This is the second album from UK post-black metallers Kassad.
Following on from 2017’s Turn Faces Away, Kassad now provide us with London Orbital, a dystopian concept album that’s modern and crushing in its bleak portrayal of near-future existence. Continue reading “Kassad – London Orbital (Review)”
This is the fourth album from Abstruse, an experimental rock project from Greece.
Well, there’s a lot going on here. This is music that refuses to be just one thing, and exists as a constantly-shifting mass of musical styles and content. Amazingly, Submerge:Ritual works with this well, and doesn’t come across as disjointed or a failed science experiment. Continue reading “Abstruse – Submerge:Ritual (Review)”
This is the fifth album from US post-black metal band Nullingroots.
I enjoyed 2017’s Into the Grey, so Malady’s Black Maw is well-received. Combining modern, atmospheric, and blackgaze influences into its post-blackened formula, with a fiery black metal core that everything else is built around, this new album contains 65 minutes of immersive music. Continue reading “Nullingroots – Malady’s Black Maw (Review)”
Façade are a doom band from the Netherlands and this is their second album.
This is the follow up to 2017’s Loathe, featuring 54 minutes of new material. These songs are generally longer and even more rich in substance and delivery than those of the debut, which is no mean feat. It sounds as if a lot of work has gone into The Eternal Dance. Continue reading “Façade – The Eternal Dance (Review)”
This is the second album from Polish post-black metallers Rosk.
One of the absolute highlights of 2017 was Rosk’s superb debut album Miasma. It’s now 2019, and I was thrilled to receive Rosk’s latest album Remnants. However, this soon turned to trepidation, as I discovered that Remnants is not another post-black metal masterpiece. Rather, it’s an acoustic post-folk one, and my initial Continue reading “Rosk – Remnants (Review)”
Sons of Alpha Centauri are from the UK and this is their latest release. They play instrumental progressive rock.
Sons of Alpha Centauri return! I’ve enjoyed their work in the past, having been introduced to them on their split with Karma to Burn, and then subsequently impressed by their 2018 album Continuum. Continue reading “Sons of Alpha Centauri – Buried Memories (Review)”
This is the second album from White Ward, a Ukrainian post-black metal band.
2017’s Futility Report was striking and enjoyable, mixing cold black metal with an avant-garde modern edge. Compared to Love Exchange Failure, however, it’s almost as if Futility Report was the prototype of this new album. Expanded Continue reading “White Ward – Love Exchange Failure (Review)”
Cult of Luna are a Swedish post-metal band and this is their eighth album.
A Dawn to Fear follows on from the massively amazing Mariner, which was my album of the year for 2016, and deservedly so. Now, three years later, they return with 79 minutes of new material spread out over 8 songs. Continue reading “Cult of Luna – A Dawn to Fear (Review)”
Russian Circles are an instrumental post-rock/metal band from the US. This is their seventh album.
2016’s Guidance was another sterling addition to Russian Circles’ quality discography, and Blood Year continues this trend with 40 minutes of new material. Continue reading “Russian Circles – Blood Year (Review)”
This is the fifth album from US black metal band Falls of Rauros.
After 2014’s very strong Believe in No Coming Shore, and then 2017’s Vigilance Perennial, which was even stronger, we now turn to Patterns in Mythology. Have the band managed to continue their upward trajectory? Continue reading “Falls of Rauros – Patterns in Mythology (Review)”
