Album Review: Chelsea Wolfe's Unknown Rooms

We all have those albums that completely fly under our radars. Last year, that was Chelsea Wolfe's Ἀποκάλυψις (pronounced Apokalypsis). I don't at all remember how I came about finding her, but I do remember the chilling sense I got from listening to the single "Mer"; dark but ultimately beautiful in every way. Released under Sargent House -- home to bands like Russian Circles and Daughters -- I had no clue what I was in for. I tagged her as some singer/songwriter that somehow must have snuck her way onto a metal label. But I was blown away with what I got. That amazement continued when I actually saw her open for Russian Circles at the Middle East in Boston this past summer. I was floored. To this day, I still consider her one of the top 5 acts I have ever seen live.

Now, as 2012 comes to an end, Chelsea Wolfe has released Unknown Rooms: A Collection of Acoustic Songs, a record that has been on my must listen list for months since its announcement. One thing that makes Chelsea so appealing is her pairing of vocal style with her unique style of music: some have called it "acoustic doom metal," which i think is very funny every time I see it. For me, Chelsea Wolfe is a blend of drone-metal and folk. In other words, think of Sunn o))) but with an actual melody, an acoustic guitar, and a pretty girl singing. None of this sounds bad, right?

Unknown Rooms is an excellent album, one that lived up to my expectations. The main reason being her ability to transition her plugged-in performance to a stripped-down acoustic guitar and strings arrangement. With Apokalypsis, many of her songs are lined with reverb and vocal effects that actually work in her favor (unlike some singers *COUGH* BEACH HOUSE *COUGH*). Instead of flattened vocals, Chelsea Wolfe treats her listener to something that has depth. It's haunting and dark, but again, one of the most beautiful female voices I've ever heard. This is what I believe sailors heard before crashing into a mess of rocks, leading to their ultimate death.

The album opens with "Flat Lands", the first single off the LP. It's simple, yet very effective, starting with just an acoustic guitar, then slowly building to more strings. You're soon treated to "Appalachia", a song closely resembling something you could hear on a Damien Rice release. Overall though, this release feels a bit short, running less than twenty-five minutes. One other thing that bothered me was Wolfe's choice to leave two extra tracks off, and leave them as bonus downloads. Both "Virginia Woolf Underwater" and "Gold" serve as the best tracks on the album, even though they don't really exists unless you buy them from iTunes. If you can, I highly recommend spending the $1.98 on both tracks- totally worth it.

Chelsea Wolfe has been described as gothic, as well as servery melancholy. As depressing as this may seem, from the darkness comes something beautiful; something where the term short but sweet actually exemplifies itself. And as annoying as it is that she left two of the best tracks off the album, the small amount it takes to listen to them is worth the asking price.

Final Grade: A-

For fans of: Sun o))), Russian Circles, Damien Rice -- It's difficult to describe, but hopefully this helps

Album Review: Converge's All We Love We Leave Behind

This is one of the more difficult reviews for me to write. And I don't mean this in any sort of repressed emotional trauma attached to said band/album. Quite the opposite. Converge's new album All We Love We Leave Behind has consumed most of my listening space - at work, at home, in the car - honestly, I can't remember having something in such heavy rotation since Radiohead released In Rainbows. This is partly why the review has taken me longer than expected. For something so great, I figured I'd have this done in a minute. But it became more than that.

While talking to a friend of mine about the new album, he started to mention that one of the greatest things about Converge is their ability to get better at what they do. This is a group of guys who, over the past 15 years, have really grown into themselves in the best way possible. It's like that kid from Harry Potter who was ass-ugly, but then turned out to be this:

It's odd.

But Converge never started out as a buck-toothed nobody. For the most part, they've had a really solid career. This is why reviewing this album took so long. After sitting with AWLWLB, I started to go back and listen to Axe to Fall...then No Heroes...and basically just ran through their entire discography. And although they have a dynamic set of releases, All We Love We Leave Behind easily sets the bar high for what is to come from Converge.

One of our own writers Ben Goodheart admitted to withstanding from any sort of listen to Converge for the fact that "it scared him." He's not alone on this. My first introduction to Converge came when I bought Jane Doe on vinyl. Now, I enjoy metal and some of the offshoot genres it produces, but I never really could put a finger on what Converge was trying to do. It was loud, incredibly abrasive, but also hard to turn away from. These four guys knew what they were doing, and with each release their overall musicianship just kept becoming more refined. With AWLWLB, we see what is probably the most matured version of Converge yet.

This album is raw, not just gritty; it actually sounds like lead singer Jacob Bannon is in pain while screaming every lyric. Yes, I realize you can say that about any Converge album, and while that's true, this release is different. Produced by guitarist Kurt Ballou, this album was essentially meant to sound like one of their live shows: no production effects, no vocal harmonizers. This is Converge at their most stripped down. Also, oddly enough, probably their mathy-est release. The album opens with the single "Aimless Arrow", which is like listening to a harder These Arms Are Snakes track (i.e. THE MATH). From there on out is just an all out assault on you ears and soul. "Trespasses" leaves no time to recover and takes us back to the fast hardcore of You Fail Me. "Empty on the Inside" serves as one of the best tracks on the album, as well as one of the best Converge has recorded in some time. One of the most interesting tracks came out of "Coral Blue" which I would've immediately thought was a Mastodon song if I hadn't known the band before.

