#avantegarde — Public Fediverse posts
Live and recent posts from across the Fediverse tagged #avantegarde, aggregated by home.social.
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Death Obvious – Death Obvious Review
By Andy-War-Hall
Back in August, I went goo-goo over an avant-black duo under Transcending Obscurity called Hexrot and, as a lowly N00b, awarded their debut Formless Ruin of Oblivion a “Great” designation.1 Flash forward, and sloshing through the promo sump comes an avant-black duo under Transcending Obscurity called Death Obvious, offering their self-titled debut. Composed of vocalist Lea Lavey and everything-else-er Sima Sioux,2 this Finnish duo reveal high aspirations with claims of “crafting music as it suits their demented vision in a recklessly intuitive manner” while pitching Death Obvious for fans of visionary acts like Blut aus Nord, Deathspell Omega, Veilburner and—looky!—Hexrot. My excitement in snagging Death Obvious was, like Death Obvious’ apparent expectations, quite high. Does Death Obvious live up to either?
With Death Obvious, you can pick out distinct moments of black, death and doom metal bubbling to the surface of Death Obvious’ style-soup. Death Obvious is sworn chiefly to the blackened arts, communicating primarily through Lavey’s hideous rasps and Sioux’s tremolo riffs and blast beats, with second-wave inspired ragers “The Third Eye Burning” and “Mercury Off Axis” making no bones about their caustic, reverb-heavy attack. Death and doom are the more secondary sounds of Death Obvious, with death appearing on the chunkier, mid-paced moments of songs like “Sanctuario” and doom manifesting into spacier, drawn-out passages like the start of “The Great Gate Theory,” which put me in mind, surprisingly, of Khemmis’ Hunted. When Death Obvious’ songwriting clicks, like on album highlight “Sanctuario” or portions of closer “Catechismus for the Plagued,” sounds really do hurtle in exciting, dangerous manners that makes Death Obvious a killer listen.
Most of Death Obvious is indistinct, however, due to Death Obvious’ directionless songwriting and murky production. Death Obvious relishes in dissonance both clean (“Total Heavenly Desolation”) and dirty (“Suffer the Spectacle”). But instead of building tension or suspense, Death Obvious creates tedium through dissonance, leading to neither release nor deeper discomfort but to a monotonous drone of black metal murk. This is exacerbated by Sioux’s guitar tone, which in Death Obvious’ faster moments can sound like a totally nebulous melange of reverb. To their credit, Death Obvious’ bass-forward mixing helps mitigate this somewhat, providing plucky, crunchy bass riffs like on “The Great Gate Theory.” It does nothing, however, for the busy, opaque mix that, damn the DR score, sounds boxed-in and flat. Death Obvious’ noise problem is encapsulated right off with “Mercury Off Axis,” opening with an excruciating, high-pitched drill sound that puts me in mind of the dentist and carries on well past its intro. It’s not pleasant, Obviously the point, but it’s not interesting either.
Death Obvious falters because Death Obvious simply doesn’t bring enough to the table. Not only is structure neglected on Death Obvious, but individual songs largely have little going for them beyond the black metal basics; over-repetition is chronic on tracks like “As Absence Expands over Everything,” and monotony abounds because of it. Beyond rare instances of effective piano and non-dental sound effects, Death Obvious blurs together in limited patterns played ad nauseam, making it an effort for the listener to stay focused throughout. Like how Death Obvious’ style issues were made plain by its opener, its songwriting woes are exemplified by its eight-minute closer, “Catechismus for the Plagued.” Half of “Catechismus…” anyway: the half that is one (1) riff, two (2) chords sharing one (1) root note hammered on and off at straight eighth notes with zero variation in dynamics or accent.3 The other half with creepy keys and an otherworldly soundscape shows what Death Obvious can be when playing inspired material. The one riff is what Death Obvious mostly offers: after a while, it doesn’t really sound like anything.
Death Obvious embodies the obtuse nature of avant-garde music with little of the adventurousness of its best practitioners. Instead of sounding unbound, it feels as though Death Obvious let the songs get away from them. I’m not sure if Death Obvious needs more editing, further drafting or both, but as is I can hardly pay attention for the entirety of one listen through. Death Obvious are a talented duo, and I believe they’ll have better material down the line, as moments throughout their debut hint at better things to come. However, not only did I not go goo-goo over Death Obvious, but I’m sure I won’t be returning to it much at all.
Rating: Bad
DR: 8 | Format Reviewed: 320 kbps MP3
Label: Transcending Obscurity Records
Websites: deathobvious.bandcamp.com | facebook.com/DeathObvious
Releases Worldwide: December 5th, 2025#15 #2025 #avanteGarde #blackMetal #blutAusNord #deathMetal #deathObvious #deathspellOmega #dec25 #doomMetal #finnishMetal #hexrot #khemmis #review #reviews #transcendingObscurityRecords #veilburner #vomitheist
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Death Obvious – Death Obvious Review
By Andy-War-Hall
Back in August, I went goo-goo over an avant-black duo under Transcending Obscurity called Hexrot and, as a lowly N00b, awarded their debut Formless Ruin of Oblivion a “Great” designation.1 Flash forward, and sloshing through the promo sump comes an avant-black duo under Transcending Obscurity called Death Obvious, offering their self-titled debut. Composed of vocalist Lea Lavey and everything-else-er Sima Sioux,2 this Finnish duo reveal high aspirations with claims of “crafting music as it suits their demented vision in a recklessly intuitive manner” while pitching Death Obvious for fans of visionary acts like Blut aus Nord, Deathspell Omega, Veilburner and—looky!—Hexrot. My excitement in snagging Death Obvious was, like Death Obvious’ apparent expectations, quite high. Does Death Obvious live up to either?
