Suasion’s music is a modern brand of metal that has electronic, ambient, and orchestral enhancements, alongside influences from metalcore, alternative metal, progressive rock, djent, pop, and industrial. A lot has gone into the making of The Infinite, and the band’s ambition is well-realised. Continue reading “Suasion – The Infinite (Review)”
When I last caught up with Invertia it was on 2014’s Another Scheme of the Wicked, where they played industrial black metal, complete with remixes of the original tracks. Nine years or so later, the band’s music is darker and uglier, yet also laced with hooks and catchy riffs and beats. Continue reading “Invertia – Through the Black Bubble (Review)”
Ahh, the return of Doubtsower. 2021’s Asphyxiation of a Seasick Soul was an unexpected highlight of that year, and although I was surprised to find a new album available so soon, I’m nonetheless pleased by this unlooked for treat. Once again delivering five tracks of emotive doom metal across 49 minutes, the artist behind Doubtsower continues to produce the very definition of underground gems. Continue reading “Doubtsower – The Endless Shadow of Despicable Power (Review)”
I last reviewed Veilburner back in 2016 with their fourth album The Obscene Rite, so it’s about time that I did another one of their releases the justice it deserves by taking a closer look at their new material on VLBRNR. Continue reading “Veilburner – VLBRNR (Review)”
This is the third album from Vessel of Iniquity, a black metal solo act from the UK.
Lasting a brief, yet scarring, 30 minutes, The Path Unseen is a horrific nightmarescape of industrial black metal, replete with harsh noise and terrifying atmosphere. Having enjoyed/weathered the artist’s 2021 split with Thecodontion, I was looking forward to hearing more and The Path Unseen has not disappointed. Continue reading “Vessel of Iniquity – The Path Unseen (Review)”
Nadja are a great band, (make sure you check out the stunning Sv), and they have an astonishing amount of releases under their belt. This latest one is something a little exceptional though, as the normally largely instrumental duo have recruited a different vocalist for each of the colossal four songs that make up this 63-minute album. Continue reading “Nadja – Labyrinthine (Review)”
Peurbleue play a form of mood-rich, electronically enhanced black metal. La Ciguë is a 36-minute soundscape of dark atmosphere and mysterious textures. Continue reading “Peurbleue – La Ciguë (Review)”
Following on from 2019’s very enjoyable The Language of Injury, They Fear Us contains 35 minutes of new material from Ithaca.
There’s a greater diversity of material on this album than on Continue reading “Ithaca – They Fear Us (Review)”
God’s Country is a 42-minute cry of anxiety, despair, and pain, which manifests as noise and sludge rock coalesced into nine emotive tracks. Other elements such as industrial, punk, and grunge have also made it into Chat Pile’s shapeshifting sound, resulting in a charismatic journey into impassioned desperation and energetic angst. Continue reading “Chat Pile – God’s Country (Review)”
The Ever Living combine alternative, electronic/industrial, and post-metal together into 43 minutes of material on Artificial Devices, resulting in a textured, immersive collection of tracks. Continue reading “The Ever Living – Artificial Devices (Review)”