![Lorem Ipsum – Vivre Encore [Things You Might Have Missed 2021]](https://www.angrymetalguy.com/wp-content/uploads/2022/01/cover.jpg.webp)
“Lorem Ipsum dolor sit amet, consectetur adipiscing elit Vivre Encore. Despite their playful moniker, the band lose nothing to translation. The French trio use acoustic guitar, violin, piano, and voice to articulate anxiety, failure, and grief in profound and singular songs that draw from European classical music, folk, post-rock and screamo.” Res ipsa loquitur.
“Well, List season is pretty much over, TYMHM posts are drawing to a close and here we are, back to the grindstone. I am kicking off the year of our Jørn 2022 on a high. Well, so I am told. You see, I have in my clutches the third full-length from Canada’s Seven Nines and Tens, an album that—I am informed by the accompanying blurb— “aims to be one of the finest metal albums to be released in 2022″. I have no problem with bands setting themselves lofty aspirations but, when you come out swinging like that in the first week of January, you kinda have to deliver.” Tree hangover.
![Black Sheep Wall – Songs for the Enamel Queen [Things You Might Have Missed 2021]](https://www.angrymetalguy.com/wp-content/uploads/2021/12/Black_Sheep_Wall-Songs_for_the_Enamel_Queen-768x768.jpeg)
“I remember when Black Sheep Wall “qualified” for an Encyclopedia Metallum profile with sophomore effort No Matter Where It Ends. Kind of pedantic and nitpicky, but then again, their blend of sludge metal, post-metal, doom, and post-hardcore is bound to be divisive. The California quintet offers their fourth full-length Songs for the Enamel Queen, an expertly written and superbly executed mass of concrete-thick sludge metal injected with tumorous melodies and shifty rhythms.” Of Sheep and sludge.
“You can imagine why New York City’s So Hideous changed its name. Its former moniker, So Hideous, My Love, reflects the sort of melodrama pervades its first offering To Clasp a Fallen Wish with Broken Fingers. It ended up being post-rock/screamo Envy worship – if Envy were more emo. Thereafter, the masterminds behind the project, the Cruz brothers, dropped the second half of the name and amped up the ugly.” Ugly, pretty, hideous.
“Glassing and I have a complicated relationship. Spotted Horse hit a spot for me in 2019: the first 4.0 I ever awarded ’round these parts. Unfortunately, time was not kind and my experience with its rough edges and one-dimensional vocals landed it on Contrite Metal Guy, where I reeled it back a point. The band’s tantalizing blend of concrete-thick sludge and crystalline melody is nonetheless unforgettable, and the initial hype and subsequent fall from grace is something that still haunts me.” Glassing over the past.
“It seems that I was not the only one to like Driving Slow Motion’s 2019 debut, Arda. That self-released piece of instrumental Tolkien worship appears to have scored the Fort Worth, Texas quintet a deserved label deal with Post. Recordings, which now brings us the band’s sophomore effort, Adrift:Abyss. Its predecessor, Arda, was not an instant banger. In fact, it wasn’t a banger at all, but it is one of my favorite instrumental efforts of recent years. Arda is a record that repays time invested in it, with each listen revealing additional layers of complexity buried in its gentle ambience.” Can’t drive 55.
“Every Deafheaven album prior to this has been a reaction to the last. If the cold, heavy New Bermuda was an attempt to establish the band’s bona fides to a skeptical metal world after Sunbather, Ordinary Corrupt Human Love was the group embracing the warm blackgaze sound they pioneered and drifting away from the black metal scene about which they have always been so ambivalent. In that respect, Infinite Granite breaks the mold: it is a continuation of the aesthetic of OCHL, not a reaction to it.” Bad reactor.
“Hi gang, what did I miss? Having taken July as a mini sabbatical following the arrival of a second shark pup, it’s nice to find the site still standing (no thanks to the readers or most of the staff) and to get back into the swing of things with a familiar face. Unreqvited and I go way back to my nameless_n00b days, when its third full-length album, Mosaic I: L’amour et l’ardeur, became the very first to get a 4.0 out of me. Its sequel, Mosaic II: La déteste et la détresse, failed to scale quite the same heights due to a very weak final third, which really held back an otherwise very good album. We somehow missed Unreqvited’s next full-length installment, last year’s Empathica, altogether and so we here we find ourselves, exploring love and passion on sixth outing, Beautiful Ghosts.” Ghosts or just ghosted?
“Methadone is a synthetic opioid best known for its use in opioid addiction management. Its long duration of action avoids the euphoric high and rapid crash and withdrawal that results from using opioids like heroin. Naming your band after the slower, safer, non-euphoric substitute seems like an odd marketing move. (Post-rock cynics might suggest that this is a good description for the whole genre, mind.) Methadone Skies are an independent act based in Romania, and Retrofuture Caveman is their fifth treatment program in twelve years. I hadn’t previously encountered their work, but the promo package promises instrumental post-rock plus doom metal, which sounds like exactly what I need to sate my cravings.” The fix is in.
“I have history with Devil Sold His Soul, but not all of it good, especially when we parted on poor terms: I got fed up with Empire of Light’s excessive vocals and didn’t give EP Belong ╪ Betray a fair chance. Loss, the first release in seven years, hits differently: it chronicles seven years of grief and personal loss from its creators. Is it the labor of love it was intended to be?” Devil in the details.
