#dronemetal — Public Fediverse posts
Live and recent posts from across the Fediverse tagged #dronemetal, aggregated by home.social.
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AMA, I managed to listen to 3 minutes of the first song of the new album of Sunn O))) - Sunn O))).
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The new Sunn o))) self titled is excellent
https://open.spotify.com/album/1grbT4stwprQnmPMxshbbI?si=B_xcQhx4QkGV9K1YHHKPRQ
#doommetal #dronemetal #sunn #music -
Bull of Heaven – 118: The Chosen Priest and Apostle of Infinite Space
#Ambient #DarkAmbient #Drone #DroneMetal #Experimental #Glitch #Noise #Plunderphonics #SpokenWord #TribalAmbient #Denver
CC BY (#CreativeCommons Attribution) #ccmusic
https://bullofheavendc.bandcamp.com/album/118-the-chosen-priest-and-apostle-of-infinite-space -
Putting on the good headphones for this. The new SUNN O))) album is awesome. A much more diverse and interesting (to me anyway) record than anything they've released before. With exquisite production.
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Art for Where the End Begins, my doom metal EP from last year.
Listen here! https://distrokid.com/hyperfollow/godteeth/where-the-end-begins
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on my way to work:
https://thehives.bandcamp.com/album/the-hives-forever-forever-the-hives#garagerock #rock #Stockholm #bandcamp #music
https://idlesband.bandcamp.com/album/tangk
#bandcamp #music
#newwave #post-punk #punk #rock #Bristolhttps://helloianband.bandcamp.com/album/come-on-everybody-lets-do-nothing
#bandcamp #music
#dronemetal #metal noise #noiserock #post-metal post-rock #rock #London -
Moongazing Hare – The Sunderland Wreck
#Metal #PostFolkDrone #doommetal #doomfolk #drone #dronedoom #dronedoommetal #dronefolk #dronemetal #neofolk #psychfolk #Denmark
CC BY-NC-ND (#CreativeCommons Attribution Non Commercial No Derivatives) #ccmusic
https://drowningcc.bandcamp.com/album/the-sunderland-wreck -
Local Edmonton Doom/Drone metal band Tekarra just dropped a new album this week and I just got back from the album release show last night (which was an amazing show).
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Free download codes:
The Mountain King - Shi No Shinkū 死の真空
"The mighty new crushing drone doom installment by the rising underground diggers The Mountain King."
#bandcampcodes #ambient #drone #doommetal #dronemetal #dronedoom #music
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Heute in der Zukunft (also später 😄): #NNMM 🖤 🖤 🖤
Hab gehört, es gibt noch viele Tickets.
https://neptunianmaximalism.bandcamp.com/album/le-sacre-du-soleil-invaincu
#NeptunianMaximalism #radio27 #music #AvantGardeMetal #DroneMetal #Doom #Freejazz #concert #Berlin -
fajny #droneMetal #doomMetal z francji - https://yearofnolight.bandcamp.com/album/les-ma-tres-fous - bardzo powoli się rozwija, ale wg mnie to super!!
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Quando Pascoli scrisse "X Agosto" aveva quest'album come sottofondo
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Free download codes:
The Mountain King - Shi No Shinkū 死の真空
"The mighty new crushing drone doom installment by the rising underground diggers The Mountain King."
#bandcampcodes #ambient #drone #doommetal #dronemetal #dronedoom #music
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It's Bandcamp Friday.
Here are about 15 minutes of drone guitar and post-industrial music recorded in 2025 and 2023.
Es könnte der Anfang sein (It could be the beginning) and Sueños salvajes (Wild dreams) are two tracks apart from what I usually do. Part of a sonic exploration, they could be another beginning indeed.
I like change.https://syrphe.bandcamp.com/album/es-k-nnte-der-anfang-sein
#drone #dronemusic #noisemusic #noisedrone #dronemetal #droneguitar #guitardrone #ambient #postindustrial #experimentalmusic
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Free download codes:
The Mountain King - Shi No Shinkū 死の真空
"The mighty new crushing drone doom installment by the rising underground diggers The Mountain King."
#bandcampcodes #ambient #drone #doommetal #dronemetal #dronedoom #music
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https://www.europesays.com/uk/106551/ Entheomorphosis – Pyhä Kuilu Review #2025 #3.0 #Alitila #AvantGardeMetal #Bongripper #DarkBuddhaRising #DoomMetal #DroneMetal #Earth #Enphin #Entertainment #Entheomorphosis #FinnishMetal #Gangrened #Ludalloy #May25 #Mr.PeterHayden #music #pH #PrimitiveMan #PyhäKuilu #Review #Reviews #Sumac #SunnO))) #SvartRecords #UK #UnitedKingdom #Vallihauta
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Entheomorphosis – Pyhä Kuilu Review
By Dear Hollow
If I’ve learned anything from Dark Buddha Rising, it’s that drone metal goes hand-in-hand with spiritual awakening. The blinding light of transcendence and the shadows of the occult are parts of the same jagged landscape of existence, and the abyss rules beneath, embodying both creation and destruction. Gentle and ruthless in equal measure, drone metal’s tides of mountainous riffs and thunderous tones offer the secrets of the universe and the nonexistence that perpetually threatens every fiber. Dark Buddha Rising exemplified this in its Buddhism-influenced aesthetic tied to hypnotic and ritualist drone, pulsing percussion, and a flurry of vocal attacks to conjure and invoke a dark trance. With their ongoing hiatus, Entheomorphosis takes up the mantle.
Appropriately, Entheomorphosis is the spiritual successor of Dark Buddha Rising, taking its namesake after its 2009 album of the same name, its primary architect being former guitarist/vocalist Vesa Ajomo. A quartet, other members include Mr. Peter Hayden/PH/Enphin alum Lauri Kivelä (also of Alitila) on bass and JP Koivisto (also of Vallihauta) on guitar, as well as Lassi Männikkö of Gangrened and Ludalloy behind the kit. While Dark Buddha Rising offered a surprisingly nimble and balanced approach to drone in energetic percussion and obscure vocal approaches, Entheomorphosis embraces the sprawl and a more predictable vocal dimension, alongside a much more erratic percussion presence. Debut Pyhä Kuilu (“holy abyss” in Finnish) embraces the spiritual awakening of shedding old skin with shuddering tone abuse and glacial crawls in its favor, even if it pales in comparison to its mother act.
Entheomorphosis does a great job of compacting drone metal’s most trademark features in a tidy thirty-five-minute runtime, thanks to concise songwriting. It features four tracks, with the bookends comprising the main movements (“Alkiema,” “Iätön”). These are the transcended Arhats in a drone metal fan’s nirvana: droning riffs, tortured vocals, and breathless patience. Conjuring the Sabbath-worshipping likes more of Earth than Sunn O))) in its slightly orange and hazy tone (perhaps Bongripper), it drawls on while Ajomo’s vocals take the stage in tortured shouts and Männikkö’s slightly off-kilter rhythms add a dimension of intrigue to the proceeds. Contrary to Dark Buddha Rising’s winning formula of drums carrying the drone, Entheomorphosis finds the drums carrying on a manic ritualistic energy almost despite the droning riffs, reminding me of early Sumac’s work. This clash is a bit jarring but intriguing, as longer passages avoid stagnation thanks to these odd collisions. The moods invoked are vast, settling upon anticipation’s startling brightness (“Alkiema”) and dread’s heavy weight (“Iätön”).
Getting away from the traditional drone template, the meat of Pyhä Kuilu offers respite in unexpected ways for Entheomorphosis. From the minimalist creeping of blackened shrieks atop chaotic drumming, thunderous bass, and synthesizer (“Sikinä”) to a crystalline and pulsing synth foray (“Huntu”), the centerpieces recall a more liturgical and shamanistic Primitive Man in its unforgiving noise and injection of chaos among the more regal movements of straightforward drone. They nonetheless beg the question as to why two comparatively brief respites are tied together as such when they are just different enough to be confusing and just similar enough to sound the same. The vocals are likewise a bit of a conundrum with Entheomorphosis, especially in comparison to its parent project. Dark Buddha Rising benefited from the choir of insanity of its three voices, but Ajomo’s nasally shouts seem to clash with the surrounding bleak obscurity, working most effectively with the blackened shrieks in “Sikinä.” The vocals are not the main focus, but they do distract at best, derail at worst, when they appear.
Entheomorphosis soars in being a worthy spiritual successor to Dark Buddha Rising, even if its pedigree cannot hold up. It’s a dark drone sound that you’ve come to know and love, but simultaneously more accessible and more experimental. Pyhä Kuilu feels more liturgical and less hypnotic, and its chemistry between drums and riff is endlessly intriguing. It may not achieve transcendence of its actors’ other projects, but for fans of drone, Entheomorphosis is a tour de force of holiness and devastation. While a nice bit of escapism, I’m banking on a more complete spiritual awakening next time.
Rating: 3.0/5.0
DR: | Format Reviewed: 320 kb/s mp3
Label: Svart Records
Websites: entheomorphosis.bandcamp.com | entheomorphosis.com
Releases Worldwide: May 23rd, 2025#2025 #30 #Alitila #AvantGardeMetal #Bongripper #DarkBuddhaRising #DoomMetal #DroneMetal #Earth #Enphin #Entheomorphosis #FinnishMetal #Gangrened #Ludalloy #May25 #MrPeterHayden #PH #PrimitiveMan #PyhäKuilu #Review #Reviews #Sumac #SunnO_ #SvartRecords #Vallihauta
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Entheomorphosis – Pyhä Kuilu Review
By Dear Hollow
If I’ve learned anything from Dark Buddha Rising, it’s that drone metal goes hand-in-hand with spiritual awakening. The blinding light of transcendence and the shadows of the occult are parts of the same jagged landscape of existence, and the abyss rules beneath, embodying both creation and destruction. Gentle and ruthless in equal measure, drone metal’s tides of mountainous riffs and thunderous tones offer the secrets of the universe and the nonexistence that perpetually threatens every fiber. Dark Buddha Rising exemplified this in its Buddhism-influenced aesthetic tied to hypnotic and ritualist drone, pulsing percussion, and a flurry of vocal attacks to conjure and invoke a dark trance. With their ongoing hiatus, Entheomorphosis takes up the mantle.
