This is the latest EP from Polish doom/sludge metallers 71TONMAN.
After enjoying 2013’s self-titled debut, and 2017’s much darker Earthwreck, I’m always interested in revisting the apocalyptic shores of 71TONMAN. Continue reading “71TONMAN – War Is Peace // Peace Is Slavery (Review)”
This is the debut album from Danish doom metallers Funeral Chasm.
Funeral Chasm play their music slow and with an emphasis on atmosphere. Omniversal Existence takes this starting point and delivers music that combines funeral doom with old-school Gothic doom metal. Add in some elements of first and second wave black metal, especially regarding a taste for expansive keyboards, and you have Funeral Chasm’s debut record. Continue reading “Funeral Chasm – Omniversal Existence (Review)”
This is the fourth album from Year of No Light, a French post-metal band.
Having really enjoyed 2013’s Tocsin, it has been a long wait for another album from Year of No Light, but the wait has been worth it. Across 55 minutes the band expose the listener to an idiosyncratic creative experience consisting of five thoroughly engaging soundscapes. Continue reading “Year of No Light – Consolamentum (Review)”
This is the second album from Danish post-metal band Kollapse.
2017’s Angst was an enjoyable slab of emotive heaviness, and Sult follows on from this with 41 minutes of new material, a new lineup, and a change in sound. Continue reading “Kollapse – Sult (Review)”
Amenra are a doom/post-metal band from Belgium and this is their seventh album.
I really liked 2017’s Mass VI, so I’ve been really interested in hearing what sort of experience De Doorn had to offer. The answer, as if there was really any doubt, is something quite engaging. Continue reading “Amenra – De Doorn (Review)”
Bossk are a UK post-metal band and this is their second album.
Migration contains 42 minutes of charismatic post-metal. Fusing together elements of atmospheric sludge and post-metal build/release, with experimental and psychedelic explorations, Migration is an impressive and accomplished work. Continue reading “Bossk – Migration (Review)”
Tarlung are an Austrian sludge band and this is their third album.
2017’s Beyond the Black Pyramid was an enjoyable slab of colossal doom sludge, with stoner influences keeping the darkness in check. On Architect, Tarlung spend 40 minutes tearing through heavy music that shares much in Continue reading “Tarlung – Architect (Review)”
This is the debut album from US doom metallers Grief Collector.
Featuring Robert Lowe, (an ex-member of Candlemass), on vocals, En Delirium contains 48 minutes of largely traditional doom metal mixed with a touch of modern sludge, to produce a compelling piece of work. Continue reading “Grief Collector – En Delirium (Review)”
Eremit are a doom/sludge band from Germany and this is their second album.
I loved 2019’s Carrier of Weight, and ever since I’ve been really excited every time I see that that band have unleashed more of their crushing doom on the world. Up until now, this has only consisted of 2020’s excellent, (though far too brief), EP Desert of Ghouls. Now, however, we get Bearer of Many Names, which is every bit as massive as the band’s debut album, although it’s resolutely not the same beast. Continue reading “Eremit – Bearer of Many Names (Review)”
Moanaa are a Polish post-metal band and this is their third album.
I’ve enjoyed following Moanaa’s development over the years, from 2014’s Descent, to 2016’s atmospheric Passage, and then 2019’s EP Torches. Of the latter, the first track on Torches reappears on Embers. Continue reading “Moanaa – Embers (Review)”
Wonderbox Metal 