Showing posts with label North Dakota. Show all posts
Showing posts with label North Dakota. Show all posts
Wednesday, July 5, 2017
Quick Hit: EGYPT - "CRACKS and LINES"
North Dakota's premier stoner/doom rockers Egypt return with a darkly sizzling 5 track scorcher of an album that once again showcases their penchant for wielding massively heavy, wickedly sharp metal music in their inimitable stoner/psych/doom style, led by the singular vocals of Aaron Esterby, whose natural rawness far surpasses all the guttural affectations of heavy metal mimickers and followers. This band is genuine in their motivations and abilities just as their music is the real thing, tasteful and memorable, primal and heavy.
bandcamp >>|<< facebook
Tuesday, December 15, 2015
Song of the Day-Egypt-"The Tomb"
Saturday, June 29, 2013
Nuclear Dogs Atomic Split: Polkadot Cadaver - "Last Call in Jonestown" / Egypt&Wo Fat - "Cyclopean Riffs"
Summer is fun season, it goes without saying. Warmth and sunshine give way to an unending array of pleasurable things to do, only one of which I will mention here. Hell, I don't even have to mention it, you already know what it is. It's why you came to heavyplanet.net today, just as you came yesterday, and why you likely will come tomorrow. It's not for my writing, I'm aware of that, but perhaps it is for what I write about and what my fellow reviewers, awesome dudes one and all, write about. You came to immerse yourself in the soul fortifying power of stoner rock, doom metal, and psychedelic grooviness, because it's FUN! The array of merriment on hand today is unique and deeply satisfying for we will get to plunge into a deep, classic avalanche of gargantuan guitar, while pummeling down a mountainside of sound, just as we will steep ourselves in the koolaid of ingenuity with a clever, cunning cascade of brilliance in metal form. So cast your brilliant smile, if you will, to the sun and soak up the sonic wave of summertime splendor on tap this incredibly fun day.
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POLKADOT CADAVER - "LAST CALL IN JONESTOWN"
Inventiveness, cleverness, carefully crafted melodies, rhythms in perfect time, lyrics of depth and substance, harmoniousness in deep degree, all couched within gargantuan, low tuned riffs, dexterous solo runs, savvy drums, and a tightness borne of ability and sweat. Gawd this album is chock full of magic and spice. And that's not counting the surprise appearance of a bonified rock legend on the penultimate track. Don't miss Track 11, "Transistors of Mercy", for a guest monkey in the Polkadot barrel.
Polkadot Cadaver aren't really a conventional metal band, crafting unique, intriguing, and savvy melodies bursting at the seams with alluring, arousing components cobbed together in such a way as to provide an experience like no other. There will be interludes of beauty, light and airy, deft and nimble, segueing into avenues of power and volume. Various and multifarious keyboards are used throughout the album, but there isn't a taste of electronica to be had, only blood thick metal measures and compositions borne of inspiration and insight.
These rockers hail from Rockville, Maryland, a fitting moniker for home base. Their ranks include the members:
Todd Smith - Vocals, Guitar, Keyboards
Jasan Stepp - Guitar, Keyboards, Programming, Cello
David Cullen - Bass, Keyboards
Scott Radway - Live Drums
The title track opens the album and delivers a memorable melody of tight metal mayhem, fast and sharp, in your face brutality, that thrills with its razor sharp hooks and vicious melody. This song will find its way onto favorite playlists for ages to come. "Phantasmagoria" follows with a thrilling, soaring journey of spice and danger. "Touch You Like Caligula" is a labyrinthine, dark tale of smoldering power. Intricate, ascending movements, soaring in and out of sweetness and rancor, both thrilling and emotional, are hallmarks of the series from "Sheer Madness" through "Animal Kingdom". And then comes "Transistors of Mercy", a song of incredible joy, not the least of which is due to the infallible, indefatigable Neil Fallon of Clutch fame providing his legendary vocals to this treasured track. Fallon's voice is a beacon in the murk, deep, dark, and delicious in its delivery.
