Pelican have always been a steady presence within the rock scene despite taking a step back after the release of 2009s What We All Come to Need. It seems as though people never really forgot about the instrumental group despite them scaling back their efforts a tad after four full lengths and countless EPs. The band have been through some tough times and although last year’s Ataraxia/Taraxis EP was a welcome return for the quartet, there was something much more pressing at hand for the Chicago-based group and their, until then, solid line-up.
After forming in 2001 as a sort of side-project to most of the members other band, Tusk, Pelican have been a constant force. They’re adept at creating sweeping landscapes of sound and travelling through many an emotion without ever uttering a word, yet the excitement surround new material and touring plans had a darker side for the band as long-time guitarist Laurent Schroeder-Lebec wasn’t feeling as into Pelican as he had done in the past. Luckily Pelican were able to still play live and drafted in Dallas Thomas of The Swan King and in the interview we have with Trevor de Brauw (guitar) below, you’ll learn about how this whole process and change was handled.
Forever Becoming then, holds a lot of Pelican within its walls of sound and evocative title and the band feel as new and as refreshing on this new record as they did way back in the beginning. It’s a joyful record, a sad record, and a record of forward motion. Forever Becoming is the sound of a band learning their place within their own lives, and within the post-rock/instrumental/wherever the heck you want to place them scene and it is wonderful.
VOM FETISCH DER UNBEIRRTHEIT (VFDU) is… well, I’m not sure what exactly this band is. Their new album, titled Vertilger, is released by the Swedish Temple Of Torturous, a label that has quite a knack for finding and releasing more remote bands of the Black Metal underground. But even in terms of ToT (which released for example the last, highly experimental Total Negation record) VFDU is beyond everything you would expect, know and think of. It would be easy to declassify Vertilger just as weird, and honestly I think it is. But this record is SO weird, uncompromising and obscure it has a certain fascination to it I really can’t deny.
The two guys of VFDU are coming from a Black Metal background (their first album Psychohygiene from 2010 proves this more obvious) and traces of Black Metal can be found on Vertilger, too, expecially riff-wise. Just don’t expect anything melodic here, the riffs are of the most arcane kind, if discernible at all. Now and then there are also blast-beats to be heard. And there are loads of stoic, almost danceable beats on Vertilger, not unlike EBM. Supported by sickening guitar noises, the hysteric and disgusting vocals and the incredible hectic, manic songwriting VFDU create an horrible and nightmare’ish theme that won’t stop punishing you for over one hour. That is, if you’re able to endure this sonic torture for so long. Wanna try?
Vertilger is madness set to music. Provided that this is classifiable as music. In a lot of ways this album rather appears to be a piece of modern art, you know, like a rotting carcass of a horse being placed in a museum. Say what you want, but the thoroughgoingness of VFDU is nothing but impressing.
Freedom Assault Interviews ACxDC
You are known for imagery on your t-shirts and album covers that some people find offensive. Is this meant to offend or just done as a joke?
Neither really? I mean, on the one hand, we know that its going to offend a certain group of people, and we also know that its tongue in cheek humor will make some people laugh. But in general, the idea just pops into our heads, or it’s something we’ve been throwing around for a while or it’s a whim. Not a ton of thought is put into it until after it’s made. After it’s made is when we sort of look at it and analyze it and think about whether or not it conveys a message. A lot of people give us crap but I think you can say just as much with a t-shirt as you can with a 30 second song ha.
Sergio is a father to twins. How does this effect the band? Does it hold you back or make you more focused on what you can do?
It definitely is ONE factor in holding us “back”. In the sense that we have to make stuff count or make it happen right. Normally we would just play shows and not care about equipment or touring or whatever. Nowadays we do think things through, from shows to touring, since we have to keep into account bills and babysitters. But that happens with age as well. A lot of us have to worry about our jobs and handling normal life.
FISSURE‘s new self-titled EP carries on the tradition of SoCal bands straight ripping the a new whole in the powerviolence universe. Over 7 minutes and 8 songs, this band proves that it’s drinking huge bottles nitro-rage on the daily! CVLT Nation is extra hyped to be streaming the FISSURE EP in full below! This gnarly piece of audio angst is being released via Not Punk Records Oct. 29th on tape and on vinyl in Jan…Right now you can pre-order HERE.
Seas Will Rise Interviews Early Graves
When we were informed we would be asking Early Graves questions, we were delighted. We knew we share a common ground with this band, one that goes beyond arm chair policy takes on Syria and international conflicts, one that goes beyond arbitrary personal diet conversations (well we do delve a little into that), one that stretches beyond discussing the pros and cons of a burgeoning corporate nature rising in underground music, one that involves more than what strings do you play, what riffs do you like, yadda yadda, something more than that…. Organized professional sports. And down tuned hardcore of course.
