Squalus The Great Fish Review

Squalus

The Great Fish…

Translation Loss

Release 9.15.17

Review by hutch

First things first. Squalus is 4/5 of the band, Giant Squid. Giant Squid were self-proclaimed “prog” sludge metal. Those elements all remain here on The Great Fish... as Squalus paddle forward. Pertaining to the absent fifth member, Squalus does not fill the guitar slot. Rather, the band doubles up on bass guitars and rolls with keys and drums. From Giant Squid to the moniker of Squalus, a type of dogfish (sharks), these four chaps illustrate their fiery affection for the foreboding dangers of oceanic depths. The Great Fish... exhibits certain strengths while calling a niche audience to listen.

Upon first listen, the eschewing of six strings hones attention to the other instruments; especially the keys which protrude from each track. And when the word “keys” is utilized, the plural is intentional. There are synths and straight piano key sounds on deck. The odd configurations of rhythms and time signatures throughout elicit the prog-rock feel. But the execution illustrates a (deceptively) simpler, more direct instrumentation which conjures eclectic influences. While most likely not an influence, the Florida swamp sideshow orchestra, Viva Le Vox, comes to mind with The Great Fish... emanating a weirdly alluring circus vibe and a cautious bog of peril. Also, we hear some aspects of sonic schizophrenia akin to Faith No More; not in sound but approach. But the roots are filthy riffs of raw rock and roll.

Parts of The Great Fish… evoke Giant Squid’s Minoans but instead of gentle tangents we get quirky. Again the foundation definitely harnesses sludge elements. But the piano – while most doom or garage bands striving for an eerie sound would defer to a traditional Hammond B3 sound – this cleaner piano sound (still probably on a synth) adds a macabre atmosphere. “Eating Machine in the Pond” distinctly pulls from the churning dark synth reverb (layered with the normal piano) of John Carpenter as it births a pummeling rhythm section; grinding, bellowing.

Instead of squealing guitar leads, the keys reel and spit. “The USS Indianapolis”, although it started out with funky jazz diversion, almost calming, certainly hypnotic, eventually dives deep into the fathoms of torment. The beginning is Smooth and perky – and then the, well, squall crashes into the track with big movements. Noise and confusion drown the listener in a barrage of low end splendor.  

The successive openers – “The Great Fish” and “Flesh Bone and Rubber” – are engaging and promising. Gnarly, jangly bass riffs and provocative drums charge along with growling vocals. The quick (under 3 minutes) duration of “Town Meeting” swirls in a chaotic deluge. The repetition of chainsaw synths, banging; ripple out with early Murder City Devils type rock and roll.

If you have not pieced it all together from the song titles, The Great Fish… is about Spielberg’s 1975, JAWS. I would assume the lyrics are of “Town Meeting” are Quint’s proposal at the town meeting, screamed; especially since the track ends with the vocals stating the Mayor’s unsteady reply of the film. Tracks dedicated to the Cassie Taylor autopsy by Hooper, “Jack the Ripper” - a reference from the film to the English whore slayer, and other aspects of the film are exciting for any fan of the leviathan of summer blockbusters; when art and craft could be hooked to mainstream money maker, luring in thrill seekers and cinephiles.

“The Orca” proves that chaos is a fine instrument to wield. The cacophony and rage emanate from the track, relentlessly churning. A sweet 90 second melody on a piano ushers us into the lapping thumps of “Swim Charlie, Swim”. The bass line and synth wrestle for dominance. It’s a cool instrumental. 

Ultimately, for a doom/sludge/stoner/noise fan, The Great Fish… has to be compared with Akimbo’s Jersey Shore. It’s impossible not to do so. In 2010, Akimbo released a stellar noise rock album of 6 tracks about the 1916 bull shark which menaced New Jersey, killing four people. Matawan (July 12), Spring Heaven (July 6), and Beach Haven (July 1).

The Great Fish... doesn’t adhere that strictly to such a concept, more just singing related songs inspired by JAWS. There is not a three act structure or anything. But The Great Fish… is a fun romp, flailing and splashing; disturbing any notions of security like the opening scene of JAWS. A detractor, in my opinion, is that Squalus reiterate narration and quotes from JAWS instead of sampling. While most certainly a monetary decision, the replacement is distracting to me because with speeches or quotes from such a recognizable film, it is confusing to hear it spoken in a new voice, especially one recalling Billy Bob Thornton from Sling Blade.

