The Melvins team up to Rodeö the new album by Melvins. Will Tarantula Heart be the straw that psychic breaks the staff’s back? Depends on who you ask.
Swans
Megaton Leviathan – Magick Helmet Review
“Look, I love drone. I love getting lost in the swaths of noise and soundscapes that pervade its classics, as albums like Earth’s Earth 2, Sunn O)))’s Black One, and Boris’ Flood offer otherworldly and mammoth wilderness to explore. Riffs don’t offer adrenaline, but mountains instead, while vocals and percussion, if there are any, are the last semblance of humanity amid the utter saturation of sound. Its utter overwhelm of sound makes it controversial, its void of relatability offers little reprieve, and its slow depiction of devastation is hypnotic. All that to say, while I was maybe hoping for the next Holy Fawn with Megaton Leviathan’s talk of shoegaze, drone, and doom, I don’t know what the fuck to make of Magick Helmet.” All noise, no sword.
Among the Rocks and Roots – Pariah Review
“Among the Rocks and Roots explore semi-free form compositions, relying as heavily on hypnotic repetition as they do shifts in style and tempo. The concluding part of a trilogy that has explored the battle to conquer addiction, Pariah fairly seethes with an unstable anger.” Rage against the hunger.
Bolt Gun – The Tower Revew
“The Tower feels like ascent. You’ll feel light as air, floating upon the ether in warm sunlight, only to crash to earth in plummeting gravity. While journeys are not uncommon across metal’s many weathered and storied expanses, Australia’s Bolt Gun offers a vertical trek. Its experimental fervor, blackened climaxes, and monolithic weight, and above all, the emphasis on atmosphere, offer scenic vistas and groveling earth alike, hurtling towards the summit and the zenith. Always majestic, as if in reverence to the colossal structure always in view, The Tower feels like a chronicle: a breathing, organic, but dense legend.” Climbing creativity.
Yer Metal is Olde: Blut Aus Nord – The Work Which Transforms God
“Before we dive headfirst into today’s induction, I want to address the impressively large, off-salmon-colored pachyderm that’s currently occupying a large space in the corner of the room. Black metal, especially in the late nineties and early 2000s, wasn’t all that terrifying, despite what their chief songwriters would have you believe. Behind all the church arsons, bullshit posturing, literal back-stabbing, racism, homophobia, xenophobia, and murder, the music didn’t even come close to attaining a faint whiff of what they were trying to achieve aesthetically.” And then, transformation.
Soothsayer Orchestra – The Last Black Flower Review
“I have a great admiration for the solo creator. Thanks to my attention deficiency disorder, the two tasks I struggle most with are staying motivated and staying organized. The kind of dedication it takes to perform every part of what is ordinarily a team effort seems Herculean to me. Pieter Hendriks (Black Bottle Riot, Born From Pain) has that kind of dedication, though, as The Last Black Flower is his second album as Soothsayer Orchestra, a mere 2 years after the self-titled debut. But does dedication equal quality?” One man, three projects.
This Is Oblivion – This Is Oblivion Review
“This Is Oblivion is a duo consisting of New York-based vocalist/violinist Lulu Black and her partner The Number Twelve Looks Like You / So Hideous drummer Michael Kadnar, taking influence from acts like Chelsea Wolfe, Swans, and Body Void in a Gothic blend of industrial noise and neofolk, accomplished through minimalist instrumentation. Relying on repetitive melody, doom percussion, and Black’s accomplished and varied vocal performance, This Is Oblivion is greater than the sum of its parts in its emphasis on evocation, ritualism, and summoning.” Enjoy of deep Oblivion.
Gloop – Crayon Sun Review
“Gloop is a trio from West Virginia but currently based in Baltimore, having released two full-lengths since 2017. A truly disconcerting brew of noise rock by way of no-wave with a healthy dose of bluesy rock and upbeat punk, Crayon Sun takes Gloop to darker depths with in-your-face dissonance, angular riffs, and a defiant punk attitude. A shapeshifting beast both apathetic, frenetic, and abrasive.” The Glooper.
Neptunian Maximalism – Solar Drone Ceremony Review
“Neptunian Maximalism took the metal world by storm last year. Éons was an absolute monument of an album, fusing drone, jazz, and psychedelia into one of the most evocative listens in recent memory. It spoke to something primal, something ancient that lived at the bottom of a listener’s subconscious, and snuck its way into my year-end list at number 2. Conjuring the likes of Sunn O))), Sun Ra, Swans, and Miles Davis, it was a concept album regarding the fate of Earth and its inhabitants, resulting in mass extinction and planetary destruction. Only nine months later, we’re treated with a new offering; can Solar Drone Ceremony continue where its predecessor left off?” Maximal effort.
![Neptunian Maximalism – Éons [Things You Might Have Missed 2020]](https://www.angrymetalguy.com/wp-content/uploads/2020/12/Neptunian_Maximalism-Eons.jpg)
Neptunian Maximalism – Éons [Things You Might Have Missed 2020]
“Consisting of core members Guillaume Cazalet, Jean Jacques Duerinckx, Sebastien Schmidt, and Pierre Arese, alongside a massive entourage of musicians, Neptunian Maximalism (or NNMM) utilize a range of influences, genres, and instruments both traditional and contemporary, to create their second full-length and crowning achievement Éons. While it’s unclear if it is indeed metal, that matters little. It’s an immensely sprawling release, a two-hour-plus release over three discs, and its content is just as challenging.” MOAR to score.
