#chelseawolfe — Public Fediverse posts
Live and recent posts from across the Fediverse tagged #chelseawolfe, aggregated by home.social.
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Moon Mother – Meadowlands Review By GrymmI grew up with a slew of friends who dabbled in the visual arts throughout the years. One in particular blew me away by stating that the greatest artists aren’t the masters of their trade in every aspect, but rather they know what they don’t have, or rather don’t need, to make a sizable impact. You don’t need to own the most expensive paint set, a wide array of colors at your disposal, or to fill up the canvas with stuff. You have to just create your vision with what you have, and let the negative space do the work for you. Swedish duo Moon Mother knows this. On their second full-length, Meadowlands, they paint a lush, aural landscape teeming with anguish, grief, and trauma, while also crafting a sense of wonder, peace, and a smidge of hope.
You probably scrolled down to the tags section and decided to nope out in record time, especially at the sight of the “Not Metal” tag, and that’s entirely your loss. What guitarist Patriec Ahlström and vocalist Sara Mehner crafted in Meadowlands is nothing short of breathtaking, and their usage of negative space to allow for Ahlström’s melodies and gentle strums to reverberate and roll through the sleepy landscape they’ve crafted. “Wilderness,” with its finger-plucked strings and gentle electric guitar hums, is a class example of what you can build with only what you’ve got. It’s not the high production values or expensive instruments that carry you through. Rather, it’s knowing what to say, how to say it, and when not to say anything at all.
And Mehner’s angelic voice is the perfect complimentary component. Whether it’s her powerful howling (opener “High Houses”), somber melodies (closer “Windhover”), or her achingly beautiful near-yodels (“Wilderness”, the awesome “Be a Forest, Child!”), Mehner’s ability to wring out the most emotion out of a song or melody rivals that of Chelsea Wolfe or Emma Ruth Rundle in terms of performance and power. The way her gentle wailing closes out the title track stirs up so many raw emotions that will have you feeling both heartbreak and catharsis, no matter how it manifests within you. Singling out certain moments on Meadowlands proved difficult because, in reality, her standout performance, coupled with Ahlström’s musical backdrop, is best enjoyed in a single, uninterrupted, and fully focused listening experience.
If there was a bone to pick with Meadowlands, it’s in the production, and even then, it’s not a dealbreaker. Meadowlands is drenched in reverb, and I mean drenched in reverb. Coupled with the compressed mix, it makes it a bit busy, especially during the second half of “High Houses.” That, and the album is loaded with cathartic moments in the album’s second half, almost to the point of being overwhelmingly so. But the last time I’ve been hit this hard, this potently, by a doom/folk hybrid was with Darkher’s debut album. That is some absolutely stellar company to be with, and Meadowlands connects viscerally on that level.
Sure, I know what the name of the website is, and Meadowlands is a colossal anomaly in that aspect. And yes, I’m sure my colleagues will give me a reasonable (re: absurdly high) amount of shit for giving it the score it’s getting, but Moon Mother crafted an album that’s simultaneously the perfect album to purge your emotions, and an album you can use as a backdrop for a dew-filled foggy morning with a mug of your favorite heated beverage of choice. In creating an album to signify grief and hope, they gained my attention and my adoration. Give it your time, and it most certainly will do the same for you.
Rating: 4.0/5.0
#2026 #ChelseaWolfe #Darkher #EmmaRuthRundle #Feb26 #IndependentUnsigned #Meadowlands #MoonMother #NotMetal #Review #Reviews #SwedishRock
DR: 7 | Format: WAV
Label: Independent/Self-Release
Websites: Official | Bandcamp
Releases Worldwide: February 6th, 2026 -
I cancelled my Spotify subscription recently after a godawful amount of years and I'm currently testing Qobuz as it seems like at least a slightly less evil alternative. It also has the option to buy digital albums directly.
That said, it is Bandcamp Friday, the best day to go music shopping, something I intend to do a lot more instead of only streaming.
These two albums are not new to me, I've listened and loved them both and it's about time I added them to my collection.
Corecass: Tar
Chelsea Wolfe: Abyss#BandcampFriday #bandcamp #Qobuz #music #Corecass #ChelseaWolfe
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On 28 December 2010, Chelsea Wolfe debuted with The Grime and the Glow.
Recorded by herself on an 8-track recorder, it “made it sound exactly the strange and special, fucked up way I wanted it to sound.”
“But for these songs, I wanted to capture my voice, or the instruments, inside a certain soundbox, so when you have your headphones on listening to it, you feel like you’re in a tiny, claustrophobic echo room or a parking garage cathedral.”
01. Advice & Vices
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🇺🇦 #NowPlaying on #BBC6Music's #6MusicArtistInResidence
Chelsea Wolfe:
🎵 The Culling -
A Sense of Doubt blog post #3891 - Chelsea Wolfe and Wardruna. https://sensedoubt.blogspot.com/2025/10/a-sense-of-doubt-blog-post-3891-chelsea.html #MusicMonday #MondayVibes #MondayMood #MondayBlogs #Wardruna #ChelseaWolfe #PortlandOregon
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A Sense of Doubt blog post #3891 - Chelsea Wolfe and Wardruna. https://sensedoubt.blogspot.com/2025/10/a-sense-of-doubt-blog-post-3891-chelsea.html #MusicMonday #MondayVibes #MondayMood #MondayBlogs #Wardruna #ChelseaWolfe #PortlandOregon
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Photos/Review: Wardruna and Chelsea Wolfe captivate New York City’s Beacon Theatre – 9/26/2025:
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Photos/Review: Wardruna and Chelsea Wolfe captivate New York City’s Beacon Theatre – 9/26/2025:
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-ii- – Apostles of the Flesh Review
By Spicie Forrest
Before you ask, it’s pronounced “two eyes.” -ii- formed in Nancy, France in 2018. Since then, they’ve released a handful of EPs and singles, as well as a debut LP, Extinction, in 2021. Historically a duo—composer/multi-instrumentalist Benjamin Racine and singer Hélène Ruzic—the band brought on multi-instrumentalist Maxime Keller and drummer/percussionist David l’Huillier for their sophomore effort, Apostles of the Flesh.1 As a sucker for anything vaguely sacrilegious, that album title is what caught my interest, and I’m glad it did. Apostles of the Flesh is an intimate and visceral experience, and it’s one you shouldn’t miss.
-ii- is not a metal band. They play what they seem to call “ghost wave,” which sits somewhere between post-rock, goth, darkwave, trip-hop, and industrial, at times recalling HEALTH or Nine Inch Nails. If this sounds fairly electronics-heavy, it is. But on Apostles of the Flesh, -ii- eschews the drum machines and some other electronics of their debut in favor of live instrumentation, and it’s a resounding success. With l’Huillier’s lively drumming and Racine’s unique instruments,2 Apostles of the Flesh feels alive. This organic improvement over Extinction would be nothing to write home about, however, without the impressive songcraft Racine showcases here. Whether it’s a distorted, electronic bridge amidst tribal yet airy instrumentals (“Lotis”), impactful usage of audio effects (“Pearls Beneath the Embers,” “Virginia’s Mirror”), or shimmering synths draped over wistful strings (“The Fountain of Helicon”), everything fits together and flows effortlessly. Of particular note is “When Beauty is a Crime,” where -ii- mirrors its lyrical violence with a tense and uncomfortable atmosphere that refuses to let the listener move on. Apostles of the Flesh is intentional. It’s meticulously crafted. And metal or not, -ii- undoubtedly possesses the Metal Spirit™.