The vinyl is fitting and damn gorgeous, boasting two choices of oceanic blue or blood splatter red on blue. The packaging is stellar with a cover of a painting by member, Aaron John Gregory, uncomfortably inspecting a close up of a great white. Again, this record is fun. And it is a concept album but it is not precisely chronological or regimented as a dramatic arc. Which is fine. It doesn’t try to be. It’s dirty metal fueled by adoration for a great film.

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RIYL: Brain Tentacles, Ahab, Akimbo, Intronaut, Maserati, John Carpenter, Goblin

Demon Lung A Dracula Interview

Demon Lung

A Dracula

Candlelight Records

Interview with Shanda Frederick by hutch

Shanda Fredrick - vocals

Phil Burns - guitar

Brent Lynch - guitar

Jason Lamb - bass

Jeremy Brenton - drums

Produced by Billy Anderson

“It was one hundred percent intentional to go much heavier this time,” Shanda Frederick replies to my question, asking the obvious. A Dracula is a low-tuned, full-sounding doom concept album. Demon Lung exhaled on hell of an album with The Hundredth Name in 2013. A Dracula is a masterful doom album released from a gestation of maturity and focus. “Our first album,” continues Frederick, “we didn’t know how to achieve that. “We were intense this time.”

The relationship spawned from producer, Billy Anderson, and the band sharpened the intent and attention of all involved. Anderson’s steeped experience was a guiding light. “This time during writing process, I talked to Billy. We have a friendly relationship. He knew what we wanted to achieve. He was aware of us emotionally. He gave us this epic sound.”

The sound is epic. Thick, sludgy riffs steeped in horrific atmosphere are the product of all elements syncing during four months of writing. Frederick reports while writing, hanging appropriate paintings and playing old horror films in the background. Of course, Demon Lung also used great metal narratives to guide their mentality. “We listened to other bands to set the mood.  King Diamond. The way he will stretch a whole story for an album is inspiring. Iron Maiden. They do a lot of concept songs about history.”

The direct inspiration for A Dracula is Alucarda by Mexican horror director, Juan Lopez Moctezuma, in 1977. Frederick explains the process. “We come up with a story. We discuss scenes and emotions. Then they start writing riffs. They record video their hands writing the riffs. We compile themes, what lyrics fit with what song. The film was a starting point but we adapted the story from fit to our ‘end of the world’ agenda and changed some characters.”

Shanda Frederick examines another inspiration as we discuss the harder sound and her vocals approach. “Candlemass. I use them vocally. I like their approach. I get the comment that I sound like a man.” That comment does not insult or bother her. “I prefer that. It feels natural.” Frederick grew up with her dad. Her father’s friends, older men, represented the bulk of her human interaction. She worked at her dad’s office, a construction business, where she dealt with even more men. She elaborates, “My first band had a forty year old guitarist. I am comfortable around older men. There is no sexual pressure. They can see me as an individual.”

Female fronted bands, especially in doom metal and psych or stoner rock, are common now. There becomes a thin line of being respected and being an object of desire. For the female, it can be a double-edged sword. “The situation can be a hard time for fans, not relating to a female perspective. I convey deep emotions. I definitely struggle with double-edged sword. I want not to be treated as one of the guys, but receive the same level of respect.”

Frederick notes that her band and her audience are thankfully constructed of different types, though. Well, and she consciously does not portray the sex object. “I am fortunate with my guys. I don’t put out that sexual vibe. So, I don’t reap that attitude. I wear long dresses. I cover my boobs. I am feminine, not sexual. People treat me delicately.” That has its downside as well, back to the double-edged sword. “People assume I can sing, like my skills aren’t valued. They think, ‘you are a woman, of course you can sing. They say it as if I didn’t work hard to achieve this talent. But, that is how it is in the world today.”

Frederick relays the opposite impression. She notes that she always could sing. Her mother pushed her with musical theatre and chorus. After multiple karaoke sessions in her late teens, her friends pushed her to sing. “I was horrible live. It took a year and a half to be comfortable in front of people. I was twenty-one. It was a hard process.” That fortitude is ingrained in her constitution, though. “I just go out and do something until I can do it. I am not afraid of failing. Everything is a learning process.”

