Buñuel – The Easy Way Out

If the soundtrack to the fall of the world is The Easy Way Out, the new album from Buñuel, then our arms for one can easily embrace the demise of all. The eleven track tempest is simply glorious, a collusion of sonic and emotional dissonance within a voracious carnival of noise which devours as it seduces.

The Easy Way Out is the successor to the quartet’s acclaimed 2016 debut album A Resting Place For Strangers, a release pushing the walls of the former’s ferocity, imagination, and psyche twisting trespass far further. The US/Italy hailing foursome create an often suffocating, frequently corrosive, and perpetually rousing assault of invention from within its walls, taking ears and emotions on an visceral rollercoaster ride fronted by the vocal prowess of Eugene S Robinson, already renowned for his part of Oxbow. Like a barker to its twisted sideshow but decisively more ringleader than narrator, his lyrical inharmony breeds a vocal dissidence and tenacity which is pure magnetism. Equally the ravenous sounds cast by bassist Pierpaolo Capovilla and drummer Franz Valente (both One Dimensional Man, Il Teatro Degli Orrori) alongside guitarist Xabier Iriondo (Afterhours) inspire as they corrupt, arouse as they deviously manipulate.

Opener Boys To Men emerges from its dark depths on a ponderous yet hypnotic prowl, Robinson instantly crawling all over its muscular drone bred awakening with vocal aberration as delirious as it is lucid. Inescapably transfixing across its increasingly tempestuous, intense fibrous yawn, the track invades like something akin to Swans meets Pere Ubu, and simply had ears and imagination afire.

The Hammer / The Coffin follows and instantly takes its own tight grip on attention as the feral temptation of Capovilla’s bass aligns to the swinging rabidity of Valente’s beats. Vocals and guitar toxicity are soon infesting song and listener, their carnivorous discord raw contagion as the noise rock seeded invasion swiftly has body and thoughts bouncing with equally bedlamic eagerness before the track releases its puppet into the waiting subversive rock ‘n’ roll jaws of Dial Tone. Harmonic toxins vein the boisterously bruising stomp, lighting up its heavy tenebrous flood of sound to easily get under the skin whilst exhausting the senses though it in turn is just a warm up for the even more debilitating roar of A Sorrowfull Night. With strand like hooks recalling The Fall within its tsunami of voluminous sound, the track is a post/noise punk trap to which capture and addiction was a done deal within its first few breaths.

Next come the monotonous sludge thick advance of The Sanction where rhythmic and citric enterprise bewitch alongside the ever compelling presence and dexterity of Robinson while Happy Hour twists and turns straight after like a punk dervish, flinging visceral grooves and sonic splinters with relish. The first of the two epitomises so much of the album with its mercurial landscape, its unpredictable terrain of imagination evolving and wrong-footing with ease, the second a less pronounced but just as inspired echo within its carnal punk ‘n’ roll.

Next up is The Roll which is simply magnificent. From its opening dance of keys against the raw discordance of the bass, the song invites as it taunts. Female vocals alongside Robinson similarly grab ears as they light the hungry onslaught before Augur stalks and fingers the senses with its rock ‘n’ roll schism. Like a meeting between Big Black and The Filthy Tongues with Shellac looking in yet truly unique to Buñuel, it is raw magnetism from start to finish.

Shot is just wild noise punk at its best, fifty seconds of anarchy before Where You Lay intimidates, threatens, and physically harasses the senses and psyche. Vocally, Robinson is as imposing and invasive as the sounds uniting around him, the track like a disconnected tangle of sinews and tones coming together layer by layer never disguising the portentous corrosive outcome their unity will bring.

The album concludes with Hooker, a final but accepting fissure on the album’s theme within a sonic misting as toxic as it is deceptively calm; a last corroded breath in the stark, barren outcome of the album’s sonic apocalypse.

With the amount of releases we are blessed to be sent it is not too hard to find plenty to get excited over but to be truly blow away by it a rare occurrence but one The Easy Way Out achieved. It is a definite album of the year contender with already a grip on top spot but easy to suggest also one of the decade’s most essential moments.

