Damnation Fest (UK) Adds Six More To LineUp


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US sludge outfit Black Tusk and English post-rock act maybeshewill have been added to Damnation Festival.

They’ll be joined at Leeds University Union on Saturday 7 November by a selection of some of the UK’s best rising death, doom and black talent; namely The King Is Blind, Witchsorrow and Voices.

And making their debut UK performance will be Belgian black metal trio Wiegedood.

The six new additions join a packed and diverse roster already boasting At The Gates, High On Fire, Mono, Asphyx, Solstafir and a posthumous return to live action from the much missed Altar of Plagues.

With eight bands still to be announced and capacity reduced by 1,000 tickets in response to fans’ concerns about overcrowding last year, it promises to be an 11th instalment of Damnation Festival to remember.

Tickets are on sale now priced £36 from the Damnation Festival website and Facebook page.


A Tourists Guide to London – Sam Loynes of VOICES


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With a debut album that flew under the radar, twisted progressive extreme metal outfit Voices made the ultimate statement with their incredible, expansive, complex and warped second album, the must-hear fucked up concept of London. Guitarist Sam Loynes took time out to give Ghost Cult an open top tour…

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The difference between your debut, From The Human Forest Create A Fugue Of Imaginary Rain and your second opus London (both Candlelight) is monumental, both in terms of scope and quality. How do you account for this improvement?

We were still finding our feet on the first record and came up with the songs within a couple of months through improvisation, which is how we write. Moving into London, the songs, again while relying on improvisation a lot in their construction, are far more considered.

We wrote London in a visual mode that became the narrative that runs through it, and we had this idea of trying to write a really ambitious piece. We wanted it to be big, meaty, with a lot of information for people to get into; to go full on with it. We didn’t want to do just another standard album, you know, seven songs, and it’s OK. Fuck that. This needed to be a serious, complete record that people can really get their teeth into.

Ambition was the main difference, really. We aimed for the stars with this one.

That’s a good word, because the album is ambitious, with no half measures taken, especially as it has a fully developed narrative and concept running through it. Which came first, the chocolate or the colour?

85% of what you hear on the record comes from improvisation. A great example is a song like ‘Fuck Trance’ that was composed completely in the moment. There was no preconception of riffs, or ideas, or anything like that, we just got into the rehearsal room after a long fucking day at work and fucking horrible journey down to the studio which is way out West London. We looked at each other, and we had it. I looked at Pete (Benjamin – guitars/vocals) and Dave (Gray – drums) and we had it. And the song came out.

The way the narrative came about was within that improvisation. When we were playing and creating it, we’d have these almost like visions, visions steeped in our non-musical influences at the time, things like Graham Greene’s The End of the Affair and the character Maurice Bendrix, who is an anti-hero that is obsessive and anxiety ridden over, of course, a woman. These reference points helped us visualize this new anti-hero as he moved through the streets of London being accosted by these various distorting events, and he’s reaching out trying to find this Megan figure that’s the object of his affection, even though she turns out to be less than agreeable.

It’s quite an abstract thing, but it was such a powerful mode of writing. When we got to the end of, say, ‘Hourglass’, when he was washed up by the River Thames after being poisoned, in our brains we desperately wanted to know where he’s going to go next! And the only way for is to find out is let’s fucking do the next song!

So, the narrative was spawned out of the visual style of writing (and) it was an amazing way to write. I don’t know, but it might even be a once in a lifetime only way of writing, because it was also very specific to where we all were in time and in our lives.

How auto-biographical is it?

 

Dave was very much at the forefront of encapsulating the specifics of what the narrative became. He then actually wrote the passages that you hear link the songs. It’s most personal to him, but the reason we chime as musicians and as people together is that we all have this disposition within us, this Maurice Bendrix syndrome – steeped within anxiety, very much onlookers, particularly living in London, and not feeling part of it, or feeling not quite right being within London.

I’d say that Dave was the one who related most to the anti-hero character and he brought him to life on paper but we all have over the top, vivid imaginations.

