What Gastropode does is take a couple of basses, a few vocalists and a drummer, and churn out some fairly European sounding grindcore. And, to be sure, as far as bass-only, vomited-vocalizing grind goes, these guys do a pretty bang up job. There is a massive, but strangely sharp sound to the “HM-2 and nothing else” driven basses that actually recalls Nasum et all’s Swedishy grind sound.

Musically, the band’s compositions (I love grind, but man, sometimes it really is a stretch to use that term when discussing the stuff) are straight forward and catchy, in the above mentioned Nasum-ish way. Though this is not in any sense technically impressive music, it has a lively, mosh pit feel to it that keeps it from falling into simple adolescent noise.

There is of course a grossly outsized tongue driven deep into cheek to this music. Consider the fact that they have a song titled “Escarre Go”, and another called “Fairy Snails/Once Upon a Slime” (which clocks in at an epic 2:10, making it the “In My Time Of Dying” of this record…) and, almost inevitably, “Slug Mucus Bukkake” as evidence that they are not taking anything terribly seriously – or adultly – here.

The vocals, it must be warned, are not going to be to everyone’s taste. They range from vomit to pig-squeal to burp, and do so to a degree even moderate grind fans may be turned off by. They are way up in the mix, too, so it is hard to just ignore them or pretend they are part of the general sound. If you don’t like this kind of vocalizing, you should just steer clear.

But if these are exactly the types of things that draw you to a record, then the overall quality of the production and silliness of the performers, not to mention the simple, almost AC/DC simplicity of the songs makes this a far better listen than one would expect. And, hey, I am a sucker for univalve puns.

Because, frankly, it smokes.

It does not smoke because it crams jazz interludes into the heavy grind it otherwise masterfully assembles. In fact, these distractions only serve to remind me of when adding a clean bit non-sequiturilly into a song was actually a new and exciting idea. Mr. Bungle and other Patton projects essentially opened and closed the book on out-of-hand interludes years ago. So hearing a modern grind project falling into this behavior is less exhilarating or amusing than distracting.

But smoke it does. And smoke it does because the actual grind parts of this grind album are madness inducing delights. This is pinball grind at its very ferociousest – when it is grinding. And it is grinding often enough to make this worth the distractions.

The band part of the band, consisting of Peter Shallmin (Kamlath) on bass, Max Konstantinov (Kamlath) on guitars and Romain Goulon (Necrophagist) on drums are in utter control of the chaos they weave. The songs are mid-length and the riffing and disassembling are both thrilling and fascinating to hear. The pedigree gives the brutal compositions a certain amount of tech/prog panache that helps raise the music above just chug and slam.

Which leads us to the other stellar aspect of this EP: the guest vocalists. Beginning with “Living Fumes”, featuring Brutal Truth’s Dan Lilker, who maintains a very true-to-roots vocal style to get the festivities off the ground, the band utilizes differing styles of throat-rakers to good – sometimes amazing – effect. Rogga Johnson (Paganizer) and Dave Ingram (Hail of Bullets) bring a traditional death/grind vocalizing style to their respective songs, with Ingram creating an almost Napalm Death tribute on “The Genocide Machine”.

Without question, the standout cut has to be “Pressure” featuring the nearly impossible vocals of Karina Utomo (High Tension). This track sees the band’s attempt to add jazzy, loungy music succeed in spectacular fashion, as the motif of the sound is actually built into the song instead of interrupting it. It creates a dance of happy violence that is truly disturbing and compelling.

The EP ends with “The Vitality Slip”, a massive interstate pileup of hardcore and grind driven by Shawn Knight’s (Child Bite) shouted rather than screamed or roared vocalizing. An extended jazz interlude notwithstanding, the cut is percussive and dangerous, sealing the record in a satisfying manner.

I recommend this EP to anyone who appreciates the brutality and artistry of techy, deathy grind, and while the distracting parts are just that, they move so quickly they can be easily forgiven. Or maybe you like that sort of thing, in which case, hey, this is the EP for you. Either way, this is a killer EP, and well worth grabbing.

With this second album, there’s a little more darkened atmosphere throughout that slightly ups the ante a little bit. The production is a little more thick, a little heavy on the bass aspect of the sound but in a clearer sort of way. The songs feel a little more organic; a little less drenched in distortion but still retaining a depth that helps create a moodier release all around.

Alex (Carnist, Morrow, Archivist, ex-Light Bearer, ex-Momentum, ex-Fall of Efrafa, ex-Eleleth) is the main vocalist in the band and his voice is a voice that is considerably recognizable. Equal parts dissonant and snarling, it carries with it a lower midrange tone that is so complimentary to this style of music. With that being said, there are numerous other vocals that run in tandem with his delivery that give off the Circle Takes the Square/Nausea (borderline) vibe. From what I have gathered in my research, there were two female guest vocals and the drummer lends vocals also. There’s some vicious (slightly) higher vocals that absolutely slay when accompanying Alex’s and then there’s an almost death metal growl that again, is just on point when the vocals run concurrent.

Musically, the band is considerably steeped in the realm of d-beat with the occasional flourishes of powerviolence/emoviolence. With just 6 tracks on this album (and one being wholly intstrumental), it is hard to pick out standout tracks. They really don’t differentiate from each other too much but that’s not what Anopheli is about. There’s a story here that  is told from two points of view. The Sentinal and The Recipient; one seems to be an outside witness to man’s unforgiving nature of destruction and the other seems to be man, wholly unforgiving. I will have to dissect a lot more than I just have to fully grasp what is being conveyed (I got this album off of Bandcamp and discovered the lyrics (completely accidentally) when I was trying to find time info on one of the songs. With that being said, the music is what it is but the story would fall somewhat flat without it, in my opinion. There is an emotion that is conveyed through the music that couldn’t be attained through other styles. Man’s shittiness needs to feel filthy.

The words and acts through which we exist need to have a somberness about them because man, time and time again, festers in selfishness and self importance. If I read the lyrics in just their written form, with no music to base my judgement, I wouldn’t be able to grasp the emotional heights as to which they need to be perceived. Luckily, Anopheli has captured the sonic equivalent of man’s plague on this planet so perfect; a disease of ego driven humanity and tunnel vision needs by way of abrasive crust, tirelessly hopefully strings, and the screams of those who want nothing more than to fight back against the unfortunate norm.

