Review: Noisepicker ‘The Earth Will Swallow The Sun’
Usually, when I start a review I will begin with some sort of anecdote or give away my naivety of a band by admitting that they’ve eluded me my whole life. Although it is probably forgivable in new bands, it isn’t so cool in bands who have been active for years and have a vast catalogue that I’ve blindly skated past.
Occasionally there may be a member who I know from other bands or projects, and that’s where I can begin my tedious link to what hopefully will be an interesting read as today it’s Noisepicker (yes, initially I read it as nosepicker) and this is very much the case.
This time around 50% of the project is a musician I know, but from a moderately different animal than what I am covering today. I am speaking of Harry Armstrong, who up until this point in time I have known and witnessed performing with the mighty Orange Goblin, but here he is one half of the band, who alongside drummer Kieran Murphy forms the duo Noisepicker.
If you are hoping for an Orange Goblin style sound you are very much mistaken, but if you think Mark Lanegan after a heavy day on the cigarettes, with the dirtiest of blues on his shoulder, then that’s the sort of ballpark we are playing in. The equivalent of a pair of well-worn cowboy boots, scuffed and ragged, the sound these guys create is comparable to a dirty leather briefcase, overfilled, spilling out the grimiest unpolished filth imaginable, via an audible medium.
It’s a hangover in the blazing heat, it’s whiskey when all you want is water, it’s that dry throat feeling after a mouthful of cinnamon. As bluesy raw emotion goes, this is second to none. It doesn’t feel overly produced, it’s a low key, spit and sawdust kinda affair, which will leave you gasping for more.
As for the album itself, to give some context, The Earth Will Swallow The Sun is the second outing for the pair, after a lengthy break following their debut Peace Off back in 2018. It’s ten raggedy masterpieces, dropping in bite sized bursts, with the longest being just shy of four and a half minutes, and the briefest coming in at just over two minutes.
Opening with What You Deserve, an understated slow bluesy piece, the vocal seems to swagger in after a brief introduction and soak everything in liquid liquorice as it does so. As for the vocal, it has a raspy edge, and although I am aware of other vocalists who are similar in style, the ONLY person I can nod towards is Mark Lanegan, the master of that gravelly disjointed performance, who does, up until now, dominate that element.
It’s a hangover in the blazing heat, it’s whiskey when all you want is water, it’s that dry throat feeling after a mouthful of cinnamon…
That being said, this isn’t an impression of Lanegan, merely a nod to a sultry male rasp in tone. I actually pull on another comparison as the track plays through, and that’s of a slowed and stripped back Stoned Jesus too. I would just like to add at this juncture that all of the above comparisons are massive plusses for me, and moving forward, I’m 100% onboard for the ride.
While track two, Chew has more of a chuggy vibe to it, it’s track three, Tomorrow Lied The Devil is where there’s an increase in density, mood and tone, and I love this. I also love the line ‘I don’t mean to piss on your chips’ as I feel this adds an additional element of humour which you don’t really get in heavier music.
Leave Me The Name, track four, has more of a driving drone feel and is vastly darker. Like a terribly fucked off Chris Rea (sorry in advance for this comparison) as each element, from the vocal to the understated guitar, provides a darkness which is utterly compelling. Chuggy guitar and punchy drums is the name of the game on What Did You Think Was Going To Happen, and as it runs through, the pace has again been elevated from the previous dank track.
The darkest matter by far though is throughout The End Of The Beginning, as what unfolds is a nightmarish sonic terror and unsettling to experience as having a bad dream. Thankfully Start The Flood pulls us back and as this faster paced piece unfolds, any menace is replaced with high octane eloquence.
For me, it’s tracks eight and nine where Noisepicker really do step forward. The title chant, The Earth Will Swallow The Sun, is predominantly instrumental, but it really does highlight both parties skills immensely. They’re vibrant, pacy and it’s a real triumph. While Lorraine In Blood parallels its predecessor and the mix of slow bassy throb and swaggering lounge vibrance truly showcases the range and scope of the duo.
Lunatics closes the album, and with its lonesome moody guitar and ambient bar noise, it ties up the loose ends nicely by trailing off and leaving that feeling of quiet content at its climax.
A bit of a leftfield one for me, actually I’m so glad I took the time to indulge as it really is a break from the norm, and has opened my eyes to a whole new level of music which I’ve not heard before. Not for the faint of heart, Noisepicker really is one of a kind.
Label: Exile On Mainstream Records
Band Links: Official | Facebook | Bandcamp | Spotify | Instagram
Scribed by: Lee Beamish
