Tombs

Axioma – Sepsis Review

By Grymm on June 22, 2022 in Reviews, Post-Metal, Sludge, 14 comments

“The one-sheet accompanying the promo described Sepsis as “dark metal,” a term usually thrown around with great ease by Century Media Records in the late 90s and early 2000s to describe practically all of their roster. However, Sepsis owns that adjective, because this shit is dark. The frantic fills and percussive abuse by Jon Vinson on, well, every song here punctuates the howling-from-the-abyss Eyehategod-like vocals of bassist Aaron Dallison, who seemingly channels his rage and disappointment in humanity from a neverending well.” Consult a physician.

Tombs – Under Sullen Skies Review

By Doom_et_Al on November 18, 2020 in Reviews, Black Metal, Hardcore, Sludge, 66 comments

“In the early 2010s, powered by bands such as Deafheaven and Liturgy, “hipster metal” became the favorite pejorative for acts that thumbed traditional metal conventions. Embraced by the mainstream, many of these groups, unfortunately, just weren’t very good, which led to metal purists rejecting them. This resulted in said mainstream accusing said purists of being snobby gatekeepers. Cue lots of sulking, posturing and finger wagging. In among the noise, however, were some real gems that were unfairly tainted by the “hipster metal” label. Although less overtly “subversive” (read: “pretentious”) than their Brooklyn counterparts, Liturgy, Tombs weirdly found themselves in this boat with their excellent debut, 2011’s Paths of Totality.” Trend Tombs.

Wormwood – Mooncurse Review

By Grymm on October 26, 2017 in 2017, American Metal, Doom Metal, Reviews, Sludge, Translation Loss, Doom Metal, Post-Metal, Sludge, 42 comments

“In the Bible (or at least the New Testament version), Wormwood is the angel or star that falls from the sky, crashing into the waters of the Earth, and killing all living things with its inherent bitterness. Outside of the bible, wormwood is most known for being the key ingredient for absinthe, at one time regarded as a highly psychoactive and hallucinogenic (but still tasty) alcoholic beverage. Whatever the inspiration, Boston’s Wormwood, comprised of members of The Red Chord, Doomriders, and Phantom Glue, pull a little bit of both influences in their sound.” Worm power.

Tombs – The Grand Annihilation Review

By Grymm on June 16, 2017 in 2017, American Metal, Black Metal, Metal Blade, Post-metal, Reviews, 22 comments

“Three years ago, New York’s Tombs dropped an impressive album in the form of Savage Gold, a seamless meld of post-rock heaviness, Gothic sensibilities, and blackened ichor that yours truly enjoyed tremendously. Since then, guitarist/vocalist/mainman Mike Hill presided over a change of labels and personnel, adding vocalist and synth player Fade Kainer (ex-Batillus), drummer Charlie Schmid (Vaura, Gospel of the Witches) and guitarist Evan Void (Hivelords) to the fold. One thing Hill promises with each Tombs release is to expect the unexpected. With The Grand Annihilation dawning, has Hill found the winning recipe, that sweet spot of blackened Gothic perfection?” Reinventing the tomb.

Twin Lords – Devastating Planetary Shift Review

By Mark Z. on October 8, 2015 in 2015, Ambient Metal, American Metal, Handshake Inc, Non-Metal Metal Things, Progressive Metal, Reviews, Sludge, Noise, Powerviolence, Progressive Metal, Sludge Metal, 14 comments

“There’s precious little information to be found about Twin Lords anywhere, and Shift is the New York duo’s debut album after a 2012 demo. Furthermore, the music itself offers no easy points of comparison. I’ve seen them tagged as everything from “progressive” to “sludge” to “powerviolence,” and having listened to the album myself numerous times, I’m still not sure what I’d classify Twin Lords as.” How can we do our job if we can’t pigeonhole into neat little boxes?

Karyn Crisis’ Gospel of the Witches – Salem’s Wounds Review

By Grymm on March 30, 2015 in 2015, American Metal, Century Media, Gothic Metal, Reviews, Sludge, Gothic Metal, Sludge Metal, 18 comments

“Karyn Crisis needs no introduction. Her ability to use her considerable vocal chords, going from charming siren to raging banshee to guttural demon (sometimes within the same breath), is quite legendary. When her band, Crisis, went belly-up in 2006, Karyn took a sabbatical from music to concentrate on her art before meeting up with Davide Tiso, future husband and mastermind behind Italian avant-garde machine Ephel Duath in 2009….” And now we get a much more personal album from Karyn and Davide. This should be interesting.

Record(s) o’ the Month – June 2014

By Steel Druhm on July 9, 2014 in 2014, Record o' the Month, 24 comments

“Since we’re all busy people, I’ll cut to the chase. June was another big ass month for metal with a plethora of satisfying releases and one in particular that really bowled over multiple AMG staffers. Since that happens less than you might think, eyebrows were raised, fingers were pointed and notes were furiously scribbled.”

Tombs – Savage Gold Review

By Grymm on May 29, 2014 in 2014, American Metal, Black Metal, Post-Rock, Relapse, Black Metal, Post-Metal, 10 comments

“Alchemy is a powerful philosophical practice that would lead their followers to perceived unlimited power. One of those goals ultimately outlined by alchemists is the ability to transmute lesser metals (such as lead) to more noble, socially-desirable metals such as gold. This romantic and idealistic viewpoint of bettering simple metals can be reflected onto the human race as well, with one’s desire to elevate themselves from more modest, humble origins to become something greater, more powerful. And yet, somehow retain their primal instincts while transmogrifying into their ideal form. Such is the basis of Brooklyn, New York’s Tombs and their newest album, the rightfully-titled Savage Gold.” Deep thoughts, profound words, nasty music. Enjoy!

Kongh – Sole Creation Review

By Alex Franquelli on February 5, 2013 in 2013, 3.5, Agonia Records, Doom Metal, Reviews, Sludge, Swedish Metal, Doom Metal, Sludge Metal, 2 comments

Quite an epic album. The fuzz is there in all its imperfect majesty, while the pace is as slow as ever, bringing back the doom where it belongs: in the realm of repetitions, through think layers of narcotic sounds. Overall, the final result is a solid evolution from the psychedelic throes of Shadows of the Shapeless, but whoever (well, everyone) says that Kongh sound like Yob is right. And yet they’re wrong at the same time [Oh God! Which is it!? — AMG], since the sound these three lost souls from Nässjö and Småland (that’s southern Sweden, for the most curious nerds amongst yourselves) seem to enjoy touching on the likes of Alice in Chains (“Skymning”), Mastodon (“Sole Creation”) and Brooklyn’s own Tombs.