One of the rising stars of the current Melodic Black Metal scene returns with their majestic fourth album, unleashing upon us five sonic vessels providing all their memorable hooks, tasteful leads and riding blasts in their distinct style.
Ever since the cloaked Pacific Northwest band appeared on the music radar back in 2014, Portland, Oregon-based Melodic Black Metal horde UADA has always been electrified by both polar worlds. Within the stretch of three albums as well as dense and triumphant live shows across the globe, they have not only spiked the map of extreme metal music but their unrelenting touring schedule and unbridled will to push forward into new horizons has also earned them a reception in all the extremes imaginable, be it worship or spite. Now in 2023 the band formed of Jake Superchi on vocals and guitars, Kevin Bedra also on the guitars, Nate Verschoor on bass and Trevor McClain on drums is unleashing upon humanity their fourth full-length opus, titled Crepuscule Natura (or “nature’s twilight” from Latin), the stunning follow-up to their 2020 masterpiece Djinn. Mixed and Mastered by the band’s own Jake Superchi at Obsidian Spells, and once again displaying an ethereal and occult artwork by Kris Verwimp, Crepuscule Natura offers five metallic vessels within the impressive span of 41 minutes, easily creating a sonic and aesthetic bridge between the band’s 2016 debut Devoid of Light and their 2018 sophomore effort Cult of a Dying Sun, only to forge onward upon the relentless path set forth with Djinn, providing all their memorable hooks, tasteful leads and riding blasts in their distinct style while balancing their epic surging melodies with powerful spurts of aggression.
The opening tune The Abyss Gazing Back is absolutely melodic and hypnotizing from the very first second, with Jake roaring the song’s devilish words (“In the light of Lucifer’s fire I am but a shadow of God: / No sanctity below, nor divinity behind. / Cast out; fallen and risen, here is where I continue my maraud: / For all within ourselves is what we must find. / Grandest gateways illuminate before me, through my own embodiment of thought: / Expanding endlessly in the caverns of the mind”) while his bandmates generate a beyond thrilling Black Metal atmosphere. Then we have the title-track Crepuscule Natura, even more imposing and multi-layered, blending the finesse of Melodic Black Metal with the rawness and savagery of classic Black Metal. Furthermore, Nate sounds bestial on bass accompanied by the infernal drumming by Trevor, resulting in a darkened voyage that will leave you completely disoriented after all is said and done; and the dirty bass by Nate kicks off the beautiful The Dark (Winter), with Jake and Kevin piercing our ears with their stylish riffs in a headbanging extravaganza by UADA that will explode your senses during their live performances.
The initial riffage by Jake and Kevin will embrace you mercilessly for all eternity in Retraversing the Void, inspiring you to keep moving your head sideways (just like what the band likes to do when they’re on stage blasting their sonic magic). It’s a fantastic depiction of modern-day Melodic Black Metal by those skillful American musicians, not to mention how precise Trevor is behind his drums, all spiced up by another pulverizing vocal performance by Jake. Last but not least, a wild howl ignites the breathtaking 12-minute aria Through the Wax and Through the Wane, again bringing forward the band’s darkly poetic lyrics (“My moon is air / and my star of fire, / below I burn / so my ashes may continue higher / Oh, coldest night / grant me clearest sight / to grow out of your shadow / and be exposed in your searing light”) and their trademark dense, thunderous sounds, with Jake and Kevin sounding flawless armed with their Stygian axes. Moreover, it feels like three or four songs in one so intricate and detailed it is, venturing through the realms of Atmospheric and Melodic Black Metal with a grandiose background and an enfolding vibe, and with Trevor once again kicking some ass on drums, dictating the pace until the song’s climatic, apotheotic finale.
In Crepuscule Natura, which is already available for a full and detailed listen on YouTube, we face a band that’s on absolute fire, ready to unleash the marrow of Blackened Heavy Metal and to show us all why they’re known as the “haunted”. Hence, don’t forget to start following those incredible musicians on Facebook and on Instagram for news, tour dates (like their highly anticipated upcoming concert in Toronto next week) and other nice-to-know details about the band, as well as to stream all of their superb albums on Spotify, and above all that, to purchase a copy of Crepuscule Natura from their own BandCamp page or from the Eisenwald Records webstore (including the exclusive limited die-cut slipcase CD edition + music download card for the album + silver artwork patch bundle), or click HERE for all things UADA. The evolution in the music by UADA since their debut album is a thing of beauty, allowing us to witness with Crepuscule Natura the birth of new fan favorites while their craft remains grandiose, mythical and triumphant.