Polkadot Cadaver are currently on tour promoting their recent masterpiece, so with any luck you can make it to a show and be overwhelmed with one of this summer's finest, funnest experiences, but even if all you can manage is a download from iTunes or Amazon your summer will still be merrily, memorably metal.
pc yt here
facebook || myspace || last.fm || reverbnation || razortowrist || twitter
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
EGYPT / WO FAT - "CYCLOPEAN RIFFS"
What can be more fun that an all out sortie from two of doom metal's premier bands? Egypt and Wo Fat have teamed together for a split EP, two blistering, smoldering, smoking hot tracks each, for half an hour of deep dive immersion into the intoxicatingly murky depths of guitar madness.
Egypt are known both for the brilliant 'Valley of the Kings' EP of 2003 (re-released in 2009) and the recently released monster "Become the Sun", with the former holding a special place in the hearts of many on it's haunting, hooky metal melodies, and the latter a slight change of direction that has pulled in multitudes of doom loving metal heads to its deep, dark deliciousness. The 2 tracks chosen for "Cyclopean Riffs" follow the recent rumbling formula of the January 2013 release, unloading stygian volleys of staggering power and force, each on a decagonal trajectory of immersion and deep, biding experiences.
"Blood Temple Hymn" kicks off the low tuned expedition with measured intent, steady and true in power and force, slowly, surely, inexorably portaging your consciousness away from the light and into the deepest recesses of an internal subconscious universe. Moving directly through the dark territory attained on the previous track, "Ancient Enemy" dives ever deeper into the black recesses of a bottomless cognizance, evincing hypnotizing dexterity on mesmerizing riffs of murky, dark power.
The Fargo, North Dakota threesome are quickly establishing themselves as a phenomenon of doom, opening deep, dark portals of distortion and grace with their latest releases. Aaron Esterby on vocals and bass, Chad Heille on drums, and Neal Stein on guitar meld incredibly rich, authoritative metal narratives that take their place among the best doom metal of the decade.
Joining the Fargo boys on the split are the boys from Dallas, Wo Fat, who have relentlessly unleashed onslaught after onslaught of stoner doom treasures over the last few years onto the thirsty masses of lo-fi fuzz lovers the world over. Just as Egypt has recently released a full sized LP, Wo Fat topped the stoner/doom charts of 2012 with the phenomenal "Black Code". On "Cyclopean Riffs" there is no skimping on quality and euphoria as the dual delivery of mutant metal matches anything released in recent years in quality and enchantment.
Nearly a quarter of an hour of primal enrapture kicks off the deep, dark duo from Wo Fat as "Nameless Cults" opens with the heavy impact of tribal rhythms, merging effortlessly with white hot poker brand solos and large caliber cannon fire of exquisite doom licks and forays of melting lava metal. "Electric Hellhound" slowly breeds its brand of mudslide magic, growling, grumbling, roaring, and rolling along in a resounding roar of low fuzz and distorted power, thrashing powerlines along the way in flashes of white heat and released electrical fury.
Wo Fat have become a recognizable ambassador of stoner rock and doom metal in the underground world of guitar laden nirvana, and rightfully so. Any release that includes their music immediately becomes a must have item. Kent Stump on vocals and guitar, Tim Wilson on bass, and Michael Walter on drums combine once again to put forth mammoth magical metal. Adding the doomslayers from Fargo, Egypt, to the mix only enhances that maniacal quality. This is an EP for the ages and likely the only source for the four quality tracks chosen to embody the sound and experience that only high caliber bands such as these two can provide.