“You cannot possibly know the dark that resides in man. I promise you, I can appoint blame with accuracy”

This album carries with it the oppressive nature of Behemoth paired with the progressive death aspects of Decrepit Birth; a sonically devestating octopus with it’s limitless limbs latching onto meaty hooks of rhythm, technicality, and precision whilst lashing out at the aural caves of it’s many listeners. A relentless evolution  permeates “Perpetual Growth Machine” as it shifts between it’s constantly progressing guitar/rhythm with an almost lurching “chorus” that exemplifies the effect of a vocal hook. The speed they achieve on “Reign of Dreams” is betraying almost to the catchiness that is attained. It’s borderline groove/thrash in presentation. Jake Dieffenbach (vocals) has an almost hardcore-like bark that fits perfect with the music. It’s neither too guttural nor are the lyrics completely indiscernable. There’s an enunciation that recalls Randy Blythe but with a little more of a mid range bellow. And holy shit those guitars. I can’t get over how impressed I am on this album by the technicality, smooth transitions, speed, groove….. everything about them is unfuckwithable.

Brody Uttley (lead guitar) is a solo monster; they are never overwrought nor are they without merit. I’m a sucker for a solo so I have been thoroughly impressed with Monarchy in that regard. Jon Topore (guitar) compliments in every way possible. A crunchy, groovy tone that runs in tandem with not only the lead but also the bass. There’s also an atmospheric hum that recalls Fallujah’s latest release that is created at times which helps make the songs a little more livelier than most. It’s a cohesive unit that can easily stand with the best out there and easily give any of them a run for their money.

Let’s talk about that bass too. There’s bass for days. I am always a sucker for a bass tone that is not only heard but also prevalent. When a bass player isn’t just a rhythm keeper but also an important aspect to the construction of a song….then a band has my utmost respect. Adam Biggs’ bass presence is very much in step with the plethora of technical death metal bands that exist these days but there’s a softness, a gentle groove….a justification of soul that lends these songs creedence and life. Not only that but he provides backup growls that add to the vocal delivery in a way that creates a sort of hellish choir at times. A little lower than Jake’s delivery but very complimentary. Alan Balamut (drums) compliements every aspect of this band while being a beast unto himself. It’s amazing to hear a drummer so keen on rhythm and technicality. Creating speed when it’s unexpected, adding jazzy fills and flairs on quieter parts that balance tonality and effect; his playing alone is reason enough to get this album. Combine it with the four other parts of this band and you have an unequivocal monster that begs to be heard almost constantly. One only needs to listen to “Sand Baptism” or “Monarcy” to really grasp this band at it’s best. Equal parts speed, groove, atmosphere, and technicality. Both songs exemplify Rivers of Nihil while at the same time are only an aspect to Monarchy as a whole.

The playing time on this album is close to 50 minutes but it’s so entrancing that one hardly realizes that almost an hour has gone by. This album is exceptional in every way and I can’t recommend it enough. If you like your death metal with a mid range vocalist, guitarists that shred hard/fast/all day, a bass player that would make Jaco Pastorious proud, and a drummer that makes an octopus look lazy, then please do yourself a favour and pick this album up. It is so damn amazing that it is hard to put into words that could do it justice. 2015 has been a grand year for metal and this only makes it stronger.

Hailing from a phenomenal city of metal (Oakland), Secrets of the Sky have blown definition out of the water with this, their second album. There’s been a very large dose of melody added to their sound but also a progression in sound and structure. Pathways is hard to categorize without misrepresenting what is actually there. There’s several shades of vocals throughout the album; blackened croaks, death metal growls that are not wholly undiscernable, hard rock-ish cleans (I hate using that term but there’s nothing else that really comes to mind), and some occasional spoken word/whispering (which I’ve never really cared for but it is what it is). On the musical side, there’s a sense of doom throughout the music; not only in style but also in feeling. It’s not a consistently plodding pace but it’s never a overly aggressive. Pallbearer’s Foundations of Burden wouldn’t be out of place in terms of kinship. There’s seems to be more melodic leads than riffs being bandied about with a rhythm section that stabilizes the ever present cloud of meloncholy and dread that permeates the whole listen.

Although there are thirteen tracks on the album, six of them are actual songs with the other seven being segues that actually help the album flow rather than hinder. “Three Swords” is a journey through meloncholic dark metal with some blackened screeches usurping the consistent melody and somber tone. The song never gets too heavy in a distorted matter but there is a grey, oppresive cloud that permeates throughout. “Angel in Vines” starts out with the guitars playing a harmonious riff with near perfect rhythmic accents. The vocals are very harsh at first but then a clean croon pairs with an almost Type O Negative keyboard part that helps set the mood. It’s a dual faced song that spends most of the time in the harsher realm. One could almost classify this as a single but the song, truthfully, doesn’t travel very far from the boundaries it sets for itself. There’s a great riff that is bolstered by a decent “chorus” but not enough to distinguish itself from the rest of the songs. It succeeds in it’s place on the album and helps the ebb-and-flow in a very thorough manner but there’s not much that sets it apart from the rest of the pack.”Another Light” follows as almost an outro from the previous track, It’s all guitar with clean singing. It’s a polarizing track for me because as a standalone track, it doesn’t do anything. The vocals are good and the guitar is there to do it’s job but it just doesn’t do anything other than just be there. It fits in the grand scheme of things but one would be remiss in calling this an actual song. It acts as more of a segue, if one were to be honest.

Speaking of segues, if you count the last song as what it really is, then there are three between the last (true) song and the next one, “Garden of Prayers”. It very much plays suitor to “Angel in Vines” in that it carries with it a heavy riff partnered with a melodic backing. The vocals are a little more on the death side in this track and the tempo maintains a medium pace paired with some …And Justice For All-esque clean parts and some croons that kind of similar to Peter Steele in his highest octave from the October Rust album. “Fosforos” is, without a doubt, the heaviest track on the album. All blackened screeches, heavy riffs, and some mid-paced double bass/tom work. It is also the catchiest song on the album in that it carries with it a groove that betrays the rest of the album. The pace and groove lets go towards the backend of the song. “Eternal Wolves” follows another segue and it is a very fair representation of this album on a whole. The vocals are equal parts blackened shrieks and death growls, the guitars are harmonious and riff laden whilst the rhythm section carries the song through it’s ever shifting tendencies. It’s a very moody piece that certainly ends this already stellar album on a high note.

Pathways is not only a great second album but it is a phenomenal release that certainly deserves to be on best-of lists when the time comes to compile them. It’s a timeless listen that doesn’t adhere to standards or modern categorization. If this is what they can give us on only their sophmore release, I will certainly be looking forward to subsequent albums because they, in my opinion, have hit the proverbial ball out of the park.

The album art conveys a lonely self baptism of sorts that really sets the mood for this gloomy piece of art. There must be something in the air over there in Sweden because this is another quality release that is certainly worth listening to if you have a great set of headphones. There’s enough fuzz and groove here to hypnotize even the staunchest of naysayers.

