One of the strange facts about Metal is how limited the formula can be, at times. The guitar, drums, bass and warbler model stands firm for a surprising range of genres, from Black Metal to Death, to Thrash, to the NWOBHM… So, give cellist Jo Quail a round of applause for trying something new with her new album, Exsolve (self-released).Continue reading →
Genius is a gangly word to throw around, and at Ghost Cult, we don’t use it lightly, or all that often. For Steven Wilson, that tag has applied more often than not to his output in his thirty-year-plus career. As he pulls further and further away from his progressive metal heyday; he runs headlong to return to his early roots in the 1980s of No Man Is An Island/No-Man (look it up if you don’t know it) project. His loose goal going in was to make a pop-rock album in the vein of lightly prog-flavored favorites of his youth such as Peter Gabriel, Tears For Fears, XTC, and others. He achieved this on To The Bone (Caroline International), without any pretense you might associate with an artist making a choice like this.Continue reading →
If you were to think of a single word to sum up the attitude of Steve Von Till, that word would be dedicated. The sun has yet to rise in his hometown of Coeur d’Alene, Idaho and at 5am he is already on the telephone to Ghost Cult, for this interview before he has to wake his children up, take them to school and drive the eleven miles to the Elementary school where he works.
It is this dedication, which has seen him forge an uncompromising trail in music via the bombastic and awe-inspiring Neurosis, the rural psychedelia of Harvestman and his solo work, steeped in the rich traditions of Celtic music and American folk. Considering Von Till’s hectic schedule, it is unsurprising that there has been little time to record the follow-up to 2008’s A Grave Is A Grim Horse platter.
“Making music with Neurosis is not a cerebral event. It is us surrendering ourselves to this beast that drives us. The solo material is my strange way of trying to honour those artists that inspired me.It has to have a depth of expression I require from music otherwise it is pointless. It is a challenge to craft something quiet and concise.” Indeed in the last seven years, Steve has been all but idle with Neurosis touring more frequently than they have for some time, running the band’s label Neurot and of course having time for family life it’s easy to see why new offering A Life Unto Itself (Neurot) took such a time to appear. “I am so bad with time. It doesn’t feel linear to me!” Von Till chuckles. “I wanted to continue to use the traditional Americana aspects like fiddle and pedal steel that informs my work, but also to use some of the textures I have crafted with Harvestman. Some of the techniques where the guitar sounds like a synthesizer. Other than ‘Chasing Ghosts’ which was written on piano and ‘Night Of The Moon’ which I wrote on electric guitar, the focus remained acoustic guitar and vocals. It’s the sound of me picking up a guitar when everyone has gone to bed and just seeing what comes out!”
It’s not hard to imagine Steve sat alone, guitar in hand coaxing out riffs before taking these skeletal structures to be fleshed out in the recording studio. Clearly a labour of love, created with absolute autonomy, Steve talked about what it was like to seek outside help in the shape of dedicated engineer Randall Dunn. “We’d met each other a few times. I have a studio at home so I could do it myself, but I don’t enjoy engineering. I don’t want to be responsible for capturing a good vocal take. Randall has a much wider variety of acts he has worked with. Of course he has worked with Earth and Sunn0))) but does a lot of stuff outside of our scene. We had some great conversations and his studio is excellent. It has a lot of vibe with a big vintage console. It was great having someone to bounce ideas off and get feedback from. We did recorded everything in just two days then we got the additional musicians in and did the overdubs. He brought in Eyvind Kang, who is an amazing viola player and composer. He asked me for some key words and ideas of what I heard. I gave him a few comments of what I heard, like references to the environments places and energies, very abstract stuff, but he took that and added so much. Sometimes the Viola parts sound like animals or take a Celtic feel. He had such a great intuitive nature. This album is a collage that occupies several different stories and emotional territory. J. Kardong our pedal steel brought a lot too. Not just a typical Americana feel. They read my mind, when I drove the six-hour drive home back to Idaho they really hit me. I realised this record was a brooding retrospective on my entire life. It’s traversing the mystical, emotion and mundane all mixed together.”