Egypt facebook || Egypt bandcamp || Wo Fat facebook || Wo Fat bandcamp
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
POLKADOT CADAVER - "LAST CALL IN JONESTOWN"
Inventiveness, cleverness, carefully crafted melodies, rhythms in perfect time, lyrics of depth and substance, harmoniousness in deep degree, all couched within gargantuan, low tuned riffs, dexterous solo runs, savvy drums, and a tightness borne of ability and sweat. Gawd this album is chock full of magic and spice. And that's not counting the surprise appearance of a bonified rock legend on the penultimate track. Don't miss Track 11, "Transistors of Mercy", for a guest monkey in the Polkadot barrel.
Polkadot Cadaver aren't really a conventional metal band, crafting unique, intriguing, and savvy melodies bursting at the seams with alluring, arousing components cobbed together in such a way as to provide an experience like no other. There will be interludes of beauty, light and airy, deft and nimble, segueing into avenues of power and volume. Various and multifarious keyboards are used throughout the album, but there isn't a taste of electronica to be had, only blood thick metal measures and compositions borne of inspiration and insight.
These rockers hail from Rockville, Maryland, a fitting moniker for home base. Their ranks include the members:
Todd Smith - Vocals, Guitar, Keyboards
Jasan Stepp - Guitar, Keyboards, Programming, Cello
David Cullen - Bass, Keyboards
Scott Radway - Live Drums
The title track opens the album and delivers a memorable melody of tight metal mayhem, fast and sharp, in your face brutality, that thrills with its razor sharp hooks and vicious melody. This song will find its way onto favorite playlists for ages to come. "Phantasmagoria" follows with a thrilling, soaring journey of spice and danger. "Touch You Like Caligula" is a labyrinthine, dark tale of smoldering power. Intricate, ascending movements, soaring in and out of sweetness and rancor, both thrilling and emotional, are hallmarks of the series from "Sheer Madness" through "Animal Kingdom". And then comes "Transistors of Mercy", a song of incredible joy, not the least of which is due to the infallible, indefatigable Neil Fallon of Clutch fame providing his legendary vocals to this treasured track. Fallon's voice is a beacon in the murk, deep, dark, and delicious in its delivery.
Polkadot Cadaver are currently on tour promoting their recent masterpiece, so with any luck you can make it to a show and be overwhelmed with one of this summer's finest, funnest experiences, but even if all you can manage is a download from iTunes or Amazon your summer will still be merrily, memorably metal.
pc yt here
facebook || myspace || last.fm || reverbnation || razortowrist || twitter
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
EGYPT / WO FAT - "CYCLOPEAN RIFFS"
What can be more fun that an all out sortie from two of doom metal's premier bands? Egypt and Wo Fat have teamed together for a split EP, two blistering, smoldering, smoking hot tracks each, for half an hour of deep dive immersion into the intoxicatingly murky depths of guitar madness.
Egypt are known both for the brilliant 'Valley of the Kings' EP of 2003 (re-released in 2009) and the recently released monster "Become the Sun", with the former holding a special place in the hearts of many on it's haunting, hooky metal melodies, and the latter a slight change of direction that has pulled in multitudes of doom loving metal heads to its deep, dark deliciousness. The 2 tracks chosen for "Cyclopean Riffs" follow the recent rumbling formula of the January 2013 release, unloading stygian volleys of staggering power and force, each on a decagonal trajectory of immersion and deep, biding experiences.
"Blood Temple Hymn" kicks off the low tuned expedition with measured intent, steady and true in power and force, slowly, surely, inexorably portaging your consciousness away from the light and into the deepest recesses of an internal subconscious universe. Moving directly through the dark territory attained on the previous track, "Ancient Enemy" dives ever deeper into the black recesses of a bottomless cognizance, evincing hypnotizing dexterity on mesmerizing riffs of murky, dark power.
The Fargo, North Dakota threesome are quickly establishing themselves as a phenomenon of doom, opening deep, dark portals of distortion and grace with their latest releases. Aaron Esterby on vocals and bass, Chad Heille on drums, and Neal Stein on guitar meld incredibly rich, authoritative metal narratives that take their place among the best doom metal of the decade.
