Heirs - Fowl - Review

Heirs - Fowl

by Andrew Carver

published: 16 / 1 / 2011

Label: Denovali Records
Format: CD

Unsettling, but forceful electronica on debut album from haunting-sounding Melbourne-based instrumental outfit, Heirs

Review

Melbourne’s Heirs are here to disturb. Starting with a CD package that references the aesthetic of Matthew Barney’s ‘Cremaster Cycle’, the quintent have crafted a work of spooky soundscapes that sound like they could be the backing music for a film by David Cronenberg (in terms of creeping dread and disgust, which is apparently an inspiration for the album) or John Carpenter, whose own soundtracks share a similar sonic palette. ‘Dust’ begins the package with a slow build - several minutes of steadfast percussion and electronic bleats are suddenly joined by buzzing guitars that wouldn’t be out of place on an album of black metal. It segues neatly into ‘Fowl’, creating an atmosphere of unease with a series of minimalist motifs that split the difference between Godspeed You Black Emperor! and Phillip Glass. The crushing percussion which buttresses the band’s music, along with guitar tones that sound like they could be used to abrade metal, also bring dirge-merchants like Neurosis, the Melvins and Harvey Milk (the band also appropriately references the Swans and Nadja). ‘Burrow’ sets off in another direction - the guitars get a little more jangle from a heavy dose of reverb - and what sounds like wordless female vocals, though they too are largely subsumed under a blur of guitar. Heirs keep things diverse by shifting the emphasis on each tune, tweaking things so ‘Tyrant’ steps up the percussion with a metallic thud, while ‘Men’ is accompanied by a distinctive electronic wave that slides out of left field. Fans of dark, unsettling instrumental music should definitely give ‘Fowl’ a listen.