Baroness recently released the much lauded Yellow & Green on Relapse Records; an album which has split opinion like no other record has this year. We were lucky enough to catch guitarist Peter Adams for a little interview whilst the band are on tour in Europe. Hopefully it sheds some light on the Yellow & Green recording process and the impetus for going ahead with such an ambitious project. Check out the review here which the guys over at Scene Point Blank very kindly allowed us to publish.
CVLT Nation: Yellow & Green signifies a slight change in direction for Baroness (although, listening to Blue Record recently I definitely heard a few things that laid the foundation for some of the sounds heard on the new record – more melody, a mellower feel, clean vocals), was that a deliberate move? Or did the shift come about more organically than that? Was it the result of growing as people, and dare I ask, getting older?
Peter Adams: I think it’s a culmination of a lot of these things. We had a lot of new ideas and we wanted to get them out now. In the past, vocals were always an afterthought so we took time for them early on in it. We wanted to start using them as an instrument. The whole process was just as organic as the last. We just sit down and start somewhere and roll with it.
CVLT Nation: I’ve seen a couple of reviews/journalists mention that perhaps this is the band Baroness was always meant to be; would you agree with that?
Peter Adams: No, not necessarily. Every record we write will always be a little different the last while at the same time, we need to keep the music interesting to us. Who knows how we will be feeling when we sit down to write the next one. One thing for sure though, is that we do play these songs with greater ease and comfort on stage which is what we wanted for this album.
Hit the jump to continue reading!
Review source Sludgelord
Black Science play a highly original mix of Psych Rock, Space Rock and Stoner Metal to brilliant effect. This brilliant band have been on the blog before with their excellent album – Cosmodemonic & Beyond.
Which had an excellent mix of Psych Rock. Space Rock and huge lashings of sublime Stoner Rock which took you into the far reaches of outer space.
Well Black Science are back with their heaviest and most intergalactic work to date. Nothing much of the music has changed from their last excellent release. Just that everything is a bit more trippier and very louder.
An Echo Through The Eyes Of Forever – is a 7 song and 54 minute blast of Space Rock riffs mixed with even more bombastic Psych Rock/Stoner Rock carnage.
The album does have a fairly cool story to tell in each of the songs which I am not going to describe as some of them I don’t know what they are on about. Only Black Science truly know what goes on in their own take of Intergalactic Space Rock.
If you don’t know, now you know: CVLT Nation fucking digs Brazil’s Deaf Kids because they rock beyond disbelief! You can peep their new EP split with Mito da Caverna HERE, and I know for a fact you will not be disappointed. Deaf Kids recently went on a tour around Brazil where they set stages on fire and gained even more fans. Today is your lucky day, because we have some stellar footage from one of their shows. After you see this band do their thing, I know you will be a fan! CVLT Nation & Boue Records have some special things happening in the near future with Deaf Kids, but in the meantime, watch their ballistic set after the jump!
Do you ever have those nights where you go to a show to see one band, but it’s another band that blows your mind? This is what happened to me in 2001 while I was living in Seattle. I made my way one night to the Graceland, and this band from Denton, TX called Lift To Experience took everyone in that room on a fucking magic carpet ride. Their mammoth wall of shoegaze bliss transported us all to a new state of reality. Lift To Experience frontman, Josh T. Pearson, was full of a special light that almost blinded me, but the whole band was a rad unit. I would say that in their short life, this band made a huge difference in the people’s lives who own their records and got to see them live. That night, I bought their only album, The Texas-Jerusalem Crossroads, released by Bella Union. If one band could give Spiritualized a run for their feedback, Lift To Experience was that band. Today, CVLT Nation would like to celebrate this lost American treasure with a video essay of live footage plus a rare documentary. So after the jump, step into the storm and watch Lift To Experience do their thing!
Right now I’m having an extra heavy blast, because I’m blasting XAPHAN in my headphones. Damn, this Minneapolis band has released what might the best demo of the year! Yeah, it’s only two songs, but who cares because they both go balls out and fucking kick donkey ass! XAPHAN’s music pounds you in the skull harder than Roberto Duran’s uppercuts. Their songs have a spectacular groove to them, but at the same time they are super aggro in all the right ways. XAPHAN have the power to conjure up coffins full of sonic mayhem that will keep both the hardcore and metal heads happy. The first song on the demo is entitled “V” and is an all-out onslaught that lasts for 2:41 and will leave you wanting to beat your head against the wall in bliss. Then the next composition is called “I” and lasts for 7:38 – it’s more dirge, while still just as powerful as the first tune. So here is a message to all of my fellow webzine writers out there: spread the fucking word, because this band MUST BE HEARD!!! I know for a fact that XAPHAN will not stay unsigned for long, they are just too fucking rad. All west coast weirdos, you are in luck: XAPHAN will be performing at this year’s Power of the Riff in Los Angeles. I dig this band so much that I will make sure to get there early so I don’t miss them…One strange parting fact: this demo was recorded and mixed on the guitarist’s iPad.
