Éohum – Ealdfaeder (Mycelium Networks, 18 March 2016)
Have you ever noticed that the first example of something you hear — not all of the time, but pretty often — tends to have a profound impact on you and can color or influence your perception of any similar thing you hear later? For example, the first album you hear by a particular artist, even though that album might not be critically or generally viewed as their best work or even among their best, nevertheless will often establish itself as your favorite album by that artist. It’s an often-repeated joke, that upon an artist releasing new material, hipster-type people will commonly declare their previous albums (or their first demo) to be vastly superior. Since another cliche about hipsters is that they always claim to have heard of (or been fans of) a band or style of music before it had become familiar to the general public, it seems that claiming that an artist’s first material was better than their later work kind of goes hand-in-hand with having been familiar with that artist earlier than most other people — because it seems natural that in such a case one would indeed feel more of an affinity towards that earlier material, that having been the example of the artist’s work that was heard first. (I suppose it’s when these claims are made falsely, or as an affectation, that the derisive term ‘hipster’ would come into play, but that’s a different subject entirely.)
Anyway, the reason I brought up this discussion in the first place was that I had been thinking about my earliest encounters with black metal. Outside of a brief exposure to Celtic Frost at a rather young age, at a time when that vocal style was so far removed from anything I’d ever heard up to that point that I wasn’t even sure how to react to it, my relationship with black metal as a genre began somewhere around 1999-2000, at the height of the Napster era. I was in my early twenties and had started branching out as widely as possible, discovering anything I could get my hands on. Almost by accident, I had stumbled upon the Cradle of Filth song “Malice through the Looking Glass,” and it was like a whole new world had opened up to me. That orchestral introduction, and the way that unworldly shriek pierces through it, the insane-sounding metal arrangement that should never work juxtaposed with those symphonic elements but somehow it just does.
From there, I sought out anything similar I could find; I quickly developed an affinity for bands like Immortal and, especially, Emperor — anyone who was taking that black metal sound and combining it with other contrasting sounds. Sure, there was plenty out there that used the keyboards or samples in an over-the-top, cheesy manner, and I tried to avoid these as much as possible, but I also learned that once I’d experienced the symphonic variety, regular straight-up black metal just felt kind of stagnant and unexciting. And it all comes back to what I had heard first — so that, still to this day, I have a tendency toward music that blends different things in new and interesting ways. Today I’ve got an example to share with you: a Canadian band that includes some unexpected instruments within its arrangements …
Hello folks, and a happy Friday to you! Just when it felt like it would never happen, the weekend’s finally here. I’ve got a feeling this is going to be an especially good one, because there’s a ton of amazing shows and events happening! I’ll have more on that later, so stay tuned.
One of them in particular stands out, though — tomorrow night at the 31st Street Pub is the first date on the joint headlining tour between Relapse Records artists 16 and Tombs. That by itself is reason enough to get excited, but opening the show will be two of my absolute favorite local bands, the heavy doom armada that is Molasses Barge and Steel City sludgelords Vulture!
I’ve only seen Molasses Barge once before (and it was over a year ago! — read more about that here), and (believe it or not) although I’ve been listening to Vulture for a long time, I’ve never had the chance to see them play live yet! So needless to say, I’m really looking forward to this show. I’ve already got my tickets (they can be ordered here) but if you don’t, it’s just twelve bucks when you show up at the door. More info on the show itself can be found here.
Anyway, in anticipation of this event, I decided to get a couple of interviews lined up. If you’ve been reading my reviews for a while, you may have picked up on the fact that I often tend to focus on drumming while listening to music. It’s just the way I hear things, I guess — and I don’t know if it’s because I play drums (occasionally) or if I chose to play that instrument because it’s something I pay a lot of attention to.
In either case, the drumming in each of these bands’ genres is one of the main things that attracts me to those particular styles. So, it only seemed natural for me to talk to the two bands’ drummers. Here, then, are the questions and answers from Molasses Barge’s Wayne Massey and Vulture’s Kelly Gabany…