“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.
“Back in 2018, Mountaineer’s brave concept album Passages checked all the right boxes. The captivating mix of post-metal, doom, and shoegaze was offset just so with an alluring sense of adventure, as the band threw in some odd instruments and bleak, cathartic progression in the songs. In fact, the mighty El Cuervo claimed Passages was one of the few post-metal albums he still went back to. High praise from our deliberately contrary Brit.” Mt. Buzz.
“The furious, enraged opening salvo of “Maimed,” the lead track on The Ditch and the Delta’s eponymous second album, is probably an accurate representation of exactly how nearly all of us feel right now – especially up here in bunghole Alberta, where it simply won’t stop snowing (not that we’re allowed to do fun things outside anyhow), which only adds insult to injury.” Sludge therapy.
“How can music communicate the feeling of dread? While all styles are able, metal’s inherent darkness fits like a glove. While it’s easy to provide aural bludgeoning or emphasize excess, the discipline of restraint takes time and effort. From the post-metal dirges of Neurosis, the avant-garde buildups of Eryn Non Dae., the spiraling doom of Swallowed, the blackened payoffs of Cultes des Ghoules, and the death metal environs of Desolate Shrine, it revels in darkness, plays with menace, but most notably, waits patiently.” Waiting in the darkness.
“Dwaal is made up of six full-time members, a lot for this genre, and they spring from the sludgy post landscape founded by Neurosis. A close contemporary in sound and style would be Amenra, with both bands adept at slow building tension, but there are moments, especially in closer “Descent,” that indicate they are very much down with Why Oh Bee (yeah you know me).” Sludge hammer.
“Our latest post-metal loving Dutch trio An Evening with Knives is hoping to take a stab at the scene with their second full-length, Sense of Gravity. They advertise their sound as ‘where the wall of sound falls down into a sea of tranquility’ in a fusion of post-metal and stoner-doom. Does their intriguing premise succeed in a cut above the rest or will it just settle being another post-metal old knives‘ tale?” Falling blades.
“2019 was a very good year for doom metal in general. However, I never got to review the real quality stuff, unless you count Hollow Leg which I would call sludge first, doom second. So I set upon Meridians with high hopes to see this changed for the better and claim my slice of the awesome doom pie.” Bone pie.
“He’s a happy dude that makes everyone around him happy. Case in point: at a Neurosis show in Phoenix, I became so enamored with opening act Amenra that nothing existed around me but dark, depressive death. Then I felt the nudge and looked over at the smiling face of Mr. Ocell. One second, I wanted to die. The next, I wanted to give the little guy a noogie. But how can a guy as happy as Shane write music as dark and heavy as that of Via Vengeance? I haven’t a clue, but that’s what he does.” Beware the smiling man.
“Let me make something clearer: Shadow Limb sound like early (read: good) Mastodon. Like, a lot. The only way to experience the earnest, adventurous riffs and rhythms of tracks like “Rudiger; ” or opener “Asger Arisen” without immediately recalling Mastodon is to have somehow never heard Mastodon in the first place. Half mast(odon).
“I have my own boxes to check as I look for the next Cherd friendly album, so when patterns emerge, I take note. Recent positive experiences with doomy, noise tinged post-metal from the United Kingdom packaged in black and white cover art, namely Sūrya and Bismuth, led me to take a chance on Torpor‘s Rhetoric of the Image. Will the sophomore effort from this three-piece keep the hitting streak alive?” Post-gambling.
