EHNAHRE - Experimenteller Death/Doom/Sludge. http://www.ehnahre.net Derber Stoff. Disembowelment + Khanate + Gorguts + Morbid Angel. So in etwa.
Neues Album ist nun draußen.
ZitatThe new full length (number two) from the Boston based avant-black/death/doom band Ehnahre, Taming The Cannibals, is one of the more cerebral and challenging "death metal" albums to have come through the Crucial Blast headquarters this year. After being turned on to their excellent debut from 2008 The Man Closing Up, I've been itching to hear more from these warped death abstractionists; their debut instantly dazed me with its jarring, alien approach to bestial slow-motion death metal, drawing heavily from the twelve-tone serialism of composer Arnold Schoenberg and the outer fringes of free-jazz and free improvisation as much as they do from the foul black pit of early 90's death metal and doom. Even after years of devouring the most dissonant strains of death metal that I could get my mitts on (Gorguts, Demilich, Immolation, Portal, etc.), these guys stunned me with their extreme chaotic dissonance and pitch-black chthonic textures, a combination of atonal 20th century classical music and vicious blackened death laced with squalls of free-jazz horns, stretches of intense choral ambience, and blasts of calcifying glacial doom. Featuring former members of the prog/gothic art-rock band Kayo Dot and avant-death metallers Biolich, Ehnahre are creating some of the most difficult death metal I've heard since Obscura, but also manage to balance the extreme atonality and relentlessly unpredictable nature of their arrangements with seething aggression and crushing riffage. Taming The Cannibals is a continuation of their discordant black art, six lengthy tracks of demented and distended death metal and harrowing atonal composition, their chilling guitar textures and bizarre chordal moves merging with distant, keening muezzin-like vocals and monstrous, blood-gargling shrieks, extended percussive wig-outs that veer into pure jazz territory, and vast black fields of nightmarish ambience. Once again, the band employs horns and strings, this time from guest musicians Greg Kelley of Heathen Shame on trumpet and C Spencer Yeh (Burning Star Core) on violin, draping sheets of high end amorphous violin skree and free jazz blowing across the ethereal blastscapes and apocalyptic feedback of "Clatterbones" and the bloated black doom and spacious horror of "Foehn". Minimal electronic grit and glitch and crackle is woven through the cacophony, subtle keys float beneath the hyper complex riffs. Soft crooning vocals (courtesy of Jonah Jenkins from Only Living Witness/Milligram/Raw Radar War/Miltown) emerge, dreamlike, drifting on abyssal lullabies. And all the while, Ehnahre pull the listener ever deeper into their claustrophobic depths, crafting a terrifying, hellish vision of blackened jazz-doom that will set skin to crawling and nerves on edge, while their haunting lyrics draw from a number of unexpected influences such as Irish poet F. R. Higgins, Austrian Expressionist Georg Trakl, Walt Whitman's "Song of Myself", and American poet/environmentalist Robinson Jeffers. An immense new disc from Ehnahre that heads even further "out" than their previous album; it's highly recommended to fans of the furthest extremes of avant garde death metal and doom, Disembowelment, Phlebotomized, Demilich, Starkweather, Gorguts, Pan.Thy.Monium, Portal, and the heavier moments of Kayo Dot's earlier recordings. The disc comes in a four-panel digipack with an eight page booklet.
Bisher erschienen: The Man Closing Up CD. Hervorragendes Debüt, derber Stoff.
ZitatThe Man Closing Up is a through-composed, singular piece of music, divided into five sections. These five "songs" are intrinsically linked, through text, form, and motivic material. The texts are based on the improvisational poetry of Donald Justice. The dark and lonely imagery of the work informs the music, as well as the illustration of oceanic themes. The words and music become closely related, carefully intertwined through elements of form and text painting.
As for the actual composition, the majority of the music began as combinatorial 12-tone music, sometimes to remain true to it's serial genesis, sometimes to wander to other regions of atonality. Elements of Free Improvisation also find it's way into the music, adding an element of abandon, and the unknown.
Pipeline c21 Livetape. Pur und roh, mein Liebstes von Ehnahre
ZitatEhnahre - Pipeline c21
Initially released as an edition of 50 to coincide with Ehnahre's European tour last April, here we have the second pressing now in an edition of 175 pro dubbed cassettes with new artwork available to those who didn't catch The Man Closing up tour in Europe & the UK. Pipeline is a live recording of Part II, Part III and Part V off the debut release The Man Closing Up (Sound Devastation) from a radio station gig in 2008. The recording finds the band in all its naked glory - no strings, brass or electronics, Pipeline exposes the band at its most raw and brutal.
