siLLy puPPy The avant-garde metal band ASHENSPIRE first hit the scene in the Scottish capital city Glasgow in 2013 and five years later released its debut “Speak Not Of The Laudanum Quandary” in 2017. The band stuck out like a sore thumb in the world of extreme metal with a bizarre mix of black metal guitar gallops, a lugubrious string-quartet violin presence, some sizzling saxophone squeaking and the most uncharacteristic attribute of all, an unhinged vocal narration that sounded more like a madman on a rant rather than any proper singer in the world of metal. As much anarcho-punk as jazz-metal, the debut tackled the multi-century exploitation and brutality of the British Empire across the planet and with a less than subtle declarative decree, ASHENSPIRE was on the scene.


Skip ahead five years and the band is back with its second offering of hostility titled HOSTILE ARCHITECTURE all dressed for a riot in its favorite chimeric mix of black metal, gypsy / chamber swing, soul jazz and madman poetry only this time the band has been getting more than its share of attention for its acrid societal critique of the collapsing social order. Basically HOSTILE ARCHITECTURE is a manic report of the failures of the New World Order and the elite power structures that have crafted the pyramid system of control that propels them to the lap of luxury at the expense of the masses which now find themselves in utter decay as they increasingly live in squalor with fetid infrastructure and inequality ubiquitous.

This is an album that’s gotten a lot of coverage in 2022 for its unorthodox mix of black metal savagery pacified by a melodic sax and violin dueling stabilizing force. Sounding like he escaped the insane asylum and forgot his meds, drummer / lead vocalist Alasdair Dunn delivers all his scathing societal reviews like an adrenalized protester with steadfast supplications of remedy while the thundering force of a black metal freight train finds the rampaging post-metal processions decorated by sultry cyclical sax squawking and ear-piercing ostinato violin grooves haunting the depressive anxious dissonant protest.

Musically, this band reminds me a lot of Norway’s Shining with its depressive disso-black metal joined by a jazzified form of brutal prog only with the extra touches of a chamber rock violin performance. All in all the music is quite impressive with with lyrics that evoke the pungent explosive pluckiness not heard since Crass haunted the UK with its angsty art punk in the early 1980s. While the musical procession is quite unique to ASHENSPIRE, the album tends to run on the same high octane fuel for its duration with the exception of the intermezzo interstitial interrupting “How The Mighty Have Vision” which recalls the bizarre style of Sleepytime Gorilla Museum which also made ample use of violins in an avant-metal context.

This is an album i really want to love because it has everything that i love about a creative passionate modern day metal band that is setting the world on fire however as flexibie and far-reaching as my musical insatiability is, there are still a few stylistic approaches that totally rub me the wrong way and therefore i find myself on an opposite spin from my music loving contemporaries in the world. Musically this is spot on in about every way from the frenetic syncopation of the guitar, bass and drums to the lenifying efficacy of the violin and sax combo and the morbid mix of it all. What really keeps me from hella lovin’ ASHENSPIRE simply boils down to the vocal style. I just can’t get into spoken word musical performances with the exception of some sort of frantic weirdness in the vein of Captain Beefheart who recited his beat poetry like a mutant reject of the Montauk Project.

On the one hand the half-spoken, half-sung lyrics do allow the lyrics to be understood which is not the case in the vast majority of growly voiced extreme metal these days however for a lead vocalist to pull this off convincingly, the said singer must shave some sort of above average charisma or stylistic approach that adds to the one / two punch of the musical performances. That is how i find this album completely lopsided. For those who can tolerate the vocals, you will absolutely love this one. Excellent lyrical content, outstanding musical content. For me it’s like eating a delicious cinnamon roll with raisins in it. I hate raisins :(

bartosso When you can't see the stars, you stop dreaming of space

For a band to not only reach the bar set for avant-garde metal by Kayo Dot and maudling of the Well, but to also put another brick on this wobbly Jenga tower of a genre, without making it fall apart, is no small achievement. To simultaneously turn the whole thing into a poignant left-wing manifesto borders on a miracle. And yet here we are, looking at a perfectly fine Jenga tower.

Conceptually, Hostile Architecture is a searing critique of late capitalism and its urban manifestations, brutal and classist by design. You will both bang your head and shake your fist at the nearest anti-homeless bench. Musically, it's a festival of masterfully repurposed influences (notably KD and A Forest of Stars) that ends up being way more than the sum of its parts. You will recognize the elements but also appreciate how fresh they sound together. Emotionally, it's a furious protest against injustice, oppression and chauvinism of all kinds. The ferociousness of black metal is given new meaning here and chamber music arrangements provide it with gravity.

Personally, I feel like Hostile Architecture reopened wounds that had already started to scar up with indifference and I feel strangely thankful. The world may be doomed, but music like this is a reminder that social resistance is not only necessary. It can also be beautiful.