 

Did you reference other concept albums, perhaps something like Queensryche’s Operation Mindcrime which tells a story?

We were very aware of wanting to live up to the effect that concept records can have and the Zappa one is the one we looked at (Editor’s Note: Sam couldn’t remember the title at the time, I think he’s referring to Freak Out). Dave was keen it was a key reference point. With the theme of detachment, did you look at something like The Wall? To be honest, our influences in terms of the concept were very detached from music. JG Ballard and extending to things like Bladerunner, even Lolita to a certain degree.

So works with those feelings of being outside, or different… that detachment again? There’s a vicarious element to them. It’s very difficult to hone in on what we’ve done here, but it’s those ideas of vicarious obsessions, anxieties and distortions, all captured in an abstract narrative.

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As one of the creators of such an ambitious and successful dark work of art, how are you feeling about it now?

Creatively it was daunting, but more so now we’ve done it, because I listen to London and I think “where do we go from here”? What kind of planet are we going to have to be on to live up to, or surpass this!? So for me, I do think we’re going to have to seriously consider what direction we go in next.

I think it was Krystoffer Rygg (Ulver) who said that each album he has done is a reaction to the one preceding it… So, is the response to something as complex and dark as London is maybe something lighter, catchier, more simplistic and punkier…?

It’s funny you should say more punky and poppy, because that was the idea I had. Myself and Dave are massive fan-boys of bands like Joy Division and Bauhaus and more recently to name a contemporary band I’m into, Savages, and while we’re not all of sudden become a fucking pub rock band or whatever, let’s think a little more about song based material, rather than really sprawling epic songs.

A song like ‘Last Train Victoria Line’ is in line with that kind of idea, and to me that’s the direction I’d like to consider going towards. Songs with hooks, choruses, that are a bit like Killing Joke, and a bit like Joy Division, but also extreme and out there.

Who knows what comes out when we start writing again, but I do not have any interest in regurgitating London because we ain’t gonna better that record.

Voices on Facebook

Words by STEVE TOVEY


How the Goat found its Voice(s) – Sam Loynes of VOICES


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When spilling the beans about their critically acclaimed second album London (Candlelight), Voices guitarist Sam Loynes walked Ghost Cult through his own metal journey, and then onto how Voices was spawned from the ashes of the empire that was Akercocke

Where did the journey to Voices and current album London start from?

The band that got me into heavy metal, the band that got me to being a long-haired teenage twat smoking draw way too young was Metallica. No two ways about that. Metallica and Megadeth. I remember when I first heard ‘Blackened’ and ‘One’, at the time it was as extreme as anything I’d ever heard! In the same way that a few years later when I heard Akercocke and thought “This is the most extreme thing ever”, so ‘One’ did that for me then. After that, Master of Puppets is the most important record in my heavy metal upbringing prior to going into left-field stuff, then definitely Emperor and Death as the gateway, the ones that got me into extreme music and what I then went into.

I can hear a fair bit of Schuldiner in your riffs – the off time, the note patterns and structures…

That’s awesome man, thank you. Death are as close to an acute influence on my playing and Dave (Gray – drums)’s playing as it gets. There are other choice bands we try to emulate but without copying or assuming we can get anywhere near creating songs those guys did.

Have you heard the new Napalm (Death)? The fucking sound of that new Napalm is amazing. Have you seen them live before? I don’t know what it is, but they just blow everyone else off stage when it comes to extremity, and I was trying to realize what it was, to tap into it, and it’s fucking conviction. They play a headline show with a bunch of other bands supporting them, younger bands, and they may be technically better, or they may be faster, or whatever, but it just doesn’t come across. Soon as you hear Napalm Daeth, the punk rock influence elevates it to an unrivalled level of extremity. Totally unrivalled. There’s only a few others, perhaps, maybe Converge can do it, but fucking Napalm Death live is the best thing ever. Oh, mate, you must check them out.

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Coming on from your influences, you joined your current band mates Dave Gray and Pete Benjamin in Akercocke as their line up changed. First up, I’ve heard many different pronunciations of the “old band”, so, horse’s mouth, what is it…?

