#After The Burial Discography

[thisworldisablackhole]

This week in listening, 02/09/24

I honestly just listened to a fuck ton of Silverstein and Thrice this past week, so in an effort to not repeat the same bands on these posts, I'm only including 6 releases instead of 10.

Chelsea Wolfe's new album dropped today (friday) and by goly it's my favourite thing she's done since Unknown Rooms in 2012. To be fair, I haven't given many of her other albums a fair shot (heavy doom-folk wasn't really my cup of tea), but after listening to this I think I owe it to myself to do a full run through her discography. The gothic industrial instrumentals are both subdued and engaging, and when combined with Chelsea's gorgeous voice it comes together to sound somewhat like a soundtrack to unearthing the catacombs of a lost civilization in a decayed concrete jungle.

Like Moths To Flames has been one of my favourite metalcore bands since I re-discovered them a few years ago. They've been a super solid band ever since their first EP in 2010 and have only grown stronger over the years. It's actually quite rare for a metalcore band from the 2010's to still be on top of their game and improving after 6 LP's. One of my favourite things about this band, and why I believe they've managed to be so consistent over the years, is that they aren't afraid to wane and wax in their evolution without losing sight of their DNA. Over their career they have released albums that have gone back and forth from heavy hardcore to a more hook centric Breaking Benjamin-esque alt metal sound, but it's always been good and it's always sounded like the same band. Now with these new singles (and the two standalone singles they dropped in 2023) they are stripping way back on the catchy choruses to pour their focus into just creating memorable and heavy as fuck riffs. This is some of their most crushing and technical material to date and I can not wait for the full length to drop later this year.

Wolves & Machines are a super underrated alternative rock/post hardcore band in the vein of Brand New and Thrice. I first listened to this band back in 2010 when they released their debut record Ailments. I really loved that record and have super fond memories listening to it, but those memories were only triggered recently when I stumbled upon them again while falling down a rabbit hole of "fans also like" sections on spotify. I completely forgot they existed until I saw their name and then all those memories came flooding back to me. I swiftly hit play on Ailments and let the nostalgia bathe me in it's afterglow. The absolute best part of rediscovering this band though was finding out that they never stopped putting out really solid albums. I have since fallen absolutely head over heels with their 2014 record Since Before Our Time. For fucks sake, just hit play and you'll see why.

Ghost Atlas is the side project of progressive metalcore outfit ERRA's guitarist and clean vocalist Jesse Cash. Ghost Atlas' 2017 album All Is In Sync... was very much rooted in post hardcore ala HRVRD, Saosin and Circa Survive. With this new album he has diverted course a bit into much softer pop rock territory. He didn't completely ditch the post hardcore edge, but the whole album is just a lot more mellow and blissed out than his previous work. Some fans have felt very divided by this shift in sound, but I love it. This record is just pure comfort. I think the album art does a perfect job at capturing the vibe: a morning cup o' joe on your balcony with a cat on your lap, and Jesse's beautiful voice serenading you into a deep state on contentedness. This is likely going to end up on my year end list.

I've been a "big fan" of Burial ever since his groundbreaking 2007 LP Untrue. I put "big fan" in parenthesis because despite absolutely loving some of his earlier music to death, I am not die hard enough to be keeping up with every two song single or weird ambient EP he has released over the years. Someone wrote online that this new single was his "best work since Rival Dealer", and that was enough to make me don my Burial fan cap again and dive in. Boy was I not disappointed. These two tracks are expansive at approx. 13 minutes each, but they do not feel tiring or strung out at all. They represent everything I love about Burial; that sweet sweet crackling atmosphere, nimble footed drum patterns and haunting vocal samples that are effective in their sparsity, injecting just the perfect amount of melody into the hazy rhythms. Dreamfear slowly disintegrates and becomes more aggressive over it's run time until the sample repeating "BACK FROM THE DEAD, FUCKED UP IN THE HEAD" hits us in the head over and over, inducing psychosis panic in the listener. It's glorious.

I've been getting back into more progressive rock and metal recently. I blame TesseracT and Aviations for that, as they both put out absolute home run records last year that reawakened the bound and gagged Dream Theater fan inside me. I checked this album on a whim after reading a review about it that described it as "bright and uplifting" metal, and I was immediately captivated by it. If there's one thing I absolutely adore in music, it's a contradiction. Taking two things that people usually do not associate with each other (uplifting and metal) and engaging them in holy matrimony. Artificial Language have a more classical sound than Aviations, but the bright chords, djenty riffs and piano leads are all still in stock. I'd say it's the perfect counterpart to 2023's Luminaria and I'm keen to give it more listens over the coming weeks.

[chrisryanspeaks]

Hot New Album Fridays: The Decemberists make a triumphant return w/ “As It Ever Was, So It Will Be Again”

Rating: 9/10 - EXCELLENT Album With its rich storytelling, diverse musical influences, and impeccable production, As It Ever Was, So It Will Be Again stands as one of The Decemberists' finest works. It’s an essential listen for anyone who values music that offers both narrative depth and musical innovation. The Decemberists make a triumphant return with their ninth studio album, As It Ever Was, So It Will Be Again. Released after a six-year hiatus, this double album is a significant addition to their discography, showcasing their signature storytelling and musical innovation. The album delves deep into themes of history, destiny, and the cyclical nature of life. Colin Meloy’s lyrics are as literary and evocative as ever, with tracks like "The Reapers" and "America Made Me" exploring existential and socio-political themes. The songs are divided into four thematic sides, providing a comprehensive narrative journey that reflects on past works while pushing into new territories. Produced by Colin Meloy and Tucker Martine, the album features contributions from notable musicians such as James Mercer of The Shins and Mike Mills of R.E.M. The production is polished, balancing the band's folk roots with progressive rock influences. The album's standout track, "Joan in the Garden," is a 19-minute epic that blends prog-rock elements with a deeply personal and historical narrative inspired by Joan of Arc. Standout Tracks "Burial Ground": Opens the album with a powerful, haunting melody that sets the tone for the thematic exploration to follow. "The Reapers": Addresses existential themes with a mix of folk and rock elements, highlighting the band's ability to blend lyrical depth with musical complexity. "Joan in the Garden": A sprawling, 19-minute track that serves as a testament to the band's ambition and storytelling prowess. As It Ever Was, So It Will Be Again is a masterful album that encapsulates The Decemberists' evolution over their 22-year career. It is both their longest album to date and arguably their most ambitious, blending old and new influences to create something profoundly resonant and timely. Fans of the band will appreciate the intricate narratives and musical craftsmanship, while new listeners will find much to admire in its accessibility and depth. Check out “Oh No!” Below: Read the full article

