Horseback - The Invisble Mountain

μεγαλος δισκος.

Οπως ειπε καποιος καπου αλλου , [SIZE=“3”]Godspeed you post black metal[/SIZE] .

Ας γραψουν κ αλλοι που το τσακαραν , παω να το ακουσω αλλη μια φορα.

@ad1stt οπως εισαι κατεβασε κ τσεκαρε.

παρτε και λιγες κριτικες που το εκθειαζουν (σε σποιλερ για να μην πιανουν κ χωρο)

[SPOILER]The Invisible Mountain (Utech 2009, Aurora Borealis 2010, Relapse 2010)

“These tunes from the tomb tag along with you everywhere. They make me want to crank up the volume, go out and buy a black motorcycle, cruise around on the open highway, and maybe even pick a fight along the way. I probably shouldn?t have waited to tell you this, but this is probably an important and historic album. It pushes the cross-pollination of metal into new experimental dimensions. These driving grooves defy definition, daring you to even try. Each track creeps out of the crypt as a new experimental metal creature … Jenks is moving mountains with this one. You won?t want to miss it. [9/10]” – Foxy Digitalis (April 2010)

“Here, on the second official Horseback full-length, The Invisible Mountain, Miller has assembled the culmination of his multi-faceted work to-date. In its four songs and 38 minutes, we hear the blackened vocal textures he first employed on MILH IHVH, the modal riffs of Approaching The Invisible Mountain and moments of eye-of-a-storm tranquility much like Impale Golden Horn?s soothing drones. His deliberate pacing and meandering sense of melody has always been constant, but on this, Miller?s best work, he makes for himself a new trademark … In interviews and press materials, Miller has stated his mission, influenced by the films of Alejandro Jodorowski, to use music as a means of achieving self-actualization, to journey toward some sort of self-discovery … Deliberate at every turn, spiritually attuned and searching with every subtle shift in tone or notation, The Invisible Mountain reaches beyond the confines of its frequencies to touch something much more vital within its listeners.” – Remember Your Future (August 2009)

"Records like this are why I write about music. Horseback’s The Invisible Mountain (Utech, 2009) brings to mind psych rock, black metal, and Ennio Morricone by way of Neil Young. It’s dark, beautiful, and patient. If I could meet a mate like this, I’d be set for life. But I’ll gladly make do in the meantime with music. Bass lines billow from old chimneys, guitars light distant furnaces, and vocals rasp halfway between black metal and Tom Waits. So many albums, especially in metal, smell like beer or weed. This one smells like cigarettes. It does much with little ? a two-note riff here, a three-note reply there. Everything fits together sensibly. The music takes you in, holds you there, then gently releases you with the aptly-named “Hatecloud Dissolving.” That song has been my muscle relaxant for the past few months. It’s strange to think of becoming dependent on a record, but that’s where I am now. Records like this make the world a better place. Seek it and love it and share it like I’m doing now." – Invisible Oranges (November 2009)

“Horseback is one of many Jenks Miller projects, which include the noisefest of In the Year of the Pig and the pop pleasures of Un Deux Trois. Last year he released an album under his own name, Approaching the Invisible Mountain. With Horseback he arrives. The repetition in the riffing and the slaying rumble of the bass riff that opens a track like “Tyrant Symmetry” place him in drone and Doom rock territory. However, the bluesy quality in the clean guitar lead gives The Invisible Mountain the same epic instrumental rock feel of Grails or Tarentel, and Miller’s vocals are so growled and low in the mix that at times they are easy to mistake for another guitar. Both elements separate Horseback from the usual swampy sound of drone rock.” – The Wire (December 2009)

“While the hums and echoes of each [previous] release were distinct, each bore a piece of the sound that emerges on The Invisible Mountain as Horseback’s revelation of self: endless, meditative peyote music. With the second Horseback LP, Miller tethers the hellish vocals and aggression of MILH to an overfed version of Approaching’s serpentine blues guitar to the hushed majesty of Golden Horn. All in all, it’s like a vision quest guided by Rhys Chatham, Tony Iommi and Matthew Bower … There are no climaxes here. Mountain isn’t cathartic thanks to moments of release, but rather its 40-minute commitment to deliberation.” – The Independent (November 2009)

