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Cradle of Filth – The Screaming of the Valkyries Review
By Dr. A.N. Grier
It’s funny that I’ve finally come around to reviewing a Cradle of Filth record, considering I’ve probably been listening to Dani Filth and company longer than anyone on staff. But that’s because I’m olde and have been spinning this shit since the days when the only two bands anyone seemed to talk about were Cradle of Filth and Dimmu Borgir. Also, no one else would review them. So, there’s that. What’s interesting about the band, especially considering that so many people bash them, is that they aren’t bad. While most people reminisce about classics like Dusk and Her Embrace and Cruelty and the Beast, the latter half of the band’s career includes stellar albums like Godspeed on the Devil’s Thunder and Hammer of the Witches. So, for all the shit talking, CoF hasn’t slowed down since their naughty birth in 1991. With a new guitarist and female siren on the roster, The Screaming of the Valkyries is here to keep the sexy alive.
One of the reasons why I think CoF has continued to deliver solid records over the years is because of Dani’s gothic outlet, Devilment. There was a time in the early 2000s when CoF’s style started to get far too gothy for my taste (looking at you, Nymphetamine). However, since the inception of Devilment, CoF has refocused on the heavier aspects used for the last thirty years. Sure, the goth is still there (and always will be), but the heaviness of their output continues to surprise me. The Screaming of the Valkyries is no different as it combines chunky riffs with gorgeous leads, haunting orchestrations with punchy choruses, and Dani’s unmistakable shrieks. But, being their 14th full-length release, where does The Screaming of the Valkyries stand with the rest of their catalog?
The Screaming of the Valkyries kicks off nicely with the tasty opener, “To Live Deliciously.” After setting the scene with some orchestration and church chants, it explodes into a punishing riff and a catchy vocal arrangement. Mixing aggression with melody, this song is one of the album highlights, delivering gothy hooks and headbangable action from beginning to end. The other album’s bookend is also intriguing but in a different way. While the opener sports CoF’s classic, mid-career, sing-along songwriting style, “When Misery Was a Stranger” is a blast-in-the-past piece that conjures up memories of Dusk and Her Embrace. It’s got that symphonic sound when the genre was in its prime while incorporating their newer, thrashier side. It also includes gorgeous female vocals that add incredible depth to the melodic chorus and drum work that rattles its foundation.
Other tracks of interest include “White Hellebore” and “Malignant Perfection.” The first acts as the album’s beauty-and-the-beast number, while “Malignant Perfection” incorporates everything CoF stands for, including being home to one of the best choruses on the album. For how much beauty there is in “White Hellebore,” it can still get the ole noggin’ moving with its classic, heavy metal gallop and ever-shifting riff changes. As with most CoF albums, this track exposes ballady vibes as the male and female vox take turns contributing to the melodic chorus. “Malignant Perfection” is a creeping, haunting piece that uses heavy doses of keys, bass, and drums to set the mood. It’s a building piece whose sole purpose is making its way to the massive chorus and its powerful female support. It also provides the lyrical line “mass erection,” which I strongly support.
Some issues surrounding this new release are the lengthy “You Are My Nautilus” and “Ex Sanguine Draculae.” This is odd because CoF are not novices to long songs that fall and rise like the Carpathian mountains. Hell, Cryptoriana (The Seductiveness of Decay) is nothing but lengthy, winding tracks. But, “You Are My Nautilus,” in particular, shapeshifts so much that I’m lost halfway through it. It’s a meandering number with no real direction that is easily dismissed in favor of “Malignant Perfection.” Minus these songs, the production is clean and clear, letting the typically forgotten bass guitar shine at times. The drums kick some major ass and the dueling guitar work brings some old-school character to the record. Zoe Marie Federoff is also a great addition to the band, balancing nicely with Dani without being awkwardly operatic. I can’t put The Screaming of the Valkyries on top of any of the albums mentioned earlier, but it’s a solid outing that fans will enjoy.
Rating: 3.0/5.0
DR: Stream | Format Reviewed: Stream
Label: Napalm Records
Websites: cradleoffilth.bandcamp.com | cradleoffilth.com | facebook.com/cradleoffillth
Releases Worldwide: March 21st, 2025#2025 #30 #BlackMetal #CradleOfFilth #DimmuBorgir #EnglishMetal #GothicMetal #Mar25 #NapalmRecords #Review #Reviews #SymphonicMetal #TheScreamingOfTheValkyries
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Man Has $227,000 “#Unstealable” #Car Stolen Less Than 60 Hours After Buying It
An #Englishman who had his #luxurySUV #stolen from his #driveway less than 60 hours after driving it home claims the #dealership assured him that the #vehicle was “unstealable”.
John, a 45-year-old man from Warwickshire, UK, bought a £183,000 ($227,000) Range Rover 2024 SV Edition One
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NECROMANIAC – Sciomancy, Malediction & Rites Abominable Review
By Tyme
Having toiled and troubled over a bubbling cauldron for the past thirteen years, London, England’s Necromaniac, is finally prepared to cast the spell of its debut album Sciomancy, Malediction & Rites Abominable.1 A multi-national coven consisting of musicians from Sweden, Spain, Greece, and Poland, Necromaniac are self-described practitioners of “morbid metal.” After 2015’s promising and well-received demo Morbid Metal dropped, in addition to 2018’s mini-EP Subterranean Death Rising, Invictus Productions signed on in 2024 to release Sciomancy, Malediction & Rites Abominable, promising listeners “A truly sinister musical journey containing nine forbidden rites steeped in witchcraft, necromancy and an overall occult and utterly macabre atmosphere.” So I wondered, is this pricking in my thumbs a sign that something wicked this way comes, or is Necromaniac‘s witchery nothing more than parlor tricks?
An elixir of blackened death and thrash, with synth-sprigs of thyme and dashes of doomsbane thrown in for atmospheric effect, the morbidity of Necromaniac‘s metal is steeped mainly in the olde ways. Conjuring strong Hellhammer and Morbid2 vibes, there’s a rawness to the sound of the organic mix that belies the DR score you see below. Ensorcelling ‘guitarmageddon’ is Sadistik Fornicator, who laces the swirling potions of Sciomancy, Malediction & Rites Abominable with Toxic Holocaustian riffage (“Daemonomantia”) and guitar passages that sound as if they could have come straight from the cutting room floor of Slayer‘s Show No Mercy sessions (“Teraphim (Skull Sorcery)”). Combine those riffs with the potency of The One’s ‘Basstard Tremblings’ and V. Pestilencia’s ‘Apocalyptic Drumonitions,’ and the thrashily blackened death metal Necromaniac offers up is ruthlessly effective. When things shift toward the more atmospheric, however, cracks start to show and highlight the most significant battle fought within the album’s walls, which pits the strength of its metal against its more melodramatic tendencies.
With nothing to dilute its potency, the metal of Sciomancy, Malediction, & Rites Abominable is razor-sharp and capable of carrying the weight of the entire album. One quaff of the black-‘n-roll draught of riffs from “Grave Mound Oath” will have you bobbing your head and wondering what the hell ever happened to Carpathian Forest. At the same time, the swirling speeds of “Great is the Thirst of the Restless Dead” and the remorseless “Swedenborg’s Skull,” with its ebb and flow of pummeling riff work and atmospherically doomy passages, are a satisfying earworm of harrowing hocus-pocus. Atop all these infernal conflagrations float the vociferous vocalizations of C. Howler, whose grunts, growls, and menacing howls perfectly complement Necromaniac‘s morbidly sharp metal blade. If this were all we had to speak of regarding Sciomancy, Malediction & Rites Abominable, the overall perception would have been mostly positive, but there are elements left to address.
Necromaniac‘s firm forays into the strictly atmospheric fall short, cloaking those elements meant to invoke spine-chilling shivers in shrouds of theatrically overwrought melodrama instead. Other than “Caput Draconis,” with its effectively doomy guitar work and King Diamond-esque warbling3 providing an atmospherically eerie opening to the record, other attempts to tap the same vein miss the mark. Supplied by and known here only as A Corpse Without Soul, the guest vocals on “Bring Forth the Shade” and “Conjuration of St. Cyprian” are a mixture of cantankerous chuckles and over-embellished groans, whispers, and wails, combined then with the half-baked doom instrumentation and synths, create an overall effect more cringe than creepy. These tracks, in tandem with the ten-plus minutes of overly-long closer “Necromancess / Cauda Draconis,” full of meandering drawn-out doom work, make Sciomancy, Malediction & Rites Abominable feel longer than its near forty-nine-minute runtime should, negatively impacting the flow and momentum this witchy metal seance might otherwise have had.
Necromaniac‘s strength lies in the metal of its sciomantic maledictions and less in the melodrama of its abominable rites. Songs like “Grave Mound Oath,” “Teraphim (Skull Sorcery)” and “Swedenborg’s Skull” prove Necromaniac has the chops to stand tall next to other bands successfully peddling this same form of blackened death metal, but using vehicles that end up conjuring an atmosphere more mawkish than macabre costs Necromaniac most here. And while I can’t fully endorse Sciomancy, Maledictions and Rites Abominable, there’s enough meat on this bone to have me scoping Necromaniac‘s next incantation.
Rating: 2.5/5.0
DR: 9 | Format Reviewed: 320 kbps mp3
Label: Invictus Productions | The Anja Offensive
Websites: necromaniac.bandcamp.com | facebook.com/necromaniacUK
Releases Worldwide: January 13, 2025#25 #2025 #BlackMetal #DeathMetal #DoomMetal #EnglishMetal #Hellhammer #InvictusProductions #Jan25 #Morbid #Necromaniac #Review #Reviews #SciomancyMaledictionsRitesAbominable #Slayer #TheANJAOffensive #ThrashMetal
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NECROMANIAC – Sciomancy, Malediction & Rites Abominable Review
By Tyme
Having toiled and troubled over a bubbling cauldron for the past thirteen years, London, England’s Necromaniac, is finally prepared to cast the spell of its debut album Sciomancy, Malediction & Rites Abominable.1 A multi-national coven consisting of musicians from Sweden, Spain, Greece, and Poland, Necromaniac are self-described practitioners of “morbid metal.” After 2015’s promising and well-received demo Morbid Metal dropped, in addition to 2018’s mini-EP Subterranean Death Rising, Invictus Productions signed on in 2024 to release Sciomancy, Malediction & Rites Abominable, promising listeners “A truly sinister musical journey containing nine forbidden rites steeped in witchcraft, necromancy and an overall occult and utterly macabre atmosphere.” So I wondered, is this pricking in my thumbs a sign that something wicked this way comes, or is Necromaniac‘s witchery nothing more than parlor tricks?
