“Rei” is the second release from Leeds based Post Metal collective Hundred Year Old Man. Following on from their debut single “Black Fire”, the three track “Rei” will be released on January 26 as a co-release between Gizeh and Wolves and Vibrancy Records in an edition of 300 copies of single sided 12″ vinyl with a B-side etching. Mastered by Magnus Lindberg (Cult of Luna, Alcest, Pg Lost) it sees the band build on their initial release and acts as a gateway to their debut album slated later in the year.
For this release the six piece are joined by Alex Creamer and Anthony Ferguson (vocals and bass respectively on “A Year in the North Sea”).
“Sun and Moon”kicks off the Ep with stormy drones that fuse with some sort of sample and minimal beats which when the guitars and bass spring in to life take me back to 1992 and Scorn’s “Vae Solis” album. It has that sort of Broadrick guitar and the slowish minimal percussion that Harris used alongside Bullen’s dubby bass lines. This changes once vocalist Paul Broughton’s screamo vocals joins and the track veers from Scorn-ish metal to more epic, but melodic and layered Post Metal. One thing that Hundred Year Old Man do is create atmosphere. It is not just beating down the listener with intensity or heaviness. There is a lot of layers and keyboardist and sampler Dan Argyle’s contribution in the band helps in underpinning the atmosphere, with also adding proggy elements to give the music variety. The guitars can reach downtuned depths of dirtiness, but also seering melody. This variety enables them to be multi dimensional.
“A Year in the North Sea” opens with operatic samples over a bed of distorted guitars that are feedbacking into drones creating a bleak atmosphere with snatches of screamed vocals floating in and out. The track changes mid way with some industrial clangs and bird song field recordings before changing from a drone scape to an industrial, almost intro or outro of a track. You could see this track used in a live environment with some sort of filmic background as an entrance piece.
“Rei”, depending on which context it is used in can with be a name or mean in Hebrew “My Shepherd, My Companion, My Friend”. Presumably this is referenced in the samples and vocals, but I can not pin down a clear instance of it. The title track is the epic one of the Ep reaching nine minutes in total. It has a similar feel to “Sun and Moon” with the pace, the dubby bass, synth and soaring guitar. These items build in increments till the beat down or break down occurs and the down tuned guitar, bass and drums lead into a more sludgey Doom Post Metal sound, vaguely reminiscent of Pelican with the obvious difference being the vocals. A return to the more atmospheric qualities happens with samples presumably from movies , before the descent occurs again. The guitars fuse to work in both the heavy and more reaching aspects, before a tribalist drumming, synth and guitar section bring the listener into another movement of the track. This one, despite the crashing drums, pounding guitars and harsh vocals, is probably the most melodic section thanks to synth that is forcing its way between the elements. For the remainder of the track the band pound away mercilessly before the final section which is like a machine braking down. The label describes the music as this “The title track demonstrates the staggering ambition that Hundred Year Old Man posses. Ripping into a cathartic sludge reminiscent of Neurosis at their best, it’s a towering, immersive, nine minute journey that refuses to loosen its grip until the dying moments.”
With two relatively short (in amount of tracks) it will be interesting to see what HYOM can unleash on a full length album.
At time of publishing the band are about to embark on a Euro tour. The dates are as follows:
01.02 – London (UK) – The Black Heart / 02.02 – Boulogne (FR) – L’Horloge
03.02 – Paris (FR) – Olymipic Cafe / 04.02 – Mouscron (FR) – El Bar
05.02 – Bruges (BE) – Koerspeerd / 06.02 – Hamburg (DE) – AstraStube
07.02 – Braunschweig (DE) – Nexus / 08.02 – Prague (CZ) – Eternia
09.02 – Berlin (DE) – Nuke Club / 10.02 – Gent (BE) – Cafe Den Drummer
16.02 – Birmingham (UK) – Hammer & Anvil w/ Nadja
17.02 – Manchester (UK) – Gizehfest / 21.02 – Liverpool (UK) – 27 Club
23.02 – Sheffield (UK) – Mulberry / 24.02 – Banbury (UK) – Wheatsheaf
13.04 – Manchester (UK) – Rebellion / 14.04 – Reading (UK) – Face Bar
Naviar Records is London Based label who describe themselves as “a community and label that explores the intersection between music and traditional Japanese poetry.” They have been releasing music since March 2014 and these two releases are their latest.
