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rottingwaysofmisery · 2 years ago

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Non-Goth Music that Goths might enjoy

Along with what the title says, I will be elaborating on each. It’s mostly going to be metal because that’s my current interest but there will be non-metal recommendations, such as industrial rock or electronic music.

Epicus Doomicus Metallus - Candlemass

Not my personal favorite Candlemass album, that would be Nightfall, but it’s what I think would be most interesting to a Goth looking into other genres. To elaborate on why I think that, it’s the use of the vocals, subject matter, guitarwork, and keyboards. The vocals do an incredible job at communicating both storytelling and extreme emotions like anguish. The subject matter covers things like witchcraft, sorcerers, and wanting to die alone. The guitarwork and tone doesn’t sound anything like post-punk but it’s the way it complements the feelings of doom and anguish that might make it interesting to someone looking into other kinds of dark music.

TL;DR They’re slow, heavy, and dramatic.

I would like to highlight “Solitude” as my best recommendation to a Goth Rock fan, and “Under the Oak” as my personal favorite track.

Ministry

Not recommending any specific album, but specific songs from them. Hell, you might even consider some of Ministry’s work borderline Goth, but the overall genre is Industrial Rock/Metal, at least since they stopped making synthpop.

The tracks I’m recommending are as follows: “Every Day is Halloween” (single), “Golden Dawn” (from their album Land of Rape and Honey, which despite the name is actually referring to a plant and not the reprehensible act), “Cannibal Song” and “Dream Song” (both from The Mind is a Terrible Thing to Taste).

The first song is already kind of a goth music staple but I thought to include it anyways because I love that song.

DAF (Deutsch Amerikanische Freundschaft)

This one might be a little hard to justify just because of how all over the place they are, but personally I think they really have that post-punk attitude when it comes to their music. They’re basically this really experimental electronic band, hell their early stuff even has noise rock elements. If you’re into the more industrial experimental stuff and don’t need conciseness or melody then this might be an interesting band to look at.

I would like to highlight the tracks “Kebab Träume”, “Ein Bisschen Krieg”, and “Muskel”

King Diamond

I’m going to be blunt, you’re not gonna like this one if you don’t like traditional heavy metal. Along with that, you might not like King Diamond’s vocals. Yes, the band is named after the singer. Anyways, if you like Gothic Rock for the “spooky” Halloween-esque aesthetic, you might just fall in love with King Diamond. He’s an acquired taste for most, due to the unusual falsetto he displays all across his career.

Personally, I fucking love King Diamond. I think instead of recommending any specific song I’d rather recommend whole albums due to the storytelling aspect that King Diamond weaves into most of his discography. To paint you a picture, most of King Diamond’s discography is concept albums that tell horror stories, cleverly using vocals to switch characters, and using keyboards to really give that cheesy but lovable Halloween Horror feel, along with some of the coolest guitarwork in metal, done by the likes of heavy metal legend Andy LaRocque.

Onto highlights, I would like to highlight Fatal Portrait, notably one of the few albums not to be a fully concept album, particularly the tracks “The Candle” and “Haunted”, and Them, a concept album with my personal favorite story, and Conspiracy, the sequel to Them story-wise, which is my personal favorite album.

Celtic Frost

This one might be an odd recommendation if you’re only familiar with their popular stuff, but I’d like to highlight a few tracks that may be of interest.

“Mesmerized” (from their album Into the Pandemonium)

Recommending this one mainly because the vocals are very reminiscent of Rozz Williams from Christian Death, at least in my opinion.

“Os Abysmi Vel Daath” (from their album Monotheist)

This is kind of a risky recommendation, since this song and the album in general is just experimental extreme metal. It’s mainly the vocal performance here makes me want to recommend it, though it might be a bit of a stretch. I love this song but I know it might not be for everyone, though if it gives at least one person a new song to listen to then I’ll be happy.

Zoon - The Nefilim

Industrial Extreme Metal, by the same people behind Fields of the Nephilim. This one is a bit of an oddball in the discography of the people who made it, but personally it’s the only album I like by them anyways. Unfortunately, this was the only album they did in this style and under this name. They do, however, still occasionally perform songs from this album as Fields of the Nephilim. My personal favorite track being “Shine”, which is honestly a bit of a power ballad.

The Downward Spiral - Nine Inch Nails

C’mon. You knew this one was coming. It’s an industrial rock album, and if you haven’t listen to them already you’re most likely going to LOVE “Closer”.

Sacrificed - Edge of Sanity (from The Spectral Sorrows)

It’s a straight up Sisters of Mercy-esque Goth Rock track that’s towards the end of a Death Metal album. The vocalist would go on to start a Goth Rock band, Nightingale.

I’m Going Slightly Mad - Queen (from Innuendo)

You may be confused. That Queen? Yes, same one that made “We Will Rock You” and “Bohemian Rhapsody”. This song is called Gothic Rock on wikipedia, but I’m including it anyways because Queen is not a Goth band.

Surprise - The Garden (Single)

This one might confuse you if you’re familiar with this band. From the instrumentation, to the vocals, to the subject matter, it just screamed to me “put me next to Goth music”. Listen to it for yourself and tell me if you get it. For some strange reason it was taken off streaming platforms unfortunately.

Deinonychus

This one is a black metal band with doom metal influences. Another riskier recommendation, what gives me the impression that a Goth might love this is a mix of the use of keyboards, the anguished harsh vocals, and the deep clean vocals. The best example I want to give is “The Weeping of a Thousand Years”, it’s like a bearded vampire speaks the clean vocals and someone tortured in the dungeon of a castle screams the harsh vocals.

Call from the Grave - Bathory (from Under the Sign of the Black Mark)

Another Black Metal band, this one even harder to justify. Bear with me, listen to the song and pretend that a zombie is the one singing. The song starts with this spooky ambience and then goes into this evil groove and later on has a solo that sounds like a funeral dirge, it’s awesome. I have no idea if anyone’s going to get why I’m putting this here along with the others, but if someone does that’ll be awesome.

Give Me Your Soul - Countess (from The Book of the Heretic)

Another Black Metal one, yes, but hear me out. This song is literally goofy spooky Halloween music, and it’s literally from the perspective of a demon who kidnapped someone. I fucking love this song, I just think if you kept an open mind you might love it as much as I do.

Floods - Pantera (from The Great Southern Trendkill)

Okay okay, hear me out again. This is literally borderline Southern Gothic, at least thematically, and topic aside it’s one of the best power ballads out of all of metal with one of the coolest solos literally ever.

Buried Alive - Venom (from Black Metal)

This song is hard to describe, it’s not quite a power ballad, but it’s definitely some sort of ballad. It’s catchy, it’s got a dramatic build up and it’s got groove (it has one of my personal favorite solos ever). Tell me what you think!

Black Sabbath

I find it a little funny that Black Sabbath had a literal “Living in a Box” moment by naming their first song on their first album after themselves. Anyways, this song, “Black Sabbath”, is dramatic and evil. It’s basically the first heavy metal song, and yet it has more doom in it than a lot of modern doom metal bands. Side note, Type O Negative has a fantastic rendition of this song, I could not more HIGHLY recommend giving it a listen.

I also recommend “After All (The Dead)” off of their album Dehumanizer. It’s got the doom and gloom but with that heavy metal oomph to it, so I hope you appreciate this song as much as I do.

Black Mummy - Death SS (from In Death of Steve Sylvester)

I must clarify again, the “SS” part of the name has nothing to do with the Nazis and is short for the singer Steve Sylvester. Anyways, this song has a more traditional heavy metal sound but in a bit of a spooky horror approach. You might ask if it’s anything like King Diamond, I can assure you it’s not.

Scream of the Butterfly - Acid Bath (from When the Kite String Pops)

This one is a bit of a ballad in an otherwise Sludge/Doom Metal album. Unrelated, but if you’re into metal with interesting textures I would definitely recommend this album.

Ghosts - Japan (from Tin Drum)

It feels like cheating to put a New Wave artist on here, but they’re still technically not Goth so I’m putting them anyways.

Filth - Swans

Noise Rock, it’s extreme music that isn’t metal. I’m including this one for a similar reason with DAF, because despite its genre it definitely has a bit of a post-punk attitude to things.

L’Eau Rouge/Red Water - The Young Gods

Industrial Rock with Dark Cabaret elements, oh my god this album is my baby I fucking love it so much. The fact more people don’t know about it feels like a crime.

Gloomy Sunday - Billie Holiday

This is technically not her original song but I enjoy her version a lot. Thematically it’s very dark, so if you are into darker music I would definitely recommend this.

The Devil is an Englishman - Thomas Dolby (Single)

Again it feels like cheating to include a New Wave artist but there’s no way in hell anyone considers Thomas Dolby “Goth”. Though I will say this song was composed for a movie called “Gothic”. Regardless, I would definitely recommend this, it’s dark synthpop.

Auburn and Ivory - Beach House (from Beach House)

Feels like cheating to include dreampop, but why not. I have this song on a playlist with music that makes me feel like a French mime, if that helps give you an idea of the kind of song it is.

Kate Bush

That’s all.

Anna - K.U.K.L. (from The Eye)

This is from one of the bands Björk was in before. Very experimental rock, I would personally recommend the music video version that’s up on youtube instead of the Spotify version.

Einzelhaft - Falco

This album is mostly known for “Der Kommissar”, but I find that there’s other good songs on this album, particularly “Ganz Wien” and “Auf der Flucht”.

An Angel of Great and Terrible Light - Uboa (from The Origin of My Depression)

I’m gonna warn you, this song along with the album this is from may be a very emotionally heavy album for some. However, I’m built different. Anyways I fucking love this particular song from the album.

End of Recommendations

That’s all I have for now, if anyone has any suggestions I’d love to hear them! I hope this helps someone find new music to love!

#goth #gothic rock #goth music #goth music recommendations #gothic metal #industrial rock #falco #thomas dolby #new wave #noise rock #heavy metal #doom metal #king diamond

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abookishdreamer · 3 months ago

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Character Intro: Ascalaphus (Kingdom of Ichor)

Nicknames- My boy by Acheron

Darling by Orphne

Age- 17 (immortal)

Location- The Underworld

Personality- He's a broody yet eccentric young god who loves intellectual pursuits, gothic aesthetics, & a deep appreciation for classic literature and art. He's currently single.

He has the standard abilities of a god. His other powers/abilities include limited chlorokinesis (as it pertains to plants & flowers native to the Underworld), limited necromancy, being able to communicate with/shapeshift into a screech owl, limited umbrakinesis (shadow manipulation), and limited hydrokinesis (as it pertains to the waters of his father's river).

Ascalaphus is the only child of his parents- Acheron (Titan god of pain) & Orphne, a lampade.

He lives with his parents at their mansion in the Underworld. Ascalaphus' room is on the third floor. The bedroom door is built out of blackwood & there's also a terrace where he can overlook his father's river. The flooring is black marble while the walls are brimstone- covered in posters of his favorite bands, singers, movies, and deities. Instead of a laptop, there's an antique typewriter. In his room there's a simple trundle bed covered in dark blue satin pillows & black quilts, white onyx shelves for his book collection, as well as his blue-black iCHOR Tech wireless speaker that's automatically connected to Musify.

Ascalaphus is his father's twin with their olive skin, brown-black eyes, and facial features with the only difference being their frames. Acheron has a lean muscular build while his son has a bit more muscle. He feels like his mother feels left out because she doesn't look like them with her brilliant dark blue eyes, dark obsidian skin, and thick curly hair.

He's fluent in Latin.

He keeps his ink black hair short & shaggy.

Ascalaphus has a few tattoos- large owl wings on his back, a pair of dark blue eyes (dedicated to his mom) on the inside of his left wrist, a skull surrounded by black dahlias on his right arm, and the quote "What nourishes me destroys me" written in latin on his left pec. His good friend Achlys (goddess of the death mist, poison, misery, & sadness) did the tattoos.

A go-to drink for him is beer. He also likes red wine, pomegranate brandy, his dad's jallab, his mom's homemade blackberry iced tea, ginger ale, hot chocolate, black tea, mineral water, and cola.

Ascalaphus primarily writes in cursive.

For breakfast he'll typically go to a corner store to get a sausage, egg, & cheese on a hero on toasted rye bread. If he's gonna be on time for school, he'll have a bowl of steel cut oats topped with dark chocolate chips and maple syrup, a bowl of Earthly Harvest raisin crunch cereal, or his mom's omelette- added with black olives, mushrooms, & ghost peppers.

Ascalaphus loves listening to classical, synth pop, folk, rock, heavy metal, rap, and death metal music. His favorite musical artists to listen to are Moros (god of doom), O, & the death metal rap band Death Theater- comprising of Hades, Charon (Ferryman of the Underworld), his friend Hypnos (god of sleep), and Thanatos (god of death). He also thinks that Pale Blu isn't too bad either.

He's currently a freshman at Polydegmon University, the most prestigious college in the Underworld. Ascalaphus has a full ride- a four year scholarship, thanks in part to his father as well as the king. He doesn't live on campus, an agreed compromise with his parents. Even though it's too early to declare a major, Ascalaphus is thinking about majoring in botany or art history.

Thus far his favorite class has been his gothic literature class taught by his professor- a lampade named Ms. Whiteveil. The sound of her velvet smooth voice while she reads poems and short passages automatically calms him.

He loves snacking on ash plum flavored gummy spiders. He also likes spicy mushroom flavored kettle cooked potato chips & black anise licorice twists.

Ascalaphus has a job of sorts. He tends to the garden of the king of the Underworld, Hades (god of the dead). The orchard is primarily filled with black dahlias, frost orchids, black thorned roses, and shadow blossoms. He actually likes working in the garden. It's one of the few moments where Ascalaphus is alone with his thoughts for self-reflection. He also doesn't mind the company of the king. Hades will bring him a small cup of dark roast coffee or will lend Ascalaphus a book from his extensive library.

He also earns extra money by picking up groceries for Geras (god of old age) & by dog-sitting Cerberus sometimes.

There's a small restaurant downtown in Plouton Square that makes the best jjajangmyeon (noodles & diced pork in black bean sauce). It's a frequent takeout order for him.

