Living Respectful: From Mars to Sirius, 10 Years On

In dreams we can transcend and transform, change perception and perspective. From Mars to Sirius opener Ocean Planet begins a fluid journey which weaves through dreamlike states and waking aggression, contrasting swathes of alternating passages (sonically personified by moments of crushing heaviness interspersed with calmer moments, fast with slow, loud with quiet, sparse with intense), which make the listener feel at times objective observer whilst at others immersed and involved. These changing dynamics flow through the entire album.

As Ocean Planet opens the album we are greeted by whale song. A calm before the storm, as this slow burning track progresses with alternation between kick drums and palm muted guitar with repeated refrains. Like a tumbling procession of waves cascading, the narrator and listener are carried through oceans and waking dreams alike.

Before long the two collide dragging the listener into the currents below. The lyrical content seems to document an enlightening dreamlike voyage to a receptive traveller; a confused dialogue with mystical whales.

For the message itself, it appears to be one of despair; "The ocean planet is on burn”.

From Mars to Sirius celebrated its 10 year anniversary in the summer of 2015.  Upon release in 2005 the album received high praise for its new sound; progressive, emotive, inspired, and conceptual. Certainly upon first listen all those years ago I was blown away, it seemed revolutionary and has managed to stay timeless, retaining nuances still undiscovered to this day. Certainly at 67 minutes long it is somewhat of a giant, so it is unsurprising that there is much to explore. It is worth noting that for a lengthy album such that it is, the experience is never dragging but continually refreshing and rewarding.

Regardless of sound there was another element to the record which set it apart from its contemporaries. The fundamental core of the albums narrative focuses on environmental concerns; the destruction of our ocean planet. It is a theme rarely explored with such acuity within the metal community.

The narrative, as crafted by lyricist and frontman Joe Duplantier (in the words of D.X. Ferris writing for Metal Sucks in 2009) “…relates an interplanetary quest to resurrect a dead planet. We’re talking life, death, and rebirth on a grand scale.”[1]

The story manages to traverse a conception of dawning awareness (to the mysteries of the universe and to the catastrophic destruction of our environment), anger, despair and hope. As a journey it is one shared by the musicians and the listener over the course of the record allowing it to avoid any accusations of being sermonising. In fact Gojira rarely have felt preachy, as with any form of art the content relates to concerns and experience of the creators, and as such the quartet are well qualified to relay this powerful message.

As we enter 2016 we stand on a pinnacle. Increasingly extreme weather as a result of climate change is becoming a norm. Environmental disaster seems inevitable as we fail to adapt consumerist and unsustainable lifestyles and economic systems, with scientists warning that some marine food chains are on the verge of collapse[2] (the ocean is enlisted as a powerful metaphor by Gojira). Throughout From Mars to Sirius despair is counterbalanced by optimism, perhaps for us in 2016 this optimism resides form of the recent Paris climate deal agreed in the bands home country.

It is now that Gojira’s message seems even more poignant.

In contrast to the steady pace of the albums opener, Backbone explodes into being. “Indestructible” declares Joe Duplantier, as the track jerks back and forth.

From time to time the pace is forced to a halt before the listener is thrown into some otherworldly depths, as drummer Mario Duplantier offers punishing assault of kick pedal as the track lurches between powerful attacks on drums and abrasive, screeched / muted guitar from brother Joe and fellow guitarist Christian Andreu, before returning above ground and to Joe’s powerful declaration.

When interviewed for Dutch site Fourteeng Joe Duplantier elaborated on the lyrical background of Backbone: “…the lyrics are about I feel indestructible. I believe that! When you believe in life after death, life after life…you feel indestructible.”[3]

For those wanting their fix of easily consumed, crushingly heavy tracks, the duo of Backbone and successor From the Sky offer these up.

Double bass provides the backdrop for much of the duration of From the Sky, in part providing an almost drone-like and ethereal quality to the track. The lyrical content here appears to hint to the creation of the universe, non-dual in nature as alluded to in traces of the bands philosophy. Bouts of intense emotion and wonder, track against monumental slabs of sound.

The placidity and Zen-like qualities of instrumental interlude Unicorn enable a moment of contemplation and time to recollect after the intensity of what proceeded. Moments like these were used to effect on previous album The Link (2003) with tracks like Connected and Torii, the band clearly aware of the need for replenishment when faced with such monumental music. The whales reappear, no longer a powerful and threatening presence, but vulnerable and majestic.

Where Dragons Dwell continues the relative peace with contemplation and introspection, again highlighting a further element of harmonised dichotomies present, of the inner and outer worlds. The ability to meld such introspective moments into these pieces is another reason the band are able to create such emotive compositions. Throughout the albums calmer moments Jean-Michel Labadie’s paced and extended base notes create an almost placid underlying calm.

One of the techniques used to great effect, is the alternation of focus upon either drumming or guitar. This allows the group to speed up or slow down the pace of the music, creating build before unleashing powerful  and protracted flurries.

In The Heaviest Matter Of The Universe, rather than creating the illusion of unstable seas, the opposing forces act to facilitate the stretching and bending of space time. The themes of the cosmic appear in much of Gojira’s music (a particular favourite of is Space Time from Terra Incognita (2001)). The opposition that they use can be seen to relate back to the philosophy which threads throughout the record, one that acknowledges the more recognisable vastness of space, to point toward the infinite here on earth.

What is notable on From Mars to Sirius however is the skill in which the terrestrial and extra-terrestrial are weaved together in a single narrative, rather than finding them stood in stark opposition as it at times felt on previous releases. A literary analogy would perhaps be Ouroborus, a character who makes an appearance on successor The Way of All Flesh (2008).