“Gomel, 1986” is an extension of the “Clouded Lands” show (in conjunction with the art collective Food of War) about the 31st anniversary of the Chernobyl disaster and was “a show which aimed to raise awareness on the consequences that such catastrophic events bring in people’s culture and everyday life. For this event, Naviar’s community had to recreate sounds, atmospheres and moods of one of the areas which were mostly affected by the disaster: the region of Gomel, in Belarus”
Each artist had to re-imagine the atmospheres and moods of the time and the recordings were made within a two-week period. The release is available as a limited Cd-r (50 copies) and digital.
“Black Rain” by Dirigent opens the album. Dirigent is San Francisco classically trained composer Chris Christensen who is drawn toward analog electronics and classic tape-studio techniques. The track starts with echoing percussion, water like sounds, electronics, the chiming of clocks, dark ambient drones and recordings of phone calls and media reports in Russian. I haves no idea of what is being said, but there is a certain amount of alarm in the voices, but not overly distraught. The music borders Dark Ambient and Industrial and has an unsettling edge to it. Electronics come in and or in a wave-like fashion possibly inspired by waves of radiation.
“Tjernobyl” by Robert Rizzi. Rizzi is a Danish/American Composer and Sound artist, Master of Electronic Music Composition from DIEM, Aarhus. Robert teaches Electronic Music and Sound art at SDMK Music Conservatoire in Esbjerg, Denmark. He works primarily with field recordings, found scores and improvised instrumental pieces, very often in collaborative site specific installations and compositions with visual artists. Field recordings of rain/ a storm with scattershot sounds are joined by a siren like drone, bass, minimal piano and electronics. The focus is on the field recordings, but the minimal nature of the bass and piano alongside the electronics really brings out the post apocalyptic feel of the music.
“Black Clouds” by Earthborn Visions. Earthborn Visions is a project born out of wide-ranging influences, with a particular affinity for any music that positively influences perception and thinking. They explore juxtapositions of sounds and styles, melodies and noise, planned and random acts, field recordings and electronics, analog and digital. Synth drones slowly unfurl melodically before picking up a darker wind-blown edge and giving a feeling that compliments the title. There is a subtlety to the track, so it’s not too literal in its intentions.
“Cage of Obscured Rain” by IF. IF is Matteo Gazzolo an actor, director, musician, sound designer (founder of Soundethers). He’s been teaching theatrical techniques and text analysis since 1999. He organizes trainings and lectures on acting styles. Matteo lives in Sardinia (Italy) where he plays his stage productions, focusing on the relationship between music, sound technologies (live electronics) and speech. The use of rain sounds return with a more obvious use of weather sourced field recordings. The drones that join are fractured as if they are too also affected by the weather. The drones start to build in intensity and the tone tends to go in a more screechy noise affected way. The track heads into a mix of dark ambient and more melodic fusion with the two opposing styles mixing up in layers and alternating in dominance. The ending of the track is where the field recordings and dark ambience takes hold.
“I Forgot Everything” by In die Ferne. In die Ferne’s first musical experiences date back to the late 80s — playing the guitar in an utterly forgotten noise combo that only recorded 2 tracks. He started making electronic music in the early 2000s. Minimal drones and tones are central to this track. Repetition or loops sees the motif replayed as the drones, while noisy have that classical Eno style to them. The rough / noisy is to the tracks detriment and stands out against the clearer recordings.
“Aftermath” by Jesús Lastra. Lastra aka Jalastram/Flat Stone is a Madrid-based self-taught artist from Maracaibo, Venezuela. He began to experiment with audio editing software in 2007. Then, he started composing ambient music, or more specifically, soundscape, drone and experimental music within the electronic genre. Slow drawn out drones are joined by string drones and a low rumble. The sound is full, but also mournful.With a title like “Aftermath” the artist is clearly trying to convey the post disaster desolation of the area with the heaviness of the drones, the fusion of the elements (strings, piano) and the mood of the times.
