So much has happened in the bubble world of guitar rock over the last 17 years. Coincidentally, this happens to be the amount of time that has passed since Oxford, England, 4 piece Ride released their last album. That album, Tarantula, bore many of the hallmarks of a rapidly sinking ship: lyrical arrows aimed at band mates, further stylistic alienation, and the real kick in the shins – having the album deleted by the label that released it, one week after the initial release. It seems that time has been kind to that particular record and to the band’s discography in general. Thankfully for fans of the band co vocalist/ guitarist Andy Bell has a serious inclination for writing elite songs whether it be in projects Hurricane #1, Beady Eye, Oasis, or Ride.
A band known to many. A band singular in vision and unity. A band willing to expand and ebb and flow and mix genres. A band that helps others express themselves artistically through their record label Neurot. A band whose individuals members have the same vision, integrity, and strength as the whole does. ( They have a fucking back patch that says “strength and vision” for fuck’s sake).
Steve Von Till, like the band he is part of, needs no introduction, but I’ll give a little one: he is the co-guitarist and co-vocalist of the band mentioned above, and like every other member of the band, he has side project(s) that are his vision of music, catharsis, and expression. Harvestman is the side that loves drone, ambiance, psychedelia and folk, as shown, once again, on the new album “Music for Megaliths.”
Prog-Metal and prog-rock tend to get thrown around a lot these days, with many of the new bands growing up with massive prog bands such as Dream Theater being their influence, flaunting and showing their chops with six string arpeggio sweep picking techniques, odd time signatures and a massive amount of chops in the riffage department. This can lead to great music but also to undeniable wankery and pretentiousness that can cause any amount of cohesiveness to be lost in translation.
There is the flip side to this coin, where there is a vast amount of musicianship, but song craft and layers are used, creating a sound that is vastly under rated and under appreciated. The band Zombi comes to mind, the duo who create prog-rock as a love letter to the 1980’s horror movies that we all love and cherish, where sounds come together to create an amazing sound wholly reminiscent while also being entirely their own.
Painting in shades of Ben Frost, Tim Hecker and Bohren & der Club of Gore, Houston ambient artist No Funeral creates a darkly blissful cinematic experience. The project’s debut full-length album, titled Nonexistent, will officially be released tomorrow, April 21, via Bandcamp ( a limited cassette will be available in June through Halfpear Records). Though mostly devoid of lyrics, the record’s sonic narrative follows a character who comes to terms with the self and finds some kind of peace in nihilism.
Svbterranean recently caught up with the mastermind behind No Funeral to give us a track-by-track breakdown of his new release.
Secretive Greek/Swedish collective Shibalba have released a new track from their forthcoming album, Pyschostasis – Death of Khat, which is due out on April 30 via Agonia Records. Titled “Aether Ananda Aiwass”, the lurching 7-minute tune swells with dark ambient fervor, meditative drones and a haunting, ritualistic atmosphere. Check out the track along with the official video to their previously-released single, “Opening the Shadow Box”.
Pre-order the record here.
Throughout their storied and lengthy career, Ulver has been in a constant state of flux. Starting as perhaps the first ever folky black metal band, no one could have envisioned where Ulver would end up, more than 20 years later. Of course, that could just as easily be said album to album, and on The Assassination of Julius Caesar, the Norwegian group’s 13th proper studio release, Ulver has once again turned expectations on their head, and challenged listeners by making the most straightforward album of their career. And it’s absolutely brilliant.
I am a firm believer in the fact that the seasons influence my listening, and from what I can gather, the listening habits of others as well. Below The House, while an absolutely awesome record, also had the good fortune of reaching my ears on a day where it’s melancholy, delay washed warmth, fit the grey skies and slowly melting snow of my surroundings.
Photo by Mark Dawursk
Chicago-based guitarist Trevor Shelley de Brauw (Pelican, RLYR, Chord, etc.) has premiered his new track “A New Architecture” via CLRVYNT. The track is the opener off of his forthcoming debut album, Uptown, which showcases his penchant ambient, moody experimental rock as a solo artist. Check out “A New Architecture” after the break. Continue Reading
The 2nd solo album by Zurich based Verena Von Horsten is anything but a pedestrian listening experience. Horsten’s sheer musicality is off the charts as she performs all the instruments on this recording. Not only that but the theme of the album deals with dissolving the stigmas associated with suicide. In the case of Alien Angel Super Death these themes are explored in an intensely personal manner as Von Horsten copes with the suicide of her brother Hakon. Continue Reading
Trevor Shelley de Brauw, guitarist of Pelican, RLYR, Chord and others, has premiered his new track “From the Black Soil Poetry and Song Sprang” via AV Club. The lengthy track is off of his forthcoming debut album, Uptown, and showcases his foray into solo ambient, experimental rock. Check it out after the break. Continue Reading