With Death Obvious, you can pick out distinct moments of black, death and doom metal bubbling to the surface of Death Obvious’ style-soup. Death Obvious is sworn chiefly to the blackened arts, communicating primarily through Lavey’s hideous rasps and Sioux’s tremolo riffs and blast beats, with second-wave inspired ragers “The Third Eye Burning” and “Mercury Off Axis” making no bones about their caustic, reverb-heavy attack. Death and doom are the more secondary sounds of Death Obvious, with death appearing on the chunkier, mid-paced moments of songs like “Sanctuario” and doom manifesting into spacier, drawn-out passages like the start of “The Great Gate Theory,” which put me in mind, surprisingly, of Khemmis’ Hunted. When Death Obvious’ songwriting clicks, like on album highlight “Sanctuario” or portions of closer “Catechismus for the Plagued,” sounds really do hurtle in exciting, dangerous manners that makes Death Obvious a killer listen.
Most of Death Obvious is indistinct, however, due to Death Obvious’ directionless songwriting and murky production. Death Obvious relishes in dissonance both clean (“Total Heavenly Desolation”) and dirty (“Suffer the Spectacle”). But instead of building tension or suspense, Death Obvious creates tedium through dissonance, leading to neither release nor deeper discomfort but to a monotonous drone of black metal murk. This is exacerbated by Sioux’s guitar tone, which in Death Obvious’ faster moments can sound like a totally nebulous melange of reverb. To their credit, Death Obvious’ bass-forward mixing helps mitigate this somewhat, providing plucky, crunchy bass riffs like on “The Great Gate Theory.” It does nothing, however, for the busy, opaque mix that, damn the DR score, sounds boxed-in and flat. Death Obvious’ noise problem is encapsulated right off with “Mercury Off Axis,” opening with an excruciating, high-pitched drill sound that puts me in mind of the dentist and carries on well past its intro. It’s not pleasant, Obviously the point, but it’s not interesting either.
Death Obvious falters because Death Obvious simply doesn’t bring enough to the table. Not only is structure neglected on Death Obvious, but individual songs largely have little going for them beyond the black metal basics; over-repetition is chronic on tracks like “As Absence Expands over Everything,” and monotony abounds because of it. Beyond rare instances of effective piano and non-dental sound effects, Death Obvious blurs together in limited patterns played ad nauseam, making it an effort for the listener to stay focused throughout. Like how Death Obvious’ style issues were made plain by its opener, its songwriting woes are exemplified by its eight-minute closer, “Catechismus for the Plagued.” Half of “Catechismus…” anyway: the half that is one (1) riff, two (2) chords sharing one (1) root note hammered on and off at straight eighth notes with zero variation in dynamics or accent.3 The other half with creepy keys and an otherworldly soundscape shows what Death Obvious can be when playing inspired material. The one riff is what Death Obvious mostly offers: after a while, it doesn’t really sound like anything.
Death Obvious embodies the obtuse nature of avant-garde music with little of the adventurousness of its best practitioners. Instead of sounding unbound, it feels as though Death Obvious let the songs get away from them. I’m not sure if Death Obvious needs more editing, further drafting or both, but as is I can hardly pay attention for the entirety of one listen through. Death Obvious are a talented duo, and I believe they’ll have better material down the line, as moments throughout their debut hint at better things to come. However, not only did I not go goo-goo over Death Obvious, but I’m sure I won’t be returning to it much at all.
Rating: Bad
DR: 8 | Format Reviewed: 320 kbps MP3
Label: Transcending Obscurity Records
Websites: deathobvious.bandcamp.com | facebook.com/DeathObvious
Releases Worldwide: December 5th, 2025#15 #2025 #avanteGarde #blackMetal #blutAusNord #deathMetal #deathObvious #deathspellOmega #dec25 #doomMetal #finnishMetal #hexrot #khemmis #review #reviews #transcendingObscurityRecords #veilburner #vomitheist
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Death Obvious – Death Obvious Review
By Andy-War-Hall
Back in August, I went goo-goo over an avant-black duo under Transcending Obscurity called Hexrot and, as a lowly N00b, awarded their debut Formless Ruin of Oblivion a “Great” designation.1 Flash forward, and sloshing through the promo sump comes an avant-black duo under Transcending Obscurity called Death Obvious, offering their self-titled debut. Composed of vocalist Lea Lavey and everything-else-er Sima Sioux,2 this Finnish duo reveal high aspirations with claims of “crafting music as it suits their demented vision in a recklessly intuitive manner” while pitching Death Obvious for fans of visionary acts like Blut aus Nord, Deathspell Omega, Veilburner and—looky!—Hexrot. My excitement in snagging Death Obvious was, like Death Obvious’ apparent expectations, quite high. Does Death Obvious live up to either?
With Death Obvious, you can pick out distinct moments of black, death and doom metal bubbling to the surface of Death Obvious’ style-soup. Death Obvious is sworn chiefly to the blackened arts, communicating primarily through Lavey’s hideous rasps and Sioux’s tremolo riffs and blast beats, with second-wave inspired ragers “The Third Eye Burning” and “Mercury Off Axis” making no bones about their caustic, reverb-heavy attack. Death and doom are the more secondary sounds of Death Obvious, with death appearing on the chunkier, mid-paced moments of songs like “Sanctuario” and doom manifesting into spacier, drawn-out passages like the start of “The Great Gate Theory,” which put me in mind, surprisingly, of Khemmis’ Hunted. When Death Obvious’ songwriting clicks, like on album highlight “Sanctuario” or portions of closer “Catechismus for the Plagued,” sounds really do hurtle in exciting, dangerous manners that makes Death Obvious a killer listen.