Two elements in particular drive this album’s high caliber: Ruzic’s vocals and l’Huillier’s drums. By turns conflicted (“The Birth of Venus”), seductive (“Sisyphus in Red”), defiant (“Where the Diamonds are Hurled”), and spiteful (“Under the Skin”), Ruzic guides the listener through an examination of the body and its inextricable link to the spirit. Lyrically, she’s transgressive like Ethel Cain or GGGOLDDD, but less direct. Her delivery hies closer to Chelsea Wolfe or Darkher, although -ii- fosters a greater sense of rhythmic urgency. This is largely accomplished by l’Huillier’s standout performance, both carnal and tribal. Hammering at his kit with artful brutality, l’Huillier drives ritualistic numbers (“Sisters of the Coven,” “Digging for Blood”), stricken passages (“Under the Skin,” “When Beauty is a Crime”), and enraptured crescendos (“The Birth of Venus”) with the same skilled hand. The spiraling climax of “The Fountain of Helicon” is a high point, as l’Huillier recklessly hurtles the listener toward the fabled spring. L’Huillier brings an intensity to Apostles of the Flesh that, combined with Ruzic’s provocative and emotive singing, cements this album not just as a collection of good songs, but as an intense, ritualistic experience.
Not only is Racine responsible for the musical arrangements, but he also handles much of the production. The mix is big and spacious, and each instrument gets plenty of room to flourish. Even in the most chaotic moments of Apostles of the Flesh, when drums, vocals, strings, or synths rise to a fever pitch, each element is clear and vibrant (“The Birth of Venus,” “Lotis,” “The Fountain of Helicon”). His use of the soundstage is equally impressive, and because of this, Apostles of the Flesh excels in a pair of headphones over a speaker system. Quivering strings and ethereal synths dynamically float through the space, creating a lost, forlorn sensation on “When Beauty is a Crime” and “Virginia’s Mirror.” Ruzic sounds so close and so private amid the waves and rainfall of spoken word piece “L’Onde et l’Abysse,” it’s as if she speaks to the listener alone.
Apostles of the Flesh is not an album to play in the background, and it’s not for everyone. It demands both your attention and an emotional investment to shine, but shine it does. Some might balk at a 65-minute runtime or note that several songs go on long after Ruzic is done singing. I consider it a testament to Racine’s compositional prowess that these longer outros feel valuable and that the album holds my attention front to back. Apostles of the Flesh is passionate, vulnerable, and cathartic. For those willing to commit, -ii- offers an intense, surreal journey you won’t soon forget.
Rating: 4.0/5.0
DR: 7 | Format Reviewed: PCM
Label: Self-Released
Websites: Bandcamp | Facebook | Instagram | Youtube
Releases Worldwide: October 3rd, 2025#2025 #40 #ApostlesOfTheFlesh #ChelseaWolfe #Darkher #Darkwave #Electronica #EthelCain #FrenchMusic #GGGOLDDD #Goth #HEALTH #II #Industrial #NineInchNails #Noise #Oct25 #PostRock #Review #Reviews #SelfReleased #Shoegaze #Synthwave #TripHop
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Blood Vulture – Die Close Review
By Saunders
Corpse-painted host and comedian of metal show Two Minutes to Late Night, Jordan Olds (aka Gwarsenio Hall), spearheaded some nifty entertainment during the height of the pandemic. Snapping up the limited release digital covers EPs during Bandcamp Fridays allowed me to net some cool stuff. Olds and a host of musicians, including Chelsea Wolfe and members of Dillinger Escape Plan, Mastodon, Mutoid Man, Royal Thunder, and Baroness amongst others, put their wacky spin on a variety of metal anthems and other classic tunes. Olds demonstrated his own impressive musical talents with axe and mic. Keen to substitute his comedic background for a darker, decidedly more serious musical quest, Olds unleashes his Blood Vulture project, crafting a curious debut album entitled Die Close. Boasting a doomy, gloomy, though deceptively versatile and hard-hitting opus, can Blood Vulture muster up the chops and songwriting substance to match the style and impressive musicianship? Die Close features an intriguing melting pot of styles and influences. Doom forms the beating heart of the beast, complimented by elements of sludge, ’90s grunge/alt rock, moody, scarlet dappled Goth, and a touch of camp. Influences are worn proudly on sleeves. Channeling the raw heft of Crowbar, somber hues of contemporary doom heavyweights Khemmis and Pallbearer, along with the addictive harmonies of Alice In Chains, there is nary a dull moment. Blood Vulture boast the songwriting sparks to rise above derivation. Temptation to load up his debut with a convoluted cast of musical guests and friends would have been high. On this front, star power features, but is not overdone, including contributions from Jade Puget (AFI), Shadows Fall frontman Brian Fall, and Kristin Hayter (Reverend Kristin Michael Hayter, Lingua Ignota). Meanwhile, Stephen Brodsky (Cave In, Mutoid Man) and friends lend vocal harmonies on the excellent “Die Close: Finale,” a brooding, grungy, and uplifting closer. Outside of these carefully curated guest spots, by all accounts Olds handles tasks single-handedly, including vocals, guitars, bass, and synths, aided by drummer Moe Watson. Following a shortish, mood-setting opener, Die Close kicks in proper via the leaden sludge-doom riffage and infectious Jerry Cantrell-esque vocal hooks on “An Embrace in the Flood.” The song’s straightforward building blocks deftly shift through surprising turns, including a brief barrage of blast beats and cascading solo, coupled with gorgeous vocal harmonies. A powerful melodic current flows through the album, exemplified through Old’s versatile clean vox, array of elegant solos, and mood-driven, shadowy synths. However, the melodic elements are powerfully counterpunched by a foundation of meaty doom and sludge riffs, lending the album its heavier, weighty edge. Substantial heft dominates the riff palette, heavily featured on cuts such as the gritty crunch of “Grey Mourning,” and the storming throes of “Abomination.” Blood Vulture’s versatility and knack for infectious songcraft shine. Swathed in dreamy atmospheres and built upon a sturdy foundation of grinding riffs, “Entwined” features a wonderful dual vocal performance from Olds and Hayter, the latter’s dramatic, ghostly presence a highlight.For all its notable strengths, gripping guitar work, and towering hooks, Die Close has a few hiccups expected from a debut album. The two shorter introductory and interlude pieces are decent enough, yet ultimately disposable, while the stronger moments and soaring melodies on the Gothy melodrama of “A Dream About Starving to Death” are tripped up by some overly goofy lyrical and vocal turns. Nevertheless, outside of these minor sore spots, Die Close is consistently entertaining and occasionally gripping at its potent best. Olds still displays some tongue-in-cheek humor and horror shtick, also reflected in the accompanying music videos, though overall, Die Close is a dark and brooding album. Expectedly, Olds is the star of the show, defined by his excellent guitar work and standout vocals. Vocally, Olds shifts between several modes, showcasing solid range, character, and emotional depth.
Blood Vulture came from nowhere, unleashing a fresh, emotive and punchy blast of doomy heft, blockbuster hooks and haunting harmonies. Bolstered by stellar performances and addictive songwriting, where the album’s earwormy hooks and stronger material showcase Olds as a serious artist on the rise, Die Close signals an assured and confident debut. A few kinks aside, Die Close is a hugely enjoyable album that’s well worth a listen and should cement Blood Vulture as an exciting new voice in the doomsphere.