Appropriately, Entheomorphosis is the spiritual successor of Dark Buddha Rising, taking its namesake after its 2009 album of the same name, its primary architect being former guitarist/vocalist Vesa Ajomo. A quartet, other members include Mr. Peter Hayden/PH/Enphin alum Lauri Kivelä (also of Alitila) on bass and JP Koivisto (also of Vallihauta) on guitar, as well as Lassi Männikkö of Gangrened and Ludalloy behind the kit. While Dark Buddha Rising offered a surprisingly nimble and balanced approach to drone in energetic percussion and obscure vocal approaches, Entheomorphosis embraces the sprawl and a more predictable vocal dimension, alongside a much more erratic percussion presence. Debut Pyhä Kuilu (“holy abyss” in Finnish) embraces the spiritual awakening of shedding old skin with shuddering tone abuse and glacial crawls in its favor, even if it pales in comparison to its mother act.
Entheomorphosis does a great job of compacting drone metal’s most trademark features in a tidy thirty-five-minute runtime, thanks to concise songwriting. It features four tracks, with the bookends comprising the main movements (“Alkiema,” “Iätön”). These are the transcended Arhats in a drone metal fan’s nirvana: droning riffs, tortured vocals, and breathless patience. Conjuring the Sabbath-worshipping likes more of Earth than Sunn O))) in its slightly orange and hazy tone (perhaps Bongripper), it drawls on while Ajomo’s vocals take the stage in tortured shouts and Männikkö’s slightly off-kilter rhythms add a dimension of intrigue to the proceeds. Contrary to Dark Buddha Rising’s winning formula of drums carrying the drone, Entheomorphosis finds the drums carrying on a manic ritualistic energy almost despite the droning riffs, reminding me of early Sumac’s work. This clash is a bit jarring but intriguing, as longer passages avoid stagnation thanks to these odd collisions. The moods invoked are vast, settling upon anticipation’s startling brightness (“Alkiema”) and dread’s heavy weight (“Iätön”).
Getting away from the traditional drone template, the meat of Pyhä Kuilu offers respite in unexpected ways for Entheomorphosis. From the minimalist creeping of blackened shrieks atop chaotic drumming, thunderous bass, and synthesizer (“Sikinä”) to a crystalline and pulsing synth foray (“Huntu”), the centerpieces recall a more liturgical and shamanistic Primitive Man in its unforgiving noise and injection of chaos among the more regal movements of straightforward drone. They nonetheless beg the question as to why two comparatively brief respites are tied together as such when they are just different enough to be confusing and just similar enough to sound the same. The vocals are likewise a bit of a conundrum with Entheomorphosis, especially in comparison to its parent project. Dark Buddha Rising benefited from the choir of insanity of its three voices, but Ajomo’s nasally shouts seem to clash with the surrounding bleak obscurity, working most effectively with the blackened shrieks in “Sikinä.” The vocals are not the main focus, but they do distract at best, derail at worst, when they appear.
Entheomorphosis soars in being a worthy spiritual successor to Dark Buddha Rising, even if its pedigree cannot hold up. It’s a dark drone sound that you’ve come to know and love, but simultaneously more accessible and more experimental. Pyhä Kuilu feels more liturgical and less hypnotic, and its chemistry between drums and riff is endlessly intriguing. It may not achieve transcendence of its actors’ other projects, but for fans of drone, Entheomorphosis is a tour de force of holiness and devastation. While a nice bit of escapism, I’m banking on a more complete spiritual awakening next time.
Rating: 3.0/5.0
DR: | Format Reviewed: 320 kb/s mp3
Label: Svart Records
Websites: entheomorphosis.bandcamp.com | entheomorphosis.com
Releases Worldwide: May 23rd, 2025#2025 #30 #Alitila #AvantGardeMetal #Bongripper #DarkBuddhaRising #DoomMetal #DroneMetal #Earth #Enphin #Entheomorphosis #FinnishMetal #Gangrened #Ludalloy #May25 #MrPeterHayden #PH #PrimitiveMan #PyhäKuilu #Review #Reviews #Sumac #SunnO_ #SvartRecords #Vallihauta
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Entheomorphosis – Pyhä Kuilu Review
By Dear Hollow
If I’ve learned anything from Dark Buddha Rising, it’s that drone metal goes hand-in-hand with spiritual awakening. The blinding light of transcendence and the shadows of the occult are parts of the same jagged landscape of existence, and the abyss rules beneath, embodying both creation and destruction. Gentle and ruthless in equal measure, drone metal’s tides of mountainous riffs and thunderous tones offer the secrets of the universe and the nonexistence that perpetually threatens every fiber. Dark Buddha Rising exemplified this in its Buddhism-influenced aesthetic tied to hypnotic and ritualist drone, pulsing percussion, and a flurry of vocal attacks to conjure and invoke a dark trance. With their ongoing hiatus, Entheomorphosis takes up the mantle.
Appropriately, Entheomorphosis is the spiritual successor of Dark Buddha Rising, taking its namesake after its 2009 album of the same name, its primary architect being former guitarist/vocalist Vesa Ajomo. A quartet, other members include Mr. Peter Hayden/PH/Enphin alum Lauri Kivelä (also of Alitila) on bass and JP Koivisto (also of Vallihauta) on guitar, as well as Lassi Männikkö of Gangrened and Ludalloy behind the kit. While Dark Buddha Rising offered a surprisingly nimble and balanced approach to drone in energetic percussion and obscure vocal approaches, Entheomorphosis embraces the sprawl and a more predictable vocal dimension, alongside a much more erratic percussion presence. Debut Pyhä Kuilu (“holy abyss” in Finnish) embraces the spiritual awakening of shedding old skin with shuddering tone abuse and glacial crawls in its favor, even if it pales in comparison to its mother act.
Entheomorphosis does a great job of compacting drone metal’s most trademark features in a tidy thirty-five-minute runtime, thanks to concise songwriting. It features four tracks, with the bookends comprising the main movements (“Alkiema,” “Iätön”). These are the transcended Arhats in a drone metal fan’s nirvana: droning riffs, tortured vocals, and breathless patience. Conjuring the Sabbath-worshipping likes more of Earth than Sunn O))) in its slightly orange and hazy tone (perhaps Bongripper), it drawls on while Ajomo’s vocals take the stage in tortured shouts and Männikkö’s slightly off-kilter rhythms add a dimension of intrigue to the proceeds. Contrary to Dark Buddha Rising’s winning formula of drums carrying the drone, Entheomorphosis finds the drums carrying on a manic ritualistic energy almost despite the droning riffs, reminding me of early Sumac’s work. This clash is a bit jarring but intriguing, as longer passages avoid stagnation thanks to these odd collisions. The moods invoked are vast, settling upon anticipation’s startling brightness (“Alkiema”) and dread’s heavy weight (“Iätön”).
Getting away from the traditional drone template, the meat of Pyhä Kuilu offers respite in unexpected ways for Entheomorphosis. From the minimalist creeping of blackened shrieks atop chaotic drumming, thunderous bass, and synthesizer (“Sikinä”) to a crystalline and pulsing synth foray (“Huntu”), the centerpieces recall a more liturgical and shamanistic Primitive Man in its unforgiving noise and injection of chaos among the more regal movements of straightforward drone. They nonetheless beg the question as to why two comparatively brief respites are tied together as such when they are just different enough to be confusing and just similar enough to sound the same. The vocals are likewise a bit of a conundrum with Entheomorphosis, especially in comparison to its parent project. Dark Buddha Rising benefited from the choir of insanity of its three voices, but Ajomo’s nasally shouts seem to clash with the surrounding bleak obscurity, working most effectively with the blackened shrieks in “Sikinä.” The vocals are not the main focus, but they do distract at best, derail at worst, when they appear.
Entheomorphosis soars in being a worthy spiritual successor to Dark Buddha Rising, even if its pedigree cannot hold up. It’s a dark drone sound that you’ve come to know and love, but simultaneously more accessible and more experimental. Pyhä Kuilu feels more liturgical and less hypnotic, and its chemistry between drums and riff is endlessly intriguing. It may not achieve transcendence of its actors’ other projects, but for fans of drone, Entheomorphosis is a tour de force of holiness and devastation. While a nice bit of escapism, I’m banking on a more complete spiritual awakening next time.
Rating: 3.0/5.0
DR: | Format Reviewed: 320 kb/s mp3
Label: Svart Records
Websites: entheomorphosis.bandcamp.com | entheomorphosis.com
Releases Worldwide: May 23rd, 2025#2025 #30 #Alitila #AvantGardeMetal #Bongripper #DarkBuddhaRising #DoomMetal #DroneMetal #Earth #Enphin #Entheomorphosis #FinnishMetal #Gangrened #Ludalloy #May25 #MrPeterHayden #PH #PrimitiveMan #PyhäKuilu #Review #Reviews #Sumac #SunnO_ #SvartRecords #Vallihauta
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Entheomorphosis – Pyhä Kuilu Review
By Dear Hollow
If I’ve learned anything from Dark Buddha Rising, it’s that drone metal goes hand-in-hand with spiritual awakening. The blinding light of transcendence and the shadows of the occult are parts of the same jagged landscape of existence, and the abyss rules beneath, embodying both creation and destruction. Gentle and ruthless in equal measure, drone metal’s tides of mountainous riffs and thunderous tones offer the secrets of the universe and the nonexistence that perpetually threatens every fiber. Dark Buddha Rising exemplified this in its Buddhism-influenced aesthetic tied to hypnotic and ritualist drone, pulsing percussion, and a flurry of vocal attacks to conjure and invoke a dark trance. With their ongoing hiatus, Entheomorphosis takes up the mantle.
Appropriately, Entheomorphosis is the spiritual successor of Dark Buddha Rising, taking its namesake after its 2009 album of the same name, its primary architect being former guitarist/vocalist Vesa Ajomo. A quartet, other members include Mr. Peter Hayden/PH/Enphin alum Lauri Kivelä (also of Alitila) on bass and JP Koivisto (also of Vallihauta) on guitar, as well as Lassi Männikkö of Gangrened and Ludalloy behind the kit. While Dark Buddha Rising offered a surprisingly nimble and balanced approach to drone in energetic percussion and obscure vocal approaches, Entheomorphosis embraces the sprawl and a more predictable vocal dimension, alongside a much more erratic percussion presence. Debut Pyhä Kuilu (“holy abyss” in Finnish) embraces the spiritual awakening of shedding old skin with shuddering tone abuse and glacial crawls in its favor, even if it pales in comparison to its mother act.