Most of Death Obvious is indistinct, however, due to Death Obvious’ directionless songwriting and murky production. Death Obvious relishes in dissonance both clean (“Total Heavenly Desolation”) and dirty (“Suffer the Spectacle”). But instead of building tension or suspense, Death Obvious creates tedium through dissonance, leading to neither release nor deeper discomfort but to a monotonous drone of black metal murk. This is exacerbated by Sioux’s guitar tone, which in Death Obvious’ faster moments can sound like a totally nebulous melange of reverb. To their credit, Death Obvious’ bass-forward mixing helps mitigate this somewhat, providing plucky, crunchy bass riffs like on “The Great Gate Theory.” It does nothing, however, for the busy, opaque mix that, damn the DR score, sounds boxed-in and flat. Death Obvious’ noise problem is encapsulated right off with “Mercury Off Axis,” opening with an excruciating, high-pitched drill sound that puts me in mind of the dentist and carries on well past its intro. It’s not pleasant, Obviously the point, but it’s not interesting either.
Death Obvious falters because Death Obvious simply doesn’t bring enough to the table. Not only is structure neglected on Death Obvious, but individual songs largely have little going for them beyond the black metal basics; over-repetition is chronic on tracks like “As Absence Expands over Everything,” and monotony abounds because of it. Beyond rare instances of effective piano and non-dental sound effects, Death Obvious blurs together in limited patterns played ad nauseam, making it an effort for the listener to stay focused throughout. Like how Death Obvious’ style issues were made plain by its opener, its songwriting woes are exemplified by its eight-minute closer, “Catechismus for the Plagued.” Half of “Catechismus…” anyway: the half that is one (1) riff, two (2) chords sharing one (1) root note hammered on and off at straight eighth notes with zero variation in dynamics or accent.3 The other half with creepy keys and an otherworldly soundscape shows what Death Obvious can be when playing inspired material. The one riff is what Death Obvious mostly offers: after a while, it doesn’t really sound like anything.
Death Obvious embodies the obtuse nature of avant-garde music with little of the adventurousness of its best practitioners. Instead of sounding unbound, it feels as though Death Obvious let the songs get away from them. I’m not sure if Death Obvious needs more editing, further drafting or both, but as is I can hardly pay attention for the entirety of one listen through. Death Obvious are a talented duo, and I believe they’ll have better material down the line, as moments throughout their debut hint at better things to come. However, not only did I not go goo-goo over Death Obvious, but I’m sure I won’t be returning to it much at all.
Rating: Bad
DR: 8 | Format Reviewed: 320 kbps MP3
Label: Transcending Obscurity Records
Websites: deathobvious.bandcamp.com | facebook.com/DeathObvious
Releases Worldwide: December 5th, 2025#15 #2025 #avanteGarde #blackMetal #blutAusNord #deathMetal #deathObvious #deathspellOmega #dec25 #doomMetal #finnishMetal #hexrot #khemmis #review #reviews #transcendingObscurityRecords #veilburner #vomitheist
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Death Obvious – Death Obvious Review
By Andy-War-Hall
Back in August, I went goo-goo over an avant-black duo under Transcending Obscurity called Hexrot and, as a lowly N00b, awarded their debut Formless Ruin of Oblivion a “Great” designation.1 Flash forward, and sloshing through the promo sump comes an avant-black duo under Transcending Obscurity called Death Obvious, offering their self-titled debut. Composed of vocalist Lea Lavey and everything-else-er Sima Sioux,2 this Finnish duo reveal high aspirations with claims of “crafting music as it suits their demented vision in a recklessly intuitive manner” while pitching Death Obvious for fans of visionary acts like Blut aus Nord, Deathspell Omega, Veilburner and—looky!—Hexrot. My excitement in snagging Death Obvious was, like Death Obvious’ apparent expectations, quite high. Does Death Obvious live up to either?
With Death Obvious, you can pick out distinct moments of black, death and doom metal bubbling to the surface of Death Obvious’ style-soup. Death Obvious is sworn chiefly to the blackened arts, communicating primarily through Lavey’s hideous rasps and Sioux’s tremolo riffs and blast beats, with second-wave inspired ragers “The Third Eye Burning” and “Mercury Off Axis” making no bones about their caustic, reverb-heavy attack. Death and doom are the more secondary sounds of Death Obvious, with death appearing on the chunkier, mid-paced moments of songs like “Sanctuario” and doom manifesting into spacier, drawn-out passages like the start of “The Great Gate Theory,” which put me in mind, surprisingly, of Khemmis’ Hunted. When Death Obvious’ songwriting clicks, like on album highlight “Sanctuario” or portions of closer “Catechismus for the Plagued,” sounds really do hurtle in exciting, dangerous manners that makes Death Obvious a killer listen.
Most of Death Obvious is indistinct, however, due to Death Obvious’ directionless songwriting and murky production. Death Obvious relishes in dissonance both clean (“Total Heavenly Desolation”) and dirty (“Suffer the Spectacle”). But instead of building tension or suspense, Death Obvious creates tedium through dissonance, leading to neither release nor deeper discomfort but to a monotonous drone of black metal murk. This is exacerbated by Sioux’s guitar tone, which in Death Obvious’ faster moments can sound like a totally nebulous melange of reverb. To their credit, Death Obvious’ bass-forward mixing helps mitigate this somewhat, providing plucky, crunchy bass riffs like on “The Great Gate Theory.” It does nothing, however, for the busy, opaque mix that, damn the DR score, sounds boxed-in and flat. Death Obvious’ noise problem is encapsulated right off with “Mercury Off Axis,” opening with an excruciating, high-pitched drill sound that puts me in mind of the dentist and carries on well past its intro. It’s not pleasant, Obviously the point, but it’s not interesting either.
