https://www.youtube.com/watch?v=7AZw8A61g9E
It's NOT a metal album albeit it is made by guys from metal bands. It did place in metal poll (along with melt-banana and other things ppl said werent metal) but it should appeal to large swathes of ILM. I sent a link to djp and he liked it unsurprisingly.
Here is what we said when it placed
http://open.spotify.com/album/0P2HwNQCAbfBreGtGDhvta
spotify:album:0P2HwNQCAbfBreGtGDhvta
http://www.deezer.com/album/7117257
#13 Terrorizer, #22 Rock-A-Rolla, #34 Metal Hammer, #259 Pazz & Jop
http://beastmilk.bandcamp.com/
"Death Reflects Us" - http://youtu.be/gIrehsz_1a4
The Joy of Disintergration
It’s almost taken as gospel that by the time December rolls around every album that you must hear has already been released… But that’s not always the case. As the ashes of 2013 blows away, there is still the odd ember that burns incandescently. Beastmilk’s debut full-length Climax is one such ember, and according to the recent hype and bluster mustered by this Finnish four-piece, it seems like there’ll be little chance that Beastmilk will be forgotten amidst the fiery furore caused by endless “end of year” lists.
Beastmilk are comprised of underground musicians, most notably singer Mat “Kvohst” McNerney, known for his involvement in black metal provocateurs Dødheimsgard and Code, and the psychedelic neo-folk ensemble, Hexvessel. However, lacking knowledge of those three underground bands is not essential to your Beastmilk listening experience because metal is all but a distant suggestion, mostly remaining in the aggressive way in which these musicians attack their instruments. Instead, Beastmilk suckle at the kohl-crusted teat of the major players of the early ‘80s goth, post-punk, death rock scene. And the band’s unabashed re-imagination of the music of their influences – the Sisters of Mercy, Echo and the Bunnymen, Bauhaus, Joy Division, Christian Death, Killing Joke, the Cure, Danzig, etc. – is so well conceived and unapologetic that the lack of originality at the heart of Climax becomes little more than an afterthought.
Beastmilk were first pressed to our consciousness by Darkthrone’s Fenriz, who championed the band’s two-song demo White Stains on Black Tape on his “Band of the Week” blog back in 2010. Last year the band followed up their demo cassette with the well-received EP titled, Use Your Deluge, and Climax pushes the band out from the shadow cast by their EP with a slicker, more brazen statement of what made the post-punk/goth music of the ‘80s so great.
Ironically, there is also a real freshness to the presentation of Beastmilk’s music, and the irresistibly huge choruses of songs like “You Are Now Under Our Control”, “Genocidal Crush”, and “Love in a Cold World” have massive cross-over appeal. This cross-over already seems to have its wheels in motion, given that indie-praising publications like the NME, who have recently streamed Climax in full over at their official website, appear to be fully on board. All of this amounts to brilliant news for the band and their excellent label, Svart Records, who have had yet another sterling year with releases from artists that cross the retrogressive and progressive divide, with Beastmilk possessing the potential to become a true break-out group.
What draws contemporary musicians to the music of the late ‘70s and early ‘80s is generally nothing surprising or premeditated. It’s more than likely a result of musicians who grew up with the dark pop of the times etched into their simple minds and who want to express this part of their musical genesis in adult life. 2013 has served up some of the best ‘80s-inspired albums, largely within the metal realm (although the ‘80s post-punk/goth influence within metal is nothing new), as bands like Vaura and In Solitude have both demonstrated their love for this particular movement on their latest (greatest) releases. Unlike these bands, Beastmilk have more in common with the current ‘80s-inspired groups who reside outside of metal – Interpol, Iceage, Editors, or Spectres – due to the fact that they don’t use post-punk/goth to add flavour to their metallic brew, be it post-black metal (Vaura) or traditional heavy metal (In Solitude). Alternatively, Beastmilk embrace the repetition and minimalism of ‘80s post-punk/goth wholeheartedly while retaining the heaviness and the dark lyricism of metal, as the self-professed “apocalyptic post-punk” band weaves bleak Cold War-inspired tales of nuclear death into the neurological throb of the bass-lines, the unfussy yet propulsive drum-beats, and the wintry, dystopian echo of the guitars.