With a compilation that comes with a theme or an inspiration there are bound to be cross over of source inspiration eg: field recordings of rain, that said while there are similarities, the artists are able to put their own touches to give a little variation to each piece. The two final tracks probably act as the weaker and stronger pieces on the album. If you like thematic albums this may be for you.
Paolo Mascolini records as sōzuproject. He has released a handful of albums and ep’s. This release on cassette (edition of 59 copies) and digital is his latest. This is the first time he has come across my radar.
The label states that this was “Recorded between December 2016 and February 2017, Breath Slowly describes the composer’s experience while cycling off-road in the mysterious Italian Dolomites in 2016. Divided into two acts, the album depicts an imaginary journey of self-discovery inspired by these desolate and overwhelming mountain landscapes.”
“Ascent” starts off with eerie rumbling, echoing recordings of some sort before layered and occasionally fractured drones arc across the soundscape. Staccato strings cut across before a deep Bassoon like bass drone enters and vibrates out. The music starts to fill out with the strings and the bass thump being joined by noisier sections. The music oscillates with looped electronics joining the fray. As the track continues on the intensity is lifted. If the intention is to convey the intensity of ascending mountains on bicycle and also the desolation of the area, then it is succeeded with the slow build up which dissipates to a more electronica like ending.
“Descent” the drones that start this track have a slightly croaky sound to them as if they are made of field recordings of frogs. A buzzing drone enters the picture and loops with a low-level electronic section barely audible underneath. The electronics start to build up in the mix and their fast paced nature is at odds with the slow intense drones, before they start to challenge the drones which are getting noisier and distorted. There is a subtle wall of noise/ orchestral nature to the drones in the way they sound. The end of the track is like reprise of the beginning with some of the elements featuring again with the electronics still fighting for position.
I have to admit having an expectation to how the tracks would sound in relation to the theme which was completely opposite to the end result. I expected “Ascent” to be intense , which it was, in relation to climbing a mountain by bicycle and ‘Descent” being a more laidback enjoying the scenery feel, which it wasn’t. If you like long form noisy layered drone, then this release might be your cup of tea.
On October 13 (Friday the 13th in certain places) Gizeh Records releases the second album from Belgium based Double Bassist/Electronic musician Otto Lindholm. Lindholm’s self titled debut came out on Icarus Records /Vynila Vinyls in 2015 and gained critical appraisal from the likes of Fact Magazine and influential broadcaster Mary Anne Hobbs.
Lindholm had this to say about the album’s genesis “My original idea was to work on the melody and the play of the arco (ed note: Arco being the returning to playing bowed after pizzicato), looking for expressive music from this combination. To do it, I first decided to work on ‘modes’ and their specific color. With these modes I could work on tensions, frictions and color shading. Working on the melody aspect, I was looking to go beyond the romantic, easy listening or sentimentalizing, trying to suggest more than an expression of concrete emotions.“
The album contains four tracks with a consistent length with times ranging from just over eight minutes up to ten and a half minutes. The record comes in a vinyl edition of five hundred copies on 180g vinyl with download code and bonus 12″ x 12″ print if purchased via the labels store. It was mastered by Lawrence English of the Room40 label.
“Fauve” (a Fauve is a type of artist from the Fauvism movement that featured the “radical use of unnatural colors that separated color from its usual representative and realistic role, giving new emotional meaning to colors”). On this track slow bowed strings and monolithic bass swells are the first thing you hear, pulsing and throbbing. There is a deep dark sound to the track, but also room for melodic touches. Layers of double bass come in an out with low-level electronics and manipulated bass sounds. The more the track moves on, the more elements are added with the electronics mimicking the bass swells, but also being off rhythm to them. The tracks fluidity enables it to cover the genres of modern classical and certain elements of post rock. With the use of tones and manipulated organic and electronic sounds you could state the Lindholm has started he aim for the album straight off with the opening track.
