(NCS writer BadWolf provides this review of the new album by Cormorant, which is still streaming at NPR, and which BadWolf calls “the album of the year.” )
These times are trying. The throat of winter is upon me here in the Midwest as my country prepares to enter its third year of depression and poverty, its eleventh of war. I drive home from work, NPR has nothing but bad news, and the only metal I can find on the radio during daylight hours is The Devil Wears Prada on the local Christian station. It was just Thanksgiving, what have I got to be thankful for (besides my family, friends, and relatively good health)?
When these Bay Area wunderkinds released their debut, Metazoa, it was an amazing experience lost amidst a bumper-crop of instant-classics. Cheers to the underdog, the completely independent album that fought for our attention against heavyweights like The Way of All Flesh, ObZen, Crack the Skye, Watershed, and Blue Record.
Three years later, the follow-up, Dwellings, has arrived.
For those who are unaware, Cormorant’s music fuses narrative drama and melodic riffage. They borrow techniques from nearly every metallic subgenre, as well as folk and even classic rock, but don’t adhere to a single school of heaviness. This is the mixed martial arts of extreme music—Amon Amarth riffage into Ved Buens Ende weirdness. Their songs can be long, short, or anywhere in between. Those people put off by Opeth and Enslaved’s new records should find Cormorant to be a more than worthy successor.
A cursory listen reveals a very different record from its predecessor, Metazoa, a meditation on Animal nature, which felt airy even at its heaviest. Dwellings, which fixates on the struggle of man against structure, has substantially more “fuck you.” The heftiness of the guitar tones has been upped just enough so that Dwellings can bulldoze, but retain melody. Take for example the 10-minute “Junta” [extensively discussed when it premiered on NPR (here)]; during that song, choral voices play counterpoint against gritty metal singing, and then those melodic sections play counterpoint yet again with High on Fire-style sludge riffs, a dramatic machine gun blast pattern a-la Metallica’s “One,” and even an honest-to-god breakdown.
Cormorant, for the first time, sound angry! It would seem that vocalist/bassist/lyricist Arthur Von Nagel has found something to hate in humanity (“The Purest Land”), when all he could find in animalia was sorrow and loss (“Emmigrant’s Wake”). That conviction has made his lyrics all the better—at this point we should prepare to call him metal’s greatest living storyteller—Dio has left us, after all.
Von Nagel writes songs with definite beginnings, middles, and ends. Understanding their stories is integral to getting the full Cormorant experience. For evidence, look no further than “Funambulist,” a song written about Philippe Petit, who walked a tightrope between the two World Trade Center towers in 1974, and the 2008 academy award winning documentary about him, Man On Wire. Like the film, “Funambulist” is structured like a heist film, and the lyrics reflect this alongside the music: The song shifts into a precise thrash segment when Petit would be sneaking into the WTC while the lyrics become a first-hand account of the caper—“Crate/ Five hundred pound weight/ whisked up the freight to sub-level one/ zero four/ The night watchmen snore/ my skull on the floor. Sold to the devil for hero’s deeds.” Dwellings is full of moments like these—it’s guaranteed to pump your blood.
Further close readings are possible, but to spoil this album’s secret nooks and crannies: “The Purest Land” and its wooden rollercoaster lunge, the hints of Delta Americana on “A Howling Dust,” or closer “Unearthly Dreamings,” which might actually make your body go into freefall as you listen.
This makes two classic albums in a row for Cormorant. One more release like this will make a definite pattern. One more release that exceeds its predecessor and Cormorant will be the best American metal band in a decade. Perhaps they already are. Until that’s proven, we have Dwellings, a rare emerald of an album—an album like Masotodon’s Leviathan, or Opeth’s Blackwater Park.
In fact, I’m going to sing harmony to NPR’s lead melody. This is the album of the year.
Stream it on NPR, then buy it from Cormorant on Bandcamp—the album is completely independent and all proceeds go to the musicians.
I’m definitely going to be buying me a copy on pay-day (tomorrow, huzzah!), and it’s battling for a place on my end of year list/lists already, after only one listen. It has such weight and depth.
I do take issue with one thing though…
“Those people put off by… Enslaved’s new record…” – should seek professional help. As there is something clearly very wrong with them.
The record has made me slightly sad though, as it made me wish for an:
Abigail Williams / Agalloch / Cormorant / Ludicra
: tour. Only Ludicra are no more. Sigh. At least I still have the other 3 to give me some wonderful metal from the states.
I thought both “Thorn” and “The Sleeping Gods” were great. Therefore, I do not need professional help. At least not for that reason.
I’d substitute another Bay Area black metal band for Ludicra — deafheaven — and it would still be an awesome tour. I saw them Saturday night, and their performance was sublime. “Roads To Judah” is a wonderful album. Kicking myself for not reviewing it earlier . . .
Oh yes. I’d actually just add them to that line-up and insist Ludicra get back together. Because I say so.
Honestly though, all these bands listed have just produced albums that are… better than most others coming out of America. And are all united by their own uniqueness.
I sent a message to Deafheaven offering to help them out on their UK tour, but no reply.
I talked with George Clarke before and after deafheaven’s set. He at least pretended to know and like NCS. I’ll try and contact him, too.
Props to you BadWolf — great review of a great album.
I must be the only person to think that Cormorant is the most boring, bland, unimaginative band to ever hit the indie metal scene. I just don’t get how people think this is good. Then again, I say the same thing for almost any “progressive” band these days. Just doesn’t do it for me.
To each their own though, at least you found something you enjoy!
Hey BadWold, great review!
You (and NCS) just got a great compliment on Twitter:
NO CLEAN SINGING just posted one of the best reviews of our work I’ve ever read. fb.me/zueZmR4n