Death Obvious falters because Death Obvious simply doesn’t bring enough to the table. Not only is structure neglected on Death Obvious, but individual songs largely have little going for them beyond the black metal basics; over-repetition is chronic on tracks like “As Absence Expands over Everything,” and monotony abounds because of it. Beyond rare instances of effective piano and non-dental sound effects, Death Obvious blurs together in limited patterns played ad nauseam, making it an effort for the listener to stay focused throughout. Like how Death Obvious’ style issues were made plain by its opener, its songwriting woes are exemplified by its eight-minute closer, “Catechismus for the Plagued.” Half of “Catechismus…” anyway: the half that is one (1) riff, two (2) chords sharing one (1) root note hammered on and off at straight eighth notes with zero variation in dynamics or accent.3 The other half with creepy keys and an otherworldly soundscape shows what Death Obvious can be when playing inspired material. The one riff is what Death Obvious mostly offers: after a while, it doesn’t really sound like anything.
Death Obvious embodies the obtuse nature of avant-garde music with little of the adventurousness of its best practitioners. Instead of sounding unbound, it feels as though Death Obvious let the songs get away from them. I’m not sure if Death Obvious needs more editing, further drafting or both, but as is I can hardly pay attention for the entirety of one listen through. Death Obvious are a talented duo, and I believe they’ll have better material down the line, as moments throughout their debut hint at better things to come. However, not only did I not go goo-goo over Death Obvious, but I’m sure I won’t be returning to it much at all.
Rating: Bad
DR: 8 | Format Reviewed: 320 kbps MP3
Label: Transcending Obscurity Records
Websites: deathobvious.bandcamp.com | facebook.com/DeathObvious
Releases Worldwide: December 5th, 2025#15 #2025 #avanteGarde #blackMetal #blutAusNord #deathMetal #deathObvious #deathspellOmega #dec25 #doomMetal #finnishMetal #hexrot #khemmis #review #reviews #transcendingObscurityRecords #veilburner #vomitheist
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Death Obvious – Death Obvious Review
By Andy-War-Hall
Back in August, I went goo-goo over an avant-black duo under Transcending Obscurity called Hexrot and, as a lowly N00b, awarded their debut Formless Ruin of Oblivion a “Great” designation.1 Flash forward, and sloshing through the promo sump comes an avant-black duo under Transcending Obscurity called Death Obvious, offering their self-titled debut. Composed of vocalist Lea Lavey and everything-else-er Sima Sioux,2 this Finnish duo reveal high aspirations with claims of “crafting music as it suits their demented vision in a recklessly intuitive manner” while pitching Death Obvious for fans of visionary acts like Blut aus Nord, Deathspell Omega, Veilburner and—looky!—Hexrot. My excitement in snagging Death Obvious was, like Death Obvious’ apparent expectations, quite high. Does Death Obvious live up to either?
With Death Obvious, you can pick out distinct moments of black, death and doom metal bubbling to the surface of Death Obvious’ style-soup. Death Obvious is sworn chiefly to the blackened arts, communicating primarily through Lavey’s hideous rasps and Sioux’s tremolo riffs and blast beats, with second-wave inspired ragers “The Third Eye Burning” and “Mercury Off Axis” making no bones about their caustic, reverb-heavy attack. Death and doom are the more secondary sounds of Death Obvious, with death appearing on the chunkier, mid-paced moments of songs like “Sanctuario” and doom manifesting into spacier, drawn-out passages like the start of “The Great Gate Theory,” which put me in mind, surprisingly, of Khemmis’ Hunted. When Death Obvious’ songwriting clicks, like on album highlight “Sanctuario” or portions of closer “Catechismus for the Plagued,” sounds really do hurtle in exciting, dangerous manners that makes Death Obvious a killer listen.
Most of Death Obvious is indistinct, however, due to Death Obvious’ directionless songwriting and murky production. Death Obvious relishes in dissonance both clean (“Total Heavenly Desolation”) and dirty (“Suffer the Spectacle”). But instead of building tension or suspense, Death Obvious creates tedium through dissonance, leading to neither release nor deeper discomfort but to a monotonous drone of black metal murk. This is exacerbated by Sioux’s guitar tone, which in Death Obvious’ faster moments can sound like a totally nebulous melange of reverb. To their credit, Death Obvious’ bass-forward mixing helps mitigate this somewhat, providing plucky, crunchy bass riffs like on “The Great Gate Theory.” It does nothing, however, for the busy, opaque mix that, damn the DR score, sounds boxed-in and flat. Death Obvious’ noise problem is encapsulated right off with “Mercury Off Axis,” opening with an excruciating, high-pitched drill sound that puts me in mind of the dentist and carries on well past its intro. It’s not pleasant, Obviously the point, but it’s not interesting either.
Death Obvious falters because Death Obvious simply doesn’t bring enough to the table. Not only is structure neglected on Death Obvious, but individual songs largely have little going for them beyond the black metal basics; over-repetition is chronic on tracks like “As Absence Expands over Everything,” and monotony abounds because of it. Beyond rare instances of effective piano and non-dental sound effects, Death Obvious blurs together in limited patterns played ad nauseam, making it an effort for the listener to stay focused throughout. Like how Death Obvious’ style issues were made plain by its opener, its songwriting woes are exemplified by its eight-minute closer, “Catechismus for the Plagued.” Half of “Catechismus…” anyway: the half that is one (1) riff, two (2) chords sharing one (1) root note hammered on and off at straight eighth notes with zero variation in dynamics or accent.3 The other half with creepy keys and an otherworldly soundscape shows what Death Obvious can be when playing inspired material. The one riff is what Death Obvious mostly offers: after a while, it doesn’t really sound like anything.
