Cell Press review (No Funeral Records 2020)

Montreal [*]core band Cell Press venture out with their first EP.

The band Cell Press is only about a year old, but the musicians it is comprised of have been plying their trade for some time. The band is Sean Arsenian, Joey Cormier, Mark McGee, and PQ. If I had to label the music on the self-titled EP, I would call it Punk, but the band does not embrace a particular label and writers are calling them everything from Grindcore to Metalcore to Sludge to Noise so I am going to go with [*]core. Fast, loud, guitar-driven music, sometimes discordant.

There are four songs and a longer track that is referred to as a “noise” piece in the press materials. “Piss Police” is up first and it begins tentatively with thrilling drumming and progressively coagulating guitar riffing, joined later by shouting. “Desert Breath” is like a person running down the street in a flaming halter top who seems to be more concerned about being late than being on fire. “Blacked Out in Verdun” – more great drumming and pensive guitar riffs to twist up the personal cataclysm. “Dead at OACI.” I assume this refers to the Metro Station (but it might not), and it goes from linear, certain riffs to pure mayhem, especially as the end nears. The long track is “My Son Will No the Truth,” clocking in at 11:40 and appearing at the end of the set. It is almost as long as the other for pieces combined. It is the sort of thing you have to just listen to and let happen. Describing it wouldn’t really get us anywhere.

Noisy and enjoyable, I give this Cell Press effort high marks. I am a Punk fan from the beginning, and I hear those roots here, certainly in the attitude, even if the category is technically off. The disenfranchisement is very appealing. Recommended.

You can buy the digital at Bandcamp, No Funeral Records has a cassette and T-shirt, and Ancient Temple Recordings will also be carrying products. Links below. The official release date is this Friday, November 27.


Bandcamp, https://cellpress.bandcamp.com/releases

Facebook, https://www.facebook.com/cellpressmtl

Ancient Temple Recordings, https://ancienttemplerecordings.bigcartel.com/

No Funeral Shop, https://store.nofuneral.ca/product/cell-press-t-shirt-t-shirt-cassette-bundle

Cell Press review (No Funeral Records 2020)

Jupiterian, Protosapien review (Transcending Obscurity 2020)

Jupiterian brings another round of atmospheric doom into the world straight from the heart of South America.

The four-piece metal band from São Paulo has been building its reputation in the heavy scene brick by brick over the last five years. Their first album, Aphotic (2015), is an impressive entry into the musical world. It oscillates between a traditional Doom Metal approach and Funeral Doom, pressing forth with a gargantuan heaviness. Terraforming (2017) begins like an ayahuasca chant with “Matriarch” and pushes on to turn and rise like a lumbering, impossibly tall giant tilling the planet for its on purpose and design. These two albums were early signs of things to come – the first two steps.

The latest release begins with heavy brass horns blaring threatening blasts and what sounds the distance metallic pounding of an enormous hammer against the hull of an ancient, derelict spaceship. Dripping water, buzzing insects, and then “Mere Humans” takes off. The sound has a sharp edge along with the weight of the vocal, guitar, and rhythm space. “Voidborn” thrums your sensibilities into raw strips with its insistent, insidious probing, turning almost frantic in the second half. “Capricorn” brings a stormfront of distortion that resolves in a blistering lightning storm, and “Starless” feels like an incarnation of hopelessness. The final song is “Earthling Bloodline.” It is the essence of “Protosapien” and the plain expression of album’s theme. Drawn out, deep growls (as if from the depths of the earth) surrounded and infused by thundering bass and guitar motions, kept on track by relentless, inexorable percussion.

Doom Metal is the organic center of the music from Jupiterian, enhanced by related genres at the command of the composers. Across their three albums there is a movement in the music’s complexity and presence. With the latest release, having heard the first two, you can detect a clairvoyance in the entity that is the music the band has created. Highly recommended.

Protosapien is out now. Transcending Obscurity has some amazing format variants and merch – the vinyl is a genuine showcase for the cover art by Mariusz Lewandowski. The download is available through Bandcamp and other fine vendors.

Band photo by William van der Voort.





Jupiterian, Protosapien review (Transcending Obscurity 2020)

Hymn, Breach Us review (Fysisk Format 2020)

Hymn is back with Breach Us, a further exploration of the chaos that exists in the sludge.

There are only two members in the Norwegian band Hymn, Ole Ulvik Rokseth on guitars and vocals, and Markus Støle handling drums. The Spartan simplicity of the membership is not obvious in the music, which has a robust and full sound. We might have to categorize the music as doom or sludge, but it is more of a duopoly of heavy inspiration, really, writ large.