[audiofuzz]

Hot New Album Fridays: The Decemberists make a triumphant return w/ “As It Ever Was, So It Will Be Again”

Rating: 9/10 - EXCELLENT Album With its rich storytelling, diverse musical influences, and impeccable production, As It Ever Was, So It Will Be Again stands as one of The Decemberists' finest works. It’s an essential listen for anyone who values music that offers both narrative depth and musical innovation. The Decemberists make a triumphant return with their ninth studio album, As It Ever Was, So It Will Be Again. Released after a six-year hiatus, this double album is a significant addition to their discography, showcasing their signature storytelling and musical innovation. The album delves deep into themes of history, destiny, and the cyclical nature of life. Colin Meloy’s lyrics are as literary and evocative as ever, with tracks like "The Reapers" and "America Made Me" exploring existential and socio-political themes. The songs are divided into four thematic sides, providing a comprehensive narrative journey that reflects on past works while pushing into new territories. Produced by Colin Meloy and Tucker Martine, the album features contributions from notable musicians such as James Mercer of The Shins and Mike Mills of R.E.M. The production is polished, balancing the band's folk roots with progressive rock influences. The album's standout track, "Joan in the Garden," is a 19-minute epic that blends prog-rock elements with a deeply personal and historical narrative inspired by Joan of Arc. Standout Tracks "Burial Ground": Opens the album with a powerful, haunting melody that sets the tone for the thematic exploration to follow. "The Reapers": Addresses existential themes with a mix of folk and rock elements, highlighting the band's ability to blend lyrical depth with musical complexity. "Joan in the Garden": A sprawling, 19-minute track that serves as a testament to the band's ambition and storytelling prowess. As It Ever Was, So It Will Be Again is a masterful album that encapsulates The Decemberists' evolution over their 22-year career. It is both their longest album to date and arguably their most ambitious, blending old and new influences to create something profoundly resonant and timely. Fans of the band will appreciate the intricate narratives and musical craftsmanship, while new listeners will find much to admire in its accessibility and depth. Check out “Oh No!” Below: Read the full article

[makeanewrevolution]

 After The Burial - Discography

[2006] Forging A Future Self [2008] Rareform [2010] In Dreams [2013] Wolves Within [2016] Dig Deep [2019] Evergreen

[reinventingsilence]

Pensees - Dreaveler :: bc it’s not a tumblr sesh without a music post.

i’m no longer certain if it was this track or Mercury that first introduced me to Pensees, but regardless, it was a true inflection point in my musical listening history; there was “Before Pensees”, and now there’s “After...”

In much the same way that Bonobo continues to produce music that all sounds 100% like Bonobo every single time, while somehow simultaneously managing to sound fresh and unique, everything from Pensees exists in this Burial-adjacent state of decay and melancholy, but wraps you in a rich blanket of well-ducked bass to keep the gloom at bay (well... I say “everything”, but that’s not entirely accurate. the track “Bai Hao” has a definite spring in its step, for one). The overall effect is chill, wistful, relaxing, occasionally a little sexy, and perfectly suited for a rainy day or a pre-bedtime wind down.

I highly recommend starting with the Sleepaway album, but honestly, the ~$30 i spent to buy their entire discography on bandcamp was the best ~$30 i ever spent on music. and i’ve got some pretty dope vinyl 😎

check them out at pensees.bandcamp.com

[doomedandstoned]

Italian Doomers BRETUS Tell Ghostly Tales on New LP, ‘Magharia’

~Doomed & Stoned Debuts~

By Billy Goate

Artwork by DamianaMerante

Hailing from the City of the Two Seas, Italian doomers BRETUS return with a new album of ghost stories. Longtimers know that Bretus and Doomed & Stoned practically grew up together. Though the band has been active since the turn of the century, our first exposure came with their debut full-length 'In Onirica' (2012) and subsequently we formed a friendship with the Catanzaro doomers that continues to this very day. It's hard to believe they're already over two decades old (okay, 20 years young, if you like). And what do they have to show for it? A handful of LPs, an EP, and a split with fellow Italianos Black Capricorn.

If you're as much a fan of vintage horror movies, H.P. Lovecraft lore, mysticism, and the occult as Zagarus (vox), Ghenes (guitar), Janos (bass), and Striges (drums), there's a whole world of story and sound awaiting your deep dive into the Bretus catalog. Adding to their already excellent discography, a fifth album now reveals itself: 'Magharia' (2021).

I won't spoil my interview with the band (see below) if I tell you that the album concerns, shall we say, several tales of the supernatural variety. An ominous gong is struck to the backdrop of monastic chant as Magharia opens in epic fashion "Celebration of Gloom," a song characterized by a chugging proto-trash tempo, trve metal stylings, and Gothic vocals appropriate to it's subject. It's a rather grim account of a certain sacrilegious priest and his daliences with young women of the church. As a preacher's kid, I've seen this kind of thing play out a hundred times and can assure you these sweeping romances between clergy and laity never end well. In this case, it winds up with a ghoulish rite and a victim's vengeance.

"In the sky lightning strikes...wicked laments rise from the ground." Welcome to "Cursed Island." True to the spirit of the lyrics, this track really let's it all hang out, with quasi operatic vocals that occasionally erupt in maniacal laughter (reminding me vintage Reagers-era Saint Vitus, with its lusty swagger). And why not? This is after all about the mystery that surrounds one of the most haunted islands on earth.

Thus far, the record's been sporting a pretty up-beat pulse, so surely you're ready for some good old fashion doom? "Moonchild's Scream" concerns a albino girl accused of being possessed by the devil for her appearance. One day, she disappears in the dungeons of a castle and legend has it that her cries can still be heard every five years during the Summer Solstice. Doesn't get more doom than that, folks!

After a brief interlude ("Necropass"), we arrive at my favorite track of Magharia. "Nuraghe" concerns the spirit of a woman judged and condemned for a crime she was innocent of still roams among the ancient stones. Boy, the ancients sure did have a hang-up with free-spirited, independent women, didn't they? The song itself is possessed by the spirit of Pentagram in its biting guitar work and rhythmic attack. Love the riffage on this one! Some of it could have been played out just a little more for my taste, like the all-too-brief Soundgardenesque motif at the two-minute mark. It returns a minute later, again in brief. C'mon Ghenes, let your inner Kim Thayil loose! Maybe we can convince them to improv at this point with a bitchin' guitar solo at their next festival appearance. Then again, perhaps this fits artistically with the song, which speaks of obscure "grim dancing bats" and a ghost that haunts through swift shadows passing over glimmers of light. Once again, Zagrus expressive song style comes through to distinguish this as a gem of the genre. I shall be revisiting it on my personal playlist often.