Joining the Fargo boys on the split are the boys from Dallas, Wo Fat, who have relentlessly unleashed onslaught after onslaught of stoner doom treasures over the last few years onto the thirsty masses of lo-fi fuzz lovers the world over. Just as Egypt has recently released a full sized LP, Wo Fat topped the stoner/doom charts of 2012 with the phenomenal "Black Code". On "Cyclopean Riffs" there is no skimping on quality and euphoria as the dual delivery of mutant metal matches anything released in recent years in quality and enchantment.
Nearly a quarter of an hour of primal enrapture kicks off the deep, dark duo from Wo Fat as "Nameless Cults" opens with the heavy impact of tribal rhythms, merging effortlessly with white hot poker brand solos and large caliber cannon fire of exquisite doom licks and forays of melting lava metal. "Electric Hellhound" slowly breeds its brand of mudslide magic, growling, grumbling, roaring, and rolling along in a resounding roar of low fuzz and distorted power, thrashing powerlines along the way in flashes of white heat and released electrical fury.
Wo Fat have become a recognizable ambassador of stoner rock and doom metal in the underground world of guitar laden nirvana, and rightfully so. Any release that includes their music immediately becomes a must have item. Kent Stump on vocals and guitar, Tim Wilson on bass, and Michael Walter on drums combine once again to put forth mammoth magical metal. Adding the doomslayers from Fargo, Egypt, to the mix only enhances that maniacal quality. This is an EP for the ages and likely the only source for the four quality tracks chosen to embody the sound and experience that only high caliber bands such as these two can provide.
Egypt facebook || Egypt bandcamp || Wo Fat facebook || Wo Fat bandcamp
Saturday, January 12, 2013
Nuclear Dog's Atomic Split: Egypt - "Egypt" / Egypt - "Become the Sun"
Back in 2003 or so a group of 4 metal heads from Fargo, North Dakota recorded a demo of 4 original songs in an effort to book out of town shows for their newly formed band. Long after its recording, long after demos of this nature are typically useful, this smoldering lump of coal of a demo simply would not die, and over the course of the next five plus years its popularity among stoner/doom lovers proved to be quite formidable with a resounding, growing clamor heard throughout the stoner underverse, creating enough of a stir to eventually get remastered as an EP in 2009 that met with respectable success. So goes the telling of the birth of Egypt, both the band and the EP, an underground entity in an underground world of metal music that created something special enough it not only transcended the usual limitations met by new, struggling bands, and demo EPs, but excelled to the point it now has a strong following. After the official release of the EP Egypt laid low for the next few years, only surfacing again at the end of 2012 with the release of their first LP, 10 full tracks that try to reclaim the same magic as the little EP that back in 2003 kicked major stoner ass, and continues to do so.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
EGYPT - "EGYPT"
For my tastes this 4 track album is just about as good as 4 stoner songs can be. I recognize there isn't anything earth shatteringly new contained within the four white walls of "Egypt", but there are 4 songs contained therein that are as sharp and hefty as a newly forged broadsword and wielded with the same dexterity and power as the ancient warriors who engaged in battle with fierceness and joy.
There are three main qualities on this EP that tend to set it apart, the first of which is the deliberate tempo employed and executed on all 4 songs. No one ever gets in a hurry, the songs unfolding in measured cadences that build slowly and powerfully toward exquisite bluesy, heavy, stoner climaxes. The second quality is an achingly clear guitar that is hauntingly beautiful, and deliciously down tuned and fuzzy. Thirdly, the vocals by lead singer and bassist Aaron Esterby are enticing, intoxicating, and penetrating in their power and robustness. It is truly a voice for the ages.
The lineup at the time of release for the EP was:
Aaron Esterby - Bass / Vocals
Chad Heille - Drums
Ryan Grahn - Guitars
The jewel in the crown is the opener, "Valley of the Kings", a haunting, muscular journey through the sands of time, evoking an incredible nostalgia for a time only dreamed of through the wielding of the double edges of Grahn's guitar work and Esterby's shearing and clear vocals.
