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| Artist..: The Body & Krieg |
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| Album...: The Body & Krieg |
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| Genre...: Metal | Label...: At a Loss Recordings |
| Year....: 2015 | Cat.No..: |
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| R.date..: 2023-10-16 | S.date..: 2015-11-13 |
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| Source..: WEB (16bit) | Encoder.: libFLAC |
| Bitrate.: 966 kbps avg. | F.Rate..: 44.1kHz |
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| http://deezer.com/album/12020808 |
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| Disc 1 / 1 |
| -------- |
| |
| 01. Bottom of the Bottle, Bottom of the River 4:38 |
| 02. Carved out and Caved in 7:14 |
| 03. Fracture 2:59 |
| 04. Celebrate Your Shame 3:37 |
| 05. Never Worth Your Name 5:04 |
| 06. Gallows 4:25 |
| 07. A Failure Worth Killing Yourself For 3:16 |
| 08. The Final Nail 5:58 |
| |
| |
| --------------------- |
| (266.90MB) 00:37:11 |
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| Portland-via-Providence duo the Body advance metal in two vital, if not |
| obviously complementary, ways. On their studio albums, they are rare |
| arbiters of outside collaboration: They've brought in the likes of the |
| Haxan Cloak, the Assembly of Light Choir, Robert Lowe of Lichens and Om, |
| Braveyoung, and Thou to expand metal s capacity for exploring terror and |
| inflicting self-prescribed misery. As a live band, the Body forego |
| experimentation and focus on how far amplification can raise them and test |
| you. Chip King sands you down with both multiplying walls of low end and |
| his voice, a hybrid of Xasthur's Scott Conner's ghostly wails and the |
| bleeding highs of Silencer's Nattramn; drummer Lee Buford is the only |
| drummer with enough force to give aim to King s projectiles. Choirs, |
| religious speaking in tongues samples, and other details get smothered in |
| the pursuit of absolutely demolishing the audience. |
| |
| The Body's latest collaboration is with USBM stalwarts Krieg, specifically |
| their mastermind and sole consistent member Neill Jameson. For the Body, |
| it's the closest meeting of their two sides. It's still not quite close to |
| the heaviness of their live shows when a medium that can capture that |
| emerges, it'll be huge news but it s still a convincing document about how |
| both groups see rawness beyond a production style or anti-aesthetic. |
| |
| Jameson's main contribution to the project is his vocals, which complement |
| and counter King's shrill howl. Where King s voice can seep into the music |
| like a poisoned wind, Jameson comes through assertively, providing a |
| hardcore edge that is usually more apparent in the Body's live show. He |
| also coaxes rawer work out of them, acting as a pivotal spiritual |
| influence. "Fracture" is a house with some of King s densest noise walls; |
| the suffocation that comes with them playing a narrow dive bar-cum-morgue |
| or DIY house with feeble breakers has never been so effectively bottled. |
| King and Jameson act as an interrogation unit, switching off each other. |
| |
| Like I Shall Die Here, the Body, along with Jameson, explore the |
| relationship between metal and dark electronic music. Their cover of Nine |
| Inch Nails' "Terrible Lie" on You, Whom I Have Always Hated has become one |
| of their more heralded tracks, and here, they take on more perverted |
| interpretations of the great electronic and metal clash of the '90s. They |
| warp goth-metal on "Never Worth Your Name", taking what would be a |
| gorgeous synth backbone for Anathema or Type O Negative and strips any and |
| all lust. There s some form of longing left, the only thing left to trace |
| it back to its source material. There's also a deceptive warmth, something |
| also present on their cover of Sin ad O'Connor's "Boys in Black Mopeds" |
| from the Body s 2008 tour CD-R. The closest thing to the Haxan Cloak s |
| touch on Die Here is "Carved Out and Caved In", where distant bells work |
| to loosen the guitar into a noise morass. While this collaboration lacks |
| some of the unity of D**ie Here, it still has enthralling experiments with |
| electronics rarely seen in metal. And for both groups, there s always the |
| drive for unorthodox aggression. |
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