“Lehena” (which in African names means one who refuses) arcs of bass vibrate across with a swarm like sound underneath that build up before a violin like section takes the focus before an electronic section of pulsing loops, ambience and squelchy beats provides a counterpoint to the organic sounds created by the double bass. The electronics threaten to take over the track and lead it in a more dance/electronica based vein, but while they lead the track to its finish they remain as one of the elements of the sound palate.
“Alyscamps” a deep dark drone is joined by ghostly electronics and glacial ambience. The drones intertwine with the electronics combing the acoustic with the electronic. Flickering sections lead to the feeling of a broken transmission from a deserted outpost. The flickering remains a constant while scattershot sounds with haunting presence form like a storm which is subdued just before the end for some distinct double bass. The “Alyscamps” is a Roman section in Arles, France and was the burial ground for nearly 1,500 years. The haunting music could be easily influenced by this landmark.
“Heliotrope” a Heliotrope is a popular flowering plant that happens to be a toxic plant. On this particular track the double bass recordings are deep and are used under a bed of higher at times bordering on screeching drones. While tracks like “Alyscamps” utilized the electronics in a different way, “Heliotrope” relies more on the ambient and drone elements that can be coaxed from the double bass. There are effects in the piece with juddering sounds, sounds that cut in an out, degradation of sounds, etc…. which gives it a more experimental / cut up feel.
On “Alter” Lindholm expands on what he started with on his self titled debut, but comes across more as focusing on the qualities of his chosen instrument than the electronic component of his debut. Don’t get me wrong, the electronics are still there but appear to be more of a tool of his experimentalism than as a feature. For those who checked out the recently reviewed Alder & Ash should also check out this album.
Lost Tribe Sound sought to expose Alder & Ash to a greater audience. The first of the two releases they put out was “Psalms for the Sunder”. This originally came out self released in 2016. Lost Tribe Sound decided to re-issue in physical form alongside the latest album “Clutched in the Maw of the World”.
The label had the following to say: “Psalms for the Sunder thrives in opposing extremes. As the title suggests, Psalms for the Sunder is a study of downfall and collapse. The work explores the boundaries, the desolation and despair, among the edges of things come undone. In that tension and space it finds not only cacophony, violence and decay, but also bittersweetness and calm.”
Alder & Ash is Adrian Copeland from Montreal, Quebec, Canada and is a solo cellist and only uses Cello to compose these pieces. He uses such techniques as legato (“musical notes are played smoothly and connected. That is, the player transitions from note to note with no intervening silence”), pizzicato (plucking of the strings), but also extended techniques like percussion against various parts of the cello, scordatura (detuning strings), string scratching, col legno (striking strings with bow) and ponticello (metallic and shrill overtones). Making full use of the instrument results in the music made by Alder and Ash.
“A Prelude To The Decline” slow drones are accompanied by minimal picking before the mournful quality of the cello cuts through with a melodic touch. The main cello piece alternates in tone and intensity giving the track both the mournful part, but also an angry intensity. The range of tones gives the cello a vocal-like feel in that it is conveying an unsung narrative.
“At Night in the Slaughterhouse” a distorted beat and slapping of the body of the instrument give the track its percussive feel while layers of cello combine to give both rhythm and lead parts. The press release gives mention of Dirty Three and Bad Seed’s Warren Ellis violin playing and this comes through early in this track with similar frantic playing. Just when you feel the track is settling down, the distorted percussion comes thumping back in industrial style while affected cello screeches above it roaring in intensity until the more emotive sections take control.
“Black Salt” starts with occasional strumming of the cello as if the player or person is finding their feet or rhythm before the percussive part starts to form something more. The strumming picks up speed, joined by buzzsaw sounds cutting left to right and some distant distorted rumble sounds. The melodic cello part that becomes the central focus lends a modern classic feel which is at odds with its more rustic beginning. After an ebb the strumming starts up again with both the distorted rumble sounds and a percussive beat. After a short period it fades to low-level drones and cutting sounds while the strumming slowly fades to the end.
