Angry Metal Guy

Bison B.C. // Dark Ages
Rating: 4.0/5.0 — Way cool record
Label: Metal Blade
Websites: myspace.com/bisoneastvan
Release Dates: EU: 9.04.2010 | US: 04.12.2010

Another record from Metal Blade’s Canadian installation and the third record from Canadian 70s-metal-meets-hardcore band Bison BC. This record took me totally by surprise, as I’d never heard of this band before and wasn’t really sure of what to expect. Honestly, all I had to go with was the look of the record and it looked very 70s. That fact alone hasn’t been very reassuring, while there are some bands out there trying to push the sound a bit, it just feels like another nostalgia movement that isn’t going anywhere to me so I tend to be pretty skeptical of such records.

Dark Ages, however, is maybe that white buffalo of the herd, then. While maintaining the fundamental foundations that you hear from bands like High on Fire or Barn Burner, that is, the thick low end and doomy feel, Bison BC pushes the envelope with a much more hardcore oriented vocal approach. The sound is also characterized by some old school sounding death metal riffs and some deceivingly proggy moments which I could have done with even more of actually. While the indie scene is getting their 70s prog on, the metal scene seems to be more interested in emulating the simplicity of Motorhead and Black Sabbath and less with some of the more progressive roots of the scene—something that is slightly remedied here.

I might be wrong, but there is definitely the feel that these guys were also a bunch of former crust punks or something. The record is produced much more like an old hardcore or metal album than most of the modern stuff that’s coming out and it’s a sound that I really like. The tones are thick and meaty, the drums are nothing but beef and the guitar tone is like smooth like butter while still being totally fat. This is one of the best features of the album, as you sort of zone in and out of their riffs, it really stands out how fucking heavy old school production really  sounds when you compare it to a lot of the modern production tricks and techniques that we’re hearing these days. All-in-all, the earthy tone from this Canadian foursome is a refreshing change of pace and Dark Ages has all the heavy riffs that a modern metal head could possibly want. For me, the highlights were definitely “Stressed Elephant”, which has a cool horn section at the beginning, some acoustic work at the end and is just generally totally epic, and the track “Die of Devotion” which is almost thrash, except that the chord and melodic choices are way more interesting. But “Wendigo Pt. 3″ which seals the record up is definitely the finest moment and it culminates in all that prog that’s missing from the more straight hardcore and metal stuff.

Honestly, the biggest complaint that I have about this record is probably that it’s not proggy enough. They sound like they want to prog it up, but then they always break it back down to the more simplistic hardcore and crusty stylings. While it definitely works and is definitely enjoyable, it left me frustrated waiting for Rush or Kansas to burst through all the “raaaah!” that was going on here. Fans of the neo-70s stuff, crusty punk and hardcore should definitely check this out. Though, I think most people should at least give these guys a listen, because Dark Ages is interesting, thick and heavy as the nearly extinct land mammal from which they take their name.

Kaipa // In the Wake of Evolution
Rating: 4.5/5.0 — An outstanding album..
Label: InsideOut
Websites: kaipa.info | myspace.com/kaipa
Release Dates: EU: 12/15.03.2010 | US: 03.16.2010

The name Kaipa might or might not strike a bell for you, depending on where you’re from and how old you are. The band technically been around for a very long time, as they were a part of the Swedish prog scene which in some ways really differentiated itself from what non-Swedes think of when they think of prog. While prog from England, the US or Canada was often times very much about technical expertise, drug induced trips of fancy or philosophically complex ideas and theses, Swedish prog was a very lefty, ideologically communist movement. It’s not something that this Angry Metal Guy has been particularly well-informed about, so instead we called Angry Swedish Prog Correspondent to inform us about this whole fascinating phenomenon. There’s a lot one can say about it, but let us formulate it like this: Swedish prog was dirty, lefty hippies giving even the most talentless member of their friends group the right to play, despite them not having any talent at all. Kaipa wasn’t like this, on the other hand. Instead, they were much more akin to Yes, Genesis, Rush and other progressive rock bands. As a consequence, they were never quite accepted as part of the Swedish scene, but became more internationally accepted. However, unlike the communal-living types like National Teatern, Kaipa reformed in the early 2000s and has been producing records since with just one original member, Hans Lundin.

Because of the fact that Lundin is the only original member, it means that he’s been able to fill in the band with new members making Kaipa a fantastic, talented group of musicians who are really producing music and playing on the plane that one really expects of excellent prog. This demonstrates itself in the varying styles and places Kaipa takes the listener on this long and winding journey. From the eternally happy sunshine land, for example, of the opening and title track on the record, “In the Wake of Evolution”, to the neo-folk “Folkia’s First Decision”. There are moments that are reminiscent of reggae, 50s Rock n’ Roll and, of course, jazz fusion. Of course, the fact that Per Nilsson (Scar Symmetry) is playing guitar on this record is evident through some very metal guitar solos, as well.

In the Wake of Evolution isn’t just musically varied—Lundin and company take us through an emotional roller coaster sonically and the effect is great. Every track on the album stands out as a dynamic, self-contained cosmos of fascinating ideas and emotional expression. Despite the fact that the songs range between two and half and 17 minutes long, there is definitely a sense of balance and unity between the separate tracks. However, there are a lot of pieces written in major keys and some very, very happy music on this record. This, of course, makes this Angry Metal Guy a little uncomfortable because it’s just so… HAPPY.  But particularly when you hit the later sections of the record that are a bit more orchestrated, the emotional downs stand out as well. I don’t think you can be an aging progger without having a little bit of pent up sadness and anger.

There are very few things to complain about on this album, actually. Sometimes the composition can feel a little forced, but the biggest problem for me personally are the vocals of Aleena Gibson, who has an incredibly sharp voice. Not like she’s not in tune, but instead she just has a very harsh sounding tone. While she has a unique sound and she blends well with Lundin and Lundström in the harmonies, on her own she can be a bit grating after a while. Instead let us end this here by saying that there are very few progressive bands who are composing music that really carries the same feeling of experimentality and curiosity about blending music into a cohesive whole that is at once intellectually stimulating, catchy and engaging. Kaipa embodies this feeling of progressiveness on their new album and I suggest that open-minded fans of progressive music check this out, because it is a fascinating ride.