All though Ascalaphus loves his parents, he feels like they're keeping him on a tight leash, especially his father. They didn't even want him to live on campus in a dorm and they especially don't want him to leave or travel out of the Underworld to any of the other realms- Olympius in particular. The Realm of Darkness is all he ever knows and Ascalaphus just wants the chance to experience something new, something different.

At school his social circle consists of cyclopes named Osric, Sybil, & Quintessa (Tessa for short), a harpy named Xerxes, a lampade named Azura (a botany major), as well as mortals named Caspian (a art history major), Rosalind, and Venetia.

Ascalaphus in undecided about whether or not to join the University's fraternity. Osric is a member.

Outside of school he's real good friends with Theodon (god of reality, uncertainty, & fate). They hang out together all the time. They smoke weed sometimes (through use of a Stygian Iron bong) & Ascalaphus will invite Theo to play basketball with him, Osric, Xerxes, and Caspian every weekend at Shadowstone Park. Theodon even tagged along to Ascalaphus' first college party!

He really liked going to the film premier of Blooddancer with Theodon. Ascalaphus even got to briefly meet the director of the film Keres (goddess of violent death). The photo of them meeting is framed & on his dresser. He also saved the ticket stubs!

In the pantheon he's also friends with Despoina (goddess of the arcadian mysteries, frost, winter, & shadows).

Also in the pantheon Ascalaphus respects and admires Nyx (goddess of the night) Erebus (god of darkness), as well as his "honorary" aunts & uncles, the other Underworld river deities- Phlegethon (Titan god of fire), Lethe (Titaness of forgetfulness, oblivion, & concealment), Styx (Titaness of hatred), and his godfather Cocytus (Titan god of wailing & lamentation).

He also admires Favian (god of philosophy) & is a fan of his steampunk historical fantasy book series The Machinery of Alchemists.

The iCHOR Tech soundproof headphones are great when Ascalaphus is working on an assignment or blocking out the sounds of his parents' lovemaking.

Sometimes (without his parents knowing), Ascalaphus will travel out-of-realm to Olympius to pick up Theodon from school. He pretends not to care as Theo drones on and on about a fellow schoolmate Heimarmene (Marnie) (goddess of shared fate). One day while Ascalaphus was waiting for Theo where he noticed him walking down the school's steps with Marnie and another girl. He thought she looked like winter's light with her flawless pale skin and shimmery silver eyeshadow on her eyelids. Her smile was just as bright as she tucked away strands of her short bouncy golden light brown hair behind her hair. When Ascalaphus asked Theo about her when he got in the car, he said that she was Marnie's best friend Eiresione (Ren) (goddess of offerings).

His favorite frozen treat is dark chocolate ice cream topped with pomegranate syrup, dark chocolate chips, and whipped cream.

His favorite dessert is his mom's black rum cake. She makes it every year for his birthday and on the Winter Solstice.

Ascalaphus is not ashamed about the fact that he's still a virgin. He wants to wait until he's emotionally connected with someone to have sex. He did make out with an empousa named Elidi at the college party.

His all time favorite meal is his dad's hearty lamb stew with saffron rice and his mom's scorched chicken.

In his free time Ascalaphus enjoys playing video games, reading, skateboarding, writing, snowboarding, gardening, skiing, ice hockey, cooking (with his parents), ink painting, going to museums, chess, listening to music, and going to the cinema. He's also been getting into photography.

"Owls inspire us to see beyond the darkness and find our own light."

#my oc #my character #oc character #my oc character #oc intro #character intro #oc introduction #character introduction #modern greek gods #modern greek mythology #greek myth retellings #greek gods #greek myths #greek pantheon #greek mythology

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spiritusnocturnus · 4 months ago

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A close representation of me changing and evolving in musical choices.

Enter The Era Of Spiritus Nocturnus

Musical Journey

Breaking guitars or casting them aside in favor of Synthesizers and Electronic Music. -Spiritus Nocturnus

My roots were always of a darker nature although I've switched somewhere in the late 2010's to a new futuristic vison. I was always into Gothic Rock/Post-Punk Music but then the Metal phase crept in and I see it as just that a phase because I always was attracted to the more obscure and classical anyways, not to what the average alternative person was into passing me by on the street asking me what is my favorite band in hopes that I could relate their favorite mainstream band. Not to say that I did like a few of them I must say but however my vibe was just different from the rest that seem to come in droves and I mostly steered away from what most people like and pave and follow my own road.

You see, I was always of a different breed even within the Alternative community. In the alternative side of things I started off more on the Punk/Trad Goth side of things with and somewhere around that part I started to learn about the difference between that form of music and Metal. As Metal seemed more polished, lively and for commercial radio and mostly none of the music I listened to sounded like it was for airplay, lively, or polished. The music I listened to sounds dark brooding, mysterious, tribal etc.

I checked out different types all the way to the fan radio friendly Alternative Metal that I used to listen to being played on Senton Hall New Jersey radio , To the Black Metal where it sound like Cats are being cooked alive screaming for dear life, to the Death Metal where it's brutal and others in between like Thrash Metal Venom, Pentagram etc. I mostly enjoyed the soothing side of Gothic Metal and I enjoyed the Slow Funeral Doom type and early Prog Occult Metal. However I was still with more of a Punk and Goth- type of mentality , Not really a Metalhead and never really was. Though no longer did guitars and certain genres like Metal was of an interest to me. The loud abrasive yelling and screaming in most Metal music became almost unbearable and was not the the right feel for me.

Truly I believe at this point I seen myself in a dark gloomy club or room psychedelia setting and it worked perfectly because my room at the time was fitting just right for that formation to occur. That was one thing then something that deeply impacted me around this time changed me altogether in my life I soon I started getting more into Darkwave and other forms of Electronic -Synth music and that sealed the deal from there. No longer were guitars, Metal etc..... were appealing to me as an Artist but I still love Post-Punk and the gloomy feel that usually brings.

Overall in my mind, I felt that Metal Is Dead so it started to get to me when people would see me on the street or if I bump into another alternative or Goth person, and yes "supposedly Goth not Metalhead" asking me about what bands am I into. Almost expecting me to say Ozzy or some other famous band etc, Didn't happen before and in this new era definitely not because half of the people I listen to is far ,far in the underground or either in the hereafter. Though anyways Synthwave in particular matched my vibe and futurist vision especially in 2017-2018 leading up to the Apocalypse of 2020 when I created my full first feature length album entitled Spiritus Nocturnus . This is around the time I started to evolve , not only as an Artist but spiritually and this the road that was meant for me when the transition from the classical Goth Spiritus Leach into the new cyberpunk/cybergoth Spiritus Nocturnus.

Yes in general it's ok and is possible to like both and all types (as I still do at times and I also love Smooth Jazz and Baroque/Dark Classical) and still prefer to be assimilated within a certain subculture, as that may be more of your preference and to me my preference is now Electronic music nowadays in a particular that of 80's vibe and in this new Cyberpunk and Spiritus Nocturnus Era I find myself more among those who are into Cyberpunk, Cybergoth, Rivetheads

- Spiritus Nocturnus

#Spiritus Nocturnus #Spiritus Leach #Synthwave #Dark Synthwave #Retrowave #Vaporwave #Electronic Music #Music #Music Prodcution #Art #80s #Retro #Vintage #Neon #Native Goth #Black Goth #Native American Goth #Cyberpunk #Cybergoth

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spiritusleach · 4 months ago

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A close representation of me changing and evolving in musical choices.

Enter The Era Of Spiritus Nocturnus

Musical Journey

Breaking guitars or casting them aside in favor of Synthesizers and Electronic Music. -Spiritus Nocturnus

Overall in my mind, I felt that Metal Is Dead so it started to get to me when people would see me on the street or if I bump into another alternative or Goth person, and yes "supposedly Goth not Metalhead" asking me about what bands am I into. Almost expecting me to say Ozzy or some other famous band etc, Didn't happen before and in this new era definitely not because half of the people I listen to is far ,far in the underground or either in the hereafter. Though anyways Synthwave in particular matched my vibe and futurist vision especially in 2017-2018 leading up to the Apocalypse of 2020 when I created my full first feature length album entitled Spiritus Nocturnus . This is around the time I started to evolve , not only as n Artist but spiritually and this the road that was meant for me when the transition from the classical Goth Spiritus Leach into the new cyberpunk/cybergoth Spiritus Nocturnus. Overnight it seems as that I was no longer known to Alternative community who may have seemed Goth to a degree but was more of dark Metalheads in musical tastes truly. Most could not relate because it lacked having a guitar and other bare essentials that seemed like the Baby Bats dream of being Goth.

- Spiritus Nocturnus

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anotherghoul666 · 2 years ago

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Under Our Black Cult tour primer

@battiestbelfry as promised my dear! Now, I don’t have info on Gaerea yet because I don’t know them yet, Imma deep dive in the next few days. But the other 3 bands on the bill I know well, so here we go!

Under the read more: primers and my personal opinions on the bands Uada, Carach Angren and Rotting Christ. Song and album recommendations to start off. And the mask kink thing, with pics. 3/4 of the bands on this bill are or can be confidered masked bands, you know I gotta touch on the mask kink in there!

UADA

Uada, which means “haunted”, are a melodic black metal band from the United States. They are based in Portland, Oregon and have been active since 2014. They are currently signed to Eisenwald records, an independent music label from Germany. In this house we love and support independent labels! They are specialized in black metal and have a very fun roster.

Uada have 3 releases out so far, all full length albums. They don’t do singles, they don’t do demos, they don’t do splits, they don’t do EPs. They make full albums and drop them on a roughly 2 years cycle, though with the pandemic we are at 3 years since the last record, so these mysterious hooded figures are ripe for new material! Their debut album Devoid of Light in 2016 was well received by the metal world as a promising debut, albeit very classic black metal that didn’t surprise much. 2018’s Cult of a Dying Sun seems to be their album with the most acclaim. The sound quality difference between these two is astounding. The tracks tend to be longer, which helps some songs and doesn’t help others. 2020’s Djinn is their latest release and the reception’s been this: Djinn is way more niche, as in, you have to be down for 14 minutes atmospheric black metal songs to like it, but if that’s your vibe? It’s fucking good. Quality up, marketability down. They still don’t do anything super different, but it’s good black metal. It feels like European black metal despite being American, which is what I love, because I’m intensely biased towards the EU scene. US bands have to be either 1)extremely fucking special or 2) European-sounding to get in my good graces XD

The guys are “masked”, in the sense that they play with hoods over their faces with the aim of not being seen, for atmospheric purposes:

They also do “the hand thing” when taking pictures.

But they’re ok being approached in public by fans, as long as you don't pressure them to take a pic with their faces showing. They are not anonymous, their names are out there if you wanna know.

As far as recs go, I would rec all of the albums honestly cause it’s less than 3 hours of music and there’s nothing truly bad in there. My favorite album personally is Djinn but that’s because I fucking love atmospheric albums that make me lose track of time. I’m aware that’s not everyone’s cup of tea xD So, to my previous recs of Devoid of Light, Black Autumn White Spring and Cult of a Dying Sun, I’d add all of Djinn, but specifically the title track and In The Absence of Matter as a first contact.

CARACH ANGREN

Carach Angren are a symphonic black metal band from the Limburg province of the Netherlands. They’ve been active since 2003 and they’re currently signed to French label Seasons of Mist, one of the few major metal labels I feel positively about! The Seasons of Mist roster is INSANE. They specialize in the darker genres of metal, black, death, gothic, doom and some prog. Many of my favorite bands have been on them through the years.

So. Listen. Carach are one of my absolute darlings in the black metal world. When I began my exploration into black metal in the early 2010s, their first three records have been instrumental in making this genre my favorite. I would not be where I am today without them. I will forever have a very special in my heart for these guys. I hung out with them several times, I’m attached, ok? But. And there’s a huge But. Dear fucking god did these guys fall off. I’m still reeling from how perfect their music used to be, and how fucking atrocious the output has been since 2015. In my opinion. These primers are only my personal opinions and ramblings ok XD They’re doing fine, their latest albums did get decent reviews which I? Don’t understand? But you do you, boo? XD They’re one of the big names in black metal right now, they’re headlining tours, they’re doing good on the new material ok. But I can’t fucking stand it hahaha.

The main problem for me was the vibe shift. Carach Angren’s themes are horror stories. They recount fantastic tales of horror, fright and gore, psychological horror, body horror, historical horror, the like. The storytelling in their first three albums is stunning. There was always a sense of realism there, of horror being grounded in reality. It’s classy, it’s tasteful, it’s striking and horrifying but it’s never cheap and nothing is played for shock. 2008’s Lammendam is about “true stories” in a 1700s an 1800s backdrop, a historical version of our “I heard from a friend of a friend that…”, tales from the crypt and all that. Ghost stories that we’ve heard before, la Dame Blanche for example, but set to music. 2010’s Death Came Through a Phantom Ship is about nautical horror. Historical stories of phantom ships, captain-less ships, mutinies and their disastrous bloody consequences. It’s so grounded. Their masterpiece, 2012’s Where the Corpses Sink Forever, is about the horrors of war. We follow soldiers in trenches, feel their desperation, their fear of death yet longing for it. The heart-wrenching beauty to be found on battlefields because they are so human, yet the absolute bone-chilling reality of it. It’s so fucking real. This album, no joke, is one of the best albums I have ever heard in my life. It’s a 10/10 record for me, and I do not give out 10/10 easily. I’m rather critical. I have less than 20 albums that I’ve ever rated as perfect in my life, and this album is unanimously recognized as the pillar of this band, and one of the pillars of symphonic black metal altogether. This is one of the albums that made black metal click for me. It changed everything.

