Neurosis got a bad rap among metalheads because most of us got introduced to this innovative band at the peak of their career, when metal journalists and radio were pushing the metalcore trend and wanted us to consider Neurosis part of that movement.
The reality is more complex. Neurosis started out as a terrifying hardcore band with completely alienated approach to modern living, and has since then continued to grow and develop, forging a new style of hardcore-metal hybrid.
Music around them has tried to catch up, but when you’re ahead of your time as much as Neurosis has been (consistently) over the last two decades or so, patience is required. However, more people are warming to the radical sounds and ideas of this innovative band.
Of Honor Found in Decay, the most recent Neurosis album, has spawned a European tour worthy of such a vast musical effort.
NEUROSIS Honor Found In Decay European Tour
- 5/24/2013 Primavera Sound Festival 2013 – Barcelona, Spain
- 5/25/2013 La Grande Halle de la Villette – Paris, France w/ Swans
- 6/21/2013 Hellfest – Clisson, France
- 6/22/2013 Eurocam Media Center – Lint-Antwerp, Belgium
- 6/23/2013 Substage – Karlsruhe, Germany
- 6/24/2013 SO 36 – Berlin, Germany
- 6/25/2013 Grey Hall / Christiania – Copenhagen, Denmark
- 6/26/2013 Betong – Oslo, Norway
- 6/27/2013 Byscenen – Trondheim, Norway
- 6/28/2013 Bravalla Festival – Norköpping, Sweden
- 6/30/2013 Palladium – Warsaw, Poland
- 7/01/2013 Lucerna Music Bar – Prague, Czech Republic
- 7/02/2013 UT Connewitz – Leipzig, Germany
- 7/03/2013 UT Connewitz – Leipzig, Germany
- 7/04/2013 Magnolia – Milano, Italy
- 7/05/2013 L’Usine – Genf, Switzerland
- 7/06/2013 Rote Fabrik – Zürich, Switzerland
- 7/07/2013 Eurockeennes Festival – Belfort, France
On first listen some would easily assume that this release were a mere product of nostalgia of underground metal of the 1980′s, at least indicated so by the production and indication that are present here. However this is death/speed/black metal firmly rooted in the underground crossover tradition of the 80′s and retains a firmly Australian sound to it. A good description of Vomitor‘s output would be the the epic thrashing of national pioneers Slaughter Lord and the crusty, retrograde execution and production that was witnessed on Spear Of Longinus‘ brilliant ‘Domni Satnasi’ album. Seeing as Vomitor have two members of SOL in their line-up this overlap is of no surprise, and gives Bleeding The Priest a similar quality of riffcraft and execution, which is atavistic but is well versed in older styles of metal. The attitude of this release evokes German speed metal, doing the early works of Sodom and Kreator strong justice, and the manner in which catchy guitar sequences are utilised sometimes evokes Razor, had they been influenced by Possessed rather than Motorhead. A thoroughly consistent work, Bleeding The Priest stands strongly as a milestone of Australian metal, a like a few other traditionalist acts within this genre serves as proof of ability to make new waves from trodden water, rather than being a ‘re-hash’. Very good.
Taking the NWOBHM informed song structures that defined speed metal and the muted, percussive power chord led riffs that were the pattern language of the speed metal underground, Nuclear Assault incorporated elements of crossover punk and thrash into their music. Guitars have a sharp, grating and garage like-tone amidst the clear sounding and well thought out bass guitar lines of Dan Lilker. John Connelly’s punk falsetto is excellent, a gravelly yet apocalyptic wail that amuses yet inspires.
Lyrically this takes the satire one could associate with crossover acts such as Adrenalin O.D. and Fearless Iranians From Hell, and rather than solely attempting to amuse us, makes for relevant social commentaries that reflected and mocked the issues that were heavy on the American subconscious, amongst mildly apocalyptic themes that still were embedded in the Cold War’s late phase, warning of post-nuclear desolation.
Short, humoured and abrupt songs such as ‘Hang The Pope’ and ‘My America’ resemble a more aggressive take on the thrashings of DRI and Millions Of Dead Cops, whilst ‘Sin’, ‘Stranded In Hell’ and ‘Brain Death’ are richly melodic and have a brilliant sense of irony, and almost reminds of Iron Maiden stripping themselves of romanticism in the wake of an uncertain, primitive future.
This is commonly also available with the follow-up EP ‘The Plague’ on CD format and compliments the excellence of their full-length. In addition, this is a timeless and influential metal album that summed up the hopes, dreams and fears of 1980’s America in less than an hours worth of material, and is absolutely essential.