Entheomorphosis does a great job of compacting drone metal’s most trademark features in a tidy thirty-five-minute runtime, thanks to concise songwriting. It features four tracks, with the bookends comprising the main movements (“Alkiema,” “Iätön”). These are the transcended Arhats in a drone metal fan’s nirvana: droning riffs, tortured vocals, and breathless patience. Conjuring the Sabbath-worshipping likes more of Earth than Sunn O))) in its slightly orange and hazy tone (perhaps Bongripper), it drawls on while Ajomo’s vocals take the stage in tortured shouts and Männikkö’s slightly off-kilter rhythms add a dimension of intrigue to the proceeds. Contrary to Dark Buddha Rising’s winning formula of drums carrying the drone, Entheomorphosis finds the drums carrying on a manic ritualistic energy almost despite the droning riffs, reminding me of early Sumac’s work. This clash is a bit jarring but intriguing, as longer passages avoid stagnation thanks to these odd collisions. The moods invoked are vast, settling upon anticipation’s startling brightness (“Alkiema”) and dread’s heavy weight (“Iätön”).
Getting away from the traditional drone template, the meat of Pyhä Kuilu offers respite in unexpected ways for Entheomorphosis. From the minimalist creeping of blackened shrieks atop chaotic drumming, thunderous bass, and synthesizer (“Sikinä”) to a crystalline and pulsing synth foray (“Huntu”), the centerpieces recall a more liturgical and shamanistic Primitive Man in its unforgiving noise and injection of chaos among the more regal movements of straightforward drone. They nonetheless beg the question as to why two comparatively brief respites are tied together as such when they are just different enough to be confusing and just similar enough to sound the same. The vocals are likewise a bit of a conundrum with Entheomorphosis, especially in comparison to its parent project. Dark Buddha Rising benefited from the choir of insanity of its three voices, but Ajomo’s nasally shouts seem to clash with the surrounding bleak obscurity, working most effectively with the blackened shrieks in “Sikinä.” The vocals are not the main focus, but they do distract at best, derail at worst, when they appear.
Entheomorphosis soars in being a worthy spiritual successor to Dark Buddha Rising, even if its pedigree cannot hold up. It’s a dark drone sound that you’ve come to know and love, but simultaneously more accessible and more experimental. Pyhä Kuilu feels more liturgical and less hypnotic, and its chemistry between drums and riff is endlessly intriguing. It may not achieve transcendence of its actors’ other projects, but for fans of drone, Entheomorphosis is a tour de force of holiness and devastation. While a nice bit of escapism, I’m banking on a more complete spiritual awakening next time.
Rating: 3.0/5.0
DR: | Format Reviewed: 320 kb/s mp3
Label: Svart Records
Websites: entheomorphosis.bandcamp.com | entheomorphosis.com
Releases Worldwide: May 23rd, 2025#2025 #30 #Alitila #AvantGardeMetal #Bongripper #DarkBuddhaRising #DoomMetal #DroneMetal #Earth #Enphin #Entheomorphosis #FinnishMetal #Gangrened #Ludalloy #May25 #MrPeterHayden #PH #PrimitiveMan #PyhäKuilu #Review #Reviews #Sumac #SunnO_ #SvartRecords #Vallihauta
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#LeSacreDuSoleilInvaincu
#IVoidhangerRecords 2025Gracias a las fantásticas novedades de #Bandcamp, me encuentro con el genial #nuevodisco de queridos y viejos amigos
https://neptunianmaximalism.bandcamp.com/album/le-sacre-du-soleil-invaincu
#música #metal #blackmetal #avantgarde #vanguardia #músicaclásicaIndia #stoner #doom #dronemetal #freejazz #Bruselas #Bélgica
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Free download codes:
The Mountain King - Shi No Shinkū 死の真空
"The mighty new crushing drone doom installment by the rising underground diggers The Mountain King."
#bandcampcodes #ambient #drone #doommetal #dronemetal #dronedoom #music
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Free download codes:
The Mountain King - Shi No Shinkū 死の真空
"The mighty new crushing drone doom installment by the rising underground diggers The Mountain King."
#bandcampcodes #ambient #drone #doommetal #dronemetal #dronedoom #music
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By Dear Hollow
Black Aleph is a sonic experiment devoted to ritual. Debut Apsides, while short, is nothing short of perplexing in its evasion of genre trappings, ultimately making some form of drone metal with folk instruments, imbued with post-metal’s metamorphic crescendos. However, the value lies behind these descriptors, with a distinct ritualistic heart beating beneath as its Middle Eastern modal traditions guide the movements—a divine and otherworldly experience. Don’t misunderstand, Apsides will still crush you, but just as much in its serenity as its dense guitar riffs—the weight it conjures is a suggestion and anticipation of punishment rather than a rod brandished. The result is haunting and unique, but brimming with more potential than it capitalizes upon.
Black Aleph is a trio from Australia, its Sydney- and Melbourne-based members comprised other acts from the country’s weirder underground offerings. Aside from respective solo offerings, guitar and effects wizard Lachlan Dale hails from maqam-centric acts like Hashshashin and the Arya Ensemble,1 cellist Peter Hollo lends his eerie drones in post-rock/electronic collectives like Tangents, Haunts, and FourPlay String Quartet, and dar player/setarist Timothy Johannessen plays in the folk-inclined Mehr Ensemble. Johannessen and Dale’s respective roots in Arabic, Iranian, and Persian folk music pronounce the motifs that Black Aleph utilizes. The trio has been compared to renowned experimental acts like Godspeed You! Black Emperor, Justin Broadrick, and Jesu, while associated with members of We Lost the Sea and Sunn O))). However, Black Aleph plays more in line with Hashshashin or countrymates Omahara in the blurring of drone and folk, ever-punishing and ever-organic.
Black Aleph deals in a style that balances weight, tension, and melody. Just as in Godspeed’s Lift Your Skinny Fists…, chord progressions throughout Apsides are layered with tension, bated breath between dissonance and harmony. While layered with ominous droning doom riffs (“Descent,” “Precession”), the crescendos within its micro-movements prove the most intriguing. Whether it be its dancing and complex rhythms (“Return”), climbing arpeggios (the “Ambit” duo), or gradual uses of volume and curious motifs (“Separation,” “Return”) the best uses of the percussive daf are utilized in quieter moments, creating a pulsing undercurrent of mystery and frailty rather than the punishing drums they pretend to be in the more droning cuts. These more gentle movements gradually increase in girth with post-rock intention, erupting in satisfying droning climaxes (“Ambit II (Aphelion),” “Return”). While droning guitars are relatively straightforward, their acoustic instruments—setar, daf, cello, and violin2—provide Black Aleph an easy and effective bridge between droning metal and folk motifs, as the songs are constructed safely and neatly.
Black Aleph’s voiceless music creates a greater impetus to focus on the songwriting, and unfortunately, Apsides suffers from moments of directionless meandering and awkwardly curtailed movements. In general, the lack of vocals is a critique depending on the listener. In a manner of songwriting, however, the best crescendo occurs in “Ambit II (Aphelion)” and no track following lives up to this peak, although others attempt to scale it (“Separation,” “Return”). While noodling occurs throughout (i.e. “Ambit I (Ascension)”), it overwhelms the moments of climax, leading tracks plummeting to the ground, especially in the limp closer “Occultation,” whose wonky rhythms and skronky setar rob the guitars of needed weight. Most frustrating with Black Aleph is that, although each track is neatly composed and competently executed, the album at large feels too short and abrupt. Apisdes’ thirty-minute runtime feels too short like Black Aleph missed the chance to adequately flesh out their ideas when eschewing drone metal’s tendency towards lengthy offerings.
Apsides offers a unique sound, hindered by its own ambition. Although the songs are too short and performances can be shortsighted, Black Aleph has an endlessly intriguing premise and unique execution. Ritualistic rhythms, Middle Eastern motifs, droning riffs, and otherworldly drive collide in an album that largely succeeds. It’s good that I want to hear more of Black Aleph, because I think their next album will be better than Apsides.
Rating: 3.0/5.0
DR: 8 | Format Reviewed: 320 kb/s mp3
Label: Self-Released
Websites: blackaleph.bandcamp.com | facebook.com/blackaleph
Releases Worldwide: October 25th, 2024#2024 #30 #Apsides #AryaEnsemble #AustralianMetal #BlackAleph #DoomMetal #Drone #DroneMetal #Folk #FourPlayStringQuartet #GodspeedYouBlackEmperor #Hashshashin #Haunts #Jesu #JustinBroadrick #MehrEnsemble #Noise #Oct24 #Omahara #PostRock #PostMetal #Review #Reviews #SelfReleased #SunnO_ #Tangents #WeLostTheSea
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By Dear Hollow
Black Aleph is a sonic experiment devoted to ritual. Debut Apsides, while short, is nothing short of perplexing in its evasion of genre trappings, ultimately making some form of drone metal with folk instruments, imbued with post-metal’s metamorphic crescendos. However, the value lies behind these descriptors, with a distinct ritualistic heart beating beneath as its Middle Eastern modal traditions guide the movements—a divine and otherworldly experience. Don’t misunderstand, Apsides will still crush you, but just as much in its serenity as its dense guitar riffs—the weight it conjures is a suggestion and anticipation of punishment rather than a rod brandished. The result is haunting and unique, but brimming with more potential than it capitalizes upon.
Black Aleph is a trio from Australia, its Sydney- and Melbourne-based members comprised other acts from the country’s weirder underground offerings. Aside from respective solo offerings, guitar and effects wizard Lachlan Dale hails from maqam-centric acts like Hashshashin and the Arya Ensemble,1 cellist Peter Hollo lends his eerie drones in post-rock/electronic collectives like Tangents, Haunts, and FourPlay String Quartet, and dar player/setarist Timothy Johannessen plays in the folk-inclined Mehr Ensemble. Johannessen and Dale’s respective roots in Arabic, Iranian, and Persian folk music pronounce the motifs that Black Aleph utilizes. The trio has been compared to renowned experimental acts like Godspeed You! Black Emperor, Justin Broadrick, and Jesu, while associated with members of We Lost the Sea and Sunn O))). However, Black Aleph plays more in line with Hashshashin or countrymates Omahara in the blurring of drone and folk, ever-punishing and ever-organic.
