Hail Spirit Noir – Pneuma (Code666, 5 March 2012)(This is the second in a series of two album reviews today, for two very different, yet equally awesome, Central Macedonian bands. To read about Descensus Ad Inferos by Erevos, head in this direction.)
Pneuma (πνεύμα, or Spirit in English) is the debut release from Thessalonian duo Hail Spirit Noir, which consists of Haris (synths) and Theoharis Liratzakis (guitar/vocals), both of whom serve in those same roles in the avant-black ensemble Transcending Bizarre?. HSN has been in existence for about two years now, and much of this time was spent composing the material found on Pneuma, which was then put to tape at Lunatech Studios (near Mount Olympus), rounded out by guest musicians Dim Douvras on bass (who also mixed the recording), Ioannis Giahoudis on drums, and Dimitris Dimitrakopoulos who provided additional vocals. Acclaimed Swedish engineer Jens Bogren then mastered the final product, and earlier this month Code666 Records made it available worldwide.
At least, that’s what happened according to the record label’s official press release (which also refers to the group’s music as “psychedelic prog black to tear your psyche apart”). Now, I’m not trying to imply that any of this information is inaccurate in any way. But having listened to this album pretty much nonstop for several days, I’ve found that what these guys have crafted is so uniquely compelling, I would have been willing to believe it if I had been told there was a bit more to the story of its inception than that.
Back in the early 1970’s, there was a bit of a fad for directors of low-budget films to use well-known bands to record a soundtrack album to accompany those films. One of the more prominent of these was Pink Floyd, who contributed songs to accompany More, La Vallée, Zabriskie Point, Tonite Let’s All Make Love in London, and The Committee; none of these movies were significant enough for anyone today to remember they ever existed, save for the fact that one of the biggest rock bands in history had created all or part of their soundtracks. The first two in this list, in fact, had their soundtracks released as albums in the Pink Floyd discography (as More and Obscured By Clouds, respectively), and while I don’t have the precise sales figures to support this statement, I can assure you that more people have bought those albums than have ever seen either of those films. This is based on a random survey of people writing this review; 100% of respondants own a copy of each soundtrack on CD, while 0% know anything whatsoever about either film. As unscientific as that may sound, the sole purpose of this data is to highlight my main point, which is that some of the songs from these soundtracks are among the best I’ve heard (Obscured By Clouds, in fact, ranks pretty high on my all-time favorite albums list), despite the fact that they were initially intended to score what was presumably a shitty and entirely forgettable motion picture.
Listening to Pneuma feels just like that. I would not have been surprised at all to learn that these six songs had actually been recorded for some Sci-Fi/horror film from 1972 — one that had been so poorly made that it never saw an official release — but that it had recently been unearthed from the vault of some obscure studio, and while the movie itself was so bad that even Mystery Science Theater 3000 wouldn’t touch it, the soundtrack associated with it was a nugget of pure gold. Well, maybe I would have been just a little skeptical about the vocals, which range from a harsh black metal rasp to a more traditional epic doom metal style, and would definitely have been far ahead of their time… but otherwise I totally would have believed it.
The strings that wash over opening track “Mountain of Horror” definitely lend to the soundtrack-music feel; this is coupled with some blackened vocals, bendy guitars, bass, and wurlitzer-sounding organ over a straight-up rock beat. This track basically seems to serve as an introduction to the concept of the rest of the album, setting up the story in both time and place, and leading into the mindset of the central character who will (spoiler alert!) eventually succumb to the dark spirit that is already threatening to take over his mental state. The experimentation through the middle of the song, featuring bass fills as well as drum fills à la Pink Floyd’s Nick Mason (specifically, I am reminded of the proto-metal “Nile Song” from the More soundtrack), lends a bit more of an avant-garde vibe, gradually descending further into the madness that is coming.
Just like a close-up shot of a film’s main character, after the title sequence featured mostly images of the scenery, “Let Your Devil Come Inside” focuses the listener’s attention much more clearly on the actual story being told here. More strings start us off, with a strummed acoustic guitar, hammond organ, and a synth lead, as well as some clean vocals. Out of nowhere, the harshly snarled refrain “Kill your mother while you’re still in her womb” is then followed by dissonant diminished chords on the organ and guitar; this seems to represent some serious cracks in our protagonist’s sanity, becoming even more confused and overwhelmed with layers of strings and xylophones. Towards the end of the song, for the first time the music truly turns metallic, consisting of what would be considered prog-metal runs, and some very fast (but not quite black metal style) drumming.
