Ever since first hearing The Eternal Marshes I’ve been a fan of what Bismuth do. Over the years they’ve continued to develop their bass-drum-synth-low-end-heavy-doom-assault-on-the-senses approach to music. Every release essentially sees them rising to new heights of both extremity and nuance, and this has now culminated in this new colossal album. Continue reading
I love bands that play horrible, nihilistic, pitch-black doom/sludge, and Body Void are my latest discovery in this vein. If you’re a fan of bands such as Primitive Man, Khanate, Bongripper, CHRCH, and Keeper, for example, then this is very definitely for you. Continue reading
With an enigmatic, yet enticing album cover, this release drew me in like a moth to a flame. With a few varying and slightly contradictory descriptions of what was contained on this release, I wasn’t quite sure what to expect before pressing play, but knew this was something I wanted to explore. What I found was an unexpected and engaging album. Continue reading
This is filthy blackened doom, added to with some violent noise and harsh sludge. There are only three tracks on this album, but they total almost 40 minutes, and it’s clear from the very start that the band aren’t messing around. Continue reading
Featuring the inimitable vocals of the singer that graced Khanate with his serrated, searing voice, 2013’s Horrible Chamber was a must-listen record as soon as I knew it was available. It’s been a long four years, but now we finally have the follow up in Cutting Pieces. Continue reading
There may only be five songs on this release, but don’t let that deceive you – there’s almost 68 minutes of music on Never Forever. Continue reading
This is minimalist experimental music, expressed as vast sheets of abstract soundscapes and diligently pieced together emotional compositions. 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
Headless Kross don’t play nice music. They do, however, play heavy music, and this is what we like.
The vocals are unhinged screams. They seem Continue reading
Holy shit. Okay, that could be my entire review, really. Holy. Shit.
I suppose I should write a bit more though, here goes.
So, it starts off with a sample, some feedback and some slowly-added in noises. Immediately an unsettling atmosphere is created which is maintained throughout in one form or another. Shudder.
Then, all of a sudden, it’s as if all Hell’s daemons are unleashed, as twisted pain-filled screams and maniacal percussion are unleashed on you in a barrage of chaotic frenzy. It’s not pretty, but it certainly is engaging.
Coming across as a depraved mix of Atomsmasher, Khanate and Venowl, Uboa effectively spends these 23 minutes creating a horror-filled semi-organic nightmarescape that defies conventional music in favour of pure mood and feeling, seemingly dredged up from the abyss.
Birthed raw as a twisted combination of sparse Doom and eclectic noise, this is surprisingly enjoyable music, although I suppose I should point out that to most people neither the words enjoyable nor music would seem to apply here. Their loss. This wall of anguished sound hits the right spot with me, and that’s all that matters.
There’s a tense undercurrent to all of this that I find quite tasty; I always like music that uses tension well and on Coma Wall there’s no let up until the final dying sounds have disappeared into oblivion. During the latter part of the track the mayhem subsides, but the tension does not, and just when you think it’s settling slowly into a dying ambience, it gets heavy, sludgy and apocalyptic.
Phew! Very nice. Or nasty. Whatever. Either way, after 23 minutes I’m raring to go and listen to this again.
For true Doom/Noise connoisseurs only; check this one out if you dare.