Saturday 17 March 2012

Wall of Sleep Album Trilogy Part 3 of 3

Guest writer: Ben Shaw (he Shaw loves riffs)







Sometimes when a band undergoes an explosion of creativity over the course of a number of years, usually under five, the last album they produce in that period is remarkable. Much like Vol.4 by Black Sabbath was a creative apex for the Brum doom-lords, as is ..And Hell Followed with Him by Wall of Sleep.

It would appear on this album that WOS have become road-hardened and focused into a riff/groove/doom machine. The opener ‘Buried 1000 Times’ feels so familiar and true that on the first listen there’s almost a sense of symbiosis between what you want and what you hear. It’s a stunning way to open the album and has a rhythmic gallop that brings to mind warhorses and their riders plunging into forlorn charges.

There is a tangibly more positive vibe on this album - gone are the slow-churning grim festivals of ‘Slow But Not Dead’ in place of expansive and epic sounds. If the history of WOS was a Warhammer 40k battle report (stay with me!) then this album is surely the band amassing their victory points and singing hails of glorious triumph to their chosen Gods . Talking of which, there is a definite Christian vein running through this album, which in many ways adds to the mysticism. I’m not sure whether Biblical tales have just been used as a source of lyrical inspiration or are genuinely sincere, but either way it enhances the sound and never preaches, which is nice.



‘Nails for Crucifixion’ is a fine example of this. Much like Iron Maiden’s ‘Hallowed Be Thy Name’, the story of Jesus is perfectly soundtracked with epic riffs that imbue the tale with a heroic majesty, which I’m sure J.C. would appreciate.

‘November’ is a groove-laden ballad-esque chug machine. It has a sequence of harmonies that are orchestral and heavy, a combination which your neck responds to instantaneously. You find yourself rocking out and thinking, ‘surely these mega-riffs must run out eventually, I mean I’ve been through three albums so far and they just keep coming!’ Your doubting mind is set at ease with the opening refrains of the outro combo of ‘Signs’ and ‘Sabbat Mater’, the latter being a slowed down doom monster that is somehow uplifting, which is confusing to say the least. ‘Signs’ was the first track I heard off this album, and to be honest, I listened to it far too much. I just couldn’t believe the intro riff; had WOS penetrated my mind and written a riff to my exact specifications?! The only conclusion I could reach was ‘Yes’. Nowadays the song doesn’t have the impact it used to, as I mentioned earlier - I killed it, but I implore you, fine reader, to give it a listen to hear the template of Riff Ascendancy.

All in all I think this is the best WOS album. It is consistently powerful and has moments of genuine genius. However, much like the song ‘Signs’, I’ve listened to it that much that it’s lost all meaning. Just like the desensitisation of watching too much internet filth. However, when I experience these alarming feelings I dig out Sun Faced Apostles or Slow But not Dead and put ‘I Sleep’ on or ‘The River’, because not only have WOS amassed an imposing back catalogue of mega-riffs, they have also developed throughout their albums which lends a variety to their material seldom seen nowadays.



As a tribute I don’t feel that these three pieces of writing do justice to the way I felt when I first heard the riffs of ‘Sun Faced Apostles’ (the song).I’ll give describing it a crack, as it’s essentially the point of me writing this and writing a conclusion that basically states my failure isn’t at all satisfying!

I’ll set the scene: I’d been given the CD by Lord of Load of Noise Dr Pete Worth, and was instantly attracted to the name. A Black Sabbath reference I thought, these guys surely cannot be ultra-mega shit-balls. When the opening refrains of ‘Sun Faced Apostles’ floated out of the speakers like a melting glacier fuelled by the purest sunlight, my eyes widened, my heart rate increased and I sat completely transfixed. Carried on the waves of riffs I was completely still, focused totally on the music I was hearing. As the outside world melted away a deep sense of joy began to fill my stomach, rising to my chest, a broad smile filing my face. I wanted to be able to play the riffs, but it was too soon. I listened to the track again, this time noticing the underlying harmonies of the opening riffs, and then the riff that accompanies the solo. The riff that accompanies the solo is beautiful. I was reeling, I had to tell people what had just happened, more pressingly I had to write a review of album, but as DR Worth well knows, this went on the back burner (Sorry!).

I don’t feel like I’ve said enough. I feel I’ve said too much. Have I set the tone right? Have I been too whimsical? So many questions, to which there is one answer in life; RIFFS! Wall of Sleep have the answer.

(Many thanks to Ben for his great work on this series)