Moths paint from a rich and diverse palette and play a form of music that takes influence from a range of places. In essence it’s a mix of stoner, doom, psychedelic, and progressive metal, which has then been expanded to include elements of space rock, 70s progressive rock, and jazz. It’s quite the experience, and Space Force contains 28 minutes of characterful material. Continue reading “Moths – Space Force (Review)”
Wonderbox Metal gets sent a lot of new music, (which is great), but there’s no way that everything can get covered unfortunately, (which is not so great). This new column hopes to redress this balance, if only slightly, by taking a look at a handful of releases that a record label has recently sent out that might have otherwise slipped through the cracks.
This time we’ll take a look at some releases from Majestic Mountain Records, which is a record label that I’ve only really just discovered via the wonderful Kal-El. I know nothing about the label, but I like what I’m hearing, so let’s delve into some of what they have to offer below… Continue reading “Label Roundup: Majestic Mountain Records – Bogwife, Redscale, Jointhugger, & Grand Cadaver (Reviews)”
Bossk are a UK post-metal band and this is their second album.
Migration contains 42 minutes of charismatic post-metal. Fusing together elements of atmospheric sludge and post-metal build/release, with experimental and psychedelic explorations, Migration is an impressive and accomplished work. Continue reading “Bossk – Migration (Review)”
Vokonis’ style mixes together progressive metal with stoner and doom metal, resulting in a colourful and enjoyable collection of tracks. While Mastodon is the obvious reference point, it’s also an inadequate one for Odyssey, as there’s a lot more at play here than simply Mastodon worship. I can also hear elements of bands as diverse as Sleep, Slomatics, Elder, Perihelion Ship, Rush, Khemmis, Alice in Chains, Witchkiss, Monolord, and Black Crown Initiate, to name but a few. Continue reading “Vokonis – Odyssey (Review)”
Ever since thoroughly enjoying 2016’s At This Great Depth, I’ve been looking forward to something more substantial from Soothsayer. And now it’s here in the form of Echoes of the Earth – 52 minutes of atmospheric doom sludge metal. Continue reading “Soothsayer – Echoes of the Earth (Review)”
I’ve been eagerly awaiting this ever since 2017’s Pursuance. I’ve had to wait longer than I expected for Capricorn Wolves, but it’s been worth the wait. Continue reading “Kultika – Capricorn Wolves (Review)”
I really, really enjoyed 2014’s Animal Mother, which was one of my favourite releases from this artist. As such, No Good to Anyone was much-anticipated, and had a lot to live up to. Thankfully, it’s one of Today Is the Day’s bests. Continue reading “Today Is the Day – No Good to Anyone (Review)”
Six years after the rewarding Derivae, Nero di Marte have finally returned with 67 minutes of new material in the shape of Immoto. Continue reading “Nero di Marte – Immoto (Review)”
Following up 2014’s Surrounded by Shadows and 2017’s Matter & Void, we now have the much-anticipated The Ark Burner. Continue reading “Sorxe – The Ark Burner (Review)”