And then, there was a tonal shift. I suspect, coming off from such a resounding success, the band didn’t know how the fuck they could live up to it, and they crumbled under the pressure. 2015’s This is no Fairytale is, as the title suggests, bases in the Grimm fairytales. It’s a weird modern retelling of Hansel and Gretel and like. Yeah. It started to get cheap. The language used in the lyrics shifted. There’s a ton of unnecessary cursing all over this album, graphic depictions of SA, p*dophilia, incest, drugs abuse and overdose, and like, yes, Hansel and Gretel is a tale about child abuse, of course, but there’s a way to approach those topics you know? With feeling, with emotion, with realness, and here it just feels cheap. Ghastly “twists” are constantly played out for shock value, it’s surface, it’s plastic-y. The stage show changed from refined hustorical costumes and atmospheres to, like, female-bodied mannequins being dragged around and getting their throats cut on stage with copious amounts of fake blood, and for what? It’s just, tasteless now. The band lost its delicacy. That’s where it started to feel cheap, and it only went downhill from there. 2017’s Dance and Laugh Amongst the Rotten is a joke. Legit, this album sounds like a joke. The songs are boring, uninspired, structure-less. The lyrics are so cheap. It’s like we went from a museum quality horror painting that moves and inspires, to a cheap clown trying to be scary at a kid’s birthday party. 2020’s Franckensteina Strataemontanus was very “meh” to me. Less offensive than the previous two, and the story is inspired by classic horror literature like Mary Shelley and the strange scientists that inspired her Frankenstein. There’s potential, but the magic is dead for me. Bad taste in my mouth. I can’t do it anymore, but maybe a fresh pair of ear that doesn’t have the baggage I have with this band will like it? You let me know.

In this context, you’ll understand why my recommendations will only be from the first three albums. If you want to go for it, just listen to all three. There are no duds in any of them. But for specific songs, from Lammendam: Haunting Echoes from the Seventeenth Century, The Carriage Wheel Murder, Heretic Poltergeist Phenomena and my absolute favorite La Malédiction de la Dame Blanche. From Phantom Ship: The Sighting Is a Portent of Doom and Bloodstains on the Captain's Log. From Corpses? Listen to the whole thing man. For real. It’s a concept album, so grab the whole thing, sit down, close the lights, get the lyrics out, and follow along. Prepare to be sobbing by the end. I could recommend every single song, but they hit so much more powerfully within the context of the story.

In terms of aesthetic, there guys are “masked” in the way that they have a very unique look of corpse paint (the face paint typical to black metal).

They coined this look, not corpse paint as a whole, but their style of it. It’s been copied a million times since (like by Cradle of Filth notably, though they'll argue to the ends of the world it wasn't copied. It looks the exact same, it's a bit ridiculous), but it was Carach who did it like this first. The band members have character names, though they are not anonymous. Their real names are out there, but on stage, they’re not themselves, they are Seregor and Ardek (Namtar used to be their drummer. He quit in 2020. I have no clue how the band will record anything else in the future without him because he was the CORE of the band for me. Absolute drummer crush. I digress.) Seregor is a hobbyist mask maker and he makes masks for his different characters from his stories, like these:

Imo they still hit on the mask kink somewhat. The guys on and off stage feel like they are radically different people, and to have met them masked at the end of a show and unmasked at more proper events, there’s a world of difference in the vibe. I love it.

Oh also they have spawn a good few big metal memes like this one XD :

Which they found funny enough they turned it into a shirt XD :

(and yes of course I have one hahaha)

ROTTING CHRIST

Rotting Christ are a seminal band in black metal’s history. They have been at it for 36 years under the Rotting Christ banner, 39 years if we count the first iteration of the band under a different name. Dare I say it? I’ll say it. They’re the black metal daddies. I’m so sorry, I said it, it’s out there now XD They are daddy and I don’t make the rules. Anyway! They’ve been active since 1987, as I said, and they are signed to, yep, Seasons of Mist. I wasn’t kidding when I said this label’s roster is nuts. They are from Athens, Greece and they’re more towards the melodic / gothic side of black metal. They influen ced black meal heavily because this early in the 80s (black metal as a genre really kicked off in the 90s), there were no other bands who did what they did, and especially not in Greek. Rotting Christ have a lot of songs in Greek, in Latin, later in their career they made songs based on Hindu mysticism, their lack of fear when it comes to singing in everything but English at the time was genre defining. They made many songs in English since, but man the ones in Greek just hit different you know? They changed the game before the black metal game was even a thing.

Currently there are only two original members left in the band, brothers Sakis and Themis Tolis, vocals/guitar and drums respectively. Everyone else right now are tour musicians or session studio musicians. As their band name suggests, their themes are of anti-christianity, satanism, occultism of many different cultures, mysticism, it’s all good shit. One more band we traumatized christian kids can heal our religious trauma through, weeeee!! They have 13 full length records out, their latest one being The Heretics from 2019 (we are starving from new material, please feed us) though they haven’t paused during the pandemic, re-recording older material and releasing compilations instead. There was a new single in 2022 called Holy Mountain, and I hope and pray that means new album soon. Sakis Tolis also released a solo project in 2022, Amongst the Fires of Hell, which was fucking DELICIOUS my dude. More laid back, but so fucking crunchy. Highly recommend if you feel their sound.

In terms of recommendations, you’re in luck because they released a massive best of for their 30th anniversary called Their Greatest Spells: 30 Years of Rotting Christ. That’s the must-listen. If you want into this band, start here. You’ll get a taste of the sound of every single full lenght that came befoee. It’s 2 albums, 33 songs: find your favorites, check which album they're from, and go from there! Non Serviam, Grandis Spiritus Diavolos, In Yumen-Xibalba, Kata Ton Daimona Eaytoy, everything’s on here, besides my personal favorite song of theirs, Apage Satanas. It’s a weird chanty, trance-y song but it’s the one that made me fall in love with the band. It scratches at something deep inside my brain idk.

Rotting Christ are not masked, nor is there an aesthetic to latch onto, really. They’re just cool dude doing cool things and doing their part spreading the message. They’re honest and raw. No frills. What you see is what you get. They’re the OG.

And that's the bill! Lemme know if you listen to anything and if the bands catch your interest :D

#asks #band primers #metal band primer #uada #carach angren #rotting christ

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gargarismo-blog1 · 10 months ago

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ORPHANAGE - Oblivious To Time 3-CD Boxset

Limited to 500 copies Worldwide, the digi-CD's are not available seperately, features the albums "Oblivion"and "By Time Alone" and both demos on a seperate digi-CD entitled "Morph / Druid".

3 beautiful digi-CD's in a boxed set, fully restored and remastered, with poster,

Innovative Gregorian Doom Death Metal classic remastered and re-packaged for an ultimate listening experience!

After a year of hard work Hammerheart Records will finally release the Orphanage re-issue project!

This fine release will feature the first two Orphanage albums “Oblivion” and “By Time Alone” and the demo-compilation “Morph/Druid” in a 3-CD boxset, both albums on vinyl and a very limited edition vinyl bundle including both albums and exclusive the demos on vinyl as extra!

Orphanage was a band that exploded on the Dutch scene by 1994 and became a big household name in the years 1995 to 2004.

They played all big stages in Europe and were praised for their unique, innovative style of Death Metal (with melody and gothic influences being added).

Orphanage made their songs heavy, with emphasis on bombasm and atmosphere.

The mix of Gothic and Doom Metal would not totally miss the point with Orphanage, but then you got the brutal/heavy elements as well.

The feel of the music has it’s connection to the atmosphere of gloomy castles, and perhaps even some fantasy-elements.

Everything has been painstakingly re-mastered by Toneshedo and artwork rebuild from almost scratch with full back up of the band themselves.

• Orphanage was a unique band from the unique early 90’s Dutch Death Metal scene

• ”Oblivion” and “By Time Alone” were originally released on the legendary Dutch label DSFA Records

• Mastered from the original DAT tapes by Erwin Hermsen at Toneshed Recording Studio (Dead Head, Legion of the Damned, Siege of Power, Trouble)

• Artwork rebuild from scratch by Wouter Wagemans

• Featuring (ex)members of bands as Within Temptation, Delain, The Gathering

• Partly recorded, produced and engineered by Oscar Holleman (RS29)

#horphanage #hammerheart records #melodic death metal #gothic metal

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k-i-l-l-e-r-b-e-e-6-9 · 1 year ago

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ℭ𝔢𝔩𝔱𝔦𝔠 𝔉𝔯𝔬𝔰𝔱 - 𝔖𝔢𝔡𝔲𝔠𝔢 𝔐𝔢 𝔗𝔬𝔫𝔦𝔤𝔥𝔱

#Celtic Frost #Cold Lake #Seduce Me Tonight #Full-length #Release date:#September 1st #1988 #Genre:#Thrash/Death/Black Metal (early); Gothic/Doom Metal (later)#Themes:#Occultism #Death #History #Literature #Switzerland

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derangedrhythms · 3 years ago

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Sun compilation for @themoonandthewanderer

"The sun hardly touches me. / Sometimes I see it in early spring, rising very far away. / Then leaves grow over it, completely hiding it. I feel it / glinting through the leaves, erratic, / like someone hitting the side of a glass with a metal spoon. / Living things don’t all require / light in the same degree. Some of us / make our own light: a silver leaf / like a path no one can use, a shallow / lake of silver in the darkness under the great maples."

— Louise Glück, The Wild Iris; ‘Lamium’

"But this night of mine can’t be killed by any sun."

— Alejandra Pizarnik, The Shadow Texts; from ‘The Green Table’, tr: Yvette Siegert

"…threaten the Sun, in the Moon’s name, with being engulfed by perpetual night."

— Robert Graves, The Greek Myths: The Complete and Definitive Edition

"We'll celebrate the dead sun's dying light."

— Charles Baudelaire, Complete Poems; 'Spleen et Idéal' from 'Black Bile (Millenium of memories...)', tr. Walter Martin

"Then the sun again / Waking like a torn-out eye."

— Ted Hughes, Moortown Diary; from 'Coming down through Somerset'

"…that old villain the Sun"

— Aristophanes, quoted by Robert Graves in 'The Greek Myths: The Complete and Definitive Edition'

"Close out the sun, for I would have it dark / That I may feel how black the grave will be."

— Sara Teasdale, Helen of Troy and Other Poems; from ‘Beatrice’

"furious anger in spring sunshine,"

— Margaret Atwood, Selected Poems II: Poems Selected & New: 1976-1986; from ‘Not the Moon’

"Black, but still a sun, / Like the Sun's negative."

— Ted Hughes, Collected Poems: Uncollected (1983-86); from 'Sacrificed Head'

"...the sky where the sun was already rising like a hot white bitch."

— Toni Morrison, from 'Sula'

"The sun is dressed in black."

— Charles Baudelaire, Complete Poems; 'Spleen et Idéal' from 'Possessed', tr. Walter Martin

"The sun doesn't forgive, / it looks and keeps going."

— Margaret Atwood, from ‘Power Politics’

"Who would not blot out the sun sometimes?"

— Susanna Clarke, from 'Jonathan Strange & Mr Norrell'

"And so for days Magdalena obsessively barricaded the windows of her room against the gusty sunshine and tumult of spring."

— Joyce Carol Oates, Dreams from the Witch House: Female Voices of Lovecraftian Horror; from ‘Shadows of the Evening’

"I'm reminded of the sun of my childhood. Infused with death,"

— Alejandra Pizarnik, The Shadow Texts; from ‘The Green Table’, tr: Yvette Siegert

"I feel more vulnerable in the spring than in the fall. That’s why I’m so damp. This isn’t sweat. It’s something the sun has wrung from my heart."

— Izumi Kyoka, Japanese Gothic Tales; ‘One Day in Spring’, tr. Charles Shiro Inouye

"Drowned in a pool of blood the sun lies slain."

— Charles Baudelaire, Complete Poems; 'Spleen et Idéal' from 'Evening Harmony', tr. Walter Martin

"Outside the sun shines. / I dress up in ashes."

— Alejandra Pizarnik, from ‘The Lost Adventures’; untitled, tr: Cecilia Rossi

"If I were God, I'd call on the angels one night / to release the round sun into the darkness's furnace,"

— Forugh Farrokhzad, Osyan (Rebellion); from ‘Rebellious God’, tr. Sholeh Wolpé

"I hope for no good of this letter because today the sun opposes a conjunction of Saturn and the moon, and Mars opposes Jupiter which is back on my sun. Defy these stars."

— Ted Hughes, Letters of Ted Hughes; from a letter to Olwyn Hughes, 22nd May 1956

"Don’t speak to me of the sun or I’ll die."

— Alejandra Pizarnik, from ‘Extracting the Stone of Madness’, tr. Yvette Siegert

"She hated the sun too because it was treacherous."

— Sylvia Plath, Johnny Panic and The Bible of Dreams; from ‘Tongues of Stone’

"Doom on the sun!"

— Dylan Thomas, The Collected Poems of Dylan Thomas: The New Centenary Edition; from ‘Find meat on bones’

"What’s deadlier than the sun?"

— Jean-Paul Sartre, from 'The Flies', tr. Stuart Gilbert

"The sun will never rise again on anyone. / Never. Never more. At last."

— Marguerite Duras, from 'Hiroshima Mon Amour', tr. Richard Seaver

"…the dark glasses interfere with my ability to recognize obstacles. I can’t take them off, the sunny weather ruins my mood, and they help mask all this sunniness. With them I can even pretend that the sky is overcast instead of bright blue, so I have been wearing them continuously for the last week, eager to deceive myself, and getting into accidents, but better a couple of accidents than the depression that will inevitably follow if I’m forced to live under the cloudless sky."

— Mariam Petrosyan, from 'The Gray House', tr. Yuri Machkasov

"Or the funeral of the sun;"

— Dylan Thomas, The Collected Poems of Dylan Thomas: The New Centenary Edition; from ‘Here in this spring’

"My painful moon-eyes wait and brood / To view the sun's demise."

— Gertrud Kolmar, Dark Soliloquy: The Selected Poems of Gertrud Kolmar; from 'The Toad', tr. Henry A. Smith

"The sun was like a feverish eye."

— Sadeq Hedayat, The Blind Owl and Other Stories; from 'The Blind Owl', tr. D. P. Costello

"You might think a total solar eclipse would have no colour. The word “eclipse” comes from ancient Greek ekleipsis, “a forsaking, quitting, abandonment.” The sun quits us, we are forsaken by light. Yet people who experience total eclipse are moved to such strong descriptions of its vacancy and void that this itself begins to take on colour. What after all is a colour? Something not no colour. Can you make a double negative of light? Would that be like waking from a dream in the wrong direction and finding yourself on the back side of your own mind? There is a moment of reversal within totality."