"Headless Ghost" strikes graceful Goatsnake groove as the yarn is spun about the restless and tormented soul of an ancient Roman warrior who has risen from his place of rest. All he wants is the skull that was looted from his place of burial. Give it back to him! "No one will be spared tonight," the lyrics warn, as the song shifts down to a dire doom dirge as the night unveils a strange moon and the wanderings of a cursed soul, seeking his head and not more. "He is living again in this hell."

"The Bridge of Damnation" is one of the creepiest of the record, said to be about "a bridge, a young boy, and his three torturers." The mood is quite dark, with esoteric atmosphere, reverberating vocalizations, guitar and bass trading off notes. Oh, and did I mention this tale from the crypt involves death and resurrection, as well? The riffmaking and drumming are absolutely on point, as is the singing -- which by now in the record I'm not only am accustomed to, but have grown to admire. Another keeper!

"Sinful Nun" winds and grinds as Zagarus croons about the inner torment of a Sister who has never gotten over her beloved, who died under such unspeakably tragic circumstances that she decided to consecrate herself to God in celibacy. However, her vows are in vain as she still pines for her long lost lover. The verses are sung to the accompaniment of a galloping tempo, which seems to represent the fevered anguish of a soul forever stricken by grief and the haunted memories of lost love. This is juxtaposed in the chorus by a cursed riff that seems to speak as the Hand of Fate itself. "Farewell to this life," are the Sinful Nun's final words.

At last, we reach the album's namesake and though "Magharia" is entirely instrumental, it would be a mistake to assume you know what it's going to do. Around the four-minute mark, I had to check and make sure I was listening to the same album, as dark synth busted out a metronomic rhythm, leading to a declamatory section of keyboards to accompany the math-like guitar play and an improvisation of almost creepy seventies-sounding prog, which after its playful fit dissipates suddenly in a bluesy collapse.

Bretus have cooked up a remarkable horror soundtrack that, though it speaks of ancient lore, is very much a fitting backdrop to the unreality of our own times. Fitting somewhere on the stylistic spectrum between Candlemass and Paul Chain, Reverend Bizarre and Cardinals Folly, Margharia may be the band's finest effort to date. Certainly, it rewards repeated listens, and will haunt you for many years to come. Look for the record to drop this weekend (pre-order here), with multiple physical formats releasing via The Swamp Records (compact disc), Burning Coffin Records (cassette), and Overdrive Records (vinyl). Until then, you can stream it all, right now, right here!

Give ear...

Magharia by BRETUS

An Interview with Bretus

What is the concept behind the new album and what themes do you explore?

Musically the new record is most "in your face" than the previous album. Also our approach to the recording was different. We rehearsed and arranged together more than before. The result is an album more raw to us. It is a concept album born around different italian old ghost tales. Some of these is supposed to be legend or myth, who knows.

When did you write it? Was it during the pandemic lockdowns?

We had more ideas about new stuff long before the pandemia arrived. We spent this time working on the pre-production of the tracks.

Can you give us a track-by-track explanation of each song on the album?

For sure!

"Celebration of Gloom" is a strange song because there are many influences in it. Including a solo flute in the middle of the track. However is a very loud and gloomy song.

"Cursed Island" probably is the most rock 'n' roll song of the album. If you know what I mean. Rock in the attitude. Also the first video of the album.

"Moonchild's Scream" is 100% pure Doom with a heavy mid-section.

"Necropass" is like Caronte travelling the damned souls across the Stige River.

"Nuraghe" is a heavy oriented track with a very dark feeling.

"Headless Ghost" has a more stoner trend than the others and in the end there is a psycho riffing.

"The Bridge of Damnation" includes our '80s dark influences into our sound, probably the most haunted track of the album. The story is based upon an old weird story that happened in our native city, Catanzaro.

"Sinful Nun" is like an experiment and neither of us can explain really what it is... ah ah aha! For sure the most heavy track of all.

Finally "Magharia." You cannot believe it but the idea comes from a Who's album, Quadrophenia. Either of us wrote a part of the song. The result is a kind of horror soundtrack.

Magharia by BRETUS

How do you feel that your basic style or approach to song composition has changed since you first started writing songs in the early days?

You already know a lot of things about us, we know you from so long ago! Please don't ask how old we are. (laughs) Basically our approach is the same from the beginning. Of course we listen to a lot of new stuff during these years so every album brings different "colors."

Where are you most looking forward to playing live once pandemic restrictions are eased?

Everywhere! We are angry for live gigs or simply to drink beers with friends.

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[josiahwrites]

Album Review: “Notes on a Conditional Form” by The 1975

Matty Healy is an asshole.

He's constantly juxtaposing and contradicting himself, always on the verge of being completely earnest but then pulling a veil over himself. He lets you in only as much as he wants, then revels in insecurity. Matty Healy is an asshole but he's so unmistakably human, so entrapped in a myriad of feelings, thoughts, and attitudes that it's fairly evident to trace these musings in his music. As the frontman to The 1975, a band that has won me over in recent memory, he's had his fair share of controversies, public outings, and self-deprecating tweets. These characteristics have crossed over into the context of their music since the very beginning; Healy's bravado is as much "an apocalyptic sense of being" as his addiction recovery was assisted by David Foster Wallace ramblings. And yet, somehow, against all odds, The 1975 envelop their innermost contradictions and chaotic revelries and tune them into projects that embody the very state of humanity as we know it today.

Notes on a Conditional Form, the band's fourth album, is a mess; a meandering, unfocused, chaotic mess that has very little cohesiveness between its 22-track run. You find yourself moshing to a crazed, neo-punk outing that declares our inevitable doom to swooning over unrequited love, to suspending all disbelief through the glitchiness of UK garage. None of it should make sense, but it does. The muddled and bloated track listing makes for some frustrating yet fascinating listening; this is an album that simply doesn't give a fuck and exists in a tier unto itself. To compare the album to 2018's A Brief Inquiry Into Online Relationships is futile and, frankly, pointless: the albums are similar and they're not; one cuts to the bone and another confuses profundity with cleverness. Notes plays like a collection of ideas that were thrown on the wall to see what stuck but in the case of postmodern bemusing, the things that stuck together are endlessly riveting. "Yeah I Know" is a techno downbeat glitch-fest that shows a completely different side of the band, and pays homage to UK acts like Burial and (none other than) Radiohead post-OK Computer. "Nothing Revealed / Everything Denied" is an uplifting cry for help against the indulgences and idiocies of contemporary fame; this record's "Sincerity Is Scary." And of course, who could forget "Tonight (I Wish I Was Your Boy)," with its Temptations sample and grooviness to supple its lyrical bleakness. Only a band like The 1975 could get away with cut after cut of genre-bending, multifaceted elocutions. And they do, they really do.