"Queen of All Time", too, builds slowly but deliberately through a fantasy landscape of magic and power, carried forcefully, eloquently, inexorably forward by the power duo's mastery.
"Dirty Witch" picks up the pace a bit, with a slightly lighter touch, this time carried as much by Heille's masterful punching drumwork setting the pace for guitar and haunting vocals.
"Touch Ground" provides a haunting, lazy float down a river of fuzzy blues that provides a clear, clean, beautiful rendition before Esterby's vocals ever enter the fray, amping up the experience when they finally do.
A wonderful hallmark of "Egypt" is the 7 plus minute length of each of the 4 tracks, with "Queen of All Time" coming in over 9 minutes, giving value for coin invested.
The little EP from a little known trio out of North Dakota became the EP That Could, forging notoriety out of near perfection of artistic rendition. Something this good, this satisfying, this singular, would surely engender a long line of successors over the coming decade . . .
((( facebook || myspace )))
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
EGYPT - "BECOME THE SUN"
We pick up the narrative quite nearly a decade after the cutting of the 4 track demo that eventually became an EP for all to hear as Egypt have now released their first full LP, "Become the Sun". It's not always an easy thing to be a band, I suppose. Creating quality music alone is enough to sway the minds of many . . . wait a minute, who am I kidding, no it's not. There are way too many 'wanna be' bands out there creating music not worthy of the rock n roll moniker. Thank god and grey earl tea Egypt were tenacious enough to hang on to whatever hold they had for the chance of recording more of their heavy, fuzzy, deliberate brand of metal by eventually recording and releasing "Become the Sun", albeit after a significant time had passed. So, were they able to capture the magic once again? The danger was there for a sophomore slump if for no other reason than the lineup change of adding guitarist Neal Stein to replace the departing Ryan Grahn, especially given the strength of the guitar work on the EP, with the crisp, cutting, bluesy chords and riffs hauntingly executed by Grahn.
Well, the thing is, the change in guitarist is obvious enough, even though many of the tracks on "Become the Sun" were recorded before the change in lineup. However, that obviousness does not translate into degradation of any sort. The duties bestowed upon Stein as the new guitarist are carried out with skill and grace on the songs in which he unleashes his riff wielding mastery and solo slashing.
Add to the dexterity of a new guitarist the singularity of the old vocalist. Esterby continues as lead crooner, and picks up where he left off with what has to be one of the richest, most incredible rock voices in existence today, at least in use throughout the stoner/doom pantheon. I would rate his vocals on a par with John Garcia of Kyuss fame, due to a certain quality within his lyrical renditions that few vocalists have, a certain attribute or characteristic when singing that creates a one of a kind timbre or tone as the words unfold in his dulcet tones.
The songs created for the LP are a commendable collection of intriguing, enticing, and memorable melodies. The slow, steady, earthquake like power Egypt displayed on the EP remains the standard for the LP as well. Egypt are able to allow the listener to fully engage in each song by laying out riffs and solos of sublime fury, runs of melancholy and fuzz, that build and grow, festering slowly until everything percolates and spills into a climax of sheer musical pleasure.
The first song of note is the opener "Matterhorn" hearkening back to the EP of the past decade with the familiar bluesy clarion of the deliberate riffs and aforementioned singular vocals, both a welcome revelation that Egypt have departed minimally from what they had earlier established and we had earlier enjoyed to a significant degree.
Four tracks in is the wonderful "Stalker", my favorite song on this new album, unfolding at a more energetic tempo and taking full advantage of Esterby's clarion bell vocals. The riffs are pure stoner magic, pushing up against the edge of clarity with wonderfully distorted licks and runs. Immediately following is "Hillside" which can be described in a similar fashion to "Stalker" without the song itself sounding like it came from the same template, instead sounding like an original take of a musical tale complete with a scorching, bright hot solo effort.