The Easy Way Out is released July 27th via La Tempesta International and Goodfellas Records.

https://www.facebook.com/Bunuelband/

Pete RingMaster 24/07/2018

Copyright RingMaster: MyFreeCopyright

Steve Von Till – As The Crow Flies

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    As The Crow Flies is a release which pushes all complications and unnecessary wrappings aside to unveil and inspire a core of emotive poetry and introspective inducement. It is a haunting meditative soundtrack to reflection, self and worldly; a record of dark beauty and an impacting seductive evocation from Steve Von Till, the Neurosis vocalist/guitarist, which leaves thoughts and emotions bare.

The album has its re-release via Neurot Recordings, the independent label founded by members of Neurosis and Tribes of Neurot and run day to day by Von Till and staff, which has grown into a fully-fledged label bringing releases from the likes of Ufomammut, Isis, Shrinebuilder, Neurosis, Across Tundras, US Christmas, Ides of Gemini, Oxbow, A Storm of Light, Amenra and many more to the world. As The Crow Flies was released right at the start of the labels emergence but has been out of print for many years. Its re-release thirteen years after the original indelible mark was made feeds a smouldering hunger which has laid waiting in those of us who missed it first time around.

As song after mesmeric song plays its heart and tale upon the ear, acoustic guitar and the gravelly low key whispering of Von Till part crooning and part serenading the imagination, the album visually emerged in the mind as a long lone fence within a melancholic sultry landscape of emotions, each song a post to lean upon as the cage stretches into the horizon and each drawing, inciting a reflective union with the suggestive atmosphere and smouldering ambience placed around thoughts. The surrounding breath and scenery is a shadow crafted intrigue beneath flaming hypnotic skies and upon a canvas of vividly coloured weaves employing everything from sadness and sorrow to hope and resignation. It is a scintillating and enthralling walk through its soundscape with the sounds musically and vocally bred for the fullest engagement.

The album opens with its most potent and captivating presence. Stained Glass offers up a deep resonating caress of the ear soon joined by the throaty sirenesque haunt of the cello, the pairing alongside the slightly grizzled tones of Von Till, a thought crafting blend of chiselled and organic beauty, the dark and light textures within an overall darkened spell leaving no room for escape as the song opens up with its emotive wash of provocative temptation for the mind and passions. As across most of the album, the simplicity is as riveting as it is impossibly addictive, its employment of repetition and singular chords resonating with one persistent voice like an emotive narcotic for nothing less than deep willing slavery to its powerful almost sinister charm.

The following We All Fall walks through darker fields, its residue of sombre elegance drifting across the ear with childlike folk seeded simplicity, its closing vocal temperance almost nursery rhyme like with a dark breath and intent. It is a riveting experience as powerful and enriching as its predecessor and is soon matched by the likes of Remember, a song with a breeze soaked in chant and pulsating glistening from the sun but equally leaving a teasing of impending cacophonies which are never realised but add wonderful cloud to the emotion exploration, and the exceptional Twice Born, another harvest of sublime melancholia enhanced by the blue touch and beauty of the cello and sky bound harmonies between Von Till and the golden tones of Kris Force from Amber Asylum, her celestial siren wrapped tones an irresistible fascination beside the restrained yet compelling tones of her companion.

Midheaven is a drone seeded meditative cloud which ensnares the senses with its single chord repetition occasionally joined by another singularly crafted stroke of discord touched melodic taunt. It is a starkly haunting piece from an equally barren landscape emotionally and visually, the journey coming near its end with a brooding intensity lifting its resentful head as final track Shadows in Stone approaches. Like earlier song Warning Of A Storm, the closing track crafts a sinister embrace which permeates every sense and thought whilst bringing all the elements which flamed throughout the album, that morose delicious cello cry, seductive caresses from the voice of Force, and the consciousness provoking guitar invention and inciting vocals of Von Till, into play. Once a rhythmic resonance and enticement of drums and percussion opens up the song further the sunset of imposing majestic radiance leaves the passions simply enflamed.

     As The Crow Flies is a wonderful album which gets better and better as well as more evocative with each venture into its heated sweltering depths and well worth its return for us stupid enough to have missed it the first time around.

http://www.vontill.org/

8.5/10

RingMaster 13/05/2013

Copyright RingMaster: MyFreeCopyright

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