Posts Tagged ‘doom’
Posted on Thursday, July 3rd, 2014
Lovingly pinched from The Obelisk: It has been 19 years since New York City doomers Blood Farmers released their self-titled debut on Hellhound Records, and while that album and their 1991 Permanent Brain Damage demo were reissued via Japan’s Leaf Hound Records in 2008 and 2004, respectively, and trio have been playing periodic shows for a half-decade if not longer, if a new record was ever going to happen, it was nothing if not due. Thus arrives Headless Eyes, the long-anticipated second offering from Blood Farmers, keeping with the horror-obsessed aesthetic, pushing the sound to places they haven’t taken it before, but keeping a controlled current of tension in its lumbering riffs.
The three-piece of vocalist Eli Brown, guitarist Dave Szulkin (who also plays bass here, while Brown handles it live) and drummer Tad Léger have a stripped down approach to the genre, and for the lack of frills throughout its 44-minute course, one might call Headless Eyes minimal, though that hardly does justice to the depth of its production, atmospheric density or attention to sonic detail, as evidenced in the creative use of sampling for a call and response in the chorus of the title-track, or the synth textures that emerge on the penultimate 10-minute instrumental ‘Night of the Sorcerers’ and closing David Hess cover, ‘The Road Leads to Nowhere’, taken from Hess’ soundtrack to the 1972 horror film, The Last House on the Left.
So rather than minimal, let’s say Headless Eyes has been chased through the woods by some unseen terror and forced to cast off its bullshit along the way. A substantial portion of the record is instrumental, since the aforementioned ‘Night of the Sorcerers’ (nonetheless a highlight) and the earlier ‘The Creeper’ account for about 16 minutes of the runtime, and together with the cover, which is another six minutes, that leaves opener ‘Gut Shot’, ‘Headless Eyes’, and ‘Thousand-Yard Stare’ as anchors for an album that draws the listener deeper into its foggy depths before offering the melodies of ‘The Road Leads to Nowhere’ as a way back to reality.
It’s no coincidence that ‘Gut Shot’ and ‘Headless Eyes’ lead off. The former is a tortured, slow nod of a riff with Brown recounting a tale of agony to accompany the drawn out notes and Léger‘s careful stomp underneath. Also responsible for the Headless Eyes graphic design, Léger was an original member of Westchester, NY, thrashers Toxik, but that pedigree would seem to serve him little in matching time with Szulkin‘s guitar and bass and Brown‘s carefully positioned verses.
Likewise, Szulkin has two album with sludge-thrashers The Disease Concept under his belt, and though it comes out a bit in his leads on ‘Thousand-Yard Stare’ and maybe a touch in ‘Night of the Sorcerers’, the bulk of Headless Eyes is more mournful than malevolent, though as noted, an atmosphere of threat is never far off.
Continue reading: THE OBELISK REVIEW: Blood Farmers – Headless Eyes
(Courtesy of JJ Koczan / The Obelisk)
Tags: Album of the day, Blood Farmers, Dave Szulkin, doom, Eli Brown, Headless Eyes, Horror High Music, JJ Koczan, Tad Leger, The Obelisk
Posted in 2014, Album of the Day, Roadburn Recommended | No Comments »
Posted on Saturday, June 7th, 2014
Lovingly pinched from ThisIsNotAScene: The word ‘supergroup’ is an often misleading term, as it rarely fits the output that much feted members of other bands produce for these side projects. Luckily, Vallenfyre are different, very different indeed. Born out of tragedy and loss, the group of assembled icons from punk […]
Posted on Monday, April 7th, 2014
Death moves in circles. It starts out slow, prowling around the outer borders of your consciousness. When you’re small, your mother has to explain that the dog ran away and won’t be coming back, or that the nice lady from the library won’t be around to help you find new […]
Posted on Sunday, February 16th, 2014
Lovingly pinched from The Obelisk: Consolamentum is the fourth full-length from increasingly progressive UK-based doomers The Wounded Kings and also their debut on Candlelight Records. It’s also their most consistent album-to-album lineup in the band since 2010′s The Shadow over Atlantis followed 2008′s Embrace of the Narrow House debut with […]
Posted on Monday, November 18th, 2013
Lovingly pinched from Metal Underground: There is an evil madness that descends underneath the depths of despair – riding along the electric charges that jump the endless lattice of neural pathways in the mind. The parasitic nature is so perfect that it is undetectable; it is one with the host. […]
Posted on Monday, September 9th, 2013
Our kindred spirits at Incubate are ready to unveil the latest edition of their annual festival next week. From 16 – 22 September, Incubate will bring more than 200 cutting edge artists to Tilburg (NL). The festival celebrates indie culture in music, visual arts, film and contemporary dance. Black metal, […]
Posted on Wednesday, August 28th, 2013
Lovingly pinched from The Obelisk: It’s hard to discern just what Pennsylvania traditional doom metallers Argus intend with the title of their third album, Beyond the Martyrs. On a superficial level, one doesn’t think of a martyr as a place or a level of development to move past, but more […]
Posted on Monday, August 12th, 2013
Praise for Saint Vitus’ Die Healing from San Francisco’s aQuarius Records: While it might have been Saint Vitus‘ final record, a last hurrah, hardly noticed by an uncaring world, it was also one of their best ever. For one thing, it marked the brief return of their original and best […]
Posted on Sunday, August 11th, 2013
Lovingly pinched from The Metal Observer: Before there was Children of Bodom, but not before there was “Children Of The Grave” or “Children Of The Corn”, there was Children Of Doom (or C.O.D. for short and for those who like some fish mixed in with their Metal), a rock solid […]
Posted on Sunday, August 4th, 2013
Lovingly pinched from Pitchfork: Boston quartet Morne has, to date, used its discography like a very public workshop. The band spent the first several years of its existence constructing an elaborate and involved monument of their metallic interests. Their debut, 2009’s Untold Wait, swiveled from lumbering stomp to swooping strings, […]