During the month of July 2012, San Francisco’s Wreck & Reference and LA’s Doctorshopper made a short run of the West Coast of the United States. In January, Doctorshopper self-released “Degenerate Utopia” on their Cult of Melancholia imprint, an art and music collective from the Los Angeles area. In April, Wreck & Reference released their follow up to the revered “Black Cassette” with an album called “No Youth” which is available on vinyl from The Flenser. More words and a full black and white gallery of both bands after the jump!
Review via Scene Point Blank
Written by Cheryl Carter
When a band decides (yes, the band, not you and your fanboy mates) to make a little change in their musical approach and try out something new, a couple of things happen. Aforementioned fanboys get up in arms and take to the internet in droves or have the same conversation with different people over and over and over again about how much they hate this new style and that it’s not true to the band etc etc…. Or the older fans relish the fact their favourite band has taken a different route this time around and are challenging themselves and preconceptions of their music and will probably fight those who denounce this new path. Or, the new direction is embraced by new fans and the old guard alike and everyone lives happily ever after. Oh. Hang on. That hardly ever happens.
More often than not, there’s a fairly even split between the two camps and generally those fanatics will soon see the error of their ways. There’s a lot of entitlement in metal nowadays (well, ok, there always has been), but the information age has made it a lot easier for said people to shout about how awful things are without really delving into the reasons behind a shift or experiencing the new material as whole or realising that the band have made a record they wanted to make and not something that pleases you in particular. Bands don’t owe you anything, and if they feel like their creative course has ran but they still enjoy making music together, then fuck, let them!
This brings us nicely to the newest Baroness record(s), Yellow & Green. New songs were premiered and lo and behold, the outcry began. “Oh, it’s not what I want to hear, it’s awful, it’s shit, I can’t believe they’ve done this to me!” Of course you’re not going to please everybody but when you look at Yellow & Green for what they really are – the musical developments of a band that have already produced two genre defining records, then all will become clear. Baroness took quite a substantial amount of time to prepare and release Yellow & Green and of course the challenge of a double album is always one to be concerned about, but this band don’t do things by halves and have constantly pushed for that extra something. Here they’ve produced two astounding full lengths and whilst Yellow is a little stronger than Green, both hold within their hearts loss, despair, and a twinge of sadness coloured with the hazy warmth of remembrance and the beauty of renewed hope.
Read the rest of the in depth review after the jump!
The bastard children of SST records are those humans that are just too weird to put a label on – they defy being put into a box. These extra weird humans are probably some of the most creative beings on the planet & are not driven by money. They are plugged into a whole different energy source when it comes to being creative; many times these kind of beings are very communal. In 1994, a rad band was formed by Brian Chippendale & Brian Gibson; together these two are Lighting Bolt, the super awesome noise group. When I lived in Seattle, I was lucky enough to see them perform outside of an art gallery. It was so epic seeing people climbing trees so that they could see the show. These two straight ripped shit & the crowd responded by showering the band with their kinetic flow of love. That day, I found out that this band hates to perform on stages, which I really dig, because they want to be on the same level as their fans. To me, Lighting Bolt’s music is way more aggressive & punk rock than many of the bands that label themselves as such – this is a band that does not ask for respect, they have earned it. In their hometown of Providence, RI, they are a part of a healthy creative community that they fully support on many levels. I’m not going to review one of their releases, because to me what really unites everyone is their live shows. So today, CVLT Nation has found stellar live footage of Lightning Bolt so you can see for yourself punk rock in a pure form. By the way, we are not different, we are the NORM – those who call us weird are the real weirdos. In front of & after the jump enjoy the Lighting Bolt experience.
Horseback started as a solo project, an intensely personal one at that. Your debut record was, as you’ve described, as a way to deal with you being diagnosed with OCD. It sounds like the sort of thing that one would be hesitant to even release into the world. The music has grown and evolved so much since then, and Horseback has shed the solo drone project tag quickly. Did you ever think that Horseback might become anything more than a bedroom project?
I didn’t intend for it to be more than that while I was recording the first record or two, but things change. I’d say it gained greater potential after The Invisible Mountain was reissued by Relapse in 2010. That brought in some offers from festivals, which allowed us to get out on the road for a bit. Last year, we played the Utech Festival with Locrian, House of Low Culture, Plotkin and Mueller, and William Fowler Collins, among others; the Boomslang Festival with Swans, Pelican, Sir Richard Bishop, and others; and Raleigh’s Hopscotch Festival with dozens of other bands. Still, those opportunities are rare, and since the guys in Horseback’s live lineup are all involved in a bunch of other bands (Caltrop, Airstrip, Hog, and Monsonia, to name a few, and I’m often busy with Mount Moriah), live Horseback shows have become more of a special occasion thing than a regular thing.
So the project remains largely a bedroom project, a creative pursuit that allows me to focus my energy in a daily practice, but sometimes we’re able to mobilize the live band for short tours.
Read the rest of this interview after the jump!
One record that has been played every day in the CVLT Nation HQ since we first heard it is Perpetual Flood by Seattle’s Perpetual Ritual – check out the stream and review HERE! We got a message the other day that there is now a visual for the tile track, “Perpetual Flood,” directed by American Ghost Dancer. Just like the record itself, this video is pure white magic that will have you under it’s spell. So after the jump, get your groovy cult on and peep this visual!