Ephemeris offers a 56-minute journey into darkness. Spreading itself across a range of styles and genres, including post-black metal, dark ambient, noise, doom, jazz, and industrial, the album is a multifaceted collection of apocalyptic soundscapes brought to vibrant life by a talented act. Continue reading “Misanthur – Ephemeris (Review)”
Wonderbox Metal gets sent a lot of new music, (which is great), but there’s no way that everything can get covered unfortunately, (which is not so great). This new column hopes to redress this balance, if only slightly, by taking a look at a handful of releases that a record label has recently sent out that might have otherwise slipped through the cracks.
Les Acteurs de L’Ombre Productions has released some very strong albums over the years, so I always like to keep up with what they’re putting out. Imagine my horror when I discovered that I was a good couple of months behind with their releases. To rectify, I’ve collected the three below for your delectation… Continue reading “Label Roundup: Les Acteurs de L’Ombre Productions – Limbes, Mütterlein, Aorlhac, & Hegemon (Reviews)”
As follow up to 2108’s mighty slab of malefic horror that was Cinerous Incarnate, (and Wound Empire and Tomb of Feathers before it), Abominion is Abstracter’s latest assault on the light. Continue reading “Abstracter – Abominion (Review)”
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 latest EP from French sludge doom band Cult of Occult.
Ruin contains a single 22-minute eponymous track; a nightmarish monster of prodigious proportions. Not only that, but there’s also a bonus track in the form of a remix of the title track, which itself lasts 19 minutes. Overall, this release boasts 41 minutes of anguished blackened sludge doom. It’s nasty, but it’s also damn good. Continue reading “Cult of Occult – Ruin (Review)”
Here we have 48 minutes of atmospheric black metal, a mixture of the beautiful and the harsh. Although you may think that these two things oppose each other, Shaidar Logoth ably show that this does not have to be the case. Parts of Continue reading “Shaidar Logoth – Chapter III: The Void God (Review)”
If you find 81-minute albums intimidating, then look away now; Cosmogonie is exactly one such beast. This massive album is divided into three main parts, and then added to by an intro, interlude, and outro, ( all of which are dark ambient affairs). Each of the parts has its own feel and themes, and each is resplendent with quality of delivery and performance. Continue reading “Dysylumn – Cosmogonie (Review)”
Stygian is a monster of dark funeral doom. Three tracks sprawl out over 45 minutes, promising nothing but glacial moods and barren hopelessness, and delivering. There are two colossal songs that bookend a shorter ambient piece. Continue reading “Atramentus – Stygian (Review)”
I like Descend into Despair very much. Both 2014’s The Bearer of All Storms and 2017’s Synaptic Veil scratched that funeral doom itch quite nicely. Continue reading “Descend into Despair – Opium (Review)”
Abhasa are a atmospheric black metal/dark ambient band from the US, and this is their debut album. It’s actually a remastered version of the original album that came out last year, (which I haven’t heard).
Abhasa’s mysterious and esoteric blend of post-black metal, sludge, and dark ambient is a ritualistic journey into bleak atmosphere. This is 50 minutes of dark mood music, combining blackened soundscapes with minimal ambience. Continue reading “Abhasa – १ (Review)”