Black Aleph deals in a style that balances weight, tension, and melody. Just as in Godspeed’s Lift Your Skinny Fists…, chord progressions throughout Apsides are layered with tension, bated breath between dissonance and harmony. While layered with ominous droning doom riffs (“Descent,” “Precession”), the crescendos within its micro-movements prove the most intriguing. Whether it be its dancing and complex rhythms (“Return”), climbing arpeggios (the “Ambit” duo), or gradual uses of volume and curious motifs (“Separation,” “Return”) the best uses of the percussive daf are utilized in quieter moments, creating a pulsing undercurrent of mystery and frailty rather than the punishing drums they pretend to be in the more droning cuts. These more gentle movements gradually increase in girth with post-rock intention, erupting in satisfying droning climaxes (“Ambit II (Aphelion),” “Return”). While droning guitars are relatively straightforward, their acoustic instruments—setar, daf, cello, and violin2—provide Black Aleph an easy and effective bridge between droning metal and folk motifs, as the songs are constructed safely and neatly.
Black Aleph’s voiceless music creates a greater impetus to focus on the songwriting, and unfortunately, Apsides suffers from moments of directionless meandering and awkwardly curtailed movements. In general, the lack of vocals is a critique depending on the listener. In a manner of songwriting, however, the best crescendo occurs in “Ambit II (Aphelion)” and no track following lives up to this peak, although others attempt to scale it (“Separation,” “Return”). While noodling occurs throughout (i.e. “Ambit I (Ascension)”), it overwhelms the moments of climax, leading tracks plummeting to the ground, especially in the limp closer “Occultation,” whose wonky rhythms and skronky setar rob the guitars of needed weight. Most frustrating with Black Aleph is that, although each track is neatly composed and competently executed, the album at large feels too short and abrupt. Apisdes’ thirty-minute runtime feels too short like Black Aleph missed the chance to adequately flesh out their ideas when eschewing drone metal’s tendency towards lengthy offerings.
Apsides offers a unique sound, hindered by its own ambition. Although the songs are too short and performances can be shortsighted, Black Aleph has an endlessly intriguing premise and unique execution. Ritualistic rhythms, Middle Eastern motifs, droning riffs, and otherworldly drive collide in an album that largely succeeds. It’s good that I want to hear more of Black Aleph, because I think their next album will be better than Apsides.
Rating: 3.0/5.0
DR: 8 | Format Reviewed: 320 kb/s mp3
Label: Self-Released
Websites: blackaleph.bandcamp.com | facebook.com/blackaleph
Releases Worldwide: October 25th, 2024Show 2 footnotes
- Alongside running labels Art As Catharsis and Worlds Within Worlds. ↩
- Courtesy of guest Natalya Bing. ↩
#2024 #30 #Apsides #AryaEnsemble #AustralianMetal #BlackAleph #DoomMetal #Drone #DroneMetal #Folk #FourPlayStringQuartet #GodspeedYouBlackEmperor #Hashshashin #Haunts #Jesu #JustinBroadrick #MehrEnsemble #Noise #Oct24 #Omahara #PostRock #PostMetal #Review #Reviews #SelfReleased #SunnO_ #Tangents #WeLostTheSea
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By Dear Hollow
Black Aleph is a sonic experiment devoted to ritual. Debut Apsides, while short, is nothing short of perplexing in its evasion of genre trappings, ultimately making some form of drone metal with folk instruments, imbued with post-metal’s metamorphic crescendos. However, the value lies behind these descriptors, with a distinct ritualistic heart beating beneath as its Middle Eastern modal traditions guide the movements—a divine and otherworldly experience. Don’t misunderstand, Apsides will still crush you, but just as much in its serenity as its dense guitar riffs—the weight it conjures is a suggestion and anticipation of punishment rather than a rod brandished. The result is haunting and unique, but brimming with more potential than it capitalizes upon.
Black Aleph is a trio from Australia, its Sydney- and Melbourne-based members comprised other acts from the country’s weirder underground offerings. Aside from respective solo offerings, guitar and effects wizard Lachlan Dale hails from maqam-centric acts like Hashshashin and the Arya Ensemble,1 cellist Peter Hollo lends his eerie drones in post-rock/electronic collectives like Tangents, Haunts, and FourPlay String Quartet, and dar player/setarist Timothy Johannessen plays in the folk-inclined Mehr Ensemble. Johannessen and Dale’s respective roots in Arabic, Iranian, and Persian folk music pronounce the motifs that Black Aleph utilizes. The trio has been compared to renowned experimental acts like Godspeed You! Black Emperor, Justin Broadrick, and Jesu, while associated with members of We Lost the Sea and Sunn O))). However, Black Aleph plays more in line with Hashshashin or countrymates Omahara in the blurring of drone and folk, ever-punishing and ever-organic.
Black Aleph deals in a style that balances weight, tension, and melody. Just as in Godspeed’s Lift Your Skinny Fists…, chord progressions throughout Apsides are layered with tension, bated breath between dissonance and harmony. While layered with ominous droning doom riffs (“Descent,” “Precession”), the crescendos within its micro-movements prove the most intriguing. Whether it be its dancing and complex rhythms (“Return”), climbing arpeggios (the “Ambit” duo), or gradual uses of volume and curious motifs (“Separation,” “Return”) the best uses of the percussive daf are utilized in quieter moments, creating a pulsing undercurrent of mystery and frailty rather than the punishing drums they pretend to be in the more droning cuts. These more gentle movements gradually increase in girth with post-rock intention, erupting in satisfying droning climaxes (“Ambit II (Aphelion),” “Return”). While droning guitars are relatively straightforward, their acoustic instruments—setar, daf, cello, and violin2—provide Black Aleph an easy and effective bridge between droning metal and folk motifs, as the songs are constructed safely and neatly.
Black Aleph’s voiceless music creates a greater impetus to focus on the songwriting, and unfortunately, Apsides suffers from moments of directionless meandering and awkwardly curtailed movements. In general, the lack of vocals is a critique depending on the listener. In a manner of songwriting, however, the best crescendo occurs in “Ambit II (Aphelion)” and no track following lives up to this peak, although others attempt to scale it (“Separation,” “Return”). While noodling occurs throughout (i.e. “Ambit I (Ascension)”), it overwhelms the moments of climax, leading tracks plummeting to the ground, especially in the limp closer “Occultation,” whose wonky rhythms and skronky setar rob the guitars of needed weight. Most frustrating with Black Aleph is that, although each track is neatly composed and competently executed, the album at large feels too short and abrupt. Apisdes’ thirty-minute runtime feels too short like Black Aleph missed the chance to adequately flesh out their ideas when eschewing drone metal’s tendency towards lengthy offerings.
Apsides offers a unique sound, hindered by its own ambition. Although the songs are too short and performances can be shortsighted, Black Aleph has an endlessly intriguing premise and unique execution. Ritualistic rhythms, Middle Eastern motifs, droning riffs, and otherworldly drive collide in an album that largely succeeds. It’s good that I want to hear more of Black Aleph, because I think their next album will be better than Apsides.
Rating: 3.0/5.0
DR: 8 | Format Reviewed: 320 kb/s mp3
Label: Self-Released
Websites: blackaleph.bandcamp.com | facebook.com/blackaleph
Releases Worldwide: October 25th, 2024#2024 #30 #Apsides #AryaEnsemble #AustralianMetal #BlackAleph #DoomMetal #Drone #DroneMetal #Folk #FourPlayStringQuartet #GodspeedYouBlackEmperor #Hashshashin #Haunts #Jesu #JustinBroadrick #MehrEnsemble #Noise #Oct24 #Omahara #PostRock #PostMetal #Review #Reviews #SelfReleased #SunnO_ #Tangents #WeLostTheSea
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By Dear Hollow
Black Aleph is a sonic experiment devoted to ritual. Debut Apsides, while short, is nothing short of perplexing in its evasion of genre trappings, ultimately making some form of drone metal with folk instruments, imbued with post-metal’s metamorphic crescendos. However, the value lies behind these descriptors, with a distinct ritualistic heart beating beneath as its Middle Eastern modal traditions guide the movements—a divine and otherworldly experience. Don’t misunderstand, Apsides will still crush you, but just as much in its serenity as its dense guitar riffs—the weight it conjures is a suggestion and anticipation of punishment rather than a rod brandished. The result is haunting and unique, but brimming with more potential than it capitalizes upon.
Black Aleph is a trio from Australia, its Sydney- and Melbourne-based members comprised other acts from the country’s weirder underground offerings. Aside from respective solo offerings, guitar and effects wizard Lachlan Dale hails from maqam-centric acts like Hashshashin and the Arya Ensemble,1 cellist Peter Hollo lends his eerie drones in post-rock/electronic collectives like Tangents, Haunts, and FourPlay String Quartet, and dar player/setarist Timothy Johannessen plays in the folk-inclined Mehr Ensemble. Johannessen and Dale’s respective roots in Arabic, Iranian, and Persian folk music pronounce the motifs that Black Aleph utilizes. The trio has been compared to renowned experimental acts like Godspeed You! Black Emperor, Justin Broadrick, and Jesu, while associated with members of We Lost the Sea and Sunn O))). However, Black Aleph plays more in line with Hashshashin or countrymates Omahara in the blurring of drone and folk, ever-punishing and ever-organic.
Black Aleph deals in a style that balances weight, tension, and melody. Just as in Godspeed’s Lift Your Skinny Fists…, chord progressions throughout Apsides are layered with tension, bated breath between dissonance and harmony. While layered with ominous droning doom riffs (“Descent,” “Precession”), the crescendos within its micro-movements prove the most intriguing. Whether it be its dancing and complex rhythms (“Return”), climbing arpeggios (the “Ambit” duo), or gradual uses of volume and curious motifs (“Separation,” “Return”) the best uses of the percussive daf are utilized in quieter moments, creating a pulsing undercurrent of mystery and frailty rather than the punishing drums they pretend to be in the more droning cuts. These more gentle movements gradually increase in girth with post-rock intention, erupting in satisfying droning climaxes (“Ambit II (Aphelion),” “Return”). While droning guitars are relatively straightforward, their acoustic instruments—setar, daf, cello, and violin2—provide Black Aleph an easy and effective bridge between droning metal and folk motifs, as the songs are constructed safely and neatly.
