Masakari - "The Prophet Feeds"

Fenriz of the legendary black metal-turned-crust punk outfit Darkthrone recently honoured Masakari as his band of the week on the Darkthrone Myspace page. Such a nod seems fitting genre-wise; the debut album from Masakari shares more than a few similarities with Darkthrone's current punkish sound, yet there is a desire to explore other heavy genres that have enjoyed a recent revival as of late.

Album opener "XVI Rapid Dominance" kicks in suddenly with its rapid tempo- until the vocals kick in and the riffs thicken out. Even this early on there is a desire to shift from speedy hardcore to ultra-slow sludge/stoner rock. The album continues to change pace back and forth between the two throughout, though it favours the former. A greater balance between these two dynamics in the future would definitely help to separate Masakari from other bands within their roster, as The Prophet Feeds can become tiresome when it stays in the same place for too long. The vocals do not do much to commend this either as they are bellowed throughout. The drumming, however, is particularly brilliant throughout this album- it is tight, fierce and adaptable, giving the band a strong backbone.

Lyrically, Masakari touch on political and anti-war themes. Samples from speeches are also used sparingly throughout the record's brief yet busy twenty-seven minute running time, and these are actually the most powerful moments on the album. The climax of "XIV The Voiceless" contains a sample from a Christopher Hitchens speech surrounded by an intense finger-picking frenzy. These moments are particularly memorable as they provide timely breaks in the action as well as a more interesting alternative to the howling vocal style. They also showcase more adventurous guitar playing. "Outro" contains an excerpt from "Winter Soldier: Iraq and Afghanistan" in which an American soldier chillingly gives his account of racism in the army and speaks out against the greed of the American Government. It is the longest track on The Prophet Feeds- it is also its finest moment. The disturbing monologue is matched by the atmosphere created by the band's music here- everything is in its right place and the track gets more gripping as it goes along until it draws to a close and the listener is made to reflect on what they have just heard.

The Prophet Feeds is a strong start for Masakari. Hopefully they will continue to expand their sound and explore the different routes hinted at in the more audacious sections of this record on future releases rather than regress into a comfort zone.

"The Prophet Feeds" is out now on Southern Lord.

Planning for Burial - "Leaving"

It's pretty astounding that the solo project Planning for Burial's debut album, Leaving, is a product of home recording. The hard work that has been put into this is clear from the outset. Layers of sound build up and strip back down, evolve and regress - often within the same song - executing the loud-quiet convention commonly associated with post-rock successfully. But this isn't really a post-rock record. In fact, it's a product of many years worth of influences. Elements from the 80s goth/gloom and shoegazing movements have clearly influenced Planning for Burial's sound, yet these inspirations (among others) are morphed together in such a way that they work in harmony. Nothing here seems untidily stitched together, and that's an accomplishment.

One of the most remarkable aspects of Leaving is how it is layered and textured. Album highlight "Oh Pennsylvania, Your Black Clouds Hang Low" features echoed vocals buried underneath all of the noise, struggling to be made out. Subtle keyboard parts are strategically placed within the mix of cymbal taps and crushing riffs. Moments like this are peppered throughout the album, and they amount to a satisfyingly textured sound which remains rich and gripping if you're willing to pay close attention. Even on the noisier tracks there is always some subtle melody dancing away underneath all the racket. Not that this is a particularly heavy record overall - most of it manages to come across as approachable, even pretty or friendly, and it sounds incredibly professional for a D.I.Y. recording.

For the most part the record moves slowly, sometimes stealthily and other times abrasively, but it retains this droning, trudging feel which can be exhausting all at once. The closer and title track is a thirteen minute drone/mood piece which would have been overstaying its welcome if it wasn't so damn unobtrusive. Instead it tiptoes away to its exit without disturbing you even to say farewell. Nevertheless, it's a slightly underwhelming conclusion considering what has come before and might have been better as a shortened bridge to glide the listener through to another section of the record. It's the busier cuts on Leaving that were made to engulf rooms, such as the faster-paced and therefore somewhat ironically titled "Seasons Change so Slowly" and the aforementioned "Oh Pennsylvania...". Who knew that music made under these circumstances could sound so huge?

Leaving winds through several moods and drips with references to other genres, though being defined by any one of these does not seem to be in its primary interests. Instead, Planning for Burial has focused more on making an atmospheric record that sounds more accomplished than a lot of music coming from artists with much more backing. It is most certainly a credit to its label.

"Leaving" is out now on Enemies List and is limited to 200 copies before moving to digital only.