Rating: 3,5/5.0
DR: 5 | Format Reviewed: 320 kbps mp3
Label: Pure Noise Records
Websites: Bandcamp | Facebook
Releases Worldwide: June 27th, 2025#2025 #35 #AFI #AmericanMetal #BloodVulture #CaveIn #ChelseaWolfe #Crowbar #DieClose #DillingerEscapePlan #DoomMetal #Grunge #LinguaIgnota #Mastodon #MutoidMan #PureNoiseRecords #ReverendKristinMichaelHayter #Review #Reviews #RoyalThunder #ShadowsFall #Sludge
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Blood Vulture – Die Close Review
By Saunders
Corpse-painted host and comedian of metal show Two Minutes to Late Night, Jordan Olds (aka Gwarsenio Hall), spearheaded some nifty entertainment during the height of the pandemic. Snapping up the limited release digital covers EPs during Bandcamp Fridays allowed me to net some cool stuff. Olds and a host of musicians, including Chelsea Wolfe and members of Dillinger Escape Plan, Mastodon, Mutoid Man, Royal Thunder, and Baroness amongst others, put their wacky spin on a variety of metal anthems and other classic tunes. Olds demonstrated his own impressive musical talents with axe and mic. Keen to substitute his comedic background for a darker, decidedly more serious musical quest, Olds unleashes his Blood Vulture project, crafting a curious debut album entitled Die Close. Boasting a doomy, gloomy, though deceptively versatile and hard-hitting opus, can Blood Vulture muster up the chops and songwriting substance to match the style and impressive musicianship? Die Close features an intriguing melting pot of styles and influences. Doom forms the beating heart of the beast, complimented by elements of sludge, ’90s grunge/alt rock, moody, scarlet dappled Goth, and a touch of camp. Influences are worn proudly on sleeves. Channeling the raw heft of Crowbar, somber hues of contemporary doom heavyweights Khemmis and Pallbearer, along with the addictive harmonies of Alice In Chains, there is nary a dull moment. Blood Vulture boast the songwriting sparks to rise above derivation. Temptation to load up his debut with a convoluted cast of musical guests and friends would have been high. On this front, star power features, but is not overdone, including contributions from Jade Puget (AFI), Shadows Fall frontman Brian Fall, and Kristin Hayter (Reverend Kristin Michael Hayter, Lingua Ignota). Meanwhile, Stephen Brodsky (Cave In, Mutoid Man) and friends lend vocal harmonies on the excellent “Die Close: Finale,” a brooding, grungy, and uplifting closer. Outside of these carefully curated guest spots, by all accounts Olds handles tasks single-handedly, including vocals, guitars, bass, and synths, aided by drummer Moe Watson. Following a shortish, mood-setting opener, Die Close kicks in proper via the leaden sludge-doom riffage and infectious Jerry Cantrell-esque vocal hooks on “An Embrace in the Flood.” The song’s straightforward building blocks deftly shift through surprising turns, including a brief barrage of blast beats and cascading solo, coupled with gorgeous vocal harmonies. A powerful melodic current flows through the album, exemplified through Old’s versatile clean vox, array of elegant solos, and mood-driven, shadowy synths. However, the melodic elements are powerfully counterpunched by a foundation of meaty doom and sludge riffs, lending the album its heavier, weighty edge. Substantial heft dominates the riff palette, heavily featured on cuts such as the gritty crunch of “Grey Mourning,” and the storming throes of “Abomination.” Blood Vulture’s versatility and knack for infectious songcraft shine. Swathed in dreamy atmospheres and built upon a sturdy foundation of grinding riffs, “Entwined” features a wonderful dual vocal performance from Olds and Hayter, the latter’s dramatic, ghostly presence a highlight.For all its notable strengths, gripping guitar work, and towering hooks, Die Close has a few hiccups expected from a debut album. The two shorter introductory and interlude pieces are decent enough, yet ultimately disposable, while the stronger moments and soaring melodies on the Gothy melodrama of “A Dream About Starving to Death” are tripped up by some overly goofy lyrical and vocal turns. Nevertheless, outside of these minor sore spots, Die Close is consistently entertaining and occasionally gripping at its potent best. Olds still displays some tongue-in-cheek humor and horror shtick, also reflected in the accompanying music videos, though overall, Die Close is a dark and brooding album. Expectedly, Olds is the star of the show, defined by his excellent guitar work and standout vocals. Vocally, Olds shifts between several modes, showcasing solid range, character, and emotional depth.
Blood Vulture came from nowhere, unleashing a fresh, emotive and punchy blast of doomy heft, blockbuster hooks and haunting harmonies. Bolstered by stellar performances and addictive songwriting, where the album’s earwormy hooks and stronger material showcase Olds as a serious artist on the rise, Die Close signals an assured and confident debut. A few kinks aside, Die Close is a hugely enjoyable album that’s well worth a listen and should cement Blood Vulture as an exciting new voice in the doomsphere.
Rating: 3,5/5.0
DR: 5 | Format Reviewed: 320 kbps mp3
Label: Pure Noise Records
Websites: Bandcamp | Facebook
Releases Worldwide: June 27th, 2025#2025 #35 #AFI #AmericanMetal #BloodVulture #CaveIn #ChelseaWolfe #Crowbar #DieClose #DillingerEscapePlan #DoomMetal #Grunge #LinguaIgnota #Mastodon #MutoidMan #PureNoiseRecords #ReverendKristinMichaelHayter #Review #Reviews #RoyalThunder #ShadowsFall #Sludge
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Blood Vulture – Die Close Review
By Saunders
Corpse-painted host and comedian of metal show Two Minutes to Late Night, Jordan Olds (aka Gwarsenio Hall), spearheaded some nifty entertainment during the height of the pandemic. Snapping up the limited release digital covers EPs during Bandcamp Fridays allowed me to net some cool stuff. Olds and a host of musicians, including Chelsea Wolfe and members of Dillinger Escape Plan, Mastodon, Mutoid Man, Royal Thunder, and Baroness amongst others, put their wacky spin on a variety of metal anthems and other classic tunes. Olds demonstrated his own impressive musical talents with axe and mic. Keen to substitute his comedic background for a darker, decidedly more serious musical quest, Olds unleashes his Blood Vulture project, crafting a curious debut album entitled Die Close. Boasting a doomy, gloomy, though deceptively versatile and hard-hitting opus, can Blood Vulture muster up the chops and songwriting substance to match the style and impressive musicianship? Die Close features an intriguing melting pot of styles and influences. Doom forms the beating heart of the beast, complimented by elements of sludge, ’90s grunge/alt rock, moody, scarlet dappled Goth, and a touch of camp. Influences are worn proudly on sleeves. Channeling the raw heft of Crowbar, somber hues of contemporary doom heavyweights Khemmis and Pallbearer, along with the addictive harmonies of Alice In Chains, there is nary a dull moment. Blood Vulture boast the songwriting sparks to rise above derivation. Temptation to load up his debut with a convoluted cast of musical guests and friends would have been high. On this front, star power features, but is not overdone, including contributions from Jade Puget (AFI), Shadows Fall frontman Brian Fall, and Kristin Hayter (Reverend Kristin Michael Hayter, Lingua Ignota). Meanwhile, Stephen Brodsky (Cave In, Mutoid Man) and friends lend vocal harmonies on the excellent “Die Close: Finale,” a brooding, grungy, and uplifting closer. Outside of these carefully curated guest spots, by all accounts Olds handles tasks single-handedly, including vocals, guitars, bass, and synths, aided by drummer Moe Watson. Following a shortish, mood-setting opener, Die Close kicks in proper via the leaden sludge-doom riffage and infectious Jerry Cantrell-esque vocal hooks on “An Embrace in the Flood.” The song’s straightforward building blocks deftly shift through surprising turns, including a brief barrage of blast beats and cascading solo, coupled with gorgeous vocal harmonies. A powerful melodic current flows through the album, exemplified through Old’s versatile clean vox, array of elegant solos, and mood-driven, shadowy synths. However, the melodic elements are powerfully counterpunched by a foundation of meaty doom and sludge riffs, lending the album its heavier, weighty edge. Substantial heft dominates the riff palette, heavily featured on cuts such as the gritty crunch of “Grey Mourning,” and the storming throes of “Abomination.” Blood Vulture’s versatility and knack for infectious songcraft shine. Swathed in dreamy atmospheres and built upon a sturdy foundation of grinding riffs, “Entwined” features a wonderful dual vocal performance from Olds and Hayter, the latter’s dramatic, ghostly presence a highlight.For all its notable strengths, gripping guitar work, and towering hooks, Die Close has a few hiccups expected from a debut album. The two shorter introductory and interlude pieces are decent enough, yet ultimately disposable, while the stronger moments and soaring melodies on the Gothy melodrama of “A Dream About Starving to Death” are tripped up by some overly goofy lyrical and vocal turns. Nevertheless, outside of these minor sore spots, Die Close is consistently entertaining and occasionally gripping at its potent best. Olds still displays some tongue-in-cheek humor and horror shtick, also reflected in the accompanying music videos, though overall, Die Close is a dark and brooding album. Expectedly, Olds is the star of the show, defined by his excellent guitar work and standout vocals. Vocally, Olds shifts between several modes, showcasing solid range, character, and emotional depth.
