When I was a weird kid, growing up with few friends and not many prospects to add to that collection, I was obsessed with professional wrestling. Actually, much of what I wrote applies to me now. I’m just realizing that. Anyway, in the times between Wrestlemanias IV and V, Hulk Hogan and Randy Savage formed one of the greatest alliances alive in the Mega Powers. It was a dream come true, padding the disappointment of being a giant loser because Hogan and Savage were a team!
For some reason I remembered those times when sifting through the new collaborative piece combining The Body and Krieg. It’s hard to imagine these two gargantuan forces combining to make great racket together, but that’s just what happened, resulting in this devastating eight-track new album. Luckily, their union isn’t likely to be derailed by their respective love for Miss Elizabeth (got really bad news for them if I’m wrong), but the idea of two massive sides coming together to create something colossal certainly remains and looms ever so largely. The two sides act as a true team, making sounds that bring their respective talents together and doing their best to damage your psyche and hearing. But, amid all of that, the musicians involved branched out and created something far greater than just The Body + Krieg.
The Body—guitarist/vocalist Chip King, drummer Lee Buford—have been making horrifying sounds for some time now, taking death, doom, and noise and raking their eyes until all parties involved beg for mercy. In fact, the creation of this collaborative piece occurred between the recordings of the band’s terrifying high-water mark “Christs, Redeemers” and “I Shall Die Here,” and they remain one of the most unique, you-know-it-when-you-hear-them bands going. Krieg is the longtime project of Neill Jameson (you may have read some stuff he wrote on the internet), a black metal force that has spanned two decades now and released myriad splits, EPs, and full-lengths, the most recent in that category being last year’s “Transient.” This effort does include elements of what you’d expect from each band, with King’s and Jameson’s voices smearing together and trading off hellish vocals, but what’s less expected is the smear of noise that scuffs and bruises these songs.
“Bottom of the Bottle, Bottom of the River” infuses waves of doom and noise right from the start, with King’s horrifying shrieks and Jameson’s growls bloodying your face. The track is abrasive and corrosive, with strange sounds plinking away, waves of synth noise, and the fury storming before it fades. “Carved Out and Caved In” lets programmed beats spray, with wild growls over top and creepy melodies sinking into a nightmarish trance. Sounds sizzle as wails rain down, with the track melting under the heat of a solar crisis, King howling away, and the doom returning to unleash more blows. “Fracture” opens in noise-encrusted hell, with the dual vocals causing havoc and panic, mixing together and taking monstrous strides, while the music goes cold and spacious, bleeding out to the sound of King’s anguish. “Celebrate Your Shame” is a mauler with Jameson howling over top and the tempo jerking around. The sounds cascade hard, crunching and bashing, with both voices flailing out.
“Never Worth Your Name” is immersed in mournful synth and solemn darkness, with Jameson crying desperately, with King joining in and scraping his way. The sounds devolve into zaps and terror, burning over top as the funereal melodies bubble and spill over, with mad shrieks punishing before the track fades. “Gallows” stabs and jabs, with deep growls smothering and an industrial hellstorm breaking out and marring the environment. Burly doom riffs cut into bone, and both voices meld together to increase your anxiety and awareness of danger. “A Failure Worth Killing Yourself” is grim just from its name alone, and then it pays off with cosmic blips, both vocalists unleashing torment, and all of the sounds swimming together in a pool of murk. Machine-like tension rises out of that, and it all spills over into closer “The Final Nail,” where black guitars smudge, carnage floods over, and noisy clubbing takes command. Melodies bleed underneath the horror, slowly releasing their grip and letting in an infusion of spacey weirdness, disorienting blips, and a cloud of dizzying power that wafts until the track gasps away.
The intensity and quality of The Body and Krieg bound together as one is not a surprise at all. This is as punishing as anyone familiar with these bands should expect, but the noise effect and the industrial wasteland in which this album trudges brings the element of surprise. These are two great, tumultuous bands when they’re on their own, and together, that psychosis wells up overwhelms anyone in its wake.
For more on The Body, go here: https://www.facebook.com/pages/the-body/334047229514
For more on Krieg, go here: https://www.facebook.com/officialkrieg
To buy the album, go here: https://atalossrecordings.merchtable.com/
For more on the label, go here: http://www.atalossrecordings.com/