Translation Loss Records

Our Place of Worship Is Silence – Disavowed, and Left Hopeless Review

Our Place of Worship Is Silence – Disavowed, and Left Hopeless Review

“Don’t you hate it when people randomly come up to you and force you into happiness? You know, the types that just get in your face and tell you that “You’d be (prettier, handsomer, approachable, etc.) if you’d just smile more”? Because there are fewer things more unnerving and anger-inducing as toxic positivity, especially when we’re still a good couple of feet underwater when it comes to the pandemic, American politics, and the world continuously burning all around us. Californian duo Our Place of Worship Is Silence knows this, having thrown down just three years ago with With Inexorable Suffering, a promising album that combined the ugliness of sludge, the brutality of hardcore, and the murk of French black metal.” Worship the unsilent rage.

Hellish Form – Remains Review

Hellish Form – Remains Review

“I’m not entirely sure why, but it seems black metal musicians enjoy carte blanche when it comes to incorporating other genres into their music. Everything from Appalachian folk to shoegaze to African American work songs to opera has been shoehorned into the supposedly kvltest of all metal. Not to mention any other metal genre can just add a little “blackened” seasoning in the mix for tasty results. It’s like the sparkling wine of metal: pairs well with anything. American bi-coastal band Hellish Form has looked at those corpse painted musical polyamorists and asked a question so bold, so elegant it brings a tear to my doom-loving eye: If black metal can do it, why not funeral doom? WHY NOT FUNERAL DOOM? That’s right, Hellish Form take the niche-est of metal styles and cries “Moar niche-er!”” Beseech the Remains.

Noctule – Wretched Abyss Review

Noctule – Wretched Abyss Review

Serena Cherry has a knack for melody. In her storied career with Svalbard, the charismatic vocalist and guitarist has co-written and performed a decade of melodic hardcore tinged with post-hardcore, post-metal, and black metal. Now, Cherry tries a little something different in her new solo project Noctule, hoping to “spread her dragon wings and take off in an intriguing musical direction on her own. A labor of love and isolation, Cherry composed and recorded the Noctule debut while in the UK Coronavirus lockdown. Opposed to the melodic hardcore leanings of Svalbard, she now bets it all on black in blackened release Wretched Abyss, an album themed after the popular RPG Skyrim.” Dragon, why do you cry?

Oryx – Lamenting a Dead World Review

Oryx – Lamenting a Dead World Review

“It’s not often that doom metal turns my head these days. Growing up as an impressionable teen in rural New Hampshire, I hunted down as many CDs at Newbury Comics from as many different subsets of doom metal as I could, whether it was the likes of the Peaceville Three, or the more biker-influenced style of Americanized doom metal. But while I still love those bands, it has to take something special to cause my head to turn and take notice. That something special is the one variety of doom that creeps forth from your speakers with hellish intent, that sound that does everything in its power to make you as uncomfortable as humanly possible while slowly grinding you down into a fine crimson powder. Doom like HellPrimitive Man, and today’s subject of intense scrutiny, Denver’s Oryx.” Doom for comfort.

Swampbeast – Seven Evils Spawned of Seven Heads Review

Swampbeast – Seven Evils Spawned of Seven Heads Review

“Tranquility is having one’s swamp to one’s self. Nothing beats the sultry shimmer of swamp silence. But silence is fleeting. Evil lurks in the hazy depths of the swamp. Upward through ancient mud rises Swampbeast, a mangled, tangled death metal creature. The beast is here to stay. Seven Evils Spawned of Seven Heads, Swampbeast’s debut full-length, drags a listener through a 36-minute mire of grinding putridity.” Running bog wild.

Glorious Depravity – Ageless Violence Review

Glorious Depravity – Ageless Violence Review

Ageless Violence is a death metal album. You know the deal. Glorious Depravity is the band. There are a bunch of guys in it, cool guys, some of whom are in some other good-to-killer bands that don’t play this style. It’s 2020, they’re doing old school death metal like everybody else because it’s fun. Nothing wrong with that. Plus, they’re quite good at it, and Ageless Violence is an undeniably tight, well-made record. The “but” awaits.

Aseitas – False Peace Review

Aseitas – False Peace Review

Aseitas are the Northwest’s death metal answer to the Northeast’s black metal alchemists in Genevieve, twisting the most experimental threads of metal into sleeker, stronger songs. The Portland quintet’s eclectic experiments began with 2018’s Aseitas, a record that seemed woven from every strand of extreme metal’s experiments in the decade before it.” No brutality, no peace.

Many Blessings – Emanation Body Review

Many Blessings – Emanation Body Review

“Look at that album cover for a full minute. If that alligator doesn’t end up on Gardenstale’s end of the year round-up, I will personally ensure his redaction. You can thank prolific metal/punk photographer Teddie S. Talyor for that beauty, and you can thank Primitive Man / Vermin Womb frontman Ethan Lee McCarthy for Emanation Body.” Croc o’ gators.

Wake – Devouring Ruin Review

Wake – Devouring Ruin Review

“Finding catharsis in the midst of chaos is the name of the game these days. It’s why every tenth article in your COVID co-opted news avalanche feed is about a bunny who adopted stray kittens. It’s why last Saturday I watched a live stream of a drag queen disinfecting every surface in her kitchen while performing Queen‘s “I Want to Break Free.” As the world around us is brought to its knees by the weight of uncertainty, we instinctively seek out and appreciate these small pressure release valves. Bands who ply their trade in chaotic styles should pay attention. Chaos plus time equals background noise, but there are two options to keep an audience engaged. The first is brevity. This is why hardcore punk albums are traditionally 25-30 mins long. The second is the thoughtful placement of sonic perches to rest upon.” Choose wisely.