Death Obvious embodies the obtuse nature of avant-garde music with little of the adventurousness of its best practitioners. Instead of sounding unbound, it feels as though Death Obvious let the songs get away from them. I’m not sure if Death Obvious needs more editing, further drafting or both, but as is I can hardly pay attention for the entirety of one listen through. Death Obvious are a talented duo, and I believe they’ll have better material down the line, as moments throughout their debut hint at better things to come. However, not only did I not go goo-goo over Death Obvious, but I’m sure I won’t be returning to it much at all.
Rating: Bad
DR: 8 | Format Reviewed: 320 kbps MP3
Label: Transcending Obscurity Records
Websites: deathobvious.bandcamp.com | facebook.com/DeathObvious
Releases Worldwide: December 5th, 2025#15 #2025 #avanteGarde #blackMetal #blutAusNord #deathMetal #deathObvious #deathspellOmega #dec25 #doomMetal #finnishMetal #hexrot #khemmis #review #reviews #transcendingObscurityRecords #veilburner #vomitheist
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Doubtsower – The Past Melts Away with a Sneer Review
By ClarkKent
It’s amazing how quickly November, and my month of doom, has flown by. It seems the constant exposure to slow-paced music has made the days move faster, not slower. For my final November doom promo, what could be more appropriate than one described as “one long song funeral doom?” While the Welsh doom band containing this descriptor, Doubtsower, is new to me, the man behind the project, Matt Strangis, has three previous releases dating back to 2021. Although most of these earlier albums cross the one-hour mark, none of the songs run longer than fifteen minutes 1, so this is new territory for Doubtsower. Strangis describes his own songwriting process as “punk DIY,” and he does much of his recording at home, with some mastering help from Greg Chandler of Esoteric. For insomniacs, one long funeral doom song sounds like the perfect cure, but be careful, this doesn’t backfire and instead keeps you hooked and wide awake.
While the premise of a 48-minute funeral doom song brings to mind other ambitious projects from Bell Witch and Oak, Doubtsower’s The Past Melts Away with a Sneer turns out to be one weird beast. Doubtsower isn’t exactly a funeral doom band, but an experimental doom band. Strangis keeps his one song’s tempo slow—funeral doom slow—yet it has much more in common with the avant-garde music of John Cage than My Dying Bride or Esoteric. It makes use of syncopated riffs that cut short and disorient listeners, as well as some unusual noises, such as static scratches and the clicking and rattling of ratchets. “The Past Melts Away with a Sneer” also makes use of silences, though they’re not as lengthy as “4’33,” largely as a transitional tool. This use of odd sounds, silent moments, and suspenseful repetitions of short riffs creates an unsettling mood early on, and with the mix of sludge, I couldn’t help but think of experimental sludge/horror/doom outfit When the Deadbolt Breaks.
Over the course of its 48 minutes, The Past Melts Away with a Sneer is an ever-shifting amalgamation of styles, an amorphic blob that somehow holds everything together as a cohesive whole. Sounds often shift minute-by-minute despite the glacial pacing. While the early goings have the John Cage thing going, at the 8-minute mark, the track breaks out into the one segment that sounds like traditional funeral doom, with plodding drum beats, crushing guitars, and a low, harsh growl. Yet just as you think this is the direction it’s going, the song goes silent and then shifts into a new form. The extensive use of silence and light droning makes the sudden bursts of energy peppered throughout all the more striking. About 20 minutes in, “The Past Melts Away with a Sneer” morphs into industrial dance, snapping you awake and commanding your body to move. The song morphs yet again, this time into something hopeful and poppy, with light, Weezer-like strums. However, even this segment doesn’t last long, and somehow Strangis is able to convince us that these disparate sounds all form one coherent tune.
It’s pretty impressive how “The Past Melts Away with a Sneer” is able to remain engaging for its entire run, but some moments of repetition do derail portions of the track. This is most egregious at 29 minutes as Doubtsower transitions into a lengthy portion of sludge/doom. Throughout this approximately eight-minute segment, there’s a consistent, repetitive riff that grows tiresome over time. Still, the song rights itself for the finale with the return of a catchy piano/synth melody from the beginning. As this melody begins to fade into silence and lulls you into a sense of closure, the track gains a second wind and hurls forth an energetic set of industrial riffs and blast beats. There’s an unpredictability that catches you off guard and keeps the record fresh.
If the album I described above sounds like a nightmare, that’s the whole point. It’s meant to be a “disorienting descent into a nihilistic free-for-all,” and Strangis succeeds in making that vision come to fruition. It may not always be easy listening, but it’s rarely boring. Having spent some time with the prior Doubtsower records, this one stands out as Strangis’s most engaging and best-written. The Past Melts Away with a Sneer has caused me to question my usually negative relationship with experimental metal. It has left me feeling disoriented, but in a good way, and it’s an experience that I recommend for the curious and lovers of the weird.