An elixir of blackened death and thrash, with synth-sprigs of thyme and dashes of doomsbane thrown in for atmospheric effect, the morbidity of Necromaniac‘s metal is steeped mainly in the olde ways. Conjuring strong Hellhammer and Morbid2 vibes, there’s a rawness to the sound of the organic mix that belies the DR score you see below. Ensorcelling ‘guitarmageddon’ is Sadistik Fornicator, who laces the swirling potions of Sciomancy, Malediction & Rites Abominable with Toxic Holocaustian riffage (“Daemonomantia”) and guitar passages that sound as if they could have come straight from the cutting room floor of Slayer‘s Show No Mercy sessions (“Teraphim (Skull Sorcery)”). Combine those riffs with the potency of The One’s ‘Basstard Tremblings’ and V. Pestilencia’s ‘Apocalyptic Drumonitions,’ and the thrashily blackened death metal Necromaniac offers up is ruthlessly effective. When things shift toward the more atmospheric, however, cracks start to show and highlight the most significant battle fought within the album’s walls, which pits the strength of its metal against its more melodramatic tendencies.
With nothing to dilute its potency, the metal of Sciomancy, Malediction, & Rites Abominable is razor-sharp and capable of carrying the weight of the entire album. One quaff of the black-‘n-roll draught of riffs from “Grave Mound Oath” will have you bobbing your head and wondering what the hell ever happened to Carpathian Forest. At the same time, the swirling speeds of “Great is the Thirst of the Restless Dead” and the remorseless “Swedenborg’s Skull,” with its ebb and flow of pummeling riff work and atmospherically doomy passages, are a satisfying earworm of harrowing hocus-pocus. Atop all these infernal conflagrations float the vociferous vocalizations of C. Howler, whose grunts, growls, and menacing howls perfectly complement Necromaniac‘s morbidly sharp metal blade. If this were all we had to speak of regarding Sciomancy, Malediction & Rites Abominable, the overall perception would have been mostly positive, but there are elements left to address.
Necromaniac‘s firm forays into the strictly atmospheric fall short, cloaking those elements meant to invoke spine-chilling shivers in shrouds of theatrically overwrought melodrama instead. Other than “Caput Draconis,” with its effectively doomy guitar work and King Diamond-esque warbling3 providing an atmospherically eerie opening to the record, other attempts to tap the same vein miss the mark. Supplied by and known here only as A Corpse Without Soul, the guest vocals on “Bring Forth the Shade” and “Conjuration of St. Cyprian” are a mixture of cantankerous chuckles and over-embellished groans, whispers, and wails, combined then with the half-baked doom instrumentation and synths, create an overall effect more cringe than creepy. These tracks, in tandem with the ten-plus minutes of overly-long closer “Necromancess / Cauda Draconis,” full of meandering drawn-out doom work, make Sciomancy, Malediction & Rites Abominable feel longer than its near forty-nine-minute runtime should, negatively impacting the flow and momentum this witchy metal seance might otherwise have had.
Necromaniac‘s strength lies in the metal of its sciomantic maledictions and less in the melodrama of its abominable rites. Songs like “Grave Mound Oath,” “Teraphim (Skull Sorcery)” and “Swedenborg’s Skull” prove Necromaniac has the chops to stand tall next to other bands successfully peddling this same form of blackened death metal, but using vehicles that end up conjuring an atmosphere more mawkish than macabre costs Necromaniac most here. And while I can’t fully endorse Sciomancy, Maledictions and Rites Abominable, there’s enough meat on this bone to have me scoping Necromaniac‘s next incantation.
Rating: 2.5/5.0
DR: 9 | Format Reviewed: 320 kbps mp3
Label: Invictus Productions | The Anja Offensive
Websites: necromaniac.bandcamp.com | facebook.com/necromaniacUK
Releases Worldwide: January 13, 2025#25 #2025 #BlackMetal #DeathMetal #DoomMetal #EnglishMetal #Hellhammer #InvictusProductions #Jan25 #Morbid #Necromaniac #Review #Reviews #SciomancyMaledictionsRitesAbominable #Slayer #TheANJAOffensive #ThrashMetal
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Mutagenic Host – The Diseased Machine Review
By Tyme
Cooked up like the T-Virus in some underground UK lab and now stalking the streets of London, is Mutagenic Host, a newcomer to the British death metal scene. After the release of The Genotoxic Demo in 2023, Mutagenic Host signed on with Dry Cough Records, as well as Gurgling Gore and Memento Mori, to release their debut album, The Diseased Machine. Primarily concerned with the world’s increasing levels of apathetic complacency and the rampant proliferation of AI, “their work is an allegory for the systematic industrialization of humanity’s eradication—whether by human hands or by the machines we create to snuff out life.” In a genre packed with competition, Mutagenic Host steps up to the line, prepared to toss their fedoras into the ring alongside fellow new British heavies like Coffin Mulch, Slimelord, and Mortuary Spawn. I wondered if they’d have the DNA necessary to stand out in the crowd or if they should keep percolating in the petri dish.
Mutagenic Host‘s primary organism is a mass of old-school death metal, with hardcore elements pustulating its writhing appendages. More Obituary than Monstrosity, the death of The Diseased Machine‘s metal harkens back to the halcyon days of Florida’s nineties scene. Rife with tight, precise riffs but trading in the thrashier influences for sprinkles of hardcore, Mutagenic Host manages to set themselves apart from their British brethren. Whether they’re crushing skulls with Unleashed abandon (“Genestealer,” “Promethean Dusk”) or dragging their knuckles through chug-a-sludge swamps of Wharflurchian slime (“Organometallic Assimilation,” “The Twisted Helix”), the unrelenting riff-slaught of Jack Thompson and Sami Tuohino1 packs The Diseased Machine with enough globby chugs, oozy leads, and twisty solos to reduce even the meanest Resident Evil end boss to a purulent puddle. Combine that with Dan Bulford’s bulbously punchy bass work and George Kinsella-Pearn’s world-beating drumstrosities, and you have one devastatingly lethal mutant on your hands.
Completing the vehicle through which Mutagenic Host brings you their post-apocalyptic vision are the vocals of Ash Moore. His Maulti-pronged attack comes with the standard weaponry of guttural grunts, throat-ripping roars and raspy shrieks, but floats in a reagent of hardcore-tinged shouts. Moore’s performance, recorded with cavernous echo, sits siloed in Ben Jones’ beefily brutal mix. This bifurcation enhances rather than detracts from The Diseased Machine‘s gene-splicing approach, which opener “Neurological Necrosis” fully encapsulates. After a brief eighties-style science fiction intro, the track builds with slimy guitar licks and bubbling bass lines before spewing forth with Moore’s mighty roar over a brain-bashing brutal riff. The song weaves through hardcore laden d-beats, and gang shouts before lumbering to its conclusion under massively thick riffs that stick like slow-churned pus-butter. And despite its state of youthful embryogenesis, Mutagenic Host presents as a band much more mature, The Diseased Machine sounding like a product from well-established scene veterans.
Weighted neither to its front nor back half, The Diseased Machine is a balanced platter of gurgling goodness, nearly void of anomalous flaws. Deft injections of groove and melody give the tornadic guitar swirls of “Artificial Harvest of the Obscene” and the bludgeoning bass of “Incomprehensible Methods of Slaughter” extra depth, ensuring not a second of The Diseased Machine‘s ideal forty-one-minute run time is wasted. Even the mid-album interlude “DIRECTIVE:: [kill_on_sight]” furthers the narrative effectively and offers a point of poignant respite. This break is needed to make it to the instrumental closer “Rivers of Grief,” with its Holst-inspired riff on the “Mars” theme to start; it gives way to a river of brutal chugs on which listeners float to the album’s conclusion.
Even before my most recent demotion to staff, I had been eyeing The Diseased Machine, so I was exuberant when I saw it glimmering in the sump pit, unclaimed by senior staff. I could only hope the album lived up to my enthusiastic expectations, which it does. Mutagenic Host has released a death metal album that checks all the boxes, a rifferously frenzied affair of epic proportions. It will not be the only thing I recommend in 2025, but it’s undoubtedly the first. I will be intently eyeing Mutagenic Host, anticipating their next evolution, and fans of this style should, too.
Rating: 4.0/5.0
DR: 8 | Format Reviewed: 320 kbps mp3
Labels: Gurgling Gore | Dry Cough | Memento Mori
Website: mutagenichost.bandcamp.com
Releases Worldwide: January 3rd, 2025#2025 #40 #CoffinMulch #DeathMetal #DryCoughRecords #EnglishMetal #GurglingGoreRecords #Jan3 #MementoMoriRecords #MutagenicHost #Obituary #Review #Reviews #TheDiseasedMachine #Wharflurch
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Mutagenic Host – The Diseased Machine Review
By Tyme
Cooked up like the T-Virus in some underground UK lab and now stalking the streets of London, is Mutagenic Host, a newcomer to the British death metal scene. After the release of The Genotoxic Demo in 2023, Mutagenic Host signed on with Dry Cough Records, as well as Gurgling Gore and Memento Mori, to release their debut album, The Diseased Machine. Primarily concerned with the world’s increasing levels of apathetic complacency and the rampant proliferation of AI, “their work is an allegory for the systematic industrialization of humanity’s eradication—whether by human hands or by the machines we create to snuff out life.” In a genre packed with competition, Mutagenic Host steps up to the line, prepared to toss their fedoras into the ring alongside fellow new British heavies like Coffin Mulch, Slimelord, and Mortuary Spawn. I wondered if they’d have the DNA necessary to stand out in the crowd or if they should keep percolating in the petri dish.
Mutagenic Host‘s primary organism is a mass of old-school death metal, with hardcore elements pustulating its writhing appendages. More Obituary than Monstrosity, the death of The Diseased Machine‘s metal harkens back to the halcyon days of Florida’s nineties scene. Rife with tight, precise riffs but trading in the thrashier influences for sprinkles of hardcore, Mutagenic Host manages to set themselves apart from their British brethren. Whether they’re crushing skulls with Unleashed abandon (“Genestealer,” “Promethean Dusk”) or dragging their knuckles through chug-a-sludge swamps of Wharflurchian slime (“Organometallic Assimilation,” “The Twisted Helix”), the unrelenting riff-slaught of Jack Thompson and Sami Tuohino1 packs The Diseased Machine with enough globby chugs, oozy leads, and twisty solos to reduce even the meanest Resident Evil end boss to a purulent puddle. Combine that with Dan Bulford’s bulbously punchy bass work and George Kinsella-Pearn’s world-beating drumstrosities, and you have one devastatingly lethal mutant on your hands.
Completing the vehicle through which Mutagenic Host brings you their post-apocalyptic vision are the vocals of Ash Moore. His Maulti-pronged attack comes with the standard weaponry of guttural grunts, throat-ripping roars and raspy shrieks, but floats in a reagent of hardcore-tinged shouts. Moore’s performance, recorded with cavernous echo, sits siloed in Ben Jones’ beefily brutal mix. This bifurcation enhances rather than detracts from The Diseased Machine‘s gene-splicing approach, which opener “Neurological Necrosis” fully encapsulates. After a brief eighties-style science fiction intro, the track builds with slimy guitar licks and bubbling bass lines before spewing forth with Moore’s mighty roar over a brain-bashing brutal riff. The song weaves through hardcore laden d-beats, and gang shouts before lumbering to its conclusion under massively thick riffs that stick like slow-churned pus-butter. And despite its state of youthful embryogenesis, Mutagenic Host presents as a band much more mature, The Diseased Machine sounding like a product from well-established scene veterans.