Ack – er – cock – err is how we pronounced it in the band

It’s an association that will always exist for Voices, but does the retained interest in Akercocke continue to surprise you?

I’m just a fan of the band. I was lucky enough to play with them in their last wave, though I’d known them for a number of years, but I was just a fan of the band like everyone else. But the legacy, the fact that people hark back to the Akercocke and say our sound is reminiscent of it sometimes, is all complimentary to me. They’re still an influence on me, particularly Jason’s playing and singing, so I only see the association as a positive thing, but we take that legacy and are looking to move forward with Voices. We are trying to establish ourselves with our own identity, which is happening.

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So, what happened with the transition to Voices, and the unwinding of Akercocke?

Unwinding is the right word, the best way to describe it. There wasn’t any specific moment or thing that led to it. Myself, Dave and Pete wanted to continue jamming whilst Jason (Mendonca – guitars/vocals) was in a position where, well, life took over. It got to the stage where we were trying to meet up weekly (with Jason) and it wasn’t happening, so we thought “While we’re here, let’s get some music together”. There was no intention to bring it into a band scenario, but between the three of us, some songs started to form. We realized it had serious legs to it and we wanted to pursue it while seeing if Akercocke would continue, because we didn’t know what would happen there because Akercocke is Jason’s thing.

What we were doing, organically became songs and then within a couple of months a whole album. It happened like that, quick but naturally and organically. There was a general idea to do something more minimal and primal, moving away from the progressive metal that Akercocke was steeped within. We wanted to strip it back and do a cold, harsh black metal band, but at the same time, not shy away from the disposition that Ak always had of doing something a little punky, a little avant-garde, and being open minded, while stripping it back from the complexities that Akercocke pursued.

We were definitely comfortable having played with each other for a number of years and in the same rehearsal space, but it wasn’t like we were looking to do material that would be the next Akercocke, because obviously Jason’s the man when it comes to Ak. So it was “let’s do something a bit different and see where it goes from there”. There was no attempt to re-do Akercocke, and there’s no way we could have done that as they were such an idiosyncratic band, but we have a musical language and understanding between us, which was why it was so fruitious in the early stages.

Do you think Akercocke is an entity that will be revisited?

I don’t have the authority to say one way or the other, but you just never know. Jason’s still a great musician who loves to play, Dave still loves to play, so it all depends on life and if it’s something they want to revisit, or just leave it with the legacy it has. I say, never say never, but right now, Voices is what’s happening and it seems unlikely Ak is going to return anytime soon. But like most other people, I’m saying fingers crossed for some point.

Voices on Facebook

Words by STEVE TOVEY


Voices Streaming “Last Train Victoria Line” Music Video


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English avant noise merchants Voices is releasing their latest music video for “Last Train Victoria Line,” directed by Samuel Joseph Loynes and Finnian Moore, here.

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Recorded at Hackney Studios during the early months of 2014, London is a challenging and fearless offering that is fitting for a band that features former members of acclaimed progressive black metal band Akercocke. The album is out now via Candlelight Records.

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“Last Train Victoria Line” visually flirts with the album’s storyline. Loynes explains,

“VOICES always aim to bring something unique, something atypical to proceedings. A collaboration of some essential creative friends and foes, this video is our greatest audio-visual piece to date. The litter-strewn street and red brick claustrophobia of London’s East End was the perfect surrounding for the hostile yet kinetic shoot that channeled our cloaked anti-hero and, in opposition, much desired ‘Megan’ seductress.”

Formed in 2011, Voices is the sonic experiment of guitarist/vocalist Peter Benjamin, drummer David Gray, and Sam Loynes. London comes only twelve months after the release of the band’s debut, From The Human Forest Create A Fugue Of Imaginary Rain.

Candlelight Records USA on Facebook


VOICES Streaming London


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VOICES is streaming their new album London, here, and out now via Candlelight Records.