I will say that I was rather perplexed on my first listen; I had no idea what the hell I just listened to. Was it alternative? Indie? Shoegaze? Ambient? Rather than provide answers to these questions, the album actively defies itself and categorization, welcoming a slot in The 1975's discography that stands as their most assured and frenzied collection of tunes. The album comes at a time when the world is in more peril than when Greta Thunberg's proclamations of civil disobedience were first announced. Despite this, Notes on a Conditional Form does not succumb to the weight of destruction or expectation. Rather, it merely coexists amongst itself, much as we do in our bedrooms when the outside world has been deemed a danger. The only difference is, Notes offers a glimpse into a future--not entirely hopeful and not entirely hopeless, but a future nonetheless.

Favorite tracks: People, What Should I Say, Bagsy Not In Net, Frail State of Mind, If You’re Too Shy (Let Me Know)

8.3/10

Best New Album

[bluetapes]

Gorgeous. Glacial. These huge sculptures and expansive surfaces of electronic noise crafted by Rio's Cadu Tenório sparkle in every shade of black. While definitively nocturnal, this largely beatless work probably shouldn't be read in the context of dark ambient - a music that, to be H, I tend to find pretty glum and boring. Dark ambient is static and one-note. Tenório's music surges and glitters and floods every part of your brain with images and sensation. This music is symphonic in scope and soulful in execution. Wait til everyone in town is sleeping and hit the streets, with blue thirty-four turned up to mindcleansing volume on your headphones. Like Burial at his best, Tenório's sounds breathe strange life into the after-dark urban world. With no people or traffic or commerce to distract you, the sound is all-consuming and transcendent. It's just you, the streetlights and the symphonies. Praise for Cadu Tenório: "The Rio-based Brazilian musician has created a sprawling, clattering discography, influenced by industrial and experimental performers such as Throbbing Gristle, Stockhausen, and Masonna. Like many noise musicians, he’s also been influenced by technology itself; as a child, he’d spend hours recording his broken guitar along with radio programs, toys, or room noises." - Bandcamp "All about the fragility. Almost falling completely apart. Into a blender of blissful reflection. Magic in sonics. Cadu Tenório is gonna get you fucking fooled" - Tiny Mix Tapes 

Listen to it in full here: https://bluetapes.bandcamp.com/album/blue-thirty-four

[unchainedandstillunfree]

my albums of the year 2019

Somn - The All-Devouring American Football - LP3 Employed To Serve - Eternal Forward Motion Vi som älskade varandra så mycket - Det onda. Det goda. Det vackra. Det fula. WRVTH - No Rising Sun Eat Your Heart Out - Floresence Outlander - The Valium Machine Nionde Plågan - Reflektion Northlane  - Alien Shirokuma - Clothes I Wear For The Spaces I'm In After The Burial - Evergreen This Gift Is A Curse - A Throne of Ash Fallujah - Undying Light Mayfield - Careless Love Renounced - Beauty Is A Destructive Angel Counterparts - Nothing Left To Love Sleep Talk - Everything In Colour Earth Moves - Human Intricacy Ghost Iris - Apple of Discord We Never Learned To Live 100 gecs - 1000 gecs Parliament Owls - A Span Is All That We Can Boast Mireplaner - A Mountain of Saola Hooves WVNDER - Nothing Stays Presence of Soul - Absence of Objective World

Somn - The All-Devouring

Post-black metal is a bit of a hit and miss genre but I can’t think of anything about this album that possibly could be improved. The compositions move beautifully between slow buildups and fast black metal parts, the soaring melodies and savage riffs are stunning and the dynamics between the two vocalists bring something really original to their music. Absolute perfection.

American Football - LP3

American Football really outdid themselves here, the quality of songs on LP3 is of another world to their first two albums. Somehow these songs about being a jaded middle-aged father resonate with me more than their first album which was about leaving university and pining for those years and lost love. But there are so many beautiful, memorable moments on this, it’s impossible not to be moved.

Employed To Serve - Eternal Forward Motion

One of the tightest UK heavy bands right now somehow got even tighter whilst expanding their post-metal influences. The package is diverse but somehow the whole thing rumbles past effortlessly and you find yourself wanting to start all over again. I saw them live twice this year too and they were spectacular both times, seething with menace and emotion.

Vi som älskade varandra så mycket - Det onda. Det goda. Det vackra. Det fula.

I’ve really gotten into screamo in the last year or two and this came late in the year to blow me away. The instrumentals feel more influenced by post-rock than they do by hardcore but the buildups and heavy moments still hit hard. Excellent vocals sung exclusively in Swedish, I can’t wait to delve into them properly.

WRVTH - No Rising Sun

I will miss this band a lot. Another one that’s difficult to describe but sits somewhere in between tech-death, post-metal and emo. It’s a truly exhausting emotional experience to listen to all the way through but the density of ideas will keep your attention throughout.

Eat Your Heart Out - Floresence

Pop-punk is meant to be a bittersweet genre but Eat Your Heart Out really perfect this dynamic with angelic vocals constrasted with surprisingly heavy riffs.

Outlander - The Valium Machine

Mostly instrumental “doomgaze” from Birmingham. The atmospheres they manage to slowly build and build are so wonderful and dreamy.

Nionde Plågan - Reflektion

Another stunning, diverse screamo album that draws heavily on post-metal and crust. Repetitive, hypnotic, looping riffs and an anguished atmosphere with more harsh Swedish vocals.

Northlane  - Alien

Dammit, Northlane brought back dubstep breakdowns and nu-metal riffs in 2019 and managed to make it sound so good. This band couldn’t make bad metalcore music if they tried.

Shirokuma - Clothes I Wear For The Spaces I'm In

I spent a lot of time this summer when I wasn’t listening to this album thinking about the album. The atmosphere is unbelievably dense and oppressive with screeching vocals but beauty manages to shine through 

After The Burial - Evergreen

How many progressive metalcore bands manage to improve this much on their 6th album, especially after tragically losing their main songwriter? Never more full of ideas and of course some of the heaviest riffs of the year.

