My Jerusalem: Preachers

photo Chad Kamenshine

     Preachers from post-modern gothic soul conjurors My Jerusalem,  is an exceptional and impacting delight which at times feels like the perfect soundtrack to a union of TV shows Carnivàle and American Gothic with its smouldering shadows and menacing breath. It is a release which haunts emotions and thoughts whilst evoking images and feelings wrapped in drapes of dark and inspiring suggestive ingenuity. It is a delicious piece of imagination and enterprise which goes far beyond the ear as its provocative warmth kisses every pore like a passion driven flickering candle.

Preachers is described on its accompanying promo sheet as ‘the first My Jerusalem album genuinely made by a band, not just performed by a group of musicians.’ This suggests that their second album felt a more instinctive and natural creation than its predecessor, the critically acclaimed debut Gone For Good of 2010, for the band. It certainly has the presence of something organically spawn, a creation brought from a union of imagination and passion rather than a mere collection of ideas. It flows over the senses and thoughts like a smouldering seductive breath equipped with tension brewing surges and blackened enrapturing elegance. Formed by vocalist Jeff Klein (ex-Gutter Twins, The Twilight Singers), the Austin, Texas band recorded the record with Spoon drummer Jim Eno at his Public Hi-Fi studio, and achieved according to guitarist/keyboardist Jon Merza sound and release which is “more representative of what our live shows sound like.

As keys open up the title track to start off the escapade into enthrallment, there is an immediate chilled caress which puts ones attention on alert. Swiftly following harmonies and an enticing bass beckoning herald the outstanding expressive baritone vocals of Klein within the thick atmosphere enveloping, its shimmering charm laying a lush canvas for the song to ignite melodic fires and emotive sparks upon to enhance rather than ward off the closely watching shadows. It is a hauntingly mesmeric start which has a beauty and reassuring clasp as potent as the oppressive menace of its theme.

Things just explore and expand to greater heights then on in across the album, with firstly the wonderful Shatter Together. The song is the perfect dark pop song, its crawling bass murmurs and golden shards of melodic infection a delicious adventure which invigorates whilst opening up the elegance of dark painful love. It is quite glorious and sets up the passions for the following senses scorching stroll of Born in The Belly. The Southern burn to the angst soaked plaintive fire of Klein transports one into a squall of emotive intensity erupting at the heart of the song. It is another stunning slice of dramatic imagination with once more the bass of Geena Spigarelli a compulsive lure alongside the strong cage of rhythms built by drummer Grant Van Amburgh, but it is the vocals and titanic play from Merza and multi-instrumentalist Michael St. Clair which reap the fullest furnace of pleasure for their efforts.

The thrilling engagement continues at the established hypnotic great height through the likes of This Time, a track which plays like Johnny Cash meets Kings Of Leon through a majestic dusty western haze, and the persistent Death Valley, its dark rampancy of rhythms and consuming shadows igniting a Max Payne like imagery and presence. It is an urgent rolling insistence which frames expansive and inciting melodic invocations to leave one basking in sheer insurgent beauty.

The latter part of Preachers unveils songs which gently wrap themselves around the heart, the likes of Devoe, Between Space, and Chameleon glancing rich heart borne caresses across thoughts and emotions for rewards as equally irresistible as the more urgently driven encounters. Amongst them though there is the stirring rocker Oh Little Sister, a track which just romps with excitement inspired by the teasing bass lines, heart bursting horns, and the sensational acidic discord soaked guitar. It is a brilliant final thrust of dynamic energy before the stunning closer, I Left My Conscience In You. The song coaxes with subdued and subtle tendrils of warm creativity with the expressive breath of vocal and acoustic guitar gently aided by keys and bass. As it progresses though there is a slowly building ambience and increasing bristling of sounds which eventually erupts into a riot of passion and energy for a fiery and climactic crescendo to leave one breathless.

