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Kylesa: Static tensions

18/01/10 || Euthanatos

As 2009 comes to a close (yes, I realize you’ll be reading this in 2010, but I’m writing it in the final days of 2009), I didn’t want to let one of my favorite albums of the year go unnoticed.

Kylesa are one of those Georgia bands that have sprung suddenly, showing us immense talent and a deep, southern metal that’s pretty kick ass. We’ve seen them before here, courtesy of former reviewer Lumberjack, and now, in 2009, they released a new effort that quite nifty.

Kylesa, as I said, follow the same path of their friends from Baroness and Blacktusk; it’s all very dirty, southern style metal, as deep and viscous as the swamps of Savannah. What has been fascinating me about this “scene” is that each band has some unique characteristic that sets it apart from the rest. Kylesa is no different, and they might be, Mastodon excluded, the most “musical” of the bunch. Baroness, for instance, is abso-bloody-lutely brilliant, but it can, yes, be taxing to the listener, I can totally understand that. Kylesa takes a more straightforward approach. While still eerie in its environment, the music pounds heavier, always mid-tempo, never going too much here nor there, but staying true, as one says in nautical terms.

The guitars are muddy as fuck, and that makes the album sounds like the hiss of a fucking alligator coming out of the murky depths. That’s a good thing. It totally fits what Kylesa are trying (and achieving) to perform.

Vocals-wise, Kylesa are also quite different. Phillip Cope and Laura Pleasants (nice name) share vocal duties, and singing wise, this band is also, again, Mastodon excluded, the most mainstream of the bunch. It’s easy to get into the vocals and understand them. Complaint? Yes, sure, sometimes it all sounds much like the same vocal lines being repeated. Laura should definitely have more clean singing on the vocals, such as in “Running Red”. That kind of vocals give great contrast to the music. I’m also not fond of the production, as the vocals tend to be low in the mix.

Fortunately, the instrumental more than make up for any mishaps, and while I’m not that enthralled by the drums and bass, the guitars and effects have some truly persuasive moments. Kylesa frequently drops out of the southern metal theme and goes full-on post-metal with vocals, making “Static Tensions” an incredibly interesting album, song-writing wise.

“Unknown and Awareness” is a great track for your to listen to and get the mood of these fellas (and little lady). Certainly an overlooked band, and it’s easy to see why, as it’s no fault of their own; Mastodon and Baroness simply blew everyone’s minds with their 2009 offerings, so poor little Kylesa had to stand in the sidelines watching. Totally unfair. While not as epic as “Crack the Skye” or mesmerizing as “Blue Record”, “Static Tensions” definitely deserves it’s place as a hidden jewel of the year.

The cover: It’s by Baroness’ John Baizley, so I don’t really have to say anything about it.

Information
Released: 2009
Label: Prosthetic
Website: www.kylesa.com
Band
Phillip Cope: guitars, vocals
Laura Pleasants: guitars, vocals
Carl McGinely: drums, samples
Eric Hernandez: drums
Javier Villegas: bass

Tracklist
01. Scapegoat
02. Insomnia for Months
03. Said and Done
04. Unknown Awareness
05. Running Red
06. Nature’s Predators
07. Almost Lost
08. Only One
09. Perception
10. To Walk Alone

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