A Life Unto Itself may be a slight departure sonically from his earlier solo work, the lyrical content once again references nature as a metaphor with words like ‘Blood’ ‘Earth’ and ‘Moon’ all reoccurring. Greatly inspired by his rural surroundings, Von Till recalls what made him pack up his family and wave his home of San Francisco, California goodbye. “It’s like living in a beehive! Everyone is so busy and working on their next project. After my first daughter was born I could only see the filth around me. Needles in the street and condoms in the gutter. I knew I needed out when I was stepping past homeless people every day carrying a baby and four bags of groceries! If I didn’t give myself some space I was just going to hate everything. It has always been part of my personality that needs to be connected to nature. Humanity has lost that connection. If you live in a city you have to make a huge effort to connect with it. Now I live out here I have to make the effort to get to a city to go to a museum or buy some records but how often do you do those things? Pretty rarely. My drive to work is eleven miles down a country road and when I get home I am surrounded by twelve acres of forest. We have weather too here whereas San Fran is always so hot. Here you have to get your firewood and plan for the winter. I feel more connected to nature out here when I am a part of it.”
Listening to ‘A Life Unto Itself’ you find yourself transported to rural landscapes via the influences ranging from Celtic music to Steve’s take on traditional Americana. Neurosis love of a diverse cross-section of artists from Joy Division to Amebix to Pink Floyd is well documented, but as Steve tells us, these genres held his attention from an early age also. “My dad listened to John Denver and some of the more pop orientated folk music. It hit me who one guy with a guitar could be so powerful. I loved putting speakers by my head and listening to it. Growing up a metalhead and getting into punk you’d have thought that folk music would be the last thing for me when I was 15 years old and pissed off but I went back to it later via psychedelic. I love Tibetan monks and throat singing. Anything from another culture. I am obsessed with European folk traditions, they are where bluegrass and country come from! I loved going on that voyage of discovery. It all comes in circles the way people find these sounds and make them their own. I love the way people like Townes Van Zant and Gillian Welch have distilled these old traditions into new forms.”
Velua (Napalm) is the fifth full-length album by the Dutch Pagan Metal band Heidevolk. Since their conception in 2002 this band has made music that shows their passion for nature, Germanic mythology, and the Veluwe; the beautiful nature in their native province of Gelderland. Heidevolk combine heavy riffs in dirty distortion with mellifluous string and violin arrangements, add the occasional power solo, and ground it all with solid drum and bass.
Their vocals, however, are what truly set them apart. The vocals of Mark Splintervuyscht and Lars Nachtbraecker combine to chants with a low voice moving over a limited range and a high voice adding counter melodies and definition. They rarely have two notes to a syllable, and you will not find many drawn out words, but a near spoken vibe which I have not encountered in any other band, but which works well with the Dutch language. Lyrically they paint scenes or recreate stories and since most Dutch rhyme is inherently clichéd, I am pleased that they rarely force rhyme into their lyrics.
The opening song, ‘Winter Woede’ (Winter Rage), sets the tone for the album: heavy and melodious intertwined with a catchiness that means you can hum along to the chorus before the song is out. The next song, ‘Herboren in Vlammen’ (Reborn in Flames), is more in the direction of Power Metal than pagan, with parallel guitars, fast drums, and a strong guitar solo. ‘The Vervloekte Jacht’ (The Cursed Hunt) initially reminded me of In Extremo in its riffs and vocals, but soon regained its individuality. ‘Het Dwalende Licht’ (The Wandering Light) was one of my favourite songs of this album, because it has an excellent balance between ethereal string arrangements and solid power metal, and with the addition of the vocals evokes a scene where the will-o’-the-wisp lures someone to their watery grave. The title track ‘Velua’ praises the hardy people who inhabited the Veluwe with dreamy guitar licks and chanting. Another favourite on this album is ‘Richting the Wieven Belter’ (Towards the Wieven Belter). It opens with very high female vocals, and they remain present in some form throughout the song, and tie the music to the lyrics about the mythological White Women.
All in all this is a very solid album which alternates between a Pagan feel and a more Metal feel. While not all the songs really catch the ear like these mentioned here, the remaining songs are far from bad, and I gladly recommend it to lovers of Pagan metal.