— Anne Carson, Decreation: Poetry, Essays, Opera; from ‘Totality: The Colour of Eclipse’

#compilations #that old villain the sun #long post

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x--daughters-of-darkness--x · 4 years ago

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20 WOMEN VOCALISTS IN METAL WHO ARE A DRIVING FORCE FOR THE GENRE

Lzzy Hale

If you haven’t heard of the colossal Halestorm and their show-stealing frontlady Lzzy Hale by now, how’s it been living under that rock? Out here in the real world, both rock and metal have been battling to claim Halestorm and Hale’s presence since the band’s first EP, (Don’t Mess With The) Time Man, in 1999. From the vitriolic masochism of “I Miss The Misery” to the heart-wrenching “Here’s To Us,” Hale’s vocal range reaches each extreme of moving emotion and devastating attitude. We couldn’t pay tribute to Hale without also recognizing her guitar talents. Check the sassy leading line from “Love Bites (So Do I)” as an example of this phenomenal lady’s ability to step beyond musical expression and into aural artistry.

SKYND

True crime has never been more compelling than at the hands of Australian electronic-metal sensation SKYND and their mystifying frontwoman of the same name. Tackling a new real-life mystery with each track, covering the disappearance and mysterious death of “Elisa Lam” and the doomed cult following of “Jim Jones,” SKYND’s haunting vocals tell each tale as if they were acting out in front of you. SKYND’s dedication to her theatrical persona (plus the ability to keep her real identity a secret), her iconic look and the creation of lore around her exposition of real-life crimes is a mystery the metal world may never solve, but perhaps it never should.

Taylor Momsen

Gossip Girl? We don’t know her—we know Taylor Momsen as the sultry tones commanding metal’s sassiest frontrunners the Pretty Reckless. With her gravelly vocals offset by her signature blacked-out eyes and suspenders, Momsen is an all-around powerhouse frontlady who bends all of your stereotypical expectations of a female vocalist. Take the hissing attitude of “Make Me Wanna Die,” the iconic summer anthem through “Messed Up World (F’d Up World),” the doomed “Going To Hell” and the gloriously filthy “My Medicine”—she’s not here for your entertainment, simply to make music in her own inimitable devil-may-care way.

Sharon den Adel

Where symphonic-metal outfits go through vocalists like water, Within Temptation’s Sharon den Adel has held on to her throne at the very beating heart of the genre since 1996. The band that introduced you to the dark side in high school has come a long way from “Angels” and “Our Farewell” to their most recent sensation “The Purge,” but the enduring talents of the angelic den Adel at the helm remain as moving as ever. Whether your heart breaks or races along with the captivating stories told through her cherubic vocals, den Adel’s talents have kept this legendary band alive and relevant for 25 years. We’re hanging on the edge of our seats for a new album.

Amy Lee

Most millennials were introduced to the world of metal through Evanescence’s invasion of radio airtime in the early 2000s, making vocalist Amy Lee an initial encounter in female presence in a heavily male realm. With an unforgettably haunting vocal range that can reach into your chest and pull out your heart with a single note, Lee’s trademark sound has lived in our minds since 2003’s Fallen and has no intention of letting go. From the iconic “Bring Me To Life” to her solo career’s “Speak To Me” and most notably the captivating “My Immortal,” Lee’s inimitable voice of an angel showed metal how to truly capture the mainstream.

Melissa Bonny

You’ve never seen symphonic metal quite like Switzerland’s Ad Infinitum and, consequently, you’ve never seen a frontwoman quite like Melissa Bonny. With her compelling vocals at the helm, each track tells a story steeped in historic struggles and triumphs as the band members each adopt a story of survival during the time of the Black Death in Europe. Every member appears in a plague doctor’s mask except Bonny, commanding the narrative as her show-stopping range transitions from heavenly cleans to venomous screams with ease. Ad Infinitum and Bonny’s towering talents begin an epic quest through the ranks of metal, and nothing will stand in their way.

Simone Simons

Symphonic-metal outfits face a constant challenge to stay relevant and move forward with the scene around them, more so than any other subgenre. However, the dreamy contributions of Simone Simons have kept Epica at the forefront of their genre since 2002. The band that once created “Storm The Sorrow” have matured to the lofty heights of “The Skeleton Key” with Simons’ operatic tones at the helm, bringing her angelic range to the band’s cinematic instrumentals and occasional death-metal infusions.

Maria Brink

Since their inception in 2005, In This Moment have redefined performance art and metal all at the same time, thanks to the command of iconic vocalist Maria Brink. Challenging religious imagery alongside feminine stereotypes, Brink’s presence both on and offstage has decimated the white male dominance of the metal genre. It takes a certain conviction and attitude to pull off the likes of “Whore” and “Blood” without trivializing their core moral messages, but Brink has rewritten the book on expectations of women in the heavy music industry. Long may she reign.

Larissa Stupar

Vicious, teeth-baring uncleans are the domain of Venom Prison’s Larissa Stupar, death metal’s brightest rising star. Whoever said women had to be the saccharine, angelic feminine contribution to metal clearly never met Stupar, who belts savage growls as if delivered from the gates of hell itself. The likes of “Uterine Industrialisation” and “Slayer Of Holofernes” prove devastating both live and in the studio when this unrelenting powerhouse gets her chops around them.

Alissa White-Gluz

Arch Enemy’s screamer-in-chief makes belting superhuman notes look easy. Alissa White-Gluz’s cord-shredding talents are the result of a career that started when she formed the Agonist at the age of 19. Joining Arch Enemy in 2014 gave White-Gluz a platform to showcase her range and also gave us her contagious live presence on a bigger stage. Providing her distinctive tones to regular collaborations with Kamelot and Delain, the voice behind Arch Enemy’s “War Eternal” and “You Will Know My Name” is no stranger to framing racing riffs with her guttural chops and showing off her heavenly cleans when the instrumentals allow.

Cristina Scabbia

The dual vocal onslaught we know and love from Lacuna Coil compels and fascinates, thanks to the storming presence of Cristina Scabbia. Dominating the metal scene since the ’90s, the enduring Italian crew pour richly gothic melodies over devastating riffs. Scabbia’s heavenly clean vocal is the cherry on top. From unforgettable classics such as “Our Truth” to their latest show-stopping “Save Me,” her dream-like range has been an invaluable gift to metal for over two decades and hopefully many, many more.

Tarja Turunen

The thought of losing founding Nightwish vocalist Tarja Turunen to the abyss of former symphonic singers when she left the outfit in 2005 was too much to bear. Luckily for us, Turunen kick-started her solo career the following year, and she’s been a mainstay of the metal scene ever since. The heavenly operatics that once heralded classics such as “Wish I Had An Angel” and “Nemo” now belts “Innocence” and “Tears In Rain” with the most celestial, earthbound vocals the genre has seen to date.

Suzuka Nakamoto

Easily the youngest member of our ranking, Suzuka Nakamoto, known as Su-metal, is the founding member of Japanese sensations BABYMETAL. With all the maturity of an artist twice her age, this 23-year-old puts us all to shame with her consistent energetic vocals and seemingly endless energy supplies while performing impeccable dance routines onstage. Between the iconic “Gimme Chocolate!!” and BABYMETAL’s latest “Kingslayer” collaboration with Bring Me The Horizon, there’s no denying she has a long and prolific career ahead of her.

Amalie Bruun

Myrkur has become a relentless hot topic in metal since its inception in 2014, and we have only recently discovered the identity of the haunting vocals at its heart. Now we can credit multi-instrumental composer Amalie Bruun with the rise of this mysterious Danish project, led into the wilderness by her raw screams bursting through cherubic cleans just when you least expect it. Often singing in Norwegian as an authentic twist on her own style of black metal, the theatrical “Ulvinde” and “Juniper”’s lingering atmospherics merely scratch the surface of Bruun’s compelling storytelling talents.

Elize Ryd

Amaranthe’s triple-threat vocals fetch their lighter tones from Elize Ryd, the Swedish outfit’s not-so-secret weapon who brings cherubic notes to their modern take on organized metallic chaos. Also known for her additions to Kamelot, both live and in the studio, Ryd’s heavenly cords and quirky songwriting add a bucketload of atmosphere and depth to the likes of “Amaranthine” and “Maximize,” making Amaranthe’s unique versatility one that continually sets trends for years to come.

Cammie Gilbert

Houston doom-metal upstarts Oceans Of Slumber have found themselves on a near-vertical trajectory over the last few years, a movement fronted by the tireless energy and boundless talents of their powerhouse vocalist Cammie Gilbert. Upon joining the band in 2014, Gilbert’s towering range came to the surface as her vocals neatly expand the lulling melancholy of “Winter” and the desperate cries of “A Return To The Earth Below,” as if her vocals project both fragility and strength at the same moment.

Heidi Shepherd and Carla Harvey

We couldn’t separate the two ladies commanding Butcher Babies, so this slot goes out to both Heidi Shepherd and Carla Harvey as the double-trouble onslaught who have brought us “Monsters Ball” and “Magnolia Blvd.” If you’re looking for a nonstop, indulgent party with the possibility of a snapped neck or two, look no further than L.A.’s dirtiest metal export that have become a staple on everybody’s festival bucket list. This versatile pair have made thrash their own ever since their 2013 debut, Goliath, showed the metal scene what it had been so desperately lacking—two relentless ladies who know exactly how to have a good time.

Chelsea Wolfe

Surprisingly the only strictly solo appearance on this list, Chelsea Wolfe has made metal her very own since her arrival in 2010, draping a veil of folk-y atmosphere and gothic depth over seductive doom-metal undertones. Combining her boundary-smashing approach with a sadistically dark visual style, Chelsea Wolfe somewhat ironically injects life into doom by refusing to conform to the genre’s ’90s stereotypes. She wraps her smooth vocal swathes around the compelling melancholy of “Feral Love” and “16 Psyche,” as if redressing the world around her in her own image.

Tatiana Shmayluk

You’d be forgiven for thinking Ukrainian outfit Jinjer tell their lyrical tales through the voice of three separate individuals covering melodic cleans, ear-splitting screams and guttural snarls and somewhat effortlessly slipping between them. The single towering voice behind this band’s meteoric rise belongs to Tatiana Shmayluk, flexing her multi-talented chops on “Perennial” and “Sit Stay Roll Over” just to increase your vocal envy. We’re still not sure how she pulls off such smooth transitions between the polar opposite personas onstage, but we can’t seem to look away.

Floor Jansen

Taking on the mammoth task of fronting the pioneering outfit Nightwish in 2013, Floor Jansen donned her new role as if she was born for it. Jansen’s inimitable honeyed tones ushered in a new age for the symphonic-metal icons, weaving her slick melodic range through the band’s trademark cinematic instrumentals. The theatrical atmospheres tracked on “Élan” and “Noise” give Jansen the room to flex her operatic range while she narrates the vibrant, tall tales we know and love from Nightwish.

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doomedandstoned · 3 years ago

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In Russia, A Belated Doom & Stoner Halloween!

Review by Anton Bryukov

Photographs by Nadegda Holodnaya

Doom & Stoner Halloween took place on the 11th of December. The gig had been postponed due to COVID-related restrictions which were in effect in Moscow in late October.

The audience gathered at Peak Sound club to listen to some doom this cold, snowy evening. Desolate Music Promo Group organized the event. Desolate Music is well-known for organizing doom-metal festivals in Moscow.

Soul Chariot

The first band to play was Soul Chariot, a relatively new name in the scene. They unleashed the thundering sound of traditional doom metal on the listeners. The drive and energy of the songs got the crowd moving. They ended the show with a cover of Pentagram’s “Forever My Queen.”

Soul Chariot by Soul Chariot

Train To Elsewhere

The band in which I play – Train to Elsewhere – took the stage after that. We play a mix of traditional doom metal and gothic doom, focusing on the old-school atmospheric sound. We played some of our songs from the debut “Samhain” album and new stuff like “Hades” and “Blues.”

Songs Of November Winds by Train to Elsewhere

heXenblatt

heXenblatt continued the evening with the mix of occult stoner-sludge doom which quickly filled the air with its presence. People slammed, moved to the music, and were in a hypnotic state on the slower parts of the performance.

Through the Woods by Hexenblatt

Autumn Woods

Next up were Autumn Woods, they performed a modern sounding mix of groove metal and doom-death. It could be called the earnings fastest performance bordering on faster styles of metal. A very technical, professional live set.

Doomed By Loneliness by Autumn Woods

Neuropolis

Neuropolis from Saint-Petersburg stormed in after that. They were definitely the heaviest act of the show. The gloomy and dark sounding doom-death was matched by the superb theatrical performance of the vocalist. They performed songs from both the “Golem” album and the debut EP.

Golem by NEUROPOLIS

Thunder Volt

The evening was closed by Thunder Volt who performed a unique mix of stoner-grunge doom. Having a lot in common with the music of the late 80-s and the early 90-s, the band has a tendency to play anthems and dirges of the doom-grunge fusion they are known for. This evening they have added a bit more sludge/hardcore punk into the mix.

Entering the Cave by Thunder Volt

Credits:

Desolate Music Promo Group

Танюша (Tanya) aka Shapeofdespair

Salariel Daemon

Photographs by Надежда Холодная (Nadegda Holodnaya) aka Photosferiya

Video by Виталий Константинов (Vitaly Konstantinov) aka BELIAL 68

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Doomed & Stoned in RUSSIA Volume Two

Doomed & Stoned in Russia (Vol. 2) by Doomed and Stoned Records

As with any good sequel our team had a task to continue the formula established in Part I while bringing something new to the table. Part II is another look into Russia's vast doom scene and contains bands from all over the country.

From the legendary heroic Viking myth of Scald to the dark pessimistic underground experiments of Voidwards, Part II contains the entire specter of doom metal. This time around we had quite a few sludge and stoner bands, and the darker side is represented by a few top-notch funeral doom contributions.

While containing some big "headliners" the overall compilation is more of an exploration of the underground. When gathering the material I noticed once again how authentic and honest our doom scene is. People who play Doom believe in what they do. That authenticity is what is most important.

We had people who recorded exclusive tracks and some tracks which have already achieved legendary status. We are especially grateful to Voj, who are arguably the first band in the world to play funeral doom, for contributing a track to the compilation -- as we are thankful to every band who participated.

