Review: The Devil and the Sea - Heart vs Spine

Label: Acerbic Noise Development

Released: January 29, 2008

When an album runs wild, there's not usually a whole lot of middle ground. It's either on the verge of brilliance or on the verge of disaster. The Devil and the Sea are certainly wild. Like Black Flag before them, they take the spirit of free jazz (call it free punk, if you will) and apply it within the sphere of their own genre. Into this mix, they throw early thrash elements, doom and post-metal drone and the vocal stylings of a soul in turmoil.

While the album does rein in its wild abandon for a few tracks, it's at its best when it pushes. The drums are wild, the bass fuzzy and the overall character is manic.
At times, the band seems on the verge of disintegration, but always manages to hold it together by the sheer force of will that pushed the music to its limit in the first place. Heart vs Spine is not a melodic record so much so that the little bit of melody that sneaks in on "My Soul Is My Abacus" is shocking. Instead, it has the slow, lumbering energy of a very large beast that plods deliberately along and then suddenly breaks into a stampede.

Growling has become such a common convention in heavy music that it's almost an instant turn-off, but the Devil and the Sea is one instance where anything less would be inappropriate and, unlike other bands who are simply following the formula, this growl conveys real emotion and the manic fragility of being on the very edge. It goes beyond inarticulate anger and, most importantly, it works. It thrives on being harsh, not smooth.

Plenty of bands go for crazy, but so few succeed. I guess it's just one of those things that's hard to fake. The Devil and the Sea are either really good actors...or they're just nuts. Listen and decide for yourself.

Ratings
Satriani: 7/10
Zappa: 7/10
Dylan: 7/10
Aretha: 9/10
Overall: 8/10

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Review: Long Distance Calling - Satellite Bay

Label: Viva Hate Records

Released: September 21, 2007

When dealing with any of the post-this-or-that sub-genres, you're almost always going to have music that is a challenge to even the most patient ear and largely inaccessible to most everyone else. There are, of course, exceptions and Long Distance Calling is one of them. Their strong layered approach can be spellbinding both with a quick listen or a critical ear.

Throughout Satellite Bay, Long Distance Calling creates layers ranging from ambient noise to metal crunch, varying the music by subtly adding and removing elements. The care taken in constructing their music is evident from the first track which takes five minutes to build from it's quiet beginnings to its heavy climax. A pop song is over in less time than Long Distance Calling merely sets the stage. In both the airy and the dense sections, each component seems to be encapsulated as a standalone object that is nonetheless integrated perfectly into the whole. The ambient noise, seemingly multiple layers of drums and bass, echoy and crunchy guitar layers and voice samples in lieu of traditional vocals come and go as the music swells and recedes. This approach relies very little on any but the most subtle melody.

Half way through the album, it could end without complaint, yet the two truly heavy songs are yet to come. "The Very Last Day" begins as an ominous war march that ultimately becomes a crushing heaviness and "Built Without Hands" compresses that dense sound even further. Just before the intensity becomes too much, Satellite Bay draws to a close in much the way it began.

Long Distance Calling calls on the work of a number of experimental bands, from Isis' droning weight to Explosions in the Sky's noddling expansiveness to Husker Du's controlled noise. In the end though, they've concocted these ingredients into something quite its own and that something both pushes the limits for those who would takes its path and carefully pulls along the less adventurous listener until they can't escape.

Rating: 9/10

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