This quickly fades away, although the metal vibe briefly returns to introduce the song “Against the Curse, We Dream.” This is soon replaced, though, with a shuffle sort of beat and an organ lead. If I were scoring a movie, this is exactly what I would want to use for a fast-paced action sequence, maybe even a chase scene. Shifting to a far more mellow direction, “When All is Black” is built upon acoustic guitar and bass, while also introducing some more clean singing and a flute part. For the most part this song has a slow Bossa Nova-ish vibe to it, though on top of this they gradually add more layers: some avant-garde-sounding synth and piano interludes, and free-form basslines; again the experimental nature of the music and the song structure are reminiscent of some of the work of Pink Floyd, or perhaps King Crimson. We also are treated to some synth strings and harmony vocals, which have just a hint of film projecter-ish warble and waviness to their sounds — not to the point where it sounds bad, but just enough to enhance the sensation of listening to an older recording, giving it a feeling of warmth.
Closing out the main part of the album is the epic track “Into the Gates of Time”; this starts with more flute and acoustic guitar parts in the intro, then jumps into a classic hard rock guitar solo. These directional shifts that are found all over the album serve as a great tribute to the classic prog-rock bands; another example I would use for comparison would be Jethro Tull — although this is something I hear more in the structural elements and some of the organ parts, more so than in the occasional use of flutes, since those parts actually remind me more of Traffic or perhaps the song “Green is the Colour” from Pink Floyd’s More. Anyway, “Gates” features mostly clean singing, often in a soaring style not far removed from somebody like doom metal legends Solstice. Despite the struggles and trials faced throughout the course of this album, this song ultimately makes the outcome clear, particularly with the spoken revelation that “my demons have won.”
The song eventually fades away, replaced by sound effects of some jungle noises — mostly crickets and other bugs — that last for the final four minutes of the track. The sound is very similar to the intro and outro of Syd Barrett‘s song “Effervescing Elephant,” actually. The only thing that breaks up the monotony is a little bit of acoustic guitar strumming, repeating the minor, diminished chords from the last section of the song a couple times, which appears suddenly and then disappears again. Rather than boring the listener, this lengthy span with very little happening actually serves to build up tension and suspense — you know something is coming, but have no idea what it is, or when to expect it.
Finally, “Haile Pneuma Skoteino” (χαίρε πνεύμα σκοτεινό, Greek for “Hail Spirit Noir”) emerges. Here we enjoy some digitized pipe organ leads, over a nearly-danceable tune that one might call darkwave or electrosynthpop. The song resembles something that might have been done by The Electric Hellfire Club, which is strangely fitting, since some of the harsher vocals throughout this album also reminded me of that band’s Thomas Thorn. Vastly different from everything that has come before it, this song would be well-suited to be played over the end credits, after everything has faded to black (visually as well as metaphorically) and the audience is left reflecting over the way things turned out for our hero.
Each time I play this album, I feel like I can visualize the movie that it should have accompanied, even more clearly than when I listen to some of the other albums I mentioned that actually did accompany films. Having said that, here are a couple videos for you to enjoy:
Pneuma can be purchased from the Aural Music webshop here.
Hail Spirit Noir: Website, Facebook, Myspace
Code666 Records: Website, Myspace
Interesting use of Jesse Peper’s artwork without his permission. You guys are fuckheads
In all promotional material from this band and record label, the artwork is credited as “by the American painter Jesse Peper” — including on the front page of the band’s website: here.
To me, including this credit in written materials implies that the work was used with permission. It seems ludicrous to identify the source of artwork if it was used illicitly.
However, you are entitled to your opinion — rude and profane though it may be. I can’t tell, though if you are implying the band used the artwork without permission — or if you are implying that the artwork (as part of the album cover) is being reproduced on this website without the artist’s permission? Please clarify your position, thanks.
I think the comment about the artwork was directed at the site mistakenly. However, the band most definitely used the artwork without permission, or, it seems, without even having contacted the artist.
