If Sputnikmusic’s “Album Of The Month” series has taught us anything over the course of last year it’s that not all records are created equal. Fairly, a statement like that could easily be considered hyperbolic if not for the sheer vastness which Imperative Imperceptible Impulse commands, surging out of the realms of disso-death and into the hearts of those fed a full serving of Ulcerate, Gorguts, Deathspell Omega and early 90s Demilich. Yet, Ad Nauseam’s sophomore is a beast, a behemoth of ingenuity – taking the very sequencing that made those groups named above what they are and defining their own individual take. Imperative Imperceptible Impulse crashes through the simple boundaries of what traditional music is, crafting devastating compositions with unique experimentation, something mostly credited to the band’s ‘do it yourself’ approach. It’s this meticulous design that articulates the very essence of Ad Nauseam’s central make-up.
By itself, Imperative Imperceptible Impulse is not an easy listen by any means. In fact, these tracks ‘demand’ attention, repeats and introspection. Whether it’s the tempo breaks, jarred rhythms, breakneck shifts in dissonance…there’s something to enjoy for all fans of extreme music. The unpacking of such a record comes with great reward, you just have to take a deep breath and fall in face first. – Robert Garland
The return of Black Sheep Wall in 2020 definitely comes with auspicious timing. I mean, who else is as appropriately equipped to lay down a fresh batch of songs that will undoubtedly straddle the unrelenting mayhem and melancholy of one of the most unsympathetic years in a generation? Indeed, without an ounce of hyperbole coming from my stern sentiment, Black Sheep Wall are true veterans of the sludgy, doom-dirge sound – palpable legends at this point who wield nihilism and anguish with an atypical bravado. Similarly, their works – even the less favourable ones – exhume a raw honesty seldom felt with a good portion of other bands. New music aside, the long-awaited announcement of their flawless, nihilistic masterpiece I Am God Songs getting its very first vinyl release back in June was a joyous revelation for fans – a fitting re-release, eighteen years on, that is certainly qualified to be 2020’s soundtrack – but more to the point, it became the starting posts for a band with a bright future ahead of itself. Here we deep-dive into the band’s long, esoteric history, analyse I Am God Songs, discuss the imminent new album, and talk a little about what the future holds – so hold onto your butts.
Let’s start by giving out a little backstory on the band. You guys have been at this a very long time now and all things considered, Black Sheep Wall is somewhat of an enigma. Can you give us…
August 2020 Album of the Month: Two People – Second Body
Second Body could not have come out at a better time. After keeping myself from checking out most of the singles prior to its release, I pressed play on the album for the first time as I started my morning walk through a picturesque valley in the Swiss Alps. Allowing Two People’s music to adorn my quest for breakfast was nothing short of perfection; from the peppy beats of ‘Loud’ and ‘A Taste’ to dreamier cuts such as ‘Been a Little While’ and ‘Under the Hood’, each aspect of the record capitalises on the band’s newfound sense of immediacy in the best possible way. As I exited the local bakery, however, it was the second chorus of ‘The Line’ that completely floored me. It’s not an obviously grandiose moment, not one of directly distinguishable beauty, but rather one of astonishing subtlety in a song that still manages to retain [i]Second Body[/i]’s instantly gratifying nature. A simple drum beat, some low piano notes and Phoebe Lou’s heavenly croons: everything fits, everything feels right. It’s the moment that solidified Two People’s second body of work as something truly special, connecting the organic beauty of the album with that of the mountains towering over me as the replay button and a paper bag filled with fresh croissants and yoghurt accompanied me on my walk back. – JesperL
Eesh, where do I start here? Let me open up by saying that after I had seen 3TEETH live back in 2018, all bets were off: in my estimation, these guys were to become imminent torchbearers of the industrial scene. Shutdown.exe was an imperfect experiment but, christ, the potential was written all over the wall. The album’s opening track ,”Divine Weapon”, was some of the heaviest shit I’d heard in 2017, but moreover the album collectively enveloped the vintage of industrial’s high points whilst modernising it with metalcore styled riffing and some heterogeneously applied electronics and vocal work. Again, it wasn’t a perfect offering by any means, but it displayed the gamut of their capabilities. Fast forward to 2019 and the aching anticipation I had for their third album, Metawar, was met with disappointment – not because it was a bad album, but because it failed to capitalise on that spark Shutdown.exe presented. Indeed, Metawar swapped the inimitable experimentation for a more candid chapter in their career; a commonly designed mainstream offering that did the job well, but ultimately subverted the high standards I had for this band.
