsis Absolute is really cooking, it is a strong and enjoyable listen. Unfortunately, the variety that most will likely praise turns out to be its undoing to my ears.

Yakuza - Beyul (2012)

First things first: listen to Beyul on Bandcamp.

Beyul is more or less a continuation of Yakuza's last album, structurally, at least.  Minus the intro track, the album's songs basically follow the same pattern as those on Of Seismic Consequence.

Musically, the album starts with the transformation that took place between Transmutations and Of Seismic Consequence.  There was a pronounced emphasis on clean vocals, which has increased here.  This can be positive or negative, depending on the song and melodic line.  "The Last Day" combines the softer, more contemplative side of the band with the crunching riffs and soaring vocals.  The arrangement twists around unexpectedly, making it a fresh listen each time around.

Two of the tracks are noticeably shorter and exhibit more punk or grindcore influence.  These stand in opposition to the rest of the record, which can get a bit grandiose.  That said, I appreciate the progressive nature of Yakuza's music.  They have a unique take on avant-garde metal, saxophone and all. Sure, it's easy to point to the saxophone and say that's what separates them from the pack.  Maybe it does.  But honestly, the band writes great songs.

There's also a bit in "Man Is Machine" where the band outdoes pretty much every doom band I've ever heard.  Just after the intro, there's a massive slowdown as the vocals come in.  Whatever metaphor you might think of for something so slow and almost painful to listen to (masochistically, of course), this part of the song embodies it.

I would classify Beyul as a step forward for the band, despite the similarities to the last album.  They continue to refine their attack and get better. Underrated.

Ludicra - The Tenant (2010)

First things first: listen to The Tenant on Bandcamp.

Overall, I think there are five killer tracks on this album.  Six if you count "Last Train" (it's a bonus, literally).  The other two tracks aren't bad, either. Well, to be honest, the title track doesn't really do it for me, and I think "Last Train" is a far better closer.

The Tenant is not really a black metal album.  There are certainly some aspects of the sub-genre that are readily visible, but on the whole it is something more creative and wide-ranging.  The drumming is energetic and idiosyncratic.  And the guitars sketch out lines that are progressive in nature, even when utilizing the ubiquitous tremolo picking technique.

The song structures are somewhat atypical.  I don't think there's an actual chorus on any of these songs, though verses do get repeated on occasion. Some riffs come out of nowhere (such as in "Truth Won't Set You Free") and then end up being the backbone for half of a track.

In case it wasn't completely evident, it's difficult for me to talk about this album in an objective way.  I love it that much, and I would periodically kick myself for not being more familiar with the band before.  As it happens, they broke up in 2011, which makes it look like they went out on top.  That's not such a bad thing.

I can only hope that I'm so lucky.

To me, The Tenant was the best album of 2010.  When the band is firing on all cylinders (i.e. "In Stable", "Clean White Void", the aforementioned "Truth Won't Set You Free"), they are pretty much unstoppable.  Even when they aren't, they're still pretty damn compelling.  A unique and powerful band that is and will continue to be missed.

YOB - Atma (2011)

I got a late start in 2011.  It was around July when I first began to delve into the new music released that year.  Then Atma was released and I was content to call the race; the album clobbered me into submission with sheer greatness.

One thing I remember most readily is that I first listened to the album on NPR.  Even with my best pair of headphones, the sound was not the best, but it was good enough to let me hear the intricacies of the record.  Then again, the record isn't that complicated.  What you've got are a bunch of riffs, some rock-solid, four-on-the-floor drumming, and unobtrusive bass that nevertheless manages to make an impact.

And then there's "Before We Dreamed of Two" and the mind-altering guest spot from Scott Kelly.

If that wasn't enough, there's also the excellent closer, "Adrift in the Ocean".