Rating: 3.0/5.0
DR: 7 | Format Reviewed: WAV
Label: Self-Release
Website: Bandcamp
Releases Worldwide: November 28th, 2025#2025 #30 #avanteGarde #bellWitch #doomMetal #doubtsower #esoteric #experimentalMetal #funeralDoom #industrialMetal #johnCage #myDyingBride #nov25 #oak #review #reviews #selfReleased #sludgeMetal #thePastMeltsAwayWithASneer #weezer #welshMetal #whenTheDeadboltBreaks
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Not sure how this works, but posting anyway
#fashion #couture #diamonddress #rhinestones #highfashion #luxury #couture #sheerdress #nudedress #elegant #avantegarde -
垂直商場 – Entrepôt des Individus Perdus
#BogusCollective #Experimental #avantegarde #glitch #hypnagogicdrift #lofi #lofiambient #postinternet #vaporwave #Savusavu
CC BY (#CreativeCommons Attribution)
https://boguscollective.bandcamp.com/album/entrep-t-des-individus-perdus -
垂直商場 – Entrepôt des Individus Perdus
#BogusCollective #Experimental #avantegarde #glitch #hypnagogicdrift #lofi #lofiambient #postinternet #vaporwave #Savusavu
CC BY (#CreativeCommons Attribution)
https://boguscollective.bandcamp.com/album/entrep-t-des-individus-perdus -
Free download codes:
Noise For No One - disastrous cheat
"Sophomore album from the amazing Noise For No One"
#bandcampcodes #electronic #experimental #modularsynth #musiqueconcrete #handmadeinstruments #avantegarde #music
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Five the Hierophant – Apeiron Review
By Carcharodon
I wanted to love Five the Hierophant’s last album, 2021’s Through Aureate Void. I really did. Alas, it was not to be. However, after seeing them play a great set at ArcTanGent in 2022, I revisited that record. While I stand by everything in that review, including the 2.0, which some viewed as harsh, the potential was clear and Five the Hierophant was tantalizingly close to delivering a worthy follow-up to their very good debut, Over Phlegethon. The British quartet’s brand of psychedelic, jazz-inspired, instrumental post-metal had elements of greatness marred by meandering, over-indulgent songwriting that lacked standout ideas. However, I can’t think of another 2.0 that I’ve given, where I would be as genuinely interested and optimistic as I was going into Five the Hierophant’s third album, Apeiron. Could they tighten up the formula and deliver that great record I know they have in them?
While there is no paradigm shift in Five the Hierophant’s sound on Apeiron, there is a clear expansion of vision. Building on the model of Through Aureate Void, the foundation remains one of dark, sprawling atmospheres, pregnant with ambience and pent-up threat (“Tower of Silence I”). The backbone of Five the Hierophant’s sound is built around bass, guitar, drums, and other percussion, apeing the likes of BRIQUEVILLE to create a rich, textured post-metal soundscapes (title track). However, where some bands rely on a vocalist to punctuate and enhance their compositions, Five the Hierophant have Jon’s sax. Crooning, whispering, screaming, the sax commands the sound stage (“Uroboros”), just as it is allowed to do in places on White Ward’s albums also. However, not content to rest on its laurels, the band is ever-expanding its horizons, broadening the already extensive array of tools at their disposal to now include horns, trumpets, gongs, bells, violins, skull shakers, and more.
Apeiron is a Greek word meaning that which is unlimited or infinite. What Five the Hierophant do so well is to capture that sense of both scale and organic fluidity. The overarching drone and ambient elements feel boundless and vast, amplified as they are by not only the horns and violins (“Moon over Ziggurat” and the title track), but also the liberal use of effects (end of “Tower of Silence I” and closer, “Tower of Silence II”). The sax, as well as the trumpet and other adornments, then light up the inky void, sometimes flowing like quicksilver (“Moon over Ziggurat”), sometimes more challenging, insistent, even angry (the opening title track), occasionally recalling the freeform lines of Neptunian Maximalism or an instrumental Pan.Thy.Monium. Even as we slip into looser, more chaotic soundscapes (middle portion of “Initiatory Sickness”), the whole of Apeiron retains an identity and cohesion that does great credit to Five the Hierophant.
A cursory listen to Apeiron might suggest that Five the Hierophant has delivered a freeform creation, light on tangible structures. However, while this may be true using only traditional metal as your reference point, there is a model or blueprint for the material that runs through the record. Each track opens in languid mood and, even where there are threatening or forbidding overtones, the sound is delicate, restrained slow-burn. It then gradually builds towards something more powerful and cathartic, punctuated by chaotic forays along the way. Perhaps this basic mold is responsible for the cohesive feel of Apeiron. However, it also means that, after a few listens, you start to lose the sense of indefinite exploration and feel instead like you are on a moist, well-trodden, slightly predictable path. That said, despite only being four minutes shorter than Through Aureate Void, the material on Apeiron feels significantly tighter and less meandering, with the sole (and unfortunate) exception of “Tower of Silence II.” This was, sadly, entirely the wrong five minutes with which to close the album. If only Five the Hierophant had stopped at the end of “Uroboros” (or, I suppose, swapped the two tracks), this could have been a far superior experience. As it is, Apeiron finishes on a disappointing siding, rather than a triumphant main line.
The production on Apeiron is a significant step up from previous albums. Rich and dynamic, it imbues Five the Hierophant’s sound with genuine power, while the master allows the legion of constituent elements sufficient breathing room. Indeed, it’s not just the production, but also the songwriting that represents a significant step up. Where Through Aureate Void meandered aimlessly, Apeiron feels like a journey, albeit with diversions and detours en route. If Five the Hierophant can now finetune their process to maintain the feel they’ve imbued Apeiron with, while slightly reducing the structural predictability, their next record will be truly masterful.
