The Vancouver-based experimental duo NEW AGE DOOM has unveiled their highly anticipated collaboration, "Angels Against Angels," a project that transcends conventional genre boundaries and pushes sonic frontiers. Joining forces with the legendary H.R., frontman of the iconic hardcore punk band BAD BRAINS, the album presents a bold fusion of left-field hardcore and the ethereal textures of dub reggae. This ambitious undertaking, however, sidesteps the predictable pitfalls of genre amalgamation, instead forging a sound that is significantly more than the sum of its constituent parts. "Angels Against Angels" is not merely a collision of styles; it is a meticulously crafted sonic revolution, engineered to deliver a visceral auditory experience while simultaneously serving as a potent soundtrack for introspection and creative exploration.
For years, NEW AGE DOOM has cultivated a reputation for their unique and compelling musical output. Their discography includes collaborations with the late dub luminary Lee "Scratch" Perry and a consistent pursuit of their own eclectic vision, characterized by experimental heaviness and a commitment to drone-based soundscapes. The collaboration with H.R. represents a pivotal moment in their artistic trajectory, bringing together two distinct yet complementary forces in the experimental music scene. H.R., renowned for his pioneering work with BAD BRAINS, has consistently embodied an ethos of artistic individuality and boundary-pushing creativity. His involvement with NEW AGE DOOM on "Angels Against Angels" was a natural extension of this philosophy, aiming to meld the raw energy of hardcore with the otherworldly resonance of dub reggae.
The genesis of "Angels Against Angels" can be traced back to a shared desire to explore uncharted musical territories. Both NEW AGE DOOM and H.R. have demonstrated a consistent willingness to deviate from established norms, fostering an environment ripe for genuine innovation. The project’s conceptual framework was clear: to synthesize the visceral intensity of hardcore with the hypnotic, space-infused qualities of dub. This was not intended as a simple stylistic juxtaposition but rather as a deep dive into the potential synergies between these seemingly disparate genres. The result is an album that defies easy categorization, offering a listening experience that is both challenging and deeply rewarding.
A Sonic Departure: Unprecedented Fusion
What sets "Angels Against Angels" apart is its profound originality. In an era where claims of innovation are often superficial, NEW AGE DOOM and H.R. have delivered a project that genuinely redefines sonic possibilities. The duo’s unburdened approach to music creation, free from the constraints of genre expectations, combined with H.R.’s distinctive vocal delivery—often described as a mad preacher’s incantation—has resulted in something truly unprecedented. This hardcore/dub amalgam draws minimal influence from its parent genres, instead nurturing a wholly fresh and new sound from familiar elements. The album’s impact is profound; when played at sufficient volume, "Angels Against Angels" possesses the power to fundamentally alter one’s perception and cognitive state.
The album commences with H.R.’s instantly recognizable voice, delivering lines of what can only be described as mystic wisdom. This introspective opening is abruptly shattered by an eruption of sonic chaos on "Life On The Other Side, Pt.1." The track is constructed from abrasive, angular hardcore riffs, deliberately stripped of conventional guitar noise. Instead, the emphasis is placed on a monstrous wall of sound, characterized by a crushing low-end, piercing brass instruments, and a hypnotic, aggressively psychedelic clangor that defies easy classification. NEW AGE DOOM masterfully crafts a sound that is both freeform and remarkably focused, creating a captivating auditory landscape. H.R. appears immediately captivated by the track’s bizarre internal logic, his vocals seamlessly integrating with the experimental sonic tapestry.
"Life On The Other Side, Pt.2" escalates the album’s unconventionality. Here, riffs are contorted and fragmented, interspersed with scattershot percussion and H.R.’s characteristically bleary-eyed pronouncements. The track’s enigmatic nature is a significant part of its appeal. Amidst this sonic maelstrom, woozy trumpets emerge, injecting a distinctly jazzy menace into the proceedings, further complicating the listener’s perception of genre.
Navigating the Dub Nebula
As the album progresses, both the band and H.R. venture deeper into the realm of dub reggae. "Radio On" stands out as a magnificent example of this sonic exploration. This track is a spaced-out, dub reggae journey, seemingly beamed from the farthest reaches of the cosmos. It provides the perfect environment for H.R.’s unique vocal stylings, allowing him to extract every ounce of unearthly resonance from the track’s deep basslines. At this juncture, the listener is considerably distanced from any semblance of traditional hardcore or reggae. Yet, the profound chemistry between NEW AGE DOOM and their vocal collaborator is unequivocally evident, reaching an exquisite pinnacle. This form of perverse, anti-gravity dub possesses a weight comparable to any heavy metal record, with the added benefit of offering a cathartic sonic cleansing for the listener’s psyche.