Blood Vulture came from nowhere, unleashing a fresh, emotive and punchy blast of doomy heft, blockbuster hooks and haunting harmonies. Bolstered by stellar performances and addictive songwriting, where the album’s earwormy hooks and stronger material showcase Olds as a serious artist on the rise, Die Close signals an assured and confident debut. A few kinks aside, Die Close is a hugely enjoyable album that’s well worth a listen and should cement Blood Vulture as an exciting new voice in the doomsphere.
Rating: 3,5/5.0
DR: 5 | Format Reviewed: 320 kbps mp3
Label: Pure Noise Records
Websites: Bandcamp | Facebook
Releases Worldwide: June 27th, 2025#2025 #35 #AFI #AmericanMetal #BloodVulture #CaveIn #ChelseaWolfe #Crowbar #DieClose #DillingerEscapePlan #DoomMetal #Grunge #LinguaIgnota #Mastodon #MutoidMan #PureNoiseRecords #ReverendKristinMichaelHayter #Review #Reviews #RoyalThunder #ShadowsFall #Sludge
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Blood Vulture – Die Close Review
By Saunders
Corpse-painted host and comedian of metal show Two Minutes to Late Night, Jordan Olds (aka Gwarsenio Hall), spearheaded some nifty entertainment during the height of the pandemic. Snapping up the limited release digital covers EPs during Bandcamp Fridays allowed me to net some cool stuff. Olds and a host of musicians, including Chelsea Wolfe and members of Dillinger Escape Plan, Mastodon, Mutoid Man, Royal Thunder, and Baroness amongst others, put their wacky spin on a variety of metal anthems and other classic tunes. Olds demonstrated his own impressive musical talents with axe and mic. Keen to substitute his comedic background for a darker, decidedly more serious musical quest, Olds unleashes his Blood Vulture project, crafting a curious debut album entitled Die Close. Boasting a doomy, gloomy, though deceptively versatile and hard-hitting opus, can Blood Vulture muster up the chops and songwriting substance to match the style and impressive musicianship? Die Close features an intriguing melting pot of styles and influences. Doom forms the beating heart of the beast, complimented by elements of sludge, ’90s grunge/alt rock, moody, scarlet dappled Goth, and a touch of camp. Influences are worn proudly on sleeves. Channeling the raw heft of Crowbar, somber hues of contemporary doom heavyweights Khemmis and Pallbearer, along with the addictive harmonies of Alice In Chains, there is nary a dull moment. Blood Vulture boast the songwriting sparks to rise above derivation. Temptation to load up his debut with a convoluted cast of musical guests and friends would have been high. On this front, star power features, but is not overdone, including contributions from Jade Puget (AFI), Shadows Fall frontman Brian Fall, and Kristin Hayter (Reverend Kristin Michael Hayter, Lingua Ignota). Meanwhile, Stephen Brodsky (Cave In, Mutoid Man) and friends lend vocal harmonies on the excellent “Die Close: Finale,” a brooding, grungy, and uplifting closer. Outside of these carefully curated guest spots, by all accounts Olds handles tasks single-handedly, including vocals, guitars, bass, and synths, aided by drummer Moe Watson. Following a shortish, mood-setting opener, Die Close kicks in proper via the leaden sludge-doom riffage and infectious Jerry Cantrell-esque vocal hooks on “An Embrace in the Flood.” The song’s straightforward building blocks deftly shift through surprising turns, including a brief barrage of blast beats and cascading solo, coupled with gorgeous vocal harmonies. A powerful melodic current flows through the album, exemplified through Old’s versatile clean vox, array of elegant solos, and mood-driven, shadowy synths. However, the melodic elements are powerfully counterpunched by a foundation of meaty doom and sludge riffs, lending the album its heavier, weighty edge. Substantial heft dominates the riff palette, heavily featured on cuts such as the gritty crunch of “Grey Mourning,” and the storming throes of “Abomination.” Blood Vulture’s versatility and knack for infectious songcraft shine. Swathed in dreamy atmospheres and built upon a sturdy foundation of grinding riffs, “Entwined” features a wonderful dual vocal performance from Olds and Hayter, the latter’s dramatic, ghostly presence a highlight.For all its notable strengths, gripping guitar work, and towering hooks, Die Close has a few hiccups expected from a debut album. The two shorter introductory and interlude pieces are decent enough, yet ultimately disposable, while the stronger moments and soaring melodies on the Gothy melodrama of “A Dream About Starving to Death” are tripped up by some overly goofy lyrical and vocal turns. Nevertheless, outside of these minor sore spots, Die Close is consistently entertaining and occasionally gripping at its potent best. Olds still displays some tongue-in-cheek humor and horror shtick, also reflected in the accompanying music videos, though overall, Die Close is a dark and brooding album. Expectedly, Olds is the star of the show, defined by his excellent guitar work and standout vocals. Vocally, Olds shifts between several modes, showcasing solid range, character, and emotional depth.
Blood Vulture came from nowhere, unleashing a fresh, emotive and punchy blast of doomy heft, blockbuster hooks and haunting harmonies. Bolstered by stellar performances and addictive songwriting, where the album’s earwormy hooks and stronger material showcase Olds as a serious artist on the rise, Die Close signals an assured and confident debut. A few kinks aside, Die Close is a hugely enjoyable album that’s well worth a listen and should cement Blood Vulture as an exciting new voice in the doomsphere.