Black Aleph’s voiceless music creates a greater impetus to focus on the songwriting, and unfortunately, Apsides suffers from moments of directionless meandering and awkwardly curtailed movements. In general, the lack of vocals is a critique depending on the listener. In a manner of songwriting, however, the best crescendo occurs in “Ambit II (Aphelion)” and no track following lives up to this peak, although others attempt to scale it (“Separation,” “Return”). While noodling occurs throughout (i.e. “Ambit I (Ascension)”), it overwhelms the moments of climax, leading tracks plummeting to the ground, especially in the limp closer “Occultation,” whose wonky rhythms and skronky setar rob the guitars of needed weight. Most frustrating with Black Aleph is that, although each track is neatly composed and competently executed, the album at large feels too short and abrupt. Apisdes’ thirty-minute runtime feels too short like Black Aleph missed the chance to adequately flesh out their ideas when eschewing drone metal’s tendency towards lengthy offerings.
Apsides offers a unique sound, hindered by its own ambition. Although the songs are too short and performances can be shortsighted, Black Aleph has an endlessly intriguing premise and unique execution. Ritualistic rhythms, Middle Eastern motifs, droning riffs, and otherworldly drive collide in an album that largely succeeds. It’s good that I want to hear more of Black Aleph, because I think their next album will be better than Apsides.
Rating: 3.0/5.0
DR: 8 | Format Reviewed: 320 kb/s mp3
Label: Self-Released
Websites: blackaleph.bandcamp.com | facebook.com/blackaleph
Releases Worldwide: October 25th, 2024#2024 #30 #Apsides #AryaEnsemble #AustralianMetal #BlackAleph #DoomMetal #Drone #DroneMetal #Folk #FourPlayStringQuartet #GodspeedYouBlackEmperor #Hashshashin #Haunts #Jesu #JustinBroadrick #MehrEnsemble #Noise #Oct24 #Omahara #PostRock #PostMetal #Review #Reviews #SelfReleased #SunnO_ #Tangents #WeLostTheSea
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By Dear Hollow
Black Aleph is a sonic experiment devoted to ritual. Debut Apsides, while short, is nothing short of perplexing in its evasion of genre trappings, ultimately making some form of drone metal with folk instruments, imbued with post-metal’s metamorphic crescendos. However, the value lies behind these descriptors, with a distinct ritualistic heart beating beneath as its Middle Eastern modal traditions guide the movements—a divine and otherworldly experience. Don’t misunderstand, Apsides will still crush you, but just as much in its serenity as its dense guitar riffs—the weight it conjures is a suggestion and anticipation of punishment rather than a rod brandished. The result is haunting and unique, but brimming with more potential than it capitalizes upon.
Black Aleph is a trio from Australia, its Sydney- and Melbourne-based members comprised other acts from the country’s weirder underground offerings. Aside from respective solo offerings, guitar and effects wizard Lachlan Dale hails from maqam-centric acts like Hashshashin and the Arya Ensemble,1 cellist Peter Hollo lends his eerie drones in post-rock/electronic collectives like Tangents, Haunts, and FourPlay String Quartet, and dar player/setarist Timothy Johannessen plays in the folk-inclined Mehr Ensemble. Johannessen and Dale’s respective roots in Arabic, Iranian, and Persian folk music pronounce the motifs that Black Aleph utilizes. The trio has been compared to renowned experimental acts like Godspeed You! Black Emperor, Justin Broadrick, and Jesu, while associated with members of We Lost the Sea and Sunn O))). However, Black Aleph plays more in line with Hashshashin or countrymates Omahara in the blurring of drone and folk, ever-punishing and ever-organic.
Black Aleph deals in a style that balances weight, tension, and melody. Just as in Godspeed’s Lift Your Skinny Fists…, chord progressions throughout Apsides are layered with tension, bated breath between dissonance and harmony. While layered with ominous droning doom riffs (“Descent,” “Precession”), the crescendos within its micro-movements prove the most intriguing. Whether it be its dancing and complex rhythms (“Return”), climbing arpeggios (the “Ambit” duo), or gradual uses of volume and curious motifs (“Separation,” “Return”) the best uses of the percussive daf are utilized in quieter moments, creating a pulsing undercurrent of mystery and frailty rather than the punishing drums they pretend to be in the more droning cuts. These more gentle movements gradually increase in girth with post-rock intention, erupting in satisfying droning climaxes (“Ambit II (Aphelion),” “Return”). While droning guitars are relatively straightforward, their acoustic instruments—setar, daf, cello, and violin2—provide Black Aleph an easy and effective bridge between droning metal and folk motifs, as the songs are constructed safely and neatly.
Black Aleph’s voiceless music creates a greater impetus to focus on the songwriting, and unfortunately, Apsides suffers from moments of directionless meandering and awkwardly curtailed movements. In general, the lack of vocals is a critique depending on the listener. In a manner of songwriting, however, the best crescendo occurs in “Ambit II (Aphelion)” and no track following lives up to this peak, although others attempt to scale it (“Separation,” “Return”). While noodling occurs throughout (i.e. “Ambit I (Ascension)”), it overwhelms the moments of climax, leading tracks plummeting to the ground, especially in the limp closer “Occultation,” whose wonky rhythms and skronky setar rob the guitars of needed weight. Most frustrating with Black Aleph is that, although each track is neatly composed and competently executed, the album at large feels too short and abrupt. Apisdes’ thirty-minute runtime feels too short like Black Aleph missed the chance to adequately flesh out their ideas when eschewing drone metal’s tendency towards lengthy offerings.
Apsides offers a unique sound, hindered by its own ambition. Although the songs are too short and performances can be shortsighted, Black Aleph has an endlessly intriguing premise and unique execution. Ritualistic rhythms, Middle Eastern motifs, droning riffs, and otherworldly drive collide in an album that largely succeeds. It’s good that I want to hear more of Black Aleph, because I think their next album will be better than Apsides.
Rating: 3.0/5.0
DR: 8 | Format Reviewed: 320 kb/s mp3
Label: Self-Released
Websites: blackaleph.bandcamp.com | facebook.com/blackaleph
Releases Worldwide: October 25th, 2024Show 2 footnotes
- Alongside running labels Art As Catharsis and Worlds Within Worlds. ↩
- Courtesy of guest Natalya Bing. ↩
#2024 #30 #Apsides #AryaEnsemble #AustralianMetal #BlackAleph #DoomMetal #Drone #DroneMetal #Folk #FourPlayStringQuartet #GodspeedYouBlackEmperor #Hashshashin #Haunts #Jesu #JustinBroadrick #MehrEnsemble #Noise #Oct24 #Omahara #PostRock #PostMetal #Review #Reviews #SelfReleased #SunnO_ #Tangents #WeLostTheSea
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By Dear Hollow
Look, Dave. Buddy. Pal. I love drone, but you’re making it really difficult. When I sat and listened to Sunn O))) for like an hour and a half, my colleagues mocked me. They said, “Wow Dear Hollow, doing laundry at work, huh?” before laughing and gorilla-hooting in my face all the way back to the Fvneral Fvkk cvbicle. I persisted, even when Steel Druhm played screaming rooster videos while I played Nadja’s Radiance of Shadows and I thought it was the advent of vocals I had missed before—I even spilled my coffee. But even then, I turned the other cheek. I persisted. Even when Dr. A.N. Grier called me an idiot as loudly as possible to drown out Horseback, making him sound like the deranged lap-steel-abusing cowpoke I know he is. My point is: Dave, my man, you gotta help me out here.
Oscillotron is a project of David Johansson, frontman of Steel Druhm–gorilla-themed Swedish doom rock act Kongh, and live guitarist for Cult of Luna since 2013. If you’re hoping that Oscillotron incorporates any of that shit, aside from thick-as-booty-cheeks heavy, you’ll be sorely disappointed. Oblivion is Johansson’s first offering under the moniker in eight years, promising more drone-influenced sprawls than the atmospheric doom and electronic emphases of 2016’s Cataclysm or 2012’s Eclipse. In this way, Oblivion lives up to its name—mightily. Your ears will be greeted by an hour-long track composed of an unceasing wall of noise made of droning guitars and Moog synthesizers. Without a serious pair of headphones or an ounce of masochism, Oscillotron will offer you the album to drift off to. It’s about as exciting as you can imagine.
Oscillotron is meticulous in its sound design, with each layer of density and shuddering radiant carefully constructed and included. In true drone spirit, Oblivion’s spotlight is on the heft. Oscillotron offers no vocals or percussion and no chord progressions in a stark (and tragic) departure from their Sunny genremates. It’s one sprawling and unmoving beast whose only sign of life is some periodic strumming movement, the electronic warbles and beeps from the synth, or the gradual collapse of the wall somewhere near the forty-five-minute mark. Johansson steers away from the Sabbathian orange fuzz of Earth, the dynamics of early Boris, and the evocative movements of Nadja. It’s truly Oblivion, an emptiness that envelopes the ears in encompassing saturation of total emptiness. It’s almost astounding, as repeated listens grant layers of noise peeled back with each iteration, a trip to the void that feels ruinously apathetic and aphotic. It will drive you mad, for better or for worse.
Perhaps most obviously, Oscillotron is drone—stubbornly more-vacant-than-usual-drone—for a whole fuckin’ hour with nothing going for it. Good drone is meant to swallow you whole, but Oblivion is so devoted to expansion that it neglects any form of accessibility or, dare I say music. Distortion is front and center, and for funsies you can sing along by humming the same note for a whole fucking hour. As such, there is no direction or defined purpose, no beginning, middle, or conclusion, aside from the shuddering density. Oblivion cannot stand on its own, as there isn’t even a lead-in or a fade-out—it just starts abruptly and ends abruptly. I can admire Oscillotron’s motives to create something rawer and more visceral than the cinematic facades constructed in years past, but to turn away from the very basics of music into truly a sprawling static stand-still of noise? That is truly puzzling.
I will use Oscillotron’s breed of noise-mongering as background noise for reading or sleep aid, but Oblivion is minimalist decadence for absolutely no one’s benefit. It lacks basic musical wherewithal and earns its status as “just noise.” Yeah, I love drone, but I also like drone to feel a bit more like, I don’t know, music? I can see its uses and get lost in the labyrinth where all walls look the same, but Dave, my guy, I’m gonna be made the laughingstock of AMG HQ if you keep this up. At least put in a couple more chords, a sustained high note, drums, vocals—something. If not, the ADHD Metal Guy, Second Most High Gorilla, Idiotic Cowpoke Grier, and the other Fvneral Fvkking bastards are coming for me. For my sake. Be a friend. Please.