Alexey Sivitsky of Godlike Ikons continued the theme of the Russian folk tales and has contributed superb artwork depicting Kashchey the Deathless. This character is known to the listeners of classical music from the opera by Nikolai Rimsky-Korsakov. This archetypal character may date back as early as the 12th century myths. The lore behind him makes this antagonist a perfect character for the cover art.

As a whole the compilation has more urban and stoner notes compared to a more northern and even folkish vibe that the first volume had. It may sound a bit heavier. But here remains the main task of documenting the Russian Doom scene which we set out to do in Part I.

At the outer reaches of weird cosmic worlds and in abandoned crypts and churches, in vast snowy fields and forests, in smoke filled flats and late-night bars, the integral lyrical theme of Doom remains the subject of the lyrics. This two-part journey has been quite a unique experience for our team. Getting in touch with all the people who make our favorite genre of slow heavy music possible, has led to the discovery of many new names and outstanding songs. We hope that the listeners of the compilation will as well discover something for themselves.

Anton Bryukov (Train To Elsewhere) Project Curator, Doomed & Stoned in Russia

Editor's Note: Be sure to check out the brand new live album by Train To Elsewhere, just released! It's a fantastic introduction to the band's sound and will give you a feel for their vibrant presence in concert. (Billy Goate)

Songs Of November Winds by Train to Elsewhere

#D&S Concert Review #Moscow #Russia #live #concert #doom metal #sludge #death doom #death metal #black metal #Thunder Volt #Neuropolis #Autumn Woods #heXenblatt #Train to Elsewhere #Soul Chariot #Peak Sound #photography #Doomed and Stoned

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happymetalgirl · 4 years ago

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October 2020

Six Feet Under - Nightmares of the Decomposed

I wrote a full-length review of this disaster of an album earlier in the month, and yeah, wow. Between the phoned-in performances from the instrumentalists who have proven themselves far above this joke of a band and the half-assed production this would have been a pretty crappy album even without Chris Barnes’ milk-aged vocals. But he’s here, and he’s managed to actually get worse too, gasping his way through the whole album and littering it with these ludicrous “high” squeals that would make Smeagol sound like a more competent death metal vocalist. It’s the worst thing I’ve heard all year, and what’s worse, I don’t think Six Feet Under is stopping.

1/10

With that out of the way, let’s cleanse the pallet right away with some really good shit.

Greg Puciato - Child Soldier: Creator of God

Ever reliable in his artistically integrity, explosive former Dillinger Escape Plan frontman, Greg Puciato, has been pretty sonically and artistically adventurous since the honorable dissolution of the iconic mathcore outfit, his most notable music project being the ethereal, synth-heavy The Black Queen. This year, however, Puciato has gone fully solo for a full-length project, and something told me to get ready for a wild ride, and boy was I right on that hunch. Borne out of an exponentiated process of songwriting that produced songs Puciato deemed unfitting for any of his current projects, what was planned as a small release to ship these songs out of the writing room eventually spiraled into a full-blown debut solo album clocking in at over an hour. A lot of solo projects play like clearly indulgent amateur hour sessions from an artist whose ego has been boosted pretty well from significant success from their main project, leading them to overconfidently try their hand at music they have no business trying it at. And it’s often approached under the understanding that it is a victory lap, more or less, and a satisfaction of creative impulses for the sake of it. Sometimes the resultant material is clearly inspired and showcases a side of an artist that certainly deserves some spotlight. Other times it feels like being trapped in an awkward situation with an acquaintance where they just show you all their newest pedals and production software and you’re just stuck there watching them fiddle around while you nod along and offer the occasional “wow, that’s pretty crazy” every now and then while they don’t pick up on the obvious cues that you are just waiting for them to finish playing with their toys. While Puciato was open about this album being borne from the very creatively borderless mindset that so often damns solo projects, Child Soldier: Creator of God is an actual realization of the type of grand, genre-spanning album that so many solo artists envision themselves making and set out to create, and it’s hardly a whimsical, amateurish crack at the styles within either. Puciato’s foray into sludge metal, industrial rock, harsh noise, darkwave, synthwave, and shoegaze, (1) makes for a hell of a dynamic and exciting track list, and (2) shows a much deeper than average respect for and relationship with the styles being played here. This isn’t some frontman thinking his charisma can carry him through a whole rap solo album; this is a well-rounded artist (also a hell of a frontman, no denying that) giving the most comprehensive look yet into his creative mind. The album leaps around in patches of different styles, strung together mostly by ambient connective tissue of various types, all with a great attention to detail paid to both texture and progression. We get early patches of smooth ambiance, but also aggressive industrial and sludge metal, eventually moving to more soothing and meditative synthy stuff around the middle, finishing with some serene, Have a Nice Life-esque shoegaze. But really there’s no way to sum up this album stylistically without breaking down every single song on here, and that would just ruin the fun and the experience. You really just have to experience it for yourself.

9/10

DevilDriver - Dealing with Demons I

Embarking on a conceptual double-album, Dez Fafara and DevilDriver’s first installment in the pair is a scoop of the, indeed, slightly above average, but unfortunately still plain and predictable modern groove metal they always offer up. I’ll give the band credit for keeping the pace up and clearly putting substantial energy into the performances on this album, while also trying to squeeze in a few shake-ups to their sound, like the clear Gojira-inspired riffage on the opening track. The album loses steam, unfortunately, as its punches lose their impact as it goes on.

6/10

Anaal Nathrakh - Endarkenment

While certainly cultivating a unique sound, Anaal Nathrakh’s unholy fusion of nasty modern blackened grindcore with sweeter metalcore and melodic death metal elements has its mixed results. And while that might at first sound like a relatively critical assessment of the Brits’ eleventh album, I’d say that there is actually a lot to enjoy and take in for at least the interesting mix of styles, most of which are hits rather than misses as well.

7/10

Enslaved - Utgard

Having been a fan of a good amount of their recent output, especially 2015’s In Times, I came out of Utgard moderately disappointed with how infrequently Enslaved galvanized their potent brand of Viking folky, progressive black metal effectively; the few moments the band do channel their strengths cohesively and purposefully left me wanting more rather than savoring those moments.

6/10

In Cauda Venenum - G.O.H.E.

It’s hard to, and indeed seems kind of in just to, sum up a heaping prog metal serving like G.O.H.E., comprised of two 22-minute halves, in a capsule review, but that is kind of the format my current busy circumstances have forced me into. French outfit In Cauda Venenum made a self-titled debut in similar two-long-track fashion back in 2015, and the band’s gothic and somewhat theatrical brand of atmospheric post-black-metal is continued on their sophomore effort here, drawing the obvious comparisons to Opeth and Katatonia, as well as Der Weg Einer Freiheit, Numenorean, and Sólstafir, and apart from the more frequent sample usage and extra drawn-out songs, there really isn’t that much to differentiate In Cauda Venenum stylistically. The band’s second album, unfortunately, resembles so many others in the field with big aspirations and the same inadequate means of getting there.

5/10

Apparition - Granular Transformation

A much more bite-sized early two-track offering, Apparition’s debut EP offers a more promising glimpse into a heady, atmospheric, yet still visceral manipulation of modern death metal that I would be curious to hear in a more long-form format. In a genre as extreme as death metal in recent years has been, finding artists effective at working with negative space can be difficult, but the two songs on Granular Transformation showcase a formidable dexterity from Apparition that I think can take them places.

6/10

Molasses - Through the Hollow

While indeed marred by some rough performances on songs with sometimes more desert to cross than water to make it there, there’s an undeniable occult hypnotism about the Dio-era-esque doom metal hollow that Molasses ritualize their way through.

7/10

Death Angel - Under Pressure

While certainly an odd choice on the surface, Death Angel’s acoustic EP and cover of the famous Queen song actually comes out pretty alright. The acoustic version of Act III’s “A Room with a View” comes off with the energy of something like Rush whenever they went acoustic, and the original acoustic cut, “Faded Remains” isn’t too bad either. The acoustic format did not, however, mask the drabness of “Revelation Song” from last year’s overall disappointment, Humanicide.

6/10

Necrophobic - Dawn of the Damned

The Swedes’ melodic brand of blackened death metal is nothing if not thorough on the quintet’s ninth full-length, Dawn of the Damned, covering all the ground that their fans expect their style to cover and doing so with more compositional and performative stamina than their average contemporary. While the band’s broader compositional approach is akin to the beating of a dead horse, I can’t deny it produces some tasty motifs in the process.

7/10

Bloodbather - Silence

After coming onto the blossoming metallic hardcore scene in 2018 with a standard, but potent enough 14-minute EP, Pressure, Bloodbather are back with another 14 minutes of similar, yet less promising material, doing little to set themselves apart from or on the same level of the likes of Jesus Piece, Vein, Knocked Loose, or Harm’s Way.

5/10

Infera Bruo - Rites of the Nameless

The Bostonians’ fourth full-length is, at the very least, a rather well-executed forty minutes of modern black metal a la Craft or Watain, but beneath the seams the band’s progressive tendencies twist what would otherwise be a fresh, but standard, slab of black metal into a more head-turning offering of the usual shrieks and blast beats.

7/10

Touché Amoré - Lament

While somewhat shaky in their compositional exploration in their fifth LP, the firmness of their emotive post-hardcore foundation allows for Touché Amoré to build upwards relatively steadily without losing that raw vulnerability that has made them so captivating to begin with.

7/10

Gargoyl - Gargoyl

This is the self-titled debut from Bostonian four-piece Gargoyl; a novel blend of dirty nineties grunge and gothic prog metal, Gargoyl come through with one of the more impressive genre fusions of the year, meeting the lofty sufficiency for dexterity with excessive vocal harmonies in a manner so uncanny that would make habe to Layne Stayley proud. While there is the expected room for improvement on the compositional end that many debut projects come with, Gargoyl have laid the groundwork for themselves fantastically and started off on a good foot.

7/10

Crippled Black Phoenix - Ellengæst

Through creative gothic flair and full-bodied guest vocal contributions that bolster the somber atmosphere beyond the typical post-metal album, the UK band’s most recent offering of “endtime ballads”, despite its few low points that undo its otherwise immersive atmosphere, serves as one of the more engaging releases under the broader post-metal umbrella of the past year.

7/10

Wayfarer - A Romance with Violence

The Denver-based quartet follow up 2018’s strong emotive case for the potential for evoking cathartic power of the atmospheric black metal which has so saturated the American scene to the point of numbness, their Americana-tinged third LP, World’s Blood, unfortunately, with a fourth LP whose compositional homogeneity and mere few intermittent bursts of enthralling atmospheric instrumentation more represent, rather than advocate the merit of, the saturation of the American atmospheric black metal scene.

6/10

Armored Saint - Punching the Sky

Though I think the structural homogeneity and John Bush’s similarly limited vocal delivery holds it back, with crunchy bangers like “Do Wrong to None” and “My Jurisdiction” alongside more tempered tracks the clearly grunge-influenced “Lone Wolf”, Bush and company provide a relatively stylistically diverse traditional heavy metal album for an age that could use more contemporary representation of classic styles (beyond the entire stoner metal genre LARPing as Black Sabbath too).

7/10

Spirit Adrift - Enlightened in Eternity

But it's not just the old guard representing their era of classic heavy metal robustly; a year and a half after their energetically melodic third album, Divided by Darkness, which took a triumphant melodic approach to classic heavy metal and doom metal similar to that of Khemmis on their excellent third album, Spirit Adrift ease up a bit on the hyper-soulful approach to guitar melody that had led me (and others I'm sure) to draw the comparison to Khemmis, and instead dive deeper into the headspace of the genre's earliest progenitors to achieve that unabashedly glorious rallying cry that is evoked by the very front cover of Enlightened in Eternity. While I am personally pretty partial to the very vulnerable and heartfelt melodic approach that characterized Divided by Darkness, the effectiveness with which Spirit Adrift are able to wield the sometimes Maiden-esque, sometimes Testament-esque sounds of the 80’s on this album is undeniably impressive.

8/10

Fever 333 - Wrong Generation

Providing the correction to this generation’s answer to Rage Against the Machine (after Prophets of Rage’s insufficient attempted revival) Fever 333 follow up last year’s debut of heavy, fired-up and modern take on rapcore with another 14 minutes of righteous anti-racist hardcore anger that’s attuned to the issues to a level that I wish more artists would at least express in their art. While the EP is 18 minutes long, the last two songs, “The Last Time” and “Supremacy”, don’t match the sonic energy of the first six tracks. The somber piano-led snippet-length ballad, “The Last Time”, should have been the conclusion of the album, but the closing track, “Supremacy”, while as conscious as the tracks before it, is basically a late-stage formulaic Linkin Park track that flatters neither of the two bands. Despite botching the landing though, Wrong Generation is a ripping batch of songs that well represent the current unrest and provide a positive hypothetical idea of what it might be like if Rage Against the Machine were in their prime and active today.

7/10

Mörk Gryning - Hinsides Vrede

The Swedes return from their 15-year disillusioned absence from the studio with a concise and clearly renewed enthusiasm for the energetic black metal that they put forth on Hinsides Vrede. Dynamically bolstered by folk-metal compositional tendencies and more than a dash of that famed Gothenburg melodicism (I know they’re from Stockholm and in fact their melodic approach often does heaven to that of their close neighbors from Uppsala, Watain), Mörk Gryning’s seamless return to music finds them jumping into the modern black metal scene’s advanced compositional rubric with relative ease.

7/10

Zeal & Ardor - Wake of a Nation

Having covered their output since their debut and being a big fan of Manuel Gagneux’ project, it pains me to say, especially given the noble pretext and occasional momentary flashes of sobering messaging, that this six-song mini release really doesn’t capture the unique sonic pallet that has made Zeal & Ardor such an interesting act to listen to for the past few years in the most flattering light. The title track is possibly the least of the offenders here, but all the songs here function by taking a little snippet of sound that samples Zeal & Ardor’s broader stylistic range, and drawing it out across these short, but all too minimally composed tracks in such a way that they lose their momentum very quickly. Like I said, I wholeheartedly appreciate, sympathize with, and support what Manuel Gagneux is doing to lend his band’s platform to the addressing of the dire issue of today’s racism through musical means with this project, and when its social motivation is at the forefront, it’s at its most potent, but musically, unfortunately, it’s just desperately underwritten in a way that doesn’t fairly represent how accomplished Zeal & Ardor really are with their sound.