The whales return once more for what is perhaps the masterpiece and central focus of the entire album, Flying Whales. Without urgency the first 2 ½ minutes of the almost 8 minute track, rests comfortably as guitars and drums form a rhythmic tranquillity interspersed with the language of whales. The conversation intertwines with itself, causing ephemeral wisps to dissipate around the listener. As before a dialogue seems to be uniquely bridged, you feel as both observer and yet bought into the entire affair.

This is broken by one of the most memorable riffs of the record. As the narrative progresses we are drawn to seek these majestic creatures:

“Now I can see the whales

Looming out of the dark

Like arrows in the sky

I can’t believe my eyes

But it’s true”

Crushing riffs and double bass rage in jolting abruptness. The musicality is always timed and measured, precise in its technicality and structure. Skies appear to open up in the tranquil breathing space offered toward the end of the track before returning to claustrophobia with an aggressive closure.

In The Wilderness is a top heavy juggernaut, exchanging the majesty and precision of Flying Whales with primal rage. The world is alive and riled from its slumber by some angered ancient force.

“Living respectful

Low your axe

And learn from the trees.”

Structured shifts in the dynamic of the song provide it with a continuing renewal, demanding the attention of the listener. Closing in on the end, feedback and distortion begins to build before being engulfed by a powerful emotive riff (perhaps the most emotive moment on the album). With repetition the sound gains momentum, feeding back into itself and providing a self-sustaining power as it advances to its eventual closure. In the background distortion seems to mutate into muffled screams of anguish. One suspects of the forests, the mountains and the rivers, their voices on the wind for those attentive.

The inevitable implosion of In The Wilderness seems to ring in the end of one world and the beginning of another, if only in a fleeting, dreamed moment.

That dreamed moment is transcribed in World To Come which offers a glimmer of optimism. A vision of an ideal world healed of the scars left by humanity which appears nowhere to be seen; a living universe, vibrant and aware of itself.

It is here that we realise that our former journey has been one of self-transformation. Only now does the real journey begin. From Mars relates this, and in doing so offers a further temporary moment of peace whilst acting as a preface for To Sirius.

Screeched guitars flicker between monitors as Duplantier’s growls backdrop the euphoric feelings of ascension which are induced in To Sirius. The final declaration of the album rings out in the closing moments of the track; “This is my way”.

The conceptual journey closes with To Sirius. Closer Global Warming summarises and consolidates what has come before and returns us to the now, this world. Controlled reverb leads into technically pristine and emotive tapped core of the song.

The song is carefully considered, heavy though never reaching the intensity of Backbone or the anguish of In The Wilderness.

Global Warming closes the album by solidifying Gojira’s vision of a better world, conceived of and sculpted throughout the course of the album, through oceans, skies, space and time. Though at times the outlook appears bleak we end on a positive, if only a potential, a seed in germination.

“We will see our children growing”.

The structured nature of the albums compositions makes sure that the sound never strays to close to falling into chaos or sheer aggression. What it does achieve is a hypnotic and immersive experience, with plenty of to and fro dialogue, tumbling beneath waves and soaring through sky and space. It’s a unique experience; one which I feel was never quite captured on succeeding releases, though by admission it was never the intention to recreate the conceptual nature of From Mars To Sirius.

For example for 2012s L’Enfant Sauvage Joe is recorded; “I wanted to paint chaos, you know? It’s like a painting of chaos. It’s a deep feeling that humanity is destroying everything, and it’s total nonsense. A lot of things don’t make sense in this world, and I wanted to express this without really thinking if there’s a solution or proposing what I think about it.”[4]

The conceptual, narrative nature of From Mars To Sirius however is one of its most successful qualities. On L’Enfant Sauvage as with The Way of All Flesh, whilst raw emotive power is present, it at times feels as though the nuance and beauty projected so vividly on From Mars To Sirius is on occasion missing; lacking a vehicle for expression of their message.

As we await the anticipated release of new material in 2016, one wonders whether Gojira’s revised view will bring us a message of optimism or despair. The jury is out.

Notes

The band often share information regarding environmental activism which they are involved in or support, which can be found on their website here.

Listenable Records have just reissued the album on vinyl and have created a limited edition anniversary boxset available on their website.

---

[1] http://www.metalsucks.net/2009/06/24/9-gojira-from-mars-to-sirius/

[2] http://www.theguardian.com/environment/2015/oct/13/marine-food-chains-at-risk-of-collapse-extensive-study-of-worlds-oceans-reveals

[3] http://www.fourteeng.net/interviews/gojira.html

[4] http://www.artistdirect.com/entertainment-news/article/gojira-talks-l-enfant-sauvage-and-look-back-on-from-mars-to-sirius/10254161#wgW3Uu4CUHHgAJ1G.99

Health - Death Magic : The Best of 2015

Death Magic the third album from electronic/noise/pop band Health is not something I would normally listen to, yet after being introduced to the band by a former acquaintance, I found both beauty and loss in its ambiguous lyrics and heartfelt style. The album came to represent a transitional period in my life. Each song alluding to an emotion or experience, consequently and accurately detailing what 2015 came to mean to me. Whilst the album was released in August, the message retrospectively coincided my life to the soundtrack it provided. For that reason it serves as my favourite album of 2015.

It is January 2015, the dawn of the New Year. There is a certain sense of foreboding in the air. One day in and I anticipate the year is off to an ominous start. The dramatic and almost dystopian synth of VICTIM intensifies this gut feeling, like something is about to go amiss. 

“It’s not enough.”

This is how I feel about my relationship, something is missing, and something has changed. Suddenly, a burst of energy, be it anger or happiness. I can’t be sure. The aggressive electronics of STONEFIST give way to Jacob Duzsick’s almost androgynous vocals. 

