#dronemetal — Public Fediverse posts

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

Free download codes:

NTBTU - Noise That Breaks The Universe - Soundwaves From The Third Moon

"Drone noise invocations"

https://getmusic.fm/l/Av9ify

#bandcampcodes #ambient #drone #darkambient #noise #doom #dronemetal #dronenoise #music

Wyatt E. – Zamāru Ultu Qereb Ziqquratu Part 1 Review

By Killjoy

With so many bands vying for attention in this digital age, sometimes it takes something truly original to catch a listener’s eye. This is what fixed my attention on Zamāru Ultu Qereb Ziqquratu Part 1 as it poked out of the fertile soil in the promo pit. Wyatt E.1 was originally founded in Belgium as an instrumental drone/doom group by guitarists Sébastien von Landau and Stéphane Rondia to portray the captured people of Jerusalem during the Babylonian Exile in 587 BCE. They made some bold alterations on this latest record to expand their sonic footprint, namely the addition of two drummers recorded simultaneously and collaborations with vocalists Nina Saeidi (Lowen) and Tomer Damsky. Did these creative shakeups succeed in enriching Wyatt E.’s sound?

A few of Wyatt E.’s more unconventional résumé entries have visibly impacted the development of Zamāru. Traces of the synth-heavy soundtrack they wrote for the 2022 film Bowling Saturne are scattered throughout, and the album has a distinct cinematic flair. They also teamed up with Tomer Damsky and Five the Hierophant for a specially commissioned performance at the 2022 Roadburn Festival titled Atonia.2 Five the Hierophant is a convenient starting point for comparison with Wyatt E., as they both rely on continuous repetition of key melodies embellished by a rich assortment of instruments. However, while the former favors wild saxophone passages, the latter prefers to lean on Middle Eastern instruments like the saz and sitar in a manner similar to last year’s Black Aleph release. With these accomplishments under its belt, Wyatt E. was primed to continue where the last album Āl Bēlūti Dārû left off with the intensity now cranked up to 11.

If we liken Zamāru’s structure to a sandwich, the 10-12 minute drone-laden treks bookending the album are the reliable bread that holds everything together. Opener “Qaqqari la târi Part I” begins with a single recurring note forming a rhythmic pattern underpinning the song as subtle fills are gradually layered on and the music suddenly erupts with sitar and percussion. It can’t be overstated how much drummers Jonas Sanders and Gil Chevigné boost the power and scope of the music. They sound positively thunderous when they play the same rhythm and in the finale of closer “Ahanu Ersetum” one anchors the steady beat while the other focuses on complex fills and dramatic crashes. If I had to nitpick, I’d say that a minute or so from the beginning of each of these two longer tracks could have been shortened, but it’s hard to complain much when the buildup and subsequent payoff are so compelling.

Of course, a good sandwich needs delectable filling, and the three middle tracks of Zamāru add tons of piquancy. Much of this comes from the stellar guest vocalists. Tomer Damsky’s singing in “Im Lelya” is nothing short of captivating, especially her vocal undulations at key moments. Likewise, Nina Saeidi’s hypnotic voice rises and falls like gigantic sand dunes in “The Diviner’s Prayer to the Gods of the Night” as she sings an ancient Akkadian poem. The guests don’t do all the heavy lifting, though. “Kerretu Mahrû” is a fascinating whirlwind of Middle Eastern instrumentation underscored by an elaborate drumming dance that all ends much too soon. In fact, this is my only real disappointment with Zamāru as a whole—it feels a bit incomplete. This isn’t exactly surprising, given that it’s titled Part 1, but I still can’t help but crave more after the 35 minutes are over.

It’s barely January, but I’d wager that Wyatt E. has fashioned one of the most unique records of 2025. The novelty factor may be what prompted me to investigate, but Zamāru more than stands on its own merits. Wyatt E. has mastered the tricky art of balancing the repetitive nature of drone with exotic exploration, making good use of the new resources available to hit several creative stretch goals with ease. This is a thoroughly engrossing experience that has earned my attention and rapt anticipation for Part 2.