5/10

Sevendust - Blood & Stone

The flashes of crushing grooves reminiscent of their earlier work on Blood & Stone that highlight how well Sevendust can harness nu/alternative metal to execute pummeling attacks with the right crunchy guitar tone, unfortunately, don’t come frequently enough on their twelfth LP to mirage the exhaustion that has come of the band’s writing process after such frequent, unrelenting output and the all too apparent desperate need for a recalibrating, refreshing break, which they certainly deserve for their tenacity.

5/10

Undeath - Lesions of a Different Kind

In one of those cases where the ridiculously gratuitous album cover actually represents the album’s sound quite well, Rochester, New York five-piece, Undeath mince neither words nor sounds on their debut LP in their 100% upfront, no-nonsense, and wonderfully nasty delivery of death metal. Eschewing even the slightest sense of snobbery or pretense for aimless ambition, the band simply compile the genre’s tried and true elements of bellowing growls, filthy riffs, mean-ass down-tuned chugging, and blood-pumping double-bass with blast beats into an addictive slab of raw, uncured death metal that serves as a testament to the merit of not overthinking shit.

8/10

Griffon - Ὸ Θεός Ὸ Βασιλεύς

On their sophomore LP, Parisian quintet Griffon channel the world innovative ethos that has become rather prominent in their scene into a somewhat short, but definitely sweet offering of modestly ambitious black metal that captures much more effectively than most albums of similar style and lesser imagination, the divine grandeur that the genre so often tries and fails to embody.

8/10

Bring Me the Horizon - Post-Human: Survival Horror

After taking the hard left into current pop music trends very transparently on their controversial, which was at least partially intentional on their part, and ultimately really patchy, but not wholly awful, 2019 album, amo, Oli Sykes and co. walk it back substantially for this smaller release here, back to That's the Spirit, even Sempiternal, a prospect that might get a lot of the band's more long-time, metalcore-centric fans excited, but I would suggest those fans temper their expectations of Post-Human: Survival Horror. The band reunite with the anthemic metalcore/deathcore that put them on the map for a good chunk of this album, and the intro track, "Dear Diary,", might even give some false hope of the prodigal sons returning home. But songs like the cookie-cutter single, "Teardrops", provide strong evidence that, while the band have re-embraced their old aesthetic, they have not kicked the pop vocal or compositional habits. And the project really does run out of energy in its final third because of this compositional homogeneity. I do want to highlight the song, "Kingslayer", which features a very in-form Babymetal (I loved their album last year), because their fun, not-so-serious approach to the crossing of J-pop and metal music in their feature on this track among the other songs around it provides a contrast to the more formulaic, disinterested radio pop swagger that Bring Me the Horizon have been trying to jam into their sound that could perhaps inform Bring Me the Horizon's artistic approach to integrating pop music if they really are so hellbent on doing so. Ultimately though, as much as they want to move into newer territory, this trajectory-revising release shows just how much more solid Bring Me the Horizon are in their metalcore territory than they were on amo. It had its predictable hiccups, but this thing wasn't too bad.

7/10

Pallbearer - Forgotten Days

With the slow, sludgy, down-tuned riffing of the menacing opening title track and the similar chug of “Vengeance & Ruination” being the sole exceptions, the remainder of Pallbearer’s fouth full-length largely sees them operating in the same niche they have in their three previous albums. And while this could invoke accusations of playing it safe, the brimming heartfelt sorrow and resistance to succumbing to despair across Forgotten Days is enough to wave that away, as Pallbearer showcase just how emotive doom metal can be.

8/10

Bleeding Out - Lifelong Death Fantasy

The very new act and fresh Profound Lore signing, Bleeding Out, certainly display more dynamic capability than your average local grindcore scene’s biggest names here on their 18-minute debut for the label, but as of now it is still just a glimpse of potential for more effective future implementation. It’s a good start, though, and I’ll be looking forward to a more long-form project from these guys.

6/10

Evildead - United States of Anarchy

Every year we get the resurrection of some long-inactive old-school band who seem to have found that missing spark at last; we’ve seen the return of smaller bands to the studio like Angel Witch or Sorcerer and long-awaited revivals of iconic acts like Possessed. This year, Los Angeles’ Evildead has seen fit to make their commentary on the massive ongoing sociopolitical upheaval. Despite my love for the 80’s thrash scene they were born out of, the combination of the utterly lame band name, logo, and covers for either their ‘89 or ‘91 albums never really made me want to check them out, but seeing the horridly cheesy and incoherent cover of United States of Anarchy (I mean how much more on-the-nose can you get), my morbid curiosity got the best of me. Maybe I’d be wrong to have judged them by their cover, plenty of my favorite 80’s albums have particularly goofy cover art. So what do we get from Evildead in 2020 with this fucking album? Well, it’s not as poorly performed as the past few Anvil albums I’ve had to review have been, but Jesus the lyricism is similarly cheesy 5th-grade-level stuff and smacks of silly political incoherence that essentially boils down to “enlightened centrism” with mix of that good ol’ Illuminati-conspiracy-theory belief that no political thrash album is apparently complete without. I mean there’s just basic acknowledgment of the prominent problems of the day and the fact that both major political parties are bad and that corruption is rampant all throughout DC, but Evildead not only barely scratch the surface, they apply the same level cynicism to the “both sides” they criticize with no substantiation to their criticism despite that mindset being a big reason for our being where we are right now, mixed in with the occasional conspiracy-paranoia about the shadowy underworld running everything, so no real solutions or even proper addressing of these problems. Like, the same level of criticism is levied at right-wingers and communists, like communists are at all why this country has gone to shit. And the generic Anthrax/Megadeth type of thrash instrumentation, while rumbly and mixed well to highlight its bass heaviness, doesn’t exactly make it easy to get past the commentary deficiencies on here.

4/10

Emma Ruth Rundle & Thou - May Our Chambers Be Full

Rounding off their year (at least I think), with a long-teased collaboration with Emma Ruth Rundle, Thou finally present their massive sludge-doom sound in a much more flattering light than the previous cover albums this year did. Thou's original material continues to highlight just why their relatively stiff sound is much more cut out for that, original material, than for trying to bend beyond its flexibility to tribute grunge songs. And while Thou being back in their more effective department, Emma Ruth Rundle's contributions, beyond just her gorgeous and ethereally haunting vocals, to the album's atmosphere, dynamic, and structuring really take the collaboration to the next level. Not to say that Thou are completely overshadowed and relegated to the background on this record or that they don't contribute to a fair share of the legwork here; the workload is shared pretty equally, and both collaborators have their moments of prominence, but Emma Ruth Rundle's ever-present gothic/folky influence really directs the music in a way that plays to Thou's strengths in a way I'm not sure they would have been able to on their own. It's great work from both of them, and I'd be eager to hear Thou find more collaborations like this in the future that push them into doing more interesting things with their crushing doom sound, as opposed to the rather tepid collaborations with The Body.

8/10

Auðn - Vökudraumsins Fangi

Sadly, three albums in, Auðn have only barely exceeded the bare minimum for naturalistic atmospheric black metal, with no signs of significant improvement to be found. The Icelandic band earn points for their earnest delivery, but they never seem to fully make it out of the rut that the genre’s many contemporary acts have dug.

5/10

Botanist - Photosynthesis

The black metal traditionalists might have had to accept that the floodgates to bright ambience and serene shoegaze in the genre have been opened and that there's no going back now, but even as an avid Deafheaven fan, I'm sometimes momentarily surprised at just how heavenly some black metal has gotten lately, and this new album from Botanist is one of those albums. And while it sometimes slips into some of the current wave's typical ruts, the sheer blindingly illuminating aura of this album when it reaches those high points (and it does so frequently) is enough to pull it out from those gutters and high into the cosmos. Yeah, another splendid offering of nature worship from Botanist.

8/10

Mr. Bungle - The Raging Wrath of the Easter Bunny Demo

Making their return after over a decade, Mike Patton recruits both Dave Lombardo and Scott Ian for the long-awaited fourth Mr. Bungle album, which is titled in homage to the first Mr. Bungle demo which it is comprised largely of much clearer re-recordings of. Ever impressive, Mike Patton balances aggression and eccentricity like a tightrope walker on this project too, while his bandmates do the same with thrash metal’s natural adrenaline rush while pushing the genre into new compositional and stylistic territory without sacrificing that crucial whiplash. It’s a great time, and definitely one of the year’s best thrash albums.

8/10

Carcass - Despicable

While they've been much less prolific since their reboot than they were prior, Liverpool's melodic death metal pioneers simply continue to demonstrate their excellence in this seemingly effortless four-track appetizer to next year's Torn Arteries. Anyone familiar with the band's brutal form of melodic death metal will certainly be pleased with the four quite sufficiently pulverizing cuts here; those who may only be familiar with some of the band's many less muscular imitators might be surprised, and pleasantly so, with the Englanders' ability to lay on the infectious guitar melody without sacrificing an ounce of force.

8/10

#metal #heavy metal #death metal #black metal #deathcore #sludge metal #post metal #new album #album review #new music #thrash metal #blackened death metal #blackgaze #experimental metal #mathcore #doom metal #stoner metal #groove metal

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1albumaday · 4 years ago

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2020

The Chats - The Clap

Easy-peasy punk rock album

Loving - If I am only my thoughts

Charming sun-dappled folk-pop, clean, gentle melodies

Steve Spacek - Houses

iPhone/iPad recorded, latino and jazz accented dance/house beats

Ghali - DNA

Total Flop and failed expectations. Mishmash of bland and frivolous lyrics and arrangements.

King Krule - Man Alive!

Alienating, violent, romantic, anguishing, doomed, noir / jazz, post-punk, soul, dubstep, electronic, garage rock, hip-hop

Justin Bieber - Changes

Disappointing comeback - boring r&b with zero sex appeal and cheesy lyrics and all-the-same songs

Guided by voices - Surrender your poppy field

Unusual time signatures, song lengths, and baroque-prog structures - mature rock and sometimes pixie / 80s dreamy

Corrections - Simply Activities

80s new wave and post punk nostalgia - cheesy vocals at times - first half more solid than second

Swim Mountain- If

A lovely mix of indie and funktronica, synth pop, r&b

Caribou - Suddenly

Sly and sofishticated sound design flits between uk garage disco and more - some tracks way less strong than others

Grimes - Miss Anthropocene

Mix “Ethereal nu metal”, ambient, dance, electronic, drum’n’bass, country - is violent and dark but sexy, delicate and dreamy

Porridge Radio - Every Bad

A dissonant lush indie rock sometimes dreamy sometimes dark and ironic with mantra-litany dusky lyrics from peaceful to desperate

Four Tet - Sixteen oceans

Wind instruments, synths and drum patterns gradually fade to calming ambient sounds, intense and meditative but also danceable and powerful

Kamaiyah - Got it made

Short, stripped-down, bubbling keyboards and drum-machine handclaps. NO current rap trends. windows-down bass-rattle record of one person’s confidence in her own sound and charisma

Poolside - Low season

Funk percussions, retro synths, pop and disco influences + indie vocals

Morioh Sonder - Is this psychedelia?

Surf pop and psych rock, dreamy post punk influences, danceable and whimsical

KEYAH/BLU - Sorry, I forgot you were coming

Perfect blend of rap, rnb, experimental pop, dark rhythms textured electronics, intimate tales

TOPS - I feel alive

Pop, radiant and 80s romantic with a contemporary experimental palette

The Chats - High risk behaviour

Classic old-school pure punk / cheerily undemanding fun

NIN - Ghosts V: Together

Buzzy ambient, melodic hooks, emotional palette of sounds

NIN - Ghosts VI: Locusts

Together’s opposite, anxiety-inducing, despairing horns, breathing and devouring sounds.

Roger and Brian Eno - Mixing Colours

Feels like a balm for these anxious times

Fiona Apple - Fetch the bolt cutters

Handclaps, chants, makeshift percussion, echoes, whispers, screams, breathing, jokes, dog barks, rattling blues. Contains no conventional pop forms. freeing and powerful.

The Weeknd - After Hours

Satisfying collision of new wave, dream pop, R&B, synth-pop nostalgia

BC Camplight - Shortly After Takeoff

Jazzy eighties rock with some icy funk and electronic pop, painfully personal and uneasy but so self-deprecating it speaks like your best friend

Rone - Room with a view

Deft splicing of beats-based electronics and dance music with classical influences. 21st century baroque chords, snatches of conversations, speeches, children’s voices

Other Lives - For their love

Bluesy acid-rock, dreamy meditation sounds, eerie string-crescendos, music for the afterlife

Lil Uzi Vert - Eternal Atake

Drill-influenced rapping, melodic crooning, trends-aware hip-hop beats, untouchable pop sound production

Squarepusher - Be up a hello

Frantic breakbeats littered with echoes of classic jungle, hardcore, and drum’n’bass, ’90s drill’n’bass, glitchy 8-bit chaos

The Orielles - Disco Volador

Cosmic, playful, funky dreamy indie pop, shuffling organs, woozy guitar, shimmy-shimmy hand percussion

Portico Quartet - We welcome tomorrow

Perfect dreamy sequel of ‘Memory streams’

Charlie XCX - how i’m feeling now

Quarantine creation / 2020 romance manifesto of club-pop, trap, k-pop, video game sounds, fuzzy synths and crackling bass

Holy Fuck - Deleter

Trippy, psychedelic tapestry of euphoric escapism, ‘90s dance, glitchy beats, airy vocals, experimental electronics

Luge - Luge

Energetic and playful avant-garde and quirky math rock, zolo?