Weighted neither to its front nor back half, The Diseased Machine is a balanced platter of gurgling goodness, nearly void of anomalous flaws. Deft injections of groove and melody give the tornadic guitar swirls of “Artificial Harvest of the Obscene” and the bludgeoning bass of “Incomprehensible Methods of Slaughter” extra depth, ensuring not a second of The Diseased Machine‘s ideal forty-one-minute run time is wasted. Even the mid-album interlude “DIRECTIVE:: [kill_on_sight]” furthers the narrative effectively and offers a point of poignant respite. This break is needed to make it to the instrumental closer “Rivers of Grief,” with its Holst-inspired riff on the “Mars” theme to start; it gives way to a river of brutal chugs on which listeners float to the album’s conclusion.
Even before my most recent demotion to staff, I had been eyeing The Diseased Machine, so I was exuberant when I saw it glimmering in the sump pit, unclaimed by senior staff. I could only hope the album lived up to my enthusiastic expectations, which it does. Mutagenic Host has released a death metal album that checks all the boxes, a rifferously frenzied affair of epic proportions. It will not be the only thing I recommend in 2025, but it’s undoubtedly the first. I will be intently eyeing Mutagenic Host, anticipating their next evolution, and fans of this style should, too.
Rating: 4.0/5.0
DR: 8 | Format Reviewed: 320 kbps mp3
Labels: Gurgling Gore | Dry Cough | Memento Mori
Website: mutagenichost.bandcamp.com
Releases Worldwide: January 3rd, 2025#2025 #40 #CoffinMulch #DeathMetal #DryCoughRecords #EnglishMetal #GurglingGoreRecords #Jan3 #MementoMoriRecords #MutagenicHost #Obituary #Review #Reviews #TheDiseasedMachine #Wharflurch
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Spider God – Possess the Devil Review
By Doom_et_Al
Black metal goes with just about anything, so they say. Shoegaze? Check (Deafheaven). Rock ‘n’ roll? Check (Kvelertak). Hell, even dream-pop has been incorporated (An Autumn for Crippled Children). Black metal covers of famous songs are now fairly standard (Fleshgod Apocalypse’s cover of Eiffel 65’s “Blue” and Children of Bodom’s cover of “Oops!… I Did it Again” stand as fairly notorious examples). But when Spider God released their infamous set of covers, Black Renditions, in 2022, the combination of overt pop sensibilities with legit black metal bona fides made metalheads take notice, if only for some to turn their noses up. Two full-lengths of varying quality followed (2022’s Fly in the Trap was a tonal misstep, corrected by 2024’s more energetic and fun The Killing Room). Now, the final part of the trilogy, Possess the Devil is here. Trilogies are notoriously hard to conclude well. Is this The Return of the King? Or The Godfather Part III?
For those who haven’t been keeping up, Possess the Devil follows the mysterious disappearance of ex-band member, Faustus, who got caught up in a deadly online game called—you guessed it!—”Possess the Devil.” This album promises to bring the mystery to an epic conclusion. Or something. I’m not sure that many people care when the vocals are indecipherable. What they might care about, however, is the sound. Spider God promise to not only continue the pop sensibilities noted on previous albums but to incorporate metalcore as well. Now… we have an awful lot of genre cooks in this particular kitchen. And they’re starting to throw things at each other…
The major issue with Possess the Devil is that, to my ears, the addition of new elements has unbalanced a sound that was perched precariously to begin with. The wonderful sense of melodicism remains, but the black metal has been almost entirely discarded, and what’s left is melodeath/metalcore with screeched black metal rasps. But there’s a reason the best melodeath bands have versatile vocalists: the songs rely on melody, and require vocal support to highlight the material. Spider God’s monochromatic growls jar instead with the music. In addition, the aural assault is so all-consuming, so front-and-center in the mix, that the album becomes wearying by the halfway point. This is a real pity because when you give it the time it deserves (and allow your ears a break), the material is some of the best Spider God have put out in their career. The pop has given way to a more Gothenburg-esque sound (think early Tribulation) which feels more natural than the pop/black metal of earlier stuff. Ironically, the best tracks are the ones that abandon the black metal aesthetic altogether. Musically, this is the best musical material of Spider God’s career. I just wish it were better integrated.
I’m also not entirely convinced the ‘mystery’ schtick works at this point. The band clearly loves True Crime and unsolved mysteries, and there’s nothing wrong with incorporating what you love into your work. But the pop and melodicism just don’t gel in my ears with the subject matter. Imagine Britney had sung, “Oops!… I slit her throat again!” Metal fans would rejoice, but it would be kinda weird for everyone else. Possess the Devil is kinda weird, not helped by the fact that the mystery element is totally pointless without a lyric sheet and, frankly, not all that interesting.
Possess the Devil is an odd duck. As the band moves ever away from black metal, the quality of their sound is refined and improved. Yet the reliance on black metal tropes (including the vocals) unbalances the sound. The “true mystery” vibe is also running dangerously thin. While fans of their material will undoubtedly enjoy this, I don’t think it’s persuading the doubters. I am glad this trilogy is over because I think it represents an opportunity for a talented band to think about where to next. Spider God feel like they’re caught (like a Fly in a Trap?) between their past and their future. This transition album is a flawed testament to that. It will be fascinating whether they march forward to melodeath/metalcore, or head back to their roots of underground black metal. Either way, I will be listening.
Rating: 3.0/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Repose Records
Websites: spider-god.bandcamp.com | facebook.com/spidergodband
Releases Worldwide: November 14th, 2024#2024 #30 #BlackMetal #Deafheaven #EnglishMetal #Kvelertak #Metalcore #Nov24 #ReposeRecords #Review #Reviews #SpiderGod
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Fellowship – The Skies Above Eternity Review
By Eldritch Elitist
If there had never been a second Fellowship record, I would have been okay. Obviously, I wanted another Fellowship record—and, ideally, biennial releases from England’s premiere life-affirming, self-worth-preserving power metal outfit—but I’ve known since the first time I heard The Saberlight Chronicles that there would never be another Fellowship record like it. Not only would their sophomore album be unable to re-invoke the wonder I felt upon hearing a full-length Fellowship release for the first time, but it would also be nigh impossible for them to recapture the exact vibe of that record after two years of added experience.1 Not that I would want them to. Ideally, subsequent Fellowship records will evolve in a variety of directions, all while still channeling their unmistakable and unbreakable sense of joy. Enter The Skies above Eternity, where—as prophesied—the Fellowship has grown.
As it turns out, the most efficient way for Fellowship to absolve any fears that their sophomore record might fail to capitalize on the strengths of its predecessor is to open with the best power metal song of the year. The winkingly titled “Hold up Your Hearts (Again)” is the ideal power metal opener, excising all chaff and cutting straight to the most giddily melodic lead guitar riff imaginable. The flow and feel of this track are replicated in many of The Skies above Eternity’s best cuts (namely “Dawnbreaker,” “Eternity,” and “World End Slowly”). It took me a while to pinpoint where exactly I’d heard this vibe, but once I realized, it could not be denied: these tracks all invoke the hype-building structure of an excellent anime opening. It may sound silly, and perhaps even cringe if you are a joyless husk given human form. However, if you’re familiar with anime tropes, and you close your eyes during the opening of these songs, you can practically see the logo drop. This feels like a conscious choice to differentiate the feel of a Fellowship song from their contemporaries. Thanks to the band’s ever-boundless optimism, they pull it off without losing so much of a hint of their established charm.
Efficiency is the operative word when it comes to The Skies above Eternity’s pop-oriented structure; excluding the instrumental outro “Memories on the Wind,” the album barely breaches forty minutes. While I don’t think this is a better record than The Saberlight Chronicles, it is nearly as good, with The Skies Above Eternity’s main strength over its predecessor being its digestibility and replayability. Where Saberlight was something of a marathon at sixty-two minutes, Skies is compulsively replayable, and its songs are every bit as excellent (though it did take some time for the training montage-worthy “King of Nothing” to fully grow on me). My only criticism, then, is an unconventional but glaring one: it feels like it’s missing a track. The infectiously bouncy “A New Hope” is a bit of an odd closer, but one that would make much more sense if it were preceded by a darker, more bombastic track in the vein of “Avalon.” As it stands, The Skies above Eternity feels somewhat anticlimactic.
Speaking of “darker,” the announcement for The Skies above Eternity advertised a darker direction for Fellowship. This darkness manifests in a purely lyrical fashion; these songs cover notably more difficult subject matter, with “World End Slowly” in particular addressing the search for solace in the face of an imminent and untimely death. Yet Matthew Corry’s lyrics still manage to kindle hope in a wonderfully poetic fashion, preserving Fellowship’s essential, unshakeable optimism. Corry’s literal voice has evolved as well, with his intense delivery in “Eternity” being my favorite performance from him to date. The band flexes more technical muscle than ever despite multiple lineup alterations; The Skies above Eternity is a riffier experience, with more colorful texturing in both its composition and drummer Callum Tuffen’s kitwork. While former lead guitarist Sam Browne retains a studio presence, Brad Wosko has taken up the bulk of the lead work and proves himself to be every bit as proficient. It should be said as well that incoming bassist Ed Munson delivers one of my favorite bass performances of the year in the verse of “Victim.”
The Skies above Eternity is not an experience on the same level as The Saberlight Chronicles, and—at least from my perspective—it was never going to be. That being said, thanks to its condensed runtime and a stronger sense of instrumental muscle, I find it likely that a sizable chunk of Fellowship’s audience will see it as the superior album. Regardless of where one stands with their abbreviated ranking of Fellowship records, I cannot imagine any previously established fan of Fellowship being disappointed with The Skies Above Eternity. It may not have the same impact on the scene as Fellowship’s debut, but it is vital to their discography. This record doesn’t just confirm that Fellowship’s initial success was anything but a fluke; it assures me that they both understand and have preserved what made them so special in the first place.
Rating: 4.0/5.0
DR: 7 | Format Reviewed: 256 kb/s CBR MP3
Label: Scarlet Records
Websites: fellowshipmetal.bandcamp.com | fellowshipmetal.com | facebook.com/fellowshipUK
Releases Worldwide: November 22nd, 2024#2024 #40 #EnglishMetal #Fellowship #Nov24 #PowerMetal #Review #Reviews #ScarletRecords #TheSkiesAboveEternity
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25 anni fa se ne andava #QuentinCrisp, protagonista di questo #video nonché ispiratore della canzone di #Sting - Englishman In New York - Invidious https://inv.nadeko.net/watch?v=d27gTrPPAyk&listen=false #music #UnoRadio
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Her #moxy is bloody marvelous.