Now Harry Potter has a new film coming out and 3TEETH have covered two flamboyant songs for it. At this point, the whole ‘look, this heavy metal band has covered the unexpected!’ is about as original as throwing a TV out of a hotel window, but, oh boy, Alexis and co. went all the way with this one – covering Dead or…
When we consider the amount of big releases being pushed back because of the coronavirus, you can scarcely tell there’s a shortage of quality music when you look at the number of albums being put forward for April’s Album of the Month. In spite of this eclectic sprawl of candidates though, in my heart I knew Ulcerate’s uncompromising return was going to resonate the most with Sputnikmusic’s userbase. Jacquibim’s hype-fuelled review was a telling indicator that we were in for something special, but to fully understand what was on offer here you had to listen to the unrelenting behemoth yourself. Stare Into Death and Be Still is a career-defining marvel, and it’s clear Sputnikmusic recognises and embraces their efforts.
April 2020 Album of the Month: Ulcerate – Stare Into Death and Be Still
“What Ulcerate have done here, very successfully, is create a tech-death record with huge crossover appeal. The melodies are layered in such a way that picking them out is no chore, much in the same way that a lot of post metal would approach the task, and yet, the familiar trappings of unbound technicality are ever-present. It’s almost uncanny. A beautiful, sludgy, catchy behemoth that punches hard and cuts deep but applies an ample amount of anaesthetic first. A great deal of its success can be attributed to the production, which has been handled exceptionally well. It reveals the music in layers, each element distinct, but unquestionably integral to the whole.…
March was jam-packed with great releases, but one album in particular really captivated music lovers on Sputnikmusic. For even those who aren’t privy to country music, there’s no denying that something feels invigorating about Starmaker and the way it presents its music. Despite a broad range of albums being selected for March’s AOTM, Honey Harper’s Starmaker won by a comfortable margin – which certainly speaks volumes about the quality found within this brilliantly executed LP.
March 2020 Album of the Month: Honey Harper – Starmaker
“A challenge for country fans: Take a shot every time you hear, “I listen to pretty much everything. Well, except country. I can’t stand country.” The objective? Survive.
~
Country isn’t the only victim of misconceptions fueled by a disliked mainstream personality. Yet, it seems to be the most popular genre to voice a displeasure of, and it seemingly emerges not from a thorough exploration, but rather a few choice singles that garner airplay. Saying that Honey Harper’s Starmaker is the exception to the rule implies a rule was in place to begin with, and such is not the case; this is the product of evolution in a category that features plenty of hits behind its radio-biased appearance. There are no trucks on this album, nor blue jeans, dime-a-dozen break-up stanzas, beer cans, and so on and so on. Instead, it is something much more genuine and closer to the heart.
As the days and weeks merge together in what feels like a seemingly eternal self-isolation – caused by a pandemic that has literally put the entire world on an indefinite time-out – I decided to reach out to HEALTH’s bassist, John Famiglietti, for an interview. For those who aren’t well versed in HEALTH’s inimitable sound, the L.A. trio have been cutting out a big name for themselves in recent years. Starting out as a modest, underground noise-rock band with a DIY work ethic in the mid-noughties, they have slowly embraced a mature progression in a way few bands manage to accomplish. HEALTH’s habits transcend making an album every couple of years and touring it: they’ve been using idiosyncratic methods in just about every corner of their work, thus deconstructing a lot of music’s clichés in the process. Without even talking about the body of their work, which constantly changes up their sound with every album, HEALTH oozes creativity that feels both effortlessly organic and fresh. From making soundtracks for big-name video game licences like Grand Theft Auto and Max Payne, to having a phone number that you can actually call or text, where you can have a chat with John himself. There isn’t a stone that goes unturned with these guys, and in this interview, you should get a better understanding of why they’re one of rock’s most important contemporary bands doing the rounds today.
If there’s one thing I’ve learnt from these monthly voting sessions, it’s that you can expect an eclectic mix of albums, and, sometimes, the unexpected. Though Sputnikmusic is notorious for favouring post-rock music as its dominant preference, and even though I had good money on Envy’s The Fallen Crimson taking February’s crown, it didn’t stop the poll from being a surprisingly fierce one. Fighting tooth and nail with Spanish Love Songs’ Brave Faces Everyone, Envy’s trailblazing return just in so garnered the votes for February’s Album of the Month win. After a turbulent decade for Envy, the band have clearly delivered an album the fans can rejoice at, and the results speak for themselves. With that, Sputnik user Sniff will shed some light on why it’s the obvious choice.
