Skullflower is the long running project of Matthew Bower, but in its initial incarnation the band did have other members and was a bit more "rock oriented" than the cacophonous oppression of sound and noise that Skullflower is today with Bower as the (pretty much) sole member and driving force. IIIrd Gatekeeper is a re-release of the extremely difficult to find third record from this seminal band from when it actually was a collaborative group of individuals; this album is also considered a touchstone album from the band's early years that has a lasting effect on the current noise and drone scenes.
Swirling guitar noise accompanies the dominant thrumming, fuzzed-out bass (that holds the piece together) and lethargic drum beat as "Can You Feel It" incrementally gains volume and more and more noises to fill out the aural space; for a song that is kicking off an album, it is a especially subdued affair. "Black Rabbit" seems to be a more "rock" based song than its predecessor, but in reality, it truly is just as trip-y sounding and abstract. I am surprised by the underwhelming amount of oppressive volume in the song compared to what I have become accustomed to from Skullflower. The dirge that is "Larks Tongues" does not disappoint as it reminds me a bit of early Swans, just minus any inclusion of recognizable vocals. The drums and bass guitar make the song turn from a swirling noise piece into a punishing pseudo march that has a veritably menacing effect before breaking down into a complete cacophony. The percussion rhythm that is found in "Center Puss" colors the track in such a way that it sounds like an evil interpretation of a post-punk song. The contribution of the bass guitar only further cements that impression in my mind.
"Saturnalia" is a distinct change on IIIrd Gatekeeper with upbeat sounding mood being generated by the instrumentation, particularly that of the bass guitar component which lends an almost triumphant air to the song. The crunch of the guitars in "Vanadis" mixed with the other feedback, background noise, and percussion shows a possible bit of inspiration for future noise mongers, Wolf Eyes. The resemblance is actually rather uncanny; then again, I am not a true aficionado of Wolf Eyes but from an outsider's view this is so. There are moments during the course of "Godzilla" that one could draw comparisons to the positive mood sounds in "Saturnalia." There is also the barest hint of vocals that peek through the sheer wall of sound and squealing guitars that Skullflower produces for "Godzilla".
Finally hearing IIIrd Gatekeeper is an ear opening experience as one can hear where many of the current crop of drone and noise groups find inspiration from, but it is equally interesting because Skullflower shows some of their influences as well before they eventually shed any recognition of them. There are hints of the creature that the band is now, like on Orange Canyon Mind or Tribulation, but in its infancy or formative stage which makes IIIrd Gatekeeper even more of an interesting listen. This record is a definite must listen if you like anything else that Skullflower has done, or you are a fan of other drone or noise acts.