“We’re possessed by what we’ve lost.”

I determine we are both focusing too much on our previous relationships, allowing how we felt about someone else interfere with how we feel about each other. Dwelling on the past as if it has any influence on the present. “Loves not in our hearts,” but we wont admit it. We will try and persevere. If something feels right it’s because it is. Maybe it’s just me though? My mouth has always been bigger than my heart. By title alone MEN TODAY is insinuating enough, the chaotic tribal drumming ringing out like an audible interpretation of my psyche, punctuated by an industrial soundscape of figurative warnings.

I wonder how we’ve made it this far? What is this leading to? The complete reversal in tone of FLESH WORLD reaffirms that things always have to get worse before they can get better. Besides, we still have the physical side of our relationship, even if we have become emotionally withdrawn. 

“For what, lust.”

Yet something is building up, swelling inside us both, this wanton urge to be able to be honest with each other again. Like I said, this feels right, but heart and mind don’t always come to an agreement. This is an emotionally unstable time in our lives. Somehow the physical gets emphasised, yet simultaneously so does the now apparent feelings of mistrust which then leads to accusations and burning paranoia. COURTSHIP II tells us, 

“We’re honest when we’re born.”

I agree. Only when we are young, innocent and naïve can we address our emotions with subject transparency, before the heart has chance to manipulate and distort the mind.

The sombre electronica of DARK ENOUGH serves as a internal monologue. Our relationship has plateaued. We still tell each other ‘I love you,’ but its just words. These words have been subverted, now they only represent a trivial game of call and response. 

“Does it make a difference if it’s real, as long as I still say I love you.”

We are now only remaining together for the benefit of the other, not ourselves. When a relationship becomes more of a favour for someone else, what is there to gain from it?

This is LIFE. We don’t know what we want anymore. It has taken this long to realise that we are not the people we thought we were. We both want different things; yet find difficulty expressing what these things are. It is almost a revelation. Accepting confusion is healthier that suppressing it. With honesty there is almost a sense of optimism or at least, content. 

“Life is strange, but it’s all we’ve got.”

Still, the worst is yet to come, I keep reminding myself circumstances have to get much worse before they improve. Accepting is one thing, admitting is another. SALVIA is the dawning of the motivation I require, the pounding industrial rhythm drilling the epiphany deep into my conscious.

We argue for one last time. But we are not angry at each other, we are angry at ourselves, angry for not admitting how we truly felt, angry at impatiently focusing on the future before getting to know each other on a personal level. 

It all seems almost foolish now. We let childish pride and a war of attrition obstruct months of suppressed emotion and have now cumulated in a broken relationship. Just like NEW COKE states 

“Let the guns go off, let the bombs explode.”

The battle lines have been drawn now. What can be salvaged and what remains of civility?

“Am I stuck with myself?” questions L.A LOOKS. The post-dissolution remorse and regret is now all I can think about. “It’s not love, but I still want you.” But only because I don’t want you to be with anyone else, not just yet, not until I’ve selfishly moved on. Ultimately, you have to HURT YOURSELF in order to feel again. Love always comes hand in hand with hurt and the heart always desires what it cannot have. This is where the mind takes over, implementing rationality and foresight before regretful decisions are made. The heart maybe wounded but the mind is telling me everything is going to be alright.

DRUGS EXIST extenuates the finality. Now there is nothing left but the potential for something else, something better. 

“Live as you like, it’s hard to know what’s right” 

A year perfectly represented in thirty-nine minutes. The closing ambiance plays out leaves me to reflect on what I’ve experienced and what I’ve heard. It is January 2016…

NG

The Top Five Albums of 2015: The Runners Up

Being productive and/or consistent with content was unfortunately not one of my new years resolutions. I am the kind of person that considers finding the time to have three meals a day productively successful. That said, here are my top five albums of 2015, spare a thought for all the meals I have missed in writing this.

5: InAeona – Force Rise the Sun

This album came straight out of nowhere for me, a chance glimpse of an advertisement from their label Prosthetic Records could not have remotely prepared me for what was to come, given Prosthetic's favouritism towards more traditional metal.

After the first listen I was left staggered, what did I just listen to? I couldn’t quite comprehend it, my colleague asked me to describe their sound and I was inundated with too many influences and styles to give it any kind of credibility. I tried regardless. Confidently I began.

“Imagine alternative style metal, not unlike Deftones or Karnivool with a uniquely talented female singer reminiscent of Bjork, add a prominent industrial/electronic influence and infrequent inclinations towards post-metal”…. 

*blank stare* 

That has been the beauty of Force Rise the Sun, it presents itself as almost genre-less and regardless of what genre you may decide to pigeonhole this album into, there is no denying how massive the sound is, especially for a debut. Lead singer Bridge Lavaizar is able to seamlessly vary her vocal range between an almost ethereal cry with instances of vulnerability, to impassioned screams. Her guitar work often mimicking her vocals with similar impactful transitions of tone. The dramatic electronics present throughout make this a very forward thinking and modern sounding record. 

4: Ghost – Meliora

Considering Ghost’s fascination with satanic imagery and lyrical themes, I was left wondering if they had indeed sold their souls to Satan to create music so undeniably gratifying and catchy. For all the criticism the band receive for favouring style over substance, Meliora has received near unanimous praise and not just from the typical metal media. 

With Opus Anonymous, Ghost delved heavily into seventies doom metal and deliberately exaggerated satanic references. Their follow up Infestissumam was a more experimental affair, owing more to progressive rock influences with elaborate orchestration and choral arrangements. 

