In what seems to be the year of the sophomore releases for new bands in the scene, Knoll has come stomping back with their second full-length, Metempiric (Self-Released). Somewhere between grindcore and horror movies is where this record will be classified years from now. The use of shrieking vocals, traditional grindcore instrumentals, and uncomfortable brass sections (oh yeah, there are trumpets!) peppered in really make this album a formidable contender for end-of-year discussions, but is just uncomfortable overall, which is a commendation that is not handed out often.
One of the more leftfield collaborations of 2022 so far, see’s French electro maestro Perturbator (aka James Kent) purveyor of heavily eighties-influenced dark-wave join forces with Johannes Persson, vocalist/guitarist and principle songwriter for Swedish post-metal innovators Cult Of Luna. The collaboration first bared fruit early in 2020 as Holland’s Roadburn Festival, the legendary celebration of heavy and experimental music offered Perturbator and Johannes the opportunity to collaborate with a specially commissioned live performance.
With almost nothing revealed about their identity, singer Elitha Treveniel is an enigmatic presence in the contemporary world where true mystery is hard to maintain. As the main songwriter/vocalist for Ianai, this project’s music is equally as cryptic in part as it transcends across multiple spectrums. If there is one thing clear about the album Sunir (Svart Records) however, is that it is a captivating and wonderful experience.
Prepare to have your mind blown! Two bald white guys give their options on music: a Brit and a Yank! Senior Editor Steve Tovey joins Chief Editor Keefy to discuss a recap of May releases, forecast new music coming out in June, and more! Shoutout to our amazing team of reviewers worldwide!
“Blut Aus Nord is not available for interviews” proclaims the press release accompanying Disharmonium — Undreamable Abysses (Debemur Morti), the band’s fourteenth full album since their inception in the mid-nineties. That Blut Aus Nord are conspicuous about being enigmatic says a lot about their attitude.
‘Death and the Twilight Hours’, our third cryptal offering here, crawls with a Blakkheim-esque ominous misty creep around the moonlit haunted castle ruins, before the candelabra bring themselves to light and a cascading guitar line that is part Dissection, part Andy LaRoque continues to layer scything atmospheres, hewn from the six-razor wires ripping flesh and liminal peals from the busy part-mortal fingers, encased skeletal conductors that dance upon the decaying fretboard, ushering us to the next section of L.S.’ raspy vocals… but our decomposing ring-leader isn’t master of ceremonies for long, as soon we are embraced by the cold winds of nowhere, and a wild tapping solo that leads a baroque segue into a minor key early-Katatonia descending guitar lead passage. It is breathlessly visual, musically telling a tale with an atmosphere Sheridan le Fanu would have been proud of.
We had the honor of chatting with world-class artist Jaboe to discuss her recently re-imagined album of classics and rareities Skin Blood Women Roses, released via Consouling Sounds / Sonic Rendezvous for Record Store Day. Jarboe discussed this new album, and highlighted points from her entire career, her feelings about Roadburn Festival, and her time featuring with Swans on their best-known and loved material. She also discussed her other artistic disciplines, upcoming world tour, and much more!
It’s time to enter a very dark place. Poland’s mysterious and enigmatic doom-jazz-post rock-funk project -S- return with their first full-length release since their 2013 untitled debut. Led by composer, bassist, vocalist Patyr, with Grzegorz supplying drums, Dom, w którym mieszkał Wąż (A House Where Dwelled A Snake) (I, Voidhanger) is like nothing else you’re likely to hear, and that includes the group’s debut. The album is four tracks and forty-one minutes of oppressive, threatening, slithering, funky doom. If that sounds like a wild trip, it is.
And don’t forget those clarinets!Continue reading
There’s a slow, mournful funeral march coming through the mists, on a still silent plain, on The Buried Storm (Prophecy Productions), the latest release by Darkher. Led by multi-instrumentalist Jayn Maiven, the album at times bears a resemblance to Neurosis or Triptykon at their most quiet and reflective. With each song centred around the vocal layering of Maiven, the instrumentation often stripped to cello and violin backing, it’s an evocative and understated musical landscape. Often bringing to mind Bat For Lashes, one that sings her siren song with a doom folk backing, this is soothing music for people who like it dark.
After some serious consideration, I’ve decided that the sounds featured on I Klatus’ Targeted (Dead Sage) would totally make sense in a David Lynch film. And that, ladies and gentlemen, is a compliment of the highest regard. Lynch made his bones in the film industry by following his own non-linear muse and at many times incorporating rad sounds into his work (see the Lost Highway soundtrack). I Klatus doesn’t mind taking some strange left turns and certainly isn’t interested in traditional songcraft.