Best moments of the album:Crepuscule Natura, Retraversing the Void and Through the Wax and Through the Wane.
Worst moments of the album: None.
Released in 2023 Eisenwald Records/Obsidian Spells
Track listing 1. The Abyss Gazing Back 7:50
2. Crepuscule Natura 6:38
3. The Dark (Winter) 7:31
4. Retraversing the Void 7:44
5. Through the Wax and Through the Wane 12:03
Band members Jake Superchi – vocals, rhythm guitars
Kevin Bedra – lead guitars
Nate Verschoor – bass
Trevor McClain – drums
This Extreme Progressive Metal act from Portland, Oregon is back with their fantastic third full-length opus, once again inspired by the majesty of the Pacific Northwest.
Combining the essential parts of many genres into a melodic brand of metal that is undeniably inspired by the majesty of the Pacific Northwest, Portland, Oregon-based Extreme Progressive Metal act Vintersea is back with their third full-length effort, entitled Woven Into Ashes, the follow-up to their 2019 critically acclaimed album Illuminated. Engineered by Gabe Johnston at Falcon Recording Studio, mixed by Carson Slovak and Grant McFarland at Atrium Audio, mastered by Troy Glessner at Spectre Studios, and displaying a stylish artwork by Xenoyr (of Ne Obliviscaris), the album once again offers our avid ears the heavy, emotionally powerful and technically intriguing creations by frontwoman Avienne Low, guitarists Jorma Spaziano and Riley Nix, bassist Karl Whinnery and drummer Jeremy Spencer, representing a significant step forward in the band’s already solid career.
Vintersea have definitely learned how to master the art of progressive and experimental sounds, and that’s already crystal clear from the very first second in Unveiling Light, with Jorma and Riley delivering sheer intricacy and groove from their guitars, therefore exploding into a vibrant Melodic Black Metal aria, whereas Jeremy hammers his drums in the name of extreme music in Devil’s Churn, providing Avienne with exactly what she needs to deliver her deep, enraged she-wolf screams, sounding even more progressive than the opening tune due to its Groove Metal elements. Then get ready for eight minutes of ethereal passages, endless heaviness and obscurity, and a humongous dosage of intricacy in Crescent Eclipse, with Avienne again stealing the spotlight with her mesmerizing clean vocals and her infernal roars; and a demonic growl by Avienne kicks off the thunderous At The Gloaming Void, with Karl’s bass and Jeremy’s beats making the earth tremble, or in other words, it’s Progressive Death and Black Metal at its finest.
As if the band decided to begin a new chapter in the “book” of Woven Into Ashes, they invest in a much more cadenced, melodic sound in Parallel Duality, and the song also seems to be split in two parts depending on the vocal style used by Avienne. Lonesome Tide is another song with a more delicate start, quickly morphing into another Progressive Black Metal onrush by the band with Jorma and Riley doing an amazing job with both their caustic riffs and gentle acoustic guitars; and it’s then time for a dark ballad titled Into the Horizon, a solid creation by the band albeit not as vibrant or multi-layered as the rest of the album. Avienne has a charming performance on vocals as usual, though. Finally, the band brings forth a nine minute feast of delicate sounds, progressiveness and melancholy titled No Tomorrow, with Jeremy dictating the song’s pace while Avienne roars to the piercing riffs by the band’s guitar duo, ending the album on a very climatic mode.
The talented Avienne and her unstoppable henchmen are waiting for your feedback about their stunning creations on Facebook and on Instagram, and don’t forget to also subscribe to their YouTube channel and to stream more of their classy compositions on Spotify. The versatile and dynamic Woven Into Ashes, which is available for purchase from their own BandCamp page, as well as from the M-Theory Audio webstore as a digipack CD or as a colored vinyl (or click HERE for all things related to the band and the album), will undoubtedly help Vintersea reach new heights in their awesome career, as it’s not only their strongest effort to date, but also a must-listen for any fans of the fusion of progressiveness and sheer heaviness. Furthermore, the band is just about to embark on a sensational tour with Eleine, Oceans of Slumber and the almighty Moonspell, and I’m beyond certain they’ll play songs from their new album. Having said that, what are you waiting for to grab your tickets for such amazing event in your city?
