Germany’s The Ruins of Beverast returns with their 5th studio album, a haunting display of blackened doom. Vastly large with great walls of instrumentation and howling vocal remedies, just like Blood Vaults, Exuvia takes it a step further with a mythological theme here. Chanting, tribal, mysterious and bleak: Exuvia gives off massive Native American vibes with it’s war chants and hymns. Moving from one enchanting lore to another yet not straying too far from it’s dark writings, this release is giving us everything it has within only 6 songs. Six. Massive. Songs.
Who the hell is Au-Dessus? They are a post-black metal band hailing from Lithuania. This debut album kinda takes from what Numenorean did with their album art from “Home”, just featuring a dead little blonde girl, this time not as gruesome as it looks like a fake picture. Nonetheless, as the father of a little blonde girl, these images are already hard for me to take in. However, this isn’t a review about how much of a pussy I am, I am here to discuss the music within. Being labeled as post-black, I figured it would have featured more of an emphasis on the post metal aspect….however what I get from “End of Chapter” is absolutely dreadful and dark music, with black metal and post metal sprinkled here and there.
A band known to many. A band singular in vision and unity. A band willing to expand and ebb and flow and mix genres. A band that helps others express themselves artistically through their record label Neurot. A band whose individuals members have the same vision, integrity, and strength as the whole does. ( They have a fucking back patch that says “strength and vision” for fuck’s sake).
Steve Von Till, like the band he is part of, needs no introduction, but I’ll give a little one: he is the co-guitarist and co-vocalist of the band mentioned above, and like every other member of the band, he has side project(s) that are his vision of music, catharsis, and expression. Harvestman is the side that loves drone, ambiance, psychedelia and folk, as shown, once again, on the new album “Music for Megaliths.”
Sludge’s grime, hardcore’s aggression, Swedish death metal’s buzzsaw grit (à la HM-2) and harsh noise converge on Fange’s sophomore full-length, Pourrissoir.
Coming a mere six months after the release of its predecessor, Purge, Pourrissoir sees this French act building upon the unique and devastating sound they crafted for themselves; dishing out six new tracks of caustic aggression and staggering abrasiveness.
Omega Massif was a genuinely massive band. Throughout their roughly nine year existence, the German post-metal quartet crafted a short, but undeniably solid, string of releases and possessed a tremendous sound whose immense volume even caught the attention of Neurosis‘ Scott Kelly.
Though the band unfortunately parted ways in 2014, members of the outfit went on to form three equally enormous sounding bands. The bands in question are Blacksmoker, Phantom Winter and Cranial; the latter of which has released one of the most colossal records of the year.
Brutal death metal is very hit or miss for me. There is simply no in between. I either really love what a band is doing or I really hate it. Sometimes the vocals are just too cheesy, the production is bad or the guitar tone is flat if I don’t like it. Superb production values, excellent vocal power and heavy hitting guitar riffs usually make it so I love the br00ts and I will listen to the album over and over again. When it comes to Pathology, this bands entire discography has been miss for me. I honestly cannot remember if I even liked an album by them because they have just a stale sense of musicianship and there for a while they released an album per year for about 3 or 4 years. (Except for The Time of Great Purification, I liked that album.) That was obnoxious and I called them the “Call of Duty of death metal” back in 2013. It’s been awhile since Pathology has released anything and just like previous albums….the lineup has changed however the band has recruited older members to rejoin the band so if you liked their 2008-2010 style, then maybe you’ll enjoy this album. Continue Reading
NY in 64‘s dynamic, textural and multifaceted take on post-hardcore provides for an enthralling listening experience on their sophomore full-length, The Gentle Indifference of the Night.
This wholly instrumental quartet, whose members have served time in the likes of East of the Wall, You and I, among others, presents a unique approach to the post-hardcore style. These Jersey boys take pages from the 90s wave of post-hardcore acts, while liberally introducing more intricacy, as well as a nice amount of progressive flair (à la East of the Wall). The result here is a half-hour of meticulously arranged, yet driving metallic splendor.
Crawling forth from the swamps of Florida like an unfathomable, grimy beast, spewing corrosive acid in every direction, comes Meatwound‘s sophomore LP, Largo.
Comprised of Florida hardcore scene veterans, of whom have served time in Combatwoundedveteran, Headless Dogs and others, this quartet have acquired the skills and know-how over the years to craft a gritty, bitter hardcore release. That’s what Meatwound delivers on Largo; unyielding anger and ugliness.
The words “defies categorization” can sometimes be used carelessly, to the point of hyperbole, when it comes to music. But in terms of San Francisco’s Oxbow, they ring true.
Following two collaborations, two solo full lengths and a plethora of EPs, splits and singles, Trumpeting Ecstasy sees harsh grind death pioneers Full Of Hell entering a new era in sound. Following in the direction of the band’s Amber Mote… EP and their subsequently released split with Nails, Full Of Hell’s latest effort again leans towards the band’s death metal roots, inching farther from yet still retaining the group’s core musical identity. Imbued with higher registers of sound, greater emphases on technicality and death metal atmospherics, Trumpeting Ecstasy is a progressive, exultant exercise in sound. It pummels with a forward driving, almost-upbeat swagger with a surprising sense of form and accessibility that speaks to the instrumental mastery, sub-genre knowledge and cohesion of the band as a unit. Continue Reading