Eschewing the use of harsh vocals for some distorted clean ones and a sound that mines as much from 70’s doom & psych as it does from 90’s era sludgy doom, Monolord stands out from most of the crop in a way that makes them a little more accesible than most. Spending time between thick, chunky riffs and some (at times) bluesy boogie, it’s a headbanging affair all around. “Cursing The One” almost establishes itself as a very thick and doomy jaunt but there’s a groove there that just dares the listener to sit still.

“We Will Burn” recalls early Electric Wizard with emphasis on some aggressive bluesy riffs and patented pained yells (more on those vocals at the end). A sabbathian riff is exuded in full force at the beginning of “Nuclear Death” and it then traverses the familiar path of the two previous tracks. “Died A Million Times” and “Vaenir” with “The Cosmic Silence” playing segue between the two. They clock in at 26 minutes total playing time between the two with the latter track featuring some guitar meanderings that really don’t further the song too much.

As a whole, this is a really solid album. In doing some research about the group, it turns out this is a side project from two of the guys’ main project Marulk. That band is all sorts of 70’s boogie/hard rock that recalls Thin Lizzy and at times, MC5. To call Monolord a departure would be a little bit of an understatement but one can definitely hear some of that sound bleeding into the doom sound. The vocals on Vaenir seem to have an effect (phaser? Flanger?) that would normally turn me away from the music. It tends to be a big negative in my eyes when a band chooses to heavily effect the vocals but this seems to work for me. It fits the music very well and it’s not overly processed to the point of being robotic. It just sounds like the vocalist is underwater (kind of) with some almost reverb qualities in tow.

The music, as a whole, certainly is enough to garner a positive review so even if the vocals were even more heavily processed, I would look on this album postively. If you are a fan of bluesy doom with vocals that never venture into the harsh realm, you certainly would enjoy this album. It reminds me a lot of the Aleph Null album I reviewed that’s up in the review archives. Part doom, part grunge, part 70’s hard rock, all wrapped up in a cohesive package that doesn’t stray too far from beginning to end. The songs range from 6-16 minutes with only one filler track so it for sure feels like a full album. All in all, a great album that beckons me to sit down with their previous release a little more.

The music here almost seems to be in almost modal form. Definitely repetitive and hypnotic with minor changes and variation of tone.You can definitely hear the influence of Neurosis in that there seems to be some hints of almost industrial type noise on this record that sounds a little more prevalent than previous releases. They’ve always had the keyboards/synths to accent the murky heft that spews forth from demonic amplifiers but in songs like “Chaosecret” and “Daemons”, it seems as if they rediscovered their love for Godflesh and Ministry and in my older years, I don’t find that a bad thing. I never really got into industrial type stuff but the further along in age I get, the more I am becoming ok with it. The cohesion between that and the Hawkwind-like spaced out keyboards really makes for an interesting listen. The vocals seem to be a little less harsh than on earlier stuff too. Almost similar to how I described Jus’ vocals on the newest Electric Wizard, there seems to be a progression with age that aptly fits their style. I also love that the bass is very much there. You don’t have to search for it within the thickness of the music because it is very pronounced.

There doesn’t seem to be a song on this album that really stands out above the rest (then again, when has any Ufomammut album had a “single”?) but the album as a whole certainly plays out from start to finish in a satisfying fashion. Ear candy galore for those that have a good set of headphones. I imagine it’d sound amazing on vinyl too. The production is spot on which seems to be an underlying theme in the realm of Ufomammut. Thick, murky, and spacey; nothing is mixed higher than what their station entails. The vocals are not really front and center which is ok because it’s all about the spacey, noisy, doomy tempo more than anything.It’s almost cinematic in presentation. They’ll probably perform the whole thing at Roadburn some year while a sweet movie is played in unison. It’s not a very long album either; with 6 tracks and one of those being a segue of sorts between songs, it’s short and to the point.

If you dig spacey, horror-y, gloomy stoner doom and haven’t given this band a proper listen yet, you can’t go wrong with this album. It’s everything that is good about Ufomammut with just a few minor tweaks on the original recipe. It’s certainly a solid release in a line of solid releases from a band that, from my point of view, doesn’t get enough recognition.

Also, they are finally touring the States this summer! So go check them out if they are playing a show near you. I am going to see them in Denver with Usnea and In The Company of Serpents. It shouldn’t disappoint!

“Lava” is the first track and it is ferocious. Mr. Doyle sounds so vicious with his vocal delivery and the song morphs in cadence to equal his ferocity. It’s as if a thrash metal song was being played by a hardcore band that decided to be a doomy grunge band for a day. It’s a weird conglomoration of all three styles while not comitting to any of them. “Empire of Dust” is straight doom. Almost funeral in execution. It’s an avalanche of molasses steeped in a muddy swamp of shit and filth and hell. The vocals are terribly undiscernable but that’s not a bad thing. It is pure hate. A chloroform cloth of sonic anguish wired through snareheads, amplifier tubes, and illbegotten strings of disgust.

“Unnamed” is borderline thrash metal but with a little less of a hardcore vibe and a little moreof a sludgy doom vibe filtered through some early Isis filters. The vocals take turns in the doom metal yelling style and some almost spoken black metal gurgles with some Yob-ish type wails towards the last ¾ of the song. It’s a multifaced beast that keeps a very solid rhythm backend. Very riff forward with a fantastic vocal performance that is sure to be awesome as fuck in a live setting. “La Mano Poderosa” harkens back to Tad’s previous work in Tad but with a little more heft and intensity. It teeters on the edge of post-metal territory at times but it never breaches the border.

“I Am” is another subdued affair in the vein of “Empire of Dust”. The vocal delivery on this track is another phenomenal affair. Part restrained whisper, doom metal yell, and black metal croak; they help vary the plodding nature of the song itself and provide variances in mood while the song creates the sonic equivalent of depression and sorrow. “The Immutable Path” is all rhythmic tom drumming with some omnious bass (I think). A little bit before the 3 minute mark, some deep end spoken word comes in and almost chants an incantation of quiet solace. “Outro” closes out the album with some misshapen piano playing. It’s an awkwardly perfect end to an absolutely awesome album.  The songs vary in length from 3 minutes to 11 minutes. With two filler tracks, it seems short on paper. With a full listen through, though, it fulfills incredibly.

If you are a fan of Tad’s previous work, certainly check this out. It will not disappoint in the slightest. It’s a fantastic album that seemlessly blends numerous aspects of rock & metal into a cohesive whole that can only be executed by Mr. Doyle and cohorts. Another quality release from Neurot.