AWLWLB will go down as one of Converge's best releases. The decision to keep it as raw as they did payed off in every way the band could have hoped for. Before the album came out, my aforementioned friend said that this was going to be You Fail Me: Part 2. In a sense, he's very correct. You Fail Me covered a wide range of styles. This is partly why I went back and listened to their back catalogue before completing this review. You begin to hear them go back to previous albums within every song. You hear You Fail Me, but there's also alot of influence from Axe To Fall and No Heroes. Converge never forgets their roots, but they're also incredibly talented, enough to better themselves musically while keeping each release fresh and just as brutal as the last.

Like Kyle, I've never felt the need to really give out an A+ to anything, but honestly, Converge earned this grade up and down with the fantastic job they did with All We Love We Leave Behind. It's raw, aggressive and just impressive in every way. It's my number one release of 2012 for me, so far...

Grade: A+

Three Huge October Albums

With October comes the first full month of fall. But it seems almost foolish to think of it as such, due to the more than noteworthy releases October will see. Flying Lotus, Kendrick Lamar, and Converge all have albums set to be released. On second thought, October may see the three best albums of the year, if any of these artists' prior releases are taken into account.

Flying Lotus - Until the Quiet Comes
October 2nd

If Cosmogramma has taught us anything, it's that each Flying Lotus release feels like a new artist; the guy never stops evolving his sound. From the hazy beats on 1983 to the nu-jazz sounds on Cosmogramam, Steve Ellison has crafted his own signature niché in electronic music, but always reinvents his sound throughout his discography. FlyLo recently released a video teaser featuring some of the material on Until the Quiet Comes. The video was shot on film by Kahil Joseph and is just as abstract and beautiful as the music featured on it. I can't see myself disappointed with this release, even if it finds Ellison staying on the same path found on Cosmogramma. You can preorder the record at Warp, and don't forget to check out the short film below.

Kendrick Lamar - Good Kid, Mad City

October 22nd

In order for TDE to continue its dominance over underground hip-hop, Kendrick Lamar's proper debut album will need to be the keystone. ScHoolboy Q's Habits & Contradictions was a well thought out and executed first release from the TDE group, just after signing with Aftermath. Control System provided the weirder aspects of the Black Hippy collective, as Ab-Soul is oft found to do so. Lamar has been compared heavily to A Tribe Called Quest's Q-Tip, and with good reason - the two rappers have a similar pitch and delivery, while focusing their raps more on progressive issues than opulence. Single "Swimming Pools (Drank)" offers the most interesting point of view of drinking I have heard in music, let alone rap or hip-hop. I was a huge fan of Section.80, listing it as my favorite mixtape of last year. And with all the rumored features on Good Kid, Mad City, it's hard to imagine a failure.

Converge - All We Love We Leave Behind
October 9th

Coming as the biggest surprise to me, Boston metalcore outfit Converge announced All We Love We Leave Behind in late August. Converge hasn't released anything since 2009's excellent Axe to Fall, and it's comforting to see just how the band is approaching this release - they are doing everything themselves, without any guests or help. Guitarist Kurt Ballou is handeling the recording, artwork, and by way of his own label, Deathwish Inc., releasing the vinyl record. There aren't any special effects or extra instrumentation on the record, just how the band performs live. "Aimless Arrow", the album's first single, is a mathy, brutal kick to the teeth. Flatted Third's own Gerry D'Apollo broke the news on this release to me and you can check that out here, along with the video for "Aimless Arrow".

CONVERGE HAS A NEW ALBUM COMING OUT: JESUS CHRIST MONKEYBALLS

It's been three years since Converge released their last LP, Axe to Fall, but the Boston based hardcore/metal group are back with a new album and a string of tour dates across the U.S. The album will be titled All We Love We Leave Behind and will be out October 9th. Along with this announcement, the band also shared a new video for the first single off the album, "Aimless Arrow". After first listen, it's clear this is a different Converge. Yes, I understand it's too early to start predicting patterns of an album that has only released one song, but "Aimless Arrow" is very new for the band. It's an unexpected punch to the face, leaving you asking for more. Jacob Bannon flies through two and a half minutes of raw vocals that mirror a harder version of These Arms Are Snakes. Although the guitars sound clean and polished, Bannon assures that everything they produced and recorded is very organic, as to mirror what they are like live (spoiler alert: INSANE). You can pre-order the album now through the band's website (which comes in yellow vinyl and a 48-page art book by Bannon himself) or over at Deathwish, which has regular vinyl format or 180 gram 2x12" LP (this is ONLY limited to 1000, so get it fast if you can!). I was able to snag the 180 gram edition, which adds to my excitement of  upcoming autumn releases. Below, you can watch the video for "Aimless Arrow", along with the tour dates thanks to Pitchfork.