“Seen Through the Cedar Smoke” multi layered picking and percussion are joined by the briefest bursts of sounds similar to that of a horn. The picking rhythmically becomes dense and woven and is covered with stabs of sound. The affected cello comes back into play sounding like the guitar sounds of Big Black – like distorted that it removes the original sound of the instrument. The quiet/loud dynamic comes into play when elements drop out and the picking starts up again, with both a feature element and the rhythmic base. There is quite a post industrial feel to the track, almost like post war desolation and decay.
“Ikejime” bizarrely the title refers of a method of paralyzing fish to preserve the meat. I am not sure what preservation is going on in this track but it has a jaunty rhythm over which slow bowed cello hangs over utilizing the screech noises that can be apparent with the cello. There are several layers the recording with each holding its own position from rhythm to melodic parts , those that are designed to add color, while others become the lead and yet others add the emotive depth to the pieces. All the levels don’t make it claustrophobic in any way and they are complimentary.
“Children of Gomorrah” has an ominous bluest feel with the starting percussive bit and distorted strings before sad sections are added and the track returns to the distortion of earlier tracks and has a vibe of seedyness as if it would suit as a soundtrack piece for show like “Peaky Blinders” or something where there is little light, grime, decay, etc….
“Triage” acoustic strumming with a drone that is long and emotive that slowly evolves, with the rhythm staying the same pace before dropping out altogether and allowing the drone to be accompanied by Warren Ellis style strings which posses an Americana feel that is almost improv like, before the strumming re-emerges. With Triage meaning to assess the importance of things, this could be represented in the layers of the piece and the way they build up and how they are structured.
On “Psalms for the Sunder” Alder & Ash utilize their chosen instrument to the fullest and create music that cuts through genres such as Drone, Americana, Industrial and others without being bogged down in one set genre. The music contained could easily be featured on a soundtrack or just enjoyed with a pair of headphones on.
Gizeh Records is an English label that has the motto of “The Noise of Harmony and the Harmony of Noise”. This perfectly describes their music from the sublime in Chantal Acda through to the noisier tones of Nadja, the experimental electronica of Shield Patterns through to recent doom signings Hundred Year Old Man. Label boss Richard Knox (Shield Patterns, Glissando, A-Sun Amissa, etc…) kindly answered my questions.
Please introduce yourself and the origins of the label? Was it formed to release your own music and then others later on? How many people are involved?
The label started up in a very basic form in 2002. The first Glissando recordings were finished and we had booked a few shows so it made sense to put a label name on the CD to make it look more professional than it was. There was absolutely no long term plan or even a short term plan but we made friends with a band called 30 Day Hex around the same time and they had a bunch of songs recorded and we played some shows together. It seemed to make sense to do the same thing with those guys – simply having something to sell at shows.
I had no idea how to run a label or what it even involved but as we played more shows we got to know more bands and the ideas kept coming and it basically grew very, very slowly from that point. I felt like it was something I wanted to do and something that I could do so I taught myself how to do it. It’s always be a huge learning curve and kind of still is in a way. It’s always been a purely DIY endeavour, every step of the way.
For a long time I just worked on it on evenings whilst doing a full time job and then over the years reduced my ‘job’ hours and increased the label hours until the thing switched places and since 2013 I’ve been able to be fully self-employed. We’ve never had any funding, at all. It’s just grown organically and I would say now the label is in the best position it’s ever been in. It’s always mostly just been myself but I’ve had help down the years here and there. The problem, of course, is always finances and to be able to pay someone else to be involved is really difficult as the money just isn’t there, even if the workload is. The fact that it’s all self-sustaining and I can pay myself is, in my opinion, a success in itself. My wife Claire, who is also part of Shield Patterns and A-Sun Amissa is coming on board a bit more these days as the release schedule is pretty healthy and we’ve started branching out into selling stuff from other labels which is something I’ve wanted to do for a while.
How important is identity (musical or visual) to the label ? Genre wise it’s difficult to pigeon hole the label. Was the intention not to be thought of as a ‘insert genre’ label?
