Big | Brave are a doom/drone band from Canada and this is their sixth album.
I haven’t caught up with Big | Brave since 2017’s Ardor, so Nature Morte‘s alluring cover is good enough of a reason to catch up with what the band are doing once more.
Big | Brave are a doom/drone band from Canada and this is their sixth album.
I haven’t caught up with Big | Brave since 2017’s Ardor, so Nature Morte‘s alluring cover is good enough of a reason to catch up with what the band are doing once more.
Neutraliser are a drone project from the UK and this is their debut album.
Featuring a member of 11Paranoias and Bong, Capsule Bowed Space is a single 79-minute track of experimental drone soundscapes. Continue reading “Neutraliser – Capsule Bowed Space (Review)”
So here we are again. It’s December, and year end lists are flying around like shrapnel. Due to the inherent subjectivity of music it’s always interesting to see what people have made of the preceding year.
For me, I made a concerted effort to drag myself away from the depths of black metal’s always-enticing abyss to spend some more time with other genres and styles that I also love. I said something similar last year, but I feel this year I was more successful in achieving that end. Of course, I still love black metal, still listen to it constantly, and you’ll still find some great examples of the blackened arts in the list below.
2022 was a strong year for death metal for me, and I enjoyed more death metal bands in a deeper way than I have done for some time. In every year there are standout releases, but I felt this year the standard was raised throughout. Possibly I was simply more receptive to it. Either way, you’ll find more death metal-related acts, and in higher spots, in this selection than you’ll have seen in my lists for a while.
As with last year, grindcore was largely absent from my year, disappointingly, as was hardcore. Additionally, the sort of lengthy, ugly, abyssal doom that I love so much has been largely lacking too. It’s all probably out there somewhere, but I didn’t catch it.
The top two spots this year are both claimed by albums/bands/styles that I simply could not have predicted would be at the pinnacle of my list by the year’s end, (one of the bands I hadn’t even heard of in January). I hope you enjoy these excellent records even half as much as I do.
Lastly I just want to say a big thank you to any and all that might read this site. It’s only a small endeavour, and I do it purely for the love of all things METAL and to support bands that I enjoy in whatever minor way I can, but if this is you, a heartfelt thank you for enduring my scribblings.
On to it! Continue reading “Wonderbox Metal End of Year List – Best Metal of 2022”
September was a particularly difficult month to have to limit my choice of key metal albums to just five. As such, I’m going to skip over both An Abstract Illusion’s Woe and Gaerea’s Mirage; both are great records and are getting abundant, richly-deserved praise elsewhere, allowing me to focus on lesser-known releases. Even with this though, I still struggled with having to omit so many other worthy albums… Continue reading “Monthly Overview – the Best of September 2022”
This is the latest release from Nadja, a doom/drone duo from Canada.
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)”
Scarcity are a black metal band from the US and this is their debut album.
Consisting of one 47-minute song, (which is divided into five tracks), Aveilut is an experimental black metal journey into the expansive and creative vision of Scarcity, (who contain a member of Pyrrhon/Seputus handling vocals). Continue reading “Scarcity – Aveilut (Review)”
This is the second album from Spiralist, a solo post-metal act from Portugal.
Eternal Recurrence is an interesting album that’s hard to easily pin down when it comes to genre. Post-metal is probably the most obvious tag, but then there’s also a blackened aspect to parts of it. It has a pretty blatant progressive side too, sometimes, very 70s sci-fi in feel. There are also elements of doom and industrial that can be heard in places. I’m going to stick to the post-metal appellation and be done with it, but just know that the artist behind Spiralist cares not for producing easily categorised music. Continue reading “Spiralist – Eternal Recurrence (Review)”
KYOTY are an post-metal/sludge band from the US and this is their second album.
KYOTY, (or Keep Your Opinions to Yourself), are an instrumental act that have an atmospheric approach to music, taking in styles such as post-metal, post-rock, and sludge, combined with an industrial edge. Gathering together nine songs that were released over the 2020 isolation period, along with a new track exclusive to the album, this is a 70-minute work of rich evocative soundscapes. Continue reading “KYOTY – Isolation (Review)”
Farer are a doom band from the Netherlands and this is their debut album.
Monad is a harrowing and uncomfortable 53 minutes that’s made up of components from doom, noise, drone, sludge, and post-metal. The bass is used prominently and well, as you’d expect from a band with two bass Continue reading “Farer – Monad (Review)”
[ B O L T ] are a drone/doom band and Morasth are a doom/post-metal band, both are from Germany.
[ B O L T ] offer a single track and start us off on this split with the 21-minute [ 0 6 ]. Continue reading “[ B O L T ]/Morasth – [ B O L T ] vs. Morasth – Split (Review)”