The music itself has been written by guitarist Goatspeed (the band’s rounded out by drummer Paile and bassist Arino), and Goatspeed’s understanding of dark ambient tones and textures, grim moods and anthemic drive – all accentuated by the authentic, hard-hitting production job of Kurt Ballou (Converge) – recreates the haunting, gothic air that wraps itself around albums like the Cure’s Disintegration, Joy Division’s Closer, or the Sisters of Mercy’s Floodlands. That’s not to say Climax will go on to be as highly regarded as those albums; such achievements are not possible because of time and circumstance. But due to the high standards of the songwriting, there’s plenty take pleasure in: most remarkably the abundance of vocal hooks littered throughout each of the ten songs, not to mention the amount of shameless hand-claps used as rhythmic accompaniments.
Kvohst’s timbre drips with dejection and paranoia, and he can turn from Ian Curtis-esque detachment to Robert Smith-style heartbreak with ease. He also has the ability to transform a song like “Surf the Apocaplyse” from a post-punk exorcism to Danzig-worthy chest-thumper without dispersing the gloom that ensconces the entire album. His chameleonic call does bring to mind the aforementioned singers, as well as Andrew Eldritch, amongst others, and it can be stated that while he does a great job of channelling such talents, he lacks a distinctive voice of his own. And while this statement is true to a certain extent, the strength of his melodies as they coalesce with the rush of guitars, drums and bass towards each resplendent chorus more than makes up for such flaws, and the “spot-the-goth-singer” game passes by after a few listens.
What you are ultimately left with is an album that deserves the hype placed upon it, written by a band who wears their influences as a badge of pride rather than shamefully shoving said influences into the background, hoping nobody notices. Derivative? Yes – but Climax is immorally addictive and thoroughly enjoyable, in as apocalyptic a way as possible, from beginning to end. - Dean Brown, PopMatters, http://www.popmatters.com/review/177019-beastmilk-climax/
One of the down-low delights of 2012 was ‘Use Your Deluge’, the debut seven-inch by clandestine Finns Beastmilk. Despite being a heroically hook-packed take on early-’80s post-punk and goth, it mainly found favour in metal circles – vocalist Kvohst’s background includes various bands of that nature. But anyone who’s enjoyed this year’s Iceage and Savages full-lengths should embrace this splendid debut album. Recorded by esteemed hardcore producer Kurt Ballou, ‘Climax’ polishes Beastmilk’s iron-curtained grandiosity slightly (‘Ghosts Out Of Focus’ is eerily like Suede), while maintaining the Cold War-era paranoia in their lyrics. Basslines slash through fog, drums march us into battle and it becomes clear that Beastmilk offer ample sustenance for winter. - djmencap NME, http://www.nme.com/reviews/beastmilk/14976#bdizSOA9PzHZToaI.99
Give it a listen, it's a quite brilliant album that deserves to be heard.
― pfunkboy (Algerian Goalkeeper), Saturday, 18 January 2014 15:02 (ten years ago) link
three months pass...
four months pass...
two months pass...
two months pass...
Sadly, due to irreconcilable differences, we have parted ways with our co-founder, guitarist and friend Johan “goatspeed” Snell.
We ask you to understand that both sides did absolutely everything they could to make things work, but were unable to find a way to continue together. We all wish Johan the very best, but the show must go on.
Given theses circumstances Beastmilk will continue to forge ahead, but will assume the new identity of Grave Pleasures.
The band is on atomic fire, with a new album and new members in our ranks. We look forward to seeing you at all of the shows, where we will play your favourite Beastmilk tracks, alongside brand new material from the forthcoming album. We'll continue to update you here about all our new exciting plans. For now, here is the official statement from Beastmilk:
Beastmilk transforms into Grave Pleasures. New album in the works!
The Finnish band formerly known as Beastmilk, shall now go under the name of Grave Pleasures, following the departure of co-founding member Johan "goatspeed" Snell.
Given the circumstances Beastmilk will continue, but under the new guise of Grave Pleasures.
Along with the name change, new live/studio guitarist Juho Vanhanen (Oranssi Pazuzu) has joined the band, while guitarist Snell departs the ranks.
Juho V. is welcomed into Grave Pleasures by frontman Kvohst, bassist Arino and guitarist Linnea Olsson (The Oath, Sonic Ritual) who joined the band earlier in 2014.
The band can also reveal that they will be signing a major label deal and that they will go into the studio in May with producer Tom Dalgety (Royal Blood, Killing Joke ) with the album set for release in September, followed by a European tour.
Singer and Climax song-writer Mat "Kvohst" says of the name and lineup change “The lineup has never been stronger! We’re really excited to perform material from the forthcoming album and classic songs from Climax. The name might change, but the songs and the performance will be better than ever."
― The Crucifixion Of Sean Bean (DJ Mencap), Tuesday, 3 March 2015 11:36 (nine years ago) link
four months pass...
one month passes...