Poltergeists: Week of December 28, 2015

Poltergeists is a biweekly feature in which Michael and Wes share tracks that they have had on repeat over the past two weeks.


Wiegedood - “De Doden Hebben Het Goed”

It is winter here in Oregon and you know what that means?! Black metal is in my ears almost non-stop. I crave it in the darker months more than at any other time of the year. Thanks to Cvlt Nation’s year-end list I am fully stocked! Wiegedood’s De Doden Hebben Het Goed is a classically great black metal album. The title track of the album stands out to me as a song that I will go back to often throughout the years. With a slow and methodical pace, the song lulls me into an epic undertaking. The vocals perfectly balance out the breakdown about halfway through by opposing the guitars with their intensity. “No stars will fall. No wars will end. Father, grant me my three nails. And nothing will change. I fade.”  

Metaconqueror - “Order of The Golden Dawn”

This is one of those tracks that you either need to be listening to on high level in a dark room by yourself or through some good headphones. There are so many ambient layers that I missed on the first listen through because the volume was too low. “Order of The Golden Dawn” is a pulsing track that trudges through complex soundscapes of total darkness.

(Nerdy fact: The Hermetic Order of The Golden Dawn was a 19th century group of Freemasons that studied the occult, metaphysics, and paranormal activity in Great Britain. via wikipedia)


Annex - “Caminos”

Annex’s “Caminos” kind of reminds me a bit of Lié. The feel of the guitars is very similar, in a way that really appeals to me. There’s kind of the same sort of dark, punk oriented without being punk groove to the way they’re played and the tone of the effects. The vocal delivery also feels a bit Lié-esque as well. Compare to the song “Sorry”. This isn’t to say that Annex sounds like they’re copping Lié’s feel; rather, it’s more to say that Lié is really great, and Annex makes me think of why I like Lié so much. The same sort of tonal approaches Annex takes makes me want to put their tracks on repeat in the same way that I wanted to listen to Consent over and over. If you’re a fan of that dark punk feel, definitely give Annex your time.

Caustic - “Why Because (V▲LH▲LL Remix)

The thing I like best from remixes is when they take the source material and change it completely, and in this V▲LH▲LL remix that is exactly what they do. Caustic has a very punk energy in his recent album, Industrial Music, and this remix is about as far from that energy as you can get. It’s interesting, this track almost feels like a throwback in the same way that Industrial Music almost has a throwback vibe; the difference is that V▲LH▲LL is throwing back to early witch house, with heavy hip-hop influence and big saws taking the place of Caustic’s heavy beats and fast moving synths. I’ve definitely had to give it a few listens, and it’s not alone on this remix release in that regard. The guys over at I Die: You Die did a great job pulling together unexpected artists for this release and most of it is worth a listen (except for maybe those reakt[ion] and [product] guys - I hear they’re real dicks).

Poltergeists: Week of June 29, 2015

Poltergeists is a biweekly feature in which Michael and Wes share tracks that they have had on repeat over the past two weeks.


Riotmiloo & Friends - “Child Bride. with Scalper”

Directly from the Ant-Zen Bandcamp page: “'La Pierre Soudée,' Riotmiloo’s first personal album, is a careful selection of past and present real-life stories compiled in eleven tracks documenting women’s suffering in the world. The title is borrowed from French sociologist Pierre Bourdieu’s book 'Masculine Domination,' in which he describes how language defines and perpetrates symbolic violence against women; the album expands on this idea through storytelling.”

“Child Bride” is an appropriately haunting track for this album. It makes me uncomfortable and unsettled in a way that sticks with me even after the track has stopped. All of the tracks on this album are really well put together and feature some of my favorite artists in the genre, but this one stands out as the most powerful to me. I think, now more than ever, it is important to make impactful statements with music; and this song, and album on the greater scale, is terrifying to me. As a podcaster and fan of storytelling, I feel like this album is geared to all of my favors. It is an important collection of tracks in an important time for women's suffering and violence against women.

Mathias Grassow & John Haughm - “Eindringliche Praesenz”

On Saturday of last week, my partner and I went to see Agalloch play their tour-ending hometown show at the Star Theater here in Portland. The show was amazing and overall a really great time. John Haughm, the founding member of Agalloch, is a wonderful musician and I generally follow whatever he is promoting or puts out himself. “Auræ” is a collaboration with Mathias Grassow and takes on a brilliant ambient atmosphere. The layers that evolve over the course of the album’s introductory track, “Eindringliche Praesenz,” are haunting and cinematic. Something that draws me to Agalloch is the emotional charge behind every song - I feel like a lot of the work that John does is very personal and that he is able, and unafraid, to take the time to delve into the sound elements and shape them into images and textured emotions.


Sayer - “Glassjaw (Bios Remix)”

Oh, what’s that? A new Saturate release? Well, I guess that means it’s time for me to write about future bass again. Sayer just put out Process Animation and I’ve got to say it has been one of my favorite Saturate releases for the past while. Sayer mixes some really interesting sounds: you have some trappy kicks, some acid arps, and to round it off you have these big clanging snares that sound straight from the junkyard. There’s definitely some parts where I can hearing the synth lines working with a mid-aughts aggrotech project. Definitely make sure to check out the full album.

V▲LH▲LL - “Einhärjar [TRIP CULT EDIT]”

Full Disclosure: Both Michael and I have remixes on this release. This is not why I am writing about this release though: this Trip Cult edit is so god damn dope. It is unlike any remix I have heard; the closest thing I think I’ve heard to this sort of departure from the source was the Seeming remix of iVardensphere’s "Stygian". Trip Cult’s addition of a harmonic choir rendition of  V▲LH▲LL’s lyrics adds this wonderful layer to an already great song. And those strings! The dialed back, sort of acoustic take really was a wonderful idea. Though at first I wasn't sold, every time I listen to this track I love it more and more. If you haven't check out this release, do so now and make sure to track down Trip Cult's bandcamp and check out their other work.