Holy Serpent boomerang between impressive guitar solos and fast paced riffs into slow, tar covered doom without issue. The contrasts between the two are fairly notable, but the ability to sucessfully fuse them together with break-neck tempo changes make for a breath of fresh air in a genre that can otherwise put an emphasis on drawn-out and somewhat less exciting tracks. In a phrase, Holy Serpent rip hard. LIFE IS NOISE shared a few words with guitarist Nick Donoughue ahead of their upcoming support slot with Pallbearer on Friday July 7 at the Northcote Social Club.
On their self-titled debut release, Melbourne’s Cascades deliver a smorgasbord of influences that are woven into their menacing, heavy brand of post-metal. The band showcase an awareness of dynamics with tracks are equally as savagely loud as they are subtle. With only 5 tracks in length rounding in at 35 minutes, Cascades’ sound may be experimental, but their structural approach to song-writing is fairly direct.
Any band who can make a 42 minute long romp of dusty, nasty sounding doom is well worth a listen. Agonhymn successfully check off those boxes and more. Blues Grind offers progressions that pace on like a marching army, quiet moments that lull over the music like wind over a desert and furious moments that aim to knock the teeth clean out of your head. It’s music that spans over many of metal’s glorious spectrums and does so with an element of ease. Life Is Noise took a few minutes to speak to guitarist Dav Byrne ahead of their upcoming support slot with Pallbearer on Friday July 7 at the Northcote Social Club.
Trumpeting Ecstasy is an album that could make you black out for 23 minutes and wake up in a pile of ash that used to be called your house. In a style that’s often defined by formula, Trumpeting Ecstasy proves Full of Hell’s adventurousness is a defining factor in their ability to stand out in the scene.
Hiboux's release of Command The Earth To Swallow Me Up is by all means an excellent addition to the growing New Zealand post-rock scene. However, the motifs surrounding it are surprisingly as interesting and subtle as the finer parts of the music itself. It wasn’t an easy journey to get Command The Earth To Swallow Me Up released however, as bassist Duncan Nairn and guitarist Bern Stock explain to LIFE IS NOISE.
LIFE IS NOISE Publicity is proud to announce that Hiboux have locked in dates for their upcoming Australian and New Zealand tour, taking their entrancing instrumental post-rock to selected venues across June and July in support of their album Command The Earth To Swallow Me Up.
With New Zealand’s post-rock scene becoming more and more prominent every day, Hiboux recently broke forth with an epic volume to the country’s musical history with Command The Earth To Swallow Me Up, released in March of 2017. The album flows upon ears as naturally and gracefully as water from a mountain stream falling into the sea – important to note the same can be said about their cunning use of key changes and transitions.
“Command The Earth To Swallow Me Up is a solid debut from a band that sounds like it has a lot to offer. Listening to the album as a whole carries the listener through dreamy sets of swells that evoke strong imagery. It is most definitely the kind of album you can lose yourself in; just drift away and get taken for a ride.” – Arctic Drones
Hiboux have taken extra lengths to make sure that the versatile spirit of the music transfers from album to stage seamlessly, investing years in chasing the perfect sound for their debut record. Making a conscious effort to make the record sound ‘live’, guitarist Bern Stock confesses that he spent upward of a year and a half carefully engaging with his pedals and amps to create a tone that masterfully fluctuates between stampeding heavy segments and floating lighter moments, all the while remaining truly unique to the band.
“Each track is distinctly different from the previous, but they fit together giving a real sense of journey. When you close your eyes you can imagine countless scenarios that this soundtrack would fit with, and that is the beauty of instrumental work; without lyrics, the listener is free to choose the emotion and meaning that fits them individually.” – Music.net.nz
Hiboux’s open, encompassing sound is something worth experiencing live – the spirit of the music provokes a trance like concentration out of the listener and needs to be felt first hand. Make sure you witness these shows through early June through to late July while you have the chance.
Catch Hiboux at one of the following dates:
Friday June 2 - Space Academy, Christchurch
Saturday June 3 - Re:Fuel, Dunedin
Saturday June 10 - Wine Cellar in Auckland
Saturday July 1 - Valhalla in Wellington
Thursday July 20 - Frankie's Pizza, Sydney
Friday July 21 - The Townie, Sydney
Saturday July 22 – The Last Chance Rock & Roll Bar, Melbourne
Tickets available from the venues.