Rating: 4.0/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Heavy Psych Sounds Records
Websites: wyattdoom.bandcamp.com | facebook.com/Wyattdoom
Releases Worldwide: January 10th, 2025

#2025 #40 #BelgianMetal #BlackAleph #DoomMetal #DroneMetal #FiveTheHierophant #FolkMetal #HeavyPsychSoundsRecords #Jan25 #Lowen #Review #Reviews #WyattE_ #ZamaruUltuQerebZiqquratuPart1

Wyatt E. – Zamāru Ultu Qereb Ziqquratu Part 1 Review

By Killjoy

With so many bands vying for attention in this digital age, sometimes it takes something truly original to catch a listener’s eye. This is what fixed my attention on Zamāru Ultu Qereb Ziqquratu Part 1 as it poked out of the fertile soil in the promo pit. Wyatt E.1 was originally founded in Belgium as an instrumental drone/doom group by guitarists Sébastien von Landau and Stéphane Rondia to portray the captured people of Jerusalem during the Babylonian Exile in 587 BCE. They made some bold alterations on this latest record to expand their sonic footprint, namely the addition of two drummers recorded simultaneously and collaborations with vocalists Nina Saeidi (Lowen) and Tomer Damsky. Did these creative shakeups succeed in enriching Wyatt E.’s sound?

A few of Wyatt E.’s more unconventional résumé entries have visibly impacted the development of Zamāru. Traces of the synth-heavy soundtrack they wrote for the 2022 film Bowling Saturne are scattered throughout, and the album has a distinct cinematic flair. They also teamed up with Tomer Damsky and Five the Hierophant for a specially commissioned performance at the 2022 Roadburn Festival titled Atonia.2 Five the Hierophant is a convenient starting point for comparison with Wyatt E., as they both rely on continuous repetition of key melodies embellished by a rich assortment of instruments. However, while the former favors wild saxophone passages, the latter prefers to lean on Middle Eastern instruments like the saz and sitar in a manner similar to last year’s Black Aleph release. With these accomplishments under its belt, Wyatt E. was primed to continue where the last album Āl Bēlūti Dārû left off with the intensity now cranked up to 11.

If we liken Zamāru’s structure to a sandwich, the 10-12 minute drone-laden treks bookending the album are the reliable bread that holds everything together. Opener “Qaqqari la târi Part I” begins with a single recurring note forming a rhythmic pattern underpinning the song as subtle fills are gradually layered on and the music suddenly erupts with sitar and percussion. It can’t be overstated how much drummers Jonas Sanders and Gil Chevigné boost the power and scope of the music. They sound positively thunderous when they play the same rhythm and in the finale of closer “Ahanu Ersetum” one anchors the steady beat while the other focuses on complex fills and dramatic crashes. If I had to nitpick, I’d say that a minute or so from the beginning of each of these two longer tracks could have been shortened, but it’s hard to complain much when the buildup and subsequent payoff are so compelling.

Of course, a good sandwich needs delectable filling, and the three middle tracks of Zamāru add tons of piquancy. Much of this comes from the stellar guest vocalists. Tomer Damsky’s singing in “Im Lelya” is nothing short of captivating, especially her vocal undulations at key moments. Likewise, Nina Saeidi’s hypnotic voice rises and falls like gigantic sand dunes in “The Diviner’s Prayer to the Gods of the Night” as she sings an ancient Akkadian poem. The guests don’t do all the heavy lifting, though. “Kerretu Mahrû” is a fascinating whirlwind of Middle Eastern instrumentation underscored by an elaborate drumming dance that all ends much too soon. In fact, this is my only real disappointment with Zamāru as a whole—it feels a bit incomplete. This isn’t exactly surprising, given that it’s titled Part 1, but I still can’t help but crave more after the 35 minutes are over.

It’s barely January, but I’d wager that Wyatt E. has fashioned one of the most unique records of 2025. The novelty factor may be what prompted me to investigate, but Zamāru more than stands on its own merits. Wyatt E. has mastered the tricky art of balancing the repetitive nature of drone with exotic exploration, making good use of the new resources available to hit several creative stretch goals with ease. This is a thoroughly engrossing experience that has earned my attention and rapt anticipation for Part 2.

