Bismuth – The Slow Dying of the Great Barrier Reef (Review)

Bismuth - The Slow Dying of the Great Barrier ReefThis is the second album from UK doom/drone band Bismuth.

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

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Body Void – I Live Inside a Burning House (Review)

Body VoidBody Void are a doom band from the US and this is their second album.

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

LaColpa – Mea Maxima Culpa (Review)

LaColpaThis is the debut album from Italian doom band LaColpa.

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

Gnaw – Cutting Pieces (Review)

GnawThis is the third album from US experimental doom band Gnaw.

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

Uboa – Coma Wall (Review)

UboaUboa is a solo Doom artist from Australia and this is his latest release, which comprises one track that lasts almost 23 minutes.

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.