Released via The End Records, Preachers is simply sensational, easily one of the emotive and musical highlights of the year made from the colossal combination of shadows and imagination of My Jerusalem, and a release which just gets better and more powerful with each and every listen

http://thisismyjerusalem.com

RingMaster 18/11/2012

Copyright RingMaster: MyFreeCopyright

 

Nidingr: Greatest Of Deceivers

Photo Haakon Hoseth

One of the most visceral bands has again stepped forward with a release which without much debate stands as one of the best extreme metal releases this year. Norwegian devastators Nidingr since forming seeds in 1992 has rarely if ever left senses intact from its full entrance three years later, their complex and enthralling creativity and destructive power a scarring and corruptive conquest providing only the fullest rewards, but new album Greatest Of Deceivers can be marked as possibly their finest hour to date. The release is a triumph of corrosive invention and erosive enterprise, a combination which ignites scorching fires of passion whilst exposing undiluted thoughts all within scourges of caustic energy and aggression to cage and accelerate those reactions. It is a masterful piece of venom marking Nidingr as one of the greatest exponents and deliverers of the darkest rabid shadows.

Consisting of present and past members of bands such as Mayhem, Gorgoroth, DHG (Dødheimsgard), 1349, and God Seed, the quintet from Horten has followed up 2010 release Wolf-Father with a release which continues the theme based on Enochian texts which cored debut album Sorrow Infinite and Darkness of 2005. As with that release Greatest of Deceivers evokes ten Enochian Æthyrs through its expansive and emotive soundscape for a record which searches before opening up dark corners and expressive emotive realms lyrically as potently as it does musically. The album is a release which unveils more texture and depth with each engagement, with the pleasure and coarse rewards only deepening upon every contact too.

Combining a furnace of black, death, and thrash metal, the line-up of band founder Teloch, Blargh and Estrella Grasa who joined the band in 2005, Øyvind Myrvoll who linked up in 2010, and Void, has created a vibrant yet insidious tempest of devastation across the album which lingers far after its departure, the openly contagious yet barbed grooves and riffs, as well as the synapse fusing melodic invention, a storm which triggers a memorable captivation as insistently infectious as it is mercilessly debilitating. Starting with the opening title track, the album seizes control and manipulates the listener with maniacal and insidious ‘charm’. The song from its first second tramples the ear under scything riffs and pummelling rhythms, an instant numbness at play for the caustic vocals and concisely picking melodic cuts from the guitars to unleash their immense creative intent. Across its rampaging and ravaging onslaught the track is unrelenting in accosting and rupturing the mind and emotions whilst adding a craft of imaginative and explosively creative sonic relief which leaves every atom greedy for more.

It is an impressive assault but in hindsight is revealed as a mere teaser to greater annihilatory beauty from tracks like All Crowns Fall, O Thou Empty God, and new single from the album Vim Patior. The first sears flesh and senses with a sonic cloud of abrasive spite with the rasping acid vocals as equally mordant whilst the second is a senses chewing violation of predatory riffs and prowling rhythms which dazzles inventive diversity and towering innovation. It is a track which has one hand on best track honours on the album though all songs offer plenty of arguments for that title, such as Vim Patior, the track an insatiable rub which scalds with pungent sonic rabidity to leave a pulsating soreness by its end on flesh through to thoughts.

Into its stride the album offers up the impressive punkish contagion Rags Upon A Beggar which hands over to the exceptional bruising of The Worm Is Crowned for a mighty aural twining, the latter of the pair a scathing hungry brute of a track with a touch as acidulous as it is a stunning exploration of devastating ideas. Beneath the torrential flames of noise and greedy intensity the vast well of creativity and imagination in song and album as a whole is breath taking and as mentioned something which offers a new taste with each return to the release.

Adding further great heights of excellence before its end with the likes of the swaggering Pure Pale Gold with its wicked intent openly soaking every note and the similarly mischievous closing track Dwellers In The Abyss, both with grooves and hooks which have a glaring malevolence to their seductive swing, Greatest of Deceivers is a staggering slab of extreme glory. Released via Indie Recordings, the album if not the the very best of the year is right in the frontline for many ‘awards’ and acclaim come the end of 2012 and beyond.

http://www.facebook.com/nidingr

RingMaster 18/11/2012

Copyright RingMaster: MyFreeCopyright