That process of working through an endeavor and accepting that time is needed to hone the product is portrayed in this album. A Dracula is a sculpted script. Each track, expertly improved and molded by Billy Anderson and the band, represents a plot point in the arc of Alucarda and her love, Justine. They triumph and are resurrected to reign in Hell and demolish the Earth’s inhabitants. A dark, frightening atmosphere champions this cinematic album. Prepare for the wrath.

Monolord Interview for Vaenir

Monolord

Vaenir

Riding Easy Records

Interview with Esben Williams (drums) by hutch

Monolord came out of nowhere to drop Empress Rising less than a year ago. Most metalheads quickly placed it in a top slot of their year’s end lists for 2014. Initially formed as a side project in 2013, out of the ashes of Swedish bands Marulk and Rotten Sound, guitarist and vocalist, Thomas Jäger, drummer, Esben Willems, and bassist, Mika Häkki, Monolord shot of Sweden to decimate ear drums. Together, the trio cranks out fuzz soaked, slow doom metal riffs. Heavy as hell and plodding, the nefarious, churning atmosphere staggers through speakers onto audiences trapped in awe.

This April, Monolord is releasing Vaenir, an album of completely new material. Willems explains, “We always work on new stuff. We started pre-productions directly after the masters to Empress Rising were delivered. Itchy fingers, you know. It wasn't an elaborate PR plan, we just love making new music.” They garnered enough focus to have the final track of the six track album stand at seventeen minutes.

Even still, this relays the fervent energy and dedication these men have to Monolord. “We're pretty efficient when we record,” continues Willems. “Our studio is my portable equipment that is more or less permanently set up in our rehearsal space. We produced it. I engineered, mixed and mastered it. In a band, it comes in handy to be a professional sound tech.

The conversation of an objective outsider was bandied between members. “That's both a discussion of budget and finding that perfect person that's brilliant at hers or his job and, on top of that, understands and likes the band's ambitions. And we're skeptical old fucks”

That internal formula has worked exceptionally. The bass line is accented and utilized to propel sinister doom riffs. Vaenir is a more focused album, with cleaner production; without losing a sense of the heavy. “We see Vænir as a natural development of our sound. The foundation is the same, but we keep on evolving our songwriting. At least that's our ambition.”

The pressure is not felt in the band, but many fans have to wonder if Vaenir is a project of opportunity or momentum. The pressure to duplicate was not internalized; but it was recognized. “We were really surprised by the response to Empress Rising, to be honest. It's always a bit nervous to release new material, and twice as much when it's with a new band. To get the response we got was insane. The good kind of insane. We're still a bit high from that feeling. Regarding the stress of recording new material, it was both stressful and not at all. We record and produce everything ourselves. The songwriting and recording environment are second homes. With worse coffee, that is. But it's a comfortable place to work on new stuff. Actually, it's an escape from the reality outside.”

Willems’ calm personality and humble honesty welcome questions with a direct embrace. Stress is not conveyed in his inflections. Willems conveys the simplistic approach to a highly lauded album. The doom genre has seen much genre-splicing, but Monolord harnesses a direct lineage to tradidtion. “Our goal has always been to write and record music that we feel is the heaviest and grittiest rumble that we are able to produce. Depending on the listener, I guess there are people who like it because of their perception of authenticity, but that's not been our guideline.”

Monolord are exposing audiences to this new material, along with “oldies”, across Europe. Willems lists, “We just came back from a European tour almost three weeks long. The next upcoming show is opening for Candlemass in a town nearby, Uddevalla. After that, it's Roadburn Festival and Berlin. And some festival dates during the summer that we'll announce soon.”

As members were surprised by the interest in their once side project’s music, Willems insists that the main focus for all three is Monolord. He quickly appends his statement, “But there are always other side projects going on, which I think is really good for the drive and the inspiration.” That inspiration is motivated by the usual dark doom themes. “Our permanent theme is more or less misanthropy. The disgust for what humans do to each other is an endless source of inspiration.” Provided much fodder from a few minutes of world news, coupled with Monolord’s restlessness, maybe in another eight months, audiences will have album number three. “We're usually eager to make new stuff. As soon as we've caught our breath from our recent tour, we will start jamming out some new fuzz, that's for sure.”