Nobody ever changed bullshit systems by asking politely. And, what's more Australian than telling a rich Englishman to fuck off?
Not my King!
Not my King!
Not my King!
#GirtGirtGirt -
AMG’s Unsigned Band Rodeö: Wist – Strange Balance
By Dolphin Whisperer
“AMG’s Unsigned Band Rodeö” is a time-honored tradition to showcase the most underground of the underground—the unsigned and unpromoted. This collective review treatment continues to exist to unite our writers in boot or bolster of the bands who remind us that, for better or worse, the metal underground exists as an important part of the global metal scene. The Rodeö rides on.”
Remember way back in the days of radio? You might have been on a road trip before with your family, and, freshly tasked with trying to find a station that works as you stray away from familiar territory, you turn the knob and land right in between two stations playing a song. It doesn’t sync up, but there’s a mystery to whether that noise worked. Try as you remember, though, you can’t find this balance between two stations again. Wist, I believe, feels this struggle, and with their sophomore outing Strange Balance, they explore the duality of their progressive and atmospheric black metal selves to see where it leads. Would you follow three black metal fans into the Epping Forest? What if they said their album only cost four pounds? Our brave riders thought it wise to say yes, and the results may surprise you. – Dolphin Whisperer
Wist // Strange Balance [June 24th, 2024]
Dr. A.N. Grier: London’s Wist is one hell of a weird atmoblack band. This three-piece outfit goes beyond the traditional Alcestian ways of working, introducing some rather interesting synth atmospheres that lend well to their weird progressive attitude. With their 2022 debut, Stone Still Settling, they only scratched the surface of their sound. With this year’s Strange Balance, they go for broke, shoving everything they can into this tiny album. The title track begins the album with a soothing, ethereal introduction that gets obliterated by a traditional frenzied atmoblack attack. Around the midpoint, it sidetracks to a bass and drum-heavy transition that feels overblown by the lofi production but stomps along all the same. After building for the next few minutes, the chaos fades and is replaced by gorgeous, reverberating acoustic guitars. For all of the opener’s diversity and interesting twists, “Betrayal” is the more divisive of the bunch. Opening with silly cackling the song erupts into gnarly guitars, gigantic, popping bass, and drum work that runs faster than a roadrunner. Using this simple riff structure, the band peppers it with reverberating guitars that feel like they are almost dancing over the surface. When the intensity peaks, the track fades away like its predecessor. In its wake doesn’t come acoustic guitars but Tangerine Dream-styled synth work. Unlike other bands of its caliber, this outro doesn’t have me gazing at my fat gut but instead has me looking to the dark sky to see if the stars are moving. And as if to signify that Strange Balance has always been here and we just walked into it, the instrumental closer, “The River Returning,” fades in with melodic, soothing guitars, adds multiple layers to the mix, and fades away as if driving down an abandoned dirt road. I wouldn’t say Strange Balance is balanced but it’s an interesting record with some unique twists I can get behind. Having never heard of Wist before, they are definitely on my radar and I’ll be looking to see what they do next. 3.0/5.0
Dear Hollow: There’s a lot going on with Wist. It’s black metal, sure, layered with a thick smog of modular synths and overlaying psychedelia à la Tangerine Dream. It’s like Pink Floyd decided to make a black metal album, but really liked Opeth’s acoustic breaks. What makes Wist stand out is that they firmly follow the ambient stylings of black metal or blackgaze but do their damnedest to stay trve to the kvlt in debut Strange Balance—the blackened cackles at the beginning of “Betrayal” would make Immortal blush. “Betrayal” is the wildest and best collision of its ’70s synth and ’90s second-wave black metal palettes, with bouncy 6/8 pagan rhythms and a chill noodling guitar line, only to collapse into a full-on blackened attack. While closer “The River Returning” also features a tasteful repetition and fades that together feels like a modernized rendition of the depressive “My Dying Bride” by ColdWorld. However, the opening title track is nearly impenetrable and painful in its densest synths overlaying high energy blastbeats and shrieks, even if its concluding acoustic passage is decent, and “Grendel” feels incredibly directionless in its fusion of slower DSBM and spacy synths, with a wonky off-key synth conclusion being its only redemption. Ultimately, Wist has some cool ideas that periodically work, but Strange Balance lives true to its name in disproportionately dense and threateningly boring sounds, violently yoinking black metal’s cranky history for an album that feels imbalanced but promising. 2.0/5.0
Dolphin Whisperer: The experience that conjures from the mystical and dated synth layers that Wist pushes against the hazy and shrill is one of an otherwordly atmosphere. In this metal world which we so valiantly occupy, it’s rare to find an album that skews both so alien and terrestrial in scope—a way in which Strange Balance breathes its name. Akin to the new age swells of Tangerine Dream, or similar punctuated by textural guitar works with Fripp & Eno, Wist finds an electronic, oscillating moan to accompany it’s cutting black metal works (“Strange Balance,” “Grendel”). Similar to modern explorations in this world by recent Krallice albums, Wist often finds a forward movement through tightly wound, treble-loads fretwork—a fuzz-loaded squeal, a bend that’s ever so slightly off, a percussive palm-mute more reminiscent of a Cynic slide than any trv kvlt act would hammer—and warbling, nasally fretless bass whines. On heavier sections, and particularly on the horror-tinged mania of “Betrayal,” Wist’s progressive black metal attack feels chanting and bouncy against the lush synth layers in the same way you might, while star-gazing, hear Enslaved if Isa were playing on AM radio at the end of the tower’s nighttime reach. Strange Balance brings fog. Strange Balance brings intrigue. And, most importantly, Strange Balance brings an atmosphere to black metal that doesn’t rely on trem-loaded, trope-chomping sounds of the recent past. There’s a world where the first track is actually the last track, giving just that more weight to its lengthy endeavor. But I’m happy to be in a world, at least, where Wist exists to steal my attention again as they continue to grow. 3.0/5.0.
Iceberg: If I’m going to reach for lo-fi black metal, it sure as hell better have some small-batch, artisanal hot sauce drizzled all over it. Dolph knows this about me, so when he hawked Wist’s latest black-metal-but-with-other-stuff record for a Rodeö, I trusted his cetacean judgement. Strange Balance—you’d be hard-pressed to find a better name for this album—does a mostly brilliant job of oscillating between cavernous second-wave wailing and psychedelic sojourns with droning synths and ren-faire-ready acoustic guitars. The synth work reminiscent of Tangerine Dream (“Strange Balance”) and old-school NES soundtracks (“Betrayal”) makes for an odd bedfellow with the black metal it envelops; but it works! The band stays in a boisterous 6/8 meter for most of the record (“Grendel” especially), giving the music a swaying quality that reinforces the air of blackened whimsy. Listening on good headphones or a quality speaker set-up is a must here; the layering of the clean and harsh vox in “Strange Balance” and the discordant outro of “The River Returning” hold many treasures for the tuned ear. The only thing keeping Strange Balance from greatness is a tendency to harp a bit too long in transitional sections (“Strange Balance,” “Betrayal”), and a bizarre closer that—while well-performed—never seems to justify its existence. But don’t let these quibbles get in the way of a refreshing, unique take on ambient black metal. For those of you who like your shrieking weird and experimental, I have to recommend you check this out. 3.5/5.0
#2024 #AngryMetalGuySUnsignedBandRodeo #AngryMetalGuySUnsignedBandRodeo2024 #AtmosphericBlackMetal #BlackMetal #EnglishMetal #Enslaved #FrippEno #Krallice #Opeth #PinkFloyd #ProgressiveBlackMetal #ProgressiveMetal #StrangeBalance #TangerineDream #Wist
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AMG’s Unsigned Band Rodeö: Wist – Strange Balance
By Dolphin Whisperer
“AMG’s Unsigned Band Rodeö” is a time-honored tradition to showcase the most underground of the underground—the unsigned and unpromoted. This collective review treatment continues to exist to unite our writers in boot or bolster of the bands who remind us that, for better or worse, the metal underground exists as an important part of the global metal scene. The Rodeö rides on.”
Remember way back in the days of radio? You might have been on a road trip before with your family, and, freshly tasked with trying to find a station that works as you stray away from familiar territory, you turn the knob and land right in between two stations playing a song. It doesn’t sync up, but there’s a mystery to whether that noise worked. Try as you remember, though, you can’t find this balance between two stations again. Wist, I believe, feels this struggle, and with their sophomore outing Strange Balance, they explore the duality of their progressive and atmospheric black metal selves to see where it leads. Would you follow three black metal fans into the Epping Forest? What if they said their album only cost four pounds? Our brave riders thought it wise to say yes, and the results may surprise you. – Dolphin Whisperer
Wist // Strange Balance [June 24th, 2024]
Dr. A.N. Grier: London’s Wist is one hell of a weird atmoblack band. This three-piece outfit goes beyond the traditional Alcestian ways of working, introducing some rather interesting synth atmospheres that lend well to their weird progressive attitude. With their 2022 debut, Stone Still Settling, they only scratched the surface of their sound. With this year’s Strange Balance, they go for broke, shoving everything they can into this tiny album. The title track begins the album with a soothing, ethereal introduction that gets obliterated by a traditional frenzied atmoblack attack. Around the midpoint, it sidetracks to a bass and drum-heavy transition that feels overblown by the lofi production but stomps along all the same. After building for the next few minutes, the chaos fades and is replaced by gorgeous, reverberating acoustic guitars. For all of the opener’s diversity and interesting twists, “Betrayal” is the more divisive of the bunch. Opening with silly cackling the song erupts into gnarly guitars, gigantic, popping bass, and drum work that runs faster than a roadrunner. Using this simple riff structure, the band peppers it with reverberating guitars that feel like they are almost dancing over the surface. When the intensity peaks, the track fades away like its predecessor. In its wake doesn’t come acoustic guitars but Tangerine Dream-styled synth work. Unlike other bands of its caliber, this outro doesn’t have me gazing at my fat gut but instead has me looking to the dark sky to see if the stars are moving. And as if to signify that Strange Balance has always been here and we just walked into it, the instrumental closer, “The River Returning,” fades in with melodic, soothing guitars, adds multiple layers to the mix, and fades away as if driving down an abandoned dirt road. I wouldn’t say Strange Balance is balanced but it’s an interesting record with some unique twists I can get behind. Having never heard of Wist before, they are definitely on my radar and I’ll be looking to see what they do next. 3.0/5.0
Dear Hollow: There’s a lot going on with Wist. It’s black metal, sure, layered with a thick smog of modular synths and overlaying psychedelia à la Tangerine Dream. It’s like Pink Floyd decided to make a black metal album, but really liked Opeth’s acoustic breaks. What makes Wist stand out is that they firmly follow the ambient stylings of black metal or blackgaze but do their damnedest to stay trve to the kvlt in debut Strange Balance—the blackened cackles at the beginning of “Betrayal” would make Immortal blush. “Betrayal” is the wildest and best collision of its ’70s synth and ’90s second-wave black metal palettes, with bouncy 6/8 pagan rhythms and a chill noodling guitar line, only to collapse into a full-on blackened attack. While closer “The River Returning” also features a tasteful repetition and fades that together feels like a modernized rendition of the depressive “My Dying Bride” by ColdWorld. However, the opening title track is nearly impenetrable and painful in its densest synths overlaying high energy blastbeats and shrieks, even if its concluding acoustic passage is decent, and “Grendel” feels incredibly directionless in its fusion of slower DSBM and spacy synths, with a wonky off-key synth conclusion being its only redemption. Ultimately, Wist has some cool ideas that periodically work, but Strange Balance lives true to its name in disproportionately dense and threateningly boring sounds, violently yoinking black metal’s cranky history for an album that feels imbalanced but promising. 2.0/5.0
Dolphin Whisperer: The experience that conjures from the mystical and dated synth layers that Wist pushes against the hazy and shrill is one of an otherwordly atmosphere. In this metal world which we so valiantly occupy, it’s rare to find an album that skews both so alien and terrestrial in scope—a way in which Strange Balance breathes its name. Akin to the new age swells of Tangerine Dream, or similar punctuated by textural guitar works with Fripp & Eno, Wist finds an electronic, oscillating moan to accompany it’s cutting black metal works (“Strange Balance,” “Grendel”). Similar to modern explorations in this world by recent Krallice albums, Wist often finds a forward movement through tightly wound, treble-loads fretwork—a fuzz-loaded squeal, a bend that’s ever so slightly off, a percussive palm-mute more reminiscent of a Cynic slide than any trv kvlt act would hammer—and warbling, nasally fretless bass whines. On heavier sections, and particularly on the horror-tinged mania of “Betrayal,” Wist’s progressive black metal attack feels chanting and bouncy against the lush synth layers in the same way you might, while star-gazing, hear Enslaved if Isa were playing on AM radio at the end of the tower’s nighttime reach. Strange Balance brings fog. Strange Balance brings intrigue. And, most importantly, Strange Balance brings an atmosphere to black metal that doesn’t rely on trem-loaded, trope-chomping sounds of the recent past. There’s a world where the first track is actually the last track, giving just that more weight to its lengthy endeavor. But I’m happy to be in a world, at least, where Wist exists to steal my attention again as they continue to grow. 3.0/5.0.
