The simplistically brutalist album cover reiterates J. Angus' beliefs that "modern life is hell." J, under the moniker Callous Faulter, claims to provide the soundtrack of hellish modernity through two atmospheric post-black metal tracks on his debut record. While visually unassuming, don't be turned off– this album is the musical equivalent of a fifty-ton brick landing edge-first into your ear canal. Slowly.
This Australian one-man band is not one to mess with. Through acoustic post-rock passages and violent blackgaze bouts, Callous Faulter proves that a project can blindly shock you from absolutely nowhere. My affinity for post-genres underwent a period of jaded abstention; I really wore myself out from extended instrumentals and stagnant atmospheres. Callous Faulter, however, was an intriguing listen spread across a duality of drab songs. "The Isolationist," clocking in at seventeen minutes, quickly features a saxophone solo courtesy of Tim Stocker, which somehow flew under my radar. It was probably shielded by the blistering drums of R. Stone, the only other session musician. The track plays out in a harsh-serene-harsh sequence, as the middle of the piece is dedicated to a cold acoustic passage.
"Ocean Views" is less sonically varied than its predecessor, but at sixteen minutes, it holds its own. The track is quite symphonic, where the tremolo riffs cathartically elevate keys, and the sporadic drumming further assists the somewhat beautiful chaos. This turn of events ploddingly unfolds throughout the entire second half of the song. J's vocals are typical for atmospheric black metal: distant, ghastly, and evil, just like the accompanying environment. If you crave metal with constant, exciting motion, this record is not for you. If you desire music you can rhythmically headbang to, this record is somewhat for you. If you're starving for mood-dampening black metal, this record is all yours.
I was very impressed with Callous Faulter, but my time with his work is not done. I want, no, NEED to find that sax solo.