Rating: 3,5/5.0
DR: 5 | Format Reviewed: 320 kbps mp3
Label: Pure Noise Records
Websites: Bandcamp | Facebook
Releases Worldwide: June 27th, 2025#2025 #35 #AFI #AmericanMetal #BloodVulture #CaveIn #ChelseaWolfe #Crowbar #DieClose #DillingerEscapePlan #DoomMetal #Grunge #LinguaIgnota #Mastodon #MutoidMan #PureNoiseRecords #ReverendKristinMichaelHayter #Review #Reviews #RoyalThunder #ShadowsFall #Sludge
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Blood Vulture – Die Close Review
By Saunders
Corpse-painted host and comedian of metal show Two Minutes to Late Night, Jordan Olds (aka Gwarsenio Hall), spearheaded some nifty entertainment during the height of the pandemic. Snapping up the limited release digital covers EPs during Bandcamp Fridays allowed me to net some cool stuff. Olds and a host of musicians, including Chelsea Wolfe and members of Dillinger Escape Plan, Mastodon, Mutoid Man, Royal Thunder, and Baroness amongst others, put their wacky spin on a variety of metal anthems and other classic tunes. Olds demonstrated his own impressive musical talents with axe and mic. Keen to substitute his comedic background for a darker, decidedly more serious musical quest, Olds unleashes his Blood Vulture project, crafting a curious debut album entitled Die Close. Boasting a doomy, gloomy, though deceptively versatile and hard-hitting opus, can Blood Vulture muster up the chops and songwriting substance to match the style and impressive musicianship? Die Close features an intriguing melting pot of styles and influences. Doom forms the beating heart of the beast, complimented by elements of sludge, ’90s grunge/alt rock, moody, scarlet dappled Goth, and a touch of camp. Influences are worn proudly on sleeves. Channeling the raw heft of Crowbar, somber hues of contemporary doom heavyweights Khemmis and Pallbearer, along with the addictive harmonies of Alice In Chains, there is nary a dull moment. Blood Vulture boast the songwriting sparks to rise above derivation. Temptation to load up his debut with a convoluted cast of musical guests and friends would have been high. On this front, star power features, but is not overdone, including contributions from Jade Puget (AFI), Shadows Fall frontman Brian Fall, and Kristin Hayter (Reverend Kristin Michael Hayter, Lingua Ignota). Meanwhile, Stephen Brodsky (Cave In, Mutoid Man) and friends lend vocal harmonies on the excellent “Die Close: Finale,” a brooding, grungy, and uplifting closer. Outside of these carefully curated guest spots, by all accounts Olds handles tasks single-handedly, including vocals, guitars, bass, and synths, aided by drummer Moe Watson. Following a shortish, mood-setting opener, Die Close kicks in proper via the leaden sludge-doom riffage and infectious Jerry Cantrell-esque vocal hooks on “An Embrace in the Flood.” The song’s straightforward building blocks deftly shift through surprising turns, including a brief barrage of blast beats and cascading solo, coupled with gorgeous vocal harmonies. A powerful melodic current flows through the album, exemplified through Old’s versatile clean vox, array of elegant solos, and mood-driven, shadowy synths. However, the melodic elements are powerfully counterpunched by a foundation of meaty doom and sludge riffs, lending the album its heavier, weighty edge. Substantial heft dominates the riff palette, heavily featured on cuts such as the gritty crunch of “Grey Mourning,” and the storming throes of “Abomination.” Blood Vulture’s versatility and knack for infectious songcraft shine. Swathed in dreamy atmospheres and built upon a sturdy foundation of grinding riffs, “Entwined” features a wonderful dual vocal performance from Olds and Hayter, the latter’s dramatic, ghostly presence a highlight.For all its notable strengths, gripping guitar work, and towering hooks, Die Close has a few hiccups expected from a debut album. The two shorter introductory and interlude pieces are decent enough, yet ultimately disposable, while the stronger moments and soaring melodies on the Gothy melodrama of “A Dream About Starving to Death” are tripped up by some overly goofy lyrical and vocal turns. Nevertheless, outside of these minor sore spots, Die Close is consistently entertaining and occasionally gripping at its potent best. Olds still displays some tongue-in-cheek humor and horror shtick, also reflected in the accompanying music videos, though overall, Die Close is a dark and brooding album. Expectedly, Olds is the star of the show, defined by his excellent guitar work and standout vocals. Vocally, Olds shifts between several modes, showcasing solid range, character, and emotional depth.
Blood Vulture came from nowhere, unleashing a fresh, emotive and punchy blast of doomy heft, blockbuster hooks and haunting harmonies. Bolstered by stellar performances and addictive songwriting, where the album’s earwormy hooks and stronger material showcase Olds as a serious artist on the rise, Die Close signals an assured and confident debut. A few kinks aside, Die Close is a hugely enjoyable album that’s well worth a listen and should cement Blood Vulture as an exciting new voice in the doomsphere.
Rating: 3,5/5.0
DR: 5 | Format Reviewed: 320 kbps mp3
Label: Pure Noise Records
Websites: Bandcamp | Facebook
Releases Worldwide: June 27th, 2025#2025 #35 #AFI #AmericanMetal #BloodVulture #CaveIn #ChelseaWolfe #Crowbar #DieClose #DillingerEscapePlan #DoomMetal #Grunge #LinguaIgnota #Mastodon #MutoidMan #PureNoiseRecords #ReverendKristinMichaelHayter #Review #Reviews #RoyalThunder #ShadowsFall #Sludge
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🇺🇦 #NowPlaying on #KEXP's #MiddayShow
HEALTH x Chelsea Wolfe:
🎵 MEAN -
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🇺🇦 #NowPlaying on #KEXP's #AfternoonShow
HEALTH x Chelsea Wolfe:
🎵 MEAN -
Today #Bandcamp Friday supports #LA fire recovery
90 song 'today only' compilation:
https://goodmusiccomp.bandcamp.com/album/good-music-to-lift-los-angelesFeaturing tracks by: #PerfumeGenius
#KFlay
#REM
#FayeWebster
#Dawes
#DeathCabforCutie #PostalService
#MacDeMarco
#NekoCase
#TVOnTheRadio
#Blondshell
#JeffTweedy
#TheWaronDrugs
#ToroyMoi
#TenaciousD
#ModestMouse
#LittleDragon
#LALOM
#MJLenderman
#CourtneyBarnett
#RealEstate
#MyMorningJacket
#HurrayForTheRiffRaff
#JasonIsbellandThe400Unit
#SoccerMommy
#AnimalCollective
