Zac's "Double Dose": Sleepers Awake / VolumeFeeder

 

Sleepers Awake: The Fulcrum Single 

Commencing in a sonorous roar and a clash of metallic instrumentation Columbus, Ohio's Sleepers Awake introduce us to their latest single The Fulcrum from the soon to be released full length album Transcension. Formed in 2005 this quartet have focused their talents on creating over-the-top epics through a progressive mentality, citing influences from Mastodon to Queen. I say epics because the band likes to stick to a concept and also fully appreciates albums as entire pieces of art, leading to what I believe is an epic disposition. So, The Fulcrum is a very small corner of a twelve track sonic painting due out the seventeenth of June (those interested in pre-ordering Trancension can do so at the bands web-store). Now, the question is, what can we dissect from this sample of the illustration in regards to the entire piece and more importantly how much metal can we find within Trancension? Well, first and one of the most prominent features of The Fulcrum is the triumphant vocal prowess of Chris Thompson. The potency in his proclamation throughout The Fulcrum could carry an album on its own and instills a promising outlook for the full length release. Next up, the brilliant percussion of "Ambrose", or Chris number two, Burnsides. His volatile drumming patterns, transforming from complex strikes to a tribal wallop, will encircle your cerebral cortex and leave your mouth agape. Finally, we come to the interlacing guitars and bass. Chris [Thompson] and Rob Bradley find themselves engaged in twin guitar slinging duels one moment and the next feeding off of one anothers booming RIFFS, while Kedar Hiremath's bass supports the battle-front. The track approaches its climax with a tolling bell mixed into Ambrose's Dany Carey-esque rolling patter. This soon evolves into a full spectral blast thanks to those swelling guitars and there you have it. The Fulcrum ends as abruptly as it began. So, lets return to our initial question. "How much metal can we find...?" Well, I'd say an oceanic proportion of metal on Trancension. Within the six minutes of The Fulcrum we find a depiction of RIFFING swells, heroic singing, and voracious tides of percussion adorning Trancension's canvas. Check it out below and get out there to support these guys. Word on the street is they have played shows with Heavy Planet favorites The MIdnight Ghost Train and Neon Warship! How could anyone in their right mind want to miss that show?

Members: 

Christopher “Ambrose” Burnsides - Drums 

Chris Thompson - Vocals // Guitar 

Kedar Hiremath - Bass 

Rob Bradley - Guitar

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VolumeFeeder: Crowns and Chains 

VolumeFeeder, this weeks follow-up 'Dose, hail from Hódmezővásárhely, Hungary. No, I have no clue how to pronounce that city's name and that's okay. Why? Because what is important here are the tunes. With their latest EP, entitled Crowns and Chains, VolumeFeeder have found a delightfully groovy way to indulge aggression. This trio has been creating a Hungarian-take on that Southern Louisiana sound for some ten years now and after listening to the three tracks available on Crowns and Chains, I plainly hear why. These three know how to work off of each others creativity and the outcome is just straight groove-laden metal hooks and RIFFS, RIFFS, RIFFS. You will not be sitting still for long when you plug Crowns and Chains in. So, get yourself over to bandcamp where the entire EP is streaming and available at a "Name Your Price" download. But support these guys in anyway you can. Then we can hope for a full length release.

Members: 
"Imi" Imre Balázs - Vocals // Guitar 
"Geri" Gergő Drahota - Bass 
"Robi" Róbert Jaksa - Drums

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Zac's "Double Dose": Baroness: Yellow and Green

 

Baroness: Yellow


I felt it necessary to change the Double Dose up this week, rather than hit two groups of musicians we will split a double album, due out mid July. What better album… what other album, than Baroness’ Yellow and Green. I had extremely high expectations for this release knowing that Baroness was the band that dragged me deeper into the extreme and intricate underground metal scene. With the 2009 release of Blue I found myself hooked on the dual guitar glory, John Baizley’s southern gruff and the outstanding artwork. Knowing the band were down to earth guys (after meeting them on the 2010 Volcom Tour) and their strict no compromise on creativity and live performance-as-art mentality, I had high hopes for Yellow and Green.  And my friends I was not disappointed. 


Compared to past releases the first half, Yellow, overall has a more rock personality. However, it sounds natural within the progression of Baroness’ discography. The opening passage, Yellow Theme, is composed and placed in true Baroness style as an instrumental delicacy, short but certainly not a filler. The first single, Take My Bones Away, takes a huge leap for Yellow as a power anthem with a slight undertone of “throw-back” Baroness character. It is impossible not to mention the brilliance of the third track March to the Sea. For the first time we hear the new side of Baroness. The song actually sounds pretty, yes a pretty pop intro on a Relapse Records release. This doesn’t last long though, with a drum thump and quick strummed riff we are back into a more recognizable sound. Also, for the first time Baroness’ lyrics are forward and tell a story rather than obscure poetry in need of digging for meaning. March to the Sea’s lyrics in particular tell a beautiful story of heartbreaking loneliness. Yellow carries on with a mixture of smooth and easy melodies and rockin’ anthems until the final track Eula. Here begins the ‘green’ shift towards the band’s experimental realm...

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Baroness: Green 

Green is the game changer for Baroness. This is the music that exposes the band and shows their vulnerability. Honestly, through this bravery Baroness will never be labeled as they once were with the Georgia progressive sludge movement. Once again we find an instrumental opener, intoxicating and seemingly picking up where Bullhead’s Psalm left us some three years ago. The music is uplifting and smoothly transitions into Board Up the House, the catchiest song on the entire record. So full of hooks you would think Torche and Butch Walker had their hands in the pot. Green now sets the stage for a direction change in the music. Looking further away from the rock persona built up through Yellow and the beginning of Green Baroness become submerged in atmosphere and emotion, building and finally apexing with Psalms Alive. The band also reminisce all the way back to Red with elegant picking and strumming found on Stretchmaker and John and Pete’s dual guitar battle on The Line Between. And where would we be without a lazing respite, giving us a moment to sink with the final moments of Green… 


Don’t believe that Baroness has made something more mainstream or commercially popular (AKA sellout)… John and the gang have kept the entire movement deep rooted in art and creativity and you just have to respect that.  The guitar tones remain drenched in that Virginia sweat and new bassist Matt Maggioni (Unpersons) picks up right where Summer [Welch] left off.  Baroness have proven something unique throughout the past ten years… metal is more cultured than ever and reaching to a wider audience, endlessly. Therefore I send my deepest thanks to the band for Yellow and Green, Thank you! 

 If you haven’t done so yet, check out their second single March to the Sea:

 

Members: 

John Dyer Baizley – Guitars / Vocals / Keyboards 

Pete Adams – Guitars / Vocals 

Allen Blickle – Drums / Percussion / Keyboards 

Matt Maggioni – Bass

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