With Meliora, Ghost have found their sound and consequently, demonstrated their song writing ability on a whole new unholy level. Meliora could be described as a more traditional metal album. The outstanding production from Andy Wallace has bought the guitars further into the mix, particularly on the heavier songs such as From The Pinnacle To The Pit, Majesty and Mummy Dust. The nameless ghoul operating the keyboards has also been allocated a more pronounced role this time round, transitioning from the horror themed keys of Spirit to the almost Van Halen inspired synth of Absolution. Meliora is a sing along album if their ever was a more appropriate term. When Papa Emeritus calls out

“Put your hands up and reach for the sky,

Cry for absolution”

Such is the power of the music, I almost feel compelled to do so.

Lead single Cirice is certainly the most infectious song Ghost has ever released, despite it also being one of the heaviest. A riff-laden affair which complements Papa Emeritus III’s haunting, yet objectively compelling delivery. Aside from He Is which could be described as some pseudo-folk ballad, the album gives Ghost the increasingly metallic edge that has been lacking from their previous releases. Beforehand, the affinity towards the theatrical and subsequent controversy from the lyrical themes have always taken precedence over the music. The references to Satanism seem almost vague this time round, songs such as the aforementioned He Is, utilise creative metaphors and wordplay to present the intended theme without ever directly referencing Satan.

With Meliora, if Ghost ditched the costumes, it would take nothing away from the music.

3: Dog Fashion Disco – Ad Nauseam

There is no secret of my love for Dog Fashion Disco. That said, following the revelation that they would be releasing another album with the surplus finances they received from their enormously successful crowd funding campaign, I did briefly ponder if the result was going to live up to its title (I would have loved it regardless). Ad Nauseam is quite simply brilliant. Dog Fashion Disco are the dignitaries of the now, admittedly limited, avante-garde metal scene. On the plus side… No competition at least.

The title track showcases DFD at their more upbeat, the playful synth of Tim Swanson rings out like an early nineties game show theme, if it not were for Todd Smiths regular lyrical excursions to the dark side. Last Night Never Happened is more reminiscent of Anarchists of Good Taste and gives demonstration to Smith’s impressive vocal range. One minute a sultry croon, the next a demonic wail. Just as the tracks darkly sexualised lyrics leave you feeling almost uncomfortable, Golden Mirage kicks in and completely alters the tone. 

It is fair to comment that Ad Nauseam features some of the most accessible music DFD have produced, the sing-along cabaret-influenced chorus of Golden Mirage had me tapping along quite contently. But you can never let your guard down with DFD, as it is also fair to comment that Ad Nauseam also features some of the heaviest tracks DFD have done in years. Covered in Blood, in particular showcases the bands personal take on Thrash Metal and puts the spotlight on guitarist Jasan Stepp with a rare example of his soloing ability.

Just as 2014’s Sweet Nothings saved its best till last with End of the Road, as does Ad Nauseum with Starving Artist, which perfectly channels Mr Bungles 1991 debut in all its demented greatness. 

2: Judicator – At The Expense of Humanity

2015 was an enlightening year for me; over the years I have been guilty of predominantly dismissing Power Metal, never fully comprehending the genres preoccupation with fantasy and lore. Imagine the chagrin when I came to realise American Power Metal band Judicator had released one of the best albums of 2015.

Judicators At the Expense of Humanity is a concept album detailing lead singer John Yelland’s experiences during his brothers fight with terminal cancer. In abandoning the traditional themes associated with power metal, the group has formulated a significantly more poignant and most importantly, relatable experience. Yelland’s soaring vocals describe the emotive and deeply personal account of the concept with so much passion that you can hear the grief in his delivery. 

There is little ambiguity to the lyrics, the story acts as a detailed exploration into mortality and is easy to comprehend. For this reason the album is such an inspiring experience. The music puts the listener right within the story, I found myself visualising the events detailed as if I were viewing a dramatic reconstruction of the entire scenario. Any expression of indignation, fear, acceptance or anguish, I felt too.

I have always ascertained that the best music originates from the artist bearing their soul, music should appeal to emotions and this touching tribute serves as the perfect eulogy. Rarely have I found myself enthralled in someone else’s personal tragedy, especially not through the art form of music.

Concept aside the album will still appeal to more traditionalist fans of the genre. From a purely musical consideration the powerful vocal delivery, captivating guitar work and atmospheric keyboards validate that, lyrical themes aside, this is still very much a Power Metal album. Considering Judicator have only been around since 2012, At The Expense of Humanity serves as a testament to their talent. The bar has been set unfavourably high for any future power metal release.

NG

Honorable Mentions:

Shining- International Blackjazz Society
Faith No More - Sol Invictus
Boduf Songs - Stench of Exist

Scott Weiland: Where the River Goes

On the Third of December 2015 the world lost one of the last great rock and roll front men - Scott Weiland, lead singer of Stone Temple Pilots. Important to note how I have omitted the label of ‘ex-front man.’ Consequently, without Scott Weiland there was no Stone Temple Pilots. 

As it stands a few days later, the evidence currently points to a drug-related death, specifically a cardiac arrest, no doubt accounting to years of previous substance abuse. Tragically what many people had been expecting. Weiland was touring with his new band The Wildabouts, playing small venues and relying heavily on STP material to fill his set. The reception to those gigs had been largely negative with numerous comments on Weiland’s deteriorating health and ability. Over the years his professional reputation had been tarnished, the man who could have had it all, yet threw it all away. The man just desired to play to his fans, regardless of circumstance and a compromise he was forced into when the remaining members of STP dismissed him from the band he started.