 At first glance, In Times is a short affair with only 6 tracks. That is a little misleading due to the fact that each track is at least 8 minutes with “In Times” being the lone song to break the 10 minute mark. “Thurisaz Dreaming” opens the album with maniacal speed then takes a slight turn to some midpaced proggy type cleaner parts. Grutle’s vocals haven’t missed a beat over the years and if anything can be said, it’s that they are even more abrasive. I can tell that they aren’t as high pitched as they once were but they seem to be a little more “throaty”. Herbrand’s cleans are very front and center with, at times, sounding like he can give Borknagar a run for their money in the ability to sound beyond majestic. “Building with Fire” follows suit and this song is fucking great. The cleans on this album give this album such an amazing atmosphere and sheen that I can see a lot of “purists” shaking fists and angrily disregarding this as pure blasphemy. I, on the otherhand, welcome it. Variation is always crucial and Enslaved have it in spades. The song is very midpaced in form and function. There’s an actual punk-like bass breakdown midway through the track but the main clean vocal verse seems to be the sun as to which this solar system of a song revolves around.

“One Thousand Years of Rain” has a punkier, ubeat backbone that is interspersed with some choppier, metallic parts but those aren’t very abundant. Herbrand’s vocals are scattered throughout and Grutle handles the bulk of the song. He very much enunciates a lot on this track and, at times, he reminds me of the vocalist from Nekrogoblikon (mainly their first album Goblin Island). It comes off slightly comedic which is unfortunate because I know that wasn’t the intention. I can’t help but make that comparison. The song definitely ends on a good note with some upbeat double bass and heavier guitar that gallops along. “Nauthir Bleeding” starts out very soft with Herbrand’s clean vocals. It seems to be a wholly different band. There’s some layered, barely audble background vocals (that seem to happen a lot on this album that I failed to mention earlier) and then it busts into some very atmospheric metal. The term majestic can certainly be attributed to this part. A scattering of symphonic synths and a really sweet solo solidify this song as probably the strongest on the album. Maybe second strongest. It gains intensity towards the end (pretty much right after the solo) and spends time between the slower midpaced parts and the heavier metallic parts to finish.

The title track could fit in on either Isa or Ruun. It starts off with a choppy guitar riff that isn’t too heavy on the distortion with a reverbed/echoed solo in the background. Some more wailing/singing stuff happens during this. At around the 2:30 mark the vocals and riffage kick in. Grutle seems to be hitting some wonderful lows on this album that tend to follow some of his throatier croaks. There’s an almost Pink Floyd/(later era) Opeth break down part that definitely has spaceey prog rock written all over it. A definite positive for those that expect some random things from Enslaved. “Daylight closes the album out with the most aggressive sound other than “Thurisaz Dreaming”. A very midtempo jaunt with some layered harsh & clean vocals. It reminds me a little bit of Solefald in that aspect but a little less bizarre. A very quiet part occurs around 3:00 that kind of threw me for a loop. An abrupt change in pace, tone, and feeling. It’s borderline post rock. A very interesting sidestep that picks up tempo around 4:20. Some layered cleans and some slightly distorted guitar. The song title is “Daylight” and that fits the feeling that is evoked. A slight Alcest (from their Shelter album) vibe could be gathered. Hopeful, earnest, and very very fucking random. They get back into the aggression around 6:30 and the song seems to have come full circle.

This album, in the realm of Enslaved, is truly a wonderful listen. The musicianship is very much what it has been over the course of the last 6 albums, the vocals are ever evolving/adjusting with age, and the songs are still as Enslaved-ish as ever. If you didn’t care for them before, you won’t care for them now. If you thought that some of their later releases were less than their earlier work, then this album won’t be for you. If you can appreciate what the band has done with their sound and you enjoy taking that journey, then this album is very much worthy of a listen or two. It won’t change minds, blow away expectations, or define a genre. It is what it is and that happens to be a solid entry in a solid lineup of albums by a very interesting band.

I first became aware of In The Company of Serpents when my friends Landon & Mike had gone to Great American Beer Festival in 2013. They had attended a show where Stoic Dissention (another great band from Colorado) and In The Company of Serpents were playing. They came back with nothing but great words about the bands and Landon had especially pointed me towards the latter. So I checked out their self-titled first album. It reminded me of a perfect mix between Black Sabbath, Sleep, and Bongzilla with a small dose of Electric Wizard thrown in there. Very groove heavy sludge with vocals that were not undecipherable. Very much something I could get into. I listened to Of The Flock (their second release) a few times but nothing to the point where it stuck with me. I’m not gonna lie, I didn’t delve into their releases too heavily. I listened to them on occasion but I never gave them a proper listen. That all changed when Merging In Light was released.

“Breed, Consume, Die” is the first track on the album and I must say, it is one of the funnest songs I’ve heard in the sludge genre. It’s an incredibly upbeat track that I’m sure would bring about all sorts of banging of the heads. It has to be one of the most memorable riffs I’ve heard and that tone is fucking awesome. I’m easily reminded of Sleep’s “Dragonaut” where the harmony between groove and riff are combined to make a memorable song.

“Third Mind” follows suit with a very upbeat, catchy presentation of sonic euphoria. I’m going to come right out of the gate and say that the solo that ends this song is one of the best things I’ve ever heard. It’s so unexpected and it happens so randomly that it fits so perfect. I love when bands do something like that. Council of the Fallen had a similar solo (even though the two bands couldn’t be more different) in the song “Search For Purpose” from the album Revealing Damnation. I don’t want to say that either pieces were wholly “out-of-the-blue” but they happen so suddenly and end just the same that it’s a breath of fresh air in that regard because solos can be pure wankery sometime.

The album closes with the track “A Union of Opposites”. The longest song on the album at just under ten minutes, it’s certainly the gloomiest track on the record. Very much in contrast with the upbeat and (almost) positive vibe of the previous tracks, this one brings the doom. While the aforementioned tracks were in no way a negative point for the production job on this release, it really stands out on this track. A thick wall of noisy, sludgy, messy doom pervades this song. Grant’s vocals remind me, at times, of Matt Pike’s but with a sense of soul and pain that seems very much his own. They have seemed so familiar while picking this album apart but I just couldn’t place it. I will say, though, that his have easily become one of my favourite because, while not being completely clean, they are very rough yet decipherable. The enunciation is on point.

Instrument-wise, the guitar tone throughout the album is so fuzzy & crunchy that it’s almost tangible and when paired with the uptempo drums….its harmonious. Such a rewarding listen through and through that it’s almost disgusting because it’s only three songs. I want it to be more. But in this life, in this time, Merging In Light was only meant to be a short release and I’m ok with that. Check out all of their releases on bandcamp and certainly support them. They are very much worth the time for your ears to hear.

“Aetas De Morior” begins the album on the perfect note. No filler intro track here. Just pure intensity from the get go. It’s reminiscent of Behemoth and Fallujah in the sense that it is very hefty and distorted with some melodic guitars in the background but it has an incredible pace. It slows things down slightly towards the end but that’s just a tease for it gets heavy again. “Invisible Eye” has some more of that melodic background guitar that adds an element of spacey atmosphere but it’s really quiet. This track keeps up that pace from the “Aetas De Morior” but a little more on the “core” side.

