(((O))) Review: Mountain Caller – Chronicles II: Hypergenesis

There are certain words which attract rock and metal bands names (Black, Iron, Witch, Wizard etc) which can give them an immediate genre label and identity. So, it is a surprise that Mountain has not featured as frequently, especially when you think of its visual image and the definition (and I quote): A natural upward projection of the earth’s natural surface, higher and steeper than a hill and often having a rocky summit. Of course, Leslie West got in quick with his 60s/70s rockers Mountain, and more recently Black Mountain. Although I’m sure there are more, but maybe not as many bands in comparison to the afore-mentioned.

Then along came London based post-rock instrumentalists Mountain Caller. The use of the word mountain is an appropriate inclusion as they do partake in some very fine robust rocking over a variety of terrain. And as Caller suggests, the band are less easily to categorise because they incorporate subtlety and thoughtful intrigue into the trio’s sound. The band do indeed navigate many trajectory slopes, left turns, loud ‘n’ quiet detours on their journey so far. Their debut Chronicles 1: The Truthseeker – a wordless concept album of a protagonist waking up to find herself not knowing her own name in a destroyed city.  They return with a new label (Church Road Records) and a new record Chronicles II: Hypergenesis. As the title implies the story continues, but this time it is Mountain Caller cranking up the expansiveness and the prog, as well as increasing the elements of surprise up even higher.

It opens with everything we have become accustomed to from their debut as ‘Daylight’ mixes intricate finger picking, a sturdy rocking riff or three, melodic hooks, and the loud and quiet formula. It has all the hallmarks that made Chronicles I a pleasure for those who have heard it. More tempo changes in the first five minutes than AC/DC changed gears in their entire career (well, maybe not, but you get the idea).

This sets the course for Mountain Caller for a journey to venture out further and wider on Hypergenesis. Their musicality and technical abilities enable the trio to explore innovative atmospheric soundscapes, extra crunchy riffage, a sizeable range of tempo shifts and crescendo swells. All of this is captured by a superbly clear production. Where the band really tip over into newer territory is with the addition of vocals by El Reeve on ‘Dead Language’. It brings a new dimension to their hitherto sound, but it still-keeps with their vibe – generous handfuls of tempo changes and volume fluctuations – and most definitely avoids verse and chorus convention.

Even at their heaviest on ‘March of the Göll’ where they shift into faster gears for a sprint tempo well worth waiting for, there is still a calmness before the shifts into heaviness. While background vocal embellishments towards the later stages of the title track ‘Hypergenesis’ adds more colour even if they are sparingly used. The band have expressed their love of playing these tracks, and those feelings of enjoyment comes across loud and clear. Although amidst the many positives, the tempo changes and the musical mood swings can sometimes feel overplayed, and grates on ‘Into the Hazelwood.’ Rather than swooning into an atmospheric mood and groove, the constant shifting M.C partake in leads to having favourite sections.

However, despite these misgivings, there is no doubt Chronicles II: Hypergenesis evolves the story and the band’s musical scope, execution, and I’m sure achievements. It will be of interest as to where it all leads next.