Iceberg: If I’m going to reach for lo-fi black metal, it sure as hell better have some small-batch, artisanal hot sauce drizzled all over it. Dolph knows this about me, so when he hawked Wist’s latest black-metal-but-with-other-stuff record for a Rodeö, I trusted his cetacean judgement. Strange Balance—you’d be hard-pressed to find a better name for this album—does a mostly brilliant job of oscillating between cavernous second-wave wailing and psychedelic sojourns with droning synths and ren-faire-ready acoustic guitars. The synth work reminiscent of Tangerine Dream (“Strange Balance”) and old-school NES soundtracks (“Betrayal”) makes for an odd bedfellow with the black metal it envelops; but it works! The band stays in a boisterous 6/8 meter for most of the record (“Grendel” especially), giving the music a swaying quality that reinforces the air of blackened whimsy. Listening on good headphones or a quality speaker set-up is a must here; the layering of the clean and harsh vox in “Strange Balance” and the discordant outro of “The River Returning” hold many treasures for the tuned ear. The only thing keeping Strange Balance from greatness is a tendency to harp a bit too long in transitional sections (“Strange Balance,” “Betrayal”), and a bizarre closer that—while well-performed—never seems to justify its existence. But don’t let these quibbles get in the way of a refreshing, unique take on ambient black metal. For those of you who like your shrieking weird and experimental, I have to recommend you check this out. 3.5/5.0
#2024 #AngryMetalGuySUnsignedBandRodeo #AngryMetalGuySUnsignedBandRodeo2024 #AtmosphericBlackMetal #BlackMetal #EnglishMetal #Enslaved #FrippEno #Krallice #Opeth #PinkFloyd #ProgressiveBlackMetal #ProgressiveMetal #StrangeBalance #TangerineDream #Wist
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Adorior – Bleed on My Teeth Review
By Mark Z.
Somewhere along the way, Adorior got angry. When this English group released their 1998 debut Like Cutting the Sleeping, they sounded like a pretty traditional black metal band, albeit with occasional experimental touches in the form of cleanly sung segments and moody atmospheric passages. I don’t know what happened after that record was released, but when the band returned with 2005’s Author of Incest, they sounded ready to take up arms against the entire human race. Author of Incest is, simply put, one of the most incendiary albums ever recorded. With its scalding guitars, pummeling drums, and enraged vocals, the record showed Adorior infusing a hefty amount of death metal into the proceedings, ultimately resulting in a napalm bombing in musical form. The album’s opening track, “Hater of Fucking Humans,” is easily one of the most vicious blackened death metal songs of all time, and vocalist Melissa Gray’s performance on that track remains one of the most furious and unhinged I’ve ever heard. Now, after years of dormancy, the group are finally back with their third album, Bleed on My Teeth. Does it continue the band’s diabolical conquest of humanity?
It’s obviously been a long time since the last album, and in the interim Adorior lost all prior members except Melissa1 and drummer “D. Molestör.” Thus, one would understandably be concerned about whether Adorior could maintain their aggression. Fortunately, Mr. Molestör seems to have selected a suitably angry cadre of newcomers from other projects he’s been involved with, including current or former members of Grave Miasma, Cruciamentum, and Qrixkuor. Opener “Begrime Judas” shows that these new recruits have just as much pent-up rage as their predecessors. With explosive riffs, fiery tremolo runs, and surging rhythms, the song is livid and combative, making it sound like no time has passed since Author of Incest. As if to further drive home the band’s militant nature, the track even features a ruthless half-time thrash break overlaid with samples of automatic gunfire. Such intensity rarely subsides until the title track concludes the album with wailing notes approximately 50 minutes later.
Just like the last record, Bleed on My Teeth matches the scorching fury of Impiety while sounding blunter, heavier, and looser. Señor Molestör is an absolute madman on drums, moving furiously between blast beats, frantic thrash drumming, and pummeling breaks that hit like artillery strikes. The guitars ejaculate a nonstop stream of hostility, veering wildly between whiplashing tremolos, searing chords, and even some more rhythmic ideas. Songs like “Ophidian Strike” and “Moment of Mania” may sound chuggier than the others, but they don’t lose one drop of intensity because of it. Likewise, “L.O.T.P. – Vomit Vomit Vomit Bastard” is one of my favorite tracks here not just because of its title, but also for how it swells with gigantic mid-paced riffs that give rise to a triumphant aura and an obscene yet strangely catchy refrain (“He likes to make them cum & then revel in their shame… He likes to make them say his name…”).
If there’s one hangup I have with this album, it’s the vocals. After almost two decades since the last album, Melissa’s raspy shout still sounds pissed off, but she occasionally sounds strained, and her loose sense of timing sometimes feels at odds with the music. Nonetheless, her wild approach ultimately won me over, and her occasional air siren screams only add to the maniacal energy. The chanted gang shouts in songs like “Scavengers of Vengeance” further propel the rampage and are a nice callback to similar moments from Author of Incest. Production-wise, the album is hefty and hot. While it sounds louder than its DR8 would suggest, everything remains clear while swarming together in a way that’s fiery and forceful, but never exhausting. The record’s dynamic drumming, superb sequencing, and occasional moments of brief ambience only further stave off fatigue.
Ultimately, Bleed on My Teeth is a paragon of extremity. It leaves no orifice unfucked. It is an expulsion of hostility, a firestorm of fury, a fist in the ass of decency. Above all, it is a glorious return for Adorior, and a surefire treat for those bloodthirsty cretins who have been waiting so long to finally hear more of what these maniacs have to offer. Close your eyes, open wide, and let them bleed on your fukkin teeth.
Rating: 4.0/5.0
DR: 8 | Format Reviewed: 320 kbps mp3
Labels: Dark Descent Records | Sepulchral Voice Records
Websites: adorior.bandcamp.com | facebook.com/adorior
Releases Worldwide: September 27th, 2024#2024 #40 #Adorior #BlackMetal #BleedOnMyTeeth #Cruciamentum #DarkDescentRecords #DeathMetal #EnglishMetal #GraveMiasma #Impiety #Qrixkuor #Review #Reviews #Sep24 #SepulchralVoiceRecords
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Adorior – Bleed on My Teeth Review
By Mark Z.
Somewhere along the way, Adorior got angry. When this English group released their 1998 debut Like Cutting the Sleeping, they sounded like a pretty traditional black metal band, albeit with occasional experimental touches in the form of cleanly sung segments and moody atmospheric passages. I don’t know what happened after that record was released, but when the band returned with 2005’s Author of Incest, they sounded ready to take up arms against the entire human race. Author of Incest is, simply put, one of the most incendiary albums ever recorded. With its scalding guitars, pummeling drums, and enraged vocals, the record showed Adorior infusing a hefty amount of death metal into the proceedings, ultimately resulting in a napalm bombing in musical form. The album’s opening track, “Hater of Fucking Humans,” is easily one of the most vicious blackened death metal songs of all time, and vocalist Melissa Gray’s performance on that track remains one of the most furious and unhinged I’ve ever heard. Now, after years of dormancy, the group are finally back with their third album, Bleed on My Teeth. Does it continue the band’s diabolical conquest of humanity?
It’s obviously been a long time since the last album, and in the interim Adorior lost all prior members except Melissa1 and drummer “D. Molestör.” Thus, one would understandably be concerned about whether Adorior could maintain their aggression. Fortunately, Mr. Molestör seems to have selected a suitably angry cadre of newcomers from other projects he’s been involved with, including current or former members of Grave Miasma, Cruciamentum, and Qrixkuor. Opener “Begrime Judas” shows that these new recruits have just as much pent-up rage as their predecessors. With explosive riffs, fiery tremolo runs, and surging rhythms, the song is livid and combative, making it sound like no time has passed since Author of Incest. As if to further drive home the band’s militant nature, the track even features a ruthless half-time thrash break overlaid with samples of automatic gunfire. Such intensity rarely subsides until the title track concludes the album with wailing notes approximately 50 minutes later.
Just like the last record, Bleed on My Teeth matches the scorching fury of Impiety while sounding blunter, heavier, and looser. Señor Molestör is an absolute madman on drums, moving furiously between blast beats, frantic thrash drumming, and pummeling breaks that hit like artillery strikes. The guitars ejaculate a nonstop stream of hostility, veering wildly between whiplashing tremolos, searing chords, and even some more rhythmic ideas. Songs like “Ophidian Strike” and “Moment of Mania” may sound chuggier than the others, but they don’t lose one drop of intensity because of it. Likewise, “L.O.T.P. – Vomit Vomit Vomit Bastard” is one of my favorite tracks here not just because of its title, but also for how it swells with gigantic mid-paced riffs that give rise to a triumphant aura and an obscene yet strangely catchy refrain (“He likes to make them cum & then revel in their shame… He likes to make them say his name…”).
