Well, here we are. How do I even start a review for a record this rewarding? How about by demanding you pre-order it HERE. No better compliment?
I am gonna blame Lisa Mungo from Seattle’s He Whose Ox Is Gored for almost single handedly getting me back into proggy/post-rock stuff as well as, incidentally, Stephen Brodsky’s music. I’d written Lisa a few weeks back introducing myself and asking a question and then started listening to HWOIG’s older stuff more thuroughly than I had in the past. Now I am so hooked!
As the band are touring with Mutoid Man and that Bleeder record of theirs also blew me away and has a similar workmanlike chopping drum attack paired with busy but also at times spacious guitars, I soon found myself diving into old Brodsky classics like Cave In’s Jupiter for the first time in years. God, most music really fucking sucks now compared to that stuff, doesn’t it? I mean, I am a super positive guy unless you really piss me off, but woah.
The Camel, The Lion, The Child has a (very) few rougher patches here and there but they only add to the striving humanity of this future classic. “Oathbreaker” recalls Game of Thrones as filtered through new wave hell metal, at least in my mind. Bells toll and the anticipation building hi hat simmers nerves. The cool time signatures, vox roaring at 3:41 like dub music weaving in and out plus synths equals an amazing listen. Think post-metal sci-fi meets Chicago noise or 90’s rock completely disassembled but with screams ala Botch and occasional pretty vocals, as members alternate. “Omega” (premiered HERE at Cvlt Nation) could teach some of the Between The Buried And Me wanna bes a thing or two about feel, as like Prosthetic trio InAeona or Junius the bigger feelings evoked don’t depend on overplaying. Yawning void is actually a thing on some of these tracks.
For more see BELOW.