THE DELI

Much of the story of American black metal involves mutations — bands taking the tropes of the largely European genre and recontextualizing them. Whether it means eschewing the more questionable politics of some of the genre’s forebears or just not writing so many songs about being cold, American black metal is constantly evolving. “The Void Gazer” is a refreshing release; it is black metal, but it eschews some of the form’s staler conventions (think impenetrable cassette production and overly linear song structure) in favor of originality. Though one can hear numerous sources of inspiration in the album’s roughly 27-minute runtime, the expansive and winding tracks remind me of Altar of Plagues, while some of the riffs would not sound out of place on Cobalt’s boundary-pushing “Gin.”

“The Void Gazer” immediately surprises the listener with its immaculate production. Starting with “The Void Gazer Part I,” the drums sound full, coupling with filthy arpeggios reminiscent of Genghis Tron circa “Board Up The House.” From there, the track unfolds into a chimeric behemoth in which chasmic, sludgy riffs quickly give way to clean, progressive-sounding guitar grooves and then to rapid-fire, tremolo-picked, blackened ferocity. Shrieked vocals mingle with low, deathly growls, giving the song the feeling of a beast that may very well swallow the listener up.

The second track, “A Citadel of Birch,” provides a necessary eye in the storm. The song is an intimate instrumental performed on classical guitar, with a fire crackling in the background — the sort of thing that might heighten suspense towards the end of a full-length release. On this EP however, the song functions as an interlude — if “The Void Gazer” is a journey, this track is a moment of respite by a campfire, steeling oneself for whatever trials lie ahead.

And “The Void Gazer Part II” does not hold back: it is a chugging continuation of Part I, with doom-metal guitars, punctuated by the type of rhythmic passages that would not be out of place on a brutal death metal album. Though the vocals are largely obscured, one can discern words like “wretched” and “wicked” creeping through the murkiness, adding to the track’s vitriol. The song builds on the beastial vivacity of the first part so well, that by the time the final lines have been shrieked it feels almost as if the EP has devoured itself.

All in all that’s gonna be a “kinda great” from me!

– Tín Rodriguez

There will be an outdoor, socially-distanced show at Empire Control Room on April 2, 2021 for Zach Person’s LP release. The LP features some tracks already available on the EP and special gems that he treated the audience to at Geraldine’s on March 10th. 

In the wake of Texas’ reopening and lifted mask mandate, BlackDenim Records hosts a safe, socially-distanced private showing at Geraldine’s for their premiere artist, Zach Person. For all of those who feel they are still on the bizarro side of reality, Zach Person’s uninhibited rock offers an assuring remedy. Yes, rock is alive and yes, life is strange. 

Doused in blue lights, the stage is set for Zach’s stellar vocals and handsome guitars with his impressive drummer, Jake Wyble, by his side. His vintage microphone projects his belting voice to fill the swanky venue. As he transitions to “Radio Man,” a new track from the LP, his crooning “ooh-ohs” and the catchy chorus capture the affection of the audience. The sound waves and sheer passion send the drapes flying and windows shaking. He moves into “How Long,” a song born from his quarantine experience  —  and a song worthy of bobbing, gyrating and romping about. Since the small group of invited guests are observing social distancing, dancing appears limited to clapping in rhythm and shoulder shaking for now… but the thunderous amplifiers — which are also retro — lead the imagination to wander, and crave the very near future of bodies dancing freely. 

Zach’s artistry is immediately apparent, and so is his humble, kind demeanor. Each guest received an EP and Zach made rounds to greet each table — mask on, of course — his charismatic scorpio presence beaming through. Laudable comparisons have already been made — Zach’s name has been mentioned next to Lenny Kravitz, The Black Keys and Gary Clark Jr. — but this youthful artist is carving out his own space for his own name. 

Back to the show — there is a walking disco ball and $200 martini on the menu. The experience paints an interesting contrast of a blaring rock band playing in an upscale cafe. It feels like we should be rowdy in the presence of rock and roll, and that day will come, but the event is organized, smooth and polished. Nearing the end of the set list, Zach plays a demo track that made it to the LP. It’s a softer tune without percussion that highlights his clean guitar and songwriting skills. He closes the performance with “Can’t Stop Running,” which will surely be a takeaway anthem from the album. Live, loud music is out there and making its safe way back to our city. 

– Mel Green