Sub-Basement

Sub-Basement is the second collab-era LP from Pentagram, which at the time was sporting only drummer Joe Hasselvander and vocalist Bobby Liebling among its ranks. It is a very similar release to the duo's previous LP, Review Your Choices. One thing that's immediately, clearly different is that the production on here is much less huge and heavy. It's still doom-oriented, but compared to the previous release, Sub-Basement sounds far less fat.

For the most part, Sub-Basement is dripping with a creepy atmosphere, which is unlike the normal spookiness Pentagram tends to bring. Buzzsaw and Go in Circles both thrive on this vibe. This album gives you the feeling that you're trapped in a dungeon with a crazy old hippie. The band sticks to this creepy, burnt-out atmosphere for the most part, and it is quite effective at boosting the merit of the album's otherwise just decent songs.

Hasselvander still handles the entire rhythm section on this LP, and just like before, his lead guitar playing isn't super great, but it at least services the burnt out atmosphere of the album. Bobby sings quite creepily for a lot of songs but he's especially good on Go in Circles. He's not amazing or anything, but it sounds like he's putting more effort into his vocals this time around. He sounds a lot more threatening and in control of his voice. I also believe his vocals are better mixed than on the previous album, often with what sounds like a tape echo effect.

Like I made pretty clear before, this album doesn't really have any masterpieces. The songs on here are all fair to good, whereas predecessor Review Your Choices has what I'd call peaks and valleys. Tidal Wave is a highlight for me. It's an otherwise pretty standard doom song, but it utilizes ocean wave noises quite well, I find that they really enhance the song's atmosphere. Drive Me to The Grave is another highlight, it features what I'd call fast doom metal, something like Mow You Down from the previous album, only better. After The Last is a good slow, brooding song, like something off their third album. My favorite song on here is Go in Circles (Reachin' For An End). It operates at the apex of this album's atmosphere and features Bobby at his best, at least by this album's standards.

Sub-Basement relies on new material mostly, which I admire, but as a result, it plays like a version of Review Your Choices without the 70s classics. Mad Dog and Out of Luck are the only 70s Pentagram songs on here, and they're so out of place. Mad Dog breaks the album's creepy atmosphere for a more "rockin" vibe which does not meld well. Bloodlust has that same "rockin" feel to it as well, but only during the chorus, so it's not as huge of a sin. I don't wanna say that these are bad songs, but rather that they stand out, since they're without that dungeon-esque feel.

Speaking of not fitting, Sub-Intro is a 4-minute atmospheric track which supposedly is the intro to the album's title track. It could have just been cut entirely because it doesn't even perform its function as an intro, it just plods on for 4 long minutes with rattly chain noises and whatnot. Like I said before, the atmosphere of this album is important, but it's not worth wasting 4 minutes of perfectly good space on ambient noise!

I think that this album truly suffers because, and I'm theorizing here, they probably used up a bunch of great tracks for Review Your Choices, so when it came time for Sub-Basement they didn't have as many quality songs to fill it out. It's a shame really, because if they had planned out the tracklists for both albums to incorporate a good mix of songs, rather than giving so many good ones to Review Your Choices, we'd have two solid B-tier Pentagram albums rather than the imperfect ones we got. I would say personally that Review Your Choices's heavier, fatter production and better 70s material means it scores more points with me than Sub-Basement, since both have a creepy/burnt out atmosphere but the latter only has merely decent songs for the most part. If you wanna listen to this album, my advice is to make a playlist of both collab-era albums and put it on shuffle. While Sub-Basement is competent and consistent, it is the lesser of two evils.

"I was the finder and the keeper
I never thought I would need to be the creeper
But my keeper
Turned out to be the reaper
And now it's bloodlust!..."