This Gift Is A Curse - A Throne of Ash

A wonderful blend of post-black metal, hardcore and crust punk done in a way that only a Swedish band really could. Filled with riffs that range from brutal to haunting. I keep coming back to this album throughout the year.

Fallujah - Undying Light

The new vocalist was divisive but I absolutely loved Anthony Palermo even before he joined Fallujah. The songwriting was a bit lacking in the middle of the album but it’s still head and shoulders above what most bands in this genre are doing and the last minute is one of my favourite moments in Fallujah’s discography.

Mayfield - Careless Love

The best Counterparts album this year was released by Mayfield, who draw from across melodic hardcore and metalcore but especially from their compatriots to fill this album with groove and emotional moments and grief.

Renounced - Beauty Is A Destructive Angel

A lot of people though Renounced were done but they came back with the most Renounced album yet, really leaning into the early-2000s metalcore sound and aesthetic 

Counterparts - Nothing Left To Love

Okay but Counterparts’ new album was pretty great too. As heavy as they’ve ever been and a lot of memorable songs (we’re just going to ignore that absolute travesty of a last song)

Sleep Talk - Everything In Colour

Wonderful melodic hardcore from Australia with desperate vocals and the addition of some wonderful choruses and gang chants. This album is very easy to listen to over and over again 

Earth Moves - Human Intricacy

Another exciting UK metal band with an expansive post-hardcore/post-metal album. Every song has a different flavour and it really shows the talent of the band in a way which previous releases didn’t quite get to.

Ghost Iris - Apple of Discord

Metalcore band from Copenhagen that really showed potential on previous albums but here managed to really tighten up their sound and create a set of wonderful songs filled with groove

We Never Learned To Live - The Sleepwalk Transmissions

Of all of the bands making music about technology and screen culture, WNLTL managed to really capture the feeling of the day and write a poetic letter to the future. Fantastic post-hardcore from another(!) exciting UK band

100 gecs - 1000 gecs

If you know you know.

Parliament Owls - A Span Is All That We Can Boast

More post-hardcore that is reminiscent of Dance Gavin Dance and The Fall Of Troy. Truly wonderful songs 

Mireplaner - A Mountain of Saola Hooves

“chaotic post-metal” on their bandcamp describes this perfectly. 

WVNDER - Nothing Stays

Andy Cizek absolutely smashed it this year with two releases and appearances with two other bands. His vocals here are wonderful and the songs create a perfect vibe of “summer of sadness”

Presence of Soul - Absence of Objective World

Haunting post-metal/doom from Japan. When they actually hit the heavy moments, it absolutely floors you.

[weeklynijikama]

Shadow Jazz Blunts 1 (Shiranui Mix-Up Vol.1)

未発表音源、ライブ録音他、もうひとつの不知火。通常のメガミックスアルバムとは別のかたちでMIX UPを追求した不知火レーベル初ミックス。不知火の音色が溶け合い、不思議な建築物のような様相を呈している、音響ジャズ盤となってます。 (虹釜太郎)

re-released 20 February 2019 Original CD Released 31 March 1998 CAT: [SRN006] fee: ¥1000.-

Original CD Detail: Label Design by Akira Yamamichi Mastered By Kazunao Nagata

DATA: Bandcamp ///

Shadow Jazz Blunts 1 (Shiranui Mix-up Vol.1) by 虹釜太郎

Shi-Ra-Nui Label Discography///

VA / Soliloquy Of Chaos/異銀 (SRN001 / 1997) Ruf-Neck Piano / Prepared Repair ‎(SRN002 / 1997) Stone Free / Insensitivity (SRN003 / 1997?) DJ Hati-Monji / Abstract"8" (SRN004 / 1998) Broken Bells vs 伝助 / Broken Bells Breaks Vol. 1 (SRN005 / 1998) (mix) / Shadow Jazz Blunts 1 (SRN006 / 1998) Ruf-Neck Piano / Repaired Piano (SRN007 / 1998) DJ Hati-Monji / Force Of Eight (SRN008 / 1998) VA / 8ight Power Of Fields, Moods & Woods (SRN009 / 1998) Charred Bells / Broken Bells Breaks Vol.2 (SRN010 / 1998) Jigen / BLOOD’S FINALITY/狂雲求敗 (SRN011 / 1998) Stone Free / Far East High & Low/不逞銀 ‎(SRN012 / 1998) Broken Bells+RNP / RHYTHMISCHE PHANTASIE ‎(VIDEO / SRN013 / 1998?) Jigen / Epilogue In China/胡弦録在 (SRN015 / 1999) Ruf-Neck Piano / Night Flight (SRN016 / 1999) Cento-Hiro / Cento Hiro Ga U Mu Ku Sou (SRN017 / 1999) (mix) / Shadow Jazz Blunts 2 (SRN018 / 1999) Tora / Sinsekai (SRN019 / 1999) Akaiwa / Afro Japonica (SRN020 / 1999) Xavi / White Out Ambula (SRN021 / 2000) zak / hakuheisen (SRN022 / 2000) Stone Free / Water Burial (SRN023 / 2000?) VA / Shadow World (SRN024 / 2001) VA / Kibaman Presents Elephant Roots (SRN025 / 2001) AKASIC ELEPHANT KIBA AFTER (SRN028 / 2009)

[remy-review]

Alexisonfire’s Otherness (REVIEW)

(photo: https://distortedsoundmag.com)

After thirteen progressively strange years since their last full length release, the Canadian post-hardcore quintet Alexisonfire have returned with new LP Otherness, to declare they’re not finished with the genre or with us.

Otherness will no doubt please fans of 2009’s Old Crows/Young Cardinals. Its influences are expectedly diverse, as each of the band’s members have had the opportunity to explore and evolve musically in their collective hiatus, and bears little semblance to their early sound of playing fast for fast’s sake for the Canadian mosh scene.

Though when that mechanical riff opens the bass-heavy and politically charged “Committed to the Con,” it quickly sets in that the boys are back.

The album instead makes it stride in stadium sized sounds, a sonic field of swelling distortion and crashing cymbals that envelopes echoes of soul and gospel as much as Alexisonfire’s hardcore roots.

Otherness is most certainly a mood. At times its easy to be lost in its heavy, psychedelic impact of fuzzy droning guitars, but thankfully that soothing chaos never comes at the cost of the songwriting. The act’s triage of vocals supplied by George Pettit, Wade McNeil and Dallas Green, persist through the mix to deliver some of their finest songwriting to date.