If one statement can be made about Boris, it’s that they aren’t afraid to experiment with their sound. From their release of Absolutego in 1996 and onward, watching Boris release album after album on a fantastic genre bender was a treat to ears across the globe. Every release sounded new, like they were making some challenge to the standards of the musical world around them whilst posing the same challenge to themselves.
Just over 20 years and 28 albums later (not including collaborations), Boris are still alive and kicking. They’ve just announced the release of their upcoming album Dear along with celebrating the 10th birthday of Pink on a gargantuan world tour, only now reaching Australian shores. LIFE IS NOISE caught up with multi-instrumentalist Takeshi for a chat about the making of Pink and what makes Japan’s masters of experimentation tick.
Tangled Thoughts of Leaving have immaculate abilities in the realm of composition, so it's only natural that they've held their taste in music to a similar standard. Ahead of their upcoming support slot on Boris' Pink 10th anniversary tour, Luke Pollard of Tangled Thoughts of Leaving has collaborated with the rest of the band to put together this list of carefully curated music which has influenced the band in some way. You'll find a selection dedicated to melody, tension and dynamics - and hopefully something new to sink your ears into. Listen on.
Bolt Gun sonically create both sides of their own unique yin and yang. Harnessing some of metal's darkest, most chaotic aspects and placing them next to comforting ambient aspects, Bolt Gun appear to place a high regard on intelligent experimentation, and the payoff is spectacular. Iron Surgeon drags the listener across the gravel pit, unleashing a flesh-tearing fury of drums, riffs and howls with dashes of black metal and droning noise ducking in and out of the music, before fading out with a contrasted ethereal ambience.
Bolt Gun and Illyria support Alcest for a belter of a line-up at Perth's Badlands come Saturday April 29. We caught up with vocalist and co-founder of Bolt Gun Andrew Trevenen as part of our Two Minutes With... series.
Alithia describe themselves as 'astral space core', which is fairly apt considering their use of lengthy melodic dynamics and an approach to composition that's less 'in your face' and more 'in your atmosphere'. To critics, To The Edge Of Time leans a little closer to progressive metal. It's an album that drowns the listener in clean flowing tracks, featuring plenty of soft string and piano work that teases out and captures interest rather than violently dragging it out on a hook.
Alithia take to the stage at Max Watt's in Melbourne with Arbrynth in support of Alcest come Friday, April 28. We took some time to chat with bassist Tibor Gede ahead of their performance as part of our Two Minutes With... series.
The Veil are a majestic, complex and interesting band. While their music could easily be described as post-rock, there's trace elements of sludge, doom, black and post-metal, along with post-punk woven throughout their most recent album, Impermanence. It's impressive and fairly ambitious to throw so many styles together - yet what makes The Veil an act worth the listen is the sheer ease with which they pull this feat off. The end result - moody, tense music with some of the best craftsmanship you'll find in Australia.
The Veil join Germ and Alcest on support for their show at Sydney's Manning Bar on Thursday, April 27. LIFE IS NOISE had a chat to guitarist, vocalist and bassist Che DeBoehmler as part of our Two Minutes With... series.
Forest metal act Arbrynth creates a lush soundscape that flutters between agressive and calm. Drinker Of Worlds takes elements of soft, wistful vocals which float over marching instrumentals - encapturing a sense of being lost amongst misty pines. The band aptly take post metal's atmospheric essence and redirect it into something more, a unique amlagamation that seems to tap into a wider range of metal influences than first percieved.
LIFE IS NOISE caught up with guitarist/vocalist Dodds ahead of Arbrynth's support slot with Alcest at Max Watt's in Melbourne on Friday, April 28.
Experimental and very depressing black metal project Germ currently serves as Tim Yatras' (formerly of Woods Of Desolation, Austere, Grey Waters and more) current musical focus. Germ is impressive - formidable even - and it's almost unfathomable that such a full bodied, dynamic catalogue of music could be pieced together by Yatras alone with this solo project. His most recent album, Escape, is riddled with robust dynamics which slide elegantly into gorgeous transitions. Every song sets its own scene - pulling the listener through it's intricacies and over walls of noise.
