We Villagers are a busy lot this time of year, what with the silliness of year-end (and decade-end) lists. Thus, Captain Graves has taken the reins in the review department, as of late. Good thing too--the longer he's occupied with killer tunes, the more time we have to dig our own graves. - Ed.
Written by: Capt. Graves
We ate way too much Tumulan fungi last night in the Village. Needless to say, there wasn't much sleep going on. Instead, I spent the night listening to Rabbits by Brume, and down the hole I went chasing that fluffy white rabbit. In that hole I found a wonderland with talking animals and floating clocks.
The first track, "Despondence," brings you in and out of riffs and atmosphere. The vocals here are extremely powerful--they will send you spiraling into the abyss, and shoot you back out the other end. One thing I didn't enjoy about this track was the length. It felt like it was going nowhere by the end, like I'd been listening to the same riff for hours. "Scurry," however, has much more depth in the songwriting, and really starts to bring out the band's strong suits. More soaring vocals to send me deep into space, where I belong. A nice gentle atmospheric interlude to bring you around to an epic, slow, gritty guitar solo. This song feels like it has some nu-metal influence, and I can dig it.
Like any other, our little Village has its little pranksters and jokesters, and theirs is a crude, unsophisticated humor. We don’t get much wit nor deadpan ‘round these parts, so when someone rolls into town possessing the unique ability to keep a straight face whilst performing something capriciously off-kilter, I tend to be suitably impressed.
This isn’t to say that LA’s heavy rockin’ Deathchant don’t take their art seriously. To the contrary, in fact. It’s quite obvious that TJ Lemieux and Company (John Bolino, Colin Fahrner and George Camacho) are very accomplished musicians, and their debut LP is, frankly, quite the stunner. Rather, I’m suggesting that what makes Deathchant so unique is the ability to launch into experimental passages and then out again with nary a glance backward, maintaining the guise that they’ve been playing a standard heavy rock number the whole damn time. At first, the casual nature in which a track--such as opener Pessimist--slips from recognizable psychedelic fare into a passage inhabited by a post-singularity beehive before ending back at Lemiuex’s sultry, fuzz-laden voice is....unexpected, to say the least. Very quickly, however, this becomes a trademark motif. A similar compositional technique rears its head in album highlight Ritual, which turns a seemingly driving intro riff into an extended experiment in psychedelia, before devolving (or evolving?) into pure noise. It's a neat trick, and Deathchant's ability to maintain composure throughout sells the package.
Because these four switch things up so frequently and unexpectedly, it remains difficult to peg them--both in the case of the direction of individual tracks, as well as the general genre. It has the brooding weight of a new-age doom act, but there’s a propulsive heavy metal element, as well as a distinctly avant-garde jazz ambiance. For a prime example of the latter, look to the somber Eulogy. Closer Trigger is the most aggressive track, the most outwardly “metal,” but still, that’s excluding the extended intro and outro, which are entirely constructed from the reverb-drenched strains of an organic brand of industrial noise. Its weird stuff, and from a standpoint of both personal preference and critical awareness, Deathchant’s formula (if it can even be referred to as such) works very well. The unique song structures prevent a dull consistency that I unfortunately have come to expect from both heavy psych and noise. Beyond that, each track is goddamn interesting on its own merits. There isn’t a song here that doesn’t brings its own flavor to the Deathchant universe, and that is something to celebrate.
Despite the obvious jarring nature of the more noisy elements, a melodic and near-harmonious air hangs, hazily, over the whole affair. The vocals are delightfully laid-back, yet richly emotive when needed. Instrumentally, there are no weak links. Drums, as mentioned, possess a jazzy bent--but they also lay it down with a fierce intensity when the occasion arises. The guitar holds that lovely distortion in loving arms, and whether plodding or bursting into an impromptu canter, that sweet psychedelic tone is never abandoned. Despite remaining unpredictable, Deathchant knows how to comfort their listeners.
Critically speaking, the only real item of note is the length. At 29 minutes, this hardly qualifies as a full album in my (admittedly self-published) book. The fact that I want more is, if anything, a testament to the strength of what these rockers have conjured up. While this groggy wordsmith might not have the vocabulary to accurately describe what exactly Deathchant have created here, I will say this with certainty: whatever it is they do, they’ve done it with great skill and aplomb. Needless to say: highly recommended!
Deathchant arrives January 10th of next year, courtesy of King Volume Records. In the meantime, both singles--Hex and Pessimist--are available for streaming. Otherwise, we highly recommend you saunter, levitate, or otherwise ooze your way over to that pre-order. It’s really not the sort of decision you’ll end up regretting.
Providing thoughtful reviews of music that is heavy, gloomy, and loud enough to wake us from slumber. Written by a groggy-eyed, highfalutin peasantry.