“Suffocate for Fuck Sake was one of those bands I’d heard good things about, but never quite got around to listening to properly. They’ve been around in the post-metal scene since 2004, though they never quite made it to “big name” status. They disappeared for nearly a decade, which probably didn’t help, before releasing their third album In My Blood in 2017. Here on the imaginatively titled Fyra (“Four”), they continue a tradition of tackling heavy topics with a theme of addiction.” Die.
“Many metal bands do not have drummers. This is not because drummers are cantankerous, unhygienic, or otherwise objectionable people – though of course you may have evidence to that effect. No, the value of a drummer is so great that bandmates will tolerate even the worst tendencies of the percussively inclined, and in fact seek out kit-kickers like the jilted seek closure. The reason is scarcity; there are just not enough drummers out there. Which makes it especially rare for a band to contain two.” Kit cats.
“I’m always on the lookout for something new, and in that regard, The Ever Living seemed pretty promising. Formed in 2016, this British quintet label themselves with the unusual tag of ‘cinematic metal,’ and their vocalist claims they aren’t even really a metal band at all. Nonetheless, the group’s self-titled EP earned positive acclaim from some major heavy music publications back in 2016, and two years later these not-ThunderCat-villains have returned with debut full-length Herephemine. Having no idea what ‘herephemine’ means and no prior experience with Living, is ‘cinematic metal’ worth the trip to the theater or are you better off waiting till this comes out on Netflix?” The Ever Living and chill?
“Distances’ Diableries has a pretty cover, but one I’ll always remember for a subtle flaw. The Albuquerque-based post-metal unit’s new full length comes beautifully dressed in auburn hues, cloaked in North American fauna. Monarch butterflies cloak the figure, and wrapped around the neck — sorry, what kind of snake is that? Some unholy graft of king snake and rattler, it seems. Perhaps it’s a symbol — the harmless given fangs — though it seems hardly worth it to have a dangerous snake mimic a harmless snake that mimics a dangerous snake. Yet the album embodies these conflicting layers, shuttling its death metal riffing past a mournful violin resting on aphotic sludge muck. Is Diableries dangerous? Or is it a lonely soul, wearing another’s colors to ward us away?” Serpent surprise.
“Bands enshrouded in mystery have almost become a gimmick, but it’s a gimmick that really works. What we don’t know makes us wonder and look on with morbid curiosity, and as such, I landed myself this obscure number, Envoy.” Noctus loves obscure stuff, so we gave him this gem from the wilds of Russia, where wolves hunt vodka and men drink rocks.
“Intensity and drama unify my musical palette. As unalike as Count Bassie and Ulcerate are, they’re both able to serve up a shitton of excitement, albeit in quite different ways. But the differences between dramatic genres are still immense, which makes a Mono record quite the refresher in between this year’s big tech-death releases.” Here’s something a little bit different.
“Post-metal has had a lot going for it in the past year. If you count it, The Ocean’s Pelagial was a remarkable work of art, as beautiful as it was heavy. Cult of Luna returned with the monstrous Vertikal last year and even gave fans more music with Vertikal II, the companion EP. And to add to it, Rosetta gave The Anaesthete to the world via Bandcamp, essentially for free. It’s a great time for post-metal…” Can Beak keep the post-metal golden age rolling or are the good times all over?
“No one can fault The Ocean’s ambition. Ever since their 2007 opus, the double album Precambrian, they’ve been setting their eyes on bigger and bigger projects. In the past few years they’ve released two albums arguably designed to be thought of as a double album — Heliocentric and Anthropocentric. These dealt with the origin of man and the redundancy of God in a two-hour, post-metal journey constantly switching between the conventional and unconventional that made for a disorienting yet satisfying experience. However, I can’t help but feel Anthropocentric, the second album, was somewhat of a blunder.” Noctus has had some issues with The Ocean and not because he’s afraid of water. That’s fortunate, because their new opus is aqua-themed. Will Noctus take the dive or stay high, dry and judgmental?