Germ joins Alcest and The Veil at Manning Bar in Sydney on Thursday, April 27 for a night set to drown the audience in a noise most astral. LIFE IS NOISE caught up with Yatras for a few words ahead of the show as part of our Two Minutes With... series.
Alcest are a myth in their own right. Their focus on the spiritual and a heavy devotion to conceptualism adds a mystery to the band’s identity, made manifest in their music and the way they discuss it. This intrigue runs deep with their last album, Kodama, spawned as a by-product of composer and multi-instrumentalist Neige’s interest in the classic Hayao Miyazaki film Princess Mononoke. The end product is a sprawling six tracks of music as cinematic as the film itself, once again pushing the myth of Alcest into the greater world. Neige speaks with LIFE IS NOISE about where the band sits amongst metalheads and shoegazers, and offers a glimpse into the legendary blackgaze composer’s process.
Perth based post-black metal act ILLYRIA are a force to be reckoned with. Capable of creating music that ties pure unbridled chaos with catchy post-metal segments, Illyria show keen talents in not only black metal but music in general - and they aren't afraid to show it. Their recently released single, Swansong, is a mix of hard hitting post-metal with haunting shrieks, pulverising drumming and climatic song structure. Without effort, it transitions between a sense of cold ethereality and heated riffwork, creating a mood as tense as it is forlorn.
Illyria will be crushing Perth's Badlands to pieces in support of Alcest come Saturday April 29. LIFE IS NOISE caught up with vocalist/guitarist Ilija Stajic for a quick chat before the show as part of our Two Minutes With... series.
DEAFCULT's poppier take on shoegaze makes for a refreshing listen in a genre that often gets lost in clinging to it's ethos of noise. Their self-titled record covers impressive amounts of territory. Featuring up-tempo jams, blasting walls of noise, dreamy vocals and fluctuating drumming, the final product of the album is something notably powerful whilst retaining a feeling of softness.
Deafcult will be pushing their amps to tense limits when they support Alcest for their show at Crowbar, Brisbane on Tuesday, April 25. LIFE IS NOISE caught up with guitarist and vocalist Stevie Scott beforehand as part of our Two Minutes With... series.
LIFE IS NOISE is proud to announce the return of the colossal PALLBEARER to venues across Australia before they embark on their first ever tour of New Zealand. The band’s return follows the recent release of their third album, Heartless, a towering release that’s hastily rode a wave of positive feedback throughout the metal community.
The Arkansas four piece will be slinging their serpentine brand of doom to venues in Perth, Brisbane, Sydney, Melbourne, Auckland and Wellington from the very end of June through to early July.
“On every one of its albums, Pallbearer makes music for the mountains. Plodding, tectonic plate-shifting guitar riffs, thunderous drums, and soaring Black Sabbath vocals are tools that have been used by many doom metal bands the world over, but in the hands of this Arkansas quartet, they hit with the sledgehammer punch that makes doom quite possibly the most cathartic of metal’s subgenres” – Consequence of Sound
Pallbearer are often compared to doom pioneers such as Pentagram, Saint Vitus and Black Sabbath for all the right reasons – they offer a complexity with roots deeply sunk into classic prog, 90s alt-rock and stretches of black tinged proto-metal. Stripping themselves away from the verse/chorus/verse structuring of music grants an ability to craft ambling songs, taking a listener through valleys of hypnotic riff-work before scaling mountains of emotional catharsis.
Heartless’ immediate, grounded lyrics come from a concentration on ‘grim reality’, as explained by vocalist/guitarist Brett Campbell and bassist/secondary vocalist Joseph D Roland: “Our lives, our homes and our world are all plumbing in the depths of utter darkness, as we seek to find any shred of hope we can”. Pallbearer accompany these themes on Heartless with the inclusion of unexpected musical instruments and techniques as Campbell and Roland handle synthesisers next to their usual duties. With the addition of gentle acoustics and the crunch of their riffs, the end result is a colossal hour of expansive music, powerful in both theme and sound itself.
