Crippled Black Phoenix first entered my consciousness in around 2015/6 with the pair of albums ‘New Dark Age’ and ‘Bronze’, the first of theirs that were released via Season of Mist. It cannot be ignored that these were, astonishingly, their eighth and ninth studio albums. And it would only be a handful of years until they released what is still one of my favourite albums of all time (if we are talking, say, top thirty) – the flawless Ellengaest in 2020.
So, here, with their thirteenth album, a cover that stirs the childlike spirits that dwell in all of us, and the usual Mensa-level song creating by CBP mastermind Justin Greaves, have they carried on with their lunar trajectory?
Of course they have. This is an hour and 6 minutes of the most precise, emotionally heaving, and damn addictive progressive post-rock that only a relatively small number of individual visionaries could achieve. Yes, Steven Wilson is of course their leader. From opener, the amazingly titled ‘One Man Wall Of Death’ with its incredible use of samples from, what sounds like some old cartoon, or animated film, you realise that Greaves is continuing to use samples, leant up against whooshing post rock progressions, to wake something within you, to trigger memories and emotions that you forgot were there. This is creativity on a near genius level.
The two ‘singles’, ‘Ravenettes’ and ‘Vampire Grave’ indicated a more gothic, post punk feel was going to sit at the heart of this album, but this has turned out to be completely wrong. ‘Sceaduhelm’ is probably one of the most introspective, contemplative and moving (if that is actually possible) CBP release to date. Sitting at the heart of the album is ‘No Epitaph/The Precipice’ – the first time the spirit of another of my heroes, Mark Lanegan, is evoked by ‘weapon of choice’, vocalist Ryan Patterson. I say ‘weapon of choice’ because Justin Greaves again harnesses the powers of Patterson, as well as Belinda Kordic and Justin Storms, to provide vocal poignancy and range – to the most devastatingly haunting and striking effect.
The eighties echo through ‘Hollows End’ and ‘Dropout’, in particular the latter with its broken grooves, leading the album into its most darkest time through the incredibly tangible plod of ‘Colder and Colder’ and the slightly psychedelic, fragile pop sensibilities of ‘Tired to The Bone’. Closer ‘Beautiful Destroyer’ does everything needed to push my 9.99999/10 score up the top – particularly as Lanegan seems to come back to us for a fleeting moment or two.
There was never any doubt at all in my mind that I wouldn’t fall madly in love with this album, and madly in love I fell. This will be on a list at the end of the year and, given my eagerness to get this on vinyl immediately, it won’t be a shopping one. Perfection in execution, and the dictionary definition of what music should be.
Best Paired With: A very long walk, sorting through a loft of boxes you haven’t opened for half a century, and another very long walk.
Reviewed by Jaff.
‘Sceaduhelm’ by crippled black phoenix is out now on season of mist.
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