Album Review: High On Fire - De Vermis Mysteriis

De Vermis Mysteriis is a perfect fusion of traditional High On Fire chug and Sleep's undeniable grooving. Des Kensel's drums are clearer than ever, but never overbearing like on Snakes for The Divine. Meanwhile, Matt Pike's vocals sit just below the almighty guitar riffs and Jeff Matz' bass swings melodically, adding perfect balance of depth and movement to the songs.

This album is by and far better than Snakes For The Divine. While the guitar tone might not be as present, the overall mix of the record makes up for it. The songwriting here is rawer, more potent, propulsive, and less self-indulgent.

However, some songs on De Vermis do feel like rip-off's from High On Fire's back catalog. Most notably opener “Serums of Liau” gets its primary vocal melody and 4/4 power chord swagger from “Brother In The Wind,” a track off the band's 2005 LP Blessed Black Wings. Also, the next track, “Bloody Knuckles” primary riff is a scathing copy of Blessed Black Wings' title-track. However, these songs strip away the excess meandering of their predecessors and replace it with pure aggression that makes them a more compelling listen.

But enough of that. This album kicks ass and here are a few songs that show why. The Sleep-inspired “Madness of An Architect” features a riff-progression as inspired as “Bastard Samurai,” but Kurt Balou's mix allots even more listenability. And closer “Warhorn” might deceive with its somewhat standard noun+medieval title, but in reality it is a plodding dirge featuring some of High On Fire's most well executed dynamic flourishes. The song paints images of a corrupt general's maddened quest across a post-apocalyptic landscape raping and pillaging the remnants of a lost civilization. Sad, heavy, and brilliant, it is a fitting closer to this great album, although I wish they would have repeated the outro riff a few more times. Also notable is instrumental “Samsara” which recalls later Ozzy-era Sabbath with its atmospheric vibes and sees High On Fire finally getting the instrumental format right. “Romolus & Remus” is another highlight which features a chugging riff akin to “Fire, Flood & Plague,” but with more to offer in its structure and originality.

Start to finish, De Vermis Mysteriis is High On Fire's best album since Surrounded By Thieves. All instruments, riffs, and aspects of production come together in a master-display of cohesive heaviness. But compared to the burgeoning sludge metal landscape it is released into, is it better than Black Cobra's recently released “Invernal”? Maybe, but better than “Snakes For The Divine” and 95% of what's been released since by comparable bands (including the ever disappointing prog-lords Mastodon)? Oh hells yes. Some songs on De Vermis are utterly simple, while others are indefinably complex, but the album as a whole proves that although High On Fire may not necessarily be traversing new ground, they are continuing to refine their style, and while occasionally recycling old riffs, remain entertaining in a burgeoned field of mediocre performers.  

1st Entry: Top Five Guitarists

First entry, YAY! Going to be posting random stuffs on here. Writings, CD reviews, concert reviews, poetry, ideas, updates on my music, top 10 lists. Pretty much anything I feel like.

This time its "My Top Five Guitarists of All Time"

1. Jimi Hendrix - yes its cliche, but when that man played guitar, something magical happened. Time stood till and rainbows erupted from the asses of dragons. He's amazing. He's a god. He played notes most could only dream of, but as my dad said, It was the notes he DIDN'T play that set him apart. His subtlety and emotion through the instrument are what set him apart from anyone then or since. What's there to say? Just listen to Machine Gun RIGHT NOW and all your questions and doubts will be answered.
2. Tony Iommi - the riff master. The lord of all that is heavy and creator of THE Heavy Metal style and sound. WAY before Korn and Meshuggah, he detuned all the way to C#. Even further than many bands today. He pioneered the tritone, a staple in metal, the chug, and his solos were damn amazing. Although not as flashy and grandiose as other contemporary 70's shredders, his originality and contribution to the metal genre solidify him as one of the best. After all, great guitar playing isn't all leads and acoustic melody. Its about rhythm. Rock hard, melt your face, blow your mind rhythm.
3. Jimmy Page - I will concede, although I am not a huge fan of his or Led Zeppelin's work, the man did amazing things with an acoustic guitar. His infusion of bluegrass, Americana, blues, and Jazz into rock 'n' roll is totally incredible, even though its not so original. Whether I like it or not, his influence has been cited by thousands of artists from many different genres, and this is a true testament to his versatility as an artist.
4. Matt Pike (High On Fire) - I am a bonafied High On Fire freak. I worship this band and idolize Matt Pike for his creativity and originality. For God's sake, the man's life is a freaking ode to Black Sabbath. As if pioneering THE Stoner metal sound with Sleep in the 90's wasn't enough, he went on to form one of the most crushing three-pieces ever. His evolution as an artist is fascinating. He's gone from playing low and slow, fuzzed out doom riffs in Sleep, to peeling faces with high energy Motorhead meets Sabbath riffage in High On Fire.  He has created a unique style of riffing that involves trilled power chords, wide vibrato, and accidental notes all tied together by ferocious double picking in C standard. Yeah, this dude tunes a half step lower than Iommi. He is the most bad ass of modern guitar players. His guitar has nine strings and he doesn't give a damn if he's different or weird. He's fucking Matt Pike and he'll eat your baby for breakfast.
5. Brent Hinds / Bill Kelliher (Mastodon) - I include these as a pair because their style so perfectly compliments each other and their sound would not be complete on their own. Brent had his beginnings as a bluegrass playin' banjo picker. This loose, droning sound has leaked over into his electric guitar playing and creates a truly unique and original sound. Their use of southern and blues inspired lead lines with terrifying rhythm surges creates a sound that is as much reminiscent of Metallica as it is Marshall Tucker. In contrast to Matt Pike, these guys throw back more to the progressive, artsy stylings of 70's rockers Jimmy Page and Rush. The speed with which they play is incredible, especially live, and their unison whilst playing incredibly complex articulated chord / scales is of the utmost impressiveness. No other guitar players or guitar player, besides the ones previously mentioned, have impressed me as much as these guys do. Rock on Mastodon!