“Corridors” has some delicious low end vocals that really showcase the range that Aaron has with the microphone. Almost Cattle Decapitation-like with the sound that is created. It’s as if he is literally puking while vocalizing. It’s not a constant though because he mainly has a mid range bark that carries with it an air of death metal dissonance. They are showcased very well in each song but “Dissent” is probably the best example of where he can go with both. It starts out with some beautiful lows that are accented gracefully by the sparse guitar and tom heavy drum beat. It then breaks into some Man Must Die-esque death metal speed that is perfectly stated with a guitar tone that seems to get more distorted and dirty the further the track progresses. There’s a slight breakdown of sorts in the middle section that also has a groove to it that really helps diversify this album.

At times there’s some guitar playing to reminds me of Council of the Fallen. A few parts here and there of solo-ish type stuff that sounded somewhat familiar. That band is one of my favourites so I can’t hate on that at all. A nice instrumental piece, “Ancestry”, breaks the album up a little bit. All drums that have a tribal-ish vibe about them that is all ear candy. There’s some deep guttural chanting stuff that is barely audible too. I can’t tell if it’s a didgeridoo though. “Coil” follows the instrumental with a mid range guitar tone and pace that recalls A Life Once Lost before they got super simplistic and  slightly after their really tech stuff. “Hypnoguise” has that same tone but it’s heavier for sure. It’s very rhythmic too. Almost groovy but there really isn’t an emphasis on that aspect. It almost seems to happy naturally.

The album ends with the trio of “The Lurid”, “Altar of Ire”, and “Obsequia”. “The Lurid” is propelled by a drum heavy attack with the same dirty guitar tone from previous tracks. I hear traces of Decrepit Birth in the schizophrenic speed at which some of these songs play out and this track is prime example of that. “Altar of Ire” seems to carry the most groove of the songs displayed on this album. A very tom heavy back end with some great guitar interplay definitely will keep many necks sore in a live setting. If any song could be construed as a “single” or standout track, this one would certainly fit that bill. Very memorable in delivery and catchy as fuck. “Obsequia” is pure death. Very fast, brutal, and maniacal drums; the drums on this album are insane and this song really showcases that.

Hadal Maw are a great addition to the an already abundant Australian metal scene. This album came out last year so I can’t say it’ll be on any year end lists this year but it certainly belongs on last year’s lists. A very competent and effective death metal album that will please many ears.

https://www.youtube.com/watch?v=uGoPbZc07zo

The one aspect to this album that stands out the most is the vocals. Kyuho (who handled all vocals and instruments on the album) has a range that is hard to come by. Equal parts vomit inducing shrieks, majestic Sleipnir riding power metal vocals, and straight up singing that betrays a lot of standards with the fact that he can literally carry a note. Not in the “Oh, it sounds good for metal” way but it’s literally harmonious. It’s literally melodic. Those type of cleans are not as a common as the rest of his multifaceted styles but they are there and they service in the album completely. They propel the music to the realm of coherence that if done incompetently could have caused this album to be a complete mess of styles. Another aspect to this album that revealed itself to me after repeated listens is the completeness of the songs. It doesn’t necessarily flow as an album but that is neither here nor there. These songs have a life of their own; a metaphor for the cycles of life in the form of song. It’s as if each song is birthed, lives a life, and dies in the complete confines of itself. The trials and tribulations and mundanity of existence being conveyed through the vociferous nature of black metal and it’s many faces. This is done six times over and each song can certainly be thought of as “stand out”.It’s really hard to pick the songs apart and describe them with words. Each one is such a beast on it’s own and it’s a very frenzied affair once you get into the thick of it. Actually, it’s that way from the start.

No true words could describe these songs and sound….coherently. This album wears many faces and each face is trying to say the same thing. It’s very confusing but rewarding at the same time. I’d say if I were to choose one for you, the reader, to check out in hopes that you will heed this review, I would say “The Lily and the Rose”. It’s a great track that really encapsulates the album’s strengths and minute weaknesses. It goes from classical/opera flourishes to black metal and back again. Every song on the album is longer than 6 minutes so it can get a little trying when listening but I think the diversity of the styles Madmans Esprit conveys is more than enough to hold your attention. “Blood, Cum, and Shit” is another track to check out. Although the title screams “ridiculous”, it’s very much the antithesis of that. There are some jazzy keyboards in the beginning that I didn’t pick up the first time I listened to the album and it gives it a very off vibe but not in a negative way. Once you hear it, I think you will pick up on it. Also, I did notice that the songs are sung in two different languages. Some in Korean, some in English. Even though I don’t care about lyrics (necessarily), I always enjoy when there is multilingual aspects to the vocals. I think it’s because there tends to be inflection differences between languages and it really lends to the rhythm of the song.

I would certainly like to write more but words wouldn’t do this album justice. So I will end with this very typical but useful tool: Madmans Esprit sounds like if Solefald and Cobalt were really into having sex with each other while Cradle of Filth, Dio, Sigh, Hammerfall, Blut Aus Nord, and Deathspell Omega all played a game of Risk in the room adjacent to them. Really though, check out this album. It’ll be interesting to hear where Madmans Esprit goes from here because this album is a really great introduction. Also, there’s an ep/demo out before this that contains a cover of “Bohemian Rhapsody”. I was able to watch a live rendition of the song and it’s every bit as batshit crazy as you would expect.

I’ll be the first to say that Dopethrone was the first album of theirs that I go into and I hopped on that train very late. It wasn’t until about 2006 that I first heard it and I’ve felt that each subsequent release (after Let Us Prey) showed a progression towards psychedelia that fits into their sound so perfectly. They haven’t forsaken the doom nor embraced the psych aspect fully as to be completely just one. They’ve married those two aspects completely and on Time To Die, it really shines through. It is their longest album to date with two of the songs breaking the 10 minute mark and four of them being between 7-9 minutes. Even though it breaches 60 minutes, the album is never tiring; each song is necessary in length which allows for an organic flow. The riffs on this album are plenty with a plethora of understated solos (I really don’t know how to describe them because they are never front and center in the listening experience. The groove and riff are always the belle of the ball while the solos meander about as if they are the under-appreciated servant girl just going about her business to make sure the floors are cleaned and the cigarettes are disposed of properly). The drums are very Sabbathian and remind me very much of Bill Ward from the first two Sabbath records. It’s very groovy with lots of cymbal and tom interplay which brings a sense of swing to the songs. That is another aspect of Electric Wizard 2.0 that I think is highly under appreciated. Doom is a style that has its characteristics and qualities that other forms of metal can’t attain. Within this genre there is a subtext of rhythm that I find very satisfying and Electric Wizard has exploited that in full and expanded upon in it greatly in this release.

https://www.youtube.com/watch?v=IjI8_6x8q90

Jus Oborn’s vocal delivery has started to become a little more drawn out and pronounced in the last few realeases and I think that really fits the progression of the band. It’s almost a wail but not to the point that it is grating or annoying. It’s very haunting, sorrowful, and angry and necessary. It adds a sense of drama to the sound and helps promote the anger this album so fully endorses. I find that when vocalists alter their delivery, range, and timbre, it can be almost detrimental. It’s a necessity in most cases because when a human ages, their voices change. The alteration has to happen because there is no escaping that aspect of humanity. Most times I find that vocalists aren’t great in that change but Jus has adapted his so perfectly that it has become a redeeming quality in their minute transmutation of sound and form.

