Album Review: Slow Burning Rage – Slow Burning Rage
Reviewed by Paul Hutchings
The debut release from Iron Reagan drummer Ryan Parrish under the name Slow Burning Rage, this is something far out at left field. It’s astonishing in its variety, uniqueness, and completely bewildering array of songs. Unlike his extreme heaviness with Iron Reagan and Bleach Everything to name but two, on Slow Burning Rage, Parrish unleashes the chaotic, the bizarre and the right down weird in a cacophony of chaos that might have you scratching your head for much of the listen.
Parrish has enlisted a cast of many to help him although he plays not only drums but guitar, bass, keyboards, and electronics. Alongside him musicians from Municipal Waste, Avail, Darkest Hour, Inter Arma, Municipal Windhand, Interstitia all led a hand or a yell to one of the most confusing configurations of the year.
It’s absolute pandemonium in the opening three minutes with ‘Agonal Gasp’, a sandpaper coated track that blends Sean Cassidy's free jazz saxophone with crashing percussion and gritty electronica in a maelstrom of confusion. It’s aggressive, confrontational and a guaranteed challenge to the cerebral matter. Which is where I think Parrish is heading to on this outing.
Each track brings something completely different and unusual to the party. Parrish has brought his experience of his wider experimental work with Years and Harmonic Cross to craft some interesting and dynamic songs. ‘The Slow Burn of the Madmartigan’ features harrowing background screams whilst former Darkest Hour bandmate Paul Burnette contributes organ, bass, and percussion on a dark and eerie track. The gentle heaviness of ‘El Tio (Curse of the Caves)’ echoes with solitary notes, rumbling percussion and pulsing bass, whilst the penultimate song ‘Dark Thunder’ includes members of Inter Arma, Municipal Waste, Windhand, Avail, and Suppression amongst about a dozen other percussionists all hammering away over a sonic soundscape that shimmers.
Parrish has stated that this is not a solo release and it’s easy to agree, for there are many collaborators on this individual and impressive record. There is little conformity, and the Iron Regan man can express himself and his art in a way few can. This may be the most remarkable record of the year because it simply doesn’t provide the listener with any easy options. It’s worth a listen purely to hear music that doesn’t have conventions or barriers, walls, or restraints. Sometimes it’s worth stepping outside of that comfort zone. This is something well worthy of that step.
