“I have a soft spot for things I spot in the promo bin that are self-released. I think this is probably a function of my own complete lack musical talent, which means I already hold musicians in high regard and anyone who has the drive to self-release a record is a little bit amazing to me—the downside to this foible is, of course, that there is no vetting or editing on self-released records.” Self help.
“Arkhaaik have, for reasons best known to them, decided to write and perform this in proto-Indo-European (PIE). The PIE tongue, last spoken several thousand years BC, remains only partially reconstructed. And this, according to my extensive Wikipedia research, at least explains the asterisks, which are used to mark reconstructed words. What’s that? Enough linguistic history? Well, there’s more but, if you’re sure.” Dead tongues and other creepy things.
“When Grymm awarded Ashbringer’s debut, Vacant, a deserved 3.5 back in 2015, he was writing about the self-released exploits of a one-man black metal project, delivered by someone then aged 18. Scroll forward four years and Nick Stanger, Mr. Ashbringer himself, has, presumably, reached the ripe old age of 20-something. He’s also released a second record (2016’s Yūgen, which we failed to review), gathered around him a group of three other musicians and signed a deal with Prosthetic Records. Now a four-person collective – or ‘band,’ if you will – Ashbringer are ready to drop their third album, Absolution.”
“There is, at least to my ears, a point at which doom, stoner rock, and sludge all intersect, at which point it’s hard to definitively class a band one thing or the other. This is perhaps unsurprising, given the common roots these sub-genres all share in Black Sabbath, Pentagram, Trouble, et al. And it is this murky, fuzzy point of overlap that Portland, Oregon four-piece Tar Pit inhabit and do so quite knowingly and unashamedly.” Stuck in the pit.
“Gauging by the comments section on a recent post-metal review that I penned, it would seem that a lot of people are over anything post-y. What better way to win new fans and friends than to write up an experimental, instrumental, post-rock collective? Hmm, on reflection, this could be a hard sell.” Coffee is for closers.
“Canadian black metallers Panzerfaust’s forthcoming album is the follow up to 2016’s The Lucifer Principle, which the band describe as a “full-length,” making The Suns of Perdition I: War, Horrid War Panzerfaust’s fifth album. With only four tracks and clocking in at 25 minutes, personally, I’d be inclined to describe The Lucifer Principle as an EP. At just slightly over 31 minutes and comprising five tracks, I will give the Toronto natives a pass on their 2019 release’s claim to album status. Just.” Nasty, brutal and short.
“There are many threats facing our world today. Some are man-made (climate change, for example), while other dangers manifest as actual men and women. But is there any threat less talked about than that facing Sweden today? The time vortex seemingly whirling across that Scandinavian country, spitting out 70s alt-rock bands left, right and center? From Witchcraft, Horisont, and Graveyard to my subject today, Lykantropi, and, let’s be honest, recent Opeth too, there is a significant number of them around.” A plague of the past.
“Until Rain deal in progressive metal and have been doing so since 2009, with four full-length albums already under their belts prior to Season V. I confess, I am only familiar with their most recent release, 2017’s Inure, which offered up dark, moody prog, featuring heavy bass lines and, at times, even flirting with djent and blastbeats (see, for example, “This Solitude”). I didn’t love it but I certainly liked it and there is no question Until Rain showed some vision and genuine songcraft on it.” Who’ll stop the rain?
“Power metal is one of those genres that promises a lot but has a tendency to under deliver. Progressive power — prower? — metal promises more and delivers less often still. While the key constituents, including soaring guitars, prominent keyboards, bombastic drums, and faux-operatic vocals, are all welcome, the manner in which they are stitched together is often where it comes apart. Add to this the risks inherent in making a concept album and you have quite the heady mix.” Watership down.
“During the Great N00b Off, I told myself that, should I one day be given unchaperoned access to the promo bin, I absolutely would not choose a band purely on the basis of its name. I would do my research and make an informed decision. So, following my first foray into the promo bin sans Steel Druhm, take a bow John, the Void, a band I chose purely for its name.” What’s in a name?
