Alas, another Monday is upon us and I have therefore taken up the burden of trudging my way down to the belly of my metal vaults to retrieve some malformed treasures to bestow upon you. We're starting out with the highly conceptual new album from UK's Rolo Tomassi and ending with a lash of brutality from Portland's Lord Dying. There is no theme this week. These are just some of the metal albums I listened to today and that I felt inspired to write about.
Rolo Tomassi - Where Myth Becomes Memory (MNRK Heavy)It's hard to keep a bead on where the UK's Rolo Tomassi is headed next with their sound. The only thing that is certain is that they will always be on the move. First taking shape in the metalcore scene of the mid-00s, they have fashioned for themselves many different permutations over the years, from shoegaze rockers, to acid jazz jockies, to ambient architects, to sonic cosmonauts, only to finally come back to roost in their metalcore roots, darker and more dangerous sounding than before. Their latest album Where Myth Becomes Memory is the latest incarnation of their perfidious, shadowy cosmic-core phase. The last in a three-part series (following 2015's Grievances and 2018's Time Will Die And Love Will Bury It), the band takes the time on this album to contrast their dichotomous aural belligerence with increasingly golden guitar tones and a bath of cleansing feedback, which showers the progressive unfurling of their designs in an air of forgiveness and redemption. Part feral space horror; 2/3rds divine epiphany; all the stuff of legends.
Vanda - Covenant of Death (Majestic Mountain Records)
Vånda is a truly wicked-sounding band. They emerge from Stockholm as if they've just rushed out of the deep woods- blood streaked across their faces, wild mayhem in their eyes, hair thick, wet and gnarled as if they've been sweating petroleum, and with fire leaping up from the footprints left by every galloping step. Their steps spark and ignite their surroundings as they move with maligned intention- a farce of humanity cast by the devil himself. A human-shaped avalanche of death that is now bearing down upon you. Apocalyptic imagery aside, Vånda's debut Covenant of Death most assuredly hits a sour, satisfying balance of death-thrash and black metal in a way that few bands can. They're like Watain if they focused less on shock value and more on the structure of their songs, or Necrophobic but with more earthy grit and a firm undertow of incurable gothica. Covenant of Death will leave you headbanging the whole time that you're fleeing for your life.
Warcoe - The Giant's Dream (Morbid And Miserable Records / Forbidden Place Records)
Italy's Warcoe nails the occult ambiance and aura that a lot of '60s heavy metal was able to tap into on their debut LP
The Giant's Dream. Relying on melodic guitar grooves to do the bulk of the lifting on these tracks, they paint a picture of arcane practices and bring the essence of ancient knowledge thundering into the breach of the modern world. When I hear these high-cast, burning guitar riffs lumbering through the cool muddy pound of percussion, I am visited by visions of wizards pouring over ancient texts to discover the secrets of turning dragon scales into gold, or various tales of misfortune, such as a poor shepherd who stumbles into a tomb of forgotten treasures where he encounters a scroll that turns him into a great hungry wolf. It's hard to imagine containing the untamed, willful and timeless motion of these songs within the confines of a single eight-track album. You might as well be trying to push a glacier across the tundra with your bare hands, yet Warcoe proves themselves more than man enough for the task.
The Giant's Dream is truly a beast and Warcoe are both its progenitor and its master.
Lord Dying - Poisoned Altars (Relapse Records)
To me, Lord Dying belongs to that era of the mid-'10s when sludge metal appeared to be finding new inroads into the realms of death metal and hard rock with results that, improbably, had some hooky commercial potential to them. Red Fang appears to be the most successful of the band to come out of that milieu, but Lord Dying had a lot going for them as well, as a darker and more outwardly punishing version Inter Arma and a more direct and less cosmically inclined version of early Mastodon, Lord Dying on their second LP
Poisoned Altars have wrought forth an absolutely crushing affair that still manages to pack in some captivating hooks among all the deluge of bruising riffs. And when I say captivating, I mean it! Tracks like "A Wound Outside of Time" and "Offering Pain (and An Open Minded Center)" literally feel like they are trying to warp themselves around you with snaky grooves and put you in a headlock. Every half-choked, half-sung line forcefully ejected from singer Erik Olson mouth feels like a narrowly missed haymaker, rushing past you and creating a frightening vacuum in its wake. Ultimately, I think the key to their aggression can be unlocked by clues found on the track "Suckling at the Teat of a She-Beast" which feels like a combination of crust punk and West-Coast chopper rock, that will educate you in the ways of their brutality in the most hostile ways possible. Lord Dying went in a more space-rock and psychedelic route with their 2019 album
Mysterium Tremendum, but 2015's Poison Altars is still the pinnacle of their discography, in my opinion. Long live Lord Dying!