Time To Die doesn’t really stand out as a monumental release. From beginning to end it flows only as Electric Wizard knows how. It’s rife with samples (in true Electric Wizard fashion) mainly pertaining to the Ricky Kasso incident of 1984. I had no clue who that was so I did a little research and found out the exact specifics. The samples of news clips really help add atmosphere to the album and give it a sense of age that betrays it’s 2014 stamp. There can’t really be a song construed as a “single” but some standout tracks are “Funeral of Your Mind” (a very upbeat groovy monster that exudes head movement at its fullest), “Lucifer’s Slaves” (a psychedelic blues track that brings enough groove and distrortion to the table that it’s hard to distinguish the two), and of course “I Am Nothing” (the first track released for this album. It’s a caravan of riffs marching in tandem with elephantine swagger and megalodonian weight; a satanic ritual of the animal kingdom waiting to unleash the unholy patriarch from his netherworldly slumber). This is probably the heaviest song Electric Wizard has released in a few years and it is a great represntation for the coda this album keeps. Put these songs into context of the album and they fit very well. They don’t necessarily stand out but certainly highlight a very great release by the UK’s premier doom band.

If you like Electric Wizard and don’t have any preconceived notions about what the band should be, check this album out. It’s a good listen that doesn’t blow minds. It does keep in line what they’ve been doing since We Live and they shouldn’t offer any apologies for doing what they do. If you don’t like Electric Wizard, well….there’s nothing here that’s gonna change your mind. They aren’t here to please the naysayers though. They just want everyone to die.

–”There Is A Serpent Coming”

Being as this is the first song to contain vocals on an Earth record since Pentastar: In The Style of Demons, it’s very appropriate and telling. One could use any of those descriptors as an adjective for this, their newest release. The fact that it is sung by Mark Lanegan is very fitting. Both being forefathers of the Seattle scene and reconnecting in this decade to make music that elevates beyond that which made them known is almost “full circle”, if you will; a crooked circle in musical endeavors. Taking inspiration from that which was theirs and the years of music that has occurred since, we have what can only be described as fitting. A welcome home in the form of fuzz, drone, haze, and psychedelics strangled in the musical noose that is the riff.

“Torn By The Fox Of The Crescent Moon” begins the album and its riff is bedeviling. A hypnotic ode to past transgressions with an underlying blanket of western tinged atmospherics. It’s a lumbering affair that volleys between the two forms of Earth that has been established on previous records. It builds tension while simultaneously crumbling upon itself as it progresses towards an implied, unattainable peak that is never reached. Frustrated distortions meander in the background, attempting to finish that proverbial climb to only collapse under the heft of the weight they couldn’t free themselves from.

“There Is A Serpent Coming” takes those background distortions from the previous track and puts those into stark contrast with Americana guitar theatrics and pairs them with a vocal delivery that is borderline beat poetic. It is a blues dirge that follows a different path to the same distant peaks but comes upon a dead end just the same. Mark Lanegan bears forward like a whiskey laden preacher promising salvation to a dust bowl congregation in a wind-beaten revival tent midst the oncoming apocalypse. All snake-oil salesman with venom in his words, trussed up for the hopeful as they nod in unison with their fractured belief. Adrienne Davies is restraint in its truest form. Saying more in those beats unheard, implied, and unfound. A rhythmic doppelganger to Dylan Carlson’s soothsaying guitar, accenting the song with the beat of a pallbearer in mourning.

“From A Zodiacal Light” is the musical acceptance of never reaching that peak hinted about in the previous song; the inner voice of a congregation member responding to Lanegan’s sermon of the serpent. Rabia Shaheen Qazi (of Rose Windows) lets her tone carry the song and it’s all velvet and smoke. Sultry, carcinogenic, and tired but never hopeless. She modally matches pace with the psychedelic suite that she accompanies; a sun cracked serpent en route to the shade of granite cliffs and mahogany sands that promise comfort and restraint.

“Even Hell Has It’s Heroes” finds the serpent settling in it’s home. A windy path traced in those mahogany sands by the guitar play of Dylan Carlson. Tunneling through the haze of the dust and distortion thrown forth and creeping its way to a colder environment, it becomes a segue unto itself; unfurling and pacemaking until its throes are well upon it’s final breaths. A descent from the shadows of those hopeless peaks unseen through a hallucinogen half told and marked unfinished in the wake of a bad trip.

“Rooks Across The Gate” closes out the album in what can be construed as a eulogy of sorts. Mark Lanegan sings in the opposite of haste and hope, telling a tale of tribulation and tee-total as the serpent retires in resilient recompense. The western tonality is final in this finale and walks a crooked circle from mouth to tail. The song quiet in delivery and, in context, echoing the vocals as they writhe together in distorted finality.

Primitive & Deadly is very much an Earth album. Another traipse through cinematic valleys told though the musical thoughts expressed through terraforming and understated hopelessness. Don’t mistake this for a negative transgression of form though. It’s very melancholic, that much is true, but it’s a very positive affirmation that Earth are masters of their craft. As somber as that craft may be.

Without their emphasis on creating a movement within their sound and an atmosphere almost wholly their own, this surely could have been misconstrued as a misstep for these Icelanders. Thankfully they’ve created a fantastic album full of canyons of despair, upbeat storms of hope, and brilliant passages of melancholy that fully defines them as a band. Those following Sólstafir since their inception wouldn’t be able to say that this album is out of place. Their progression from black metal to this form of ambient/atmospheric “rock” is neither a surprise nor a shock and what they are doing now is wholly their own sound. With this, their fourth proper full length, Sólstafir has created an album that is equal parts ambition, history, and experimentation. It is an album that works as a track-by-track listen and is at its best when heard as such.