Thus begins the ultimate in crushingly plowing and piledrivin' Pentagram overtures amidst many, on this, its sixth full-length'd album overall, titled Sub-Basement and released on CD/12" vinyl in 2002 under Italy's Black Widow Records. Alongside opener "Bloodlust" and swift, succor-providing successor "Buzzsaw" - which, on their own, constitute the Americans' fiercest entrance in their entire discography - a spectrally fist-pumping visitor rocks out to further gut-punching razzlers with the centrifugally carousing "Drive Me To The Grave" and/or later worthies "Mad Dog" and "Out of Luck" as they carve fun-filled, furious furrows across their "loufoque" (wacky) brainpan.

Back to said twin knicker-twisting send-offs, front man and long-time 'Gram leader Bobby Liebling assuredly drives the crucifix nail home with his demented stride and knuckle-dusting, quasi-poetic bop; nary a minute in, he swoops in for kill atop Joe Hasselvander's hypnotically grinding and grueling, Golgothian ripper of a guitar riff, in an even more knurled and scurvy manner than usual - or thought possible! - with the gripping-as-all-get-out pre-chorus, tinged as it is by a sweeping "The killing floor may drag me down/But not without a fight/And even though they think I've lost my soul..." immediately followed by the most knavish drawl this side of Washington (D.C.): "If they could just keep me confined at night!"...It's a crypt keeper, alright!

Hasselvander's guitar soloing on this release is simply amazing, due to his crazed use of pedal-induced embellishments, like on the wickedly fluttering, if not downright ghostly, lead punctuating "Bloodlust", or throughout mi(d)st of the severely reverb'd razor grater "Buzzsaw" - consider both among my favourite within the Pentagram song vault. This last, equally brief, 2.5 minute long highlight starts off with stark power chords quickly yielding a bone-jarring pas-de-deux betwixt an electronically eldritch as well as weird, cleanly reverberating passage and a fully fulminating, "pulled-back" kind of massively resonating palm-muted/down stroked riff, the likes of which invariably raise my esteem for Lielbling's multi-instrumental, masterminded wing-man.

(Of note, Joe covers all sharpened - or wizened - musical angles on both Sub-Basement and the earlier Review Your Choices, from 1999. In any case, the former and here subject of this enthused review bows or slithers low as the stronger and less erratic of the two, considering the other, with its freakishly disjointed song segments, evokes the doom metal equivalent of Picasso's Guernica).

For all its front-loaded glory, however, Sub-Basement falters somewhat with the turgid and lugubriously meandering, "Disturbing The Priest" kind of bullcrap gleaned on "Sub-Intro", a relatively atmospheric but otherwise irrelevant instrumental heralding an as-slowly paced title track on which not only do Bobby's vocals sound swamped or drawn-out by the tempo's mealy-mouth'd, catacomb-crawling pace, but also draw detraction to themselves with, as follows, the oh-so-revealing, ironic line: "I've been called a dinosaur relic/Stuck in the twilight zone(/But sticking' in the sub-basement/Keeps me lit to the bone...").

In fairness, the song picks up towards the end, but it's still a far (banshee) cry from the draw and appeal of its prior brethren. Nevertheless, this mildly elective pair of momentum killjoys finally cedes the (bottom) floor to a way more exciting, not to mention exoteric, series of rampant numbers ranging between the psychedelic, kooky wayfarer "Go In Circles (Reaching For An End)" - which, disarmingly, isn't quite as killer as Show 'Em How's "Prayer For An Exit Before The Dead End" (!) - and swanky, rhythm n' blues chthonic (s)hip-shaker, "Target", an apt finale which, along with its catchily crooning predecessor, "Out Of Luck", are stoutly reprised from their original 1970s incarnation, officially put out, among several other "golden oldies", on 1998's (must-have) Human Hurricane compilation under one-off - and later failed - Pentagram label, Downtime Recordings.

Elsewhere, the short and spiritedly unhinged "Mad Dog" (also listed on 2003's live A Keg Full Of Dynamite re-release) will likely induce a full-some jig or five. The same applies to the ruefully expunged, yet not-half-bad - it'll grow on ya! - "After The Last" a groovily rutting/rut-inducing stroll down caustic avenues of atypical Liebling bonhomie i.e. those nasally wrung verses, with a slyly sardonic chorus in tow. Hell, the latter teeters between a stilted albeit highly tripped out patter and bell-slidin' twang liable to awaken yard owls, pissed-off and blinking, in addition to an extensive tribal drum roll over which our g-man keeps acceding to nutty, haywire heights.