Rating: 4.0/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Heavy Psych Sounds Records
Websites: wyattdoom.bandcamp.com | facebook.com/Wyattdoom
Releases Worldwide: January 10th, 2025

#2025 #40 #BelgianMetal #BlackAleph #DoomMetal #DroneMetal #FiveTheHierophant #FolkMetal #HeavyPsychSoundsRecords #Jan25 #Lowen #Review #Reviews #WyattE_ #ZamaruUltuQerebZiqquratuPart1

Wyatt E. – Zamāru Ultu Qereb Ziqquratu Part 1 Review

By Killjoy

With so many bands vying for attention in this digital age, sometimes it takes something truly original to catch a listener’s eye. This is what fixed my attention on Zamāru Ultu Qereb Ziqquratu Part 1 as it poked out of the fertile soil in the promo pit. Wyatt E.1 was originally founded in Belgium as an instrumental drone/doom group by guitarists Sébastien von Landau and Stéphane Rondia to portray the captured people of Jerusalem during the Babylonian Exile in 587 BCE. They made some bold alterations on this latest record to expand their sonic footprint, namely the addition of two drummers recorded simultaneously and collaborations with vocalists Nina Saeidi (Lowen) and Tomer Damsky. Did these creative shakeups succeed in enriching Wyatt E.’s sound?

A few of Wyatt E.’s more unconventional résumé entries have visibly impacted the development of Zamāru. Traces of the synth-heavy soundtrack they wrote for the 2022 film Bowling Saturne are scattered throughout, and the album has a distinct cinematic flair. They also teamed up with Tomer Damsky and Five the Hierophant for a specially commissioned performance at the 2022 Roadburn Festival titled Atonia.2 Five the Hierophant is a convenient starting point for comparison with Wyatt E., as they both rely on continuous repetition of key melodies embellished by a rich assortment of instruments. However, while the former favors wild saxophone passages, the latter prefers to lean on Middle Eastern instruments like the saz and sitar in a manner similar to last year’s Black Aleph release. With these accomplishments under its belt, Wyatt E. was primed to continue where the last album Āl Bēlūti Dārû left off with the intensity now cranked up to 11.

If we liken Zamāru’s structure to a sandwich, the 10-12 minute drone-laden treks bookending the album are the reliable bread that holds everything together. Opener “Qaqqari la târi Part I” begins with a single recurring note forming a rhythmic pattern underpinning the song as subtle fills are gradually layered on and the music suddenly erupts with sitar and percussion. It can’t be overstated how much drummers Jonas Sanders and Gil Chevigné boost the power and scope of the music. They sound positively thunderous when they play the same rhythm and in the finale of closer “Ahanu Ersetum” one anchors the steady beat while the other focuses on complex fills and dramatic crashes. If I had to nitpick, I’d say that a minute or so from the beginning of each of these two longer tracks could have been shortened, but it’s hard to complain much when the buildup and subsequent payoff are so compelling.

Of course, a good sandwich needs delectable filling, and the three middle tracks of Zamāru add tons of piquancy. Much of this comes from the stellar guest vocalists. Tomer Damsky’s singing in “Im Lelya” is nothing short of captivating, especially her vocal undulations at key moments. Likewise, Nina Saeidi’s hypnotic voice rises and falls like gigantic sand dunes in “The Diviner’s Prayer to the Gods of the Night” as she sings an ancient Akkadian poem. The guests don’t do all the heavy lifting, though. “Kerretu Mahrû” is a fascinating whirlwind of Middle Eastern instrumentation underscored by an elaborate drumming dance that all ends much too soon. In fact, this is my only real disappointment with Zamāru as a whole—it feels a bit incomplete. This isn’t exactly surprising, given that it’s titled Part 1, but I still can’t help but crave more after the 35 minutes are over.

It’s barely January, but I’d wager that Wyatt E. has fashioned one of the most unique records of 2025. The novelty factor may be what prompted me to investigate, but Zamāru more than stands on its own merits. Wyatt E. has mastered the tricky art of balancing the repetitive nature of drone with exotic exploration, making good use of the new resources available to hit several creative stretch goals with ease. This is a thoroughly engrossing experience that has earned my attention and rapt anticipation for Part 2.