The tracks on this album are fully realized movements unto themselves that can certainly fit into their respective 3-hour timeframes that they are named after. “Lagnætti” is a fast paced, piano & drum driven piece that starts out with a somber start from the piano & vocals. Haunting guitars bleed in and out of the song as if they were weeping children heard down the vacant halls of a forgotten orphanage. It’s a powerful opener that certainly sets the tone for the rest of the album. Ótta carries over the haunted string from the previous track but with a slower pace. A tired banjo slightly picks up the pace along with some distorted guitar that when combined add some weight and groove as they alternate with the vocals. That pace is sparse, though, which helps continue the mournful tone. I sense some guitar tones and effects that are not dissimilar to Sigur Rós and certainly used to gain the same effect. “Rismál” is the next track and it certainly picks up the pace a little more but never to the point of aggression. It seems to be a precursor for the next three tracks, “Dagmál” , “Miðdegi”, and “Non”. The latter is actually probably the most “rock” based song on the whole album. “Miðdegi” almost reeks of Strokes territory if the vocals weren’t so aggressive.

The interplay between the bass and the drums (high hats and all) isn’t out of place in that comparison but vocals are the closest to “yelling” that are attained on the album. It’s a very upbeat song that really stands out in this rather melancholic listen. Non follows suit with the aforementioned track in being another “aggressive” piece but again is broken down to a subdued form after the pace has been established. In this interplay of upbeat tempos and quiet moments, both forms seem to infect the other without compromising the dominate pace. It’s a very interesting piece that, again, stands out from the established sound that the previous songs have laid the groundwork for.

“Miðaftann” and “Náttmál” close out the album and couldn’t be in contrast anymore than they are without compromising the integrity of the album. They are both songs that define the album with the former being a sorrowful piano and strings piece while the latter is slightly upbeat. Again, those guitar sounds that are reminiscent of Sigur Rós show up here with some “doomier” aspects though. Clocking in at 11 minutes, this is the longest track on the album. It is the perfect ending to a rather glorious album that wouldn’t be out of place on anyone’s year end lists. Sólstafir has created a wonderful listen that certainly stands out among the plethora of great albums this year. I strongly suggest this album and advise headphones to grasp the full effect.

I can’t, for all intents and purposes, outright call this a doom album. That would be a huge misrepresentation of what Pallbearer has achieved. There is a sense of hope that becomes more pronounced (if not musically then lyrically and vice versa) the further along the album progresses that betrays the standard definition of ‘doom’. There are flourishes of upbeat tempos that betrays any sense of lingering dread or sorrow or misfortune that is characteristic of doom. I’m not saying saying that there aren’t examples of the style on this album but one can’t listen to this and walk away saying, “This is a great doom album”. What they can say, though, is that “This is a great Pallbearer album”.

When I first truly listened to Foundations of Burden, I was impressed not only with the nuanced progression in sound but also with how well the album flows from track to track. There always seems to be a stigma with second albums and the levels of anticipation that come with the pending release but even more so for groups that made such a mark with freshman releases. Pallbearer earned well-deserved praise for their first album Sorrow and Extinction and I’d like to think that any fervor that existed for this album was correct. What I didn’t foresee was how well the music, the lyrics, and the art were presented as such a realized concept. I didn’t even realize it upon the first few listens. When I started to dissect what was being conveyed and actually heard with both my heart and my head, I came to the conclusion that Foundations of Burden stands out as an amazing album that not only shows progression in a very understated form but also solidifies this band as one of the more cerebral and exciting bands making music today.

The first aspect of growth that I noticed was in the overall sonic presentation. The vocals seemed to hit an altogether different timbre than the previous album. Not necessarily higher in pitch but fuller in sound. All encompassing if you will. Lead vocalist Brett Campbell has certainly found his comfort level when singing and his faith in vocalization really shines through. The guitars and rhythm section don’t just meander along to fulfill the riff quota either. There is a structure here that benefit the songs (and therefore the album as a whole) that wasn’t as prevalent in Sorrow and Extinction. I’m not saying that that there weren’t any good songs on Sorrow and Extinction but the overall structure seems more complete and realized this time around, with some hints of slight proggy elements. When a band can craft numerous songs that are memorable and engaging, that to me stands out above all other facets of creativity. With Foundations of Burden they have done that with six tracks that cohesively meld into one idea….one theme that seeps into every song.

I’m going to be blunt here. I enjoyed the album when I first heard it but I didn’t buy into the praise it received when it was first released. I listened to it nonchalantly because it didn’t seem as that much of a progression to me. The more I picked it apart though, I began to fully realize what I was hearing. I wasn’t just hearing it though….I was truly listening. What I found was an emotional, cohesive, and brilliant album that transcends most styles of music that it could be labeled in and establishes it as completely Pallbearer. Nothing else.

Fucking wow.

Aleph Null, a Germanic trio of sludge-like proportions, mix the best of everything you remember best about grunge combined with a whole lot of sludge, 70’s rock freewheelin’ experimentalism, and just enough catchiness to give Torche a run for their money in the “we’re sludgy-yet-grungy-yet-catchy” department. This album is equal parts fuzz, heft, depth, groove, and murk.  I’ve yet to hear a band so thoroughly play these sounds as if they are the first time one has ever heard them. With this, their third release, they’ve solidified themselves as masters of their craft and it is a glorious craft indeed. Wholly parts Truckfighters, Colour Haze, Tad, Soundgarden, and Alice in Chains, it’s a hell of a listen that rewards its listener more and more with each subsequent spin.

“Roman Nails” starts this seven-track album off with such a fuzzy tone that one wouldn’t be out-of-line if they mistook this for a new Electric Wizard album. Just subtract the inherent “doominess” of the aforementioned and give them a little more desert fuzz and that’s where this song lies.  The song seamlessly bleeds into the next one, “Backward Spoken Rhymes”, and this is where the vocalist really stands out. Really showcasing the grungier side of their sound, this song sounds as if Aleph Null is truly the reincarnated soul of the Seattle Sound. Abrasively soulful and inherently stoned, this song is just about the catchiest offering on the album.

“Muzzle of a Sleeping God” showcases Colour Haze-ish guitar work with a rhythm backend that betrays it’s sludginess with cowbell straight out of 1975. There are moments where the fuzz is thicker than Precious and the burl almost overtakes the song but it’s only a brief foray into those realms as some swinging stoner rock comes into play and really brings a stylized boogie to close out the song.

Then the abrasion sets in as “Black Winged Cherub” starts; a disgusting riff straight from the bowels of Hades with enough groove to break more than a few vertebrae. This is the first real showcase of harsher vocals…not necessarily screamed/growled but more of a yelling with fuzzy effects added. Alep Null certainly has a knack for making a noise bigger than their numbers and it really stands out in this track. They hit a real catchy groove that acts as a bridge to some delicious Electric Wizard fuzz to close out a song that encapsulates their sound completely.