“Heartless is Pallbearer’s best album by an order of magnitude. It’s their most accomplished work, their most interesting work, and their most complicated work; it’s also their most intricate, innovative, and impressive in terms of both the writing and performances on display; and somehow, it’s also the flat-out best-sounding and most fun to listen to.” – Stereogum
Pallbearer begin their next adventure down to Australia and New Zealand at the very end of June, marking their first ever shows in New Zealand following their second tour to Australian shores in just as many years. With a live show that captures a rare balance between ungodly heaviness and sheer majesty, be sure to grab tickets early to capture a unique live performance.
Catch Pallbearer on the following dates:
Rosemount, Perth – Friday, June 30
Crowbar, Brisbane – Saturday, July 1
Manning Bar, Sydney – Tuesday, July 4
Northcote Social Club, Melbourne – Friday, July 7
Whammy Bar, Auckland – Saturday, July 8
San Fran, Wellington – Sunday, July 9
MOTHRA create music laden with sounds that flow over open vistas next to sharp, gainy riffs which dance over serrated drumming. Decision Process is a lyricless flight into a realm where pacing and composition are currency, funding some of the most intelligent progressive metal you'll find this side of the equator.
LIFE IS NOISE shares a few words with Guitarist/Sampler Hugh Allan from Mothra ahead of their support slot with Alcest, taking place at Auckland's Whammy Bar this Sunday, April 23.
LIFE IS NOISE is proud to announce the selected support acts for Alcest’s upcoming tour across Australia and New Zealand, starting late April.
With San Fran in Wellington as the first stop, Alcest will find themselves supported by monstrous experimental post-rock compositions from Into Orbit, along with lush, spacious soundscapes from Hiboux on Sunday, April 23.
Attendees to Auckland’s Whammy Bar will find themselves crushed by Mothra’s combination of gnashing yet open style of psychedelic atmospheric sludge, as The Dark Third precede the show with their galloping brand of post-rock at the show on Monday, April 24.
Brisbane’s Crowbar plays host to a different kind of vibe with Deafcult on support, performing with a formidable balance between shoegaze, pop and a robust command of the genre defining ‘wall of noise’, come Tuesday, April 25.
Sydney’s show at Manning Bar will take a turn for the darker, as experimental black metal artist Germ unleashes a balanced set of soaring, weightless riffs juxtaposed by punishing drums and ethereal shredding. The Veil will also hit home with their angular brand of multi-genred post-rock, adding commanding vocals to atmospheric instrumentals for salient effect to their performance on Thursday, April 27.
Max Watt’s in Melbourne plays host to the formidable Alithia, revered for performing a futuristic twist on the post-metal genre in a high-energy live format. Folk inspired forest metal act Arbrynth will open the night with their colourful mix of ascending compositions, contrasted by rasping howls on Friday, April 28.
With Badlands in Perth as their final destination, Alcest will leave the country supported by Illyria’s cataclysmic post-black metal creating a balance between gut-wrenching chaos and delicate, forlorn riffwork. Bolt Gun will also be heading down from Fremantle to make an appearance, treating attendees to a set of thunderous blackened ambience on Saturday, April 29.
Catch Alcest on the following dates:
Wellington – San Fran – Sun April 23 w/ INTO ORBIT + HIBOUX
Auckland – Whammy Bar – Mon April 24 w/ MOTHRA + THE DARK THIRD
Brisbane – Crowbar – Tues April 25 w/ DEAFCULT
Sydney – Manning Bar – Thurs April 27 w/ GERM + THE VEIL
Melbourne – Max Watt’s – Frid April 28 w/ ALITHIA + ARBRYNTH
Perth – Badlands – Sat April 29 w/ ILLYRIA + BOLT GUN
Pallbearer’s return with their third album, Heartless, is a subtle step forward for the band as they carefully refine their thick yet polished style of long-form doom. It’s an album that draws on the strengths of doom acts of ages past while presenting something distinctively its own – not so much drastically changing the formula of presenting serpentine lead guitar over grunting low-end doom riffs, but rather taking the time to slowly improve on what’s there.