“This record left our Brett feeling ecstatic … I’ve got to say that I’m mightily impressed with this one’s bassy darkness from the off, as its mantric grooves immediately bring to mind a more full-on, aggressive Om with added chiming guitar arpeggios and black metal vocals… Three of the four tracks are imbued with an irrepressibly rhythmic forward motion that, in tandem with the name Horseback, can’t help but bring to mind the Black Riders which scared the living shit out of me in the Lord of the Rings cartoon as a kid while the final track is a ray of light creeping through the darkness, a blissful near-ambient workout that seems to represent the glorious end of the journey… Whether it was an internal or external one is left entirely to the listener’s imagination. Fantastic!” – Norman Records (Recommended, August 2009)

“Sticking to repeated mantras of Sabbath inspired grind, there is a sort of kinship to the likes of Loop and Spacemen 3 in approach, even if the sound is much different … The title track leans more on melodic lead guitar work with an even more '70s rock tinge to it, especially when bolstered by the overdriven bass and repetitive drums. The intentional minimalism carried over from the first two tracks does make it feel a bit like La Monte Young arranging his own version of “Paranoid,” which is a good thing. … The Invisible Mountain is a prime example of an artist pursuing the drone/minimalist route without focusing too heavily on massive detuned guitar riffs or reverb shrouded electronic passages. Horseback takes the idea of drone to the composition level, rather than just the sonic one, and gives new life to a stagnating genre.” – Brainwashed (August 2009)

“The logical, glorious step of turning Rhys Chatham’s Guitar Trio into a metal band. [8.5]” – 1000 Times Yes (September 2009)

"One of the most interesting things I?ve heard in a long time . A one-man project from North Carolina, Horseback plays an intensely original blend of drone, krautrock, and black metal
. The music is unbelievably catchy and melodic, sharply contrasting with the insanity of the vocals. Even if you don?t like much heavy music, give this one a listen, it?s unlike almost anything I?ve heard before. Hardcore metalheads, this may be something black metal-influenced that you can play for your significant other without them leaving you." – OMG Vinyl (May 2010)

"Super intense, and super heavy psychedelic twang flecked metallic post rock.
The guitars buzz, and drone, and occasionally twang, the drums are powerful, tight, the instruments locked into slow burning build ups, some strange hybrid of newer Earth, Godspeed, Circle, the Necks and maybe a little Scenic. There’s a sort of krautrock vibe going on too. Sun baked, a little lysergic, space-y hypnotic, repetitive, the tracks looooooong, with mostly a single part, that gradually builds and builds. The cool thing is it never explodes into a metal coda, a la Isis or Neurosis or a million other bands, it’s all about the journey not the destination, and the journey is riveting enough without tacking on an explosive blow out. The first three tracks are variations on a theme, each an incredible slab of brooding, mesmerizing hypno-rock … " – Aquarius Records (New Arrivals, August 2009)

“Whoaaaa…go buy this now! Droners Horseback have somehow morphed themselves into an evil rock pummeler, just destroying everything on this CD for Utech. Evil raspy vocals rolling under a fucking heavy spacemetalrockmachine. It’s got the spacey atmosphere of post-rock, but it’s like Event Horizon, where you’re heading out to space to get your ass kicked. Essential!” – Hammer Smashed Jazz (August 2009)

"Perfect, pitch-black psych." – Montreal Mirror (July 2010)

“Pulls you under by the throat.” – Decibel (July 2010)