Rating: 1.0/5.0
DR: 3 | Format Reviewed: 320 kb/s mp3
Label: Self-Released
Website: oscillotron.bandcamp.com | facebook.com/oscillotron
Releases Worldwide: September 20th, 2024#10 #2024 #AmbientNoise #BlackSabbath #Boris #CultOfLuna #DoomMetal #Drone #DroneMetal #Earth #Horseback #Kongh #Nadja #Noise #Obligion #Oscillotron #Review #Reviews #SelfRelease #Sep24 #SunnO_ #SwedishMetal
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By Dear Hollow
Look, Dave. Buddy. Pal. I love drone, but you’re making it really difficult. When I sat and listened to Sunn O))) for like an hour and a half, my colleagues mocked me. They said, “Wow Dear Hollow, doing laundry at work, huh?” before laughing and gorilla-hooting in my face all the way back to the Fvneral Fvkk cvbicle. I persisted, even when Steel Druhm played screaming rooster videos while I played Nadja’s Radiance of Shadows and I thought it was the advent of vocals I had missed before—I even spilled my coffee. But even then, I turned the other cheek. I persisted. Even when Dr. A.N. Grier called me an idiot as loudly as possible to drown out Horseback, making him sound like the deranged lap-steel-abusing cowpoke I know he is. My point is: Dave, my man, you gotta help me out here.
Oscillotron is a project of David Johansson, frontman of Steel Druhm–gorilla-themed Swedish doom rock act Kongh, and live guitarist for Cult of Luna since 2013. If you’re hoping that Oscillotron incorporates any of that shit, aside from thick-as-booty-cheeks heavy, you’ll be sorely disappointed. Oblivion is Johansson’s first offering under the moniker in eight years, promising more drone-influenced sprawls than the atmospheric doom and electronic emphases of 2016’s Cataclysm or 2012’s Eclipse. In this way, Oblivion lives up to its name—mightily. Your ears will be greeted by an hour-long track composed of an unceasing wall of noise made of droning guitars and Moog synthesizers. Without a serious pair of headphones or an ounce of masochism, Oscillotron will offer you the album to drift off to. It’s about as exciting as you can imagine.
Oscillotron is meticulous in its sound design, with each layer of density and shuddering radiant carefully constructed and included. In true drone spirit, Oblivion’s spotlight is on the heft. Oscillotron offers no vocals or percussion and no chord progressions in a stark (and tragic) departure from their Sunny genremates. It’s one sprawling and unmoving beast whose only sign of life is some periodic strumming movement, the electronic warbles and beeps from the synth, or the gradual collapse of the wall somewhere near the forty-five-minute mark. Johansson steers away from the Sabbathian orange fuzz of Earth, the dynamics of early Boris, and the evocative movements of Nadja. It’s truly Oblivion, an emptiness that envelopes the ears in encompassing saturation of total emptiness. It’s almost astounding, as repeated listens grant layers of noise peeled back with each iteration, a trip to the void that feels ruinously apathetic and aphotic. It will drive you mad, for better or for worse.
Perhaps most obviously, Oscillotron is drone—stubbornly more-vacant-than-usual-drone—for a whole fuckin’ hour with nothing going for it. Good drone is meant to swallow you whole, but Oblivion is so devoted to expansion that it neglects any form of accessibility or, dare I say music. Distortion is front and center, and for funsies you can sing along by humming the same note for a whole fucking hour. As such, there is no direction or defined purpose, no beginning, middle, or conclusion, aside from the shuddering density. Oblivion cannot stand on its own, as there isn’t even a lead-in or a fade-out—it just starts abruptly and ends abruptly. I can admire Oscillotron’s motives to create something rawer and more visceral than the cinematic facades constructed in years past, but to turn away from the very basics of music into truly a sprawling static stand-still of noise? That is truly puzzling.
I will use Oscillotron’s breed of noise-mongering as background noise for reading or sleep aid, but Oblivion is minimalist decadence for absolutely no one’s benefit. It lacks basic musical wherewithal and earns its status as “just noise.” Yeah, I love drone, but I also like drone to feel a bit more like, I don’t know, music? I can see its uses and get lost in the labyrinth where all walls look the same, but Dave, my guy, I’m gonna be made the laughingstock of AMG HQ if you keep this up. At least put in a couple more chords, a sustained high note, drums, vocals—something. If not, the ADHD Metal Guy, Second Most High Gorilla, Idiotic Cowpoke Grier, and the other Fvneral Fvkking bastards are coming for me. For my sake. Be a friend. Please.
Rating: 1.0/5.0
DR: 3 | Format Reviewed: 320 kb/s mp3
Label: Self-Released
Website: oscillotron.bandcamp.com | facebook.com/oscillotron
Releases Worldwide: September 20th, 2024#10 #2024 #AmbientNoise #BlackSabbath #Boris #CultOfLuna #DoomMetal #Drone #DroneMetal #Earth #Horseback #Kongh #Nadja #Noise #Obligion #Oscillotron #Review #Reviews #SelfRelease #Sep24 #SunnO_ #SwedishMetal
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By Dear Hollow
Look, Dave. Buddy. Pal. I love drone, but you’re making it really difficult. When I sat and listened to Sunn O))) for like an hour and a half, my colleagues mocked me. They said, “Wow Dear Hollow, doing laundry at work, huh?” before laughing and gorilla-hooting in my face all the way back to the Fvneral Fvkk cvbicle. I persisted, even when Steel Druhm played screaming rooster videos while I played Nadja’s Radiance of Shadows and I thought it was the advent of vocals I had missed before—I even spilled my coffee. But even then, I turned the other cheek. I persisted. Even when Dr. A.N. Grier called me an idiot as loudly as possible to drown out Horseback, making him sound like the deranged lap-steel-abusing cowpoke I know he is. My point is: Dave, my man, you gotta help me out here.
Oscillotron is a project of David Johansson, frontman of Steel Druhm–gorilla-themed Swedish doom rock act Kongh, and live guitarist for Cult of Luna since 2013. If you’re hoping that Oscillotron incorporates any of that shit, aside from thick-as-booty-cheeks heavy, you’ll be sorely disappointed. Oblivion is Johansson’s first offering under the moniker in eight years, promising more drone-influenced sprawls than the atmospheric doom and electronic emphases of 2016’s Cataclysm or 2012’s Eclipse. In this way, Oblivion lives up to its name—mightily. Your ears will be greeted by an hour-long track composed of an unceasing wall of noise made of droning guitars and Moog synthesizers. Without a serious pair of headphones or an ounce of masochism, Oscillotron will offer you the album to drift off to. It’s about as exciting as you can imagine.
Oscillotron is meticulous in its sound design, with each layer of density and shuddering radiant carefully constructed and included. In true drone spirit, Oblivion’s spotlight is on the heft. Oscillotron offers no vocals or percussion and no chord progressions in a stark (and tragic) departure from their Sunny genremates. It’s one sprawling and unmoving beast whose only sign of life is some periodic strumming movement, the electronic warbles and beeps from the synth, or the gradual collapse of the wall somewhere near the forty-five-minute mark. Johansson steers away from the Sabbathian orange fuzz of Earth, the dynamics of early Boris, and the evocative movements of Nadja. It’s truly Oblivion, an emptiness that envelopes the ears in encompassing saturation of total emptiness. It’s almost astounding, as repeated listens grant layers of noise peeled back with each iteration, a trip to the void that feels ruinously apathetic and aphotic. It will drive you mad, for better or for worse.
Perhaps most obviously, Oscillotron is drone—stubbornly more-vacant-than-usual-drone—for a whole fuckin’ hour with nothing going for it. Good drone is meant to swallow you whole, but Oblivion is so devoted to expansion that it neglects any form of accessibility or, dare I say music. Distortion is front and center, and for funsies you can sing along by humming the same note for a whole fucking hour. As such, there is no direction or defined purpose, no beginning, middle, or conclusion, aside from the shuddering density. Oblivion cannot stand on its own, as there isn’t even a lead-in or a fade-out—it just starts abruptly and ends abruptly. I can admire Oscillotron’s motives to create something rawer and more visceral than the cinematic facades constructed in years past, but to turn away from the very basics of music into truly a sprawling static stand-still of noise? That is truly puzzling.
I will use Oscillotron’s breed of noise-mongering as background noise for reading or sleep aid, but Oblivion is minimalist decadence for absolutely no one’s benefit. It lacks basic musical wherewithal and earns its status as “just noise.” Yeah, I love drone, but I also like drone to feel a bit more like, I don’t know, music? I can see its uses and get lost in the labyrinth where all walls look the same, but Dave, my guy, I’m gonna be made the laughingstock of AMG HQ if you keep this up. At least put in a couple more chords, a sustained high note, drums, vocals—something. If not, the ADHD Metal Guy, Second Most High Gorilla, Idiotic Cowpoke Grier, and the other Fvneral Fvkking bastards are coming for me. For my sake. Be a friend. Please.
Rating: 1.0/5.0
DR: 3 | Format Reviewed: 320 kb/s mp3
Label: Self-Released
Website: oscillotron.bandcamp.com | facebook.com/oscillotron
Releases Worldwide: September 20th, 2024#10 #2024 #AmbientNoise #BlackSabbath #Boris #CultOfLuna #DoomMetal #Drone #DroneMetal #Earth #Horseback #Kongh #Nadja #Noise #Obligion #Oscillotron #Review #Reviews #SelfRelease #Sep24 #SunnO_ #SwedishMetal
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New this week
#idmdowntempo #soundtrackmusic #ambientindustrial #ost #nature #forest #magical #healing #hypnotic #cinematic #meditative #soundscape #doommetal #dronemetal #sludgemetal #stonermetal #idm #improvisation #musiqueconcrete #progressive #neoclassical #postminimalist #krautrock #spacerock #bandcampcodes #yumcodes #bandcamp #music
https://www.getmusic.fm/weekly/2024/06/11?utm_campaign=new&utm_source=mastodon
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Locusts and Honey – Teach Me to Live That I Dread the Grave As Little As My Bed Review
By Dear Hollow
Although professing the inclusion of funeral doom, black metal, and dark ambient, Teach Me to Live That I Dread the Grave As Little As My Bed is a gentle album. Locusts and Honey gently ebbs and flows along well-defined lines of expectations set by patiently unwinding epics like Bell Witch’s Mirror Reaper and Black Boned Angel’s The End in devastating, torturously slow and mammoth riffs, colossal percussion, and vocals from Hell. However, like these albums, there is a core of light, a glimmer of humanity that shines through the vicious and viscous. Locusts and Honey takes inspiration from the well-preserved sacrificial bog bodies of Denmark and Ireland – the macabre – and finds lessons of a life well lived – the light.
