Corpseflower is an intriguing and engaging collection of tracks that mix jazz, post-hardcore, psychedelic rock, and post-rock into a 31-minute progressive/post-black metal framework that also incorporates elements of blackgaze and depressive black metal. Continue reading “Cicada the Burrower – Corpseflower (Review)”
Solar Drone Ceremony was recorded live over a year ago, and consists of a single 54-minute track. The piece is performed by nine people and features a range of different instruments and sounds. Apparently it’s a Continue reading “Neptunian Maximalism – Solar Drone Ceremony (Review)”
After enjoying 2015’s Rebellion and 2018’s Escape, when Johannes appeared I knew I had to sample its dark wares. Armed with a new lineup formed around the band’s core artist, Johannes is a 51-minute journey into thoughtful mood-driven darkness.
These new songs are layered explorations of post-blackened detail and nuanced soundscapes. The music is multifaceted and textured, drawing in a range of influences to build on the band’s black metal foundations. The five songs on Johannes are each masters of their own creation, while still fitting into the whole, and provide the listener with a creative and rich landscape to explore.
Each song boasts a lot of content, with a wealth of good ideas and enriching sounds ably showcased by the band. There’s an epic streak to Decline of the I’s music, more apparent than ever in their latest work. Sometimes it’s hidden in plain sight, while at others it ascends to malevolent prominence. Either way, a certain amount of majestic grandeur is ever-present in the music, and it works very well indeed.
The band’s ability to blend sharp aggression with menacing atmosphere is very effective. I really like the use of guitars on this release. Some of of the riffs and blackened rhythms feel like they cut to the core, and combined with the skilful and inventive use of melodies, contribute to the thoroughly enjoyable and satisfying musical experience that these five songs offer. Lighter moments appear, balancing the blackened heaviness of the distorted sections. Existing somewhere between post-rock, jazz, and experimental atmospheric ambient minimalism, these parts may not be too common, but they add value to the songs.
Piercing screams are joined by darker growls and choral accents. The singers all do a great job, and, like the music, the vocals are very accomplished.
Despite how much I enjoyed both Rebellion and Escape, I think that Johannes is probably Decline of the I’s richest, most complete and well-realised work to date.
Very highly recommended.
Abiotic play modern death metal that takes influence from the technical and progressive strains of the style, as well as from some elements of deathcore. The promo blurb states that Ikiagi is for fans of bands such as Continue reading “Abiotic – Ikigai (Review)”
Don’t let the death metal tag fool you, this is not your average deathly proposition. Ad Nauseam’s vision of what extreme metal should be is unorthodox and esoteric. The band play a sort of avant-garde progressive technical death metal, while also throwing in some elements of black metal, sludge, doom, Continue reading “Ad Nauseam – Imperative Imperceptible Impulse (Review)”
The core of what Demoniac do on So It Goes is razor-sharp hyper-aggressive thrash metal. Bursting with jagged riffs, pierced with molten leads and solos, and crowned with barbed vocals, it’s clear that Demoniac know a thing or two about this sort of music. Continue reading “Demoniac – So It Goes (Review)”
This is the third album from French black metallers Void Paradigm.
Ultime Pulsation | Demain Brûle may only contain two tracks, (Ultime Pulsation and Demain Brûle), but when each is almost 20 minutes in length, there’s no problem with that at all. Continue reading “Void Paradigm – Ultime Pulsation | Demain Brûle (Review)”
Referring to Imperial Triumphant as a black/death metal band, (as I’ve just done here for sake of brevity), is highly misleading really, as this is one of the more individual and unique bands in existence. They play an avant-garde, experimental mix of styles that includes, (but is not limited to), black metal, death metal, progressive metal, doom, jazz, and post-everything. Continue reading “Imperial Triumphant – Alphaville (Review)”
Here we have a 42-minute blast of technical death metal. Modern in style and feel, with various progressive and melodic elements, Maelstrom makes a good impression. A very, very good impression. Repeated spins only cements this. I enjoyed 2018’s Molten Giant, but this is superior. Continue reading “Exocrine – Maelstrom (Review)”
This album contains 73 minutes of layered and involved material. This is the sort of release that you could easily get away with describing as Continue reading “JG Thirlwell & Simon Steensland – Oscillospira (Review)”