“Sans Soleil,” the album’s final pre-release single and standout track of Otherness, I’d be surprised to not find on every setlist from now until the band’s final show (or end of time, whichever comes last). What sounds like it could be a repurposed City and Colour tune was actually written by band’s lead guitarist/vocalist Wade McNeil. Somewhere in the process it was decided best to be sung by Green, whose voice on this record ranges anywhere from bedside story to emergency siren. This choice and others brings to mind one word to describe this album: Confidence.

If anyone knows where Alexisonfire has been these thirteen years, it’s Alexisonfire—and if Otherness is any testament, it’s like they never left. They clearly know as individuals what they bring to the songwriting process and to this record they've brought their best.

This album incorporates much of what has defined Alexisonfire through decades, from the Crisis-era public riot soundtrack that is “Conditional Love,” to “Dark Night of the Soul,” itself in parts akin to the gospel undertones rife within “The Northern” from Old Crows/Young Cardinals. This is a record from a band who knows who they are and where they’ve been. Like the time-displaced Billy Pilgrim, of Kurt Vonnegut’s (a notable inspiration to the band) Slaughterhouse V, there were moments listening to Otherness where I felt transported back to even my earliest days of knowing their music.

The natural melancholy of Green’s voice, crucial to encapsulating the sound of cold night that seeps from the band’s discography, grabs the spotlight in “Mistaken Information.” This song takes us to the church of Alexisonfire where human ideals are memorialized. If, like me, you found yourself falling asleep to “Burial” on repeat so many years ago, then “Mistaken Information” will stop you dead in your tracks. And if, like me, you pull off to the nearest parking lot on your drive home just to soak in its mournful euphoria, you’ll be glad you did.

Of course it wouldn’t be an Alexisonfire release without ending on a grandiose emotive ballad. “World Stops Turning” is exactly that, a 4-chord descending passionate expression of love and longing. Its beautifully rambling structure scored by character-rich guitar solo from McNeil (one that should only make sense in a live setting but still works) is the perfect endnote for the return of the only band ever.

You can listen to and purchase Otherness on all platforms now.

8.5/10

[concerthopperblog]

The Black Dahlia Murder Climb Up From the Sewer to Invade Atlanta's Center Stage

As concerts slowly begin to come back with more and more frequency, we see many tour lineups that get our blood pumping and heart racing. It’s such an awesome feeling to finally be back in venues and hearing incredible live music. This was particularly true when we at ConcertHopper saw the lineup for the Up From the Sewer tour and we couldn’t wait to attend.

First, up for this insane lineup of heavy bands was New York’s own death metal newcomers Undeath. Although the band is relatively new to the metal scene, having only recently signed with Prosthetic Records and releasing their debut album Lesions of a Different Kind in October, their sound is far from being alien to fans of death metal. Harkening back to what many would consider being the golden era of death metal, the band’s influences are clear in their sound with deep and dark guttural lyrics and slamming guitar, bass, and drums to match.

Next to take the stage was a band that we are very familiar with here at ConcertHopper but still always thrilled to see live was Rivers of Nihil. Fresh off of releasing their fourth studio album The Work on September 24th, the band blasted the crowd with what we had become familiar with as their trademark style. While we had previously seen them with an accompanying saxophone, hearing the band shred through their library for the first time since the pandemic was truly wonderful.

Next up was another band that we were familiar with and who, like Rivers of Nihil, we had also seen on the Summer Slaughter Festival tour before COVID, Carnifex. Also similar to Rivers of Nihil, Carnifex released a studio album, Graveside Confessions in September. After having already heard two incredible bands, the crowdy was already at a fever pitch and Carnifex kept the momentum rolling, working through many of their popular tracks like Slit-Wrist Savior while bathed in the glow of their signature two large neon inverted stars at either end of the stage.

One of the bands that were largely a departure from the death metal that we had beheld to this point was After the Burial. The band had released their sixth studio album Evergreen in 2019 and was midway touring for it when COVID struck and disrupted the tour. It seemed like finally getting to have a full touring run for the album had energized the band as they radiated messages of positivity, loving each other and taking nothing for granted as they slammed through their discography with the stunning technical precision that their fans had come to know and love.

Finally, it was time for the night’s headliner The Black Dahlia Murder who the crowd was at fever pitch in anticipation for. They soon got their wish as the band took to the stage in front of the backdrop with their latest album Verminous cover art to set the mood. From there, they promptly ripped through a stunning 14 song set and even made time for Statutory Ape complete with their tour manager on-stage in a gorilla costume. They showed love to the crowd as they played and the crowd returned in kind, headbanging and moshing along. All of it was enough to make us stop and forget, even if for a moment, about the troubles of the past year and a half.

If COVID has taught us anything, it should be not to take anything for granted. We certainly believe that this applies to concerts as they help to unite us as humans with a common interest. There’s still a few days left on this tour so get out there and check out this amazing lineup in person.

10/06/2021 Phoenix Concert Halls – Toronto, ON

10/07/2021 Club Soda – Montreal, QC

10/08/2021 The Palladium – Worcester, MA

10/09/2021 Starland Ballroom – Sayreville, NJ

10/10/2021 Irving Plaza – New York, NY

As always, please feel free to browse around ConcertHopper’s website (including checking out our full photo coverage featuring all of the bands from all four days of the festival) further and to check out our articles covering a wide variety of topics. Please also check us out on social media on our Facebook and Instagram pages. Life is a beautiful thing and music only adds to that beauty, make some time to get out and celebrate beauty and life with a community of like-minded individuals at a concert soon, it’s always worth the price of admission.

[blackkudos]

Shorty Long

Frederick Earl (Shorty) Long (May 20, 1940 – June 29, 1969) was an American soul singer, songwriter, musician, and record producer for Motown's Soul Records imprint. He was inducted into the Alabama Jazz Hall of Fame in 1980.

Career

Born in Birmingham, Alabama, Long came to Motown in 1963 from the Tri-Phi/Harvey label, owned by Berry Gordy's sister, Gwen, and her husband, Harvey Fuqua. His first release, "Devil with the Blue Dress On" (1964), written with William "Mickey" Stevenson, was the first recording issued on Motown's Soul label, a subsidiary designed for more blues-based artists such as Long. While this song never charted nationally, the song was covered and made a hit in 1966 by Mitch Ryder and the Detroit Wheels. Long's 1966 single "Function at the Junction" was his first popular hit, reaching #42 on the national R&B charts. Other single releases included "It's a Crying Shame" (1964), "Chantilly Lace" (1967), and "Night Fo' Last" (1968).