Rating: 4.0/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Heavy Psych Sounds Records
Websites: wyattdoom.bandcamp.com | facebook.com/Wyattdoom
Releases Worldwide: January 10th, 2025

#2025 #40 #BelgianMetal #BlackAleph #DoomMetal #DroneMetal #FiveTheHierophant #FolkMetal #HeavyPsychSoundsRecords #Jan25 #Lowen #Review #Reviews #WyattE_ #ZamaruUltuQerebZiqquratuPart1

Wyatt E. – Zamāru Ultu Qereb Ziqquratu Part 1 Review

By Killjoy

With so many bands vying for attention in this digital age, sometimes it takes something truly original to catch a listener’s eye. This is what fixed my attention on Zamāru Ultu Qereb Ziqquratu Part 1 as it poked out of the fertile soil in the promo pit. Wyatt E.1 was originally founded in Belgium as an instrumental drone/doom group by guitarists Sébastien von Landau and Stéphane Rondia to portray the captured people of Jerusalem during the Babylonian Exile in 587 BCE. They made some bold alterations on this latest record to expand their sonic footprint, namely the addition of two drummers recorded simultaneously and collaborations with vocalists Nina Saeidi (Lowen) and Tomer Damsky. Did these creative shakeups succeed in enriching Wyatt E.’s sound?

A few of Wyatt E.’s more unconventional résumé entries have visibly impacted the development of Zamāru. Traces of the synth-heavy soundtrack they wrote for the 2022 film Bowling Saturne are scattered throughout, and the album has a distinct cinematic flair. They also teamed up with Tomer Damsky and Five the Hierophant for a specially commissioned performance at the 2022 Roadburn Festival titled Atonia.2 Five the Hierophant is a convenient starting point for comparison with Wyatt E., as they both rely on continuous repetition of key melodies embellished by a rich assortment of instruments. However, while the former favors wild saxophone passages, the latter prefers to lean on Middle Eastern instruments like the saz and sitar in a manner similar to last year’s Black Aleph release. With these accomplishments under its belt, Wyatt E. was primed to continue where the last album Āl Bēlūti Dārû left off with the intensity now cranked up to 11.

If we liken Zamāru’s structure to a sandwich, the 10-12 minute drone-laden treks bookending the album are the reliable bread that holds everything together. Opener “Qaqqari la târi Part I” begins with a single recurring note forming a rhythmic pattern underpinning the song as subtle fills are gradually layered on and the music suddenly erupts with sitar and percussion. It can’t be overstated how much drummers Jonas Sanders and Gil Chevigné boost the power and scope of the music. They sound positively thunderous when they play the same rhythm and in the finale of closer “Ahanu Ersetum” one anchors the steady beat while the other focuses on complex fills and dramatic crashes. If I had to nitpick, I’d say that a minute or so from the beginning of each of these two longer tracks could have been shortened, but it’s hard to complain much when the buildup and subsequent payoff are so compelling.

Of course, a good sandwich needs delectable filling, and the three middle tracks of Zamāru add tons of piquancy. Much of this comes from the stellar guest vocalists. Tomer Damsky’s singing in “Im Lelya” is nothing short of captivating, especially her vocal undulations at key moments. Likewise, Nina Saeidi’s hypnotic voice rises and falls like gigantic sand dunes in “The Diviner’s Prayer to the Gods of the Night” as she sings an ancient Akkadian poem. The guests don’t do all the heavy lifting, though. “Kerretu Mahrû” is a fascinating whirlwind of Middle Eastern instrumentation underscored by an elaborate drumming dance that all ends much too soon. In fact, this is my only real disappointment with Zamāru as a whole—it feels a bit incomplete. This isn’t exactly surprising, given that it’s titled Part 1, but I still can’t help but crave more after the 35 minutes are over.

It’s barely January, but I’d wager that Wyatt E. has fashioned one of the most unique records of 2025. The novelty factor may be what prompted me to investigate, but Zamāru more than stands on its own merits. Wyatt E. has mastered the tricky art of balancing the repetitive nature of drone with exotic exploration, making good use of the new resources available to hit several creative stretch goals with ease. This is a thoroughly engrossing experience that has earned my attention and rapt anticipation for Part 2.

Rating: 4.0/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Heavy Psych Sounds Records
Websites: wyattdoom.bandcamp.com | facebook.com/Wyattdoom
Releases Worldwide: January 10th, 2025

Show 2 footnotes

1. Surprisingly, not the band I’ve reviewed with the most unusual name during my short tenure thus far as an AMG writer. ↩
2. Recordings of the performance can be found here and here. ↩

#2025 #40 #BelgianMetal #BlackAleph #DoomMetal #DroneMetal #FiveTheHierophant #FolkMetal #HeavyPsychSoundsRecords #Jan25 #Lowen #Review #Reviews #WyattE_ #ZamaruUltuQerebZiqquratuPart1

Oscillotron – Oblivion Review

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

Oscillotron – Oblivion Review

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

Oscillotron – Oblivion Review

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

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