Experimental combinatorial twelve tone black metal with instances of doom and death metal from these ex members of Kayo Dot. The master of 20th century music, Arnold Schoenberg, declared the "liberation of the dissonance" to be essential for the progress of music as an art form. Ehnahre wholly embraces that philosophy, and it consummately informs their music. Dodecaphony of end times.
"There are no words to explain what this band does. They really don't give you anything to latch on to. No melodies, no riffs, just oppressive sound. It beats you down until you find yourself curled up in the corner, gently weeping."
Edition of 175: pro-dubbed on white Type II High Bias cassettes with 2-panel jcard, silkscreened shells & shrink-wrapping.
Alpha/Omega 12", auch ein harter Brocken. Limitiert auf 100.
ZitatBoston-based avant black/death/doom metal band EHNAHRE will follow up its debut record, "The Man Closing Up", with a new 12-inch release, entitled "Alpha/Omega".
With 2009 seeing the addition of drummer/noise artist/wacko Ricardo Donoso, EHNAHRE plumbed even further into the depths of rhythmic flux and sway which characterized their debut release. This record sees EHNAHRE starting to stretch out, and progress beyond their beginnings — more extremes, more chaos, more discordant guitar lines, and vocals akin to the outburst of a bloodthirsty, drunken schizophrenic.
"Alpha/Omega" was written based on the poems "Leda and the Swan" and "The Second Coming" by Irish writer William Butler Yeats. Utilizing mythological, mystical, and religious themes, the text alludes to the beginning of the world, and Armageddon. Taking its ugly, atonal and oppressive sound to new lows of stifling darkness and malevolence, the uncompromising dissonance and instability on this record will salt the earth with EHNAHRE's aural depravity.
"Alpha/Omega" will be made available on March 1 via Fun with Asbestos Records in a limited run of 100 copies. Mastered by James Plotkin, it will be released exclusively on 12-inch vinyl, pressed at 45 rpm with hand-printed jackets.
It's been a long time since I have been truly terrified by music. I believe the first time I looked over my shoulder whilst listening to something was my first experience with Moëvöt when I was 15, but I digress. With their sophomore album, Boston super experimental metal trio Ehnahre has created something captivating and horrifying in the best way possible. Drawing influence ranging from free jazz and avant-garde modern classical music to progressive rock and death metal (Gorguts comes to mind), Ehnahre refer to their brand of off-kilter avant-metal as "Witch Metal."
Moving further into abstraction, "Taming the Cannibals" shows Ehnahre at their most experimental. Featuring 6 monstrous tracks of chaotic and highly unorthodox death metal. Featuring absolutely zero tone center (see: Atonality), "Taming" jaggedly stumbles through periods of trudging doom, blasting black metal, time signature changes, and amorphous noise. Tying all of these musical elements together is the impressive drumming of Ricardo Donoso, whose impeccable rhythmic feel and understanding of musical space adds to the overall intensity of this album in spades. Rising above the cacophony are the choking, tortured vocals of bassist/percussionist Ryan McGuire and guitarist John Carchia, portraying the inner turmoils of a maddened poet. Contrasting the nightmarish dual harsh vocal attack are Jonah Jenkins's (Raw Radar War/Only Living Witness/Milligram/Miltdown) soft, dreamy lullaby vocals. Lyrically, we see Ehnahre at their most poetic:
Of this speechless grief; nights Filled with tears, fiery angels. Silvery a childlike skeleton smashes on a bleak wall -From "Foehn (Lullaby)"
With language that, as far as I can tell, is highly influenced by American avant-poet, transcendentalist, and humanist Walt Whitman, we see the brains in this band extend beyond their heady arrangements and sink into the core of the music itself.
Though it is hard to explain just what Ehnahre is, the best way I could think to do so is if modern composer/philosopher George Crumb rose from the grave, joined Aussie doomsters diSEMBOWELMENT, and attempted to do Gorguts covers. A challenging and, at first, almost uninviting listen, we see Ehnahre breaking down walls and reinventing what we know as "music" in general. Original and effective, this is one of those albums that will be remembered for its ingenuity for years to come.
"Taming the Cannibals" was released TODAY, November 9th, 2010, and you can pick it up and listen to samples here at Crucial Blast.
ZitatOur new full length, "Old Earth", is finally being sent to be mastered, and will be released in late May on Crucial Blast Records. One song, 40 minutes. More info/artwork/bullshit coming soon...
DOOMEDSOULS
Thema drucken
07.12.2010 14:00
Antworten