Reviews: Ihsahn, The Death Wheelers, Valvera, Lord Loud (Alyn, Paul H, Lucas & Matt)

Ihsahn: Pharos EP (Candlelight Records) [Alyn Hunter]

Opening with Losing Altitude, a synth heavy dark-rock number akin to fellow Scandinavians Katatonia but very much in Ihsahn's own inimitable style. Backing is split between Ihsahn's clever yet understated rhythm/lead writing when things need some beef and synth lines for the build up with some lush string countermelodies. It's an apt opener that doesn't outstay its welcome. Single Spectre At The Feast was released with a visualiser not too long ago and it's as radio-friendly a song as you'd ever get from Ihsahn with a memorable verse/chorus pop structure, using lot of similar vocal phrasing that Ihsahn has relied on in previous material over the top of strings. It's a safe number which is an unusual thing to associate with the man who released Das Seelenbrechen, but he does it as well as anyone. Title track Pharos as a song does a brilliant job of showcasing how far Ihsahn's vocals have come along alongside cementing how diverse his repertoire of compositional skills is. It's practically lounge at times with intelligent drumming courtesy of Tobias Solbakk adding nuance to haunting piano melodies. And then he'll turn on the menace for just a short while building a dense brooding atmosphere with choir & strings adding weight to the most sinister moment of the record. 

This point in the EP is where I develop mixed feelings though. Earlier I mentioned that there's an ambitious cover of Portishead's Roads, and it's ambitious because there are seldom few vocalists full stop who could ever dream of even hoping to get close to how much pressure, emotion and weight that Beth Gibbons injects into that track. Ihsahn has had his foray's into trip-hop before with his own track Pulse which was a real highlight of Das Seelenbrechen, but as good a rendition of Roads as this is, and believe me there's lots of talented musicians out there who couldn't do better, it doesn't do the same thing to or for me, particularly as it feels that Ihsahn is really trying to push his voice into unchartered territory. As much as it is laudable, it also means that it just loses that natural touch that carried the rawness present in the original. Ironic that the one vocalist whom I think COULD do this would be Ihsahn's Nephew and often co-conspirator Einar Solberg of Leprous fame, who takes the vocals on second cover Manhattan Skyline by Norwegian's A-Ha. 

As it happens, I'm not familiar with the original, so in making myself familiar with it for reviewing purposes (and trying to avoid just trying to hear Take On Me given their penchant for repeating video styles) I can see why Einar was picked for this as there's definite vocal similarities. It's a strong enough cover and brings an 80's number firmly into the modern era but for what it is it'll always feel a little awkward sitting next to Ihsahn's own work. Overall, solid EP and counterweight to Telemark. As expected the original material stands head and shoulders above the covers – they're certainly not bad, but I'd take original Ihsahn material over the covers every day of the week . Extra credit for a crystal production especially as Ihsahn handles that himself too. Whilst I'd struggle to really pick out any gleaming gems that I'd be begging to hear from a live set particularly when there's such a strong back-catalogue, it's as strong as a release as you'd expect from the Norwegian mastermind when he's releasing two in one year without pulling too many surprises. 7/10

Instrumental biker rock with a twist. The second album from the Canadian quartet is a soundtrack to a fictional “bikesploitation” movie – that never happened. Now, I’d not caught these guys before but there’s a uniqueness about their style that resonated. Their inspiration comes from a wide range of styles which would include instrumental rock, proto-metal, punk and even funk. Think Motörhead, The Cramps and Dick Dale, uncompromisingly blended with rawness and power. Recorded in 48 hours in a live setting, the old school approach is evident and welcome in the days of multi-layered editing.
So, how to draft a description of the band’s sound. Well, fuzzy riffing is central, and imagine the soundtrack to an old-style B-movie with the odd pinch of psychedelic rock thrown in for good measure. 

This is a no bullshit, get on and deliver album. Interspersed with sound clips, each of the 11 tracks on the album brings a different angle and sound. There’s opening song Ditchfinder General with its nod to the Shadows, the punky DTA (Suicycle Tendencies) which harks back to the rampant psychobilly rock, or Motörgasm (Carnal Pleasures Pt. 1) full of Hendrix-esque smouldering blues feel. Divine Filth is an apt title for an album that has a sordid feel. Here’s the synopsis. It’s 1982. Spurcity is run-down. The crime rate is up and so is drug use. A new kind of kick has hit the streets and it ain’t pretty. DTA, a powerful and highly addictive hallucinogenic drug, is transforming its loyal citizens into undead trash. Its users experience an indescribable high, but it leaves them rotting away within days, craving human flesh. No one knows who is dealing this new potent drug, but rumour has it that the motorcycle cult, The Death Wheelers, is behind this concoction. 

Could this be the end of civilization as we know it? What is motivating this group of psychotic individuals? Whilst the plot is cliched, the soundtrack is incredibly enjoyable. In the absence of the movie, sit back and get involved with The Death Wheelers. You may not get the DTA, but you’ll certainly get over 40 minutes of filthy biker rock. That can’t be bad. 7/10