Delivering fourteen bastardized tracks of progressive blackened psychedelic melancholia centered on the forgotten and diseased underbelly of England’s capital city, VOICES – who features within their twisted ranks former members of Akercocke and My Dying Bride – compose perfectly imperfect sounds to welcome the end of creation, the extinction of the human, the collapse of music as we once knew…

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VOICES was formed in London in 2011 as a new experiment from guitarist/vocalist Peter Benjamin, drummer David Gray and bassist Sam Loynes (all former members of Akercocke) with a mission to create a deep brand of cold and confronting music, part hypnotic yet often disturbing, focusing from an avant-garde take upon black metal, whilst always striving to explore a wide musical spectrum.

Candlelight USA on Facebook


Steve Tovey’s Top 25 Albums of 2014


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Our UK Editor Steve Tovey has been counting down his Top 25 albums of 2014 via Social Media, including via his Twitter account @steevXIII

If you haven’t been following, find his thoughts on his favourite 25 long players of the year here…

25, Scar SymmetryThe Singularity (Phase 1 – Neohumanity) (Nuclear Blast)

A bit of kitchen sink album, this one – prog, power, death, bits that sound like Extreme (the band), a concept that makes Demanufacture look like a children’s story (OK, it is hardly the most developed story anyway…) and part 1 of a trilogy I’m keen to see if it can keep up with the level of this first one.

24, Unearth Watchers of Rule (eOne)

The album I wanted ‘At War With Reality’ to be, but with a metric tonne of breakdowns (or possibly beatdowns – I still get them confused) on top. Blistering with Gothenburg tinged spiky riffing, dual guitars flying, full on vocals and some good old fashioned metal aggression, Old Wave of Swedish Melodic Death Metal style. No remorse, no repent, no let up, no problem!

23, Ageless OblivionPenthos (SOAR/Century Media)

Relentless, progressive and technical death metal, and damn good at it, too.

22, OpethPale Communion (Roadrunner)

I have always had a very strong dislike of Opeth. Then they released an album that doesn’t sound like Opeth. Now loads who did like them, don’t, and loads who didn’t like them, do. Not normally a massive prog fan either, but this album is really good. AND somehow I’ve now started to get into the older stuff I’ve never liked before like Blackwater Park and Still Life. Weird, innit.

21, OverkillWhite Devil Armory (Nuclear Blast/eOne)

Continuing their brilliant run of form that near matches their classic first 3 albums since signing for Nuclear Blast with another energetic, full-on, thrash classic. Really loving the vitality but above all the quality of the tunes. Always had a soft spot for Overkill and well chuffed they’re still flying the flag louder and harder than any other “old school” thrash band. Proud to review this one here.

20, Bloodbath Grand Morbid Funeral (Peaceville)

Set your HM-2 pedals to kill… Really enjoyable old school Death Metal romp. Plenty of Dismember, plenty of Entombed, bit of Morbid Angel in places, and just sounds like a bunch of guys who know what they’re doing having fun with metal they love. ‘sGot big riffs. And I like Nick Holmes vocals on it, too. More cookie monster than cookie cutter and add a distinctive edge.

19, Devin TownsendSky Blue (HevyDevy)

So, I split the two albums out and Dark Matters was in the ‘Not Quite…’ list. It took me a little while and a few listens to forgive Sky Blue for not being Epicloud. But seeing as Epicloud is probably my favourite album released in the last 10 years it was always going to be difficult. Sitting very much in the Addicted, Epicloud pop-metal end of the DTP arsenal, it can’t help but be a great, enjoyable listen. I just think he perfected it last time around, so this has a touch of diminishing returns. Still think it’s bloody good, like (hence it making the top 20).

18, Killer Be KilledKiller Be Killed (Nuclear Blast)

‘im from Mastodon, ‘im from Dillinger, another ‘im from somewhere else (can’t be bothered to google it, sure someone will say below) and a Max Cavalera relegated to side-man all pulling off (tee hee) a bloody great album of riffs, grooves and big old tunes. Lovely stuff.

