“I was first introduced to Italian noisemongers Hierophant with their 2013 sophomore effort, the provocatively titled Holy Mother: Holy Monster. An absolutely punishing release, it included all the hallmarks of acts like Oathbreaker, Celeste, and Hexis in its blackened hardcore/sludge combo. However, with a cutthroat crusty edge, it forsook all subtlety for punishing vitriol, excruciatingly dense and brutal.” Death sieges us all. Hold fast!
“While Hexis undoubtedly draws much comparison to the blackened hardcore/sludge of Celeste, Oathbreaker, The Secret, and even Amenra, there’s a liturgical element about them. Although its lyrics draw from the well of blasphemy and trod the well-worn path of nihilism, pitch-black reverence settles like cancer in the blood.” Hex marks the sore spot.
“If you’ve never heard of Celeste, the name and the aesthetic can be misleading. Gorgeous and contemplative black and white photographs of artistic poses and strange characters greet the eyes with a moniker that points to the heavens. If you were to guess the style, you might say post-black or prog, maybe an indie acoustic troubadour, or a bedroom jazz project. However, you’d be hard-pressed to find another act as suffocating and pissed off as Celeste. A visceral fusion of black metal, hardcore, and the filthiest outskirts of extreme subgenres, these Frenchmen are the epitome of scathing consistency, releasing album after album of hypnotic tunes.” Assassin’s breed.
“Trenches is a band formed by Jimmy Ryan, former vocalist of Christian metalcore heavyweights Haste the Day. Releasing one album through Solid State Records, Jesus’ vacation home of all things -core, 2008 debut The Tide Will Swallow Us Whole instead opted for a Neurosis’ Given to the Rising-esque sludgy ‘n slow take rather than the second coming of When Everything Falls.” Jesus wept.
“It’s hard to have hope sometimes. We live our lives constantly getting up and going, always moving onto the next thing—moths chasing flames that grow more elusive as the dawn approaches. We’re tortured by silence in a screaming year, laced with events of turmoil and perpetual change—a silver silence that holds a mirror up to our faces and our truths. And we don’t always like what we see. It’s hard to have hope when we’re distracted, romanced by the illusion of productivity, blinded by privilege, and shielding our weary eyes from discomfort. This is what makes Svalbard so important; they force us to look.” Dying to heal.
“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.
“Take a gander at The Fifth Alliance’s new band promo shot below. What’s the first thing that comes to mind? After my first glance, I couldn’t shake the uncanny resemblance of the spotlighted line of band member heads to the Game of Thrones Hall of Faces, a seemingly endless room full of pillars housing the skinned faces of the dead sitting in wait to be wielded by one of the Faceless Men. Too grim of an intro? Perhaps, but I don’t think The Fifth Alliance would think so.” Face the darkness.
“Although Carcharodon come from the filigreed halls of Italy, legendary for its theatricality, they named themselves after the genus for the great white shark and the megalodon, and they call their music macho metal. If you still don’t know which side of the subtlety fence they fall on: there’s a song on here called “Whalefucker.”” Macho, macho metal.
“When Bosse-de-Nage’s All Fours released in 2015, my familiarity with post-metal started and ended with the clusterfuck that was Deafheaven’s Sunbather. All Fours, needless to say, caught me completely off guard. It was raw and intense, evocative without overacting, and certainly more committed to metal than the internet’s collective bitching led me to expect. Further Still has some big expectations to live up to.” Bosse or Bath.
“Pulling off a long song — be it a ten-minute black metal piece or an hour-plus funeral doom opus — takes very deliberate pacing. Great drone and doom bands know this and know how to pull the listener rather than push them. If the song moves too fast, it can seem to lose structure, but if it moves too slowly, it can stagnate and sour the listener to its next idea. One has to have the pacing and space to keep themselves involved.” The long lurch into oblivion.
