Gold – No Image


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Rotterdam quintet Gold’s pounding yet warmly-produced, Post-heavy bent is faithful to that freedom of expression and unconstrained creativity so expected from Dutch artists. Milena Eva’s androgynous tones assist the Indie feel driving sophomore album, No Image (Ván / Profound Lore): opener ‘Servant’ having a laid-back, Pop vibe coursing through the cocooning weight of the instrumentation. The psychedelic bleeps, whistles and squalling lead spiralling through the ensuing ‘Old Habits’, meanwhile, coupled with the determinedly-intoned yet almost angelic vocal, nearly disguise a fuzzing brute of staccato rhythm.

Extreme Metalheads could find the album falling between two stools: a harsh Rock sound, tempered by the voice and attitude of their guilty ‘chillout’ secrets. Those who stick with this will, however, find unexpected thrills in each track which have you hooked before you realise. There’s no shortage of atmosphere here: shimmering pedal effects complement Eva’s moving delivery in ‘The Controller’, and preface a Blondie-style Punk explosion; whilst the early synth and sample work of ‘D.I.R.’ is the prologue to a thudding New Wave structure. It’s here where the production really emphasises the power and weight underpinning Eva’s soft lilt, reminiscent of a happy Brian Molko.

Bitterness and despair travel freely within these walls despite both emotions being delivered in an energetic and, in the case of ‘The Waves’, febrile manner, with lead and backing vocals seeming to sound simultaneously pained and carefree. The heavy, Joy Division-infused shoegaze of ‘Shapeless’ is driven by a seedy, sexy rhythm section, while the early swerve and bludgeon of ‘Tar And Feather’ threatens a Black / Grind influence, before delicacy briefly tempers an anger conducted by Igor Wouters’ phenomenal stickwork. Only the nevertheless brooding and occasionally sensual closers ‘Don’t’ and ‘Taste Me’ mar things somewhat, having a Saint Etienne-like lethargic drift which allows the interest to wander.

It takes no little courage and confidence to put together such opposing shades of light and dark, and to do so with such youthful vitality is joyfully uplifting. No Image is a “something different” that unifies many styles and, in doing so, proves capable of engaging devotees from across the heavy spectrum.

7.0/10.0

 

PAUL QUINN


Kylesa – Exhausting Fire


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Ever think you could compare 70s New wave to Savannah Psych-Sludge outfit Kylesa? No, me neither…

A new Kylesa album used to be a huge event in the Quinn household until 2010’s Spiral Shadow (Season of Mist) showed a mellowing of the lambent, crushing anger, introducing more of the band’s progressive drift. Two albums later and it’s sadly obvious that the band is continuing the journey further from their harsh roots.

Exhausting Fire (Season of Mist) isn’t devoid of bulldozing riffs: opener ‘Crusher’s entrancing verses displaying the customary steel which fires up a laconic, Blondie ballad-style chorus highlighting the increasing melody in Laura Pleasants’ voice. The ensuing ‘Inward Debate’ is Philip Cope’s first foray into action, immediately infusing the sound with a buzzing anger: yet his performance in ‘Moving Day’ is more indolent, an almost spoken-word delivery, Pleasants’ honeyed backing and jangling hookline giving way to a fuzzed coda.

This is a less inventive, softer Kylesa, seemingly happy after all these years to plough a furrow without traversing the path of discovery. Briefly howling leads and a growling riff awaken the dreamy, drifting ‘Falling’, the kind of track the band are becoming more well-known for. The Talking Heads-esque ‘Night Drive’ is a cool evocation of the cosmic violence of the Spiral Shadow era, a lazy Prog infused with swelling, pulsing power. ‘Blood Moon’ however, is more indicative of the second half of the album, its blend of Asian-influenced MOR and bludgeoning Punk feeling tired and occasionally flaccid: a tiredness which the insouciant, Nirvana-like ‘Growing Roots’, only occasionally tempting with spiralling swells, further highlights.

Closer ‘Out of My Mind’ sees more of those terribly wearisome vocals – in all honesty, the biggest problem here – destroy a gradual pogo-fest. It’s by no means dire, just desperately disappointing and lacklustre. Here, it seems, we have a once-crushing colossus now older, battered by tough times, and content to peddle uninspired stodge which eclipses many other bands’ output, but insults Kylesa’s legacy and name. Intermittent flashes of dazzling, indelible former glories save us from a worse fate. Exhausting Fire? Exhaustion seems not a million miles away…

 

5.5/10.0

PAUL QUINN


Welcome To McDonalds, Can I Take Your Order? – Interview with the Melvins


The Levins 1The Melvins are without a doubt one of the most influential bands within the rock, grunge and metal scene. Their latest musical exploit is an album full of covers, entitled Everyone Loves Sausages. Mat Davies sat down with drummer Dale Crover and they discussed the new record, their sense of humor and curating festivals.Continue reading