What I dig most about Pentagram's Sub-Basement - and it's far from a preferred album - is its un-apologetic apoplexy, laid down over fat, girth-y guitar riffs and bass lines, with some of the band's hardest, most slam-bashing drumming to date. Logically, if I know what's good for me, I'll tune in to Joe's Hounds of Hasselvander, asap!

"Tales of woe I was strung out on the line
And I though my life was fine
It wasn't mine
Fell a little short and ran out of time
And now it's blood lust!"

Pentagram's fifth full-length album seems to parallel Day of Reckoning in some ways. The second of the two collaborations between Joe Hasselvander and Bobby Liebling, it was released just two years after Review Your Choices and shows the duo getting a little more comfortable with their circumstances. It's not quite a classic but it just might be the band's most underrated venture to date.

Pentagram's image and style haven't changed all that much but Sub-Basement is one of their most upbeat albums. They've certainly had faster songs before but "Drive Me To The Grave" has a borderline thrash execution previously unseen and the songs are much more chorus-oriented than before. These two factors are best demonstrated on the chugging verses and sing-along hooks on "Bloodlust," but even the slower songs like "Go In Circles (Reachin' For An End)" will get stuck in your head before you know it.

This is further reinforced by the improved production and performances. The production is still pretty heavy but it is cleaner and gives the guitar a looser feel than the previous album. Of course, the vocals are still pretty worn out but they don't get as distracting this time around.

It also helps that the number of songs is the lowest it's been since the 80s, seemingly giving the duo more to work with on each one. There are still a bunch of old songs presented but they fit in better with the tone as the grooves on tracks like "Tidal Wave" and "Target" don't sound as forced. They also keep trying new things as "Buzzsaw" throws out a few quirky vocal effects and the title track invokes an odd ambient intro before the riffs kick in.

Sub-Basement isn't on the same level as their classic efforts but it is still a surprisingly good album. Some elements still make it tricky for new fans to get into this but there are solid songs for those who do seek it out. But in the Pentagram fashion, another dramatic shift kept its ambitions from being fully realized...

Highlights:
"Bloodlust"
"Buzzsaw"
"Drive Me To The Grave"
"Go In Circles (Reachin' For An End)"
"Tidal Wave"

Originally published at http://psychicshorts.blogspot.com

Sub-Basement is the second of the two “Hasselvander” albums. Joe once again lays down all instrument tracks, with Bobby on vocals. The album is arguably better than its predecessor, Review Your Choices. It’s basically the same formula but improved. There is a variety of different sounding songs that will keep listeners entertained and coming back.

The album starts with off with two faster, rocking songs with some great memorable, heavy riffs and some good leads and solos, and these are probably some of the best songs on the album. After those two, it’s time to get out the drugs again. Drive Me to the Grave is a remastered Pentagram classic. Upbeat drums and a catchy main riff. It’s a little repetitive overall but still but is such a badass sounding song that it never seems to drag for me. I love this track’s dark lyrics, too. Gives me really haunting images of a dark, morbid cemetery.

The next three tracks are all slow, depressing, and very heavy songs that describe the history of Bobby and Pentagram. Sub-Intro is just a bunch of creepy sounds and atmospheric noises, with some haunting guitar chords in the background. I think they could’ve reduced the song by a minute or two but is by all means an effective track that does its job, and summarizes the overall mood and feel of this album. I personally enjoy the track “Sub-Basement” more than Goin’ in Circles. Sub-Basement is a super heavy track with crushing guitar, and simple, slow, pounding drums. Goin’ in Circles is basically a song about Bobby and how the guy feels like he can never seem to get anywhere with Pentagram. A pretty decent, doomy song.

Mad Dog immediately steps things back up with a faster tempo, and some groovy, 70’s sounding riffs and rhythms. I won’t go into detail on the rest of the songs but they pretty much all kickass and are great fun. I believe most, if not all of these last 4 or 5 songs are remastered classics.

