Today we have another contemporary track coming from the underground. Possibly the furthest thing from metal or traditional notions of what rock is (thus far on this blog), today's artist Lorn uses vast rock imagery specificly the dark, threatening tropes familiar to the death metal and black metal world to create an affecting aural and visual experience. Lorn's music comes from a recent (late 2010-2011) underground music subculture that has been given various names such as drag or witchouse based on its combination of gothic iconography, looming ominous drones, and chopped and screwed hip hop beats. The video for Tomorrow is a spectacular example of a diy project that creates a consistent aesthetic in image and sound, sucessfully scaring the shit out of anyone who watches it. The video itself seems to be a cross between a gothic - pagan ritual and a late night rave verging on riotous anarchy. Lorn is successful at macabre and this video is just plain badass.
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Today's track from the deep end is our first contemporary cut, coming from LA experimental group Health. Health's unique sound could be considered a combination of noise, punk, hardcore, metal, electronica as well as something completely unique. The use of a Zoothorn, bypassing microphones through guitar pedals and other ad lib effects contribute to their sometimes atonal sonic textures. Health has released a well -received split album with Toronto synthpunk act Crystal Castles, and they held a slot opening for Nine Inch Nails in 2008. The track consists of escalating drums and shrieking that blends in and out of the guitar effect. The vocals are near inaudible and have a distant almost bitmapped texture. The song builds to a climax mirroring the horrific take on Little Red Riding Hood portrayed in the gore filled music video (directed by Eric Warheim of Tim & Eric). Just listen to it, and it will all make sense. * Warning not for the squeamish.
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Today's deep cut comes from the Monks' 1966 album Black Monk Time. In a time usually associated with the begginings of psychedelic rock and sun-shinny, flower power optimism (that would come largely into focus by 1967's Montery Pop Festival) the Monks presented a much more disparaging tone.
Formed in 1964 by a group of American GI's stationed in Hamburg Germany the group began by following the template of contemporary British Invasion rock acts playing skiffle, rock n' roll and blues covers, not far off from the format of the Beatles at the time. It wasn't until a year later when the band met Walther Niemann and Karl-H.-Remy a pair of existentialist designers/luminaries that they appropriated their more provocative image and sound. Welcoming the influences of Niemann and Remy the group positioned themselve as a total antithesis of the Beatles. Adorning themselves in black Cassocks, cutting their hair short and shaving tonsures (bald spots), the group styled themselves literally as a grim middle earth monks. The Monks also wore rope nooses around their necks, a morbid symbol which was a reminder of 'the nooses worn by all humanity.' The Monks' sound consisted of a concious neglect of melody with a focus on repetitive tribal rhythym, with a mixture of shouting, singing & childlish vocals all of which were extremely repetitive. The lyrical content was a combination of dadaist absurdity, pensive social criticism and facetious handling of social taboo and serious subjects. Like all pioneer iconoclasts the Monks were met with 'mixed' reviews... for example one concert attendant in Hamburg attempted to strangle band leader Gary Burger for alleged blasphemy. While the Monks' may not have always met the warmest reception, there is a cult following that has stood as a testament to their genius, influence and contribution to the evolution of rock music. Vocal fans of the band include Jack White, Jello Biafra, Henry Rollins and many others.. Iggy and the Stooges would not have formed had Black Monk Time ceased to exist... And rock Legend has it that it wasn't until attending a 1966 Monk's concert in London that Hendrix was inspired to experiment with guitar feedback.
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