Long's biggest hit was "Here Comes the Judge" which in July 1968 reached number four on the R&B charts and number-eight on the Billboard Hot 100. The song was inspired by a comic act on Rowan and Martin's Laugh-In about a judge by Pigmeat Markham, whose own "Here Comes the Judge" – a similar song with different lyrics – charted three weeks after Long's, also in July 1968, and reached number 19 on Billboard. Long's 1969 singles included "I Had a Dream" and "A Whiter Shade of Pale". He released one album during his lifetime, Here Comes the Judge (1968).

Long played many instruments, including piano, organ, drums, harmonica, and trumpet. He acted as an MC for many of the Motortown Revue shows and tours, and co-wrote several of his tunes ("Devil with the Blue Dress On", "Function at the Junction", and "Here Comes the Judge"). Long was the only Motown artist besides Smokey Robinson who was allowed to produce his own recordings in the 1960s. Marvin Gaye, in David Ritz's biography Divided Soul: The Life & Times of Marvin Gaye, described Shorty Long as "this beautiful cat who had two hits, and then got ignored by Motown." Gaye claimed he "fought for guys like Shorty" while at Motown, since no one ever pushed for these artists. When Holland-Dozier-Holland came to Gaye with a tune, he stated, "Why are you going to produce me? Why don't you produce Shorty Long?"

Death

On June 29, 1969, Long and a friend drowned when their boat crashed on the Detroit River in Michigan. Stevie Wonder played the harmonica at his burial, and placed it on his casket afterwards. Writer Roger Green's epitaph stated: "So there endeth the career of a man who sang what he wanted to sing – everything from the blues to romantic ballads, from wild and crazy numbers to a utopian vision of Heaven on Earth. Short in stature but big in talent, he entertained and amazed us, and finally he inspired us."

Motown released Long's final album, The Prime of Shorty Long, shortly after his death.

Discography

Albums

1968: Here Comes the Judge (LP, SS/SM 709)

1969: The Prime of Shorty Long (LP, SS-719)

Singles

1964: "Devil with the Blue Dress On"/"Wind It Up" (Soul 35001)

1965: "It's a Crying Shame"/"Out to Get You" (Soul 35005)

1966: "Function at the Junction"/"Call on Me" (Soul 35021)

1967: "Chantilly Lace"/"Your Love is Amazing" (Soul 350031)

1967: "Night Fo' Last" (Vocal) /"Night Fo' Last" (Instrumental) (Soul 35040)

1968: "Here Comes the Judge"/"Sing What You Wanna" (Soul 35044)

1969: "I Had a Dream"/"Ain't No Justice" (Soul 35054)

1969: "A Whiter Shade of Pale"/"When You are Available" (Soul 35064)

Wikipedia

[fluidsf]