Let's go back to the beginning, though.  YOB plays doom metal.  And unless my ears are deceiving me (always a possibility), they're one of the few bands in the sub-genre that actually get it right.  Doom metal in general is meant to be slow, but that doesn't mean it has to be ponderous or a chore to listen to. In fact, YOB already has an album to their credit (Catharsis) that stands as one of the best.  There's an emphasis on guitar riffs as well.  Vocals can be a bit of a mixed bag; YOB guitarist/vocalist Mike Scheidt has a variety of voices at his disposal, from low growls to high wails.  In general, the vocals are more melodic than most and add an element of unpredictability to the mix.  One thing other reviewers have noted is the tendency for Scheidt to grunt at precisely the right time.  This tendency usually leads to massive headbanging by the listener.  If I had any doubts that these guys are professionals, they'd be assuaged already.

"Prepare the Ground" and the title track are both fairly straight-forward.  Here one might note that the production sounds considerably dirtier than their previous release, The Great Cessation.  Despite the instruments seeming to occupy the same space in the mix, the snare is quite clear and distinguishes itself.  "Atma" takes a detour into a reverse gallop rhythm (two sixteenth notes and then an eighth note, repeated) that is quite tasty.

"Before We Dreamed of Two" is divided into two halves, more or less.  The first half is slightly more uptempo, exploring a riff that sounds like a variation of what's been played in the previous two tracks.  Then it crawls to a stop and Scott Kelly steps in for what has to be one of the most effective guest spots in recent memory.  He and Scheidt have a nice exchange through the next 6-7 minutes.  It really ramps up around 12 minutes in.  This section is decidedly slower than the rest of the album, but it is so well done that I wish there was more of it.

The next track is the one weak spot on the record.  "Upon the Sight of the Other Shore" really has nothing wrong with it, besides dividing up the epic third and fifth tracks.  But for whatever reason, it doesn't hold my attention as well as the other songs.

"Adrift in the Ocean" closes the album.  It is divided into (roughly) three sections.  The first section is quiet and eventually builds into the main riff that anchors the second section, which has a fairly standard verse-chorus structure.  The riffs and vocals work really well in tandem here.  Basically, a melodic vocal line is married to the main riff of the song, which is then repeated at the end of the chorus an octave higher.  The effect is amazing. The third section includes an epic melodic line on guitar.  It builds up with multiple guitar tracks, sounding more like orchestration.  Scott Kelly adds some percussion here which stands as a nice break from the relentless pounding the drums normally provide.

Atma remains the best album of 2011 on the strength of its songs.  YOB created something here that transcends doom while embracing all of its trappings.  They have shown a way forward which few others have been willing to take.  A true achievement.

Vhol - Vhol (2013)

UPDATE: listen to Vhol on Bandcamp!  Yeah!

Before I heard a second of music from Vhol, I knew their album was a must-have.  Any time a group of musicians like this gets together, I think it's worth at least a cursory listen.  And even though they're all involved in underground bands, this band evokes a "supergroup" in the classic sense.

Usually, supergroups are disappointing.  With so much expectation behind what they'll sound like and how great they'll be, it's no wonder.  Vhol sidesteps the expectations by going back to their roots instead of trying to build on what came before.  Instead of trying to write The Tenant 2.0 or make blackened doom (or some such combination of Ludicra and YOB's aesthetics), the band goes back to basics while adding elements of crust and melodic guitar playing heard in Hammers of Misfortune.

After nearly 90 listens, I feel like I have a handle on Vhol.  The music is generally fast-paced, with tremolo lines alternating with melodic leads.  Mike Scheidt's vocals are often doubled with an emphasis on low growls and higher-pitched shouts/screams.  These often occur simultaneously, much like Chris Cornell's vocals on Superunknown.

The standout tracks are "Grace" and "Arising".  Upon first listen, "Grace" didn't really grab me.  Of course, hearing the song in context is different.  A common thread between both tracks is that they are even more aggressive than the rest of the record (no small feat, itself).

Still, despite those great songs, and a generally strong album overall, I feel like Vhol have merely scratched the surface.  Yes, this is a great album, and one of the best of 2013.  I feel like they can do more and do it better.