Experimental metal fans will probably like this, but guitar fans may delight in Melynda Jackson's deft use of guitar textures.I don't listen to enough space metal, but perhaps that's what makes it all the more interesting when some of it comes my way. I can't make myself sit and listen to it like I would a new progressive metal release, which requires more processing of its intricacies, like deftly prying open the carapace of a crawfish to get at the tasty meat embedded inside. But as a background music to sitting around the house, allowing my focus to wander there and away, I enjoy moments of real intrigue as my head reflexively turns to the stereo speakers, eyebrows raised.
Such is the case with Eight Bells' new EP The Captain's Daughter. Based out of Portland, this experimental trio isn't afraid to mix different sounds into any given song. Like a group of paranormal investigators at a seance, they all seem to be along for the ride, occasionally letting themselves get possessed and led into different musical directions at the whims of some strange musical wraith.
Take for instance the second track Fate and Technology, where a gritty Andy Summers-esque rhythym eventually morphs into a full on death metal freak out, with bassist Haley Westeiner screaming as if Hell itself were escaping her mouth. Or for the full effect, you can't miss the almost 13 minute title track which spends a good portion of its running time meandering through feedback, delay, and other distorted textures while drummer Christopher Van Huffel presumably gets a bathroom break.
The Bottom Line: Overall, fans of experimental metal will find a lot to like in Eight Bells' effort. It's sort of doom metal meets naval gazing and a pretty decent way to soundtrack a half hour.
- Genghis gets the first CD review in for 2014 (I win!)...