First off, you are from Arizona. Do they have even have professional sports there? Pretty sure that you don’t count the Cardinals and the Diamond Backs as real teams. Hell most people don’t even know that the Cardinals are a professional franchise, must less anywhere near as badass as the silver and black. Have fun with Oakland Reject Carson Palmer, honey.
The Early Graves burning church shirt is pretty iconic at this point, are you more hyped when you see that shirt sleeved or sleeveless? Correlated, what’s up with the Warriors sleeved uniforms, those are ridiculous.
Sleeves off is always a better look for this shirt. Who doesn’t want to walk around in a muscle tee with a burning church on it?
Those Warriors uniforms look so whack, but at least the Warriors are playing decent basketball these days. Can’t say the same about some of the other teams on the West.
New Jersey hellraisers Razorheads sail in on a burst of feedback and get straight to work doling out some rough-as-guts corrosive hardcore that is also insanely catchy. Classic rock riffs and eighties metal swagger are not so much heard as felt through all the chaos that is Black Leather Hounds, whose title perfectly encapsulates Razorheads’ latent cock rock tendencies lurking beneath their ferocious canine snarl. Now you’re not gonna hear any wailing falsetto or hair metal hooks in this slab of noise – if anything, Razorheads’ singer has perfected the art of vocalizing destruction, spewing guttural noise at a pitch that blends almost perfectly with the wall of distortion issuing from the guitarists’ amps – but there are some definite stadium rock stylings buried under all the hardcore raging. Dive bombs abound in the muck as well as the occasional burst of ripping old school shred complete with copious abuse of the whammy bar.
Most reviews (including my own) of anything Mories-related trip over themselves to mention all the different projects he’s birthed or lent a hand to. While normally I’d lampoon this constant reminder of the man’s profligacy, I’m going to go ahead and hitch myself to that little red journalistic wagon as well. Few artists work at such consistent levels of quality and under so many pseudonyms that the very mention of their name is a byword for “quality harsh and heavy music” (if such a thing can realistically exist). It is in part because of, rather than in spite of, these multiple noms de guerre that his consistency is so enthralling.
Nekrasov has been plying the fetid waters of his own brand of blacked-out noise insanity since “Into the No-Mans-Sphere of the Ancient Days” appeared in 2007. Much like Mories’ output, Nekrasov’s sound is highly idiosyncratic, a blend of HNW sandwiched between sharp-edged slabs of basement riffs that, while pulling from two well-established genres, manages to combine them into something distinctly, brutally mind-flaying.
Mors Sonat largely eschews the watermark sound of it’s two creators. Both Nekrasov and Mories’ most prominent project, Gnaw Their Tongues, dwells in a blasted no-man’s land of harsh noise, angular black metal, and ambient formlessness. One would generally expect a collaborative effort from the pair to also be some form of noisy, difficult, black metal-centered insanity. Hence my surprise when the album turned out to be anything but. Instead, “Comforts In Atrocity” unreels itself as a fine sheen of sound that whirls between two equally extreme poles without ever settling.
David Cronenberg’s long illustrious career began with two infection films in the mid to late 1970s, ‘They Came From Within,’ and ‘Rabid’. Before solidifying himself as the master of abnormal psychedelic horror, Cronenberg released two features exploring the nature of highly contagious, sexual parasites. Although ‘Rabid,’ and ‘They Came From Within,’ are early pictures, the perverse themes of abnormality and infection are undoubtedly present, paving the way for Cronenberg’s later masterpieces, like ‘Videodrome,’ ‘Scanners,’ or ‘Dead Ringers’. What makes these early films crucial viewings, are the perspective they offer in analyzing the filmmaker’s growth through the years, existing as a starting point for a long fascination with the bizarre in every day life. READ MORE…
Enter a world of illusion with the art of István Orosz – he creates etchings and woodcuts that play tricks on human eyes. Today I’d like to show you his “Ship of Fools” series, images of centuries-old life on ships, in barns and in taverns. However, Orosz shapes his figures and spaces deliberately to create the illusion of skulls, so that when these images are seen from afar they are a series of human skulls. It’s true that death lives with us in every aspect of our lives, and with these works Orosz demonstrates this perfectly. It’s fascinating to look at these and understand that your brain is forming an image from the curve of a head or a sleeve opening. Check out his Ship of Fools collection below!