Sea of Disorder are a Post-Metal band from Austria, and this is their début album.
The band play a combination of Post-Metal and Doom that combines the atmospheric with the harsh.
As well as the standard instrumentation Sea of Disorder also use keyboards and effects to get the sound they like, as well as including a fair few guests from other bands.
As alluded to earlier, Sea of Disorder mix the lighter, more introspective elements of Post-Metal with the louder and heavier aspects of Doom to create long songs that tell a tale in atmospheres and moods.
Deep vocals that seem to come from the bowels roar out accompanied by large riffs and atmospheric heaviness. This is juxtaposed against the more Post-Rock instrumental moments of tranquillity as the band build themselves up to a peak.
Cleans also appear on As the Clouds Disperse and they fit Sea of Disorder’s style well.
In Cauda Venenum are a Post-Black Metal band from France and this is their début album.
Consisting of only two tracks, each lasting a touch over 21 minutes in length, this is an ambitious release that makes good use of the longer playing times to explore darkened themes and Blackened music.
Post-Black Metal is such a rich sub-genre that has so many opportunities to impress, and In Cauda Venenum take advantage of all of these.
The band play harrowing Black Metal that’s epic in scope and spiced up with enough Post-Rock/Metal elements to claim the Post-Black Metal tag as its own.
The music is masterly crafted and very atmospheric. Blackened riffs and blasting drums meet introspective restraint and Progressive explorations.
Both songs are very well written and it’s clear that a lot of time and effort has gone into their composition. Dynamics, pacing and mood have all been carefully considered and the end result is 42 minutes of elite Post-Black Metal that in many ways skirts the best that both genres have to offer.
The vocals are of the ultra-high, almost-static variety that work so well with Atmospheric Black Metal.
The recording is a quality one with the guitars in particular having a good tone. A clear, powerful sound gives the drums plenty of strength and as a whole the production strikes the right balance between underground ice and polished darkness.
As I say; in addition to the vocals and drums though, I do particularly enjoy the guitars on this album. They have the requisite Blackened bite and melodics in spades but they also benefit from being heavier than the norm for the style and employing some choice riffs throughout the songs.
A hugely impressive release. In Cauda Venenum have produced two remarkable songs of high Blackened art.
Code are from the UK and this is their fourth album.
It seems that Code have undergone somewhat of a transformation since 2013’s Augur Nox; gone is the Avant-Garde Black Metal, instead being replaced with Progressive Post-Rock.
Their new incarnation is akin to a cross between Red Sparowes, Anathema, Autumnblaze, Green Carnation and Radiohead to my ears. It’s a change in style that seems to suit the band as it sounds like a natural fit.
The music is stripped back but expressive and emotive nonetheless. The relatively short songs contain a lot of content in a short space of time; one would almost expect music of this nature to be double the length but most of the tracks here are about 3-4 minutes in duration.
The vocals are similar in style to their past versions, albeit less extravagant and with greater fragility. His voice has an internal power to it though that again reminds of the singers of Anathema and Autumnblaze.
The songs seem to tell a story and pull the listener into their world. The soundscapes Code create are involving and forbidding; they’ve managed to create a sense of carnival-esque awe and wonder for the listener to explore through Post-Rock textures and Progressive Rock workouts.
I applaud the band for their willingness to update their sound, and although I will miss their past style they’ve amply proven to me with Mut that they continue to create rich and engaging music.
Sativa are from Bulgaria and this is their latest release. They play instrumental Post-Rock.
This is winding Post-Rock with a nice Progressive Rock edge to their sound. There’s also some Psychedelia and Stoner elements to their sound that essentially mean 100 Years After Never is a very relaxing, easy listen that washes over you like a rippling tide.
That’s not to say it’s all calm sailing as the band ramp it up a bit when they need to, but there’s no real heavy aggression here or anything of that sort.
Ethereal Post-Rock guitar blends with down-to-earth bass to create a listening experience that’s tranquil and charged at the same time. Sativa do well in this combination of beauty and gritty realism and the songs on this EP are nicely judged.
