Stained with the Blood of an Empire

There have been many bands who have jumped on the metaphorical band wagon in recent times as sludge has really taken off. Young, slightly impressionable men and women are flocking towards this genre like it is Disneyland. It seems to be a genre with a real mix of talents (as well as untalented acts) and this band, America’s Battlefields, are one of those. There are a number of acts who could be considered guilty for joining the universal party that is the sludge take-over, but bands like Battlefields continue to impress, despite being relatively new to the world of metal and its numerous sub-genres. ‘Stained With The Blood Of An Empire’ is the 2007 debut, a year which produced some notable bands with noteworthy recordings. Although there are going to be some bands who’re merely milking the sub-genre for what it has to offer, in terms of global success and personal gain, there are undoubtedly going to be a few trend setters that mask the contempt that sub-genres like this and, let’s say depressive black metal as another example, will bring to the foreground of public opinion. ‘Stained With The Blood Of An Empire’ isn’t a new sample of sludge, it’s relatively formulated and consists of what most long term sludge fans would expect, but its good nevertheless and is justified by the clean production.

Much of the success from this record comes from a few simple methods that don‘t express anything out of the ordinary. The use of two guitarists, for example. This small, but significant method is one aspect that allows the music to stick out like a blossoming flower in a field of tainted soil. ‘Stained With The Blood Of An Empire’ may be short, but is still impacting nonetheless. The simplistic equations that Battlefields throw out to their audience are met with complex answers. The instrumentation may not explore the experimental, but it taps into specific emotions, which are all very complex, and explores those instead. The idea behind Battlefield’s music is not to impress with over elaborate guitars, or bass lines that swamp the listener with catchy tunes. As stated, the idea behind this record is very simplistic, but manages to successfully involve the listener in a number of aggressive atmospherics and mellifluous soundscapes which induces dosage after dosage of fine melodies in an attempt to get the listener to become emotionally involved. This attempt, in my eyes, is successful. There is, which is probably to be expected, a distinctive Neurosis vibe about the instrumentation, especially the vocal chanting on songs like ‘A Lifeless Polar Desert’ and the inspiring twin guitars. Its in these guitars that much of the joy is acquired. That depict the softness of anger much better than the harsher parts depicts anger, which is unusual, but interestingly so. There are two jobs laid down for the guitars. The first guitar is to produce a constantly source of contempt, which it does and the second guitar is to create a source for the ambiance to really get beneath our skin, which this also does successfully. The second guitar is where the inspired sound comes from, inducing soundscape after soundscape of stunning beauty.

Unfortunately, there are some negatives attached to this record. However, they don’t detract much from the overall opinion of the piece, but are certainly worth mentioning. Although the second guitar, alongside the powerful use of cymbals and snares, is good, it isn’t a source of emotive sounds that explored as often as I would like, but this could just be a personal problem, as opposed to a universal one. To me, sludge is a genre that requires an equal blending of ambiance and aggression and Battlefields don’t quite get the balance right. There are positive signs to suggest that in the future, they just might do. Take the provocative ‘Intimations of Antiquity’ (which reminds me of Minsk, at times). This song divulges into this perfected blend well, mixing the bass well with the second, more inspirational guitar well. Even the percussion sits alongside these elements well because it does not enforce it’s major monstrous sound. One problem with this record is that it is too short. With only four songs and a total spanning time of just over thirty minutes, this record doesn’t allow the listener to become too involved. There are some aspects which make the music feel distinctly closed off from the rest of society, which contradicts the inviting influence other aspects of the music have. The vocals, for example. I’ve never been a huge fan of sludge vocals, those grinding screams of anger and aggression. It could be considered rather surprising since I used to love metalcore, as a young man. However, as I’ve grown up, my tastes have evolved and since then, I’ve not been as appreciative of screams as I once used to be, in my constant angst. The vocals do vary though, which is pleasant enough. As well as that, one must admire the use of two vocalists too, as this aspect tends to alleviate the pressure from one performer and becomes a joint act, whereby both musicians lay down a doubly impressive sound. Song writing is decent, though there are a few qualms in regards to the overbearing nature of the aggressive sections, but then again, this is a pure sludge act. Recommended.