Weiland was known as one of the most charismatic front men of all time. He was commonly regarded as genuine rock star and figurehead of the nineties alternative rock scene. Whilst many of his peers relied predominantly on their music, Weiland was a natural showman, an intimidating and flamboyant stage presence and dauntless enough to glam up his appearance when everyone else at the time was clad in jeans and flannel shirts. Not that it ever reduced the impact the music. Stone Temple Pilots were one of the leading bands of the nineties. Core and Purple are still regarded as classic examples of nineties alternative rock. The more experimental Tiny Music... and No. 4 showcased a wider range of inferences whilst Shangri La-Dee-Da is a largely inconsistent output, a hurried pastiche of genres that tried too hard to integrate with the radio Cod-Rock of the noughties. 

Aside from his proficiency at steadily reinventing both his image and vocal delivery, his main talent laid his in often autobiographical and emotive song writing ability. Weiland wore his lyrical heart on his sleeve and was unafraid to document his personal struggles in a musical interpretation. Songs on Core dealt with Weiland’s apparent disillusionment with the world he lived in; Sex Type Thing denounces chauvinistic opinions of women, Sin details an abusive partner, Naked Sunday is an attack on religious fanaticism and Creep deals with feelings of alienation and resentment from societal normality. By his own account drugs were not a significant consideration during his early career, yet like so many of his contemporaries and peers, with the onset and pressures of fame came the addictions.

Weiland attributes Gibby Hayes of Butthole Surfers to introducing him to heroin, something which Hayes denies; regardless by the mid-nineties Weiland was a full blown addict. His lyrics on STP’s second album Purple became increasingly laden with metaphorical references towards addiction. Interstate Love Song describes having to lie to his then wife about maintaining sobriety whilst on tour and Big Empty acts as a cautionary tale about life on the road, the titular 'Big Empty' being the long hours of nothingness in between the tour dates.

“Too much trippin’ and my soles worn thin”

During the recording of their third album Tiny Music… Songs from the Vatican Giftshop, Weiland was arrested for possession of cocaine and heroin and instantly became something of a media pariah for the excesses and moral corruption of the rock and roll lifestyle. Once the media targets a individual, it never relents and rarely sympathises. They made sure any mention of Weiland was accompanied by some sort of drug-related reference. Just like they did with Layne Staley and Kurt Cobain. To live a life in the spotlight, being constantly judged and having to read about your own personal strife (often exaggerated and glamorised) inevitably took its toll and Weiland was diagnosed as suffering from bipolar disorder, a dangerous infusion considering his now severe dependencies.

Weiland managed to regain enough composure to record STP’s forth album No.4 in 1999, dubiously named after the purest form of heroin. Weiland’s personal turbulence accounted for many of the lyrical themes of the album. The autobiographical Sour Girl describes holding his wife emotionally hostage in their relationship, whilst  I Got You ironically outlines how she was able to fill the figurative void left by his heroin dependency. No.4 revealed a vulnerable side of Weiland, whether it be relationships or drug addiction, both were clearly getting the better of him.

By 2001 Weiland’s personal life overshadowed any musical output. Shangri-La-Dee-Da was largely ignored by the mainstream. Weiland’s erratic behavior and headline captivating existence had done no favours for the bands reputation with his multiple arrests ranging from DUI's to domestic violence.

When STP disbanded in 2003, Weiland fronted Velvet Revolver with the former members of Guns & Roses, yet the whole project felt increasingly like a assemblage of egos rather than a credible music output. When Velvet Revolver disbanded in 2008 the blame was once again placed on Weiland's instability and health issues, claiming he had merely 'fallen back into his old ways.' 

STP reformed later that year and, initially it did seem that Weiland had finally managed to turn his life around. Motivated by a new found appreciation for his own material and reconciliation with his band mates, the group managed to accomplish one of the highest grossing tours of the year and release a new self-titled album in 2010. By this point however, the group was undeservedly considered a nostalgia act. Profiting to an older audience keen to relive their formative years. In many of the tributes I have read following Weiland's death, most refer to how STP only appealed to people in their youth, musical relics of a era gone by. STP appealed to me far into my adulthood as well, their music never sounding as outdated as many seem to be alluding. Weiland was able to formulate a lyrical solution for any problem, their music I consider timeless, an integral part of both my youth and respective maturity. Just as many claim to have lost a piece of their past, I feel like I have lost a piece of my present.

Weiland needed help that he was never able to find. Even following the successful reunion tour, the conflicting egos within the band forced Weiland out. Despite his well documented struggles with varying addictions and a diagnosis of bipolar personality disorder, his band mates were unable to comprehend his vulnerable mental state. And certainly not by preventing him from preforming which was more than likely the one thing keeping him going. Until recently STP had continued to tour and write material with Linkin Park’s Chester Bennington replacing Weiland. This incarnation did not even register to me or a large number of the groups fan base. Weiland was the embodiment of the band; Bennington was a cheap impersonator, unashamedly tarnishing the bands legacy.

I am confident Weiland’s creative legacy will overshadow his personal issues if the media allow it. Currently it seems instead of mourning one of the greatest front men of all time, we are too focused on eulogising another rock and roll junkie who was by all accounts living on borrowed time. In closing I am reminded of a quote by famous music journalist Charles Shaar Murray regarding the death of Elvis Presley.

“Stardom kills. One way or another, it wreaks an awful destruction on all but those with the utmost strength and inflexibility and those with the utmost humility and knowledge”

Weiland may now be remembered as another casualty of an era gone by, yet behind the facade was an extremely talented and troubled individual who ultimately paid the price for his art. 