#ColdWarKids
#RickyMontgomery
#Lucius
#TheMidnight
#SpiritualCramp
#KingGizzardAndTheLizardWizard
#MadiDiaz
#Interpol
#MilitarieGun
#ChelseaWolfe
#iRo
#DirtyProjectorsAndStargaze
#PUP
#Porches
#AnnieDiRusso
#HippoCampus
#NewPornographers
#TySegall
#NealFrancis
#MikiRatsula
#Dr.Dog
#TheDip
#LocalNatives
#TundeAdebimpe
#Gustaf
#WaterFromYourEyes
#Mudhoney
#Centro
#SilversunPickups
#RYX
#ManchesterOrchestra
#PoolKids
#FIDLAR
#TheArmed
#HEALTH
#Momma
#SYML
#MiyaFolick
#JoshRitter
#TheHeavyHeavy
#Pachyman
#NickThune
#SoulAsylum
#HotlineTNT
#BEL
#Sycco
#TheHoldSteady
#cumgirl8
#RichyMitchAndTheCoalMiners
#CunninghamBird
#LalaLala
#TheoKatzman
#CassandraJenkins
#brotherkenzie
#ImWithHer
#ChrisCohen
#FlockofDimes
#Friko
#GeorgeAlice
#ThisIsLorelei
#ShannonLay
#Eggy
#AlyciaLang
#JamesHenryJr
#WatkinsFamilyHour -
Today #Bandcamp Friday supports #LA fire recovery
90 song 'today only' compilation:
https://goodmusiccomp.bandcamp.com/album/good-music-to-lift-los-angelesFeaturing tracks by: #PerfumeGenius
#KFlay
#REM
#FayeWebster
#Dawes
#DeathCabforCutie #PostalService
#MacDeMarco
#NekoCase
#TVOnTheRadio
#Blondshell
#JeffTweedy
#TheWaronDrugs
#ToroyMoi
#TenaciousD
#ModestMouse
#LittleDragon
#LALOM
#MJLenderman
#CourtneyBarnett
#RealEstate
#MyMorningJacket
#HurrayForTheRiffRaff
#JasonIsbellandThe400Unit
#SoccerMommy
#AnimalCollective
#ColdWarKids
#RickyMontgomery
#Lucius
#TheMidnight
#SpiritualCramp
#KingGizzardAndTheLizardWizard
#MadiDiaz
#Interpol
#MilitarieGun
#ChelseaWolfe
#iRo
#DirtyProjectorsAndStargaze
#PUP
#Porches
#AnnieDiRusso
#HippoCampus
#NewPornographers
#TySegall
#NealFrancis
#MikiRatsula
#Dr.Dog
#TheDip
#LocalNatives
#TundeAdebimpe
#Gustaf
#WaterFromYourEyes
#Mudhoney
#Centro
#SilversunPickups
#RYX
#ManchesterOrchestra
#PoolKids
#FIDLAR
#TheArmed
#HEALTH
#Momma
#SYML
#MiyaFolick
#JoshRitter
#TheHeavyHeavy
#Pachyman
#NickThune
#SoulAsylum
#HotlineTNT
#BEL
#Sycco
#TheHoldSteady
#cumgirl8
#RichyMitchAndTheCoalMiners
#CunninghamBird
#LalaLala
#TheoKatzman
#CassandraJenkins
#brotherkenzie
#ImWithHer
#ChrisCohen
#FlockofDimes
#Friko
#GeorgeAlice
#ThisIsLorelei
#ShannonLay
#Eggy
#AlyciaLang
#JamesHenryJr
#WatkinsFamilyHour -
Today #Bandcamp Friday supports #LA fire recovery
90 song 'today only' compilation:
https://goodmusiccomp.bandcamp.com/album/good-music-to-lift-los-angelesFeaturing tracks by: #PerfumeGenius
#KFlay
#REM
#FayeWebster
#Dawes
#DeathCabforCutie #PostalService
#MacDeMarco
#NekoCase
#TVOnTheRadio
#Blondshell
#JeffTweedy
#TheWaronDrugs
#ToroyMoi
#TenaciousD
#ModestMouse
#LittleDragon
#LALOM
#MJLenderman
#CourtneyBarnett
#RealEstate
#MyMorningJacket
#HurrayForTheRiffRaff
#JasonIsbellandThe400Unit
#SoccerMommy
#AnimalCollective
#ColdWarKids
#RickyMontgomery
#Lucius
#TheMidnight
#SpiritualCramp
#KingGizzardAndTheLizardWizard
#MadiDiaz
#Interpol
#MilitarieGun
#ChelseaWolfe
#iRo
#DirtyProjectorsAndStargaze
#PUP
#Porches
#AnnieDiRusso
#HippoCampus
#NewPornographers
#TySegall
#NealFrancis
#MikiRatsula
#Dr.Dog
#TheDip
#LocalNatives
#TundeAdebimpe
#Gustaf
#WaterFromYourEyes
#Mudhoney
#Centro
#SilversunPickups
#RYX
#ManchesterOrchestra
#PoolKids
#FIDLAR
#TheArmed
#HEALTH
#Momma
#SYML
#MiyaFolick
#JoshRitter
#TheHeavyHeavy
#Pachyman
#NickThune
#SoulAsylum
#HotlineTNT
#BEL
#Sycco
#TheHoldSteady
#cumgirl8
#RichyMitchAndTheCoalMiners
#CunninghamBird
#LalaLala
#TheoKatzman
#CassandraJenkins
#brotherkenzie
#ImWithHer
#ChrisCohen
#FlockofDimes
#Friko
#GeorgeAlice
#ThisIsLorelei
#ShannonLay
#Eggy
#AlyciaLang
#JamesHenryJr
#WatkinsFamilyHour -
Today #Bandcamp Friday supports #LA fire recovery
90 song 'today only' compilation:
https://goodmusiccomp.bandcamp.com/album/good-music-to-lift-los-angelesFeaturing tracks by: #PerfumeGenius
#KFlay
#REM
#FayeWebster
#Dawes
#DeathCabforCutie #PostalService
#MacDeMarco
#NekoCase
#TVOnTheRadio
#Blondshell
#JeffTweedy
#TheWaronDrugs
#ToroyMoi
#TenaciousD
#ModestMouse
#LittleDragon
#LALOM
#MJLenderman
#CourtneyBarnett
#RealEstate
#MyMorningJacket
#HurrayForTheRiffRaff
#JasonIsbellandThe400Unit
#SoccerMommy
#AnimalCollective
#ColdWarKids
#RickyMontgomery
#Lucius
#TheMidnight
#SpiritualCramp
#KingGizzardAndTheLizardWizard
#MadiDiaz
#Interpol
#MilitarieGun
#ChelseaWolfe
#iRo
#DirtyProjectorsAndStargaze
#PUP
#Porches
#AnnieDiRusso
#HippoCampus
#NewPornographers
#TySegall
#NealFrancis
#MikiRatsula
#Dr.Dog
#TheDip
#LocalNatives
#TundeAdebimpe
#Gustaf
#WaterFromYourEyes
#Mudhoney
#Centro
#SilversunPickups
#RYX
#ManchesterOrchestra
#PoolKids
#FIDLAR
#TheArmed
#HEALTH
#Momma
#SYML
#MiyaFolick
#JoshRitter
#TheHeavyHeavy
#Pachyman
#NickThune
#SoulAsylum
#HotlineTNT
#BEL
#Sycco
#TheHoldSteady
#cumgirl8
#RichyMitchAndTheCoalMiners
#CunninghamBird
#LalaLala
#TheoKatzman
#CassandraJenkins
#brotherkenzie
#ImWithHer
#ChrisCohen
#FlockofDimes
#Friko
#GeorgeAlice
#ThisIsLorelei
#ShannonLay
#Eggy
#AlyciaLang
#JamesHenryJr
#WatkinsFamilyHour -
Today #Bandcamp Friday supports #LA fire recovery
90 song 'today only' compilation:
https://goodmusiccomp.bandcamp.com/album/good-music-to-lift-los-angelesFeaturing tracks by: #PerfumeGenius
#KFlay
#REM
#FayeWebster
#Dawes
#DeathCabforCutie #PostalService
#MacDeMarco
#NekoCase
#TVOnTheRadio
#Blondshell
#JeffTweedy
#TheWaronDrugs
#ToroyMoi
#TenaciousD
#ModestMouse
#LittleDragon
#LALOM
#MJLenderman
#CourtneyBarnett
#RealEstate
#MyMorningJacket
#HurrayForTheRiffRaff
#JasonIsbellandThe400Unit
#SoccerMommy
#AnimalCollective
#ColdWarKids
#RickyMontgomery
#Lucius
#TheMidnight
#SpiritualCramp
#KingGizzardAndTheLizardWizard
#MadiDiaz
#Interpol
#MilitarieGun
#ChelseaWolfe
#iRo
#DirtyProjectorsAndStargaze
#PUP
#Porches
#AnnieDiRusso
#HippoCampus
#NewPornographers
#TySegall
#NealFrancis
#MikiRatsula
#Dr.Dog
#TheDip
#LocalNatives
#TundeAdebimpe
#Gustaf
#WaterFromYourEyes
#Mudhoney
#Centro
#SilversunPickups
#RYX
#ManchesterOrchestra
#PoolKids
#FIDLAR
#TheArmed
#HEALTH
#Momma
#SYML
#MiyaFolick
#JoshRitter
#TheHeavyHeavy
#Pachyman
#NickThune
#SoulAsylum
#HotlineTNT
#BEL
#Sycco
#TheHoldSteady
#cumgirl8
#RichyMitchAndTheCoalMiners
#CunninghamBird
#LalaLala
#TheoKatzman
#CassandraJenkins
#brotherkenzie
#ImWithHer
#ChrisCohen
#FlockofDimes
#Friko
#GeorgeAlice
#ThisIsLorelei
#ShannonLay
#Eggy
#AlyciaLang
#JamesHenryJr
#WatkinsFamilyHour -
G-Nitro’s Daily Music Wrap-Up - 10/30/24
1001 Albums challenge tosses one of the worst albums I've ever heard at me, and I also check out albums by Thrice and Tha Eastsidaz.