I hate the idea of being a ‘genre-based’ label – I can’t think of anything more boring. The label is simply an extension of my personal musical tastes, which are pretty broad and the label reflects that. The only thing I’m concerned about is; are the people involved nice and is the music good? That’s it. No one is really making any significant money here so if you have to spend your time dealing with managers or artists that are dicks then it’s a complete waste of time and energy. I’m just not interested in that side of things. We’ve never done a contract and I don’t ever plan on doing that – operating on good faith is just fine. I want to work with artists who are making something interesting and have a real passion for what they are doing. I mean, it has to be a joint effort otherwise it becomes very hard.
Selling records these days isn’t easy so everyone has to do their bit in the process. It’s a team effort. For sure we’ve suffered in some ways because we don’t fit in a particular scene or whatever but that stuff is usually short-term or fashionable anyway so who cares? I don’t see another way to do this and the artists for the most part are very supportive in it, in fact I think it’s what attracts people to want to join the label as it’s an opportunity to reach a different audience or play with different types of bands and keep the whole thing a bit more interesting for everyone involved.
I mean, look at labels like Thrill Jockey or Sargent House or Ipecac – those guys release all sorts of stuff but you know for the most part it’s going to be of a high standard, even if you might not end up liking it or whatever. It keeps you on your toes. That to me is far more inventive and interesting than some ambient label where every release sounds the same. If that’s your thing then that’s ok, there’s nothing wrong with it at all, it’s just not for me.
The label has been around since 2004. A lot has changed in the last 13 years with the way music has been received and manufactured (eg: hand made, deluxe editions, surge in vinyl). How is this affected the label? Has there been times you’ve thought of stopping?
2004 was when the first ‘proper’ release came out which was Detwiije’s ‘Would You Rather Be Followed By Forty Ducks For The Rest Of Your Life?’. That was the first record that had any kind of distro and it was then when I started to take the label more seriously. A lot has changed for sure but you just have to stay on your toes and navigate around things as best you can. It’s obvious to everyone that there has been a steady decline in physical sales. At the end of the day you don’t have any say in how any of this works, you just have to be aware enough to adapt to how people want to buy or listen to the music and find the best way to present it.
If only 200 people want a vinyl of a specific release and everyone else is happy to stream it then that’s ok, I can’t do a single thing about that, I just need to make sure I don’t press 1000 vinyls. I think there’s definitely more pressure now on getting the numbers right in terms of pressing. It can be a tricky thing to call but the difference now is that if a record goes out of print it’s still possible for people to hear it either via download or stream which was never the case before.
There are a few releases that I’d love to repress on vinyl but while I know we could sell a bunch I don’t think we can shift 300 units – especially if the band isn’t touring or particularly active. Personally I like vinyl but shops are charging way too much now for it, £25? It’s crazy. Who can afford that? It’s simple economics though and everyone is just trying to survive but the very nature of pressing less copies means the unit price is more and that transfers all the way down the line which results in the products being too expensive.
In the end it will be the shops and distros that will suffer the most because if you sell direct to fans it means you cut out two parts of the chain and then it’s affordable to them and you make more money as an artist or label. For the record I am pro-distro and pro-shops, just to be clear. I’d like it if everyone could make a bit of money each and all survive but it’s clear that it’s becoming harder for that model to work.
Looking back over the years I don’t really think it’s affected us too badly, we never really sold loads of records anyway so nothing much has changed, it’s always been about managing each release and you just have to figure it out. It’s your job to do that and find a way to make it work. That’s not to say it isn’t a challenge but it’s not too different from any other job in that regard. I’ve never thought about stopping the label – for more than a few hours anyway!
I enjoy it and to be honest I’m doing exactly what I want to be doing with my life, I wouldn’t change it. I get the opportunity to work with incredible artists every day and to keep learning and growing all the things I’m involved in – it’s great. It means I can manage my time as I need, whether that’s making music or working on the label or printing or whatever it might be.
How important is it to keeping the label’s works in house and be self sufficient? I am thinking of Smiling Paper Ghosts and Death Rattle Press. Do you offer these services to others and if so how do interested people get in contact?