"I wanna be as big as a mountain,

I wanna fly as high as the sun, 

I wanna know what the rent's like in heaven,

I wanna know where the river goes"

RIP Scott Weiland October 27th 1967 - December 3rd 2015

NG

Driving Rock: The Frontier

(Disclaimer we aren't promoting “driving rock” as a genre or even an acceptable term).

In a recent article Niall was quite critical of so called Driving Rock. Is this phenomena total commercial nonsense? Or something more? In particular, does sitting behind the wheel of a car actually add to the listening experience? Absurd, surely.

Lets be honest, it probably is absurd. Though music can certainly add to the driving experience. In the same way it can soundtrack the stacking of shelves, dark city streets (I'm thinking Ulver's Perdition City) or the ritual sacrifice of small animals.

It seems only fair however to offer a contrary view. And what better way to do that by discussing an album which tore onto the scene as potentially the best driving album of all time (recommendations welcome).

Because whilst we may be sitting in traffic. We may be shouting at the prick who doesn't know how to use their indicators at the roundabout. Or maybe it’s just raining. Falcon (ex-Circle)’s Frontier is there to give us the belief that we've got the wind in our hair, free as a bird. We are on the adventure of our lives, the open road. Destination 60mph!

Without getting too caught up in the identity of Falcon (ex-Circle) it is certainly worth devoting a few lines to provide an overview, or to the uninitiated an introduction. The part in brackets is a bit of a give away, though not completely helpful. Finland’s Circle, prolific and ever changing and morphing in their style and identity are the culprits behind this release, swapping their name temporarily to Falcon (ex-Circle). The following output from the group was Circle (ex-Falcon). But you feel any confusion you’ll be happy to know they are back to plain Circle. This year’s gem was Pharaoh Overlord, which conveniently shared a release date with their alter-ego band Pharaoh Overlords’ Circle.

Anyhow, 2013s Frontier, is basically an anthemic classic rock album, but for the modern age. It has glam and cheese, but it feels tongue in cheek and is incredible catchy. The fast paced record is a love story. The love of a woman, the open road, and of course Beer and Ribs.

Frontier opens the album and sets the scene. Some seriously retro, but not dated keyboards complement a classic guitar led sound. “Ranger of the frontier, counting down his days”. The lyrics often conjure a quite visual narrative and need to be commended for such. Similarly, the use of synthesizers in a modern way often feels key to setting this album aside to anything comparable. We begin in the wilderness but where we are heading is anyone’s guess.

Beer and Ribs focus on drinking and eating and general frivolity bring us back to more immediate and pressing concerns. The synth here just teases. It feels like they have struck gold. Thematically this track sets up the album in a tradition of simple rock songs, which essentially avoid nuance and drive solely towards “booze, rock and girls”. Fortunately, Circle’s classic motorik rhythm progresses the track, and it’s this groove which hurtles you forward whilst the almost comically overt lyrical topic assures us we haven’t stepped back into the 70s.

The central block of tracks offer feel good, heated escapades of driving, fleeting passion and adventure. Partners in Crime, the reckless abandon. Ace of Hearts, a relationship burning fast and bright. And Bringers of the Dawn, perhaps a moment of much needed reflection.

Leather Seat is perhaps the new driving anthem and key really to my bold proclamation that this is the best driving album of all time. So, instead of offering any sort of review, I’ll offer the lyrics as they provide much more much greater synopsis than I could.

[…]

My mother she used to warn me

Someday you will fall asleep

At the wheel and die

That ain’t no lie.

Ride on

This long road is my kingdom

Ride on

My throne is the leather seat

I know

These freeways like my blue veins

I know

The engine gives the key

To my dreams

And that’s the only place where I sit still.

[..]

Miami Tits and Seasoned Girl (I’ll Go Crazy) close the album and end our love story. Until the car CD player starts it right back at the beginning and you realise you've moved 5 miles in the past 43 minutes.

Basically if you’re driving and you can’t quite handle the intensity of Sunrise or any other of Circle’s motorik obscenities at 6am, this album is for you. If you are a classic rock fan and you need a fix, this album is for you. If you’re behind the wheel, here is some sustenance.

And at a time when we seem to be driving for longer to get to our jobs which pay less and less and seem more and more pointless, Falcon (ex-Circle) will be there for us.

JT

Not-Driving Rock: 7 Hits of Pure Vehicular Abstinence

What the hell is driving rock?

From my cynical understanding the term is the music industries representation of the way greetings card companies fabricate new days of forced celebration to inspire people to remember they actually care. Your dad probably has several. These compilations consist of predominantly 'adult-orientated' rock, with the occasional song that has some loose reference to cars/driving/speed etc just in case you couldn’t ascertain that this is intended to be played in the car. I'm unsure quite how this is supposed to enhance the driving experience. Most of the compilations could simply be released as a classic rock album instead. 

Admittedly some have managed to compile a decent selection of songs, yet insinuating that you need to be behind the wheel of a car for maximum listening experience seems a strange notion. As a non-driving peasant I guess I'm not supposed to understand. In this article I will describe several reasons for my reluctance to commit to automobile ownership and simultaneously provide you with an inspirational alternative soundtrack. 

Just one example of the diversity of these playlists, although personally I would be more likely to deliberately crash the car than be forced to listen to Phil Oakley.

1. Liberate the legs, enslave the wallet

Buying and running a car would effectively reduce my monthly wage to mere pennies. Petrol costs, road tax, insurance, maintenance. None of which I could comfortably afford. Then most people don’t. Get the car on credit if you are old enough to have accumulated an acceptable credit score or rely on your parents to fund everything. I can reasonably assume that the vast majority of all young or first time drivers contribute next to nothing to the financial implications of driving. Mommy and Daddy bought you the car because you did well in your A Levels, they pay your ludicrously high insurance as you are a significant liability and they give you the money for petrol every week because lets face it, that McDonalds drive-through isn’t going to order itself is it?