Favorite Videos include Chelsea Wolfe's Tiny Desk, DJ Hasabe R&B/Hip Hop DJ mix, and a couple J-Pop music videos.
https://g-nitro.com/g-nitros-daily-music-wrap-up-10-30-24
#Music #MusicVideo #Video #MusicAlbum #1001Albums #TheJonSpencerBluesExplosion #Thrice #ThaEastsidaz #ChelseaWolfe
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#TheMetalDogArticleList
#BraveWords
Today In Metal History 🤘 September 22nd, 2024🤘
PILEDRIVER, RIOT, DAVID COVERDALE, JOAN JETT, BULLETBOYS, ALICE COOPER, EXTREME, KISSMay include AI-generated content.
#Piledriver #Riot #DavidCoverdale #JoanJett #AliceCooper #Extreme #KISS #Whitesnake #Yes #SonataArctica #AmonAmarth #ChildrenOfBodom #DespisedIcon #EchoesOfEternity #FiveFingerDeathPunch #Skindred #Archspire #ChelseaWolfe #Counterparts #CradleOfFilth
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Chelsea Wolfe Announces Remix EP, Unveils “Tunnel Lights” Featuring Chino Moreno: Stream
https://consequence.net/2024/07/chelsea-wolfe-remix-ep-tunnel-lights-crosses/
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LATO 2024 W CZTERECH PREMIERACH
[nowy wpis na blogu]Wiedźmowy doktorat uderzył mi do głowy – będę teraz przepowiadać przyszłość! A że wczoraj rozpoczęło się astronomiczne lato, a jutro mamy początek tego kalendarzowego ORAZ pełnię Truskawkowego Księżyca, ciężko będzie o lepszy moment na dywinacje (to słowo naprawdę istnieje, jestem w szoku) na temat nadchodzącej letniej pory.
Oto przepowiednia: jeśli będziecie słuchać tych samych albumów, co ja – do czego zachęcam, bo wszystkie są znakomite – wasze lato będzie nastrojowe i gotyckie. Nie będzie wprawdzie najłatwiejszym emocjonalnie latem w waszym życiu, czeka was bowiem sporo nie zawsze miłych refleksji. Jeśli bariery oddzielające wasze osobiste szczęście od zmagania się z mrokiem tego świata nie runą, na pewno się przynajmniej nadkruszą, a to nigdy nie jest przyjemny proces. Nie drżyjcie jednak: znajdzie się też miejsce na taniec, magię, a może nawet trochę autentycznej radości, zamiast takiej, która wynika z rozpaczliwego eskapizmu.
Niestety, może też padać i być mrocznie.
A teraz przyjrzyjmy się… nie kartom tarota, tylko premierom z pierwszej połowy 2024 roku, na podstawie których ta wróżba została wysnuta (w kolejności chronologii premier).
https://19czwartych.art.blog/2024/06/22/lato-2024-w-czterech-premierach/
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#TheMetalDogArticleList
#louder
The best metal albums of 2024 so far
From legends like Bruce Dickinson, Judas Priest and Kerry King to modern heavy hitters like Knocked Loose, OU and DOOL, these are the metal albums ruling 2024https://www.loudersound.com/features/best-metal-albums-of-2024-so-far
#Accept #Amaranthe #BruceDickinson #ChelseaWolfe #Dragonforce #Ihsahn #JobForACowboy #JudasPriest #KerryKing #Lucifer #Ministry
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GardensTale Goes to Roadburn 2024
By GardensTale
Roadburn is a unique festival. Many have no idea what it is, but those who know it often revere it. Starting in 1999 as a traveling stoner festival, it has grown into one of the most adventurous, envelope-pushing celebrations of music worldwide. The line-ups have grown increasingly experimental, and a few years ago the festival adopted the slogan Redefining Heaviness. It’s a mission statement that indicates the wide scope of the festival, exploring other forms of heaviness through the inclusion of genres beyond metal.
My partner and I have visited every Roadburn since 2017, when I last wrote a report on the experience. At the time, we had a sweet arrangement allowing free entry by playing host to a performing artist. Unfortunately, this option no longer exists since the pandemic, so instead we have been inviting random festival goers, which has netted us a steadily growing slew of festival buddies from across Europe. This year was no different, with a few old friends and a few new ones taking up residence in our living room. With the fires of friendship thus stoked, we set off on our sixth voyage into the depths of the heavy underground.
Day 1 (Thursday, 18th of April)
2:34 PM — Got to Hexvessel’s set playing Polar Veil a little late, because one of our guests needed a bracelet still. Good doom, played well, but doesn’t blow me away. Room is crammed, but it’s the first show of the festival.
2:44 PM — Watched a few songs, then went to grab merch. Hoodies were already sold out in several colors.
3:11 PM — Sunrise Patriot Motion is like “what if Ashenspire swallowed a synthwave band” and I like it. It’s a strange contrast but it works.
4:03 PM — Wiegedood were doing a live soundtrack to a Japanese experimental silent film from 1926 and it was as odd as that sounds.
5:44 PM — Grabbed some food during a gap in the schedule and afterward watched a few songs of Sean Mulrooney’s set (from Tau and the Drones of Praise). Dark folk with sparse vocals doesn’t really work unless the vocals are good, and these weren’t.
5:47 PM — Now sitting outside the venue where UBOA is doing her thing and it sounds like two supercomputers on train tracks colliding head-on. Bit above my maximum noise-to-music ratio.
7:16 PM — Inter Arma is pretty dang massive. Sound in the venue isn’t great so the guitars aren’t getting their due but faces are caving in.
8:26 PM — WHITE WARD IS FUCKING AMAZING
8:35 PM — Their saxophone player is in the army so they had to make do with samples, but after 4 canceled appearances due to Covid and the war, it was worth the wait.
9:46 PM — Everyone and the family dog wants to see Chelsea Wolfe, so being 20 minutes early still meant nosebleed spots in the balcony. Wolfe fills the room anyway. I don’t always click with her albums that much, but man she is a force to behold on stage.
10:54 PM — Shows hadn’t left much time for food today, so a big fat doner wrap will have to do. A fellow with too little blood in his alcohol walked into the door and cracked his head on the tiles. Walked away 10 minutes later. Hope he survived.
11:37 PM — Goddamn, Backxwash is heavier with her hip-hop than most bands are playing metal. No one on stage but a black woman in a poofy dress laying down the law over raw industrial beats. Fucking awesome set.
Day 2 (Friday, 19th of April)
3:14 PM — Started off crammed into the room like sardines to hear Fluisteraars do an experimental set: the droniest of drone with birdsong on top. Handled about 10 minutes of that before bailing. Not my jam and way overcrowded.
3:39 PM — Mat McNerney (aka Kvohst of Hexvessel and others) doing a commissioned piece called Music For Gloaming: A Nocturne. Very gothic doom/black mixture, pretty cool set with loads of atmosphere.