The title track, "Angels Against Angels," on paper, might suggest a blistering hardcore punk tune. However, the album consistently subverts expectations. The production techniques employed invert conventional sonic standards, imbuing each track with an otherworldly aura. Whether it is the psychedelic punk miasma of "One Heart" or the orchestral swell of strings and sequencer crescendos on "We’re All The Same," every element adheres to the same groundbreaking ethos that defines the project.
Chronology of Creation and Collaboration
While specific dates for the album’s recording sessions have not been widely publicized, the collaboration between NEW AGE DOOM and H.R. has been a developing artistic relationship. H.R. has a history of engaging in diverse musical projects beyond BAD BRAINS, including his solo work and collaborations that explore spiritual and avant-garde themes. NEW AGE DOOM, founded in the early 2010s, has consistently evolved its sound, moving from initial explorations of heavy, drone-infused music to incorporating more abstract and experimental elements. Their prior work with Lee "Scratch" Perry, a pivotal figure in the development of dub music, likely laid some of the groundwork for their willingness to embrace the sonic possibilities of reggae’s subgenre.
The conceptualization of "Angels Against Angels" likely involved extensive dialogue and experimentation between the Vancouver duo and H.R. Given the intricate layering and unconventional arrangements, it can be inferred that the recording process was iterative, allowing for the organic development of the album’s unique sound. The inclusion of Alina Petrova of PUSSY RIOT, contributing amorphous, droning strings on the "Amaseganalo" tracks, further underscores the collaborative and expansive nature of the project. This indicates a deliberate effort to weave in diverse artistic contributions, enriching the sonic palette.
Supporting Data and Sonic Analysis
"Angels Against Angels" is a 40-minute sonic expedition. The album’s tracklist, featuring titles like "Life On The Other Side Pt.1" and "Pt.2," "Amaseganalo Pt.1" and "Pt.2," suggests a narrative or thematic progression that unfolds across multiple movements. This structural approach mirrors certain traditions in experimental and conceptual music, where longer pieces are broken down to explore different facets of an overarching idea.
The sonic architecture of "Angels Against Angels" can be analyzed through several key components:
- Rhythm and Percussion: The album eschews traditional drum patterns in favor of fragmented, scattershot, and often subterranean beats. This creates a sense of unease and unpredictability, drawing from both hardcore’s percussive intensity and dub’s rhythmic deconstruction.
- Bass Frequencies: A cornerstone of dub reggae, the bass in "Angels Against Angels" is not merely foundational but a driving, often overwhelming force. It is described as "crushing" and "lysergic," suggesting a manipulation of low-end frequencies to create a visceral and immersive experience.
- Brass and Melodic Elements: The incorporation of brass, particularly trumpets, adds an unexpected layer of jazzy menace and melodic complexity. These elements are not used in a conventional sense but rather as disruptive forces or textural embellishments within the denser sonic arrangements.
- Guitar and Textural Noise: While traditional guitar noise is minimized, the album features "angular riffs" and "celestial guitar intrusions." This suggests a focus on the textural and timbral qualities of the guitar, used to create atmosphere and sonic aggression rather than conventional melodic lines.
- Vocals: H.R.’s vocal performance is central to the album’s identity. His "mad-preacher" tones, "mystic wisdom," and "cerebral preacher mode" deliver a spiritual and intellectual dimension, acting as a focal point amidst the sonic experimentation.
Broader Impact and Future Implications
The release of "Angels Against Angels" has significant implications for the landscape of experimental music. By successfully merging hardcore and dub reggae in such a novel and impactful way, NEW AGE DOOM and H.R. have demonstrated the potential for cross-genre pollination to yield truly groundbreaking results. This project serves as a testament to the creative freedom that emerges when artists are unburdened by genre conventions and are willing to embrace radical sonic exploration.
The album’s reception is likely to be varied, appealing to a niche audience that appreciates avant-garde and experimental sounds. However, its sheer originality and audacious ambition could also attract wider attention, inspiring other artists to reconsider the boundaries of their own musical endeavors. The success of "Angels Against Angels" may encourage a more open-minded approach to genre fusion, fostering a new wave of experimental music that is both challenging and deeply engaging.
The fact that the album is described as "fiendishly resistant to being pinned down" and "utterly original" suggests it will be a benchmark for experimental artists seeking to push boundaries. While it may remain a singular artistic statement, its potential to become a "certified classic" lies in its ability to fundamentally alter the listener’s perception of what is possible within the realm of sonic creation. The advice to "stick with it" and "open your mind to the possibilities" is not merely a suggestion but an invitation to engage with a truly revolutionary artistic vision. In a musical climate often characterized by imitation, "Angels Against Angels" stands as a powerful example of genuine innovation, proving that nobody else is making music quite like this.