“DDENT is a French post-metal group from Paris, formed in 2013 and having released two full-lengths and an EP. Sporting a Pelican or Omega Massif vocal-less style, complete with post-rock dynamics, pummeling sludgy riffs, and a stunning sense of beauty within its uncompromising sound.” Post posts.
“It’s nice to have some actual dialogue after my solitary confinement to Shape Without Form. That’s right, tubthumpers: Ghost Toast are an instrumental band! There’s been a lot of that lately, and I’m not really sure why, but I was bound to deal with something of the sort sooner or later, and now here we are, Ghost Toastin’ it up.” Rye revenants abound.
“There’s a menagerie of experimental groups about the borders of the black and death metal scenes, tracing out their own paths without much regard for popular approval or commercial success. On occasion, these groups will sweep into the mainstream, but for the most part, their influence is more subtle, appearing in an adulterated form in the riskier songs of established artists. If your poison is black metal you can choose between the flavors of Krallice (ever bolstered by their lineup’s star power), Jute Gyte, Genevieve, and many others. If your neck is a bit larger in diameter, you might want to choke down Baring Teeth, Coma Cluster Void, or this week’s subject, Thoren.” Buffet of bitters.
![We Are Impala – Visions [Things You Might Have Missed 2019]](https://www.angrymetalguy.com/wp-content/uploads/2019/11/weareimpalavisions-768x768.jpg)
“It’s a surprisingly fresh combination of psychedelic atmosphere and proper riffs, nestled between the post rock and stoner rock genres. These composite genres are often anything but fresh, comprising musicians who are unable to write riffs and musicians who smoke too much weed respectively, but Visions nails its singular fusion.” Weed out, cotton-candy flavored edibles in.
“It’s early afternoon, and I have decided to embark on a rather lengthy walk. During this time I will be spinning Triumph & Disaster, the fourth full-length album from We Lost the Sea, and their second since the tragic loss of singer Chris Torpy. I load up the first song and notice something out of the corner of my eye—yes, I did see that right. The instrumental progressive post-metal album I’ve picked up has a fifteen-minute long opening track. Because I’m a terrible reviewer at heart, my brain does the only thing it can: it leaps to the nearest conclusion and prepares for a very long hour.” Time is a social construct.
“It’s been almost three years to the day since I reviewed Dysrhythmia’s last album, The Veil of Control. Of course that one appealed to me: it was loaded with virile, complex songs that at times borrowed heavily from King Crimson—specifically, that band’s The ConstruKction of Light era. Dark, heavy, and discordant, it all added up to an enjoyable romp through instrumental prog-metal fields. By not overstaying its welcome (6 songs in 36 minutes), the album managed to hold my attention longer than many other instrumental prog albums.” Prog with a punch.
“Instrumental metal has been a difficult branch for me to get into. A big part of why I got into metal is due to the wild dynamics offered by a human voice (and in one particular case, a coffee grinder). But there are always exceptions to the rule that eventually break the rule entirely. In my case, the first band to pop my “vocals or bust” bubble was Nightwish, whose instrumental-only rendition of Dark Passion Play is so compelling I ended up preferring it over the standard edition. Then I discovered Sleep Terror, a fantastic instrumental tech-death/surf/funk band you all owe it to yourselves to investigate. From there I discovered Echopraxia, a ghost/supernatural themed instrumental metal act, and now I’ve stumbled upon Essence of Datum, an instrumental melodic prog-death couplet from Minsk.” Voices don’t carry.
“As always, Wovenhand were on a blinder and played a great show but their co-headliners, then completely unknown to me, blew me away. They were Chicago natives Russian Circles. I can’t now remember whether Wovenhand or Russian Circles played first but it doesn’t matter because, whichever way round it was, this was Circles‘ night. This three-piece, playing expansive, heavy instrumental metal, held the Scala in the palms of their hands that night.” From Russia with blood.
“In which we fall under the Russian sphere of influence and cry about it.”
“Together, Schutte and Stickney perform a agonizingly dense mixture of irregular instrumental metal. Nothing is stable. The record quite literally darts in and out of being. It’s a completely engrossing record that affronts a listener from all musical angles. Is it too overwhelming?” Prepare for pounding.