Well… I have no knowledge of any of that — I don’t know whether the band, the record label, or someone else designed the album cover and other artwork, but I would certainly hope that someone would have gone through the proper channels to arrange to secure the rights to use the image!
But like I said, I know nothing about any of those types of arrangements. The album itself (the music) is incredible, so I would hate to see any sort of legal trouble become an issue here — especially if the band themselves had nothing to do with the selection of the artwork, and someone else had dropped the ball somewhere along the line.
Obviously, the image in the album cover is Mr. Peper’s “Devil” — and that painting is part of the “Trumps” series from 2007, so clearly the painting predated the album by a few years, and so it wasn’t commissioned as album art or anything like that. But I’ve often heard of artists’ paintings being made available later for use in other forms of media, so I really couldn’t comment one way or the other, without having more information about the situation…
Just stumbled onto this band out there who has evidently used my artwork for their album which I did not know anything about.. WTF!https://valleyofsteel.wordpress.com/2012/03/20/just-released-hail-spirit-noir-pneuma/
May I ask, where was this message posted? I do appreciate the free boost in traffic for my blog, but sadly I can’t really do anything about this — I’m just some dude that writes about music. However, I definitely do not condone the use of others’ intellectual property without permission!
So (as I said) if you could let me know where you saw this message and link… I’d be glad to do what I can to put the concerned parties in touch with each other.
My comment was directed at the band and label.
People who arent friends with Jesse arent going to be able to see his page I’m pretty sure ,but, yes this was used with out his permission or knowledge and I’m sure he’ll be contacting the band shortly. Really low of these guys to assume they have a right to use a piece of art without bothering to ask the artist..
Well, I have not been notified or given a heads-up about this release by the band.. to my knowledge, so i do not know wether to be flattered or otherwise at this time, generally i like to be compensated and perhaps i will ~ regardless, I have no wish to inspire any misplaced or prematurely vitriolic retort on my behalf either. JP
Well, I would have to say that the artwork itself is excellent, and that the style and feeling fit the sound of the album perfectly, so whoever selected that particular painting to use for the cover made a great choice.
However, I am very sorry to hear that this has been done without your knowledge! As I stated earlier, credit is given in every official description of the album release that I’ve seen anywhere, which would definitely lead the reader to assume that permission had been granted for its use.
I would certainly hope that this was simply a matter of miscommunication or misunderstanding — and not outright malicious or fraudulent intent! I appreciate your similar reaction to the matter. Unfortunately, resolving the situation might be a little bit complicated, considering that the band is from Greece (and I don’t even know their real names), and the record label is from Italy. In many cases, bands have put their albums together, including all the recording and artwork and everything, and THEN they get signed to a label just for the release and distribution. So it’s hard to say exactly who was responsible for selecting the cover art here, and it’s quite possible that everyone involved (incorrectly) assumed that it was someone else’s responsibility to secure the reproduction rights, or (incorrectly) assumed that someone else had already done so.
If you haven’t already, you may note that at the end of this review I have included links to the website, as well as Facebook or other relevant websites for both the band and record label. Contact information should be available through any or all of those links. Also, Code666 Records is a subsidiary label under Aural Music, so you might also try getting in touch with them. I really don’t know if there’s anything further that I, personally, could do, but if you need anything else, please let me know!
Thank you kindly VOS, and just for the record- I have recieved word back from the band at this time.. all has been cleared up. They apparently had contacted a representative of mine some time back who agreed to allow the use of this work, unfortunately this person did not tell me.. I really would prefer to have taken care of this all without an awkwardly confusing display on a public forum. Que Sera. JP
Well, quite glad to hear that.
And it wasn’t all bad — as I mentioned, I did enjoy having a small bump in the number of visitors to this particular post (although I’m not sure how many of these actually read the review or listened to any of the songs). And also, before this little exchange, I hadn’t had the pleasure of looking at the rest of your gallery of works, which I have done now.
Pingback: It’s All Greek To Me: Reviews of Aenaon and Hail Spirit Noir (2014) | Valley of Steel
Pingback: Hail Spirit Noir – Mayhem in Blue; Aenaon – Hypnosophy (2016) | Valley of Steel
Pingback: Hail Spirit Noir Sign with Agonia Records, New Album Coming Soon! | Valley of Steel