17, PrimordialWhere Greater Men Have Fallen (Metal Blade)

The first track is possibly the greatest chest-beating Heavy Metal track of the year, resplendent (I’ve always liked that word) in its’ Bathory meets Manowar glory. After such an blinding start the album could only struggle to live up to expectations. It is bloody good though, and the last track is also amazing. Does what Primordial do, and does it well. One I reviewed, too, so you can check that out here if you like

16, Machine HeadBloodstones & Diamonds (Nuclear Blast)

OK, still haven’t fully gotten grips with this one – it’s not long been out, there were other albums to cram in before end of year, reviews, life, all that, plus it’s a pretty long album and there’s a lot of music going on (contrary to popular belief, your average Machine Head track isn’t as bone head as many think these days), so sticking this one here. I know it’s good, I know I like it, just not lived with it enough to know how much.

Still, I know it brings the riffs, diversity, some intelligent song-writing, some really cool choral and non-metal touches, and I know I’ll like it more once I spend some time with it and the songs separate out.

15, Judas PriestRedeemer of Souls (Epic/Columbia)

No, it’s not as heavy as Painkiller, but it does sound like a mix of everything they’ve done til now. Just lashings of good, solid, classic Priest with plenty of nods to their 70s and early 80s stuff (though no Turbo, unfortunately)

And, you know, songs and shit. Good job all round and damn fine album.

Another one I reviewed here.

14, FenCarrion Skies (Code666)

The one where they brought it all together, tying up all the threads that make up Fen and producing their best material to date with every track. A sound of a band with confidence and making a statement about who they are. More focused, more “metal” than the last and their definitive release to date.

Interviews Parts I, II, III, IV by moi.

13, In FlamesSiren Charms (Sony)

Note this is MY albums of the year… and by that I mean favourite not “best”. The perception that most people don’t give a monkeys about post-Colony In Flames is completely overridden by the fact that they’re loads more popular now than they were then (though popularity isn’t a measure of quality etc, I know…) It’s just the undergroundzz innit.

According to itunes, this was my most listened to album of 2014, and, yep, I dig it. It doesn’t do anything particularly different, amazing, new or unexpected, but is a step up on everything post-Come Clarity, for me.

Above all I just think it has a load of good songs. And I like good songs. Even more than I like spazzy-jazzy tech metal. Much more than I like spazzy-jazzy tech metal, to be honest… I dig it. Most of you on here will scoff. The band won’t care either way. And neither will I…

I reviewed here.

12, BastSpectres (Burning World)

Excellently crafted “serious” metal, with a great album dynamic that moves through and between post-Black Metal, UK Doom and post-metal, but doesn’t sound inconsistent or forced. I have Steve Patton of Sea Bastard to thank for bringing these to my attention. Really glad he did. I reviewed here.

11, PyrrhonThe Mother Of Virtues (Relapse)

This album still intimidates me. I probably could (should?) have this higher in my list, but I very rarely want to listen to it cos it’s hard work. Rewarding, but horrible hard work to listen to. Probably the most extreme, all out clusterfuck of the modern-tech “jazz” Ulcerate/Gorguts/Deathspell Omega influenced death metal albums of them all. This was the highest mark I’ve given anything in a review since I gave Insomnium‘s demo 10 back in the late 90’s (and the only time I’ve had an online slagging for giving a band a great review!). Takes death metal almost to the point of not being music any more.

Just don’t call them free-form… (which I actually didn’t… You can read what I did say here)

10, EdguySpace Police: Defenders of the Crown (Nuclear Blast)

I really like this. It’s dumb, cheesy fun, yes, but it’s well put together, catchy – I still have a fair few of the songs and riffs bouncing around in my head – good, enjoyable entertaining rocky power metal. Cheesier than the stuff that’ll be on the board that will come out with the port at my folks an hour after Christmas dinner, and I love it for that.

Also, it has the best song Van Halen have(n’t) written for 20 years. Reviewed this one here.

9, SchammaschContradiction (Prosthetic)

Came to this late in the year as was unsure about its mammoth length (fnarr etc). Atmospheric black/death cleverly sprawling over 85 minutes, it certainly doesn’t drag, filling every one of those minutes with quality.