The next two tracks are smoldering haunted mansions of doom, utilizing deliberate tempos combined with crystalline solos of white hot fury. Esterby conjures up a special level of vocal asperity on "World Eater".
Egypt pay tribute to one of the forerunners of stoner/doom music, a legend of the Seventies, Deep Purple, with the song "Black Night", which they play with relish and skill, reviving a track that has surely been languishing far too much given its age, but will now enjoy a mini revival thanks to the rockers from North Dakota.
Coming in at just 2 seconds under 11 minutes is the closer "Elk River Fire", a wonderful and ambitious romp of a song where the guitar dominates from beginning to end, foregoing typical structural execution, seemingly moving in and out of solo after solo for the first several minutes, and then moving into the background for an extended period of drumming dominance where Heille gets to outshine his typical brilliance by stepping front and center for a significant time and blending perfectly with Stein's guitar work.
While the sound may be slightly different on "Become the Sun", it is only slightly. There is still quality, still a heavy, fuzzy, beautiful selection of fine and enduring music, worthy of classifying Egypt's first LP as high quality, as an album that will, without a doubt, become a favorite among stoner/doom metal listeners for ages to come. Perhaps until the Valley of the Kings again arises from the desert sands.
((( myspace || facebook )))
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
EGYPT - "EGYPT"
For my tastes this 4 track album is just about as good as 4 stoner songs can be. I recognize there isn't anything earth shatteringly new contained within the four white walls of "Egypt", but there are 4 songs contained therein that are as sharp and hefty as a newly forged broadsword and wielded with the same dexterity and power as the ancient warriors who engaged in battle with fierceness and joy.
There are three main qualities on this EP that tend to set it apart, the first of which is the deliberate tempo employed and executed on all 4 songs. No one ever gets in a hurry, the songs unfolding in measured cadences that build slowly and powerfully toward exquisite bluesy, heavy, stoner climaxes. The second quality is an achingly clear guitar that is hauntingly beautiful, and deliciously down tuned and fuzzy. Thirdly, the vocals by lead singer and bassist Aaron Esterby are enticing, intoxicating, and penetrating in their power and robustness. It is truly a voice for the ages.
The lineup at the time of release for the EP was:
Aaron Esterby - Bass / Vocals
Chad Heille - Drums
Ryan Grahn - Guitars
The jewel in the crown is the opener, "Valley of the Kings", a haunting, muscular journey through the sands of time, evoking an incredible nostalgia for a time only dreamed of through the wielding of the double edges of Grahn's guitar work and Esterby's shearing and clear vocals.
"Queen of All Time", too, builds slowly but deliberately through a fantasy landscape of magic and power, carried forcefully, eloquently, inexorably forward by the power duo's mastery.
"Dirty Witch" picks up the pace a bit, with a slightly lighter touch, this time carried as much by Heille's masterful punching drumwork setting the pace for guitar and haunting vocals.
"Touch Ground" provides a haunting, lazy float down a river of fuzzy blues that provides a clear, clean, beautiful rendition before Esterby's vocals ever enter the fray, amping up the experience when they finally do.
A wonderful hallmark of "Egypt" is the 7 plus minute length of each of the 4 tracks, with "Queen of All Time" coming in over 9 minutes, giving value for coin invested.
The little EP from a little known trio out of North Dakota became the EP That Could, forging notoriety out of near perfection of artistic rendition. Something this good, this satisfying, this singular, would surely engender a long line of successors over the coming decade . . .