Rating: 3.0/5.0
DR: 7 | Format Reviewed: 320 kb/s mp3
Label: Agonia Records
Websites: five-the-hierophant.bandcamp.com | facebook.com/fivethehierophant
Releases Worldwide: October 18th, 2024#2024 #30 #AgoniaRecords #Ambient #Apeiron #AvanteGarde #Briqueville #BritishMetal #DoomJazz #Drone #FiveTheHierophant #NeptunianMaximalism #Oct24 #PanThyMonium #PostMetal #Review #Reviews #WhiteWard
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Five the Hierophant – Apeiron Review
By Carcharodon
I wanted to love Five the Hierophant’s last album, 2021’s Through Aureate Void. I really did. Alas, it was not to be. However, after seeing them play a great set at ArcTanGent in 2022, I revisited that record. While I stand by everything in that review, including the 2.0, which some viewed as harsh, the potential was clear and Five the Hierophant was tantalizingly close to delivering a worthy follow-up to their very good debut, Over Phlegethon. The British quartet’s brand of psychedelic, jazz-inspired, instrumental post-metal had elements of greatness marred by meandering, over-indulgent songwriting that lacked standout ideas. However, I can’t think of another 2.0 that I’ve given, where I would be as genuinely interested and optimistic as I was going into Five the Hierophant’s third album, Apeiron. Could they tighten up the formula and deliver that great record I know they have in them?
While there is no paradigm shift in Five the Hierophant’s sound on Apeiron, there is a clear expansion of vision. Building on the model of Through Aureate Void, the foundation remains one of dark, sprawling atmospheres, pregnant with ambience and pent-up threat (“Tower of Silence I”). The backbone of Five the Hierophant’s sound is built around bass, guitar, drums, and other percussion, apeing the likes of BRIQUEVILLE to create a rich, textured post-metal soundscapes (title track). However, where some bands rely on a vocalist to punctuate and enhance their compositions, Five the Hierophant have Jon’s sax. Crooning, whispering, screaming, the sax commands the sound stage (“Uroboros”), just as it is allowed to do in places on White Ward’s albums also. However, not content to rest on its laurels, the band is ever-expanding its horizons, broadening the already extensive array of tools at their disposal to now include horns, trumpets, gongs, bells, violins, skull shakers, and more.
Apeiron is a Greek word meaning that which is unlimited or infinite. What Five the Hierophant do so well is to capture that sense of both scale and organic fluidity. The overarching drone and ambient elements feel boundless and vast, amplified as they are by not only the horns and violins (“Moon over Ziggurat” and the title track), but also the liberal use of effects (end of “Tower of Silence I” and closer, “Tower of Silence II”). The sax, as well as the trumpet and other adornments, then light up the inky void, sometimes flowing like quicksilver (“Moon over Ziggurat”), sometimes more challenging, insistent, even angry (the opening title track), occasionally recalling the freeform lines of Neptunian Maximalism or an instrumental Pan.Thy.Monium. Even as we slip into looser, more chaotic soundscapes (middle portion of “Initiatory Sickness”), the whole of Apeiron retains an identity and cohesion that does great credit to Five the Hierophant.
A cursory listen to Apeiron might suggest that Five the Hierophant has delivered a freeform creation, light on tangible structures. However, while this may be true using only traditional metal as your reference point, there is a model or blueprint for the material that runs through the record. Each track opens in languid mood and, even where there are threatening or forbidding overtones, the sound is delicate, restrained slow-burn. It then gradually builds towards something more powerful and cathartic, punctuated by chaotic forays along the way. Perhaps this basic mold is responsible for the cohesive feel of Apeiron. However, it also means that, after a few listens, you start to lose the sense of indefinite exploration and feel instead like you are on a moist, well-trodden, slightly predictable path. That said, despite only being four minutes shorter than Through Aureate Void, the material on Apeiron feels significantly tighter and less meandering, with the sole (and unfortunate) exception of “Tower of Silence II.” This was, sadly, entirely the wrong five minutes with which to close the album. If only Five the Hierophant had stopped at the end of “Uroboros” (or, I suppose, swapped the two tracks), this could have been a far superior experience. As it is, Apeiron finishes on a disappointing siding, rather than a triumphant main line.
The production on Apeiron is a significant step up from previous albums. Rich and dynamic, it imbues Five the Hierophant’s sound with genuine power, while the master allows the legion of constituent elements sufficient breathing room. Indeed, it’s not just the production, but also the songwriting that represents a significant step up. Where Through Aureate Void meandered aimlessly, Apeiron feels like a journey, albeit with diversions and detours en route. If Five the Hierophant can now finetune their process to maintain the feel they’ve imbued Apeiron with, while slightly reducing the structural predictability, their next record will be truly masterful.
Rating: 3.0/5.0
DR: 7 | Format Reviewed: 320 kb/s mp3
Label: Agonia Records
Websites: five-the-hierophant.bandcamp.com | facebook.com/fivethehierophant
Releases Worldwide: October 18th, 2024#2024 #30 #AgoniaRecords #Ambient #Apeiron #AvanteGarde #Briqueville #BritishMetal #DoomJazz #Drone #FiveTheHierophant #NeptunianMaximalism #Oct24 #PanThyMonium #PostMetal #Review #Reviews #WhiteWard
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Five the Hierophant – Apeiron Review
By Carcharodon
I wanted to love Five the Hierophant’s last album, 2021’s Through Aureate Void. I really did. Alas, it was not to be. However, after seeing them play a great set at ArcTanGent in 2022, I revisited that record. While I stand by everything in that review, including the 2.0, which some viewed as harsh, the potential was clear and Five the Hierophant was tantalizingly close to delivering a worthy follow-up to their very good debut, Over Phlegethon. The British quartet’s brand of psychedelic, jazz-inspired, instrumental post-metal had elements of greatness marred by meandering, over-indulgent songwriting that lacked standout ideas. However, I can’t think of another 2.0 that I’ve given, where I would be as genuinely interested and optimistic as I was going into Five the Hierophant’s third album, Apeiron. Could they tighten up the formula and deliver that great record I know they have in them?