If there’s one hangup I have with this album, it’s the vocals. After almost two decades since the last album, Melissa’s raspy shout still sounds pissed off, but she occasionally sounds strained, and her loose sense of timing sometimes feels at odds with the music. Nonetheless, her wild approach ultimately won me over, and her occasional air siren screams only add to the maniacal energy. The chanted gang shouts in songs like “Scavengers of Vengeance” further propel the rampage and are a nice callback to similar moments from Author of Incest. Production-wise, the album is hefty and hot. While it sounds louder than its DR8 would suggest, everything remains clear while swarming together in a way that’s fiery and forceful, but never exhausting. The record’s dynamic drumming, superb sequencing, and occasional moments of brief ambience only further stave off fatigue.
Ultimately, Bleed on My Teeth is a paragon of extremity. It leaves no orifice unfucked. It is an expulsion of hostility, a firestorm of fury, a fist in the ass of decency. Above all, it is a glorious return for Adorior, and a surefire treat for those bloodthirsty cretins who have been waiting so long to finally hear more of what these maniacs have to offer. Close your eyes, open wide, and let them bleed on your fukkin teeth.
Rating: 4.0/5.0
DR: 8 | Format Reviewed: 320 kbps mp3
Labels: Dark Descent Records | Sepulchral Voice Records
Websites: adorior.bandcamp.com | facebook.com/adorior
Releases Worldwide: September 27th, 2024#2024 #40 #Adorior #BlackMetal #BleedOnMyTeeth #Cruciamentum #DarkDescentRecords #DeathMetal #EnglishMetal #GraveMiasma #Impiety #Qrixkuor #Review #Reviews #Sep24 #SepulchralVoiceRecords
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Adorior – Bleed on My Teeth Review
By Mark Z.
Somewhere along the way, Adorior got angry. When this English group released their 1998 debut Like Cutting the Sleeping, they sounded like a pretty traditional black metal band, albeit with occasional experimental touches in the form of cleanly sung segments and moody atmospheric passages. I don’t know what happened after that record was released, but when the band returned with 2005’s Author of Incest, they sounded ready to take up arms against the entire human race. Author of Incest is, simply put, one of the most incendiary albums ever recorded. With its scalding guitars, pummeling drums, and enraged vocals, the record showed Adorior infusing a hefty amount of death metal into the proceedings, ultimately resulting in a napalm bombing in musical form. The album’s opening track, “Hater of Fucking Humans,” is easily one of the most vicious blackened death metal songs of all time, and vocalist Melissa Gray’s performance on that track remains one of the most furious and unhinged I’ve ever heard. Now, after years of dormancy, the group are finally back with their third album, Bleed on My Teeth. Does it continue the band’s diabolical conquest of humanity?
It’s obviously been a long time since the last album, and in the interim Adorior lost all prior members except Melissa1 and drummer “D. Molestör.” Thus, one would understandably be concerned about whether Adorior could maintain their aggression. Fortunately, Mr. Molestör seems to have selected a suitably angry cadre of newcomers from other projects he’s been involved with, including current or former members of Grave Miasma, Cruciamentum, and Qrixkuor. Opener “Begrime Judas” shows that these new recruits have just as much pent-up rage as their predecessors. With explosive riffs, fiery tremolo runs, and surging rhythms, the song is livid and combative, making it sound like no time has passed since Author of Incest. As if to further drive home the band’s militant nature, the track even features a ruthless half-time thrash break overlaid with samples of automatic gunfire. Such intensity rarely subsides until the title track concludes the album with wailing notes approximately 50 minutes later.
Just like the last record, Bleed on My Teeth matches the scorching fury of Impiety while sounding blunter, heavier, and looser. Señor Molestör is an absolute madman on drums, moving furiously between blast beats, frantic thrash drumming, and pummeling breaks that hit like artillery strikes. The guitars ejaculate a nonstop stream of hostility, veering wildly between whiplashing tremolos, searing chords, and even some more rhythmic ideas. Songs like “Ophidian Strike” and “Moment of Mania” may sound chuggier than the others, but they don’t lose one drop of intensity because of it. Likewise, “L.O.T.P. – Vomit Vomit Vomit Bastard” is one of my favorite tracks here not just because of its title, but also for how it swells with gigantic mid-paced riffs that give rise to a triumphant aura and an obscene yet strangely catchy refrain (“He likes to make them cum & then revel in their shame… He likes to make them say his name…”).
If there’s one hangup I have with this album, it’s the vocals. After almost two decades since the last album, Melissa’s raspy shout still sounds pissed off, but she occasionally sounds strained, and her loose sense of timing sometimes feels at odds with the music. Nonetheless, her wild approach ultimately won me over, and her occasional air siren screams only add to the maniacal energy. The chanted gang shouts in songs like “Scavengers of Vengeance” further propel the rampage and are a nice callback to similar moments from Author of Incest. Production-wise, the album is hefty and hot. While it sounds louder than its DR8 would suggest, everything remains clear while swarming together in a way that’s fiery and forceful, but never exhausting. The record’s dynamic drumming, superb sequencing, and occasional moments of brief ambience only further stave off fatigue.
Ultimately, Bleed on My Teeth is a paragon of extremity. It leaves no orifice unfucked. It is an expulsion of hostility, a firestorm of fury, a fist in the ass of decency. Above all, it is a glorious return for Adorior, and a surefire treat for those bloodthirsty cretins who have been waiting so long to finally hear more of what these maniacs have to offer. Close your eyes, open wide, and let them bleed on your fukkin teeth.
Rating: 4.0/5.0
DR: 8 | Format Reviewed: 320 kbps mp3
Labels: Dark Descent Records | Sepulchral Voice Records
Websites: adorior.bandcamp.com | facebook.com/adorior
Releases Worldwide: September 27th, 2024#2024 #40 #Adorior #BlackMetal #BleedOnMyTeeth #Cruciamentum #DarkDescentRecords #DeathMetal #EnglishMetal #GraveMiasma #Impiety #Qrixkuor #Review #Reviews #Sep24 #SepulchralVoiceRecords
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#AChristmasRecipeForRomance is the kind of #ChristmasFilm that gives #ChristmasMovies a bad name. #MadelineLeon (as in other Xmas offerings I have seen) is pretty dreadful. Her being romantic was as non-dramatic as her being in tears. At least the chap playing an Englishman developed from arrogant sang-froid to in-love beau. Give this a miss!
Link to Great Movies:
https://player.greatnetwork.com/product/a-christmas-recipe-for-romance
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Dawn Treader – Bloom & Decay Review
By Itchymenace
I love black metal—especially when it’s drenched in an atmosphere that soars between heroic highs and guttural lows. But, finding quality records with dynamic songs that resonate with me on an emotional level can be harder than finding a needle in a Norwegian blizzard. Jorn knows I’ve dipped my scabbed hands into the sump numerous times only to pull out some third or fourth-generation Emperor copy put together by a couple of kids who are in 300 other bands that I’ve also never heard of. Patiently, I’ve waited for a band that has the hood-covered chops to stand shoulder-to-shoulder with the great atmo-black bands I adore like Agalloch, Alcest, Panopticon and, dare I say, Deafheaven.1 So, it was as if Odin himself answered my prayers when Dawn Treader steered its mighty Saxon hull into my harbor with an album that’s as fierce, beautiful, stirring, and memorable as anything I’ve heard in the past several years. What makes this album such a gem? Direct your black gaze forward.
Dawn Treader is a “solo, anti-fascist black metal project” from London native, Ross Connell. Bloom & Decay is the project’s second release and the first to include vocals from Mr. Connell, who proves himself a formidable and impassioned vocalist. He balances urgency and angst with an emotional nuance that elevates the songs above most of his contemporaries. His opening shriek on “Idolator” is blood-curdling in the best sense, but he channels that rage into the verse with a near-melodic delivery that will put your heart in your throat. On his previous release, 2021’s The Burial of the Dead, any vocalizations came in the form of soundbites from poems, namely T.S. Elliot’s “Wasteland.” Bloom & Decay still benefits from plenty of carefully curated samples, but the vocals add a much-welcome dimension to the landscape.
The majority of Bloom & Decay is instrumental, but you hardly notice because the music has such a storytelling quality to it. To paraphrase the release notes, it takes you through the “cycles of life and death, grief and glory, hope and melancholy.” And while most black metal bands promise some form of this, Dawn Treader delivers in spades. The opening minutes of “Sunchaser” offer a prelude of everything to come with delicate melodies that intensify into heroic tremolos that feel victorious one moment and mournful the next. The track segues perfectly into “Idolator,” which somehow combines compelling black metal riffs with a crushing, metalcore-style breakdown and a finger-tapping guitar solo. It works, check it out! Listening to Bloom & Decay, you can’t help but feel that it is building up to something. That something is the title track and one of the most uplifting and inspiring songs I’ve ever heard. It’s a monster album closer that soars through some of the best, most melodic blackened guitar work you’ll hear. But, the coup de grace is the masterfully placed sample of Charles Bukowski’s “The Laughing Heart” as read by Tom Waits. The poem, which emphasizes how life’s soul-crushing lows can be offset by glimmering moments of light, perfectly delivers an emotional climax that makes you want to wipe your brow, catch your breath, flip the record and start over.
A big part of me wanted to give this record a 5.0 but the objective voice inside my head (and the thought of Steel’s boot on my neck) persuaded me to step back and reconsider. As good as the good stuff is, there are areas that could be trimmed. Curiously, the first single “Sky Burial,” resonates with me the least. “Iron Price,” with its heavily political and meandering “fuck you” speech may turn off some listeners, but the ferocity of the second half delivers serious chills reminiscent of Panopticon. While I love “The Oxbow Incident,” the Henry Fonda speech included before the final track delays rather than builds my excitement. Still, at 53 minutes, Bloom & Decay is right in the pocket for this sort of epic black metal.
Bloom & Decay not only contains amazing songs that celebrate the highs and lows of the human experience, but it also sounds great. It has a bright and punchy production that submerges you just beneath every cascading note and crashing tidal wave blast. For fans of black metal and certainly post-black metal, black gaze and atmo black (and whatever other hip genre you want to add) Dawn Treader have released a must-have record. Prepare to set sail for greatness!