It’s absolutely crucial to survival and I don’t see another way of doing it. My DIY attitude means that I’m sure I can learn how to do something if I’m interested in it and doing things like press and screen-printing is just an extension of the label and it means that things can happen without having to pay other people to do it. Not that there is anything wrong with that but when you are operating on a shoestring it’s important to seek out where you can save money. I’ve never been scared of working really hard at what I’m doing and I’d much rather live cheaply, work long days and earn not so much money than do a full-time job that I hate every day.
There are times when the workload is pretty severe but I’m fine with working 14 hour days if I need to, it’s not a problem. It just comes with the territory. Luckily I don’t really do down time so I’m almost constantly working, I find it very difficult to sit still for any length of time. We do offer both screen-printing and press services to others, a simple search will reveal all.
What releases on the catalog stand out especially to you? What is the hidden gem of the catalog that people should check out?
My favourite releases change all the time so it’s quite impossible to answer that. People can find their own gems in there – it’ll be different for everyone.
Please tell us plans for the future. How far ahead do you plan?
Right now we’re planned up into the middle of 2018. We have one more release to announce for this year and then there is a Hundred Year Old Man EP coming in January and an album in April. A new Tomorrow We Sail record, a new Shield Patterns record and a few new signings we are yet to announce. We are also working on the very first Gizehfest which is pretty exciting.
Manchester’s Gizeh Records is not afraid of mixing up their catalog. From the sublime Chantal Acda through to A-Sun Amissa and Nadja, their catalog, to use their quote is that of “the noise of harmony and the harmony of noise“. Their latest signing Hundred Year Old Man is quite possibly their heaviest yet.
Hundred Year Old Man is a six-piece collective based in Leeds, UK, that focuses on the parameters of post-metal, doom and heavy music. Formed in 2015, the band have spent the past year touring and playing shows with the likes of Deafheaven, Ohhms, Moloken, Employed To Serve, Conjurer, Fen, Opium Lord, Canvas and Wren. Terrorizer magazine has stated about the band that “Despite only forming in 2015, Hundred Year Old Man’s deep, heavy sound already sounds remarkably well-realised and immersive, as the ten minute video for ‘Black Fire’ ably demonstrates.”
“Black Fire” is the title track of a 3 track CD that is released on August 25 . Housed in a double-panel, hand-screen-printed card sleeve with a card insert designed by in-house team SmilingPaperGhosts. The other two tracks are “Welcome to the Machine ” and “Disconnect (Demo)”. The band features Owen Pegg who has already appeared on the label under the moniker Æmaeth and as part of A-Sun Amissa.
“Black Fire” fuses Doom and Post Metal with an experimental edge with the use of Keys/Samples that remind me of “Vae Solis” era Scorn. There are trade mark Doom sounds with the slow down tuned guitars and screamo styled deep vocals, but mixed up with the more melodic, but still heavy , post metal guitar sounds and prog – like progressions.
Feedback with distortion and crushing beats open the track with alternating guitar riffs that join together once the vocals start. The vocals are largely indecipherable (although I am picking up an anti-war vibe) and are kept level in the mix just above the guitars. The first break in the track occurs around the first minute and a half with the vocals, bass and drums drop out to give space to the guitars which have a more post rock tone and are accompanied with organ sounds before the downtuned guitars, vocals and drums return in the style of the intro. Vocals (possibly by guitarist/vocalist Pegg) or samples (probably the latter) enter the mix and the music veers from chugging guitar riffs to post metal sections. The way the guitars veer between the traditional doom sounds to the post metal gives texture and colour to the track and flows smoothly not clunky.
A second breakdown section starts just before the six-minute mark and features samples of an elderly man talking about his memories followed by a repeated section of vocals with the phrase “Can’t Follow Me”, before the guitars start sweeping bringing about another musically thematic change, which changes several times again as the track builds up in its intensity to its climatic distortion fade out.
There is a lot of variation in the ten and a half minutes of the track, with twists and turns that, just when you’ve thought you know where it is heading, it has changed. This gives the listener something much more interesting than a stock standard track. Next year will see the release of a 12″ ep also on Gizeh.