UK duo Locusts and Honey is comprised of instrumentalist Tomás Robertson of black metal acts Gergesenes, Nargothrond, and Urne Buriall, and vocalist Stephen Murray of sludge metal quartet Hooden. While influence from black and sludge can be felt, Locusts and Honey blurs the lines between funeral doom and drone in its debut, mountainous dirges pushed to a crackling breaking point, not unlike the noise in BIG|BRAVE’s latest meditation. While rooted in 90s doom styles in Corrupted, Winter, and Esoteric, black metal’s trademark rawness in acts like Darkthrone or Strid offers a scathing overtone to the slow-motion beatdown, depicting cinematic landscapes of dark ambient artists or composers like William Basinski and Henryk Górecki. While Teach Me to Live That I May Dread the Grave As Little As My Bed is far from perfect in its top-heavy design and noisy drone impenetrability, its meditative and melodic qualities make it a promising listen.
It may feel counterintuitive to praise a drone/funeral doom album for its brevity, but Locusts and Honey clocks in just over twenty-eight minutes for their debut.1 Described as one song broken into six movements, the centerpiece is its second “Leathern Cord,” whose mountainous waves greet lamenting melodies that inject a burning tension with a patience that makes its twelve-minute runtime satisfying and evocative. Meanwhile, “Beauty and Atrocity” and “Confraternities of the Cord” embrace peaceful melodies alongside sprawling dense atmospherics, while closer “Damnation of Memoriae” serves as a final look back at the dead in its dark ambient emphasis and diminished chord progression. “Traitor to Love” is the closest to a black metal attack, its dense drone giving a convincing caricature of black metal tremolo picking and blastbeats. Murray’s formidable vocals range from sinister shrieks to hellish growls, shining in “Leathern Cord” and “Traitor to Love,” although the guitar remains the focus throughout. Like any good drone record, Locusts and Honey focuses on utter saturation and poignant evocation, although the effective incorporation of gentle melody is noteworthy.
Although the album is billed as a single song, its movements feel a bit uneven. Although bookended by ambient pieces, Locusts and Honey’s use of “Leathern Cord” as the album climax puts every following track in its shadow. Intro “Surfeit of Lampreys” does a fine albeit brief job of building the suspense, but “Confraternities of the Cord” reiterates its motifs in a slightly more melodic fashion in a significantly shorter runtime – begging the question as to why it’s considered distinct from the main event. While “Beauty and Atrocity” is a better and more honed version of the melodic and “Traitor to Love” maintains its own more blackened identity, each track following “Leathern Cord” never quite lives up. Because of the drone tag, like BIG|BRAVE’s A Chaos of Flowers, the guitar tone that Robertson utilizes is absolutely noisy and inaccessible, and its effectiveness depends on the listener, as it regularly drowns out Murray’s otherwise vicious vocal performance.
Locusts and Honey’s wordsy debut blessedly lets the music do the talking for the dead. Surprisingly more positive than its source material suggests, its dual emphasis on mammoth riffs and tense melody inject more memorable moments than much of contemporary drone/funeral doom offerings. While it remains top-heavy with easy highlight “Leathern Cord” right out of the gates, it nonetheless offers complete and absurdly heavy saturation in ways sure to satisfy. While obscenely devastating and as dark as you expect, Teach Me to Live That I Dread the Grave as Little as My Bed incorporates melody and gentleness in a concise package that hints at greatness to come.
Rating: 3.0/5.0
DR: 5 | Format Reviewed: 320 kbps mp3
Label: Hypaethral Records
Website: locustsandhoney.bandcamp.com
Releases Worldwide: May 24th, 2024#2024 #30 #AmbientNoise #BellWitch #BigBrave #BlackBonedAngel #BlackMetal #Corrupted #DarkAmbient #Darkthrone #DroneMetal #Esoteric #FuneralDoomMetal #Gergesenes #HenrykGórecki #Hooden #HypaethralRecords #LocustsAndHoney #May24 #Nargothrond #Noise #Review #Reviews #Strid #TeachMeToLiveThatIDreadTheGraveAsLittleAsMyBed #UKMetal #UrneBuriall #WilliamBasinski #Winter
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Locusts and Honey – Teach Me to Live That I Dread the Grave As Little As My Bed Review
By Dear Hollow
Although professing the inclusion of funeral doom, black metal, and dark ambient, Teach Me to Live That I Dread the Grave As Little As My Bed is a gentle album. Locusts and Honey gently ebbs and flows along well-defined lines of expectations set by patiently unwinding epics like Bell Witch’s Mirror Reaper and Black Boned Angel’s The End in devastating, torturously slow and mammoth riffs, colossal percussion, and vocals from Hell. However, like these albums, there is a core of light, a glimmer of humanity that shines through the vicious and viscous. Locusts and Honey takes inspiration from the well-preserved sacrificial bog bodies of Denmark and Ireland – the macabre – and finds lessons of a life well lived – the light.
UK duo Locusts and Honey is comprised of instrumentalist Tomás Robertson of black metal acts Gergesenes, Nargothrond, and Urne Buriall, and vocalist Stephen Murray of sludge metal quartet Hooden. While influence from black and sludge can be felt, Locusts and Honey blurs the lines between funeral doom and drone in its debut, mountainous dirges pushed to a crackling breaking point, not unlike the noise in BIG|BRAVE’s latest meditation. While rooted in 90s doom styles in Corrupted, Winter, and Esoteric, black metal’s trademark rawness in acts like Darkthrone or Strid offers a scathing overtone to the slow-motion beatdown, depicting cinematic landscapes of dark ambient artists or composers like William Basinski and Henryk Górecki. While Teach Me to Live That I May Dread the Grave As Little As My Bed is far from perfect in its top-heavy design and noisy drone impenetrability, its meditative and melodic qualities make it a promising listen.
It may feel counterintuitive to praise a drone/funeral doom album for its brevity, but Locusts and Honey clocks in just over twenty-eight minutes for their debut.1 Described as one song broken into six movements, the centerpiece is its second “Leathern Cord,” whose mountainous waves greet lamenting melodies that inject a burning tension with a patience that makes its twelve-minute runtime satisfying and evocative. Meanwhile, “Beauty and Atrocity” and “Confraternities of the Cord” embrace peaceful melodies alongside sprawling dense atmospherics, while closer “Damnation of Memoriae” serves as a final look back at the dead in its dark ambient emphasis and diminished chord progression. “Traitor to Love” is the closest to a black metal attack, its dense drone giving a convincing caricature of black metal tremolo picking and blastbeats. Murray’s formidable vocals range from sinister shrieks to hellish growls, shining in “Leathern Cord” and “Traitor to Love,” although the guitar remains the focus throughout. Like any good drone record, Locusts and Honey focuses on utter saturation and poignant evocation, although the effective incorporation of gentle melody is noteworthy.
Although the album is billed as a single song, its movements feel a bit uneven. Although bookended by ambient pieces, Locusts and Honey’s use of “Leathern Cord” as the album climax puts every following track in its shadow. Intro “Surfeit of Lampreys” does a fine albeit brief job of building the suspense, but “Confraternities of the Cord” reiterates its motifs in a slightly more melodic fashion in a significantly shorter runtime – begging the question as to why it’s considered distinct from the main event. While “Beauty and Atrocity” is a better and more honed version of the melodic and “Traitor to Love” maintains its own more blackened identity, each track following “Leathern Cord” never quite lives up. Because of the drone tag, like BIG|BRAVE’s A Chaos of Flowers, the guitar tone that Robertson utilizes is absolutely noisy and inaccessible, and its effectiveness depends on the listener, as it regularly drowns out Murray’s otherwise vicious vocal performance.
Locusts and Honey’s wordsy debut blessedly lets the music do the talking for the dead. Surprisingly more positive than its source material suggests, its dual emphasis on mammoth riffs and tense melody inject more memorable moments than much of contemporary drone/funeral doom offerings. While it remains top-heavy with easy highlight “Leathern Cord” right out of the gates, it nonetheless offers complete and absurdly heavy saturation in ways sure to satisfy. While obscenely devastating and as dark as you expect, Teach Me to Live That I Dread the Grave as Little as My Bed incorporates melody and gentleness in a concise package that hints at greatness to come.
Rating: 3.0/5.0
DR: 5 | Format Reviewed: 320 kbps mp3
Label: Hypaethral Records
Website: locustsandhoney.bandcamp.com
Releases Worldwide: May 24th, 2024#2024 #30 #AmbientNoise #BellWitch #BigBrave #BlackBonedAngel #BlackMetal #Corrupted #DarkAmbient #Darkthrone #DroneMetal #Esoteric #FuneralDoomMetal #Gergesenes #HenrykGórecki #Hooden #HypaethralRecords #LocustsAndHoney #May24 #Nargothrond #Noise #Review #Reviews #Strid #TeachMeToLiveThatIDreadTheGraveAsLittleAsMyBed #UKMetal #UrneBuriall #WilliamBasinski #Winter
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I put all my music on #bandcamp last night! Check it out, there's really probably something for everybody. Thanks for listening :)
#music #musodon #musician #musicians #electronicmusic #dancemusic #edm #experimental #experimentalmusic #noise #noisemusic #house #housemusic #dubstep #acid #acidhouse #breakcore #mashcore #doom #metal #doommetal #drone #dronemetal #ambient #ambientmusic #guitar #shoegaze #trap #sigilkore #aethercore #idm
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Revolution with the dancing leg: Khanate - Live in Nottingham
Just in time for the release of #Khanate's new album return with their first album in 14 years, developing their singular and signature precise, temporal abstract doom beyondall thresholds, I dug out their concert Live in #Nottingham 2004.
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Dass ich das noch erleben darf. #Khanate gibt eine neue LP heraus.