Rating: 4.0/5.0
DR: 6 | Format Reviewed: 2116 kbps
Label: liminaldreadproductions.com
Website: dawntreaderuk.bandcamp.com
Releases Worldwide: August 23rd, 2024#40 #AtmophericBlackMetal #Aug24 #BlackMetal #Blackgaze #BloomDecay #DawnTreader #EnglishMetal #Review #Reviews #UKMetal
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Dawn Treader – Bloom & Decay Review
By Itchymenace
I love black metal—especially when it’s drenched in an atmosphere that soars between heroic highs and guttural lows. But, finding quality records with dynamic songs that resonate with me on an emotional level can be harder than finding a needle in a Norwegian blizzard. Jorn knows I’ve dipped my scabbed hands into the sump numerous times only to pull out some third or fourth-generation Emperor copy put together by a couple of kids who are in 300 other bands that I’ve also never heard of. Patiently, I’ve waited for a band that has the hood-covered chops to stand shoulder-to-shoulder with the great atmo-black bands I adore like Agalloch, Alcest, Panopticon and, dare I say, Deafheaven.1 So, it was as if Odin himself answered my prayers when Dawn Treader steered its mighty Saxon hull into my harbor with an album that’s as fierce, beautiful, stirring, and memorable as anything I’ve heard in the past several years. What makes this album such a gem? Direct your black gaze forward.
Dawn Treader is a “solo, anti-fascist black metal project” from London native, Ross Connell. Bloom & Decay is the project’s second release and the first to include vocals from Mr. Connell, who proves himself a formidable and impassioned vocalist. He balances urgency and angst with an emotional nuance that elevates the songs above most of his contemporaries. His opening shriek on “Idolator” is blood-curdling in the best sense, but he channels that rage into the verse with a near-melodic delivery that will put your heart in your throat. On his previous release, 2021’s The Burial of the Dead, any vocalizations came in the form of soundbites from poems, namely T.S. Elliot’s “Wasteland.” Bloom & Decay still benefits from plenty of carefully curated samples, but the vocals add a much-welcome dimension to the landscape.
The majority of Bloom & Decay is instrumental, but you hardly notice because the music has such a storytelling quality to it. To paraphrase the release notes, it takes you through the “cycles of life and death, grief and glory, hope and melancholy.” And while most black metal bands promise some form of this, Dawn Treader delivers in spades. The opening minutes of “Sunchaser” offer a prelude of everything to come with delicate melodies that intensify into heroic tremolos that feel victorious one moment and mournful the next. The track segues perfectly into “Idolator,” which somehow combines compelling black metal riffs with a crushing, metalcore-style breakdown and a finger-tapping guitar solo. It works, check it out! Listening to Bloom & Decay, you can’t help but feel that it is building up to something. That something is the title track and one of the most uplifting and inspiring songs I’ve ever heard. It’s a monster album closer that soars through some of the best, most melodic blackened guitar work you’ll hear. But, the coup de grace is the masterfully placed sample of Charles Bukowski’s “The Laughing Heart” as read by Tom Waits. The poem, which emphasizes how life’s soul-crushing lows can be offset by glimmering moments of light, perfectly delivers an emotional climax that makes you want to wipe your brow, catch your breath, flip the record and start over.
A big part of me wanted to give this record a 5.0 but the objective voice inside my head (and the thought of Steel’s boot on my neck) persuaded me to step back and reconsider. As good as the good stuff is, there are areas that could be trimmed. Curiously, the first single “Sky Burial,” resonates with me the least. “Iron Price,” with its heavily political and meandering “fuck you” speech may turn off some listeners, but the ferocity of the second half delivers serious chills reminiscent of Panopticon. While I love “The Oxbow Incident,” the Henry Fonda speech included before the final track delays rather than builds my excitement. Still, at 53 minutes, Bloom & Decay is right in the pocket for this sort of epic black metal.
Bloom & Decay not only contains amazing songs that celebrate the highs and lows of the human experience, but it also sounds great. It has a bright and punchy production that submerges you just beneath every cascading note and crashing tidal wave blast. For fans of black metal and certainly post-black metal, black gaze and atmo black (and whatever other hip genre you want to add) Dawn Treader have released a must-have record. Prepare to set sail for greatness!
Rating: 4.0/5.0
DR: 6 | Format Reviewed: 2116 kbps
Label: liminaldreadproductions.com
Website: dawntreaderuk.bandcamp.com
Releases Worldwide: August 23rd, 2024#40 #AtmophericBlackMetal #Aug24 #BlackMetal #Blackgaze #BloomDecay #DawnTreader #EnglishMetal #Review #Reviews #UKMetal
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Dawn Treader – Bloom & Decay Review
By Itchymenace
I love black metal—especially when it’s drenched in an atmosphere that soars between heroic highs and guttural lows. But, finding quality records with dynamic songs that resonate with me on an emotional level can be harder than finding a needle in a Norwegian blizzard. Jorn knows I’ve dipped my scabbed hands into the sump numerous times only to pull out some third or fourth-generation Emperor copy put together by a couple of kids who are in 300 other bands that I’ve also never heard of. Patiently, I’ve waited for a band that has the hood-covered chops to stand shoulder-to-shoulder with the great atmo-black bands I adore like Agalloch, Alcest, Panopticon and, dare I say, Deafheaven.1 So, it was as if Odin himself answered my prayers when Dawn Treader steered its mighty Saxon hull into my harbor with an album that’s as fierce, beautiful, stirring, and memorable as anything I’ve heard in the past several years. What makes this album such a gem? Direct your black gaze forward.
Dawn Treader is a “solo, anti-fascist black metal project” from London native, Ross Connell. Bloom & Decay is the project’s second release and the first to include vocals from Mr. Connell, who proves himself a formidable and impassioned vocalist. He balances urgency and angst with an emotional nuance that elevates the songs above most of his contemporaries. His opening shriek on “Idolator” is blood-curdling in the best sense, but he channels that rage into the verse with a near-melodic delivery that will put your heart in your throat. On his previous release, 2021’s The Burial of the Dead, any vocalizations came in the form of soundbites from poems, namely T.S. Elliot’s “Wasteland.” Bloom & Decay still benefits from plenty of carefully curated samples, but the vocals add a much-welcome dimension to the landscape.
The majority of Bloom & Decay is instrumental, but you hardly notice because the music has such a storytelling quality to it. To paraphrase the release notes, it takes you through the “cycles of life and death, grief and glory, hope and melancholy.” And while most black metal bands promise some form of this, Dawn Treader delivers in spades. The opening minutes of “Sunchaser” offer a prelude of everything to come with delicate melodies that intensify into heroic tremolos that feel victorious one moment and mournful the next. The track segues perfectly into “Idolator,” which somehow combines compelling black metal riffs with a crushing, metalcore-style breakdown and a finger-tapping guitar solo. It works, check it out! Listening to Bloom & Decay, you can’t help but feel that it is building up to something. That something is the title track and one of the most uplifting and inspiring songs I’ve ever heard. It’s a monster album closer that soars through some of the best, most melodic blackened guitar work you’ll hear. But, the coup de grace is the masterfully placed sample of Charles Bukowski’s “The Laughing Heart” as read by Tom Waits. The poem, which emphasizes how life’s soul-crushing lows can be offset by glimmering moments of light, perfectly delivers an emotional climax that makes you want to wipe your brow, catch your breath, flip the record and start over.
A big part of me wanted to give this record a 5.0 but the objective voice inside my head (and the thought of Steel’s boot on my neck) persuaded me to step back and reconsider. As good as the good stuff is, there are areas that could be trimmed. Curiously, the first single “Sky Burial,” resonates with me the least. “Iron Price,” with its heavily political and meandering “fuck you” speech may turn off some listeners, but the ferocity of the second half delivers serious chills reminiscent of Panopticon. While I love “The Oxbow Incident,” the Henry Fonda speech included before the final track delays rather than builds my excitement. Still, at 53 minutes, Bloom & Decay is right in the pocket for this sort of epic black metal.
Bloom & Decay not only contains amazing songs that celebrate the highs and lows of the human experience, but it also sounds great. It has a bright and punchy production that submerges you just beneath every cascading note and crashing tidal wave blast. For fans of black metal and certainly post-black metal, black gaze and atmo black (and whatever other hip genre you want to add) Dawn Treader have released a must-have record. Prepare to set sail for greatness!
Rating: 4.0/5.0
DR: 6 | Format Reviewed: 2116 kbps
Label: liminaldreadproductions.com
Website: dawntreaderuk.bandcamp.com
Releases Worldwide: August 23rd, 2024#40 #AtmophericBlackMetal #Aug24 #BlackMetal #Blackgaze #BloomDecay #DawnTreader #EnglishMetal #Review #Reviews #UKMetal
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Francis Drake’s circumnavigation
Francis Drake set off from Plymouth on 13 December 1577 in the 'Pelican', later renamed the 'Golden Hind'. After three years, he returned with a large bounty of gold, silver, pearls, and precious stones, becoming the first Englishman to circumnavigate the globe. #FrancisDrake #Pelican #GoldenHind #1577 #Circumnavigation #Englishman #Globe #Gold #Silver #Pearls #PreciousStones -
My Silent Wake – Lost in Memories, Lost in Grief Review
By Saunders
England’s long-running doom act My Silent Wake started slinging old-timey doom tunes since forming in 2005. My Silent Wake boasts an impressively lengthy track record, culminating in their twelfth opus of sadboi gloom, Lost in Memories, Lost in Grief, complete with a side of death and Gothic romanticism. I came across the band on their solid tenth album There Was Death in 2018, dipping into the promo sump blindly and initially thinking I stumbled across a newer, untapped gem to spread the gospel. A bit of research uncovered their storied recording past. There Was Death didn’t inspire enough interest to do a deep dive, however, it left me satisfied with the rich, slab of doomy goodness, bringing modern flavorings and character to Peaceville Three influences, most prominently My Dying Bride and Paradise Lost. I missed 2020’s follow-up, Damnum per Saeculorum (an ambient, experimental excursion), now reconnecting and crossing fingers for a doom album to reach into my soul and bring the feels.
One key criticism of There Was Death related to the significant bloat present, detracting from the more solidly written and compelling material. The band continues to dabble in longer form cuts, pushing upwards of six minutes on half the eight songs present, yet the whole package runs more concisely at a manageable 43 minutes. Immediately the band’s experience and confident grasp of their well-trodden formula is apparent on opener “The Liar and the Fool.” The subdued, almost spoken word opening rolls out the Gothic drama, before kicking into a hefty mid-paced groove adorned with groovy riffs, prominent organ, and dueling vocals. Main growler Ian Arkley (also on guitars) possesses a suitably thick, hearty death growl perfectly befitting the old school death-doom style. Meanwhile, the stately, drama-fueled cleans of the organ-wielding Simon Bibby provide the epic, harmonizing melodic counterpoint, forming a potent combo.
My Silent Wake’s rich, heaving sound comes awash in gloomy atmospheres and crimson-dipped Gothic melancholy, without falling into overly bleak, depressing realms. The well-executed vocal tag team, rich mix of chunky, organ-drenched death grooves, and dreary doom dynamics lend the album an energetic, striking dynamic, backed by engaging guitar work, sorrowful melodies, and earworm hooks. Bibby’s increased role on dual lead vocals is a significant change-up, his dramatic, powerful cleans responsible for many rousing moments across the album, though at times they slightly detract from the meaty old school growls of Arkley. Listeners not down with Bibby’s style may find his increased involvement a potential sticking point. However, it’s hard to argue with some of the strikingly infectious vocal melodies and beauty vs beast harmonies scattered amidst the doom and gloom.
