No Anchor. Now this is an interesting
one. I have always wondered, ever since first watching Spinal Tap
with my first drummer and first girlfriend (not one in the same) and
exclaiming in bafflement “are they all using basses?!?”, during
the performance of 'Big Bottom', whether any band had taken the
multiple-bass-no-guitar route. And low and behold, here is the very
band!
“The End”. Slight, touchy delay,
then the bomb drops like an all bass Neurosis tribute. Drummer Alex
shifts between steady Mitch Mitchell style grooves and brief machine
gunning staccato hammers while an atmospheric alt-rock vibe is
established, until it all goes back to deathly sludge just shy of the
four minute mark. All powered by one of those riffs you don't want to
end! But alas, at six and a half minutes The End finally ends
(chuckle), and we make our merry way into the hostile depths of
“Wolves Bite and Disappear”. This is fuzz country right here! The
distortion laid on thick and sharp with wonderfully echoey vocals
moving gracefully over top. The whole affair is over as soon as it
has begun.
Already it is apparent to the innocent
blogger that this band is uncompromising, and more power to 'em for
that very reason. There is something that has to be loved about bands
that make their records hard on the ear but pleasant on the mind.
“Dead Pony” comes out of nowhere
and hits you a smack in the gob like Boris on coke and alcohol; just
a brief layover before the 17 minute monster, “Gatton Bohemia”.
This one could make Troy Sanders drool with all the mighty stoner
rock influenced bass-from-hell riffing. These lads don't spare the
feedback! Just south of six minutes they do something I just love to
hear: musical use of feedback. There is almost a discernible melody
in the tortured squeaking.
We chill out a little (but only a
little) with following track “Shut My Mouth”, which is there to
download for free folks. The raw production works to great affect
with this mostly instrumental outing, during which one pictures OM
playing with spiked drinks. Things now take a turn in the cynical
Nirvana direction with the stark and vindictive “The Perils of
Small Town Living”. It builds up gradually, as if it is never due
to break out, yet at four minutes in a mood a million miles away
comes rushing in and changes the landscape entirely.
The fx is brought out for the stomper
“Come Again”. This is a little more Smashing Pumpkins tinged,
with a solid flow to the riffing and letting the drums guide the
dynamics. And sticking to the fx, final track “Key Cutter” opens
with some traditional synth-like fuzz, but only for a moment before
launching straight into the meat of the song. Key Cutter is by far
the most unique track on the record, closer to a ballsy Kasabian than
the earlier Neurosis leanings. It is certainly a noteworthy stand
out, the 'shouting down a length of drainpipe' vocals are enough to
make it fascinating, add in the relentless bass and you've got this
blogger listening! And the most unexpected ending to boot: a
minimalist beat underneath a chorus of slow girlband style vocal
harmonies: utterly fascinating!
This is a very interesting record for
many reasons, most of which I listed above (in accordance with my
job!). This is a record for those who want to test the mettle of
their ears! It's not easy, between the sheer volume of it all; the
raw as fresh meat production and the feedback galore, it is testing.
But, as I said before, you gotta love bands who do that and make the
record they want to make. Check it out at the link below and enjoy!
Edward OUT...
No Anchor – Real Pain Supernova
(Digital Edition), 2011.
Rating: 7/10
Stand-out Tracks: Wolves Bite and
Disappear, Perils of Small Town Living, Key Cutter.
Listen Here:
By Edward Gerard Brophy
bornagainnihilist@gmail(DOT)com
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