Helms Alee Night Terror / Self-Titled (12”EP) No matter how you slice it, Helms Alee are a heavy band. Fortunately for us, that’s about the only straightforward, obvious thing about them. Hailing from Seattle, the band features former Harkonen frontman Ben Verellen. Rounded out by a strong, all-female rhythm section, the band wasted little time putting together a stunning first effort. The songs find and exploit every wrinkle in post-hardcore, while maintaining a heavy, imposing feel. The songs are finely-orchestrated, making the most out of their classic power trio lineup. But it still feels spontaneous, with a mix of riff-based pummeling and slyly intricate time signatures. The odd, off-kilter rhythms mix nicely with a few downright male/female vocal harmonies and a some, heavy head-bobbing riffs for good measure. There is such strong—even stark—variation from song to song, that Night Terror seems a bit disjointed at first. “A New Roll” is a patient, almost bouncy take on earlier Melvins, with a breakdown at the end that wouldn’t be out of place on a Breeders record. These odd combinations continue to appear, each more unlikely and perfectly-executed than the last. “Betwixt” is a short, slow, and anguished take on early Sabbath, complete with meandering, psychedelic vocal and guitar lines. The best thing about Helms Alee isn’t just the variety of things that inform their sound; it’s the grace that they use to pull it off. Drawing equally from Failure or Quicksand and Sabbath or Botch, they briefly touch on the extremes of each sound. But in the end, it’s so soundly constructed that the variety never comes at the expense of the songs.
emo-influenced bridge and really melodic vocals. The guitar alternates between winding, Built To Spill-influenced leads and heavy chuggachugga riffs that sound like Kyuss on 45 rpm. Would have made a great addition to the CD, but the LP’s production definitely suits it better. The packaging is impressive, with silk-screened jackets and a great etching on the records’ B-side. Both releases announce the arrival of a band that have jumped straight to the forefront of posteverything heavy music. Walking the same thin line as bands like Young Widows, the manage to maintain metal’s intensity by marrying it with Dischord/Touch And Go’s more layered snarl. Over the course of 36 minutes, Helms Alee manage to put together one of the best records of the year, while hardly breaking a sweat. [Anderson]
Their self-titled EP was actually recorded in the spring of ’07, also by Matt Bayles—who recorded Night Terror. These songs were done at a different studio, and don’t sound quite as booming and clear as the full length. It gives the songs (three of which are also on the CD) a less imposing, more complex sound. “A Weirding Way,” “Rogue’s Yarn,” and “Paraphrase” are all interesting, slightly different versions. “Borrowed Wind” is the lone exclusive track. It starts much like many album songs, with a choppy drum and vocal intro. But it has more Midwestern
www.hydrahead.com
Hrswhip
Humanfly
hrship is a project consisting solely of one man, splitting time between two continents (North America and Asia) creating some of the most refreshing, compelling instrumental rock that has been released in the past several years. Dave Secretary (Black Actors, ex-Van Johnson) has produced an album of mostlyinstrumental songs full of jangly guitars and punishing drums that is sure to captivate listeners of all spectrums. The album opens with two tracks in which the guitar and bass take a back seat, allowing the drums to lead the sonic stampede. These songs draw similarities to Van Johnson, but in a more controlled, precise manner. The particular “sound” of this album varies several times throughout the first few tracks, but this juxtaposition is rather enticing, as the frequent changes in mood elicit a much more excitable listening process. The second half of this album, however, is simply remarkable, consisting of energetic instrumental music with a strong backbone. “Have To Be Sick Ask Me” sets a desperate yet tranquil mood, and is then followed up by the relentlessness of “Culture and Sidewalks.” The album also features an astounding closer in “Anxiety Out,” which opens with an intriguing five-minute guitar riff and eventually teeters into a monumental burst of music, bringing the album to a prevailing, paramount conclusion. Overall, the album comes together as a striking burst of fresh air, full of vibrancy and ability. This project turned out to be quite remarkable, and should certainly find its special place in anyone’s collection. An honest recommendation: you will be sorry if you miss out on this one. [Birone]
Humanfly is somewhere in between it all—at times as heavy as Rosetta and Neurosis, then psychedelic like Pink Floyd and Russian Circles. The disc starts off with “Another Week in the Theme Park of Death...,” an 11-minute opus with three distinct movements. It slowly builds, as these Brits create some great atmospheres before crushing you in movement two. This is the first appearance of vocals, which have an almost Yob/ Mudhoney vibe. The atmosphere and flow of the songs showcases each instrument working collaboratively to create a crushing wall of sound or an airy ambiance, dissonant and distant. After the full 11:33 of the first tune, I can tell I’m in for a hell of a ride. “Shot into Space/Vengeance of Neptune” starts similarly with a deep, slow-building synth atmosphere. Just as you’re lulled into a sense of floating, Humanfly starts to crunch away, and you’re hurtled faster and faster around the bend. “Nenhuns Deuses Nenhuns Mestres” is the shortest song on the album at eight minutes. It starts off cold and crunches right into you with slow, deliberate, and heavy riffing. Almost three minutes in, it gives way to a slow, clean glide. This has some really cool soloing, before getting back into the crust almost five minutes in. “Tjarnargata/A Passage to Reykjavik” is the official end of II (with the final 2 tracks being bonus tracks from an upcoming split with the UK’s Queen of Swords). Volume swells and a delay make this almost like listening to a dijery doo introduction. This is a great instrumental tune, containing all the things we need from a band; excellent clean parts, guitar solos, and crust moments make this one of my favorites on the disc. “Marakech” and “An Intimate Battering” are the bonus tracks. “Marakech” reeks of Sleep/High on Fire, and then just as suddenly drops into an off-beat riff. This builds, until the dam breaks and the song just
Vindictiveness [CD/Cassette]
www.myspace.com/hrswhip
38
II
:: THE NEW SCHEME ::
explodes. We close off with the longest song on the disc, “An Intimate Battering.” This tune clocks in at over 13 minutes, so Humanfly makes it worth your while. Goddamn this is a good CD. [Dixon]
www.20buckspin.com
Hunting Lodge Energy Czar
The U.K.’s Hunting Lodge has been broken up for close to a year, but they fortunately left behind this gem of Arab On Radar-inspired controlled chaos, known as Energy Czar, for future spastic generations to enjoy. The album takes listeners on an acid-dosed carpet ride, most notably on the track “The Average Sound of Whitley Bay,” where the guitars and drums swirl together to form the soundtrack to a treacherous car accident, with the unnamed vocalist acting the part of the despondent victim, slurredly shouting against the precautions of the paramedics. Hunting Lodge’s sound could be compared to the likes of xBxRx and An Albatross, but to be honest, is more engaging and hypnotizing than anything either of those bands have put out in quite some time. Tracks like “Holy Quaternity of Country Singers” and “Hero of the Beach” leave the listener questioning whether they should be shimmying on the dance floor or uncontrollably writhing against the tile of a bathroom floor. “Silver Prince” might be the best song on this album, with ecstatic guitars, pounding drums, and vocals that sound like a choking garbage disposal. The rest of the album tip-toes the line between insanity and genius, but wherever the hell it lands, it’s comfortable territory. Recommended for listeners interested in the Arab on Radar sound, but found that the likes of An Albatross or Daughters just didn’t cut it. [Birone]
www.yosada.com