High on Fire Albums (5)
'Live at the Contamination Fest'
Release Date 1/6/2009
Tracks 8
Label Relapse
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'Death Is This Communion'
Release Date 9/18/2007
Tracks 11
Label Relapse
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What The Critics Say
Album number four from High on Fire offers a few change-ups right out of the gate. For starters, it marks the debut of the band's third bassist, Jeff "Zeke" Matz. Secondly, it's thus far the most varied set in the batch. Matt Pike has always been a very texturally oriented guitarist. His strumming technique filled a lot of the space that can be the death knell of a power trio metal band. He's been inventive without having to be a guitar hero. (But in this sense, putting the sound of a band before his own ego gratification actually makes him one.) In producer and recording engineer Jack Endino -- who worked with both Soundgarden and Nirvana -- this crew found a very able and willing collaborator. Endino understands "heavy," but he also understands dynamics, and he encouraged Pike to explore some new sonic territory as a soloist as well. The slippery elements of strangeness on tracks like "Waste of Tiamat," where acoustic guitars strung high introduce the tune's opening bars before that crushing riff drops the hammer and is immediately followed by a brief but furious drum solo. Elsewhere, on the brief instrumental "Khanrad's Wall," a tambour and a 12-string acoustic (played by Matz) engage tom-tom heavy drumming, but it's followed by the speeded up near-Motörhead intensity of "Turk." The guitar solo in the middle, while mixed down just above the riff, is insane; just off the rails. That intense pace is furthered by the brief but well-paced drum orgy on "Headhunter," which gives way to "Rumors of War" in all its doomy (yet a bit quicker) riff-laden glory. Those who long for the old-school sounds of High on Fire will not be dismayed by this sound since there is plenty of the extreme doom riffing on "Dii" and extreme distortion of both guitars and bass in "Cyclopian Scape," after the 12-string intro that has its own strange resemblance to something off of Led Zeppelin's Physical Graffiti. For all the changes and advances, this is still High on Fire. No matter the proceeding, they are a band with a signature sound and it gets milked -- only with interesting colors, and textures added. Death Is This Communion is a step up from Blessed Black Wings, and just may be the band's finest and most focused moment yet. ~ Thom Jurek, All Music Guide
What The Critics Say
For some fans, the news that Steve Albini had been tapped to produce High on Fire's third long-player was a matter of great concern for many reasons -- chief among them, the renowned alternative rock producer's notoriety for ultra-compressed guitar sounds, which seemed utterly at odds with the California trio's most deadly weapon: guitarist and frontman Matt Pike's thundering riffage. Thankfully, such fears ultimately proved unjustified when the end result, 2005's Blessed Black Wings, wound up delivering galloping heavy metal with every bit as much volume and distortion as the band's breakthrough previous effort, Surrounded by Thieves. So much so that the million-dollar question now becomes: "Are the two albums too similar?" Aesthetically, the answer is most certainly yes, since High on Fire's rhythm section (now featuring new bassist Joe Preston, joining longtime drummer Des Kensel) remains every bit as pummeling, and Pike's six-string supremacy just as unchallenged, his solos ever prostrating themselves before the Neolithic power chord onslaught of his cross-the-neck slashing. Tracks like "Devilution," "Cometh Down Hessian," and "Silver Back" are all fire-breathing, semi-thrash rampages; the old-school metal pounding of the title track and closing instrumental "Sons of Thunder" is clearly reverential of Pike's beloved Celtic Frost; and the awe-inspiring, power chord colossus "Brother in the Wind" -- all rippling and tearing of muscle -- easily qualifies as a career highlight on par with anything offered by sterling predecessor Surrounded by Thieves. In fact, Blessed Black Wings could have used a few more overwhelming epics of this older stripe, since novelties like the clean, string-picking passages snuck into otherwise crushing tracks like "The Face of Oblivion" and much previewed live number "To Cross the Bridge," or the understated punk rock element found in the tighter riffs of "Anointing of Seer," prove all too subtle to constitute true innovation. In other words, the bulk of Blessed Black Wings follows the same formula that proved so successful for High on Fire in days past -- maybe a problem for those intent on forging ever forward, but hardly a bad thing when the point of origin was so damn good to begin with. And, truth is, few bands would be capable of achieving such a primal, yet thoroughly modern-sounding heavy metal album even on their most inspired moments. ~ Eduardo Rivadavia, All Music Guide
'Surrounded by Thieves'
Release Date 5/28/2002
Tracks 8
Label Relapse
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What The Critics Say
Matt Pike might be the most metal person alive. His dogmatic refusal to kowtow to trends is unparalleled for a relative young'un. He was stoner before stoner was cool (for the second time) with Sleep, and with High On Fire, he adds a speedy dimension, yet retains that doomsaying guitar tone that's thicker than a sumo wrestler's ankles, showing that going somewhere fast beats going nowhere slow more often than not. On sophomore release Surrounded By Thieves, the first, second, and third thing you hear is his guitar, a solidly packed continuous riff that sounds like Motörhead's bass chug. It is relentless, even when Pike solos, which then allows the band to mimic Saint Vitus on amphetamines. All eight songs sprawl on for several minutes at a time, each one an epic that rolls like sinister thunder across the landscape; storm coming, you better hide. There's not much variation on Surrounded; the whole disc pretty much locks in at 11, grabs your jugular, and refuses to let go, but when you get locked into a groove this good, who needs variety anyway? ~ Brian O'Neill, All Music Guide
'The Art of Self Defense'
Release Date 3/7/2000
Tracks 6
Label Man's Ruin
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What The Critics Say
Following the long, drawn-out demise of his former band, legendary doomsters Sleep (whose final album, Dopesmoker, was tied up in legal squabbles and went unreleased for years), guitarist Matt Pike finally unleashed years of pent-up song writing into a new stoner rock trio called High on Fire. On the band's first effort for Man's Ruin Records, 2000's The Art of Self Defense, Pike's instantly recognizable snarling guitar tone is the most obvious remnant from his Sleep days. But on outstanding tracks like "Baghdad" and "Blood From Zion," his previous group's snail-paced grind is replaced by driving riffs and thunderous drums that sound positively upbeat by comparison. The album also sees Pike tackling lead vocals for the first time (bassist Al Cisneros handled vocal duties in Sleep), and though his voice is buried somewhat low in the overall mix (lack of confidence perhaps?), this only places more emphasis on the true focus of High on Fire -- his bludgeoning guitar riffs. The heaviest of these serves as the backbone for the album's best track "Last," which simply must be heard to be believed. A promising new start for a genuine talent. ~ Eduardo Rivadavia, All Music Guide
