“Less black metal than Trna, and more evocative synths a la Unreqvited, there is no rushing Olhava. Shimmering soundscapes are what they do, albeit that, where Unreqvited has (at least since 2018’s Mosaic I: L’Amour et L’Ardeur) hints of light and promise in the sound, Olhava is all shades of loss and a sense of hopeless grey.” 50 shades of sadboi.
“Back in the days before the Great Plague (2018 to be exact), I stumbled upon a quirky underground act called Vanishing Kids and their Heavy Dreamer album. Hailing from Wisconsin, they billed themselves as “somnambulic doom,” which intrigued me but didn’t really do justice to their unique sound and style. They play a slick mash-up 70s acid/psychedelic rock with 80s goth rock, ethereal wave, and yes, some random bits of doom sprinkled in. The end product is haunting, dreamy, and entirely gripping, full of moodscapes that envelope you like a heavy fog. I still play Heavy Dreamer regularly and there’s just something special about the album that sticks in my head and heart. As the world hid away from 2020 to 2022, Vanishing Kids used the isolation to work on the follow-up, and after 5 years we get the appropriately titled Miracle of Death.” The Kids are alright.
“For a while there, around 2013, when black metal briefly flirted with being cool, it seemed like everyone and their dog were trying to be the next, “Black metal but with [insert random genre here, the weirder the better].” One of the weirder projects, both conceptually and in name, was The Netherlands’ An Autumn for Crippled Children (AAfCC). Fusing black metal and dream pop, it was shoegazey… but lighter; post-metally… but shriekier.” Crippled but able.
“Grant the Sun at surface appears as Norway’s newest metal jam band export, crossing ears with sounds that conjure the one-off twangy dream of Graviton or the chug-n-swell maestros Russian Circles. Reaching equally to a shoegaze fizzle (“Mariana,” “Vertigo”) and modern prog syncopation (“Machina,” “Hits like a Wave”), Grant the Sun brings many flavors to the table.” Panda Express.
“I admit, I avoided this band in the past because weed pun names rub me the wrong way. I have nothing against hazy plant explorations—I dabble—but you can only laugh so many times at joke titles like “Kief Castle” or Stoned Jesus. Heck I’m sure in the right state of mind I’ve even made my own joke band names. Chicago’s REZN isn’t here to joke around though. Eschewing comical escapism, this young quartet aims for a more conscious and guided meditation.” Two bongs may make a light.
“Death Spells was something special. Introducing us to the beautiful and devastating world of Holy Fawn, it showcased stunning restraint for an act with everything to prove. While undeniably built upon the foundation of My Bloody Valentine or Slowdive with saturated shoegaze drenching every movement, don’t be surprised if you’re surprised with swaths of electronica, climactic metal crunch, and a knack for heart-wrenching melody. Holy Fawn is undeniably metal, and like good metal, labyrinthine.” What is metal?
“Is 97 minutes too much music? Is it unfair to judge albums simply for being long? Yes… and yes. Regardless, Banefyre presents us with 92 minutes of new Crippled Black Phoenix sounds plus one bonus track. Our own Huck N’ Roll has a mixed history with leading man Justin Greaves (Se Delan, ex-Iron Monkey) and his rotating cast of sound partners, but it can be tiring digesting the hours of music that this project puts out, so I’ve stepped in to give olde Huck a rest.” Free birds.
“In the six years that have passed since Astronoid’s first LP, I have yet to hear a debut record spring from the ether as novel and fully realized as Air. While possessing a youthful vigor and innocence characteristic of an enthusiastic upstart, Air sounded like the product of several albums’ worth of honed identity. As Mark Z so eloquently summarized, however, that once-perfect brew of black metal, post-rock, and shoegaze became unbalanced with Astronoid’s self-titled follow up. Its songwriting was flat, its energy and atmosphere were tempered, and they took away the fucking blastbeats; an automatic point deduction for any metal record. I’m happy to report, then, that Radiant Bloom is something of a return to form.” Embrace the Noid.
“Welcome to my third Mountaineer review. Three reviews of doomy, shoegazey post-rock might seem cumbersome to many, but these albums come every other year, so I find myself primed to dive in. In fact, I was just listening to music of a similar style last month, the album The Shape of Everything by a band called SOM. It falls into many of the same categories as Mountaineer’s newest, Giving Up the Ghost, does, although Mountaineer have a heavier, more menacing edge to them courtesy of Miguel Meza’s harsh vocals.” Return to Ghost Mountain.
![Black Sheep Wall – Songs for the Enamel Queen [Things You Might Have Missed 2021]](https://www.angrymetalguy.com/wp-content/uploads/2021/12/Black_Sheep_Wall-Songs_for_the_Enamel_Queen-768x768.jpeg)
“I remember when Black Sheep Wall “qualified” for an Encyclopedia Metallum profile with sophomore effort No Matter Where It Ends. Kind of pedantic and nitpicky, but then again, their blend of sludge metal, post-metal, doom, and post-hardcore is bound to be divisive. The California quintet offers their fourth full-length Songs for the Enamel Queen, an expertly written and superbly executed mass of concrete-thick sludge metal injected with tumorous melodies and shifty rhythms.” Of Sheep and sludge.