Project Axis 01 Burial Hex: The Hierophant Reviewed format: CD album Welcome to the 2020 reboot of the Project Axis series which will have a bit of a wider ranging selection of music in the Noise and related genres, underground music sphere as well as various experimental Electronic and Electro-Acoustic music released on Bandcamp and other spots online. If I like the music enough I will then feature full discography reviews of the artist, group or label in either the Project A1 or B1 series over time. The first release I’m reviewing for Project Axis today is this album by American Horror Electronics project Burial Hex, titled The Hierophant. Formed in 2004, Burial Hex, a solo project lead by Clay Ruby but also featuring various contributions by additional artists in the avant-garde scene in instrumentation, arrangement and production, has released at least 51 albums, various EPs, singles and compilation so far with the music diving through various stylistic influences ranging from Dark Ambient and Industrial to slower styles of underground Metal leading to a varied unique sonic signature. Indeed Burial Hex’s music isn’t really grounded in a single genre and the exciting juxtapositions of uplifting instrumentation with low pitched, often growled vocals on The Hierophant was a great first peek for me into the unique Horror Electronics sound Burial Hex has developed over time. The Hierophant features 5 long tracks spanning a total playing time of around 46 minutes, most of these 5 pieces are connected with each other through the use of field recordings of a natural environment (featuring prominent cicada chirping). The CD version of the album houses the CD in a simple but classy Digipak. The Digipak looks like a miniaturised version of the LP design with the credits numbering on the back still mentioning the LP layout of the tracks rather than the 1-5 numbering used for the main tracklist on the back. The album cover features a shocking but really well framed photograph by Spanish photographer Bernat Armangue of what looks like the aftermath of a bullfight, a dead bull laying in a circular sweep of blood. The artist name and album title are subtly layered over the photo in lightly glossy gold ink, making for a cover that is on one hand a bit disturbing but is also thought-provoking in the direction of the subject of death, in this case the death of an animal. The rest of the Digipak’s design follows that classy kind of vibe you get from the type of the cover in the form of classic serif type giving us all the album credits an details as well as a type of family weapon like design in gold glossy ink that adorns the back and CD design like an icon for Burial Hex himself. The CD face itself has a vinyl LP label type circular design similar to the back cover and the stylised etching like photograph by Kevin Gan Yuen (who also designed the album) looks intriguing too. The phrases “With Faith Alone, We Fight Alone, And Die Alone, With This Final Love”, on the left inside panel also give us an impression of the themes of the music on The Hierophant. With that said, before I move onto the music itself, I will point out that the production of The Hierophant was done by Clay Ruby, mastering was done by James Plotkin (and it sounds nicely clear in the separation of instruments especially). The Hierophant starts with the track Winter Dawn, a brooding but also quite upbeat piece of music that introduces us to the album’s captivating progressive compositional style and inventive arrangements of metallic Industrial elements, subtle sound design and most importantly the main ingredients of Clay Ruby’s vocals backed by (in this case) “late night” like introspective guitar phrases but also some catchy Techno like drum machine rhythms mixed with sweeping bright percussion. The piece starts with a melancholic melody played by a combination of strings and brass sounding in an arrangement like it’s straight from a sombre and decayed old film, the melody is backed by the ambient sounds of cicadas which subtly fade out overtime as the main melodies of Winter Dawn enter, performed on guitar, backed by a smooth warm bass synth and the aforementioned drum machine. The guitars on The Hierophant often have a rather clean reverberated sound hinting at seeing the glow of dim lights in the distance as you’re walking through a quiet town back to your home. There’s a certain calm but also hopeless feeling within both the tone and melody in Winter Dawn indeed, Clay Ruby’s vocals furthermore reinforcing a strong feeling of loneliness and inner struggles. Clay uses various vocal techniques on The Hierophant to express the poetic lyrics through a rich palette of textures and emotions. He’s often singing or growling in a low register like the musical equivalent of a man acting as the narrator of a sad gloomy story who’s got a lot of life experience and struggles behind him, himself. However, despite the sombre vibes the guitar, synths and vocals give off in Winter Dawn the changing drum machine rhythms give the song quite a drive regardless which does give the music a bit of a grounding into a feeling of a light at the end of the tunnel, cause unlike the metallic Industrial percussion that features in the piece the drums themselves are punchy and playful. Using this drive Winter Dawn travels towards the climax at the end which features Clay’s fragile but sincere vocals over an emotional melody arrangement for strings and sweeping strong percussion, which works as the finale of the orchestral music we heard in the beginning of Winter Dawn, a quite surreal finale to this first track on The Hierophant. On the next track Final Love the music turns into a more aggressive albeit also playful direction with Burial Hex’s vocals become much more screechy as the song progresses expressing himself in melody textures of pure desperation. The instrumentation’s got a much more Industrial rhythm to it, albeit more of a mixture of metallic samples and fast moving at times even Footwork like drum machine programming. Sweet maybe even slightly sticky piano and synth melodies back the fragile vocals making for a curious juxtaposition of warm positive atmosphere with vocals that sound more like an emotional breakdown. I admit that first hearing the combination in this track felt quite amusing to me in a strange way but I did quickly get into the vibe of the vocals so it definitely does work, the piano also’s got a bit of a Noise edge to it in that it’s quite loud, maybe even fuzzy into the mix, making it sound quite heavy for such a bright instrument. Burial Hex eases the composition a bit in this track, making it more of a slowly building piece of music rather than changing it up like in Winter Dawn. Then on title track The Hierophant Clay Ruby performs some great energetic growled vocals backed by an instrumentation made up of freely clattering percussion and strings. It’s good to point out at this point that the string and brass arrangement as well as additional percussion on The Most Foolish Son Is Always The Oldest One were all created by American avant-garde musician Troy Schafer who’s also got a curious discography of solo and band releases to check out. Back to this track though and you can hear some curious Folk influences in the melodies and instrumental performances in its first section which move towards a bright intense climax of wavy synth melody and synth bells, uplifting violin melodies which combined with Clay’s growled vocals makes for quite a curious kind of atmosphere. Indeed during my research I found out that influences within Burial Hex’s music do indeed include Horror film soundtracks themselves too and I can definitely hear that clearly in the wavy texture and bells featured in this climax, they do recall Dario Argento’s soundtracks in a way in how they give the music this heroic feel while the vocals represent the gruesome, dark and surreal imagery you’d see on the screen. I love how Burial Hex found a way to make his music have this Horror vibe yet also include some really fun elements within it without them dragging the music down into absurdism. It just works in its own unique way. Then on Never Dying we have a bit of a cool down of sorts as we’re moving towards the finale of The Hierophant, which is the track The Most Foolish Son Is Always The Oldest One. A much more subdued and quiet piece, Never Dying features Clay Ruby singing in more of a whispered sort of manner, mixed with his softly growling vocals, with the lyrics pointing towards a sad fragile and weak physical and mental, like someone surrendering himself to nature which never gives him his needed rest after a history of past suffering. The song features a great expressive (improvised) piano performance by Kathleen Baird, an American multi-instrumentalist and vocalist whose solo music besides piano improvisation features physical movement and electronic manipulation of her flute. Somewhere between abstract and trickling drops of melody the piano works as a great backing too Clay Ruby’s captivating hypnotic vocals and mixes well with the ambience created by field recordings, tinkling bells and some nicely 80’s styled Industrial clangs, bangs and low pitched resonating thumps. Also, nice to point out is that there is a great binaural effect within the field recording and Industrial scraping sounds that intensifies at the end of the track, swirling around your head, as it were. Before we move onto the last track of The Hierophant I’ll mention some of the other musicians who contributed to this album, these are Nathaniel Ritter, who provided additional programming and electronics on Winter Dawn and The Most Foolish Son Is Always The Oldest One. Edmund Xavier plays additional rhythm guitar on Winter Dawn and Billy Lee provided additional percussion on The Most Foolish Son Is Always The Oldest One. We’ll now move to The Most Foolish Son Is Always The Oldest One, the final track on The Hierophant, which is also the longest one. The song’s got a great composition especially in terms of its progression. Starting with a mid tempo groove consisting of a bouncy drum machine groove, funky electric piano, bass, and sweeping strings and brass melodies, Clay Ruby’s low pitched vocals enter, backed by delayed guitar and a phased swirling stream of wind. With this song I really felt that especially the melodies of the vocals and instrumentation themselves are a particularly great driving force and strength of the music and one of the most enjoyable aspects about the progression of the song are when the music moves into this quite trippy kind of jam with some great delayed percussion taking over from the drum machine groove, with tambourine, snare drum, cowbell, bass drum and other percussion giving the music a bit of a “crusade in an open field” type of feeling which afterwards morphs into an even tripper bit which is the ending of the song. In this last bit of the song the electronic kick disappears and we move into a cloud of swirling wind, whispered, at times screamed vocals as well as elements from the main string and brass melodies repeated. While it is is practically more of a jam on the main composition itself, the added improvisational surreal element to the sound of the music really makes you feel like you’re coming to the end of a journey or crusade you’ve went on as you listened to The Hierophant. It’s an excellent mixture of the sombre dark elements of the album with the playful experimentation Burial Hex adds to his music, blending Industrial, Dark Ambient and Psychedelic elements into a really captivating and especially enjoyable mixture. The Hierophant is in my opinion a great introduction to Burial Hex’s music but also a great discovery for listeners interested in exploring underground music which involves both elements from Folk, underground Metal as well as more electric / electronic minded styles like Industrial and Dark Ambient. Burial Hex’s music is definitely a highlight in the scene and one to definitely dive deeper into, which I will indeed also do at a point in the future. But first check out The Hierophant. The Hierophant is available on CD through the Cold Spring mail order shop here: http://store.coldspring.co.uk/index.php?route=product/product&path=46&product_id=8186

[jooniebeom]

Fave Recent Songs

tagged by @holdinghim! thank you! and I agree, bonding over music is so much easier of an icebreaker lmao

1. Home Is Far Away - Epik High

2. Doom Dada - T.O.P

3. 해야해(heyahe) - ONE

4. Fantasy - jbj

5. Yamazaki - Bang Yongguk

6. Sentimental - Winner ( but i mean all of winner’s discography tbh )

7. Serotonia - Highly Suspect

8. Lost In the Static - After the Burial

9. Homesick - Solar Storm

10. Sea - BTS

[lordsintacks]