With the Stoner connection it’s the usual thing to make lots of comparisons to deserts, etc. but the reality is that Sativa have got somewhat of a watery vibe going on in some ways. This is especially strong on track 3, which gives the distinct impression of bubbles…
Maybe it’s just me, but I can hear it, I swear…
Overall this is a neat little EP that hits more times than it misses.
Falloch are from the UK, and this is their second album. They play Folk-tinged Post-Rock.
This is the kind of album you’d listen to when trying to relax at the end of a hard day, or when you want something light and non-invasive to tinkle away in the background.
Falloch specialise in nature-inspired songs that take the slow route and utilise the build/release nature of Post-Rock to carve out their ethereal sounds.
This Island, Our Funeral is somewhat of a mix of bands such as Agalloch, Anathema and Blueneck only with more of a Post-Rock style and an elemental, windswept feel.
Guitar melodies and leads conjure images akin to the album cover and the organic production has some steel to it despite the nature of the music.
The vocals are well-performed with layered harmonies and angelic tones. The singer’s voice is well judged and fits the music well; it shares the same Folk-edge that the music does and the vocal melodies seep out of the speakers like honey.
Falloch have crafted an album that attempts to forge an emotional connection with the listener and its success largely depends on how receptive the listener is to what they have to say. They clearly believe in what they’re doing and I think they’re definitely worth a listen or two. Have at it.
This is the début album of Nojia who are from France. They play Post-Rock.
Nojia feature the talents of the bassist from Eryn Non Dae, which is notable simply because of just how damn good Eryn Non Dae are.
Nojia however, are calmer and more restrained. This is instrumental Post-Rock with long songs and a deep Progressive Rock edge.
For musical reference points, think Red Sparowes, Pelican and Russian Circles.
Nojia’s songs are impassioned and emotive beasts. Featuring the trademark rise and fall, build and release nature of Post-Rock; their tracks are further imbued with vitality and life by the Progressive nature of the music.
Memorable riffs and melodies gel together to create music that has impact. These are stories written in sound and each track is like an act in a play. When all three are done you’re left spent; emotionally exhausted but very, very happy.
A great deal of musicianship has gone into Gheist and the investment has paid real dividends.
My favourite track is probably Sama, which creates a tense, expectant atmosphere before diffusing itself in glorious crescendos and Progressive Rock beauty.
Nojia are a success in my book and well worth a listen.
Lae are from Canada and this is their début album. They play Post-Rock.
Okay, so I say Post-Rock, but not only is that incredibly vague but it also doesn’t really do the band justice, as Lae don’t really sound like you’d probably envisage when you think of Post-Rock. They have an unusual style that’s as enticing as it is seductive.
So, first off I should mention that the band have a very sexy production courtesy of Today is the Day frontman Steve Austin. Apparently he, understandably, became so enamoured with the band’s songs that he ended up providing lead vocals for the entire album. That album is Break the Clasp and the first thing you should know then is that his vocals are stunning.
Haunting cleans are layered together and occasionally enhanced by Austin’s trademark acidic screams to create a performance that’s like a demented lullaby. Breaking the Clasp gives Austin a true platform to demonstrate just how good a singer he actually is.
The music itself is a multi-textured and highly emotive smorgasbord of tasty treats and delights. It’s a hazy, psychedelic mix of Rock and Post-Rock that’s strictly non-conventional and features enough hypnotic melodies to capture your attention forever.
There’s a great variety of mood and feeling to be found here. Doubtless this is not the kind of album to appeal to everyone; it’s not an “instant hit” by any means. It doesn’t suffer from this though, as the songs here have a longevity to be expected of a band who have seemingly taken the best part of over a decade to release their début.
The songs strike a personal note with the listener, drilling down to the core of what’s important in great music; connection, passion and feeling.
Providing band references as comparisons is not easy. Hmm, certain aspects, (but not all by any means – the slower parts mainly), of bands like Today is the Day, Earth, Swans, Fantômas, Angels of Light, etc. are suitable starting points.
Break the Clasp is something of a revelation for me. Albums of this beauty and intrigue don’t come along very often. I’m floored. I love this.
As I write these words it’s nearing the end of 2014, and a lot of amazing album have been released this year. All I know is that Lae will be featuring very highly on my Best of 2014 list.
Dust Sculptures is a US Post-Black Metal band consisting of one person – this is his second release.
