“The thorough and rigorous research process which all bands with whom I’m unfamiliar undergo relented one key piece of information for Seattle’s A Flourishing Scourge: they shared a bill with Rhine who I reviewed last year and who I noted for their unusual and disparate range of influences.” Woe to the easily influenced.
“2016 saw the release of the debut, self-titled, full-length album by Manchester’s Wode. While I never got round to a Thing You Might Have Missed, I was impressed by their vitriol and riffcraft. The arrival of the sequel scarcely a year later afforded me the opportunity to make amends for my prior laziness, so I booted up, strapped in and prepared myself for an auditory annihilation.” Wode to spheres.
“Despite hailing from an English-speaking part of the world, Rapheumets Well and their third full-length, Enders Door, immediately triggered me with their flagrant disregard for apostrophes. It was this distress which drew my eye to these North Carolinians as I cursorily browsed the promo bin. Alarm bells immediately rang but this is much better than the ambivalence I usually enjoy while surveying upcoming releases. I had something to think about which at least gave them a foot in my active consideration.” Punctuation as predictor.
“2015’s Courting the Widow by the dandyish Nad Sylvan was a sadly overlooked little gem. It’s one of my favorite prog releases in recent years and was perhaps unfortunate to miss out on my 2015 list. It featured accomplished prog in the vein of the ’70s but most importantly had a charming joviality and insincerity which made it a genuine pleasure to hear. I was therefore only too happy to find that a sequel was primed for release called The Bride Said No.” Nad’s back!
““Clear Light of the Void” is the third track from As We Were When We Were Not (henceforth AWWWWWN) by Leeds’ Mountains Crave and its opening explicitly grabbed my attention. Underpinned by a gently plucked simple progression, an old broadcast of Gerald Heard is sampled. Gerald Heard was a noted historian and writer but was also considered an expert on LSD; he espoused the mind-opening nature of psychedelic drugs. This sample led me to read around the young band and discover this psychedelic streak is important to them, citing Aldous Huxley as a particular influence.” Turn on, tune in, read on.
“The tying together of metal and classical music can be such a mutually beneficial endeavor. Classical’s range of instruments and diversity of mood with metal’s intensity and rhythmic prowess? A match surely made in Heaven. And yet it’s a match which can so easily become a torrid mismatch.” Heaven or Hell, who can tell?
“It seems Emmanuelle Tito, the man behind the Alchimia project, has a feel for classicism. The fusion of painted, classical artwork with overt utilization of Italian and Latin on Musa, his first release under this alias, depict a desire for a particular grandiosity which travels beyond the blue collar roots of metal.” He must be one of them fancy boys.
“According to a totally legit Wikipedia search, the word ‘tehom”‘ refers to the deep ocean which once existed and from which Biblical Creation began. The dark but somewhat aquatic artwork adorning the front of Tehom’s The Merciless Light fits this story and these Swedes attempt to document these primordial times through the medium of blackened death metal.” Dead on the Dead Sea.
“I love progressive metal fusions. To name just a few: Opeth, Cormorant, and Ne Obliviscaris are among my favorite bands. So the prospect of getting on board with a young and allegedly progressive black metal band early was certainly enticing. I say allegedly as our promo-meisters have been known to be deceptively liberal with genre labeling in the past, but I cut them some slack and acquired Chained to a Wolf by Katakomb with interest.” Wolves, chains and intrigue.
“I normally make a point of ignoring Facebook adverts. ‘I won’t be a victim to consumer culture!’ I say to myself; ‘you don’t know me!’ But the omniscient algorithms which now compose the base of all our interests and spending habits were once again validated. Promising progressive and post-metal, eye-catching artwork and a group local to me, Asira’s Efference beckoned with a sultry finger. And while I may have chided myself as I hit play on the single, I learned to re-love myself by its conclusion.” We frown on self re-loving.
