CRIPPLED BLACK PHOENIX have revealed the 2nd track from their forthcoming album ‘Bronze’. The UK dark progressive rockers will release their stunning new full-length on November 4th.
I have a love hate relationship with post rock. It depends on the weather I think.
Someday a gumbo mix of old Black Sabbath riffs, Bauhaus vocal growls and thundering Bonham influenced drums hits that spot. Other days the “everything louder than everything else” mantra grates and I want a simple clean palate of sound.
Crippled Black Phoenix (CBP) take pride of place in my collection as the only stoner/ Rock/ post rock band that I like. Their albums are dense, complex affairs, their live shows are powerful multimedia events and the band themselves look as if they’ve been auditioning for the part of the Swedish Biker gang in “The Girl With The Dragon Tattoo” series. I will confess now, I loved their version of Echoes that came out last year, it was a deserving cover that took the original off into new directions whilst retaining the musical core. I liked it so much that I tracked down both versions, sad…
On their latest album, ‘Bronze’, CBP tick all the boxes for my Post Rock checklist. There are all of the above and one crucial factor often missing from albums today, a sense of theatre and dynamic.
We all know the quite / loud/ quiet / shouty formula for songs. Post rock goes for a calculus derivative of that with fractural loud / loud/ full throated roar.
I described CBP as Pink Floyd’s Echoes played by Black Sabbath.
There is that underlying melodic core to their songs that Pink Floyd use, alongside the power and menace injected by the Heavy Rock Sabbath influenced riffs and drums.
Track 5, Champions of Disturbance (Pt 1&2) for example , at the 4 minute mark goes off on a boogie that is equal parts Run Like Hell and Paranoid. It shouldn’t work but it does. I want to turn the amp up to eleven and introduce the whole street to this glorious noise.
This is all things a great rock album should be: Loud, full of power and menace, but with glorious tunes and riffs that make you want to play air guitar to.
There are subtle touches hidden among the noise too, great little Rock n roll piano at the end of that track, some nice snatches of dialogue interspersed among the songs, even a brass section at one point.
There are thumping drums, great guitar parts that layer and build and build to a point of almost obscene climatic release.
Some bands make the most awesome racket and are let down by the singer. Too clean, too growly, too weak, too OTT. No such issues here, every track has a vocal that works, from quiet reflective musings to the powerful rockier numbers, Daniel Änghede and Belinda Kordic sing with passion and skill throughout.
I’m listening for the 4th time now and I’m enjoying the nuances unfolding.
Some lovely drum and guitar on track 7, Turn To Stone, remind me of the middle of “stranglehold” by Ted Nugent, where he scrapes his plectrum down the strings before ripping a glorious solo, the superb guest vocals are supplied by Arvid Jonsson.
Nugent is a dick, politically as far as I am concerned, but that track is sublime. CBP tap into that feeling here, this is rock music, big rock music.
I don’t know what the tracks are called (Ed. – don’t worry, I’ve helped you there…), but it matters not as it’s the “feel” I meant to convey.
This album is progressive and retro in equal measures. CBP are determined to forge their own path, if that path needs a detour into a forest of gothic beauty, as in track 8, Scared and Alone, where celestial distorted sounds underpin Belinda Kordic’s vocal before a Big Country type guitar leads us out onto the path, then they go there without fear and we wander along with them, out into a clearing where Justin Greave’s guitar makes with the Pink Floyd inspired playing before we stare back into that gothic forest again , mournfully now as Robert Holm’s Brass Section appears, not to soothe but to twist and snipe alongside the angry and menacing vocal. The sweet forest is now a threatening black mass of trees blocking out the light, but hope is at hand as the celestial sounds returns and this gothic musical journey ends.
If you liked The Mission, the Sisters of Mercy, Classic Pink Floyd and a bit of good old Black Country riffage, then this is for you.
I’m sure that there are bands out there that are “heavier”, more technical in their approach to playing, but this is, to me, what a “Rock Band” should be doing.