“Stronghold” follows with hints of Dead Meadow mixed with organ (why they didn’t add more throughout the album, I don’t know but I’d not be opposed to hearing more). The vocals are very soulful and very much in the same vein as John Garcia albeit with a slower, more European desert sound as opposed to that classic Palm Desert vibe. The organ is prominent but never to the point of overkill which helps the song showcase it’s almost New Orleans stylized boogie but not quite doomy. The pace is never really sped up and the song actually ends in some noisy feedback/squeals to only segue into the two part “Nocturnal”. The first part is all instrumental /noise/ambience with some sampled vocals in the back. Slightly haunting with some whale-like bass tones punctuating the hollow-sounding (not in a bad way) drums. It certainly fits in the context of the two together. Then the second part kicks in with same exact pace but this is where the actual song begins. The vocals really carry this band and I love the fact that I hear bits and pieces of Layne Staley because it fits this group so wonderfully. I can understand why they put this song at the end. It’s perfectly melodic, fuzzy, catchy, and full of soul it’s almost ridiculous. Everything on this record seemed to be just a teaser to what they seem most apt at doing and that is rocking the fuck out with everything they could muster and holy hell does this song showcase that to a T.

If you like anything worth its weight in fuzz, I couldn’t recommend this album more than I already do. It’s a beast of a record that came out of nowhere. I only hope to see more of them in the future. The best part is it’s on their bandcamp for free along with their previous releases. Check them out asap and let me know what you think.

It’s heartwarming to know that there are acts out there that know when to toe the line. It’s acts like Jungbluth that give me hope as a listener that there is music being created that is embracing those before them and driving themselves into a territory so much their own that it’s almost intoxicating. There must be something in the water. No band should be allowed to be so hell-bent on chaos but yet so poetic in melody at the same time. Blurring the lines between Converge, Momentum (UK), Seven Sister of Sleep, and Pg.99, Jungbluth have crafted an album that promotes an anti-oppressive stance and aims for the throat; nine songs so thoroughly steeped in the darker side of hardcore that it makes sense for them to be affiliated with the consistently awesome Halo of Flies record label.

The first track, “Crevasse”, is the perfect introduction to this album; a calm before the storm that is soon to follow. It’s a perfect opening song; an aperitif to the main course and this main course is violent as fuck. “Wakefield”, the next song, is fury in its purest form. Breakneck from the start, it has its fair share of tempo changes while the anger felt in the lyrics is always present. The next song, “Looks Like Freedom”, is my personal favorite on the album. It hearkens back to the chaotic hardcore that was being released in droves in the early 2000’s. Never overbearing in tempo, it creeps very close to being an anthem of sorts but it never whores its sound in order to make the most pleasant sound; it’s completely subservient to the ebb and flow of what it is at its core: an amazing fucking song. The lower vocals remind me a lot of Fall of Efrafa and that is something I didn’t pick up on right away because they aren’t very prevalent.

“These Rare Moments” follows and it’s very much a natural progression from the previous track. Slightly catchier and more melodic than the previous two tracks, it also never breaks the speed of sound in its delivery and again, is almost anthemic (especially that “gang vocal” breakdown at the 1:50 mark) in style but never touching on any sort of “cheese” factor. It breathes passion and exhales vitriol with strained anger. “Au Revoir Tristesse”, the following track, slows things down considerably. An instrumental song that delivers a bass tone that is extremely perfect in delivery with mild drumming and a little bit of guitar up front. It feels similar to the opening track in that it starts out mid-tempo and picks things up towards the end. The guitars come in a little bit more but aren’t extremely abrasive. They trail at the end to perfectly set up the next track. This album certainly feels to be broken into segments of sorts in the way that it is set up. Quite genius if you ask me.

“Zwang Abwärts” is the longest track on the album and it starts off with a great early 90’s hardcore drumbeat (all toms with a little bit of snare…almost punk rock in delivery) and after a few seconds the rest of the band joins in. This song feels and plays the most chaotic in my opinion. I hear tinges of Curl Up & Die throughout but mainly in tempo delivery rather than actual sound. It certainly is a song that is multifaceted but never to point of sacrificing the “song” for the “noise”. The fact that Jungbluth is a three piece astounds me because this song really betrays that number. Controlled sonic mayhem that plays host to numerous foundation changes and structural discharges, this seems to be the culmination of their sound. A beast of track that lends itself to the listener with each subsequent listen.

“No One But Myself” follows with the most abrasive track on the album. Succinct but very much a hydra of sorts with the many heads it sprouts. Equal parts hardcore, sludge, noise, and punk, it gets to the point and it gets there fast with nary a pit stop. I have yet to read a lyric sheet but I can’t imagine they are singing about puppies and rainbows. They seethe with venom and anger; a perfect companion to the music they create. ”Angebot/Nachsage” is the last song with vocals on the album and it follow suit with the rest of the album in delivery but it creates a palindrome of sorts with how it ends because it sets up the outro, “Crevasse II”, perfectly. Whereas “Crevasse” started the album with whispers of hope and beauty to only flow into the hatred filled noise that is “Wakefield”, “Angebot/Nachsage” finishes with outrage and antagonism and allows the surprisingly beautiful “Crevasse II” to end with purity of feeling and hopefulness. Acoustic guitar with flares of cymbals and, I can only assume, xylophone punctuated slightly by droning guitar in the background. This album is a phenomenal listen that I suggest to anyone who is a fan of darker hardcore. You can listen to their album for free on their Bandcamp page. I certainly hope whoever reads this takes the time to do so. You will certainly find a rewarding listen.

After the very impressive As High As the Highest Heavens and From The Center to the Circumference of the Earth LP and the short but terse I.N.O ep, True Widow has graced us again with their wonderful third album, Circumambulation. While only eight songs long, one certainly doesn’t get the feeling of it being a short album… this is an album for contemplation.

It’s a respite from convoluted noise and it’s blanket is a cozy form of fuzz and reverb. Never picking up it’s pace or intensity beyond a combine’s pace, it’s a sound that sits comfortably in the halls of Nirvana’s “Unplugged”, USX’s “Run Thick In The Night”, and Om’s first releases. Catchy, moody, unabrasive….beautiful to be honest.

The based out of Austin , TX manages to create a very low-end melody that is punctuated by minimalist drums and the occasional buzzsaw guitar (if that buzzsaw was addicted to melatonin). There’s a sense of doom brought forth from the music that doesn’t necessarily sound harrowing but moreso a resignation of happiness that’s at once accepting and embracing.  Both the guitarist and the bassist trade vocal duties and they are expressive enough without being incredibly dynamic. They certainly never fall into the tropes of a good cop/bad chop stereotype. Very melancholic (even monotone at times) but never detrimental to their overall sound. Truly depressing and inspired by subconscious movement.

True Widow is certainly unique while at the same time sounding very familiar. No sub genres or hard to place labels here….they are themselves and that is all they should be.