“We all have our own definitions of albums that remind us why we?re even listening to music in the first place and of the records that defy categorization into any specific genre, taking us to places we never knew existed. While these statements may come across as a bit cliche, I am a firm believer that they are cliche because they are true, especially in regards to Jenks Miller?s second LP, The Invisible Mountain, under the moniker Horseback. After Miller demonstrated his mastery of dense and delicate ambience on the 2007 release Approaching the Invisible Mountain, he returns as Horseback to take us to the Invisible Mountain itself, and what a journey it is … The truly wonderful quality of this record is found in Miller?s impeccable understanding of the balance between light and dark. With ?Tyrant Symmetry,? he lays a delicate lead guitar line over a thick and meaty bass tone evoking images of an eagle soaring above a grey desert … Call it noise-rock, doom or drone, but The Invisible Mountain is one thing for sure: excellent music. It is an album that will sneak up behind you and demand your full attention, and I for one consider it well worth the time.” – Decoy Music (July 2010)

“This is excellent, UTECH are on fire right now. With a 'Hex’era EARTH feel of bleak Americana almost, but with a thoroughly unpleasant vocal filled with menace, this has been on heavy rotation here at AB towers. Its almost as though it shouldn’t work, but it really does, in beautiful morbid spades.” – Aurora Borealis (August 2009)

“It’s refreshing to hear post-metal/drone/experimental/stoner etc. tunes so groundbreaking and moving out in a sect of music that is so easy to forge hackneyed down-tuned atmospheres with little skill. Not so with Horseback, as the care and skill that went into crafting this music is obvious. I enjoyed this album tremendously on an emotional level, as it has a fantastic intangible quality, an atmosphere I can’t quite put my finger on. If others will interpret and enjoy it as much as I did I can’t say, but it’s unquestionably one of the best things I’ve heard this year. I anxiously await further material from this one-man experimental wrecking crew. Verdict: Epic Win [9/10]” – From The Dust Returned (September 2009)

"Very tripped out, driving stoner ambiance dirges. The album has this sort of quasi-spiritual bent to it but you wouldn’t know from listening to the vocals. Speaking of vocals, they’re delivered in a highly distorted black metal rasp. Not the sort of thing that goes with ambient music but it works. Think of a stoner doom version of Burzum and you’re on the right track." – Cheopian Fields (November 2009)

“The Invisible Mountain, Horseback’s second official release, is something akin to deconstructed stoner rock music ? deconstructed stone music. It’s a great slab of sludgy doom metal and graceful drones and just quietly, maybe one of the year’s best … The title track is a damn near perfect exploration of the form. It climbs from a tattered mess of overdriven bass and drums into a searing riff and for the next seven minutes works and claws at itself, drags itself onward. If the individuation metaphor has any weight then it?s at its most potent here. This has the weight of labour, of midnight toil. As a consequence, Miller?s strange snarl is at its most desperate and demonic here ? coupled with the sheer pulverising force of the track it becomes part conjuration, part exorcism. It?s actually quite astonishing and one of the finest drone metal tracks I?ve heard in some time.” – Line of Best Fit (November 2009)

“This is definitely an album whose strength lies in its composition, both the songs and riffs. There is an elegance to these songs that’s usually lacking in most heavy metal, a genre that too often values complexity for its own sake. But neither are these the ham-handed hard rock songs that populate the stoner rock and stoner metal genres, where simplicity is used as a crutch to replace songwriting ability … Horseback achieves remarkable power without Dopethrone distortion or Dopesmoker haze, instead spinning the vibe of vintage Neil Young into a web of blackened heavy droning doom folk rock. Om’s Conference of the Birds crossed with Souvenir’s Young America’s An Ocean Without Water is probably the closest I can come to a musical equation description. But to this equation must be subtracted the chants of Al Cisneros, and added the shrieking of Abbath. The atmospheric sludge metal scene (or shoegaze metal or post metal or NeurIsis metal or whatever people are calling it now) has given rise to many strange hybrids, but few have actually pushed the boundaries like Horseback on The Invisible Mountain … The Invisible Mountain is a stunning display of non-metal metal, and it breaths new life into a genre (atmospheric sludge, because I don?t know how else to classify this) that has seen some of its biggest names stumble of late. While not as monolithic as Neurosis or Isis, this as good, and more interesting by far, than anything those bands have released in some time. This will likely make my year end Top 10 list and will easily be the most interesting album I hear this year.” – Diabolical Conquest (November 2009)