Weezer - Surf Wax America

I would totally surf to work, if I lived on a beach... and worked on a different part of the same beach.

2. Driving lessons can be murder

Cars are bad for the environment and I don’t mean in the traditional and perpetually debatable ‘Global Warming’ argument. I mean every time I get behind the wheel of a car, things die. Before you consider me some kind of vehicular maniac, I should specify the only body count I have amassed has come from the local wildlife and not the locals themselves. On my first ever opportunity behind the wheel, I ran over a Cat… on Christmas Eve. Scooping its limp body out of the road was traumatising enough, but a few years later whilst having actual lessons I managed to get more feline blood on the tires. After sitting in the car with the instructor going over all the necessary basics, I pulled off her driveway and rolled straight over her beloved pet who was having a snooze under the rear tire. I never got a second lesson. Fast forward another few years whilst receiving unofficial lessons from a previous girlfriend. Two birds mutually decided to end it all and exploded off the front bumper. The bodies were never recovered. After hastily exiting the car to gaze out at the shower of feathers, I held a moments remembrance, then thoughtfully considered that I clearly posses the same ecological impact as traditional Chinese medicine. 

Jimmy Eat World - Night Drive

It's not about driving the car, it's about having sex in it, which is much more enjoyable... I've heard.

3. Conveniently deluded

Life is not meant to be easy and convenient. It is meant to challenge you with obstacles such as distance or the elements, so you both adapt and appreciate the luxuries more. But as humanity we want everything as easy as possible and with the least effort. This is what excessive driving does and subsequently creates this artificial sense of dependency that renders your legs seemingly useless. If your destination is less than two miles away, walk or cycle. You will feel better for it. I envision the technological advancements that will no doubt arrive over the next few years. Robot cars with built in HD televisions and Twitter coming as standard. Soon humanities greatest achievement will involve commuting on a giant smart phone whilst comsuming a mixed grill. 

Pantera - Walk

Just walk on home, boy.

4. Wide Load

One of the worst kinds of people that inhabit this planet is the (admittedly specific)

"I just passed my driving test, but my obvious and rapid weight gain is completely unrelated to it." We live in a morbidly obese culture where moderate exercise such as walking or even cycling is considered unnatural. I experience this first hand where I work. The shopping center has no pedestrian access and so the only way to visit is by car or bus. Consequently, it is not uncommon to find yourself surrounded by the type of patrons who have somehow managed to force themselves between the seat and their steering wheel to complete the arduous task of going to Marks and Spencer’s for some posh sausages. They shuffle around the mall, taking numerous seating breaks or hire a mobility scooter in turn creating the most tragic interpretation of Mario Kart possible. I am as unsympathetic to the overweight as they are to whatever they sit on. Walking is good exercise, cycling even more so, yet trying to suggest healthy alternatives is as deluded an idea as the individual who orders a diet coke with their McDonalds.

Nine Pound Hammer - Run Fatboy, Run

Run like your life depends on it, as it probably does.

5. Borrowed Time

People are effectively held hostage by rising petrol prices. We’ve already established that most of society considers themselves one with their wheels, yet they see no alternative to pouring away huge amounts of money at the cost of a slight amount of inconvenience and/or comfort. It’s a well known fact that soon the worlds resource of crude oil will run out. Maybe not in our lifetime, but a bit of forward thinking couldn’t go amiss. Maybe we should consider educating the preceding generations to expect the worst? Except we wont. Oil is big business, as long as huge amounts of money are being made in the present day, those in control of the oil couldn’t give a flying toss about the future. Their cryogenically frozen heads will be counting all their digital cash whilst everyone else tries to remember how to use their legs.

Piebald - Roll On

It's no coincidence that songs about not driving are far more uplifting.

6. Too fast, Too young

Society is adept at convincing its youth how to behave. Currently it seems that learning to drive is being forced upon the younger generations. The youth are impressionable, yet more importantly profitable. They are conditioned to want the fastest, most stylish looking cars, which keeps the insurance companies pockets full and the government gets a tasty slice of your road tax and the subsequent taxation on petrol. As previously stated, the only people that feel the sting are usually the parents. There are now classes that can teach those aged 14-17 to drive. What exactly does a 14 to 17 year old even need a car for? The only driving I cared about when I was that age was on Nintendo. Instead we end up with a very lazy generation, who view going for a drive as a productive pastime. Cars are meant for families and long distance commuters, not teenagers just off down the shops or racing around country lanes at three times the speed limit.  

OPM - Heaven is a Halfpipe

Yeah, why not? Totally not running out of ideas...

7. Not-rushing Hour

Have you seen the roads recently? I personally haven’t as regardless of the time of day, they are consistently gridlocked. The cruel paradox of the ‘rush hour’ is that no one rushes. Bristol was recently awarded the illustrious recognition of ‘Green Capital of Europe.’ We must have some revolutionary recycling going on here as the city is considerably failing in the category of traffic management. My entire cycle commute is spent seamlessly weaving through stationary cars.(For a more detailed description click here) I have colleagues who yet living closer than me, drive to work and I can get there quicker. Just call me Bradley Wiggins. The truth is that the majority of Bristol (and most other large cities I presume) attempt to travel at the same time. The increase in traffic and simultaneous decrease in the national speed limit, will soon make it quicker to walk to work and considering the methodology behind how speed cameras are enforced, the higher powers will soon be issuing speeding tickets for running and charges for remaining stationary for longer than twenty minutes.