An album like this would be a very impressive achievement even if it was the product of a full band, never mind that this is all from one person. The musicianship and songwriting is first rate.
This is a blend of Black Metal, Shoegaze, Progressive Rock and Post-Rock; the various elements are skilfully combined into this release so that you never quite know what exactly you’re going to get next, yet it all gels together and flows seamlessly from one part to the next, from one song to the next.
All of the genre/sub-genre tags above essentially let you know that this is an album that takes a Black Metal base and builds it into something more. The songs have real depth and lasting power. There is a lot of music to explore here and that feels like the essence of the album to me; an exploration through an unknown wilderness.
Soft, crooning clean vocals share space with tortured screams and Blackened agonies. Like the instruments the vocals are perfectly judged and performed flawlessly.
Shades of modern-day Anathema can be heard alongside Blackened parts. Post-Metal highs and Shoegaze wanderings rub shoulders with blast beats and dark melodies. Progressive keyboards and chaotic riffs work together to build sound structures greater than the sum of their parts.
It’s clear that a lot of care, love and attention has gone into the making of this album. Every last part of it has had a lavish amount of focus placed on it and this has resulted in an album that’s a true revelation.
Under the Sun are from France and this is their début album. They play Post-Hardcore.
Post-Metal is a rich genre and an exceedingly varied one. Also, the line between Post-Metal and its sister genres of Post-Rock and Post-Hardcore is a blurred one and can sometimes be hard to define.
Although I’d probably call this Post-Hardcore, strictly speaking it doesn’t really matter which one Under the Sun fall into; what matters is that they play long, exploratory and expansive music based around the darkness of the human mind and the frequently negative emotions that go alongside this.
This is build/release territory and the band are adept at writing a good atmospheric tune. The length of the tracks gives them ample room to manoeuvre and all of the stylistic space is taken up with creating the mood that the band wants you to feel; usually this is one of heartbreak, tragedy and melancholy.
The melodies are luxurious and drawn out, with the band really drawing the listener into the performance. Lighter Progressive Rock passages rub shoulders with heavier Doom sections. A firm sense of dynamics sees the band well through the longer compositions and they inject enough variety to hold interest.
This is a very unhurried album as the songs unfold exactly as they need to. Vocals don’t even appear until the second song as the band are content to largely let the music do the talking. These vocals are essentially Hardcore in nature and lend a chaotic edge to their sound, although some calmer cleans appear also.
Here we have a band echoing the works of the likes of Pelican, Red Sparowes, Erlen Meyer, Mouth of the Architect, Year of No Light, etc.; they take the blueprint and stamp their own identity over it.
It’s hard not to like music that’s played well and has a firm sense of confidence and intent. Under the Sun know what they are doing and know they do it well.
This is the latest EP from Germany’s N/ill. N/ill is a one-person project playing Ambient/Industrial/Drone/Electronica/Rock.
This is a collection of dark soundscapes that use electronics and sounds to create atmospheric pieces that are reminiscent of Shoegaze Post-Rock only from an Industrial/Electronica standpoint.
The songs are slow builders and rise and fall like the ebb and flow of the tide. Rather than sounding organic though these tracks are largely artificial sounding, but not in any bad way. They come from a place of technology and show that this is not any barrier to evoking real feelings in songs.
When vocals appear they are ragged and heartfelt, lending the tunes the feeling of a singer like Mark Lanegan set to a backdrop of Nine Inch Nails-styled proto-Industrial Rock mixed with a synthetic Earth. Or they are female and come across as a stitched together sample that permeates the music like permanent ink.
These compositions are well written and the 33 minutes of music here comes across as a bleak soundtrack to a post-modern film. Each track has its own identity and it covers a diverse range of genres and styles across the 7 songs.
Before listening to this I wasn’t sure what to expect – the cover and the name didn’t give much away, so I’ve been pleasantly surprised by the contents.
This release has the potential to transcend the usual genre limitations and make a mark for itself. With the right exposure/backing it could do well.
Black Marble Carapace is the product of a very talented individual. If you’re looking for something a little different then check this out and lend him your support.
Sea of Disorder are a Post-Metal band from Austria, and this is their début album.
Wonderbox Metal 