“The Invisible Mountain features Horseback … exploring that which is metal, in a post-stoner/psych/black/whatever-you-want vein. It isn’t pure anything, which is one of its best advantages – as has been the case with so much 21st century metal, Horseback aims to rework and recombine the past as it wishes rather than pledging a specific adherence to anything. So if the rasped, half-hidden vocals apparent from the start on “Invokation” are definitely partially descended from Scandinavian forebears, the doom-laden, slow-rolling arrangement, part feedback crunch and part piano, feels more like a bad trip from somewhere between the original acid rock headnodders and later reworkers of the approach like Monster Magnet and Sleep. It’s a simple but effective combination that sets the tone of the full album, four tracks in all that feel like part of a larger piece but are presented as individual songs rather than simply being something bigger split up into something else.” – Allmusic (July 2010)

“From beginning to end, The Invisible Mountain is as intriguing and impressive as avant-garde music gets. As Miller builds his hostility to a fever pitch and then breaks it back down to an easy calm, he reveals a true mastery for metal, noise and most everything in between.” – Dive Blog (December 2009)

“Horseback?s second outing in the form of The Invisible Mountain carves out a cavernous niche among current day psychedelic droners. It brilliantly divines its way into the deepest recesses of the mind probing the subconscious in an effort to attain a higher level spiritually and self awareness … As we are guided through these four tracks, shades of various genres like blues, metal, stoner doom, ambient and psychedelic rock blend into each other, creating a unique sensibility that is at once imaginative and seemingly effortless.” – Metal Psalter (July 2010)


θελω feedback κ σχολια απολυτης καυλας…[/B]

Όχι τίποτα ιδιαίτερο, το the invisible mountain έχει ωραία riffs αλλά και αυτά χάνονται από τον χάλια ήχο.

δυστυχως τα φωνητικα not my cup of tea
οπως και το “ψυχεδελικο” της μουσικης
οπωτε… :stuck_out_tongue:

btw awake αν δεν σε ενοχλουν τα “black” φωνητικα
τσεκαρε τις καμμενιες απο την νορβηγια
ved buens ende,fleurety κλπ κλπ

Με άρεσε, αν και ομολογώ ότι τα φωνητικά δεν με ενθουσίασαν… Αλλά κατά τα άλλα το δισκάκι είναι δυνατό. Η Riffολογία του μου θύμισε λίγο Sleep (αν έπαιρναν speed) :roll:

δισκάρα! πλασάρει δε τόσο επιδέξια τα black φωνητικά που αφήνεσαι στο δηλητήριο τους και λες και ευχαριστώ

καλά που μου τον θύμισες awake

Αυτα λες κ μετα μαζευονται λεφουσι οι μνηστηρες στα ποδια σου στο alley cat :stuck_out_tongue:

Απο τυρι πως παμε ? βγαλαμε φετος μυζηθρα η μπα ? :lol::lol::lol::lol:

Richard Cheese and Lounge Against the Machine

line-up consists of:
Richard Cheese: vocals
Bobby Ricotta: piano / keyboards
Frank Feta: drums / percussion
Billy Bleu: bass

για αρχή, ας πούμε …Sunny Side of the Moon

καλές διακοπές awake :slight_smile:

ένα bump εδώ.

Αυτονών το όνομα παίζει τρελά στο underground τον τελευταίο χρόνο.
Όσοι ακούσατε το δίσκο πέρσι έχετε ακόμα την ίδια άποψη; Awake το ακούς ακόμα;
Εμένα μ’άρεσε, αλλά βρίσκω κάμποσα απ’όσα γράφονται για αυτούς υπερβολικά/άκυρα. Πάντως είναι ιδιαίτερη περίπτωση.

Τεσπά, αν κάποιος βρει ένα ΚΑΛΟ ριπ του δυνατού περσινού split 7" με [B]voltigeurs [/B]να κάνει την καλή.