“Lavender Garden” supplies heroic vocal hooks and emotional weight in spades. It’s rugged grooves and sprightly pacing serve a well-constructed song that lodges itself in the brain. “When You Look Back” will please death-doom purists. Despite featuring some clean singing, the song heavily relies on Arkley’s impassioned death vox, settling into a mournful, doomy cadence, with strong results. Elsewhere, “Another Light” picks up the pace and jam packs lots of energy, deathly crunch, and bright, organ-dabbled grooves into the mix. There are no real clunkers to speak of, though album pacing is a bit off on occasions and bloat appears on a couple of lengthier later album tunes (“The Last Lullaby” and “No Time”). I could also do without the occasional spoken word moments. Thankfully, closer “The Judges” concludes the album in a compact, satisfying manner, combining a morose atmosphere with excellent dual vocal harmonies and beautifully soulful guitar work.
Surrounded by his accomplished bandmates, Arkley remains the key figure steering the doom ship. His formidable growls ground the band in deathlier territory and ensure the increased melodic tendencies do not overshadow My Silent Wake’s darker, heftier throes. Arkley’s guitar work is also top-notch, straddling death-doom lines and integrating chunky, harder-hitting riffs amidst the deft melodic touches. My Silent Wake may not be positioned at the forefront of the modern doom scene. However, from my limited exposure to their extensive catalog they are a spirited, gifted act. Proudly wearing their influences on their sleeves, My Silent Wake boast enough character and songwriting smarts to carve their own niche in the retro-minded Goth-tinged doom space. Lost in Memories, Lost in Grief is a warm, inviting and endearingly solid slab of catchy death-doom, well worth a listen.
Rating: 3.0/5.0
DR: 9 | Format Reviewed: 320 kbps mp3
Label: Ardua Music
Websites: mysilentwake2.bandcamp.com | facebook.com/mysilentwake
Releases Worldwide: May 3rd, 2024#2024 #ArduaMusic #DeathDoomMetal #DoomMetal #EnglishMetal #GothicDoom #LostInGrief #LostInMemories #May24 #MyDyingBride #MySilentWake #ParadiseLost #Review #Reviews
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My Silent Wake – Lost in Memories, Lost in Grief Review
By Saunders
England’s long-running doom act My Silent Wake started slinging old-timey doom tunes since forming in 2005. My Silent Wake boasts an impressively lengthy track record, culminating in their twelfth opus of sadboi gloom, Lost in Memories, Lost in Grief, complete with a side of death and Gothic romanticism. I came across the band on their solid tenth album There Was Death in 2018, dipping into the promo sump blindly and initially thinking I stumbled across a newer, untapped gem to spread the gospel. A bit of research uncovered their storied recording past. There Was Death didn’t inspire enough interest to do a deep dive, however, it left me satisfied with the rich, slab of doomy goodness, bringing modern flavorings and character to Peaceville Three influences, most prominently My Dying Bride and Paradise Lost. I missed 2020’s follow-up, Damnum per Saeculorum (an ambient, experimental excursion), now reconnecting and crossing fingers for a doom album to reach into my soul and bring the feels.
One key criticism of There Was Death related to the significant bloat present, detracting from the more solidly written and compelling material. The band continues to dabble in longer form cuts, pushing upwards of six minutes on half the eight songs present, yet the whole package runs more concisely at a manageable 43 minutes. Immediately the band’s experience and confident grasp of their well-trodden formula is apparent on opener “The Liar and the Fool.” The subdued, almost spoken word opening rolls out the Gothic drama, before kicking into a hefty mid-paced groove adorned with groovy riffs, prominent organ, and dueling vocals. Main growler Ian Arkley (also on guitars) possesses a suitably thick, hearty death growl perfectly befitting the old school death-doom style. Meanwhile, the stately, drama-fueled cleans of the organ-wielding Simon Bibby provide the epic, harmonizing melodic counterpoint, forming a potent combo.
My Silent Wake’s rich, heaving sound comes awash in gloomy atmospheres and crimson-dipped Gothic melancholy, without falling into overly bleak, depressing realms. The well-executed vocal tag team, rich mix of chunky, organ-drenched death grooves, and dreary doom dynamics lend the album an energetic, striking dynamic, backed by engaging guitar work, sorrowful melodies, and earworm hooks. Bibby’s increased role on dual lead vocals is a significant change-up, his dramatic, powerful cleans responsible for many rousing moments across the album, though at times they slightly detract from the meaty old school growls of Arkley. Listeners not down with Bibby’s style may find his increased involvement a potential sticking point. However, it’s hard to argue with some of the strikingly infectious vocal melodies and beauty vs beast harmonies scattered amidst the doom and gloom.
“Lavender Garden” supplies heroic vocal hooks and emotional weight in spades. It’s rugged grooves and sprightly pacing serve a well-constructed song that lodges itself in the brain. “When You Look Back” will please death-doom purists. Despite featuring some clean singing, the song heavily relies on Arkley’s impassioned death vox, settling into a mournful, doomy cadence, with strong results. Elsewhere, “Another Light” picks up the pace and jam packs lots of energy, deathly crunch, and bright, organ-dabbled grooves into the mix. There are no real clunkers to speak of, though album pacing is a bit off on occasions and bloat appears on a couple of lengthier later album tunes (“The Last Lullaby” and “No Time”). I could also do without the occasional spoken word moments. Thankfully, closer “The Judges” concludes the album in a compact, satisfying manner, combining a morose atmosphere with excellent dual vocal harmonies and beautifully soulful guitar work.
Surrounded by his accomplished bandmates, Arkley remains the key figure steering the doom ship. His formidable growls ground the band in deathlier territory and ensure the increased melodic tendencies do not overshadow My Silent Wake’s darker, heftier throes. Arkley’s guitar work is also top-notch, straddling death-doom lines and integrating chunky, harder-hitting riffs amidst the deft melodic touches. My Silent Wake may not be positioned at the forefront of the modern doom scene. However, from my limited exposure to their extensive catalog they are a spirited, gifted act. Proudly wearing their influences on their sleeves, My Silent Wake boast enough character and songwriting smarts to carve their own niche in the retro-minded Goth-tinged doom space. Lost in Memories, Lost in Grief is a warm, inviting and endearingly solid slab of catchy death-doom, well worth a listen.
Rating: 3.0/5.0
DR: 9 | Format Reviewed: 320 kbps mp3
Label: Ardua Music
Websites: mysilentwake2.bandcamp.com | facebook.com/mysilentwake
Releases Worldwide: May 3rd, 2024#2024 #ArduaMusic #DeathDoomMetal #DoomMetal #EnglishMetal #GothicDoom #LostInGrief #LostInMemories #May24 #MyDyingBride #MySilentWake #ParadiseLost #Review #Reviews
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Dear Americans, on #StPatricksDay, please remember that the song #DannyBoy is not an Irish song. The melody is, but the lyrics were written later by an Englishman. He never even visited Ireland. It would be rare to hear it played in any pub in Ireland, and probably mostly to appease American tourists.
I mean the lyrics don’t even make total sense from an Irish point of view. Ireland isn’t particularly known for its mountains… The lyrics sound more like they would refer to Scotland.
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1/2: Global Faculty Development might sound like a slogan or exaggeration of international outreach, but I learned from having such a position at Kansai University in Osaka from 2016-2020 that Global FD can have a specific and practical definition in a suitable context. Basically, Global FD means meeting the needs of non-native English-using faculty members in non-Western countries. Specific guidance could involve preparing teachers for English-medium (or other international language) instruction (particularly to classes with international students), giving presentations at international conferences, publishing journal papers, and other scholarly
tasks. Research findings: "Meeting Global Faculty Development Needs in Japan" at https://www.researchgate.net/publication/330778631 or https://www.academia.edu/38264974
#FacultyDevelopment #GlobalFD #Osaka #Japan #EnglishMediumInstruction #AcademicStandards #AcademicEthics #AcademicLife #eLearning #OnlineEducation #AsianStudies #Japan #Bilingualism #ForeignLanguageTeaching -
🙋♂️ SMART goals, making classes creative, and more cellphone bans – Of bits and bytes for May 13, 2024
#edtech #education #englishmemes #englishpractice #frontpage #fun #learningenglish #memes #minds3p #ofbitsandbytes #practiceenglish #saturday #teachers
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'#Trans #people are not a #threat' Some #UniversityOfKentucky (#UK) #students won’t stand for #SB150
“When I hear about the continued attacks on #nonbinary and trans people the only word I feel like I can use is devastation,” #MadisonMclean, a #sophomore #EnglishMajor, said. “Especially being from Kentucky. I love this state; I don’t want to leave this state.”
#Women #Transgender #LGBTQIA #Kentucky #TransKids #RepublicanParty #Hate #Bigotry #Discrimination #Transphobia
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'#Trans #people are not a #threat' Some #UniversityOfKentucky (#UK) #students won’t stand for #SB150
“When I hear about the continued attacks on #nonbinary and trans people the only word I feel like I can use is devastation,” #MadisonMclean, a #sophomore #EnglishMajor, said. “Especially being from Kentucky. I love this state; I don’t want to leave this state.”
#Women #Transgender #LGBTQIA #Kentucky #TransKids #RepublicanParty #Hate #Bigotry #Discrimination #Transphobia
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'#Trans #people are not a #threat' Some #UniversityOfKentucky (#UK) #students won’t stand for #SB150
“When I hear about the continued attacks on #nonbinary and trans people the only word I feel like I can use is devastation,” #MadisonMclean, a #sophomore #EnglishMajor, said. “Especially being from Kentucky. I love this state; I don’t want to leave this state.”
#Women #Transgender #LGBTQIA #Kentucky #TransKids #RepublicanParty #Hate #Bigotry #Discrimination #Transphobia
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I walked into the math student lounge and five of them were preparing to play Bananagrams ("the word game for people who think Boggle takes too long"). They foolishly invited me to join.
In the first game, nobody else even called Peel.
I also won the second game. Not the same kind of shutout, but this time I was playing with one hand.
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Before reading about Edward Despard, l hadn't known there was an auxillary to the #UnitedIrishmen called the United Englishmen, or of the executions relating to 1803 #RobertEmmet Rising outside Dublin.
https://www.dib.ie/biography/despard-edward-marcus-a2543
#Kildare connection: his wife Catherine left destitute stayed for a time at Lyons, near Hazelhatch. Given the interracial marriage in "Belinda", I wonder if #MariaEdgeworth knew of her.
https://dukespace.lib.duke.edu/dspace/handle/10161/9234
Re https://bird.makeup/users/lorraineelizab6/statuses/1627896422623322113