Perish was the first album by Hymn, released in 2017. It is a dramatic piece of adventure, like scaling a mountain in a free climb. Breach Us is more polished and refined in all aspects, ranging from the vocals to the compositions themselves, even in the parts that seem improvisational in their rawness.

There are four songs on the new album, and it definitely has a Side 1 and Side 2 feel. “Breach Us” and “Exit Through Fire” are the first couplet, and these songs bear the greatest resemblance to the first album both in the singing and the presentation of the drums and pulsing riffs. Guest appearances by David Johansson and Guro Moe add greater depth and broader reach to the second two entries, “Crimson” and “Can I Carry You.” This is especially noticeable on the latter, which has distinct movements in the fourteen and a half minutes of the song that demonstrates shifts in feeling and style. The biggest single presence throughout is the strumming guitar that generates heavy riffs, occasionally perpendicular to each other. There is a pliant verisimilitude that permeates these musical creations, and it gives me the feeling that Breach Us portends ascent.

CD, vinyl, and download formats are ready to go at Bandcamp, and of course you can stream it all at Spotify and the other usual places.

Cover art by Danny Larsen.






Hymn, Breach Us review (Fysisk Format 2020)

Serpent Omega, II review (Icons Creating Evil Art 2020)

The drought is over – Serpent Omega returns after seven years with the sequel to their praised debut.

Centered in Stockholm, Serpent Omega describe themselves as a “sludge/doom/black/death/war metal” band. That covers a lot of ground, but then so do their compositions. Doom, certainly, and between Death and Black, I would say they lean toward Black Metal. There is enough crossover here to catch fans lingering along many edges. The guitars land heavy riffs, the bass is on overdrive, and the vocals are earnest and aggressive. Thematically, the message is despair and darkening, hopelessness even. There are moments of more active assessment and description sprinkled among the scenes of ruin and in general there is always an air of menace, sometimes understated and sometimes not. The darkness is always – it hangs in every corner of this album.

There are a couple of pieces that stood out on my first listen among the seven included in II. In “Rivers of Reversed” a warbling, distorted bass line takes over in the middle and is joined by melodic vocals. As the song progresses toward the end, the vocals become strained, increasingly agitated like a deteriorating mental state. “Through The Gates” is a radio-length up tempo howler about moving past a landmark with focused intentions. The last track is “Av Aska,” which means “of ashes” in English if Google is correct. It is a solemn whispering song, a kind of funereal meditation in a way, and an excellent choice to wrap up the many threads of this eclectic album.

Available Friday, September 4, Bandcamp is perhaps the best bet now. There are rumors that physical versions will be available soon. “Land of Darkness” and “Orog Nuur” are available as singles on Spotify right now if you want to get a listen in before the full set drops.

Band photo by Jonas Husbom.






Serpent Omega, II review (Icons Creating Evil Art 2020)

Merlock, that which speaks … review (2020)

Merlock unleashes an intense labyrinth of ruin and decay with the epic EP that which speaks…

This Spokane, Washington foursome released a three-song demo in 2018 that had great, traditional sounding metal reminiscent of Ritchie Blackmore in a dark mood. This new one is different, more straight ahead doom and sludge, and with even grimmer themes than the 2018 songs. The press photos of the band are tongue-in-cheek and light hearted, but the lyrics sure aren’t. How about this stanza from the leadoff song, “spit out your purple lung/they will drown you/as you learn to swim/so claw your way to the surface,” and then this, “your reality devoured/in this realm of hopelessness/disgorge your viscera/abandon your human form.” Not exactly a traditional letter home, eh?

A lonely hum and a faraway bass line eases you into “Idolon,” the first song on the album. The build is steady then steep, with heavy a bass presence throughout and hammer drop cliffs in a couple places. The vocals alternate between hoarse shrieks and melodic incantations. A wailing guitar solo closes the door near the end. “Prolapse” is next, and is more up-tempo and has a death metal tone to start, before turning Opethish then clamping down on the doom artery at the halfway point. “[vessel]” is a song where the music is the absolute perfect match to the narrative of the lyrics, “wandering through this world barren of true light/the moon eats shadows on a sun it swallows whole.” Hopelessness objectified. The last word is “Condemnation,” which seems fitting. Don’t let the peppy opening vamp fool you – the path ahead is dour in the extreme. The vocals at the beginning are a hissing reptile, and at the end, a disembodied tortured spirit. This album is an experience, and it will put you in a very particular place. I really got into this music and I can’t wait to hear what Merlock does next. Recommended.

Out now and available at Bandcamp, that which speaks… is ready for the taking. It is labeled as an EP, but with a running time of just over thirty minutes, it is as long as a lot of “full-length” albums I have bought in my day.




Merlock, that which speaks … review (2020)