February 2020 AOTM: Envy – The Fallen Crimson
“Here’s a short list of random, great and memorable comebacks:
– Super Bowl LI. You know, the year Patriots tricked us all into believing they wouldn’t win it that year.
– Tiger Woods – The Masters. 3955 days and a whole bunch of problems (both on and off the golf course); later he went and won another major.
– Liverpool in the Champions League final of ’05 – the 3 fast goals that took it to extra time will never be forgotten.
– David Bowie – The Next Day. After 10 years and out of “retirement”, he drops another acclaimed album. …
Music is probably the one field of entertainment that is never lacking in quality content for the early months of a new year, and January 2020 was no exception. Welcome to the first full year of Sputnikmusic’s ‘Album of the Month’; a feature that lets everyone express what their favourite album of the month is. This edition was jammed with numerous albums, but one album in particular really voiced itself loud and by many: the Hungarian avant-garde opus from Thy Catafalque – Naiv.
“A prophet is not without honour except in his own town and in his own home.”
“This is basically my first thought whenever I think about Thy Catafalque, because Tamás Kátai’s unique work is sadly oppressed and overlooked in the Hungarian musical culture. But even though it must be very hard to fully understand each album (both stylistically and lyrically), the reception for his music is encouragingly improving. And that fills me with great joy!
It’s not easy writing about Thy Catafalque, because they’re one of those bands that are so experimental and unique in their own right, and can go through a renewal with each release without forcing anything, that you have to expect the unexpectable at this point. This is the case with Naiv as well, despite the fact Kátai and co. haven’t really changed their sound at all, the results still feel completely fresh and new. For me, Naiv is a very exciting and dreamesque experience. I feel…
For all the claims of famine for important releases in November, it hasn’t stopped this month’s vote from being a ferocious bottleneck of runners reaching out for the top spot. So much so that the end result was a tie between Origami Angel’s debut album Somewhere City, and FKA Twigs’ Magdalene. The second round of votes between the two was as equally balanced as the first bout, but FKA Twigs just in so scrapped the win for November 2019’s Album of the Month. The experimental R&B pop sensation that is Magdalene was actually an album that slipped under my radar until this very vote, but after listening to it, I can certainly understand the appeal for its idiosyncratic ideals and unique aesthetics. For all the unpleasant emissions Magdalene’s artwork emits, the content of the album is juxtaposed with its candid beauty. If, like me, you initially missed this one, it’s well worth checking out. So with that, I’ll leave Dedex’s thoughts on why this is their favourite album from November.
NOVEMBER 2019 AOTM: FKA Twigs – Magdalene
“Magdalene, or human sexuality in music, as displayed by a Cheltenham girl. Contrary to her previous releases, where she displayed an almost animal fierceness in love, Twigs agrees here to show her vulnerability. This sensibility was always present in her art, however much more in the form (the music per se) than in the content (what she is saying to us). While she has not totally lost her violent…
Monday December 6th, 1999. This day marks the release of George Michael’s surprising left-field covers album, Songs From the Last Century. As if there wasn’t enough evidence to support George’s case already, Songs From the Last Century marks as yet another clear-cut example of an artist being driven by their love of music – devoted to the craft – and not money. There was always a sense of satisfaction when George plotted his next move, as it always seemed to go against the grain on what people thought he should do next. You have to remember that Songs From the Last Century was a relatively ballsy move for George at the time, as it was succeeding his magnum opus, Older: a timeless classic that displayed a sophisticated new sound and image – a smooth, soulful and jazzy sound palette that was underpinned by macabre themes and a setup for his rawest personal-healing-lyric-writing to date. The thing is, while Songs From the Last Century sounds like an arbitrary left-turn on paper, the execution isn’t that far removed from its predecessor; the LP works as an extremely organic continuation on from Older, with the twist being that George is giving out renditions to some of his favourite songs. This project was clearly a “hobby album” – a reactionary response to getting over his 1996 classic, by making something that was fun and full of positivity. Older’s blueprint is…
September’s vote was in almost unanimous agreement, having Cult of Luna’s seventh album, A Dawn to Fear, as your go-to album for the month. October was a much different kettle of fish, however, and saw a number of albums clawing their way up to the top spot. When the dust settled though, the winner was a well-deserved one. Leprous has always been a strong and creative band, and their shifts into various sonic territories over the years hasn’t gone unnoticed (or praised) within the Sputnik community. 2019’s Pitfalls is no exception. So with that, here’s a small blurb from Toondude, explaining why it’s an obvious winner.