Good With Parents, Triple Stephens - Comments & Reflection

Playful indietronica synth pop + classical instruments

Wishing - None of this was your fault

Lo-fi indie, ambient, slowcore w/ fragile lyrics

Bibio - Sleep on the wing

Indie folk treated like ambient / a gorgeous soundscape of strings, guitars and flutes, feelings of loss, hope and escape. Perfect picture of tranquil countryside memories

Piotr Kurek - A Sacrifice Shall Be Made / All The Wicked Scenes

Electroacoustic experimental, meditative-ritualistic atmospheric music / conceived for theatrical performances

Military Genius - Deep Web

Meditative ambient, retro-futurist soundscapes / hypnagogic pop, dark, abstract and mysterious / early ‘70s folk interjecting jazz-brass sections

Jockstrap - Wicked City

Melancholy waltz and winsome ballads, fluttering strings, soft piano glissandi mixed with gnarly and distorted hip-hop beats, buzzing guitars and synths / cherubic vocals, pcmusic-style manipulated at times

Georgia - String Token

Experimental ambient electronic, minimal, melodic, futuristic, hypnotic and grim

EVOL - Madball Manners

Lingering experimental rave electronic, hardcore, techno

Upsammy - Zoom

Playful, sampling, abstract IDM, ambient techno, melodic and rhythmic, surreal, futuristic, sparkling synths and billowing pads

Tomasz Kunicki - Muzyka dla Świątyń

Playful and abstract IDM, glittering synths, obscure pads, glitchy and bleepy

Tomasz Kunicki - The sound is gone, where did it go, I have no idea

Very bassy and very dubby IDM, atmospheric ambient and loopy electronics

Kate NV - Room for the moon

80s new wave, progressive electronic, synth pop, cornucopia of melodies and genres. Wriggling synths, chirping flutes, warm baselines, jazzy sax, woodwinds, marimba. Russian girly vocals cartoon theme-song-like.

Khruangbin - Mordechai

Psychedelic / funk rock with some soul, dub, lounge, poolside disco - exotic and atmospheric

Dalai Lama - Inner world

Chanted mantras rhythmically woven into wafting new-age flutes, chimes, strings and free-form guitar picking.

K-Lone - Cape Cira

Tropical ambient house, warm, lush, soft. Zen yet bouncy rhythms. Digital and analogue recordings, at times feels like you’re underwater.

Arca - KiCk i

Experimental industrial club rhythms with reggaeton and folk influences

The Beths - Jump Rope Gazers

Sleek and personal indie rock, romantic ballads, more sentimental and slow than the previous album

J Lloyd - Kosmos

Tasteful soul and funk pop in 25 tiny tracks, charming low-key, rich textures, good vibes

Julek Polsk - Tesco

Dissonant, ominous, dense, post industrial ambient, noise, sound collage, deconstructed club music

Taylor Swift - folklore

Folk/chamber pop, indie folk, bittersweet, mellow, melancholic ballads

Bill Callahan - Gold Record

Contemporary folk, warm and deep vocals, pastoral, peaceful and melancholic

Mura Masa - R.Y.C.

Indietronica, post-punk revival, catchy indie/synth pop, early 2000 EMO, lots of hip collabs

Fontaines D.C. - A Hero's Death

Post-punk, indie rock, art punk, gothic rock, raw deadpan male vocals, darkish and melodic

RAMzi - cocon

Tribal House, ambient dub, balearic beats, downtempo, hypnotic and tropical

Auguste - Indust

Experimental ambient electronic + field recordings, glistening and splintered sounds

Paul Blackford - Betamax

Dreamy and hypnotic trip hop, downtempo, synth wave

A.G.Cook - 7G

49-track archival collection of sketches, cover versions, volatile lab experiments, divided into 7 discs. a glimpse at the whirring cogs beneath hyperpop’s pristine casing.

Clap clap - Liquid Portraits

Experimental musical tapestry and collage / high-energy concoction of unpredictable and wavy rhythms, exotic vocals and heavy, relentless bass and drums / UK Bass, ambient dub, footwork + far-flung field recordings

E.M.M.A. - Indigo Dream

Progressive electronic, ambient house / 80s melodic atmospheres, goosebump-inducing synths, whimsical melodies and classical leanings

Leif - Music for screen tests

Performed live @ Barbican as a 54min session ambient / drone film soundtrack (Andy Warhol's Screen Tests)

Crack Cloud - Pain Olympics

Post/art/dance punk, experimental rock - energetic, anxious, apocalyptic, dark, male vocals

Document - A Camera Wanders All Night

Post-punk, noise rock, past-hardcore, distorted and raw male vocals

Keisuke Matsuda - Clumsily Back Up

Experimental electronic with playful hummed vocals, lo-fi beats, melodic, youthful, dreamlike

Coi Leray - Now or Never

Gen-Z superstar, melodic flows, bouncy trap, energetic killer lyrics

The Ophelias - For Luck

Artful, string-laden indie-pop EP, grungy dream-pop, a quarantine remake and a Joni Mitchell cover

Romare - Home

Deep house, UK Bass, groovy and detailed sonic palette + soul and funk influences - dancefloor highs and after party wind-downs

Mulatu Astatke, Black Jesus Experience - To Know Without Knowing

Ethio-Jazz, Cuban, funk, reggae workout + rapid-fire rap or Afrobeat drums

Good Doom - Spider Temple Valley

Experimental psych-wave, gentle and peaceful lo-fi, dreamy and oozy with flute, sax and field recordings

Ralph Kinsella - Abstraction

Dark ambient experimental / instrumental electronic

IDLES - Ultra Mono

Post-punk, garage punk, hardcore, noise rock, raw male vocals, dense, energetic, angry, political

Mild Orange - Mild Orange

Alternative, Indie rock, dream pop,

Skinshape - Umoja

Experimental psychedelic rock - afro beats - afroswinig - funky - world music

Vulfpeck - The Joy of Music, The Job of Real Estate

Mixed bag of funk, jazz, soul, self-indulgent? classical reworks, progressive electronic, melodic and uplifting, groovy drums and bass lines

OPN - Magic OPN

Manipulated and sequenced archive radio and sounds collages as interludes, uncanny processed voices, poppish trope ballads, art pop, sentimental and surreal, dense, progressive hypnagogic electronic and more

Pa Salieu - Send them to coventry

Combined dancehall, Afrobeats, hip-hop and grime. Scattered drums, stop-start energy, handpicked words and rhymes. skips from trap trills to baile breakdowns.

Mama Ode - Tales & Patterns of the Maroons

Classic hip-hop album with jazz, funk, blues and reggae influences. Creole Sega Rap Roots music, afro-drum patterns and grooves

Tony Allen, Hugh Masekela - Rejoice

Live sessions of unique fusion of afrobeat and swing-jazz with lyrics in English, Yoruba and Zulu

Miley Cyrus - Plastic Hearts

Pop rock, 80s synth-rock, grit and freewheeling sense of fun, rough-hewn panache of vocal performance, bittersweet eclectic and sentimental / collabs with rock idols

2019

LCD Soundsystem - Electric lady sessions

Live recording with some new wavy covers

Harry Styles - Fine line

Not catchy / mediocre pop

Boothe - 8 or 9 Walled Room

10 minutes of playful electronic and soft vocals

Good with parents - Good with parents

Clever indietronica synth pop, fun + ironic + millennial + sax

Taylor Skye - Kode fine & sons

Synth, beats and pop vocals

Famous - England

Wonky pop punk mixed to electronic sounds and raw spoken vocals

Orville Peck - Pony

Simple pop rock Johnny Cash style ballads and 80s

Sassy 009 - Kill Sassy 009

Distorted electro pop with strong vocals + post-punk notes

J-Walk - Mediterranean Winds

Jazzy electronica with glassy synth pads cheesy and chilled out

Mattiel - Satis Factory

Punky garage rock strong female vocals

Ross Backenkeller - Come Around

Country dreamy and melancholy guitar and vocals

Legss - Writing Comedy

Art rock and a dark underbelly of post-punk + topnotch spoken track and electronic sounds

BEA1991 - The Lost Demo EP

Trip-hop with Bjork-style vocals

BEA1991 - Brand New Adult

Chamber folk and yacht rock meld with R&B and trip-hop

Matt Maltese - Krystal

Lo-fi flowy bedroom pop breakup album

Faye Webster - Atlanta Millionaires Club

Folk-pop, mellow and melancholy soul with an r&b tinge

Infinite Bisous- Period

Soothing and warm bedroom night album

Achille Lauro - 1969

Trap changed into rock with romanticised lyrics

Jerkcurb - Air Con Eden

Indie-psych and retro Americana, atmospheric, sensitive, wobbly

Octo Octa - Resonant Body

Breakbeats and house bangers

ALASKALASKA - The Dots

Jazz fusion, disco rhythms and high-gloss art rock

Orphan - Yijoda

Glitchy and sharp electronics + ambient-atmospheric sounds

Honeymoan - Body

Avant-garde pop tapestry of beats and synths with playful vocal

U-Bahn - U-Bahn

Traditional new wave DEVO-moulded, Hypnagogic pop, art-punk, some vaporwave synth sounds

Hail Conjurer - Erotic Hell

Obscure and raw Finnish black metal

Ride for revenge - Chapter of alchemy

Quality black metal with long and short tracks pretty smooth

Boys Age - Neverchanging, Neverending

Lo-fi, slow-tempo, soul, r&b, mellow tracks with sad very low vocals

MorMor - Some place else

Indie-pop with sweet synths and delicate vocals

Felicita - hej!

Overproduced pop dance hits broken down into harsh and jarring staccato melodies, hissing ambient and screams

Nick Cave & The Bad Seeds - Ghosteen

Endlessly giving and complex meditation on mortality and our collective grief, scored by synths, pianos, and electronics

Portico Quartet - Memory Streams

Ethereal keyboards, hypnotic grooves, layered post-rock textures mixed with electronic, ambient and magnetic jazz build-ups

Charles Rumback + Ryley Walker - Little common twist

Mellow and pastoral folksy guitar melodies and soft drums + ambient tones, drone electronic

Shadowax - Nikolai Reptile

Effervescent techno and mutant bass jams

The Rhythm Method - How do you know I was lonely?

Ostensibly witty and warm pop songs from hip hop to indie and electronic about romance and millennial youth

Martin Dupont - Accident of Stars

80s kinda goth new wave full of electronics, guitars synths and clarinets

Raime - Planted

Latin American and Chicago footwork influences merged with alien sounds, half-heard voices, dark and rhythmic bass and percussions

Sunn 0))) - Pyroclasts

Sunn 0))) - Life Metal

Slow-motion drone feels like a religious ritual / pipe organ and cello, guitars webbing together the space between notes

Special Request - Vortex

Breakbeat barnstormers and house epics, with room for bleep, electro and gabber

Caterina Barbieri - Ecstatic Computation

Oscillating sequencers, rhythmic pulsations, cascades of synthesiser melodies echoing dance music/new age

Battles - Juice B Crypts

Playful electronic wizardry, dense array of beats, bleeps and squelches, loopy keyboards and guitars, ecstatic vocals

Haruomi Hosono - HOCHONO HOUSE

Home-recorded aesthetic, funk shaped into minimalist space-age lounge music

Florist - Emily Alone

Thoughtful, calming and melancholic, full of hushed, enveloping guitar sounds and gentle vocals

Spencer Radcliffe - Hot Spring

Alt-country, indie falk americana, very relaxed,pastoral and wry poetics

Ciamkam - Play-doh Dog

Noise ambient / screeching, dissonant, surreal, ominous

Equiknoxx - Eternal Children

UK soundsystem style, reggae groundings, earthy dancehall with a vast range of puzzling vocalists

Eh hahah - Fissure

Experimental deconstructed electronic, sound collage, glitches and post-club music

Upsammy - Wild Chamber

Lucid shades of IDM, bleep techno, perky synths and frazzling hi-hats, polyrhythmic drum patterns

Otik - Blasphemy

Fresh, vibrant, dark experimental club music, techno + dance + electronic

Shanti Celeste - Tangerine

Tech / ambient / deep house, breakbeat, rhythmic and mechanical yet dreamy

Bez - Banki Mydlane

Dream pop, shoegaze, noise pop, space rock, reverberated female vocals + spoken word

Yu Su - Roll with the punches

Ambient dub, downtempo, tribal ambient, sampling, mellow, atmospheric with female vocals

Drive45 - Dried up

Bitpop, Artpop, indietronica, quirky and playful, androgynous vocals

Lala &ce - Le son d’apres

French hip hop, trap, cloud rap, alternative b&b, dancehall / sparse dark and ominous, warm female vocals

Leif - Loom Dream

Tribal ambient / ambient techno + field recordings / pastoral, ethereal, atmospheric

deathcrash - Sundown (a collection of home recordings)

Slowcore, drone ambient, post-punk, fragile male vocals

FEET - What’s inside is more than just ham

Post-punk, indie-rock, dance-punk, sarcastic, playful, technical, male vocals

Coi Leray - EC2

Trap, hyphy, pop rap

Ariwo- Quasi

Dub techno, afro-cuban jazz, ambient techno, chants, programmed beats, pulsating relentless rhythms and percussions, loud sax

Floating Points - Crush

Strikingly melodic and elegant, cinematic, frantic and distorted rhythms, shuddered synths, vibrant breakbeats, sampling, UK garage nodding

Jacques Greene - Dawn Chorus

Bittersweet, sad but triumphant, mix of experimental electronic and lightweight techno + field recordings, hazy sampled textures, distorted drones + disco house + percussions + spoken word

Men I Trust - Oncle Jazz

Indie electronic, minimal, chillout downtempo, dreamy female vocals, jazzy

Raveena - Lucid

R&B, soul, experimental, pop, groovy, jazzy and dreamy, with some field and spoken words recordings

2018

Shit and Shine - Very high

Lazy hippie funk with slowed rnb vocals

Saloli - The deep end

New Age-inspired delicate only-synth music

Adrianne Lenker - abysskis

Guitar and sweet and warm vocals

Ever ending kicks - Ideas relayed

Sweet lo-fi similar to the previous two

Negative Gemini - Bad Baby

Solid synth pop with dreamy intimate vocals

Okay Kaya - Both

melancholy bedroom-pop sarcastic and harsh lyrics

Trust Fund - Bringing the Backline

Witty yet melancholy self-aware pop-rock

Jockstrap - Love is the key to the city

A fusion of Bossa Nova, 1930s Disney-esque orchestra, and coarse electronica

Noah Cyrus - Good Cry

Pop and rnb debut album with a bit of gospel and melancholy

Carla dal Forno - Top of the pops

Alternative indie electronic, subtle instrumental backdrops with plaintive vocals

Lala Lala - The lamb

Alternative/Indie rock with grunge tones and personal and warm vocals

Diamond Thug - Apastron

Progressive but dreamy pop, graceful vocals

Denh Izen - Storage Solutions

Dark and charming sounds with warm and distorted vocals, desperate but calm

Imperial Triumphant - Vile Luxury

New York Jazz mixed with top-notch black metal great for a sci-fi dystopian movie - especially Cosmopolis

Oliver Coates - Shelley’s on Zenn-La

Beat-oriented electronic music, sublime cello and synths

Dylan Carlson - Conquistador

drone-metal imaginary Western mostly solo electric guitar

Project Pablo - Come to Canada you will like it

Dozy laid back deep house with jazzy chords and subtly swinging drums

Ryley Walker - The Lillywhite Sessions

Dave Matthews Band tribute with proggy folk, primitive guitar, free improv, Chicago jazz-rock on darker tones

Grouper - Grid of Points

Empty room, piano and voice slip through your fingers like water

Kali malone - Cast of Mind

Glacial synth tones mapped to acoustic woodwind and brass

Likes - New Pedal

Short tracks of fun glitch / hypnagogic pop

Jake Tobin - Fifth Thought

Fun and whimsical take on classical sax sounds and guitars

Jake Tobin - 135

Avant-prog / jazz fusion / romanticism / off-kilter melodies / psychedelic chords with the emotion and aesthetic of bedroom pop

Twig Twig - Darkworld Gleaming

Experimental pop, whimsical instrumentation, lo-fi uplift, beats and loops

George Clanton - Slide

Cult 2020s electronic born from vaporware influences mixed with whispery chillwave and downtempo R&B, feels like a 90s rave in an open field, no irony

Good Doom - Mood Life

Unique, very chill, dreamy sound, incorporates world music, trip hop beats, lo fi bedroom pop, krautrock and noise

Ex:Re - Ex:Re

Husky and mellow ambient pop, dream pop? Lethargic and melancholic

Zaumne - Emo Dub

Minimalistic ominous and repetitive ambient house with ASMR-like spoken words

Ehh hahah - And the weather so breezy, man, why can’t life always be this easy?

