Welcome to dying.
Patterns in Mythology outlines grand dips and swells, the balance always shifting between light and dark; a maelstrom of dissonance and harmony.
What starts off sounding unique ends up melding into a memory of every melodic death metal album I’ve ever heard.
What sets Les Grandes Compagnies apart is its timbre. The sonic quality of the music, its overall texture, is so much more welcoming than the slicing distortion and overpowering drums (and sometimes terrible mixing) that are generally indicative of a traditional black metal album.
Advent Varic is the soundscape to catastrophe; gloom, an ever-present and sobering effect.
The murky and washy texture of the music, the clean interludes, and the dismal tropospheric layering of blast beats and vocals competing for the title of the least clear sound in the mix lend to this positive and generally empowering aura Strävan exudes.
When I first watched a video of Idle Hands that was recommended me on Youtube my first impressions were average. The video looked pretty cheesy
Tårn delivers on so many fronts: it’s groovy, it’s heavy, and it’s catchy, a winning combo. Though Ruff Majik has never been as heavy as to be labeled a doom metal act, with each album they grow darker and more brooding and their sound here is a far cry from the stoner rock sounds heard on their debut, The Bear.
Where some music reflects on loss, Part Island embodies it and causes nostalgia to well up in your throat
Death metal with thrash, slam, and hardcore influences, Samsara harbors an affinity for progressive writing that is both technical while also being engaging.
Crux is an undeniably unique album. Compositionally, it is exceptionally crafted and a breath of fresh air within modern rock music. However, I find myself simultaneously loving and hating parts of the album and generally that feeling happens at the same time.