I like Clawing. I mean, in the way that I like getting my eyes scratched out. This is a deeply unpleasant band producing deeply unpleasant music. As I’m sure I’ve stated previously, this is not normally my kind of thing. Noise/drone Continue reading
Gnaw Their Tongues and Crowhurst are both one man projects. The former is from the Netherlands and the latter is from the US. Both specialise in experimental/black metal music, and they have collaborated for this release. Continue reading
Apparently the third and final part of a trilogy, this demo showcases two tracks over 23 minutes. Continue reading
New Gridfailure. Great. More nightmares tonight for me. Why do I even bother listening to this kind of stuff? I mean, what’s to like here? Is it the urbanised terror of an impending soulless apocalypse? Is it the gradually-encroaching realisation that everything you have ever loved and everyone you have ever known will eventually be taken form you? Is it the digitised psychic pain of countless trapped, hopeless lives? No? Then what? I’m really asking. What draws you, and me, to listen to something like Gridfailure. If you’re reading this then you must have at least a passing interest in hearing the aural equivalent of long-buried mental scars burrowing their way to the surface, so why do you subject yourself to it? Why do you, actively, probably passionately, seek out this experience, a horrific, mind-killing experience like Irritum? Go on, tell me. Please. I’m begging you. Because try as I might, I can’t help but really, really like Gridfailure’s work, so I need to know why I’m so irresistibly drawn to it. Maybe this says more about me than the music, but there’s something maddeningly relaxing about having your ears slowly bleed as you endure the 52 minutes of grim soundscapes that occupy the radiation-blasted landscape of this album’s playing time like corrupted mechanical cockroaches. Something about Irritum calls to me in binary, demanding to be understood by my hopelessly out-of-date grey matter, clawing at my subconscious, like a cyberdaemon being birthed behind my eyes. I mean, what the Hell? Why can’t I let go? Why do I rate this stuff so highly? Why do I think that Irritum is actually some of the best material that Gridfailure’s twisted controlling intelligence has conceived and unleashed so far? Maybe I’m just in pain, in deep, internal pain, and Irritum soothes me, by letting me know I’m not the only one suffering. Or maybe I’m just a masochist, torturing myself with prolonged exposure to industrialised fear. Or maybe I’m just deceiving myself. Maybe I’ve known the truth all along. In fact, I know I have, I’ve just been unwilling to admit it to myself, as if admitting something as terrible as this would make it somehow even more real than it already is. The real, true secret is terrible. Of course it is. The truth is, that I
Here we have 40 minutes of black metal that’s been bent to the will of funeral doom and dark ambience. This is music to listen to in a lightless environment, preferably while staring up at the stars and contemplating how insignificant you are. Continue reading
When an album is just three tracks and yet spans over an hour of material, you know you’re in for some properly slow doom dirges. Continue reading
Apparently this is an EP, but at 40 minutes in length it’s longer than some albums.
The artwork firmly caught my eye when this appeared; as soon as I saw the cover I knew I had to listen to it. I’m glad I did. Continue reading
This is a release that’s spiritually inspired by atmospheric black metal in some ways, (and also features cover versions of Katatonia and Agalloch tracks), but is musically separate from the style. Essentially a neofolk release, the album also takes influence from dark ambient and alternative rock/pop in places. Continue reading
We have already encountered Ande’s 2015 debut Licht, and now it’s time to take a look at the follow up.
Longer by about 15 minutes than the first release, Het Gebeente is a more mature, confident and assured selection of dark hymns.
Starting off with a piano intro, the remaining five songs, (the sixth is different), mix the second wave of black metal with Continue reading