While there is no paradigm shift in Five the Hierophant’s sound on Apeiron, there is a clear expansion of vision. Building on the model of Through Aureate Void, the foundation remains one of dark, sprawling atmospheres, pregnant with ambience and pent-up threat (“Tower of Silence I”). The backbone of Five the Hierophant’s sound is built around bass, guitar, drums, and other percussion, apeing the likes of BRIQUEVILLE to create a rich, textured post-metal soundscapes (title track). However, where some bands rely on a vocalist to punctuate and enhance their compositions, Five the Hierophant have Jon’s sax. Crooning, whispering, screaming, the sax commands the sound stage (“Uroboros”), just as it is allowed to do in places on White Ward’s albums also. However, not content to rest on its laurels, the band is ever-expanding its horizons, broadening the already extensive array of tools at their disposal to now include horns, trumpets, gongs, bells, violins, skull shakers, and more.
Apeiron is a Greek word meaning that which is unlimited or infinite. What Five the Hierophant do so well is to capture that sense of both scale and organic fluidity. The overarching drone and ambient elements feel boundless and vast, amplified as they are by not only the horns and violins (“Moon over Ziggurat” and the title track), but also the liberal use of effects (end of “Tower of Silence I” and closer, “Tower of Silence II”). The sax, as well as the trumpet and other adornments, then light up the inky void, sometimes flowing like quicksilver (“Moon over Ziggurat”), sometimes more challenging, insistent, even angry (the opening title track), occasionally recalling the freeform lines of Neptunian Maximalism or an instrumental Pan.Thy.Monium. Even as we slip into looser, more chaotic soundscapes (middle portion of “Initiatory Sickness”), the whole of Apeiron retains an identity and cohesion that does great credit to Five the Hierophant.
A cursory listen to Apeiron might suggest that Five the Hierophant has delivered a freeform creation, light on tangible structures. However, while this may be true using only traditional metal as your reference point, there is a model or blueprint for the material that runs through the record. Each track opens in languid mood and, even where there are threatening or forbidding overtones, the sound is delicate, restrained slow-burn. It then gradually builds towards something more powerful and cathartic, punctuated by chaotic forays along the way. Perhaps this basic mold is responsible for the cohesive feel of Apeiron. However, it also means that, after a few listens, you start to lose the sense of indefinite exploration and feel instead like you are on a moist, well-trodden, slightly predictable path. That said, despite only being four minutes shorter than Through Aureate Void, the material on Apeiron feels significantly tighter and less meandering, with the sole (and unfortunate) exception of “Tower of Silence II.” This was, sadly, entirely the wrong five minutes with which to close the album. If only Five the Hierophant had stopped at the end of “Uroboros” (or, I suppose, swapped the two tracks), this could have been a far superior experience. As it is, Apeiron finishes on a disappointing siding, rather than a triumphant main line.
The production on Apeiron is a significant step up from previous albums. Rich and dynamic, it imbues Five the Hierophant’s sound with genuine power, while the master allows the legion of constituent elements sufficient breathing room. Indeed, it’s not just the production, but also the songwriting that represents a significant step up. Where Through Aureate Void meandered aimlessly, Apeiron feels like a journey, albeit with diversions and detours en route. If Five the Hierophant can now finetune their process to maintain the feel they’ve imbued Apeiron with, while slightly reducing the structural predictability, their next record will be truly masterful.
Rating: 3.0/5.0
DR: 7 | Format Reviewed: 320 kb/s mp3
Label: Agonia Records
Websites: five-the-hierophant.bandcamp.com | facebook.com/fivethehierophant
Releases Worldwide: October 18th, 2024#2024 #30 #AgoniaRecords #Ambient #Apeiron #AvanteGarde #Briqueville #BritishMetal #DoomJazz #Drone #FiveTheHierophant #NeptunianMaximalism #Oct24 #PanThyMonium #PostMetal #Review #Reviews #WhiteWard
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Song of the Day January 10 2024
In remembrance of Maxwell Lemuel “Max” Roach
https://en.wikipedia.org/wiki/Max_Roach
Max Roach - “The Third Eye”
https://youtu.be/9wnW2KLWE-g?si=yBC6RngMMBOzeRlc
#SongOfTheDay #SOTD #SOTD2024 #January10 #MaxwellLemuelRoach #MaxRoach #Drummer #Percussion #TheThirdEye #Jazz #AvanteGarde #Music #MusicVideo #1950s
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Song of the Day January 10 2024
In remembrance of Maxwell Lemuel “Max” Roach
https://en.wikipedia.org/wiki/Max_Roach
Max Roach - “The Third Eye”
https://youtu.be/9wnW2KLWE-g?si=yBC6RngMMBOzeRlc
#SongOfTheDay #SOTD #SOTD2024 #January10 #MaxwellLemuelRoach #MaxRoach #Drummer #Percussion #TheThirdEye #Jazz #AvanteGarde #Music #MusicVideo #1950s
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Song of the Day January 10 2024
In remembrance of Maxwell Lemuel “Max” Roach
https://en.wikipedia.org/wiki/Max_Roach
Max Roach - “The Third Eye”
https://youtu.be/9wnW2KLWE-g?si=yBC6RngMMBOzeRlc
#SongOfTheDay #SOTD #SOTD2024 #January10 #MaxwellLemuelRoach #MaxRoach #Drummer #Percussion #TheThirdEye #Jazz #AvanteGarde #Music #MusicVideo #1950s
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Moon Hooch
I never knew this. 8 years ago I missed this.Thanks for the inspiration
#ThirdStreamJazz
#Jazz #AvanteGarde
https://youtu.be/wwBhxBBa7tE