6:33 PM — After a meal we went to check out Lucy Kruger + The Lost Boys in the Hall of Fame venue. Very nice weighty dream pop, not unlike Emma Ruth Rundle.
8:31 PM — Good thing we were there because Inter Arma was drafted for a second performance, a secret set of material from their classic albums. Also in the Hall of Fame, the smallest venue of the festival. Absolutely brainscramblingly colossal. Easily the heaviest thing on the festival so far.
9:52 PM — Another secret set, this one by Couch Slut in the skate park. Harsh music under the harsh glare of the tubes. Great performance and the venue brought out their punky DIY spirit, looking forward to seeing them again early tomorrow for their new album playthrough.
Day 3 (Saturday, 20th of April)
1:24 PM — Knoll for breakfast is kind of terrifying and overwhelming but also kind of awesome in a “my skull is now 2D” kind of way.
1:26 PM — Suddenly a wild trumpet appears!
2:25 PM — Couch Slut playing their new album. Raw as all fucking get out. Great show! Excellent live band both performances, visceral as fuck. The frontwoman confessed to only sleeping 90 minutes that night, and occasionally it showed, but by and large, she killed it.
2:50 PM — Oneiroporeia is a super young band and it shows, but their blackened prog-goth sound is solid and promising.
5:04 PM — Roadburn has a queue problem this year, especially today, and primarily at the Spoorzone venues. It’s always unclear when a venue opens and the queues have gotten gigantic. After wasting some time in a queue in an attempt to see Agriculture, we decided to settle in at the Main stage and wait for The Keening.
5:52 PM — The Keening is as beautiful and fragile as the titular Little Bird, but could use a few more dynamic stanzas to balance out the mid-weight atmodoomfolk a little. Still quite pretty though.
8:37 PM — Between rain and queues we settled on Ni in the Paradox jazz club. Super skronky instrumental jazzmathcore is healing my soul right now.
10:44 PM — Ni turned out one of the best things I’ve seen at the festival this year. Cult Leader’s acidic sludgy hardcore made a run for the podium, but their gothic-doom passages just aren’t as captivating. When these guys go full blast though, they’re absolutely vicious.
11:32 PM — In the spirit of trying new things, we ended the day with a few Frail Body tracks. Safe to say that screamo is not my new passion.
Day 4 (Sunday, 21st of April)
3:05 PM — We dragged our exhausted husks to the Terminal for the final day. Kicking off with Laster is a good start. The weird psych black band with ghoulish masks are pretty much studio-tight. It does feel a little clinical or impersonal as a live show but it’s a very solid performance.
4:47 PM — Today really is black metal day at the Terminal. No complaints from me! Verwoed tears down the place with their ritualistic and reasonably melodic take. Good sound and a spirited performance. The Dutch black metal scene proves to be thriving once more.
6:27 PM — After all the doom and gloom, a little black thrash that’s all riffs and no brakes is just the ticket, and Devil Master hits the spot. Doing the second half of the set sitting on the floor by the wall because my feet are withered stumps at this point.
6:31 PM — I’m also surprised by the amount of delighted surprised faces I get from bartenders when I show them my order on my phone screen. Is it really that uncommon? It’s so much simpler than shouting!
8:32 PM — Biological necessities (aka food) and a queue meant missing the first half of Fluisteraars’ full black metal set. This is a shame because fuck me this is one of the best performances of the whole festival. It’s apparently only the second time the band performs live and they put most of their peers to shame.
10:18 PM — Dödsrit led a 50-minute war band to raid and pillage the Terminal. Baller set, tons of energy and extremely fun! Sound was a bit off, as is tradition in this venue, but it didn’t spoil a good time. Thought this would be the last show for us, but in the interest of a last drink with a few friends we went to…
11:29 PM — …the main stage for Cloakroom. Not a terribly engaging band even by shoegaze standards, but a nice lullaby to sing the festival to sleep.
Between collaborations, commissioned pieces, secret sets, and integral album presentations, not to mention a lot of bands that would not fit in at many other festivals, Roadburn’s line-up is always unique. I’d never have found bands like Ni or Lucy Kruger without the concerted efforts of Walter Hoeijmakers and Becky Laverty to keep Roadburn one of the most forward-thinking festivals out there. I found some new favorites and checked out some bands I knew only by reputation. But best of all is experiencing it all with an ever-expanding gaggle of friends. We’ve rarely watched a show with just the two of us; nearly every time we had the company of friends, and come rain or queues, that is the best way to experience this festival.
#Agriculture #Ashenspire #Backxwash #ChelseaWolfe #Cloakroom #CouchSlut #CultLeader #DevilMaster #Dödsrit #EmmaRuthRundle #Fluisteraars #FrailBody #Hexvessel #InterArma #Knoll #Laster #LucyKrugerTheLostBoys #ni #Oneiroporeia #SunrisePatriotMotion #TauAndTheDronesOfPraise #TheKeening #UBOA #Verwoed #WhiteWard #Wiegedood
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Infectious post-hardcore, indie-pop, garage rock and some boundary-pushing sounds from Fucked Up with No Age feature in March's instalment of my Fighting with the Undertow playlist.
It also has The Cure, Mannequin Pussy, Pearl Jam, Chelsea Wolfe, Alkaline Trio and more..
https://open.substack.com/pub/tangleofwires/p/fighting-with-the-undertow-3
#music #playlist #playlists #punk #PunkRock #shoegaze #shoegazing #PostHardcore #AltRock #AlternativeRock #Indie #IndieMusic #TheCure #MannequinPussy #PearlJam #ChelseaWolfe #AlkalineTrio
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The song “Deluge” on my album was heavily influenced by #ChelseaWolfe
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The song “Deluge” on my album was heavily influenced by #ChelseaWolfe
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Chelsea Wolfe ~ Dragged Out
https://invidious.fdn.fr/watch?v=r9zM3080jnA (trackers free)
or
https://youtu.be/r9zM3080jnAFull album : https://chelseawolfe.bandcamp.com/album/abyss
#ChelseaWolfe #DraggedOut #Abyss #music #musique #musik #musica #alternativefolk #industrial #rock #alternative #California
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CHELSEA WOLFE - She Reaches Out to She Reaches Out to She Album Review | Overkill Reviews
#music #metal #heavymetal #folkmusic #alternativerock #chelseawolfe #bangertv #albumreviews
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#TheMetalDogArticleList
#MetalInjection
The Weekly Injection: New Releases From HULDER, CHELSEA WOLFE & More Out Today 2/9
Plus releases from Infected Rain, The Last Ten Seconds of Life, The Pineapple Thief, and Per Wiberg.#HeavyNewReleases #Hulder #ChelseaWolfe #Music #NewMusic #MetalMusic #AlbumReleases #FridayRelease #WeeklyInjection #MusicLovers
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Songs 2023
https://peterwenz.net/?p=11971
#1 #14 #2023 #adamAngst #cabininthewoods #chelseaWolfe #darkher #fischerZ #heilung #jasonIsbell #kensington #oldBlindDogs #pascow #peterFox #rantanplan #shaneMacgowan #sineadOConnor #skalmöld #skindred #spotify #theBaboonShow #tomMorello #youngRebelSet #youtube
(Replies to this Toot will become comments on the blog - if approved.)
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Chelsea Wolfe & Emma Ruth Rundle "Anhedonia"
https://www.youtube.com/watch?v=fiFAh32VMMo
#ChelseaWolfe #EmmaRuthRundle #SargentHouse #Anhedonia #Anhédonie #Dépression #PouetRadio #np #Mastoradio #metal #fediradio