((( facebook || myspace )))
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
EGYPT - "BECOME THE SUN"
We pick up the narrative quite nearly a decade after the cutting of the 4 track demo that eventually became an EP for all to hear as Egypt have now released their first full LP, "Become the Sun". It's not always an easy thing to be a band, I suppose. Creating quality music alone is enough to sway the minds of many . . . wait a minute, who am I kidding, no it's not. There are way too many 'wanna be' bands out there creating music not worthy of the rock n roll moniker. Thank god and grey earl tea Egypt were tenacious enough to hang on to whatever hold they had for the chance of recording more of their heavy, fuzzy, deliberate brand of metal by eventually recording and releasing "Become the Sun", albeit after a significant time had passed. So, were they able to capture the magic once again? The danger was there for a sophomore slump if for no other reason than the lineup change of adding guitarist Neal Stein to replace the departing Ryan Grahn, especially given the strength of the guitar work on the EP, with the crisp, cutting, bluesy chords and riffs hauntingly executed by Grahn.
Well, the thing is, the change in guitarist is obvious enough, even though many of the tracks on "Become the Sun" were recorded before the change in lineup. However, that obviousness does not translate into degradation of any sort. The duties bestowed upon Stein as the new guitarist are carried out with skill and grace on the songs in which he unleashes his riff wielding mastery and solo slashing.
Add to the dexterity of a new guitarist the singularity of the old vocalist. Esterby continues as lead crooner, and picks up where he left off with what has to be one of the richest, most incredible rock voices in existence today, at least in use throughout the stoner/doom pantheon. I would rate his vocals on a par with John Garcia of Kyuss fame, due to a certain quality within his lyrical renditions that few vocalists have, a certain attribute or characteristic when singing that creates a one of a kind timbre or tone as the words unfold in his dulcet tones.
The songs created for the LP are a commendable collection of intriguing, enticing, and memorable melodies. The slow, steady, earthquake like power Egypt displayed on the EP remains the standard for the LP as well. Egypt are able to allow the listener to fully engage in each song by laying out riffs and solos of sublime fury, runs of melancholy and fuzz, that build and grow, festering slowly until everything percolates and spills into a climax of sheer musical pleasure.
The first song of note is the opener "Matterhorn" hearkening back to the EP of the past decade with the familiar bluesy clarion of the deliberate riffs and aforementioned singular vocals, both a welcome revelation that Egypt have departed minimally from what they had earlier established and we had earlier enjoyed to a significant degree.
Four tracks in is the wonderful "Stalker", my favorite song on this new album, unfolding at a more energetic tempo and taking full advantage of Esterby's clarion bell vocals. The riffs are pure stoner magic, pushing up against the edge of clarity with wonderfully distorted licks and runs. Immediately following is "Hillside" which can be described in a similar fashion to "Stalker" without the song itself sounding like it came from the same template, instead sounding like an original take of a musical tale complete with a scorching, bright hot solo effort.
The next two tracks are smoldering haunted mansions of doom, utilizing deliberate tempos combined with crystalline solos of white hot fury. Esterby conjures up a special level of vocal asperity on "World Eater".
Egypt pay tribute to one of the forerunners of stoner/doom music, a legend of the Seventies, Deep Purple, with the song "Black Night", which they play with relish and skill, reviving a track that has surely been languishing far too much given its age, but will now enjoy a mini revival thanks to the rockers from North Dakota.
Coming in at just 2 seconds under 11 minutes is the closer "Elk River Fire", a wonderful and ambitious romp of a song where the guitar dominates from beginning to end, foregoing typical structural execution, seemingly moving in and out of solo after solo for the first several minutes, and then moving into the background for an extended period of drumming dominance where Heille gets to outshine his typical brilliance by stepping front and center for a significant time and blending perfectly with Stein's guitar work.
While the sound may be slightly different on "Become the Sun", it is only slightly. There is still quality, still a heavy, fuzzy, beautiful selection of fine and enduring music, worthy of classifying Egypt's first LP as high quality, as an album that will, without a doubt, become a favorite among stoner/doom metal listeners for ages to come. Perhaps until the Valley of the Kings again arises from the desert sands.
((( myspace || facebook )))
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