(Here’s Wil Cifer’s review of Nocturnal Birding, the new album from Author & Punisher that will be out this Friday, October 3rd, via Relapse Records.)
Regular readers already expect this review from me, since I have championed this project since its earliest days. I’ll admit I’m proud of Tristan Shone’s evolution of his sonic torture machines, and now that evolution includes this being the first album to feature guitarist Doug Sabolick joining as a bandmate, which contributes to the more rock feel to things.
Bird-themed, though the first track “Meadowlark” finds Shone’s voice bare of the effects that normally color it. Midway into the song, things kick in with a more organic version of the heaviness we expect from this project. There is a more overt industrial crunch to the amazing stomp of “Mute Swan.” His vocals are more thought-out, rather than just a layer over the throbbing grind of his machines. Megan from Couch Slut lends her voice to the ruckus erupting, with more detailed layers of melody luring you in during this. It might be the best industrial song you hear this year.
Photo Credit: Daniela Jacome
“Black Storm Petrel” carries the big Godflesh-style crunch this project has toyed with before, along with the vocalist from Fange. A great groove fuels “Titmouse,” which is one of the first songs from Tristan that I recall being riff-oriented. This serves as a testament to the fact that the addition of guitar offers a big step forward, despite moving the songs marginally closer to the conventions of industrial rock. The industrial genre allows and fosters experimentation that creates almost an anything-goes attitude.
“Titmice” finds the balance between the metallic chug and a collage of dystopian atmosphere. This song rides a sonic wave that feels like it collides with “Rook,” which follows, working off a similar mood. The difference being that “Titmice” carries a more focused stomp, and it progresses into actual singing, while “Rook” marches with a doomier pound, not unlike “Filth Pig”-era Ministry. There is so much going on in the scope of the song that it can be overwhelming on first listen and requires several listens until all the layers are fully digested.
This makes for an album that grows on you and becomes more compelling with each listen. With many heavier bands, you feel like after the initial sting of heaviness dissipates and your ears stop ringing, the band blew their wad, and it all sounds the same, which is where Shone’s sense of composition sets him apart from his peers. The last song, “Thrush,” carries the biggest sound that finds the crunch of the guitars coupling well with Shone‘s machine to create the most effective cinematic punch possible when the song reaches its peak.
This album shows Shone’s continued evolution as an artist, as he perfects his craft in a very powerful way here. Fans of this project will find this a welcome return to a heavier post-apocalyptic sound, even with the more metallic touches of guitar in the mix. Each album has carried its own unique feel, and this album is no exception, and might be his strongest work since Women and Children.
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