Production when compared to Review your Choices is a much clearer, concise sound, but it still retains the heaviness doom fans are looking for. In fact, the guitar even has a bit of that buzzsaw, death metal sound at times, it’s pretty damn heavy. This album can sound quite atmospheric at times too, especially with the slower songs. One thing needs to be said: On a good stereo set with the bass cranked up, this music sounds fantastic. It is truly meant to be played loud. Make sure to listen with good equipment for the full effect.

At first, Sub-Basement came off to me as a little boring, and didn’t interest me, particularly after hearing the classics like DoR and Relentless beforehand. But give this one a couple run throughs and it’s not bad at all for what it’s worth. I’ll give Sub-Basement a 90. I gave Review your Choices a 95 but now I think I’d probably give it a 80-something due to the fact that I think this release is more of the sound Joe was after than with RYC, and he did a great job. Also it’s a little less boring than RYC. Anyway, if you’re getting tired of the classic Pentagram lineup, give this album a listen for something new, that takes the doom metal aspect a little more to the extreme than previous works. I would probably recommend Be Forewarned over this one, but still, those are two different projects with the same name as far I’m concerned.

Sub-Basement is probably Pentagram’s most over looked and under appreciated album. But if you can see past the dodgy cover and a band that’s well past it’s hey-day (the classic line up of Liebling/Griffin/Swaney/Hasselvander), you’ll get a fantastic album full of crushing riffs, demented vocals and atmosphere so thick, you could cut it with a knife.

Featuring a mix of newer and older songs, as is always the case with a Pentagram album, Sub-Basement starts with a bang and from there, rarely lets up from Joe Hasselvander’s heavy and groovy riffs. Bloodlust, Buzzsaw and Drive Me To The Grave kick off the album with three straight to the point heavy metal ragers. All feature ripping solos, memorable riffs and of course, Bobby Liebling’s trademark banshee screams. Drive Me To The Grave even takes lyrics from one of their 70s tracks, Virgin Death. It must be mentioned that Liebling really is on top form here, unlike their subsequent album Show ‘Em How, where the strain and abuse really is evident in his voice.

Following the first three tracks is Sub-Intro, a noisy piece comprised of only guitars and effects. This is quite uncharacteristic for a Pentagram album, but it’s over soon and segues into one of the album’s highlights, the title track. Easily the doomiest piece on the album, it features lyrics that perfectly sum up Liebling and Pentagram’s long history.


Out of step and time
Ain't worth a dime
Or they told me so

I’ll stay a wrong sided hit
I don’t like what’s on the radio
Torn down and been condemned
Like a tenement row

I've been called a dinosaur relic
Stuck in the twilight zone
But stickin' in the sub-basement
Keeps me lit to the bone


The second half of the album contains a mix of up tempo and slower tracks, all delivered with that familiar, slightly off-kilter, maniacal edge. Two of these final songs, Mad Dog and Target, are re-recordings of songs written in the 1970s. Target was only previously available on the Human Hurricane compilation (and then again on First Daze Here Too) and to my knowledge, Mad Dog would only be officially available later as part of the Keg Full Of Dynamite live album, released in 2003. Neither of these re-recordings are a patch on the originals, but in the context of the album both are performed admirably and fit well with the other tracks.

The production is very heavy and fairly raw, but at the same time quite warm and listenable, exactly what you would expect from a Pentagram record. The guitars have a saw like quality to them and the riffs feel like they could tear strips off you! The bass is always there and adds a fullness to the sound, the drums are great and always deliver the right beat, whether driving the faster songs like Buzzsaw or providing the doom march to tracks like Sub-Basement or After The Last. Special mention must be given to Hasselvander’s performance on the album. Handling all the instrumentation, his work is flawless from to start to finish.

Sub-Basement definitely isn’t the band’s best, but it is a rock solid album. Whilst probably not the best place for a newcomer to start with, it is undoubtedly essential listening for all true fans of heavy and doom Metal. Highly recommended.