τι γράφτηκε; εμένα πάντως, σχεδόν 1.5 χρόνο μετά μου αρέσει ακόμα πολύ, ίσως και κάτι παραπάνω. απλώς έπαψα να τον ακούω συνέχεια (μου 'χε γίνει εμμονή για ένα μεγάλο διάστημα ο δίσκος) όταν πήρα απόφαση ότι δεν θα βρω όλους τους στίχους. το σπλιτς δεν το πήρα χαμπάρι. άλλαξε ύφος; για κάποιο λόγο νομίζω ότι ο τύπος θα κάνει τελείως άλλα πράγματα στο μέλλον… βγαίνει καινούριο και έκανες μπαμ;

ναι η αλήθεια είναι ότι τον τελευταίο ενάμιση χρόνο ο τύπος δεν έχει βάλει κώλο κάτω, ας τα πάρουμε από την αρχή:

Για το [B]Invisible Mountain[/B], έχω διαβάσει διάφορα αποθεωτικά σχόλια (κυρίως σε φόρα του εξωτερικού). Εμένα ο δίσκος μ’άρεσε και μ’αρέσει, αν και τον ανακάλυψα αρκετά πρόσφατα, και γι αυτό ζήτησα τη γνώμη όσων τον ακούσατε πέρσι.
Το μείγμα των Horseback είναι ενδιαφέρον. 3 συνιστώσες: Black Metal, Post Metal, Drone, αλλά με συγκεκριμένα συστατικά απ’το καθένα. “Κατηγοριοποιήθηκε” εν μέσω αποθέωσης είτε στο post metal είτε στο black metal συρτάρι, αλλά η αλήθεια είναι ότι ουσιαστικά δεν είναι τίποτα από αυτά.
Ο lo-fi ήχος και τα παραμορφωμένα φωνητικά (τα οποία δε λένε και τίποτα μεταξύ μας) δεν το κάνουν bm χωρίς ούτε ένα ψυχρό riff, οι post metal μελωδίες και ατμόσφαιρες δείχνουν γυμνές χωρίς τις πλούσιες ενορχηστρώσεις και τα απανωτά layers των υπόλοιπων post metal μπαντών, ενώ παρά τον έντονο μινιμαλισμό και τις αγές ταχύτητες, δεν φτάνει στην ηχητική υπερβολή αυτού που ορίζουμε ως drone.
Το μείγμα είναι πάρα πολύ ενδιαφέρον, μου λείπει ένα στοιχείο που θα το απογειώσει. Μάλλον αυτό είναι τα αταίριαστα φωνητικά, αλλά ναι, μπορεί να περάσω διήμερα που θα ακούω μόνο το Invisible Mountain.

Από κει και πέρα, ο τύπος αφού επανακυκλοφόρησε το Invisible Mountain στη Relapse, έβγαλε το “[B]The Gorgon Tongue[/B]” διπλό cd πάλι στη Relapse, που είναι συλλογή με τον πρώτο δίσκο του (Impale Golden Horn) και άλλο ένα που έβγαλε μετά το Invisible Mountain μόνο σε κασέτα (Forbidden Planet) και δεν το’χω ακούσει, οπότε προσπερνάω, αν και κάπου διάβασα για καθαρό drone/ambient αλλά δγ/δα.

στρημινγκ όλο εδώ πάντως:

Μέσα στο 2010, έσκασε ένα σπλιτ 10" με [B]Voltigeurs[/B] στην Turgid Animal, και υπάρχει στο διαδίκτυο μόνο ένα κάκιστο vinyl-rip από hXc. To οποίο σπλιτ κινείται στο ύφος του δίσκου, με κάποια λίγα έξτρα πλήκτρα και δυο πολύ καλά κομμάτια με κάποιες ambient τάσεις, παρά τον κακό ήχο. Οι Voltigeurs δεν παλεύονται με τέτοιο ήχο, σαν να ακούς Skullflower μέσω τηλεφώνου, πόνεσε το κεφάλι μου.

