Somewhere between Idle Hands and Julie Christmas is Ainsoph, an incredible new Dutch band that brings together a series of influences from black metal to post punk and every post metal ideal between the two. It’s all tied together with a distant yet clear kind of mixing that both allows for multiple styles to shine and still sound like one cohesive crushing sound. At the forefront of this is are feminine vocals that sound like someone who isn’t even there anymore, a ghost… “She is the void” to quote the second track “Malkuth”. This is one of those albums that is so in it’s own element that it’s hard to pin it down as metal, it’s more metal adjacent as it allows outside influences to strongly dictate the direction of the sound. Something I’m always happy to hear. […]
It’s stupid how fast this grindcore is, its speedgrind. Overall I’m super impressed with Abu Ghraib as an Australian band, I originally found out about them by scouring the Metal Archives for hours searching by Australia for the Heavypedia project. I encountered Abu Ghraib and their band photo was so funny and endearing I ended up saving it “for later” which I guess is now because they’ve released a massive grind album that surpasses even their sublime memery in ability and entertainment. There was no sign of this beast earlier in the year with just a demo to their name, don’t be sleeping on this one. […]
On the list of countries with an extended history of black metal, Greece would definitely not be among the first options that would come to mind. Yet, their banner-raisers Rotting Christ, hailing from Athens for over three decades, have ever since been a solid name of estimable repute within the community. They recently released their 13th offering, so aptly named The Heretics. As the name suggests and as you might expect, the whole album revolves around the notion of heresy; kind of an accolade to those freethinkers and revolutionaries of enlightenment who have, through their payment in blood or at the cost of their own sanity, laid the foundations of modern free speech. From Nietzsche to Voltaire and everything in between. […]
The Night Time Project Pale Season Doom Metal/Prog/Rock Sweden June 28th, 2019 7.8/10 Bandcamp (Vinyl) A unique album to all the fans of darkness and doom. I would like to express my appreciation to @north2night, the […]
Crypt Crawler are newcomers to the scene having starting producing singles in 2018 but they’ve sure as shit started with some quality songs. They have a DIY approach to their music that gives it an authentic rawness but there’s also a level of proficiency that brings with it a clarity to the sound. Their 2019 debut LP To The Grave can easily contend with many international releases in 2019 despite not having the aid of a label. […]
ACKOD is a very unique project that somehow exists between the void of minimalism and the bravado of extreme metal – not so surprisingly, out of California (partly), recorded at . It’s complex and brooding. It’s also likely to challenge a lot of people whose idea of music is more neatly packaged and familiar. Personally I find it quite exciting because it’s a part of a sound that doesn’t belong to a time in music but rather one that pops up here and there throughout it’s history like a rare breed. Stuff like Maudlin Of The Well if anyone can remember an underrated project from so long ago. ACKOD have come to 2019 with two releases and two more on the way. All of these releases are following the same story thread started with their first release in 2015, Vol. I: Enculturation and then Vol. II: Organic Emotions in 2016.
These two 2019 albums in particular are quite special, not only as a return for the project but also their collaboration with artist ma-ko (@drivemeawaytroubledheart) on both album covers, really elevating the presentation of the project. ma-ko’s art has been on my feed for some time, I completely adore their style which to me seems very inspired by video game fantasy, I have a feeling these covers had some inspiration from Hyper Light Drifter but their other work on IG speaks to older JRPG’s with a beautiful and traditional aesthetic. The lyrics seem to come from the same place as the art, perhaps there was synergy there. The stories resemble the volatile societies, history and politics of such fictional places. So let’s get into these two albums and keep an eye out for the third. […]
Advent Sorrow are an Australian black metal band that have been going at it since 2009 to moderate amounts of acclaim. They’ve come back this year with their new album titled “Kali Yuga Crown”.
To get more specific they operate out of the niche genre depressive suicidal black metal, or DSBM for short. It’s not a genre I’ve ever been all that into, but granted it is, as I said, very niche – so not a lot of music comes out of it, and the music that does come out of it rarely makes it’s way to the ears of the uninitiated. That being said, this album is a very good gateway into the genre. It incorporates elements of other genres and sub-genres such as atmospheric black metal, 1st wave black metal, and doom. The atmospheric moments come in the form of occasional keyboard flourishes and melodic guitar riffs, these influences are most present on the closing track “Death In Magic Antagonism.” The doom influences can be found on the track “Caesar” which employs these very slow, sludgy riffs. Then on tracks like “Spearhead” and “Wolf & Weapon” you can see more classic and traditional black metal song structure, especially in the drums. It’s like a black metal layer cake. […]
The raw emotion and peaks from the debut LP returns here in a big way, the goosebumps are back. The third and most recent album from Archivist offers a continuation of a running story, what appears to be a story of macro transformation. Look at the artwork (all by Alex CF) and you can see the transition from human, to machine and now to some kind of cosmic being no longer resembling a humanoid at all. The lyrical themes have followed the same transition, from emotional struggle of humanity, to the mechanical malady and now finally the emotional weight of the cosmos and confronting god. Perhaps a man made god, a literal and physical manifestation of the idea made real through circuits and programming. As always these are my own ignorant interpretations based on no research, something I like to do as an exercise. […]
It started so quiet and gave me little idea and yet I felt oddly emotionally attached to the artwork during this time, which intensified as the calm guitar came in. Still not giving anything away. Then the first punch of the record… the vocals, I love these vocals. It reminds me so much of early hardcore/mathcore like Botch in a lot of ways, it’s not a typical death/black vocal. It emotes more and takes his time with each lyric – Something else I’ll have to discuss because there’s some depth to the words. Currently I’m reading The Southern Reach Trilogy (First one, Annihilation, became a lesser film), so these science fiction themes tied to dramatic events and emotions really resonates at the moment. The consideration of the ideas and then the execution, there’s a lot of levity here. This will serve as suitable preparation for their newest release. […]
I’m developing a fondness for this balls deep heavy kind of sound. Since hearing their previous release I’ve explored more of what the Grind tag has to offer, from the classics recommended to me by the community to the newer bands like Iron Eagle and Ampallang Infection. I’m definitely getting a feel for it now but still have a way to go. What I am finding is that across all the grind styles are some pretty wild decisions made about album composition and song presentation. It’s like extreme metal wasn’t cutting it so people have tried to condense it’s heaviness into the smallest frame possible. To be the loudest the fastest without ever compromising brutality… well, they do comprise a little on this record and it’s quite eloquent when it happens. […]