Patterns in Mythology outlines grand dips and swells, the balance always shifting between light and dark; a maelstrom of dissonance and harmony.
“All the wrath of god, none of the salvation.”
Our latest album review variety episode where we dissect some frigid black metal, murky death-doom, progressive sludge, and Dark Souls-inspired black metal.
What starts off sounding unique ends up melding into a memory of every melodic death metal album I’ve ever heard.
After almost two decades of silence, skramz-kings Jeromes Dream kick open their tomb with a brand-new full-length of brutal and beautiful tunes.
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.
Grab your makeshift wrenches and welding torches to keep this disheveled crew’s craft afloat as we strike murderous warp speed.
POUND’s style is a caustic amalgam of doom, grindcore, d-beat, djent, mathcore, sludge, and a smattering of other genre textures. While this blend of sounds on the surface may sound like a trainwreck, the duo effortlessly weaves the core essence of each genre into a rather novel tone.
Advent Varic is the soundscape to catastrophe; gloom, an ever-present and sobering effect.
The Callous Daoboys wield heavy riffs and chaotic compositions on their new full-length, and absolutely demolish my former hatred of the violin.
Be it the soaring melodies grounded by gravelly rasps or the wind-whipped onslaughts of steel crushing bone, Amon Amarth port us to the biting, primitive landscapes of yore and imbue in us a keen sense of valiance and wanderlust.
Ashley Jane (Dysphoria) expounds upon her early explorations of noise and discusses how these experiments eventually culminated into her biting debut album, Salt & Piss.