Khanate- Live in #Nottingham 2004 - Invidious https://yewtu.be/embed/-o-JOgdXzg8
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I'm totally new to #Khanate even though they've now been around for 23 years, so maybe comparing them to other bands is a faux pas. But to my ears they're like a mix of #Fugazi, #EinstürzendeNeubauten, and Sunn O))), so my brain is very happy right now.
#DoomMetal #DroneMetal #NowPlaying
https://khanate.bandcamp.com/album/to-be-cruel -
AVAILABLE NOW.
DIRTY DRONE DISTORTION - a doom drone stompbox (3rd batch)
This one is for heavy doom drone sounds, no matter if you run your stringed instruments (electric guitar/bass/etc) or a synth through it, the Dirty Drone Distortion will add 10 tons of weight to it. It is housed in a sturdy aluminum enclosure, hand-painted with ‘industry burnout’ camo patterns in black and silver. The circuit is a modded vintage SUNN MODEL T preamp based distortion with HIGH and LOW control and a build in duo-oscillator DIRTY DRONE section. MIX control blends the DRONES with the pedal’s input, before the distortion kicks in. But the machine can also be used as a stand alone drone synth, if you fancy. Each oscillator has a FREQUENCY control for and a WAVEFORM toggle-switch for TRIANGLE and SQUARE wave selection. The upper toggle has 3 positions, the middle position disables that oscillator, if a single non-overlaping waveform is desired. The third toggle engages the EXTREME DISTORTION mode when flipped to the right. (NOTE! this is not explained or shown in the 1st demo video, since i have changed this function after recording it.) The NORMAL DISTORTION (toggle left) results in the wonderfully saturated distortion this circuit is famous for. The right stomp-switch with indicator LED is the DRONE KILL switch, it engages or shuts down the oscillators completely for hands-free operation. The left stomp switch is the TRUE BYPASS with it’s own indicator LED (the LEDs are violet/UV and lime green, order my vary). VOLUME attenuates the global output level (BEWARE: the pedal is VERY loud!). Powered by 9V DC via a ‘boss-style’ 2.1mm DC socket (negative pin inside). Power supply not included. Handmade by GRM for Metsään.
Some demovideos can be found from youtube or the Metsään website.
https://metsn.tumblr.com/post/708974793317384192
#METSÄÄN #dirtydrone #dirtydronedistortion #thismachinekillsfascists #dronesynthesizer #dronepedal #dirtpedal #DirtyDrone #distortion
#distortionpedal #doomdrones
#doommetal #dronemetal #doomcore
#pedal #guitarpedal #fuzz #stompbox #noiseagainstfascism #noisenotmusic #anarxnoise -
DIRTY DRONE DISTORTION - heavy tone controlled distortion with build in doom drone oscillators
DM for preorders. (185€+shipping) The last batches went rather fast. When i have done proper documentation, they will be also made available via METSÄÄN and other online shopping strip malls.
This one is for heavy doom drone sounds, no matter if you run your stringed instruments (electric guitar/bass/etc) or a synth through it, the Dirty Drone Distortion will add 10 tons. It is housed in a sturdy aluminum enclosure, hand-painted with ‘industry burnout’ camo patterns in black and silver. The circuit is a modded vintage SUNN MODEL T preamp based distortion with HIGH and LOW control and a build in duo-oscillator DIRTY DRONE section. MIX control blends the DRONES with the pedal’s input before the distortion kicks in. Each oscillator has a TUNE control and a WAVEFORM toggle-switch for TRIANGLE and SQUARE wave selection. The third toggle engages the EXTREME DISTORTION mode when flipped to the right. (NOTE! this is not explained or shown in the 1st demo video, since i have changed this function after recording it.) The NORMAL DISTORTION (toggle left) results the mighty saturated distortion this circuit is famous for. The right stomp-switch with indicator LED is the DRONE KILL switch, it engages or shuts down the oscillators completely for hands-free operation. The left stomp switch is the TRUE BYPASS with it’s own indicator LED (the LEDs are violet/UV and lime green, order my vary). VOLUME attenuates the global output level (BEWARE: the pedal is VERY loud!). Powered by 9V DC via a ‘boss-style’ 2.1mm DC socket (negative pin inside). Power supply not included. Handmade by GRM for Metsään.
#METSÄÄN #dirtydrone #dirtydronedistortion #thismachinekillsfascists #dronesynthesizer #dronepedal #dirtpedal #DirtyDrone #distortion
#distortionpedal #doomdrones
#doommetal #dronemetal #doomcore
#pedal #guitarpedal #fuzz #stompbox #noiseagainstfascism #noisenotmusic -
Available now.
DIRTY DRONE DISTORTION - Distortion with build in doom drone oscillators
Still need to make a demo video with the NORMAL distortion setting, as the previous one only shows the EXTREME setting. Stay detuned.
This one is for heavy doom drone sounds, no matter if you run your stringed instruments (electric guitar/bass/etc) or a synth through it, the Dirty Drone Distortion will add 10 tons. It is housed in a sturdy aluminum enclosure, hand-painted with ‘industry burnout’ camo patterns in black and silver. The circuit is a modded vintage SUNN MODEL T preamp based distortion with HIGH and LOW control and a build in duo-oscillator DIRTY DRONE section. MIX control blends the DRONES with the pedal’s input before the distortion kicks in. Each oscillator has a TUNE control and a WAVEFORM toggle-switch for TRIANGLE and SQUARE wave selection. The third toggle engages the EXTREME DISTORTION mode when flipped to the right. (NOTE! this is not explained or shown in the 1st demo video, since i have changed this function after recording it.) The NORMAL DISTORTION (toggle left) results the mighty saturated distortion this circuit is famous for. The right stomp-switch with indicator LED is the DRONE KILL switch, it engages or shuts down the oscillators completely for hands-free operation. The left stomp switch is the TRUE BYPASS with it’s own indicator LED (the LEDs are violet/UV and lime green, order my vary). VOLUME attenuates the global output level (BEWARE: the pedal is VERY loud!). Powered by 9V DC via a ‘boss-style’ 2.1mm DC socket (negative pin inside). Power supply not included. Handmade by GRM for Metsään.
https://metsn.tumblr.com/post/703926314059579393
#METSÄÄN #dirtydrone #dirtydronedistortion #thismachinekillsfascists #dronesynthesizer #dronepedal #dirtpedal #DirtyDrone #distortion
#distortionpedal #doomdrones
#doommetal #dronemetal #doomcore
#pedal #guitarpedal #fuzz #stompbox #noiseagainstfascism #noisenotmusic
#fuzzpedal #pedalporn #pedalfetish #pedalboard #pedalcommodity #dirtstomp #stompbox -
Available now.
DIRTY DRONE DISTORTION - Distortion with build in doom drone oscillators
Still need to make a demo video with the NORMAL distortion setting, as the previous one only shows the EXTREME setting. Stay detuned.
This one is for heavy doom drone sounds, no matter if you run your stringed instruments (electric guitar/bass/etc) or a synth through it, the Dirty Drone Distortion will add 10 tons. It is housed in a sturdy aluminum enclosure, hand-painted with ‘industry burnout’ camo patterns in black and silver. The circuit is a modded vintage SUNN MODEL T preamp based distortion with HIGH and LOW control and a build in duo-oscillator DIRTY DRONE section. MIX control blends the DRONES with the pedal’s input before the distortion kicks in. Each oscillator has a TUNE control and a WAVEFORM toggle-switch for TRIANGLE and SQUARE wave selection. The third toggle engages the EXTREME DISTORTION mode when flipped to the right. (NOTE! this is not explained or shown in the 1st demo video, since i have changed this function after recording it.) The NORMAL DISTORTION (toggle left) results the mighty saturated distortion this circuit is famous for. The right stomp-switch with indicator LED is the DRONE KILL switch, it engages or shuts down the oscillators completely for hands-free operation. The left stomp switch is the TRUE BYPASS with it’s own indicator LED (the LEDs are violet/UV and lime green, order my vary). VOLUME attenuates the global output level (BEWARE: the pedal is VERY loud!). Powered by 9V DC via a ‘boss-style’ 2.1mm DC socket (negative pin inside). Power supply not included. Handmade by GRM for Metsään.
https://metsn.tumblr.com/post/703926314059579393
#METSÄÄN #dirtydrone #dirtydronedistortion #thismachinekillsfascists #dronesynthesizer #dronepedal #dirtpedal #DirtyDrone #distortion
#distortionpedal #doomdrones
#doommetal #dronemetal #doomcore
#pedal #guitarpedal #fuzz #stompbox #noiseagainstfascism #noisenotmusic
#fuzzpedal #pedalporn #pedalfetish #pedalboard #pedalcommodity #dirtstomp #stompbox -
BURNT OUT INDUSTRY CAMO
A new batch of #dirtydronedistortion in the making. Stay setuned.
This one is for heavy doom drone sounds added to your stringed instruments (electric guitar/bass/etc). A sturdy black aluminum enclosure hand-painted with broken hexagon scorced industry camo patterns in matte black and silver is housing a vintage SUNN MODEL T preamp based distortion with HIGH and LOW end booster and a build in duo-oscillator DRONE section. MIX control blends the DRONES with the pedal’s input before the distortion kicks in. Each oscillator has a TUNE control and a WAVEFORM toggle-switch for TRIANGLE and SQUARE wave selection. A third toggle switch adds a very subtle different distortion flavor. A DRONE KILL stomp-switch with UV indicator LED engages or shuts down the oscillators for hands-free operation. VOLUME dials in the global output volume (it’s a loud one!). True bypass with greenish indicator LED. Powered by 9V DC via a ‘boss-style’ 2.1mm DC socket (negative inside). PSU not included. Handmade by GRM for Metsään.
#thismachinekillsfascists #dronesynthesizer #dronepedal #dirtpedal #DirtyDrone #distortion
#distortionpedal #doomdrones
#doommetal #dronemetal #doomcore
#pedal #guitarpedal #fuzz #noiseagainstfascism #noisenotmusic
#fuzzpedal #pedalporn #pedalfetish #pedalcommodity -
Mooonic Production - if Sun O))) wrote 'Toto - Africa'
https://youtu.be/vStUE0Y8jvMCe type m'éclate. Chacune des ses reprises sont incroyables.
#DroneMetal #Drone #doommetal #Doomcheck #PouetRadio #TootRadio #Metal