Translation Loss Records

Oryx – Lamenting a Dead World Review

By Grymm on April 26, 2021 in Reviews, Doom Metal, Sludge, 19 comments

“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 Hell, Primitive Man, and today’s subject of intense scrutiny, Denver’s Oryx.” Doom for comfort.

Swampbeast – Seven Evils Spawned of Seven Heads Review

By Akerblogger on February 15, 2021 in Reviews, Death Metal, 17 comments

“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

By Kronos on December 9, 2020 in Reviews, Death Metal, 85 comments

“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.

Svalbard – When I Die, Will I Get Better? Review

By Dear Hollow on September 23, 2020 in Reviews, Black Metal, Post-Hardcore, Post-Metal, 52 comments

“It’s hard to have hope sometimes. We live our lives constantly getting up and going, always moving onto the next thing—moths chasing flames that grow more elusive as the dawn approaches. We’re tortured by silence in a screaming year, laced with events of turmoil and perpetual change—a silver silence that holds a mirror up to our faces and our truths. And we don’t always like what we see. It’s hard to have hope when we’re distracted, romanced by the illusion of productivity, blinded by privilege, and shielding our weary eyes from discomfort. This is what makes Svalbard so important; they force us to look.” Dying to heal.

Aseitas – False Peace Review

By Kronos on July 11, 2020 in Reviews, Death Metal, 28 comments

“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

By Kronos on June 6, 2020 in Reviews, Noise, 29 comments

“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

By Cherd on April 4, 2020 in Canadian Metal, Death Metal, Doom Metal, Grind, Reviews, Translation Loss, Death Metal, Grind, 56 comments

“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.

Teeth – The Curse of Entropy Review

By GardensTale on November 26, 2019 in 2019, American Metal, Death Metal, Grind, Reviews, Translation Loss, Death Metal, 35 comments

“Chomping, gnawing, biting, gnashing, grinding, tearing. These are all things teeth can do. They are also things Teeth can do. As a proudly unbrutal prog weenie, The Curse of Entropy by the Californian brutal deathgrind band was a decidedly adventurous selection for yours truly. Perhaps this was a mistake. Perhaps I should have left this to others more thoroughly versed in brutality, like Kronos or Ferrous. Perhaps if I had left Teeth where it lay, I would still have my own teeth, rather than having them scattered across the floor.” Dental health.

We Lost the Sea – Triumph & Disaster Review

By Twelve on November 9, 2019 in 2019, Australian Metal, Instrumental Metal, Post-metal, Reviews, Translation Loss, Instrumental Metal, Post-Metal, Progressive Metal, 20 comments

“It’s early afternoon, and I have decided to embark on a rather lengthy walk. During this time I will be spinning Triumph & Disaster, the fourth full-length album from We Lost the Sea, and their second since the tragic loss of singer Chris Torpy. I load up the first song and notice something out of the corner of my eye⁠—yes, I did see that right. The instrumental progressive post-metal album I’ve picked up has a fifteen-minute long opening track. Because I’m a terrible reviewer at heart, my brain does the only thing it can: it leaps to the nearest conclusion and prepares for a very long hour.” Time is a social construct.

Dysrhythmia – Terminal Threshold Review

By Huck N Roll on October 15, 2019 in 2019, American Metal, Instrumental Metal, Progressive Metal, Reviews, Translation Loss, Instrumental Metal, Progressive Metal, 13 comments

“It’s been almost three years to the day since I reviewed Dysrhythmia’s last album, The Veil of Control. Of course that one appealed to me: it was loaded with virile, complex songs that at times borrowed heavily from King Crimson⁠—specifically, that band’s The ConstruKction of Light era. Dark, heavy, and discordant, it all added up to an enjoyable romp through instrumental prog-metal fields. By not overstaying its welcome (6 songs in 36 minutes), the album managed to hold my attention longer than many other instrumental prog albums.” Prog with a punch.