Progressive experimental electronic, deconstructed club music, EDM, bubblegum bass, playful yet dark

Kate NV - для FOR

Progressive electronic, ambient, new age, minimalist, surreal, otherworldly and playful. wet, fleshy bleeps; bubbly, liquid noise

Leon Chang - re:treat

Mellow lo-fi hip hop, downtempo, electronic, future bass, sampling

Coi Leray - Everythingcoz

Pop rap, trap, hyphy tunes, powerful + well produced

Domenique Dumont - Miniatures de auto rhythm

Sophist-pop, balearic beat, chillwave, dreampopish, soft female vocals, lush, summery and rhythmic

Big Joanie - Sistahs

Pretty standard textbook indie-rock, post-punk with female vocals

Darto - Fundamental Slime

Haunting and spacious, deep male vocals, intriguing eerie melodies, dream state lullabies + sax and spoken word bit

Old Maybe - Piggity Pink

Chaotic post-punk, unusual time signatures, strong shouted female vocals

Brad Mehldau Trio - Seymour Reads the Constitution!

Elegant and melodic modal jazz - post-bop album, fragmented but coherent, ever changing time signature and tempo

2017

Ross Backenkeller - Bardo

Folk indie guitar melodies with honest and gentle vocals

Maruego - Tra Zenith e Nadir

Italian trap with disillusioned and ironic lyrics + cool collabs

Nervous Condition - Untitled

Forceful drums, wails of sax and commanding vocals - mix of experimental rock, post-punk, no wave, jazz

Powerplant - Dogs Sees Ghosts

Synth punk, garage punk fast and fun

Wool & The Pants - Wool & The Pants

Experimental r&b / soul / hiphop vibez pretty smooth and lo-fi

TOPS - Sugar at the gate

Soft rock tunes, vintage atmosphere, fuzzy, honey-dipped songs

Slothrust - Show me how you want it to be

Covers album with grungy sounds and good arrangements

Rone - Mirapolis

Misty synths and heavy bass lines, dreary and melancholic industrial electronics, packed with doomed vocals of all sorts of guests.

Ada Babar & Kasra Kurt - Nino Tomorrow

Weird pop and experimental DIY with MIDI keyboards and guitar, playful lyrics, video game menu music

Good Doom - New Shapes for you

Evocative, dreamy and atmospheric melodies, warm at times, chilly, spooky, grungy, dark at others, synth buzzes, glitchy drums

Phoebe Bridgers - Stranger in the alps

Atmospheric ballads for sad times, deeply personal stories of heartbreak and loss

Florist - If Blue Could Be Happiness

Indie folk, soft and atmospheric, pure gentle quiet and soft female vocals about understanding light and darkness. Swooping guitar, dots of piano notes, gentle beats that recall Simon and Garfunkel

Wishing - Heat Death

Ambient pop, lo-fi indie beats w/ soft vocals that make you feel things you haven’t felt in a while

Martyn Heyne - Electric Intervals

Ambient in the broadest sense, calm instrumental downtempo guitar-centric with electronic flourishes

Equiknoxx - Colón Man

Vivid and tactile masterful sound design, syncopated loops, wonky and scintillating rhythms

American Pleasure Club - I blew a dandelion and the whole world disappeared

Lo-fi acoustic guitar with raw male vocals

Andrea Laszlo De Simone - Uomo Donna

Progressive pop, baroque/psychedelic pop + field recordings / bittersweet and pastoral

Drive45 - Have you seen me?

Bitpop indietronic, glitch pop, sequencer, dance pop

Drive45 - System Format

Bitpop indietronic, playful video game sounds

Leon Chang - bird world

Bitpop electronic, sequencer, videogame music, future bass / uplifting mellow and playful

dynastic - SPACE/SUMMER

Glitch hop, electronic bubblegum, kawaii future bass, mellow and uptempo, cheesy sax, chaotic sounds + dance floor dnb

Darto - Human Giving

Spacey experimental electronic mixed with post-punk, warm tones, 80s synths, soft melodic vocals + spoken bits

Pregnant - Duct Tape

Indie/art/soft rock, electronic, brilliant pop tunes, dreamy yet rhythmic

2016

Ever Ending Kicks - Music World

DIY colourful dreamy hazy songs

Mild Eye Club - Skiptracing

Low-key folk dreamy with 60s 70s vintage links

Loving - Loving

Easy and dreamy pop melodies, wavy, warm and mellow

Lala Lala- Sleepyhead

Alternative/Indie rock with grunge tones and personal and warm vocals

Gruff Rhys - Set fire to the stars

Soundtrack to the homonym 2014 film set in the 50s - soft romance rock, jazz-inspired, elegant and familiar

Oliver Coates - Upstepping

Deep house, techno, footwork blended with sharp and experimental classical strings

Garden Center - Garden Center

Erratic pop music, fun and playful electronic sounds, silly vocals

Raime - Tooth

Ominus and gloomy sound of dub, electronic and post-rock / stripped down to the flesh

Amiina - Fantomas

Violin, cello, drums, percussion, metallophone, harp, ukulele and electronics fused in a contemporary classical post-rock gentle melody-focused experimentation

Jake Tobin - Sorta Upset

Short tracks of experimental rock, avant-prog - eclectic and dissonant, technical and manic

Jake Tobin - Accidentally on Purpose

Post-modern experimental pop, jazz influenced sounds, off-kilter saxophone, silly humour

Vanishing Twin - Choose your own adventure

Swathes of percussion, exotic drum beats and funky guitars merge into a cosmic blend of reverberating bleeps with jazz skits / heady voyage across sound influences

Good Doom - Hug

Good Doom - Naps

Both off-beat lo-fi with a rock twists, spacey, fuzzy, grainy sounds

Zeal & Ardor - Devil is fine

Top notch black metal merges African-American spiritual slave music and some electronic beats and sounds

Shield Patterns - Mirror Breathing

Haunting vocals and sensual cello, clarinet and piano, all wrapped up in ethereal synths

Ashley Henry - Ashley Henry’s 5ive

Complex and uplifting post-bop jazz, imaginative flare, delicate and soothing piano

Florist - The Birds Outside Sang

Lo-fi indie, ambient-dream pop,sparse, minimalist keyboard leads bordering on chilly drones + intimate and personal songwriting

CBMC - OOR

Acustic lo-fi bedroom pop with an airy tone and somber feel but still feels fresh and lighthearted

Told Slant - Going By

Slowcore indie pop/folksy emo, ‘intimate spaces in which small town kids write memories of touch, togetherness, loss, love, depersonalisation’

Kate NV - Binasu

Art pop, progressive electronic, sequencer, joyful grooves but also atmospheric and ethereal sounds, eclectic and dense, melodic female vocals

Zaumne - Przezycia

Minimal ambient techno with a couple of spoken word bits

Mauno - Rough Master

Enticingly and eclectic indie rock, smooth vocals, strings and moody guitars, delicate piano, powerful drums

Susso - Keira

Tribal house, tribal ambient, folktronica, Mande music, rhythmic and powerful chants

Phern - Cool Coma

Psychedelic pop, lo-fi, mellow and playful

Hellier Ulysses - Ulysses Hellier

Experimental rock, math rock, jangle pop mixed with post-punk, technical, lo-fi, uncommon time signatures

Brad Mehldau Trio - Blues and Ballads

Deceptively sweet-sounding jazz album, songs are played with variations and every phrase is a cliffhanger - gracefully executed + bonus of my fav song <3

2015

Adeodat Warfield - Pacific, Missouri

Synth pop with electronic beats, vaporware notes

Ross Backenkeller - Rare Please

Folk indie guitar melodies with honest and gentle vocals

Grimes - Art Angels

Immaculate and authentic, synthetic and unreal but also super pop, folk, and dance / POST-art pop?

Jake Tobin - Third and Fourth Thoughts

Short tracks of weird avant-prog where the vocals follow the melodies all the time

Florist - Holdly

Vocals move slowly and sweetly through gentle meditation sound and soft guitars

Starry Cat - Starry Cat

Indie pop, lo-fi indie, wavy and shaky, bitter-sweet and personal male vocals

CBMC - FOOTWEAR

Acustic lo-fi bedroom pop with a somber feel but still feels fresh and lighthearted nearly asmr-like vocals

Wishing - To Forget

Lo-fi indie slowcore, fuzzy synths + acoustic sounds mixed with short electronic tracks / lyrics are whispered and very intimate

Oren Ambarchi - Live Knots

Two very long live recorded tracks of propulsive drumming full of tensions and releases + droning notes, plucked strings and mournful guitar

Juxta Phona - we will not be silence

Ambient, electronic, minimal melodies over crisp, tactile beats

Khruangbin - The Universe Smiles Upon You

Psychedelic / Funk rock, rhythmic and jazzy, tropical warm and peaceful

Red Sea - In The Salon

Indie experimental rock, psychedelic pop, math rock, melodic yet uncommon time signatures

Eyeliner - Buy Now

Synth-pop/funk - vaporwave / instrumental, melodic, uplifting, lush, futuristic / great bass lines!

2014

Ricky Eat Acid - Three love songs

First half found sounds, experimental electronics, fuzzy piano loops. Second half IDM beats and keys, choir-like vocals / “might be the sound of music having a dream within a dream about music”

Jake Tobin - Torment

Jake Tobin - Life as a Clerical Error

Weird dissonant mix of avant-prog, art punk and jazz fusion but in an amazing way

Richard Dawson - Nothing Important

Brittle, crudely amplified nylon-string acoustic guitar, experimental drones, folk sketches, imitation field cries, and free jazz diversions

2013

Ever Ending Kicks - Weird priorities

Sentimental chill instrumental and colourful with gentle vocals

Gruff Rhys - American Interior

John Evans-themes concept album - witty folk oriented retro-futurist music

Michael Andrews - Spilling a rainbow

Well-crafted pop tunes, nostalgic and lighthearted memories of folk rock with a dash of avant-garde electronic haze

Pill Friends - Blessed Suffering

Lo-fi indie/emo noisy and raw with existential and stark male vocals

2012

Told Slant - Still Water

Lo-fi/bedroom-punk with folksy guitars and delicate vocals as if they could break down in tears at any moment

2010

Hype Williams - Find out what happens when people stop being polite and start gettin reel

Ypnagogic vortex of incredibly canny hard to pinpoint music with distorted spoken vocals

Zach Hill - FACE TAT

Constant restless drumming, squiggly melodic instrumental hooks, mosaics of disconnected noises, fuzzy sounds and vocals

2008

Amplifier Machine - her mouth is an outlaw

Half-improvised ambient - drone - experimental - electronic - post-rock

E. Bandel, Victory & Good Hunting - s/t

Classical, piano, folk, melancholic, haunting

2007

Seabear - The ghost that carried us away

Indie/folk multi-instrumental dynamic floating sound, warm melodies, calm and gentle vocals

HEALTH - HEALTH

A masterful noise/experimental rock with elements of post-punk, drone and electronic - disorienting rhythms, tempo-shifting, noisy outbursts

2005

The Darkness - One way ticket to hell

Hard / glam rock ballads and pop tunes

2004

The Emperor Machine - Aimee Tallulah is hypnotised

Mix of electro euro disco, post-punk, krautrock, sci-fi scores, jazz-funk. Thick dance rhythms and mind-altering synths

2002

ESG - Step Off

Sweet soul with a punk attitude, jazzy sassy vocals

Hella - Hold your horse is

Non-stop, indie-audio assault / Nintendo music / midi and electronic beats / head-spinning leading drums, very fast guitars

1998

Eels - Electro-Shock Blues

elegantly sad grief and death themed album, deeply personal, yet brilliant pop tunes, post-grunge, jazzy arrangement, archive sounds, electronics

Duster - Stratosphere

Bashful slowcore lo-fi experimental space/indie rock

1975

Bobbi Humphrey- Fancy Dancer

Funky jazz with forms of world music, soul, club music and pop

1973

Kevin Ayers - Bananamour

Progressive pop, art rock with mix of soul, r&b, reggae - choirs and country type ballads

1972

Kevin Ayers - Whatevershebringswesing

Experimental new age prog rock, semisweet tunes, lighthearted, skewed sounds

1970

Kevin Ayers - Shooting at the moon

Experimental, progressive, avant-garde, rock with jazz influences, sound recordings, excellent songwriting

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