8, VoicesLondon (Candlelight)

Was very impressed with these at Bloodstock, the discovery of the weekend for me, so couldn’t wait to check out the album particularly once you hear they’d chucked in a concept to it. Wasn’t disappointed, indeed they exceeded my expectations. Discordant and unsettling and well worth a checking if you haven’t already.

And for the record, I’ve never checked Akercocke beyond seeing them live at the LA2 as a support band 15+ years ago, so no fanboying from me.

7, Slipknot.5: The Gray Chapter (Roadrunner)

Not much to say, other than a massive return with a massive batch of massive songs.

As I said in my review for Ghost Cult: “The Gray Chapter is a statement of intent, a mountain-strong collection of hate-anthems to stand with Slipknot’s best.

All Killer, No Filler, And then some. .5 punches hard, deep and long, undeniably their most consistent album since Iowa. Nine may have become seven, but if you’re five five five, then they’re (still) six six six. ‘.5: The Gray Chapter’ is an album of some significance.”

You can read the rest of the review here.

6, WinterfyllethThe Divination of Antiquity (Candlelight)

It’s a close run thing, but I think I love the classics of black metal more than those of death metal, yet, other than those 90’s gems, I have very little time for black metal – mainly because it tends to involve the aping of the same 5-10 albums again and again (ad infinitum). It’s not a hard and fast rule, there are bands / albums of BM nature I’ve picked up on and very much enjoyed over the last 15-20 years, and this year brought forth a couple of beasts. I’ve already mentioned Fen, but there was also this British classic that brought joy to my ears. Running a gamut (good word) of sentiments and feelings, being more human than a lot of black metal dares to be, ‘Divination…’ excels dynamically, melodically and emotionally. Distinctively Winterfylleth, this is their best yet.

5, DecapitatedBlood Mantra (Nuclear Blast)

The most hotly anticipated modern death metal riff-fest of the year did not disappoint in any way shape or form. Power, grooves, and, well, riffs. Riffs that came armed with big meathooks. Some cool Slipknot-y and industrial touches here and there, but this was all about great *heavy* metal. I like the overall sound on it, too, dragging them out of the “death metal” pack and making them sound more in a field of one. Which, I guess is where they now stand…

4, BEHEMOTHThe Satanist (Nuclear Blast)

Another band I’d never been massively bowled over by in the past who impressed me this year. Something to do with the fact they actually have songs with hooks and interesting things going on in them. The album gets better as it goes on, peaking in a brilliant crescendo of ‘O Father! O Satan! O Sun!’.

Added to the music, aesthetically this album is great (cover, production, photos, the official vids as well) and can see why it’s wracked up a number of album of the year awards, including the Ghost Cult Magazine official writers AOTY.

Fair play and well done.

3, RevocationDeathless (Metal Blade)

Paul Alan Ryan spun me a couple of Revocation tunes way back at the start of the year, and I was impressed, so had my eye out for this release. Once it hit, the mix of intelligent thrash, Death (Official) and definite lashings of Mastodon in the melodies and approach all wormed its way under the brain to become one of my go to albums in the second half of the year and one that I’ll keep going to into the new year. Really good modern, technical thrash with a touch of (when they were good ‘Rust In Peace’ era) Megadeth in there too. You’ll do me.

2, MastodonOnce More Round The Sun (Reprise)

Was late to the Mastodon game, arriving some point around 2009 and ‘The Hunter’ was their first “new” album for me. Despite loving a bit of Leviathan and a bit of Crack The Skye (but not so much Blood Mountain), for me, their simpler, rockier stuff definitely suits them and they’ve really come into their own recently as OMRTS picks things up where Hunter left them off. Just tune after tune after tune after tune with swagger and hooks galore and distinctively ‘Don. Also, they have a song called ‘Diamond In The Witch House’ which does it for me in spades.

