Irreversible - Ashes

Atlanta, Georgia is the home of more than a few heavyweights in the Sludge Metal scene, notable mentions include both Mastodon and Baroness. With a scene that continues to thrive, it's always worth keeping an eye on what the underground scene in that city has to offer. A short while ago I came across Irreversible, a band who have recently released 'Ashes'; a four track album that clocks in around the 35 minute mark and is available for free on their bandcamp.

The album opens with a track called 'prime'. It gets off to a slow start before it bursting into a stomping heavy riff. The vocals are strong but never overpower the rest of the band, instead, it seems to be nestled in-between everything else that's going on and remains rather minimal, which works perfectly. The song is over nine minutes long, and never really deviates far from where it begins, yet enough is done to keep the listener engaged, whether it be the pounding double kick around the 4 minute mark, the sections of spoken word, or the ever present haunting vocals in the background, this song manages to make the nine minutes feel like a passing moment.

Instantly, there is a noticeable difference as the first song slowly fades into the second track, which begins with a electronic influenced introduction. After the electronically induced intro, however, the song storms ahead in a barrage of dirty riffs that are complimented by the huge sounding drums. This is, without a doubt, the most full-on track on the album, with a noticeable lack of any substantial use of dynamics. Instead, it chooses to get its point across by producing a relentless amount of crushing riffs.

The last track on the album is without a doubt the stand out track of the four. Not only because it is so vastly different to the rest of the tracks, although it does feature many of the same elements, but mainly because of the atmosphere that it manages to create. This final song has more in common with Cult of Luna and Mouth of the Architect that it does with the likes of Baroness or Mastodon. Although elements of sludge remain, the pure grandeur that surrounds this song is more in line with the aforementioned post-rock heavyweights. Nothing feels forced here, as everything just seems to flow effortlessly. Furthermore, as I press the repeat button, I can't help but notice how well the first and the final song manage to flow into each other, leaving the album feeling as though it is a complete, well rounded piece of work that manages to come full circle. Overall, it's simply a stunning piece of work.

Download the EP here - Bandcamp

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Hexis - Seputus | Fatum

Scandinavia has a legacy of producing a countless amount of heavy acts that have helped propel heavy music into every imaginable direction. Denmark, however, have never quite managed to produce the same prolific amount of influential acts as their Scandinavian siblings. Although, as Mnemic slowly moves further and further out of consciousness, there seems to be a growing number of underground acts that are slowly making their way up the ranks, and Hexis are the band at the forefront of this resurgence.

The sheer ferocity of the opening minute on the first track makes the song difficult to fully grasp at first. You almost feel like you have to take a step back, readjust yourself, and then give it another shot. The double kick drum drives the song forward at a tremendous pace, while the screeched vocals somehow manage to avoid getting lost in the all the mayhem. The band's use of dynamics is what manages to set them apart from other bands. For a track that started off as a ferocious audial assault, it has effortlessly managed to drift into a slow and haunting middle section, right before it gears up for a return to it's more familiar stomping ground.

By the time the second track sets in, you already know exactly what Hexis is all about, and Fatum doesn't even come near to disappointing. However, it's clearly noticeable that the black metal influence isn't quite as prevalent on this track, as the double kick and blast beats force the song forward and further into the direction of hardcore punk. As previously mentioned, what Hexis manages to do really well is add dynamics to their songs. After all, if you want something to seem really fast, put it next to something really slow. Separately, it simply wouldn't work, but as the song sways between the two different tempos, it keeps the listener both engaged and entertained, while the eerie atmosphere that surrounds these songs is impossible to escape.

As hardcore makes its way further and further towards the depths of the black metal genre, it's inevitable that some bands won't be able to keep up, and, instead, will stick to their comfort zones. Other bands, such as Hexis and deafheaven, have long since left the traditional hardcore comfort zones behind them and will probably continue to push the envelope as far as they can. I don't expect any subsequent Hexis releases to sound like this. Instead, I imagine they'll continue to evolve and grow. Personally, I'm actually excited to see how far it will go.

You can listen to the entire EP here - Hexis- Seputus | Fatum

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Coilgun - Stadia Rods

I had the chance to see Coilguns live a couple of months ago. In anticipation of the gig, I tried to give their first full-length, 'Stadia Rods', a listen, but failed to find a source that would give me a chance to listen to the entire release. Although, based on their split release with Kunz, I knew that as long as the right back-line was available at the gig, I would be in for an experience that would be delivered through a wall of sound.

Their set lived up to every expectation and I walked away knowing that this would probably be the last time I would see them in such an intimate environment. My only disappointment, however, was that I had not made more of an effort to familiarise myself with the newer material. I purchased the vinyl a few days later and its arrival was met with my anticipation to see how well the new material had translated onto the record.

The album starts with a punch and even though you're only ten seconds into the album, you can already tell that the album is going to be a relentless assault. However, as the song eases into its middle section, it becomes apparent that the writing process included a degree of lateral thinking. Not only is each member technically proficient, but there is a willingness from each member to stray in and out of what would be considered unfamiliar territory for the majority of conventional hardcore/grind bands.

It is only once we arrive at the album's third track, 'In the Limelights', that we are given time for a breather. The track opens with a simple riff and is accompanied by a slow a steady beat. Over the next six minutes, while rarely deviating from the original riff, the track slowly builds itself up to a mighty climax that eventually engulfs you in a wall of sound.

The rest of the album continues in a similar vein, with a plethora of huge riffs, pounding and experimental drums, and an ever expanding amount of different time signatures that manages to keep you on your toes. A video was released for the song 'Zoetropist', which is the natural stand-out track on the album. Short, fast and heavy. Honestly, however, it has to be said that the album does not manage to capture the same intensity that was displayed during their live set, but I struggle to imagine a recording that could do their live show justice. So, although the album might not capture the same intensity as their live show, it is still a truly enjoyable listen, while also thoroughly intense in its own right. The songs aren't naturally catchy, nor were the ever going to be. But if you take the time to get to know the album, you'll find it to be a very strong and powerful offering. Although it commits itself to being a heavy album, it manages to offer more than enough innovative song writing, which, when combined with the well used dynamics throughout the album, is able to avoid becoming another one of those overly heavy, but disappointingly bland albums. A truly solid offering.

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