Industrial

GGGOLDDD – This Shame Should Not Be Mine Review

By GardensTale on April 4, 2022 in Reviews, Alternative Metal, 132 comments

“GGGOLDDD is a band with a message. That sentence alone is enough to put Many People on edge. Because Many People are of the opinion that your sole duty as a band is to play music, not to confront us with stuff like political statements or uncomfortable truths. Many People say that music is supposed to be an escape and the only emotions an artist is allowed to make you feel are happy ones. Many People speak utter horseshit. Many People speak this horseshit because listening to a band with a message makes them uncomfortable, even when the message is as plain as “don’t fucking rape people.”” Words to live by.

Distant – Aeons of Oblivion Review

By Saunders on June 10, 2021 in 2021, Reviews, Death Metal, Deathcore, Slam, 16 comments

“Netherlands outfit Distant emerged on the scene with 2019’s Tyrannotophia debut, showcasing their self-proclaimed downtempo deathcore brand, with atmospheric stylings. While potential was evident, overall the album fell short of the mark, marred by monotonous writing and lack of interesting and dynamic arrangements. I missed their stopgap EP from 2020, but with two years having slipped by I plunge in with trepidation and hope to see if Distant have revamped their brand enough to sustain a deeper level of engagement.” Maintaining minimum safe distance.

Autarkh – Form in Motion Review

By Kenstrosity on March 9, 2021 in Reviews, Black Metal, Electronic, 60 comments

“My taste in metal rapidly expanded after Autarkh’s mastermind Michel Nienhuis obliterated my understanding of the universe with his atom-blasting Dodecahedron project. Crushing dissonance met twisted melody and horrific atmosphere in a package that was challenging but morbidly inviting not once, but twice. Autarkh falls far from that tree, not at all a continuation of Michel’s past efforts. This I respect and encourage.” Form before function.

Sarpa – Solivagus Review

By Carcharodon on June 9, 2020 in Reviews, Uncategorized, Black Metal, 9 comments

“The promo blurb had promised me that Sarpa, although rooted in the black metal aesthetic, incorporates a lot of other elements, including some Afro/Latin rhythms! Have I got a blackened Sepultura on my hands or a misguided attempt to make world-music black metal?” Kitchen sink-core.

Thief – Map of Lost Keys Review

By Emya on July 23, 2019 in 2019, American Metal, Avante Garde, Black Metal, Electronica Metal, Prophecy Productions, Reviews, Black Metal, Electronica Metal, 31 comments

“Thief is the pet project of Dylan Neal, a dulcimer player (dulcimist?) for the unconventional experimental black metal band Botanist. Thief’s music takes on a different theme entirely, however, from Botanist’s quirky style of environmentally themed “green-metal.” Map of Lost Keys, Thief’s sophomore album, swaps the hammered dulcimer for a myriad of electronics to produce late night music designed for haunted ballrooms and electric churches. While no traditional black metal demon shrieks or vicious tremolo picking can be heard on Map of Lost Keys, Thief remain obstinate in their attempt to appeal to fans of heavier genres.” Mischief managing.

Anima Nostra – Atraments Review

By Mark Z. on June 16, 2017 in 2017, Ambient Metal, Doom Metal, Industrial Metal, Malignant Records, Reviews, Swedish Metal, Ambient Metal, Doom Metal, 38 comments

“In my time writing at AMG, I’ve described albums as everything from ’emotionally gripping’ to ‘the pungent air inside my friend’s asshole.’ Yet I’ve never heard something I’d actually call ‘scary.’ That changed, however, upon my first listen of Anima Nostra’s sophomore album Atraments.” Fear is the Mark killer.

OvO – Creatura Review

By Treble Yell on December 11, 2016 in 2016, Dio Drone, Industrial Metal, Italian Metal, Noise, Reviews, Drone, Noise, 9 comments

“When faced with a work of art that purports to be avant-garde, invariably a question must be asked: is the all-but-total abandonment of classical song structure and melody a hallmark of innovation and a refutation of the musical establishment or is it merely the flotsam-and-jetsam of musicians lacking the skills to write a decent song in the first place?” Challenging.

Tid – Fix Idé Review

By Jean-Luc Ricard on October 17, 2016 in 2016, Avante Garde, Industrial Metal, Post-metal, Swedish Metal, The Sign Records, Post-Metal, Synthwave, 32 comments

“Take a moment to drink in the epic beauty of the image to the left of this text. It’s amazing that a picture with so much monochrome can conjure such a powerful atmosphere. My expectations for the music are already sky high without hearing a single note, and are only increased on discovering that Tid (aka Time Is Divine) contains former members of Swedish experimentalists Magna Carta Cartel and Subvision. Can they possibly have come up with music that matches such an incredible visual impact?” Open the pod bay doors, Hal.

Twilight – III: Beneath Trident’s Tomb

By JF Williams on March 14, 2014 in 2014, American Metal, Black Metal, Century Media, Reviews, Black Metal, 4 comments

“It’s easy to be skeptical of the US black metal super-group Twilight. Perhaps the only one of its kind, this ever-changing collective has included key players from Leviathan, Draugar, Xasthur, Nachtmystium, Krieg, Isis, The Atlas Moth, Minsk, and, as of this year, Sonic Youth. As one might imagine, the results have been polarizing among listeners, and with their third (and final) release III: Beneath Trident’s Tomb, Twilight has elected to go all out with a fantastically idiosyncratic record.” J.F. Williams is throwing around terms like perversely groovy and bizarre and disjointed. Does this spark your interest? Read on!

Samael – Lux Mundi Review

By Angry Metal Guy on April 21, 2011 in 2011, 4.0, Black Metal, Nuclear Blast, Black Metal, 2 comments

OK, I have a secret to tell you right up front. I haven’t listened to Samael with any regularity since the late 1990s when I first started getting into black metal. I had a love affair with Ceremony of Opposites and was actually a bit disappointed when someone played me Passage. However, over the years Passage is the one that I have come back more frequently to, despite (or because of) its industrial bent. I wasn’t a huge fan of Above when it was released, though I must have just been cranky because it’s a fucking killer record, but I’ve always been waiting for the follow-up to Passage that never came. And I gather that I am not alone in feeling that way.