Tight As Nails
“We’re killing ourselves and killing the planet around us, and our fate is probably well-deserved … I’d like to think there’s a happier side to things, but really there’s not.” That may sound like a drunken slur by David Cameron or the latest promotional sound bite for the new series of ‘Deal or no Deal’; but it’s actually the pessimistic yet sober opinion of High on Fire front man Matt Pike; who is currently touring the band’s seventh studio release, Luminiferous. If the complete destruction of humanity and the Earth imminently awaits us, then it seems High On Fire will be scoring the soundtrack.
Before your finger has even left the play button you’re thrown straight back into the classic thunderous galloping groove which has become the true essence of the High On Fire sound; huge drums and guitars played so loud and hypnotic that it would probably drown out the impending Apocalypse regardless. The Black Pot showcases one of Pike’s finest guitar solos, introduced with a wailing guitar scream which sounds like a Yeti clipping his toe on the corner of the bed because he’s late for the morning bus.
Carcosa contains a colossal groove which is so eager to start it almost seems to interrupt the previous song’s ending. This is one of the stand-out tracks in my opinion; brilliant guitar riffs working seamlessly with a strong vocal attack and a great chorus. The album is largely fast and frantic with few breather moments (such as The Cave, which illustrates Pike’s increasingly impressive vocal melodic range over a haunting psychedelic groove). The title track is absolutely menacing. The typical comparison of High on Fire to the hybrid child of Motorhead and Slayer has never sounded more coherent than on this track. A furiously fast and severe thrash-metal song, with Matt Pike’s growl around the 1.17 mark sounding precisely like Lemmy when the barman’s just informed him that they’ve run out of Jack Daniels.
In 2013 we wouldn't blame you if you were pretty convinced that the track Fertile Green off the last album De Vermis Mysteriis was the most ferocious listening experience of your life; but with these new songs such as Luminiferous and Slave the Hive, it is evident that the band is looking to further intensify its gnarly interpretation of heavy metal; which repeatedly sounds like you’re being attacked by a roaring sloth of grizzly bears. Not many tracks slip up on this courageous and consistently commanding record. Other stand-out tracks include The Dark Side of the Compass and The Falconist. What becomes evident on these songs is the improved musicianship of Jeff Matz and Des Kensel as a tight rhythmical partnership. This is the current rhythm section’s fourth album together, and they’ve really cemented a powerful musical connection; they perfectly compliment and support Pike’s guitars and vocals throughout.
Luminiferous is yet again produced by Heavy-Metal Guru Kurt Ballou; who harnesses the strengths of all band members to produce an extremely well disciplined Metal album. Lyrically and thematically, Pike yet again delves into the Cthuluhu Mythos of H.P Lovecraft, and has also referenced English writer David Icke as a strong lyrical influence (Icke believes we are subliminally controlled by a reptilian super-race; thinks the Moon is a Spaceship; and also used to be Ipswich Town’s goalkeeper). Dubious topics to write about for sure; but with the accompanying music it provides a thoroughly enjoyable recipe for the classic heavy metal narrative predicting the impending doom of mankind.
It’s a fine effort from the Oakland 3-piece given that it’s their seventh studio outing, and they sound even more ferocious and powerful than they did 10 years ago. This album incorporates more thrash elements to the overall sound, but it’s not drastically different from previous releases. However, this album is highly consistent in terms of musicianship and song writing consistency. It’s astonishingly heavy for a 3-piece band and the result is a formidable Metal record that is as tight as nails.