Converge - "Aimless Arrow" 

09-01 Los Angeles, CA - FYF Fest * !

10-12 New Britain, CT - Club INT @ #

10-13 Rochester, NY - Water Street Music Hall @ #

10-14 Pittsburgh, PA - Altar Bar @ #

10-15 Columbus, OH - Skully's @ #

10-16 Detroit, MI - Majestic Theatre @ #

10-18 Chicago, IL - Metro @ #

10-19 Minneapolis, MN - Triple Rock Social Club @ 

10-20 Lawrence, KS - Granada Theatre @ # $

10-21 Denver, CO - Marquis Theatre @ #

10-22 Salt Lake City, UT - Club Sound @ #

10-24 Seattle, WA - El Corazon @ # %

10-25 Portland, OR - Branx @ # %

10-26 San Francisco, CA - Slim's @ # %

10-27 Pomona, CA - Glasshouse @ # %

10-28 Los Angeles, CA - EchoPlex @ # %

10-30 Mesa, AZ - The Nile @ # %

11-01 Dallas, TX - Sons of Herman Hall @ #

11-02 Austin, TX - Fun Fun Fun Festival @ #

11-03 Houston, TX - Fitzgerald's @ #

11-04 Little Rock, AR - Downtown Music @ #

11-05 Birmingham, AL - Zydece @ #

11-06 Nashville, TN - Exit/In @ # ^

11-07 Atlanta, GA - The Masquerade @ # ^

11-08 Durham, NC - Motoroco Music Hall @ # ^

11-09 Philadelphia, PA - Union Transfer @ # ^

11-10 Asbury Park, NJ - Stone Pony @ # ^

11-11 New York City, NY - Highline Ballroom @ # ^

11-12 Cambridge, MA - The Sinclair @ # ^

* with American Nightmare

! with Quicksand

@ with Torche

# with Kvelertak

$ with Coalesce

% with Nails

^ with Whips/Chains

Can Metal Be Fun? A Look at Baroness' Yellow & Green Album and What ItMeans for Metal to Come

Baroness - Yellow & Green 

In 2011, metal giants Mastodon released their fifth full length album, The Hunter. Though the album garnered some pretty positive reviews, fans of the band were polarized. The Hunter marked a new direction that the band was taking; it may or may not be permanent, but for the time being, Mastodon started to do something many fans didn't appreciate: they started having fun.

Why start this review with a Mastodon album from last year you ask? The reason behind it lies in the recent wave of "pop-centeric" metal that has been released. First, there was Mastdon in 2011. In 2012, Florida sludge-metal group Torche released their new LP, Harmonicraft. And now, summer has brought the long anticipated double album from the Georgia metal band, Baroness. Admittedly, there is a certain "pop" to these records, but each band still holds true to the metal genre they are reshaping for this new generation.

All except for Baroness.

Although Yellow still follows the band's vision of a new sound, it also feels familiar, which will more than likely calm some fears fans may have over this album. Yellow opens up similarly to Green, but as soon as the theme ends, "Take My Bones Away" instantly comes through with a sludge riff that essentially kicks off the mood for the rest of the album. Here, Baroness is showing off a more polished band; the time for harmonized screams and nonstop heaviness seems to be behind them.

The largest amount of change fans will notice though comes from Green, the latter half of the double album. Green starts off incredibly slow with its theme; minimal drums and reverb heavy chords soon give way to the anthem-like break that I can only describe as having a post-rock, hair-metal feel. The next 40 minutes are essentially a test when you first listen to Green. The slight heaviness from Yellow      
is replaced with a more ambient, post-rock feel. One thing that makes this particular album so enjoyable is that it doesn't feel boring. Baroness lines Green with airy tracks that are meant to calm the listener, taking them through a new mellowed out version of the band. "Board Up the House" offers a taste of hard rock, but then glides through tracks like "Stretchmarker" and "If I Forget Thee, Lowcountry" showcasing how versatile Baroness can be.

Many fans are angry with the new direction though, more often than not, for the wrong reasons. While looking at their recent video for "Take My Bones Away", there was a YouTube comment a user left stating his displeasure for the band's new album and direction. Throughout his musings, he kept citing "They are having fun now, just like Mastodon has been, and it has ruined all the good parts of the band." This really got me thinking; since when are bands not allowed to have fun while they play their own music? Fans act as if these bands owe us something, which in reality, they don't. They provide us with hours of listening entertainment, and we thank them by tormenting their music and criticizing it to no ends. If you are familiar with The Simpsons (if not, try to be. I know my wonderful friend/blog frontman Kyle Murphy will reference it NUMEROUS times), entertainment tells us that they don't owe us. If anything, we owe them.

For anyone afraid of listening to this new double album, I'll leave you with this quote from an interview with PitchforkTV. The thing about changing - gaining and losing fans - it shouldn't be part of the thought process when you craft an album. The only thing that should ever matter are the songs - "Are we genuine; are we moving forward?"