System of a Down - Bounce

The world would be a much better place if everyone rode a pogo stick to work.

NG

Dog Fashion Disco @ The Craufurd Arms 10/09/2015 - Really Talented Americans

There are not many bands I could justify travelling half way across the country to see, especially on a work night and especially not to Milton Keynes. The town is how I imagine purgatory to resemble. Essentially, an expansive shopping and eating destination and not a whole lot else. A place where people go to consume. Regardless, this was the closest date of Dog Fashion Disco’s (Really) Ugly Americans Tour and not even the prospect of having to once again visit Milton Keynes was going to stop me.

Besides perhaps Huddersfield we had chosen the least prolific date of the tour. The Craufurd Arms is more suited for tribute nights and wedding receptions than accommodating one of the most unique bands of the last fifteen years. We knew this was going to be an intimate gig and given its seemingly unremarkable location I can only assume the band had no idea where they were either.

Joining Dog Fashion Disco on the tour were openers Psychostick. Whilst involuntarily getting to know the locals it became apparent that the majority of the audience were here for them. Perhaps years spent attempting to navigate MK’s near labyrinthine layout has left people unable to comprehend anything divergent.

Psychostick are a novelty act. Much in the same manner that Steel Panther pretend to be eighties rockstars and attempt to get underage girls to expose themselves or Five Finger Death Punch pretending to be actual accomplished musicians, Psychostick are a parody of the common associations of rock and metal. Whilst they managed some genuinely entertaining moments such as the ‘slowest mosh pit ever’ it is difficult to see past purely the novelty. Music combined with comedy is like my computer… it doesn’t work very well. Other songs just seem childish. It is music for the Youtube generation, whereby music videos go viral, not because of their accomplished songwriting, but for their ability to distract you from reality for a few minutes and then ultimately forgotten about.

Since being made aware of DFD’s existence nearly twelve years ago, they have not only consistently remained a fixture of my music collection but a catalyst for its general eclecticism. Anarchists of Good Taste is one of those rare albums that I consider timeless, had it not been for its almost accidental discovery all those years ago, I may well have spent the remainder of the decade relying on the ‘genre of the month’ artists force fed by the musical press. Never before had I listened to anything resembling their blend of jazz, psychedelica and the avante-garde. Todd Smith’s darkly captivating lyrics explored themes that admittedly as a naïve teenager I had trouble fully comprehending. For the first time I began actively exploring the words to the music, uncovering creative stories regarding serial killers, cults and occultism.

The unfinished chapter in this story regards my uncertainty of ever being able to witness the live DFD experience. The band has something of a cult status in their homeland America; I presumed chances were slim of them ever considering an international fanbase. Following their enormously successful crowdfunding campaign in 2014, the band announced successive shows in London, having to adjoin additional dates to appease demand. I was as shocked as I can only presume the band was.  

Exploding with Rapist Eyes the band instantly reassure anyone remaining from the Psychostick crowd that, this is not going to be another novelty act, despite the assumptions their name might entail. A few points worth mentioning tonight, is that the horn section lead by Matt Rippentoe, so integral to their sound is noticeably absent on this tour. However, I understand the logistics of bringing an additional member was more than likely not practical for such a small tour. Regular drummer John Ensminger is also absent, as is frequent stand-in Mike Oliver. Drum duties were therefore preformed by a mystery individual. Competent enough but Ensminger’s Jazz influenced accompaniment forms the background to DFD’s sound.

Following heavier numbers, The Sacrifice of Miss Rose Covington sounds as invigorating as it did back in 2006 and Pale Horse showcase the bands more metallic influences with guitarist Jasan Stepp taking his performance into the crowd in effort to encourage movement. Following new track, Ad Nauseam insinuates the band can demonstrate a more accessible side if they so desire, an electro tinged upbeat track that would have sounded even better with the addition of the accompanying saxophone the studio version is blessed with. 

One of the key components in DFD’s music is that, as amiable as the music represents itself, Todd Smith’s lyrics have nearly always been misleadingly morbid as the more melodic Nude in the Wilderness demonstrates. Tastes so Sweet with its almost cabaret style piano, could have been a huge crossover hit for the band, if this cultures seemingly preoccupation with bland musical conformity was not the main hindrance.

100 Suicides is another track that benefits hugely in a live environment to its horn accompaniment, yet the band still improvise enough to ensure a fully successful rendition. More recent material from last years criminally overlooked Sweet Nothings include satirically influenced We Aren’t the World and politically charged War Party, before the band revert back to fan favourites such as Pogo the Clown and The Acid Memoirs.

New track, Only the Haunted from their upcoming album Ad Nauseam reassures that the album is going to be a highlight of the year. The band finish on two tracks from Adultery, Sweet Insanity and Darkest Days. Between myself and the other ten or so long term fans present, there is a certain sense of disappointment that anything from Anarchists of Good Taste was surprisingly overlooked. Not only does that album serve as the quintessential release from the band, it perfectly showcases both their diversity and talent. To have been able to hear Valley Girl Ventriloquist or 9 to 5 at the Morgue would have made the evening not only memorable, but perfect. Second that, seeing them anywhere but Milton Keynes would have made it perfect.

 

So, whilst the set list could have benefitted from a few alterations, they band still proved they are the sole proprietors of the avante-garde metal scene (as niche as that maybe) For me it was something I had been waiting a long time for, my sentiment gleefully overlooking any minor dissuasions anyone else may have had. The band however, deserves better, better venues, better crowds and better recognition for their efforts.The thought of a supporting band like Psychostick receiving a warmer reaction than Dog Fashion Disco is as incomprehensible as Weird Al Yankovic stealing the show from Johnny Cash.

NG