“It would be tempting to call The Ailing Facade the product of a supergroup. Formed with veteran blood from acts like Castevet, Gath Šmānê, Luminous Vault, and Artificial Brain, guitarist/vocalist Garett Bussanick uses Aeviterne as a vessel to resurrect New York dissodeath heavyweights Flourishing. However, this quartet feels like so much more than a supergroup.” Horrid rebirthing.
“While the small nation of Ireland is host to a few larger names (Primordial and Altar of Plagues come to mind), there is still not yet a strongly defined Irish metal sound, other than the stereotypical squeal of bagpipe or drone of a hurdy gurdy. Senzar does not muse on folky ideas, instead using Pyre of Throes to cement their place in the ranks of post-kissed blackened acts like Suffering Hour or Yellow Eyes.” Irish fires.
“I have mixed opinions on uncomfortable extreme metal. While I’ve enjoyed bands like Ulcerate and Gorguts, I can’t listen to Imperial Triumphant or Ad Nauseam ad nauseam without getting frustrated. Call me stupid (you’re probably right). So it was with great trepidation that I picked up the third album Trespasser by Idol of Fear, an underground Canadian experimental black metal band that I’d never heard of.” Trespassing on your comfort.
“It’s not a particularly profound observation that art contextualizes life. It’s also true that life contextualizes art. In the case of Ukrainian band, Sidus Atrum, it’s impossible to disconnect the band’s sophomore album, Spiral of Life, from what is currently taking place in that country. Although it was conceived and recorded well before the current conflict with Russia began, the current situation echoes hauntingly through the work, lending it an aura of tragedy and profundity.” Life finds a way.
“”Doom” plus “shoegaze” equals “doomshoe.” Wait, sorry–with Vexier, Switzerland’s E-L-R releases their second platter of so-called doomgaze. The sound, as you might guess from the tag, combines echoing, reverb-soaked vocals with riffs that repeat to the point of near-hypnosis. The heavier elements are closer to post-metal than they are to doom, with a psych-rock vibe that often recalls a late-era Kylesa.” Shoes of doom are dropping.
“I have struggled mightily with Abraham. At its core, is it still Neurosis-core? Sure. Any post-metal release is bound to be. But there’s something especially tortured about its swaths of monolithic riffs and vivacious in its vocal variety, but above all, patient. It feels like an otherworldly ritual, as the drums pulse and the guitars plod with hypnotic rhythms to the beat of otherworldly suffering. While its former releases felt shining and hopeful, clean and precise, fourth full-length Débris de mondes perdus feels gritty, soiled, and unforgiving – but above all, hopeless.” Death of the sun/son?
“Welcome to my third Mountaineer review. Three reviews of doomy, shoegazey post-rock might seem cumbersome to many, but these albums come every other year, so I find myself primed to dive in. In fact, I was just listening to music of a similar style last month, the album The Shape of Everything by a band called SOM. It falls into many of the same categories as Mountaineer’s newest, Giving Up the Ghost, does, although Mountaineer have a heavier, more menacing edge to them courtesy of Miguel Meza’s harsh vocals.” Return to Ghost Mountain.
“Tunisian one-man band Brood of Hatred caught my attention during my early days on Bandcamp, luring me into mastermind Muhammed Mêlki’s twisted brand of progressive post-death metal with Skinless Agony. He apparently released a second album, Identity Disorder, so quietly that I completely missed it until just a few days prior to writing this. Catching up on what I missed gave me a clearer picture of how Brood of Hatred developed over the last eight years leading up to his latest outing, entitled The Golden Age.” Pox Romana.
“It would be easy to pigeonhole Norna as a mindless sludge beatdown, as concussions are bound to happen in Star is Way Way is Eye. However, contrary to its concrete-thick riffs, Liljedahl’s vocals and a melodic guitar performance keep it from descending into monotony – barely. Because first and foremost, Norna is heavy as fuck. Doom-infused riffs hit like a ton of bricks with an unforgiving density that recalls acts likeSunn O))) or BIG|BRAVE, edged by Macquat’s warbling synth presence.” Is this the Way?
“Since AMG Industries Inc. resolutely refuses to pay me market value anything at all for my Indispensable Thoughts on Music™, I am forced to hold down a day job. In that day job, I am a lawyer. And lawyers love disclosures and disclaimers. So here’s one for you: I am an avowed Cult of Luna fanboy. My relationship with these Swedes goes all the way back to the moment I heard “The Watchtower” (from 2003’s The Beyond) on a sampler CD that came free with a magazine. I was blown away by the long-form, post-hardcore bombast.” Fanboy roadshow.