1, SólstafirÓtta (Season of Mist)

Two in a row for Sólstafir. Hats off! Svartir Sandar romped it for me in 2011, and by golly, Iceland’s finest have only gone and bloody gotten even better! Last time around it could be argued the album went on a touch too long and the vocals weren’t quite up to the level of the rest of wares on offer (though only by a smidge), well, those minor gripes have been consigned to the bin.

Now, post-rock isn’t exactly my bag of gravy, but Sólstafir delivers atmosphere, emotion and deep feelings, while the dynamic journeys of each track on Ótta pull you along for the ride.

A beautiful, magical album. As I say, it’s not my usual bag. Scroll through my ipod and there’s little similar on there, but Sólstafir have a way of speaking to me. Truly. Deeply.

This track’s a really cool video too.

Steve Tovey


Voices Releasing London In January


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UK dark avante sound contortionists Voices will release their sophomore full length release London on January 27, 2015 via Candlelight Records in North America. Tracked at Hackney Studios, the offering delivers fourteen bastardized tracks of progressive blackened psychedelic melancholia centered on the forgotten and diseased underbelly of England’s capital city. Featuring former members of Akercocke and My Dying Bride, VOICES manifests perfectly imperfect sounds to welcome the end of creation, the extinction of the human, the collapse of music as we once knew…

London Track Listing:
1. Suicide Note
2. Music for the Recently Bereaved
3. The Actress
4. Vicarious Lover
5. Megan
6. Imaginary Sketches of a Poisoned Man
7. The Antidote
8. The FuckTrance
9. Hourglass
10. The House of Black Light
11. The Final Portrait of the Artist
12. Last Train Victoria Line
13. The Ultimate Narcissist
14. Cold Harbour Lane

VOICES was formed in London in 2011 as a new experiment from guitarist/vocalist Peter Benjamin, drummer David Gray and bassist Sam Loynes (all former members of Akercocke) with a mission to create a deep brand of cold and confronting music, part hypnotic yet often disturbing, focusing from an avant-garde take upon black metal, whilst always striving to explore a wide musical spectrum.

Candlelight Records USA on Facebook


Voices – London


 

Born from the ashes of much missed extremists Akercoke, Voices have proven a near ever present on the UK live scene in the last couple of years, yet upholding a sense of enigma and intrigue. Musically they prove all the more abrasive than most, through sheer venom, their unpredictable nature and their uncompromising boldness; a boldness that sees them take on a concept album on their second outing, and a sprawling metropolis of one at that.

London (Candlelight) follows an anti-hero like figure through the dark underground of this nation’s capital, a cold and grim tale within the dissonant and complex City, exploring his mental state, his sexual craving and his ultimate isolation. Far from being a story based on pure fantasy and whimsy, the overall setting and feel to proceedings is so organic and could easily have been a true account. Various spoken word interludes increase the almost cinematic experience as they interchange from male narrator and the news reader delivery of the female, one that paints a vivid picture of London’s dark side as often seen in the media.

Conceptually this is a mammoth prospect and it is perfectly matched sonically in both mood and diversity. Beginning with pure melancholy with the acoustic opener ‘Suicide Note’ is a surprising start which lulls you in before ‘Music For The Recently Bereaved’ quite simply erupts in a white, fist flying, rage. Like the urban jungle of its namesake, each turn proves capricious as dynamics quickly change, paces slow and quicken again in a breath as it simultaneously terrifies and hypnotizes. Vocally this shows a huge plethora of styles beyond most of their black/death metal peers, veering from both guttural and shrill growls and screeches, to an eerie, Scott Walker like croon.

The roots of the majority of this unit may have history together in Akercocke (David Gray, Sam Loynes and Peter Benjamin all previous members) but this is still a new band in some sense of infancy yet with an already formidable reputation and artistic vision. London is a tremendous feat which not only surpasses expectations, but buries them deep underground, and album that sees Voices as not only one of the UK’s but the world’s most forward thinking and captivating extreme acts, and should be seen as a benchmark release.

Huge in scope and style, but pulled off with astonishing effect.

9.0/10

CHRIS TIPPELL