Φέτος, έσκασε το πρώτο σπλιτ 7" με τους drone-άδες [B]Locrian[/B] στην Turgid Animal, που δεν έχει και πολύ μεγάλη σχέση με τα προηγούμενα, καθαρό ambient/drone παίζουν εδώ οι Horsepower. Όπως και οι Locrian.

H συνέχεια δίνεται με δεύτερη συνεργασία με [B]Locrian[/B], αυτή τη φορά για ένα collaboration (όχι split) 10", το οποίο κυκλοφορεί τον Ιούνιο, με τίτλο “New Dominions” στην Utech. Γενικότερα τα δυο σχήματα δείχνουν να έχουν αναπτύξει ισχυρούς δεσμούς, θα εμφανιστούν και οι δύο στο Utech records festival μαζί με House of Low Culture, Mamiffer, James Plotkin κλπ, ο Jenks δεν αποκλείει τα δύο σχήματα να εμφανιστούν και μαζί στη σκηνή, να δούμε πού θα καταλήξει αυτό.

review και στίχοι εδώ:
κομμάτι εδώ:

Και για πιο μετά παίζει και για νέο δίσκο φάση. Μόνο τον τίτλο ξέρω: “[B]Half Blood[/B]”

Ουφ. :slight_smile:

τα φωνητικά εμένα μου κόλλησαν πολύ καλά από την αρχή. έχω πλάσει μια συγκεκριμένη εικόνα στο μυαλό μου ακούγοντας τον δίσκο και τα φωνητικά δένουν απόλυτα με την απελπισία και την αγωνία μέρους της ιστορίας αυτής. μπορώ να καταλάβω πάντως όσους ξενερώνουν. κατά τ’ άλλα, τα στοιχεία που του λείπουν και το απομακρύνουν από το να χωρέσει στις συγκεκριμένες ταμπέλες μάλλον είναι ευλογία για μένα, μάλλον δεν θα είχα ασχοληθεί διαφορετικά. τα σπλιτς και το φορμπίντεν δεν τα πήρα χαμπάρι, άκουσα λίγο από το τελευταίο και μου φάνηκε πολύ κοντύτερα στο μπλακ μεταλ απ’ όσο ήταν το ινβίζιμπλ, αλλά πάλι πολύ μακρυά. τέσπα, πολύ άσχημο που προσπαθούμε ντε και καλά να καλουπώσουμε κάτι που δεν καλουπώνεται και ούτως ή άλλως μέρος της γοητείας του είναι αυτό ακριβώς. εν κατακλείδι, τον εκτιμώ τον άνθρωπο, νομίζω μπλέκει πολύ ωραία τις επιρροές του, μουσικές και μη.

Δεν ξέρω πώς φάνηκε από το ύφος του ποστ μου, αλλά κι εμένα αυτό το στοιχείο (της μη κατηγοριοποίησης) είναι που με έκανε να ασχοληθώ με τους Horseback. Αν ήταν η “τυπική” postblackmetal κόπια δε θα’χα δώσει πάνω από πέντε λεπτά ακρόασης, τα λέγαμε και με τον πλάντερερ αυτά πριν καιρό με αφορμή τους Deafheaven, αυτοί εδώ όμως είναι κάτι άλλο. Απλά εμένα δε μ’έχει συγκλονίσει όπως άλλο κόσμο, παρότι τους εκτιμώ και περιμένω πράματα από τους horseback και ψάχνω τις νέες δουλειές τους.

Α και discogs και metalarchives φάτε ταρκίδιαμ, μόνο εδώ τόσο ενημερωμένο discography \m/


Βάζω να ακούσω το IIIrd Gatekeeper τώρα που μου τους θύμησες.

To [B]the Gorgon Tongue[/B] εθεάθη σήμερα στους ρώσους για όποιον ενδιαφέρεται, και υπάρχει και μια ωραία συνέντευξη του Jenks Miller στο invisible oranges: