#freejazz — Public Fediverse posts
Live and recent posts from across the Fediverse tagged #freejazz, aggregated by home.social.
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Azoud
Laboratorio Giù dall'Arca, mercoledì 7 ottobre alle ore 19:30 CEST
Azoud
Mercoledì 7 ottobre
Massimiliano Amatruda, Marco Marzo, Giovanni Tufano
Il gruppo nasce dall'incontro a Bologna di tre musicisti attivi sulla scena nazionale e internazionale da più di venti anni e provenienti da esperienze musicali e formazioni diverse, accomunati dalla pratica dell'improvvisazione che diventa il loro terreno di incontro. Il sound che ne viene fuori è un ibrido, con una forte connotazione arabo/mediterranea ma attraversato da influssi derivanti dal jazz, dal funk, dall'indie, dalla world music.... Il repertorio è interamente composto di brani originali contornati e supportati da ampi spazi improvvisativi.Massimiliano Amatruda pianoforte, fisarmonica
Marco Marzo oud
Giovanni Tufano zarb, darbuka, tamburi a cornice, oudingresso con tessera ARCI - ARCIGAY E UISP
Apertura tesseramento e convivialità ore 19,30 - Inizio live dopo
Contributo artistico libero
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Abhorrent Expanse – Enter the Misanthropocene Review
How experimental is too experimental? Tha…
#NewsBeep #News #Music #1.0 #2025 #AbhorrentExpanse #AmalgamMusic #AmbientMetal #AmericanMetal #Aug25 #Bunsenburner #Celestiial #DeathMetal #DissonantDeathMetal #EntertheMisanthropocene #Entertainment #FreeJazz #Grindcore #ImperialTriumphant #JohnCage #JohnZorn #NeptunianMaximalism #noise #Obsequiae #Portal #review #Reviews #TheBlight #UK #UnitedKingdom #ZebulonPike
https://www.newsbeep.com/uk/75769/ -
Abhorrent Expanse – Enter the Misanthropocene Review
By Dear Hollow
How experimental is too experimental? That’s the question Chicago’s Abhorrent Expanse posits. It’s clear from the title: Enter the Misanthropocene enters to play jazz and fuck shit up, and “Bitches Brew” is on its final notes. When the Lord of the Promo Pit designated the quartet as “death-drone,” I was intrigued and gobbled up rights. It was clear from the jump that Abhorrent Expanse was not the death metal act with a mammoth guitar tone I had hoped, but an improvisational free jazz quartet that decides to do extreme metal sometimes, with death metal, grindcore, and, yes, drone metal making short-lived appearances. Pushing the boundary between extreme lofty experimentation and outright nonsense, Enter the Misanthropocene is a sophomore effort that will take you to an abstract and uncompromising world – or straight to the medicine cabinet for an aspirin.
Abhorrent Expanse has a solid lineup, including caliber from Zebulon Pike, Celestiial, Obsequiae, and The Blight – even if its sound feels entirely convoluted. Following the controversial debut Gateways to Resplendence, Enter the Misanthropocene is largely the same, but its scope is larger, significantly reducing its drone content in favor of jazzy noodling, grind intensity, sprawling ambiance, and deconstructed death metal jaggedness. The drone that exists within is a short-lived sprawl that pops up periodically, giving a more abstract feel than its predecessor’s “dissodeath meeting drone metal in a dark alley behind the Kmart” vibe. Forty-eight minutes of whiplash-inducing tonal and tempo shifts, off-key twanging, random stoner sprawls, and an undeserved love for improv awaits – and I need a nap.
Say it with me: improv is bad. I get the whole avant-garde approach that John Zorn would drool over, that an improvised performance is a “never see it the same way twice” kind of deal, but that doesn’t mean it’s good. As we’ve seen with typically good bands like Neptunian Maximalism or Bunsenburner, relying on group chemistry instead of thoughtful songwriting to create a singular experience hardly pans out – and Enter the Misanthropocene is no exception. Moments of avant-garde clarity in which the instruments align shine in the twitching obscure grind (title track, “Assail the Density Matrix,” “Dissonant Aggressors”), short-lived minimalist drone (“Praise for Chaos,” “Dissonant Aggressors,” “Ascension Symptom Acceleration”), haunting ritualism (“Waves of Graves”), and ambient calm (“Kairos”). Death growls are sparse. Enter the Misanthropocene is so free jazz and avant-garde it forcibly drags nonconsenting listeners into what seems like obscenely high art…
…Or incompetent musicianship. Much of Abhorrent Expanse’s sound is rooted in utter nonsense, and one that often gets played really fast. While there’s certainly artistic discomfort aplenty to be found on this record, in which I can see some merit (“Waves of Graves,” “Drenched Onyx”), these are scattered moments among what sound like the plonks and twunks of a novice fiddling with a new guitar at Guitar Center. Atonal noodling and off-beat drumming accounts for the majority of its forty-eight minute runtime, sounding entirely random. The drone-doom moments feel off-beat and misaligned (“Praise for Chaos”), some ambient moments are so subtle and minimalist that they just cover John Cage’s 4’33” for a bit before eventually becoming audible (“Nephilim Disinterred”), and by the end of the ten-minute closer “Prostrate Before Chthonic Devourment” you might feel like you’ve been through a prostrate exam.
The promotion around Abhorrent Expanse relies on similarities to dissonant acts like Portal and Imperial Triumphant – but in order to do that, they’d actually have to write some songs first. Gateways to Resplendence was challenging and avant-garde but anchored to a respectable degree; Enter the Misanthropocene is a leaf on the wind, being blown by one avant-garde gust to another with no semblance of gravity to save it. Its high-art status is a divisive issue, as the directionless noodling can be seen as either a challenging piece of art or four dudes who don’t know how to play their instruments. But isn’t that the nature of art itself? Abhorrent Expanse holds a mirror to art itself, making us question what is drivel and what is erudite – through the improvised off-key noodling of someone who has arguably never picked up a guitar before.
Rating: 1.0/5.0
DR: 9 | Format Reviewed: 320 kb/s mp3
Label: Amalgam Music
Websites: abhorrentexpanse.bandcamp.com
Releases Worldwide: August 15th, 2025#10 #2025 #AbhorrentExpanse #AmalgamMusic #AmbientMetal #AmericanMetal #Aug25 #Bunsenburner #Celestiial #DeathMetal #DissonantDeathMetal #EnterTheMisanthropocene #FreeJazz #Grindcore #ImperialTriumphant #JohnCage #JohnZorn #NeptunianMaximalism #Noise #Obsequiae #Portal #Review #Reviews #TheBlight #ZebulonPike
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Abhorrent Expanse – Enter the Misanthropocene Review
By Dear Hollow
How experimental is too experimental? That’s the question Chicago’s Abhorrent Expanse posits. It’s clear from the title: Enter the Misanthropocene enters to play jazz and fuck shit up, and “Bitches Brew” is on its final notes. When the Lord of the Promo Pit designated the quartet as “death-drone,” I was intrigued and gobbled up rights. It was clear from the jump that Abhorrent Expanse was not the death metal act with a mammoth guitar tone I had hoped, but an improvisational free jazz quartet that decides to do extreme metal sometimes, with death metal, grindcore, and, yes, drone metal making short-lived appearances. Pushing the boundary between extreme lofty experimentation and outright nonsense, Enter the Misanthropocene is a sophomore effort that will take you to an abstract and uncompromising world – or straight to the medicine cabinet for an aspirin.
Abhorrent Expanse has a solid lineup, including caliber from Zebulon Pike, Celestiial, Obsequiae, and The Blight – even if its sound feels entirely convoluted. Following the controversial debut Gateways to Resplendence, Enter the Misanthropocene is largely the same, but its scope is larger, significantly reducing its drone content in favor of jazzy noodling, grind intensity, sprawling ambiance, and deconstructed death metal jaggedness. The drone that exists within is a short-lived sprawl that pops up periodically, giving a more abstract feel than its predecessor’s “dissodeath meeting drone metal in a dark alley behind the Kmart” vibe. Forty-eight minutes of whiplash-inducing tonal and tempo shifts, off-key twanging, random stoner sprawls, and an undeserved love for improv awaits – and I need a nap.
Say it with me: improv is bad. I get the whole avant-garde approach that John Zorn would drool over, that an improvised performance is a “never see it the same way twice” kind of deal, but that doesn’t mean it’s good. As we’ve seen with typically good bands like Neptunian Maximalism or Bunsenburner, relying on group chemistry instead of thoughtful songwriting to create a singular experience hardly pans out – and Enter the Misanthropocene is no exception. Moments of avant-garde clarity in which the instruments align shine in the twitching obscure grind (title track, “Assail the Density Matrix,” “Dissonant Aggressors”), short-lived minimalist drone (“Praise for Chaos,” “Dissonant Aggressors,” “Ascension Symptom Acceleration”), haunting ritualism (“Waves of Graves”), and ambient calm (“Kairos”). Death growls are sparse. Enter the Misanthropocene is so free jazz and avant-garde it forcibly drags nonconsenting listeners into what seems like obscenely high art…
…Or incompetent musicianship. Much of Abhorrent Expanse’s sound is rooted in utter nonsense, and one that often gets played really fast. While there’s certainly artistic discomfort aplenty to be found on this record, in which I can see some merit (“Waves of Graves,” “Drenched Onyx”), these are scattered moments among what sound like the plonks and twunks of a novice fiddling with a new guitar at Guitar Center. Atonal noodling and off-beat drumming accounts for the majority of its forty-eight minute runtime, sounding entirely random. The drone-doom moments feel off-beat and misaligned (“Praise for Chaos”), some ambient moments are so subtle and minimalist that they just cover John Cage’s 4’33” for a bit before eventually becoming audible (“Nephilim Disinterred”), and by the end of the ten-minute closer “Prostrate Before Chthonic Devourment” you might feel like you’ve been through a prostrate exam.
The promotion around Abhorrent Expanse relies on similarities to dissonant acts like Portal and Imperial Triumphant – but in order to do that, they’d actually have to write some songs first. Gateways to Resplendence was challenging and avant-garde but anchored to a respectable degree; Enter the Misanthropocene is a leaf on the wind, being blown by one avant-garde gust to another with no semblance of gravity to save it. Its high-art status is a divisive issue, as the directionless noodling can be seen as either a challenging piece of art or four dudes who don’t know how to play their instruments. But isn’t that the nature of art itself? Abhorrent Expanse holds a mirror to art itself, making us question what is drivel and what is erudite – through the improvised off-key noodling of someone who has arguably never picked up a guitar before.
Rating: 1.0/5.0
DR: 9 | Format Reviewed: 320 kb/s mp3
Label: Amalgam Music
Websites: abhorrentexpanse.bandcamp.com
Releases Worldwide: August 15th, 2025#10 #2025 #AbhorrentExpanse #AmalgamMusic #AmbientMetal #AmericanMetal #Aug25 #Bunsenburner #Celestiial #DeathMetal #DissonantDeathMetal #EnterTheMisanthropocene #FreeJazz #Grindcore #ImperialTriumphant #JohnCage #JohnZorn #NeptunianMaximalism #Noise #Obsequiae #Portal #Review #Reviews #TheBlight #ZebulonPike
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Abhorrent Expanse – Enter the Misanthropocene Review
By Dear Hollow
How experimental is too experimental? That’s the question Chicago’s Abhorrent Expanse posits. It’s clear from the title: Enter the Misanthropocene enters to play jazz and fuck shit up, and “Bitches Brew” is on its final notes. When the Lord of the Promo Pit designated the quartet as “death-drone,” I was intrigued and gobbled up rights. It was clear from the jump that Abhorrent Expanse was not the death metal act with a mammoth guitar tone I had hoped, but an improvisational free jazz quartet that decides to do extreme metal sometimes, with death metal, grindcore, and, yes, drone metal making short-lived appearances. Pushing the boundary between extreme lofty experimentation and outright nonsense, Enter the Misanthropocene is a sophomore effort that will take you to an abstract and uncompromising world – or straight to the medicine cabinet for an aspirin.
Abhorrent Expanse has a solid lineup, including caliber from Zebulon Pike, Celestiial, Obsequiae, and The Blight – even if its sound feels entirely convoluted. Following the controversial debut Gateways to Resplendence, Enter the Misanthropocene is largely the same, but its scope is larger, significantly reducing its drone content in favor of jazzy noodling, grind intensity, sprawling ambiance, and deconstructed death metal jaggedness. The drone that exists within is a short-lived sprawl that pops up periodically, giving a more abstract feel than its predecessor’s “dissodeath meeting drone metal in a dark alley behind the Kmart” vibe. Forty-eight minutes of whiplash-inducing tonal and tempo shifts, off-key twanging, random stoner sprawls, and an undeserved love for improv awaits – and I need a nap.
Say it with me: improv is bad. I get the whole avant-garde approach that John Zorn would drool over, that an improvised performance is a “never see it the same way twice” kind of deal, but that doesn’t mean it’s good. As we’ve seen with typically good bands like Neptunian Maximalism or Bunsenburner, relying on group chemistry instead of thoughtful songwriting to create a singular experience hardly pans out – and Enter the Misanthropocene is no exception. Moments of avant-garde clarity in which the instruments align shine in the twitching obscure grind (title track, “Assail the Density Matrix,” “Dissonant Aggressors”), short-lived minimalist drone (“Praise for Chaos,” “Dissonant Aggressors,” “Ascension Symptom Acceleration”), haunting ritualism (“Waves of Graves”), and ambient calm (“Kairos”). Death growls are sparse. Enter the Misanthropocene is so free jazz and avant-garde it forcibly drags nonconsenting listeners into what seems like obscenely high art…
…Or incompetent musicianship. Much of Abhorrent Expanse’s sound is rooted in utter nonsense, and one that often gets played really fast. While there’s certainly artistic discomfort aplenty to be found on this record, in which I can see some merit (“Waves of Graves,” “Drenched Onyx”), these are scattered moments among what sound like the plonks and twunks of a novice fiddling with a new guitar at Guitar Center. Atonal noodling and off-beat drumming accounts for the majority of its forty-eight minute runtime, sounding entirely random. The drone-doom moments feel off-beat and misaligned (“Praise for Chaos”), some ambient moments are so subtle and minimalist that they just cover John Cage’s 4’33” for a bit before eventually becoming audible (“Nephilim Disinterred”), and by the end of the ten-minute closer “Prostrate Before Chthonic Devourment” you might feel like you’ve been through a prostrate exam.
The promotion around Abhorrent Expanse relies on similarities to dissonant acts like Portal and Imperial Triumphant – but in order to do that, they’d actually have to write some songs first. Gateways to Resplendence was challenging and avant-garde but anchored to a respectable degree; Enter the Misanthropocene is a leaf on the wind, being blown by one avant-garde gust to another with no semblance of gravity to save it. Its high-art status is a divisive issue, as the directionless noodling can be seen as either a challenging piece of art or four dudes who don’t know how to play their instruments. But isn’t that the nature of art itself? Abhorrent Expanse holds a mirror to art itself, making us question what is drivel and what is erudite – through the improvised off-key noodling of someone who has arguably never picked up a guitar before.
Rating: 1.0/5.0
DR: 9 | Format Reviewed: 320 kb/s mp3
Label: Amalgam Music
Websites: abhorrentexpanse.bandcamp.com
Releases Worldwide: August 15th, 2025#10 #2025 #AbhorrentExpanse #AmalgamMusic #AmbientMetal #AmericanMetal #Aug25 #Bunsenburner #Celestiial #DeathMetal #DissonantDeathMetal #EnterTheMisanthropocene #FreeJazz #Grindcore #ImperialTriumphant #JohnCage #JohnZorn #NeptunianMaximalism #Noise #Obsequiae #Portal #Review #Reviews #TheBlight #ZebulonPike
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Abhorrent Expanse – Enter the Misanthropocene Review
By Dear Hollow
How experimental is too experimental? That’s the question Chicago’s Abhorrent Expanse posits. It’s clear from the title: Enter the Misanthropocene enters to play jazz and fuck shit up, and “Bitches Brew” is on its final notes. When the Lord of the Promo Pit designated the quartet as “death-drone,” I was intrigued and gobbled up rights. It was clear from the jump that Abhorrent Expanse was not the death metal act with a mammoth guitar tone I had hoped, but an improvisational free jazz quartet that decides to do extreme metal sometimes, with death metal, grindcore, and, yes, drone metal making short-lived appearances. Pushing the boundary between extreme lofty experimentation and outright nonsense, Enter the Misanthropocene is a sophomore effort that will take you to an abstract and uncompromising world – or straight to the medicine cabinet for an aspirin.
Abhorrent Expanse has a solid lineup, including caliber from Zebulon Pike, Celestiial, Obsequiae, and The Blight – even if its sound feels entirely convoluted. Following the controversial debut Gateways to Resplendence, Enter the Misanthropocene is largely the same, but its scope is larger, significantly reducing its drone content in favor of jazzy noodling, grind intensity, sprawling ambiance, and deconstructed death metal jaggedness. The drone that exists within is a short-lived sprawl that pops up periodically, giving a more abstract feel than its predecessor’s “dissodeath meeting drone metal in a dark alley behind the Kmart” vibe. Forty-eight minutes of whiplash-inducing tonal and tempo shifts, off-key twanging, random stoner sprawls, and an undeserved love for improv awaits – and I need a nap.
Say it with me: improv is bad. I get the whole avant-garde approach that John Zorn would drool over, that an improvised performance is a “never see it the same way twice” kind of deal, but that doesn’t mean it’s good. As we’ve seen with typically good bands like Neptunian Maximalism or Bunsenburner, relying on group chemistry instead of thoughtful songwriting to create a singular experience hardly pans out – and Enter the Misanthropocene is no exception. Moments of avant-garde clarity in which the instruments align shine in the twitching obscure grind (title track, “Assail the Density Matrix,” “Dissonant Aggressors”), short-lived minimalist drone (“Praise for Chaos,” “Dissonant Aggressors,” “Ascension Symptom Acceleration”), haunting ritualism (“Waves of Graves”), and ambient calm (“Kairos”). Death growls are sparse. Enter the Misanthropocene is so free jazz and avant-garde it forcibly drags nonconsenting listeners into what seems like obscenely high art…
…Or incompetent musicianship. Much of Abhorrent Expanse’s sound is rooted in utter nonsense, and one that often gets played really fast. While there’s certainly artistic discomfort aplenty to be found on this record, in which I can see some merit (“Waves of Graves,” “Drenched Onyx”), these are scattered moments among what sound like the plonks and twunks of a novice fiddling with a new guitar at Guitar Center. Atonal noodling and off-beat drumming accounts for the majority of its forty-eight minute runtime, sounding entirely random. The drone-doom moments feel off-beat and misaligned (“Praise for Chaos”), some ambient moments are so subtle and minimalist that they just cover John Cage’s 4’33” for a bit before eventually becoming audible (“Nephilim Disinterred”), and by the end of the ten-minute closer “Prostrate Before Chthonic Devourment” you might feel like you’ve been through a prostrate exam.
The promotion around Abhorrent Expanse relies on similarities to dissonant acts like Portal and Imperial Triumphant – but in order to do that, they’d actually have to write some songs first. Gateways to Resplendence was challenging and avant-garde but anchored to a respectable degree; Enter the Misanthropocene is a leaf on the wind, being blown by one avant-garde gust to another with no semblance of gravity to save it. Its high-art status is a divisive issue, as the directionless noodling can be seen as either a challenging piece of art or four dudes who don’t know how to play their instruments. But isn’t that the nature of art itself? Abhorrent Expanse holds a mirror to art itself, making us question what is drivel and what is erudite – through the improvised off-key noodling of someone who has arguably never picked up a guitar before.
Rating: 1.0/5.0
DR: 9 | Format Reviewed: 320 kb/s mp3
Label: Amalgam Music
Websites: abhorrentexpanse.bandcamp.com
Releases Worldwide: August 15th, 2025#10 #2025 #AbhorrentExpanse #AmalgamMusic #AmbientMetal #AmericanMetal #Aug25 #Bunsenburner #Celestiial #DeathMetal #DissonantDeathMetal #EnterTheMisanthropocene #FreeJazz #Grindcore #ImperialTriumphant #JohnCage #JohnZorn #NeptunianMaximalism #Noise #Obsequiae #Portal #Review #Reviews #TheBlight #ZebulonPike
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Abhorrent Expanse – Enter the Misanthropocene Review
By Dear Hollow
How experimental is too experimental? That’s the question Chicago’s Abhorrent Expanse posits. It’s clear from the title: Enter the Misanthropocene enters to play jazz and fuck shit up, and “Bitches Brew” is on its final notes. When the Lord of the Promo Pit designated the quartet as “death-drone,” I was intrigued and gobbled up rights. It was clear from the jump that Abhorrent Expanse was not the death metal act with a mammoth guitar tone I had hoped, but an improvisational free jazz quartet that decides to do extreme metal sometimes, with death metal, grindcore, and, yes, drone metal making short-lived appearances. Pushing the boundary between extreme lofty experimentation and outright nonsense, Enter the Misanthropocene is a sophomore effort that will take you to an abstract and uncompromising world – or straight to the medicine cabinet for an aspirin.
Abhorrent Expanse has a solid lineup, including caliber from Zebulon Pike, Celestiial, Obsequiae, and The Blight – even if its sound feels entirely convoluted. Following the controversial debut Gateways to Resplendence, Enter the Misanthropocene is largely the same, but its scope is larger, significantly reducing its drone content in favor of jazzy noodling, grind intensity, sprawling ambiance, and deconstructed death metal jaggedness. The drone that exists within is a short-lived sprawl that pops up periodically, giving a more abstract feel than its predecessor’s “dissodeath meeting drone metal in a dark alley behind the Kmart” vibe. Forty-eight minutes of whiplash-inducing tonal and tempo shifts, off-key twanging, random stoner sprawls, and an undeserved love for improv awaits – and I need a nap.
Say it with me: improv is bad. I get the whole avant-garde approach that John Zorn would drool over, that an improvised performance is a “never see it the same way twice” kind of deal, but that doesn’t mean it’s good. As we’ve seen with typically good bands like Neptunian Maximalism or Bunsenburner, relying on group chemistry instead of thoughtful songwriting to create a singular experience hardly pans out – and Enter the Misanthropocene is no exception. Moments of avant-garde clarity in which the instruments align shine in the twitching obscure grind (title track, “Assail the Density Matrix,” “Dissonant Aggressors”), short-lived minimalist drone (“Praise for Chaos,” “Dissonant Aggressors,” “Ascension Symptom Acceleration”), haunting ritualism (“Waves of Graves”), and ambient calm (“Kairos”). Death growls are sparse. Enter the Misanthropocene is so free jazz and avant-garde it forcibly drags nonconsenting listeners into what seems like obscenely high art…
…Or incompetent musicianship. Much of Abhorrent Expanse’s sound is rooted in utter nonsense, and one that often gets played really fast. While there’s certainly artistic discomfort aplenty to be found on this record, in which I can see some merit (“Waves of Graves,” “Drenched Onyx”), these are scattered moments among what sound like the plonks and twunks of a novice fiddling with a new guitar at Guitar Center. Atonal noodling and off-beat drumming accounts for the majority of its forty-eight minute runtime, sounding entirely random. The drone-doom moments feel off-beat and misaligned (“Praise for Chaos”), some ambient moments are so subtle and minimalist that they just cover John Cage’s 4’33” for a bit before eventually becoming audible (“Nephilim Disinterred”), and by the end of the ten-minute closer “Prostrate Before Chthonic Devourment” you might feel like you’ve been through a prostrate exam.
The promotion around Abhorrent Expanse relies on similarities to dissonant acts like Portal and Imperial Triumphant – but in order to do that, they’d actually have to write some songs first. Gateways to Resplendence was challenging and avant-garde but anchored to a respectable degree; Enter the Misanthropocene is a leaf on the wind, being blown by one avant-garde gust to another with no semblance of gravity to save it. Its high-art status is a divisive issue, as the directionless noodling can be seen as either a challenging piece of art or four dudes who don’t know how to play their instruments. But isn’t that the nature of art itself? Abhorrent Expanse holds a mirror to art itself, making us question what is drivel and what is erudite – through the improvised off-key noodling of someone who has arguably never picked up a guitar before.
Rating: 1.0/5.0
DR: 9 | Format Reviewed: 320 kb/s mp3
Label: Amalgam Music
Websites: abhorrentexpanse.bandcamp.com
Releases Worldwide: August 15th, 2025#10 #2025 #AbhorrentExpanse #AmalgamMusic #AmbientMetal #AmericanMetal #Aug25 #Bunsenburner #Celestiial #DeathMetal #DissonantDeathMetal #EnterTheMisanthropocene #FreeJazz #Grindcore #ImperialTriumphant #JohnCage #JohnZorn #NeptunianMaximalism #Noise #Obsequiae #Portal #Review #Reviews #TheBlight #ZebulonPike
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By Dear Hollow
My relationship with Germany’s Bunsenburner grows with each release, and you could say it’s getting pretty serious, like a dark romantasy. I completely ripped third full-length Poise a new one which garnered the ire of mastermind Ben Krahl. But like any hate relationship that borders on masochistic, he saw the light and sent in follow-up Rituals – and our love blossomed. The act’s backbone lies in the fuzz and jam-sesh vibes of stoner metal, but with enough free jazz and crystalline ambiance to kill a full-grown elephant, it embraces the psychedelia in tasteful ways with instrumental prowess.
Reverie, then, is a continued honing of Bunsenburner’s seemingly scattershot influences, reflecting the pedigree of its contributors.1 While the free jazz of Rituals is certainly present, it is anchored by much-improved fuzzy stoner riffage a la Poise, owing a certain “thinking man’s jam sesh” vibe – oxymoronic or not. Reverie simply feels like a better form of Poise altogether, that the riffs are in the spotlight, but all atmospheric elements shine in enacting a psychedelic shimmer that adds to the weight and teleports it otherworldly planes. It’s the best album Bunsenburner has made, but then again, they made a song named after me. So.
Reverie’s best qualities amp the accessibility. The grooves are tighter, the songs shorter to enhance the effect, and there are still riffs I can’t get out of my head since. There are covers aboard Reverie,2 but Bunsenburner’s sound is so organic it could as easily have been original. As always, Bunsenburner has never felt lacking in its entirely instrumental approach, and with a better track formula focusing on organic movements from riff to riff, the stoner-focused track shine (“Gleam of the Goddess,” “Trigger,” “Catfight,” “Bagbak”) with a renewed urgency that hits hard and fast and doesn’t overstay its welcome, not to mention its trademark atmospheric tricks (e.g. flute in “TORO,” nintendocore synth in “Bagbak”). The jam sesh chemistry feels more palpable here, owing to a fuzz that doesn’t overwhelm and a rich rhythmic tapestry that adds to the replay factor. The album is forty-four minutes, with thirteen tracks to its name – only a handful of songs exceed the three-minute mark, which adds to the conciseness and punch.
A stark departure from Poise, Bunsenburner isn’t all ballsy riffs. Experimental moments abound, like the two part “Letting Go (softly)” and “Letting Go (hardly),” which are in essence the same song with all its melodies and motifs but one feels like a crystalline post-rock song and the other a stoner metal riff-fest. Slower chuggy passages abound that add a sludgy swampiness to the sound (“Golden Shower,” “Triskaidekaphobie”), without dragging the sound into stagnancy. Longer tracks (“Ballade Four,” “Triskaidekaphobie”) balance the two approaches in thick stoner riffs that move smoothly into gentle plucking and back again, in places feeling a tad like a more stoner-oriented Hex-era Earth. The influences of classic guitar abuse reminiscent of psychedelic Jimi Hendrix is felt throughout (“Zodiac Shit,” “Golden Shower”), while bluesy southern rock melodic sensibilities rear Gothic and mysterious heads (“Waltz, alone,” “Ballade Four”). The most obvious remnant of Rituals’ free jazz is track eight, “Dear Hollow,” a minute-long gush of wailing noise, warbling synth, and punky blastbeats – obviously and objectively the best track Bunsenburner has ever released and likely ever will.
Bunsenburner continues to hone its skills. While it sacrifices a bit of the holistic cohesion of Rituals with its more riff-centric attack, Reverie feels more a redemption arc of Poise – its pieces, however disjointed they can feel, are done with stunning clarity, organicity, and power. The grooves hit harder, the atmosphere is more complementary, and the experimental flare is palpable without sacrificing the album cohesion. Its cover’s cuddly black metal kitten is playful homage to the act’s jam-seshing chemistry, although its experimental and atmospheric elements are more than meets the ear. Next time, make the song about me a little longer for a higher score, okay? Kisses!
Rating: 3.0/5.0
DR: 7 | Format Reviewed: 320kbps mp3
Label: Self-Released
Websites: Bandcamp | Facebook
Releases Worldwide: January 17th, 2025#2025 #30 #AmbientMetal #Bunsenburner #DoomMetal #Earth #FearMyThoughts #FreeJazz #GermanMetal #Jan25 #JimiHendrix #LongDistanceCalling #PostRock #Reverie #Review #Reviews #SelfRelease #SludgeMetal #SouthernRock #StonerMetal #Triptykon
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By Dear Hollow
My relationship with Germany’s Bunsenburner grows with each release, and you could say it’s getting pretty serious, like a dark romantasy. I completely ripped third full-length Poise a new one which garnered the ire of mastermind Ben Krahl. But like any hate relationship that borders on masochistic, he saw the light and sent in follow-up Rituals – and our love blossomed. The act’s backbone lies in the fuzz and jam-sesh vibes of stoner metal, but with enough free jazz and crystalline ambiance to kill a full-grown elephant, it embraces the psychedelia in tasteful ways with instrumental prowess.
Reverie, then, is a continued honing of Bunsenburner’s seemingly scattershot influences, reflecting the pedigree of its contributors.1 While the free jazz of Rituals is certainly present, it is anchored by much-improved fuzzy stoner riffage a la Poise, owing a certain “thinking man’s jam sesh” vibe – oxymoronic or not. Reverie simply feels like a better form of Poise altogether, that the riffs are in the spotlight, but all atmospheric elements shine in enacting a psychedelic shimmer that adds to the weight and teleports it otherworldly planes. It’s the best album Bunsenburner has made, but then again, they made a song named after me. So.
Reverie’s best qualities amp the accessibility. The grooves are tighter, the songs shorter to enhance the effect, and there are still riffs I can’t get out of my head since. There are covers aboard Reverie,2 but Bunsenburner’s sound is so organic it could as easily have been original. As always, Bunsenburner has never felt lacking in its entirely instrumental approach, and with a better track formula focusing on organic movements from riff to riff, the stoner-focused track shine (“Gleam of the Goddess,” “Trigger,” “Catfight,” “Bagbak”) with a renewed urgency that hits hard and fast and doesn’t overstay its welcome, not to mention its trademark atmospheric tricks (e.g. flute in “TORO,” nintendocore synth in “Bagbak”). The jam sesh chemistry feels more palpable here, owing to a fuzz that doesn’t overwhelm and a rich rhythmic tapestry that adds to the replay factor. The album is forty-four minutes, with thirteen tracks to its name – only a handful of songs exceed the three-minute mark, which adds to the conciseness and punch.
A stark departure from Poise, Bunsenburner isn’t all ballsy riffs. Experimental moments abound, like the two part “Letting Go (softly)” and “Letting Go (hardly),” which are in essence the same song with all its melodies and motifs but one feels like a crystalline post-rock song and the other a stoner metal riff-fest. Slower chuggy passages abound that add a sludgy swampiness to the sound (“Golden Shower,” “Triskaidekaphobie”), without dragging the sound into stagnancy. Longer tracks (“Ballade Four,” “Triskaidekaphobie”) balance the two approaches in thick stoner riffs that move smoothly into gentle plucking and back again, in places feeling a tad like a more stoner-oriented Hex-era Earth. The influences of classic guitar abuse reminiscent of psychedelic Jimi Hendrix is felt throughout (“Zodiac Shit,” “Golden Shower”), while bluesy southern rock melodic sensibilities rear Gothic and mysterious heads (“Waltz, alone,” “Ballade Four”). The most obvious remnant of Rituals’ free jazz is track eight, “Dear Hollow,” a minute-long gush of wailing noise, warbling synth, and punky blastbeats – obviously and objectively the best track Bunsenburner has ever released and likely ever will.
Bunsenburner continues to hone its skills. While it sacrifices a bit of the holistic cohesion of Rituals with its more riff-centric attack, Reverie feels more a redemption arc of Poise – its pieces, however disjointed they can feel, are done with stunning clarity, organicity, and power. The grooves hit harder, the atmosphere is more complementary, and the experimental flare is palpable without sacrificing the album cohesion. Its cover’s cuddly black metal kitten is playful homage to the act’s jam-seshing chemistry, although its experimental and atmospheric elements are more than meets the ear. Next time, make the song about me a little longer for a higher score, okay? Kisses!
Rating: 3.0/5.0
DR: 7 | Format Reviewed: 320kbps mp3
Label: Self-Released
Websites: Bandcamp | Facebook
Releases Worldwide: January 17th, 2025#2025 #30 #AmbientMetal #Bunsenburner #DoomMetal #Earth #FearMyThoughts #FreeJazz #GermanMetal #Jan25 #JimiHendrix #LongDistanceCalling #PostRock #Reverie #Review #Reviews #SelfRelease #SludgeMetal #SouthernRock #StonerMetal #Triptykon
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By Dear Hollow
My relationship with Germany’s Bunsenburner grows with each release, and you could say it’s getting pretty serious, like a dark romantasy. I completely ripped third full-length Poise a new one which garnered the ire of mastermind Ben Krahl. But like any hate relationship that borders on masochistic, he saw the light and sent in follow-up Rituals – and our love blossomed. The act’s backbone lies in the fuzz and jam-sesh vibes of stoner metal, but with enough free jazz and crystalline ambiance to kill a full-grown elephant, it embraces the psychedelia in tasteful ways with instrumental prowess.
Reverie, then, is a continued honing of Bunsenburner’s seemingly scattershot influences, reflecting the pedigree of its contributors.1 While the free jazz of Rituals is certainly present, it is anchored by much-improved fuzzy stoner riffage a la Poise, owing a certain “thinking man’s jam sesh” vibe – oxymoronic or not. Reverie simply feels like a better form of Poise altogether, that the riffs are in the spotlight, but all atmospheric elements shine in enacting a psychedelic shimmer that adds to the weight and teleports it otherworldly planes. It’s the best album Bunsenburner has made, but then again, they made a song named after me. So.
Reverie’s best qualities amp the accessibility. The grooves are tighter, the songs shorter to enhance the effect, and there are still riffs I can’t get out of my head since. There are covers aboard Reverie,2 but Bunsenburner’s sound is so organic it could as easily have been original. As always, Bunsenburner has never felt lacking in its entirely instrumental approach, and with a better track formula focusing on organic movements from riff to riff, the stoner-focused track shine (“Gleam of the Goddess,” “Trigger,” “Catfight,” “Bagbak”) with a renewed urgency that hits hard and fast and doesn’t overstay its welcome, not to mention its trademark atmospheric tricks (e.g. flute in “TORO,” nintendocore synth in “Bagbak”). The jam sesh chemistry feels more palpable here, owing to a fuzz that doesn’t overwhelm and a rich rhythmic tapestry that adds to the replay factor. The album is forty-four minutes, with thirteen tracks to its name – only a handful of songs exceed the three-minute mark, which adds to the conciseness and punch.
A stark departure from Poise, Bunsenburner isn’t all ballsy riffs. Experimental moments abound, like the two part “Letting Go (softly)” and “Letting Go (hardly),” which are in essence the same song with all its melodies and motifs but one feels like a crystalline post-rock song and the other a stoner metal riff-fest. Slower chuggy passages abound that add a sludgy swampiness to the sound (“Golden Shower,” “Triskaidekaphobie”), without dragging the sound into stagnancy. Longer tracks (“Ballade Four,” “Triskaidekaphobie”) balance the two approaches in thick stoner riffs that move smoothly into gentle plucking and back again, in places feeling a tad like a more stoner-oriented Hex-era Earth. The influences of classic guitar abuse reminiscent of psychedelic Jimi Hendrix is felt throughout (“Zodiac Shit,” “Golden Shower”), while bluesy southern rock melodic sensibilities rear Gothic and mysterious heads (“Waltz, alone,” “Ballade Four”). The most obvious remnant of Rituals’ free jazz is track eight, “Dear Hollow,” a minute-long gush of wailing noise, warbling synth, and punky blastbeats – obviously and objectively the best track Bunsenburner has ever released and likely ever will.
Bunsenburner continues to hone its skills. While it sacrifices a bit of the holistic cohesion of Rituals with its more riff-centric attack, Reverie feels more a redemption arc of Poise – its pieces, however disjointed they can feel, are done with stunning clarity, organicity, and power. The grooves hit harder, the atmosphere is more complementary, and the experimental flare is palpable without sacrificing the album cohesion. Its cover’s cuddly black metal kitten is playful homage to the act’s jam-seshing chemistry, although its experimental and atmospheric elements are more than meets the ear. Next time, make the song about me a little longer for a higher score, okay? Kisses!
Rating: 3.0/5.0
DR: 7 | Format Reviewed: 320kbps mp3
Label: Self-Released
Websites: Bandcamp | Facebook
Releases Worldwide: January 17th, 2025#2025 #30 #AmbientMetal #Bunsenburner #DoomMetal #Earth #FearMyThoughts #FreeJazz #GermanMetal #Jan25 #JimiHendrix #LongDistanceCalling #PostRock #Reverie #Review #Reviews #SelfRelease #SludgeMetal #SouthernRock #StonerMetal #Triptykon
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By Dear Hollow
My relationship with Germany’s Bunsenburner grows with each release, and you could say it’s getting pretty serious, like a dark romantasy. I completely ripped third full-length Poise a new one which garnered the ire of mastermind Ben Krahl. But like any hate relationship that borders on masochistic, he saw the light and sent in follow-up Rituals – and our love blossomed. The act’s backbone lies in the fuzz and jam-sesh vibes of stoner metal, but with enough free jazz and crystalline ambiance to kill a full-grown elephant, it embraces the psychedelia in tasteful ways with instrumental prowess.
Reverie, then, is a continued honing of Bunsenburner’s seemingly scattershot influences, reflecting the pedigree of its contributors.1 While the free jazz of Rituals is certainly present, it is anchored by much-improved fuzzy stoner riffage a la Poise, owing a certain “thinking man’s jam sesh” vibe – oxymoronic or not. Reverie simply feels like a better form of Poise altogether, that the riffs are in the spotlight, but all atmospheric elements shine in enacting a psychedelic shimmer that adds to the weight and teleports it otherworldly planes. It’s the best album Bunsenburner has made, but then again, they made a song named after me. So.
Reverie’s best qualities amp the accessibility. The grooves are tighter, the songs shorter to enhance the effect, and there are still riffs I can’t get out of my head since. There are covers aboard Reverie,2 but Bunsenburner’s sound is so organic it could as easily have been original. As always, Bunsenburner has never felt lacking in its entirely instrumental approach, and with a better track formula focusing on organic movements from riff to riff, the stoner-focused track shine (“Gleam of the Goddess,” “Trigger,” “Catfight,” “Bagbak”) with a renewed urgency that hits hard and fast and doesn’t overstay its welcome, not to mention its trademark atmospheric tricks (e.g. flute in “TORO,” nintendocore synth in “Bagbak”). The jam sesh chemistry feels more palpable here, owing to a fuzz that doesn’t overwhelm and a rich rhythmic tapestry that adds to the replay factor. The album is forty-four minutes, with thirteen tracks to its name – only a handful of songs exceed the three-minute mark, which adds to the conciseness and punch.
A stark departure from Poise, Bunsenburner isn’t all ballsy riffs. Experimental moments abound, like the two part “Letting Go (softly)” and “Letting Go (hardly),” which are in essence the same song with all its melodies and motifs but one feels like a crystalline post-rock song and the other a stoner metal riff-fest. Slower chuggy passages abound that add a sludgy swampiness to the sound (“Golden Shower,” “Triskaidekaphobie”), without dragging the sound into stagnancy. Longer tracks (“Ballade Four,” “Triskaidekaphobie”) balance the two approaches in thick stoner riffs that move smoothly into gentle plucking and back again, in places feeling a tad like a more stoner-oriented Hex-era Earth. The influences of classic guitar abuse reminiscent of psychedelic Jimi Hendrix is felt throughout (“Zodiac Shit,” “Golden Shower”), while bluesy southern rock melodic sensibilities rear Gothic and mysterious heads (“Waltz, alone,” “Ballade Four”). The most obvious remnant of Rituals’ free jazz is track eight, “Dear Hollow,” a minute-long gush of wailing noise, warbling synth, and punky blastbeats – obviously and objectively the best track Bunsenburner has ever released and likely ever will.
Bunsenburner continues to hone its skills. While it sacrifices a bit of the holistic cohesion of Rituals with its more riff-centric attack, Reverie feels more a redemption arc of Poise – its pieces, however disjointed they can feel, are done with stunning clarity, organicity, and power. The grooves hit harder, the atmosphere is more complementary, and the experimental flare is palpable without sacrificing the album cohesion. Its cover’s cuddly black metal kitten is playful homage to the act’s jam-seshing chemistry, although its experimental and atmospheric elements are more than meets the ear. Next time, make the song about me a little longer for a higher score, okay? Kisses!
Rating: 3.0/5.0
DR: 7 | Format Reviewed: 320kbps mp3
Label: Self-Released
Websites: Bandcamp | Facebook
Releases Worldwide: January 17th, 2025Show 2 footnotes
- Norman Lonhard of Triptykon and guitarist Martin Fischer of Fear My Thoughts and Long Distance Calling, as well as jazz guitarist Flo Möbes and avant-garde guitarist Philipp Schlotter. ↩
- “Ballade Four” by Tosco Tango Quartet, “Zodiac Shit” by Flying Lotus. ↩
#2025 #30 #AmbientMetal #Bunsenburner #DoomMetal #Earth #FearMyThoughts #FreeJazz #GermanMetal #Jan25 #JimiHendrix #LongDistanceCalling #PostRock #Reverie #Review #Reviews #SelfRelease #SludgeMetal #SouthernRock #StonerMetal #Triptykon