OCTOBER 2019 AOTM: Leprous – Pitfalls
“Drastic change can take many forms, and in this case, it takes the form of Leprous’ Pitfalls – stripping back its heavy guitars and epic instrumentation in favor of an atmospheric production with pop-like songwriting, and vocalist Einar Solberg taking center stage. Einar has almost always been a terrific vocalist (granted his harsh vocals are somewhat of an Acquired Taste *wink*), but it’s easy to call Pitfalls his best performance to date. “Below”, “Observe the Train” and “Distant Bells” are just a few examples that showcase the man’s vocal capabilities. However, it wasn’t until “Alleviate” that I began to truly realize there’s still plenty of moments for the instrumentation – particularly from bassist Simen Børven and drummer Baard Kolstad – to shine through here. In the end, Pitfalls is just another masterpiece in the band’s near-perfect discography.” – Toondude.
Tuesday November 2nd, 1993. This day marks the release of Frank Zappa’s magnum opus – his terminal triumph. I use the word ‘terminal’ delicately here, given the context of which this very album is surrounded by, but for a man of Zappa’s stature, to have him feel like he’d accomplished something that he’d been striving towards his entire life, that should be more than enough to verify the weighty importance of The Yellow Shark: Frank Zappa’s final album. The sheer scale of Zappa’s works goes beyond even the measures of calling it intimidating. His discography alone is an intricate, sprawling, idiosyncratic maze that becomes a colossal nightmare just to work out where to start. Sitting on a massive 62 albums (over one hundred plus if you include the posthumous releases made from archived material), this is a man that explored every walk and style of music available; deconstructing these boxed and linear categories into esoteric compositions that are as perverted and humorous as they are challenging. Starting out in The Mothers of Invention, a psychedelic rock band from the 60s, he soon ventured out into the unknown reaches of sonic creativity on his own, and quickly began his mission to challenge everything popular music stood for. But for anyone who has done a little bit of research on the man, they will know that for all the good he did in the realms of rock music, his propensity…
Welcome to the final segment of Sputnikmusic’s Album of the Month – the September 2019 edition. For anyone that missed out and didn’t participate in this thing, every month I’ll be dropping a list where you vote on what you consider to be the best album from that said month. After the votes are in and we have our winner, I’ll be reaching out to the voters to see if they want to give a small blurb on why it’s the month’s best LP. September’s vote was a little late to the party, but going forward I’ll be doing these lists in the first week of every month (typically a Wednesday or Thursday), so keep your eyes peeled and your votes ready!
Getting to the topic at hand here, as voted by you, September’s vote was in almost universal agreement. Cult of Luna’s seventh album, A Dawn to Fear, has been praised and regarded as not only September’s strongest release, but a serious contender for 2019’s Album of the Year. Only time will tell… With that, I’ll pass you over to Robert Garland (Nocte), where he’ll dish out his words of wisdom on why it crushed the competition.
SEPTEMBER 2019 AOTM: Cult of Luna – A Dawn to Fear
“A Dawn To Fear isn’t an album full of comforts, relying on a core of pragmatic, yet highly transferable theology. There’s a complexity that’s both thoughtful and profound…
One Friday afternoon a few weeks ago, I was routinely digging around for new music when I stumbled across “Guilt” in the New Blood section of Spotify. Within the song’s opening seconds, I was hooked. Seeped in a thick, dismal atmosphere, this morose offering hit me in the face like 1,000 hammers. It sounded tough, menacing and, most importantly, fresh. This powerviolence trio from Manchester, UK is called Leeched and they’re out for blood. Formed in 2017, the band have already caused sizeable waves in the underground metal scene with last year’s EP, Nothing Will Grow From the Rotten Ground– an abrasive blend of grind and hardcore. 2018 is set to be an even bigger year for them as they tour with Full of Hell and prepare to unleash hell with their debut album next month. I’ve recently had the pleasure of talking to the band’s frontman and bassist, Laurie, to discuss lyrics, songwriting and what their live shows set out to create.
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Simon: Firstly, thanks for your time. I’ll break the ice by asking the obvious: how did you guys form the band and what were your goals for writing music?
Laurie: Thanks for taking an interest! Tom [drums] and I knew each other from previous bands and we knew Judd [guitar] mutually. We started Leeched as a side project which quickly took over our lives. As for aspirations, our goal was to see…