The dynamic of the album, even in preview mp3 quality, is impressive. Cranked up it sounds great. There are lovely little piano pieces before the drums explode and fill the spaces. The guitars are in places shoegazingly monotone, as the songs unfurl they gain in definition, the soundscape broadens to encompass keyboards and layers of drone , all mixed, all ebbing and flowing in the mix. The songs are allowed to stretch and run to over 5 or 6 minutes, but without getting dull.
My Grandfather would approve of this album as there is a place for everything and everything is in its place.
My review file had 10 tracks, running for just over an hour. It’s an hour well spent.
There is a deluxe version of the album that has2 extra tracks. I have ordered it , although the double clear vinyl album version looks tempting . Whichever version, it will be a thing of dark beauty, a proper “rock” album for the modern age.
Released 4th November 2016
CRIPPLED BLACK PHOENIX have shared the first track from their forthcoming album ‘Bronze’. The UK dark progressive rockers will release their stunning new full-length on November 4th.
Not the revival tent meetings slavishly recreating the sounds of a bygone age, but new, young bands pushing the envelope, bringing new influences to the table.
Elements of Indie, dub step and shoe gazing form part of the lexicon that Dream the Electric Sleep bring on their new album.
When I say “Indie”, it’s not the fey wimp with a guitar and a whisper type but the noise merchants of death approach taken by Ride, Spiritualized and those post rock bands that issue manifestos that take longer to decipher than their lyrics- Crippled Black Phoenix produce some fabulous music, but the band’s in fighting and fallouts make Fleetwood Mac’s antics seem tame. Justin Greaves has a chip on his shoulder about a lot of things, but his heart is in the right place and his stand on Animal Welfare is brave and noble one that as a Vegetarian for 30 years I am in sympathy with.
So where do Dream the Electric Sleep fall?
Well, for a start it’s a stupid name. How are you going to widen your fan base when you call yourself after a bad double translation of a Philip K Dick novel?
And, yes, Androids do dream of Electric sheep. Electric sheep jumping over little digital gates.
Philip K Dick is THE author to name drop in the US, his books are all films or TV series or both it seems, so the origin of the name is sound, but c’mon. “Ladies and Gentlemen, please give a big welcome to the headline act, Dream the Electric Sleep” doesn’t roll of the tongue. Not without hallucinogenic intervention anyway.
But what do I know. I was in a band once, for a whole gig. We called ourselves “The Mighty Airbag Re-inflated”. We were legends in our own break time (not brave enough to claim a whole lunch hour of fame)
(Picture by Rob Dickes)
So what do they sound like?
Well, imagine Coldplay getting so agitated that they throw away the rulebook, turn the amplifiers up to 11 and let rip with their best Muse impression.
Or Spiritualized get sucked into a studio and end up with Jem Godfrey as producer.
Frost* are the nearest equivalent I can associate them with , but there are echoes of “Antimatter” nihilism there, a splatter of Snow Patrol anthemic pop, alongside the hints of a Coldplay type band under the guitars .
Another band that DTES linked to in my warped and twisted mind is (or was) Pure Reason Revolution. They share a common ancestral link back via shoe gazing bands that utilize layers and layers of echo and reverb to create cathedrals of sound that the vocalists then preach their sermons in.
The guitar sound folds over itself to create strata of harmonic distortion which drives the vocals on, not quite shouting, but not far off.
The ‘Sleepies’ are full of energy and write songs that may not be complex 40 minute epics with numerous time changes, chord structures that require an excess of digits to replicate but they are still “Prog” , but in a modern style, mixing disparate elements and forging their path .
The path travels through the shoe gazing fields, along the path of indie, bypasses the swamps of instrumental excess, skirting around the chasm of death metal whilst aiming straight on for the Harmony Mountains.
In conclusion, if you like the idea of music that refuses to sit in a box with a neat label on it, if you like contemporary production values were the sum is greater than the parts, then take a listen.
It’s prog, but not just prog. It’s firmly in the post rock camp, deserving of the full attention of your ears.
I could go on and name drop Ulver, Nordic Giants, The Cure, The Sisters of Mercy and No Sound.
In fact, Kscope would be the ideal home for these guys as they fit nicely into that whole post rock constituency.
Featured image by L.A. Watson.
Released 22nd July 2016