Clandestine Abuse might be one of the most misanthropic, angst-filled albums I’ve ever heard, but it never fails to instill a feeling of hope in the listener. A hope that a band can draw upon familiar influences and personal experiences, draw on them and combine them to create something that breaks the mold of slow & heavy music. Includes unlimited streaming via the free Bandcamp app, plus high-quality download in MP3, FLAC and more. Purchasable with gift card.
Clandestine Abuse (2011) by Northless. Labels: Gilead Media, Halo of Flies. Genres: Sludge Metal, Post-Rock . Album (Studio full-length). Sludge Metal, Post-Rock. Gilead Media, Halo of Flies.
Artists Northless Clandestine Abuse. Clandestine Abuse Northless. This album has an average beat per minute of 148 BPM (slowest/fastest tempos: 134/173 BPM). Tracklist Clandestine Abuse. 1. Flesh & Ghost.
Album · 2011 · 8 Songs. See All. Northless, Light Bearer Split.
Northless is a sludge metal band from Milwaukee whose first full-length Clandestine Abuse caught my attention when it premiered on Invisible Oranges. For those of you who think Remission was Mastodon's finest hour, take notice. It's been a while since I've name-dropped Mastodon this extensively, but after listening to this album you'd be hard-pressed to pinpoint what, exactly, distinguishes Northless from Mastodon's early material. That is, before the latter got proggy and started using clean vocals.
Northless' Clandestine Abuse has the kind of mass that overwhelms in a nearly literal sense: to "defeat completely. Hear the title track from the Milwaukee sludge-metal band's debut album. The Milwaukee sludge-metal band Northless comes about damn close to this hugeness, as far as I can tell, on its debut album, Clandestine Abuse. The riff that launches the title track is one of those Elephants Marching riffs that the folks at MetalSucks (and I) enjoy so much. It tramples in slow motion, but also levitates in the midst of a crushing melody, akin to the '90s post-hardcore heroes in Quicksand. The surprise of the song comes at 2:23 with some clean, technical guitar that's less bulky math-metal and more like Faraquet's dizzying arrhythmic riffing