Best moments of the album:Devil’s Churn, At The Gloaming Void and Lonesome Tide.
Worst moments of the album:Into the Horizon.
Released in 2023 M-Theory Audio
Track listing 1. Unveiling Light 5:22
2. Devil’s Churn 6:09
3. Crescent Eclipse 7:43
4. At The Gloaming Void 5:31
5. Parallel Duality 7:12
6. Lonesome Tide 6:04
7. Into the Horizon 3:51
8. No Tomorrow 8:49
Band members
Avienne Low – vocals
Jorma Spaziano – guitars
Riley Nix – guitars, backing vocals
Karl Whinnery – bass
Jeremy Spencer – drums
This unknown entity will crush your soul with its newborn beast, offering endless midnight mysticism and reverence for all that goes by night.
Formed in the Spring of 2021 in the Pacific Northwest region as a one-man anonymous project, Portland, Oregon-based Black Metal entity Nocturnal Wanderer has just released its debut full-length opus, entitled Gift of the Night. Recorded and produced at Sacred Atavism, and featuring illustrations by Thaumaturge Artworks and lettering by NW, the album showcases a traditional Black Metal sound and minimalist compositions, yet allowing the occasional Heavy Metal style solo to seep in. Ferocious while at the same time strangely serene and triumphant, Gift of the Night is a singular beast offering us all endless midnight mysticism and reverence for all that goes by night, being therefore highly recommended for admirers of the music by Havukruunu, Malokarpatan, Panphage and Arckanum, among others.
The opening track Twilight Befell is an infernal, raw Black Metal feast with darkly poetic lyrics (“Eventide arrive / Sunlight’s glow fading / Darkness creatures stirring / Bats flitter across the black sky / Aria of dusk / Air chill and sharp / Breathe the night into lungs”) to properly kick off the album, whereas our anonymous lone wolf continues to hammer his drums and extract sulfur from his stringed axe in Darkness in Rapture, another demented old school Black Metal tune presenting all elements we love in the genre. Then adding the most Stygian elements from Doom Metal to his core sonority it’s time for the sinister Sentient Shadows, where once again this one-man horde presents a visceral job on the guitars and drums until the very last second; and drinking from the blasphemous fountain of classic bands the likes of Mayhem, Immortal and Dark Funeral he brings forward By Moonlight, showcasing another round of sick riffs, incendiary blast beats and venomous roars. His second to last breath of darkness comes in the form of Distant Stars in Distant Skies, sounding absolutely haunting and vile, all spiced up of course by his grim, otherworldly gnarls, and there’s time for one final blast of obscurity by Nocturnal Wanderer entitled The Amberdawn, which takes too long to take off and lacks those traditional Black Metal words and growls, but nothing that would cause any harm to the album.
If you consider yourself a true servant of darkness, you can enjoy Gift of the Night in its entirety on YouTube, and of course purchase a copy of such raw and intense album from the project’s own BandCamp page, from the Nameless Grave Records’ webstore or from the Balor’s Eye Productions’ BandCamp page, diving even deeper into the void that consumes our souls. Although the entity behind Nocturnal Wanderer doesn’t want to disclose his identity (at least not for now), that won’t stop fans of the darkest side of music, including myself, to thank him for bringing into being Gift of the Night, a precious gem of the underground that will help in keeping the flames of Black Metal burning for centuries to come, leaving us even more curious to know the real name of a creature so loyal to the dark.
Best moments of the album: Darkness in Rapture and By Moonlight.
Worst moments of the album:The Amberdawn.
Released in 2021 Nameless Grave Records/Balor’s Eye Productions/Altare Productions
Track listing 1. Twilight Befell 4:45
2. Darkness in Rapture 3:57
3. Sentient Shadows 5:39
4. By Moonlight 5:27
5. Distant Stars in Distant Skies 5:25
6. The Amberdawn 6:10
As summer is just around the corner in the Northern Hemisphere, let’s take a trip to a place known not for its hot and warm weather, but for its wet and cool climate, which by the way has led to the growth of extensive forests featuring some of the largest trees in the world. I’m talking about the region known as the Pacific Northwest, in the United States, more specifically the city of Corvallis, located in central western Oregon and around 120km from the state’s largest city Portland, where our metal chick of the month, the unrelenting Malaysian-born vocalist Avienne Low, frontwoman for Progressive/Melodic Death/Black Metal unity Vintersea, has been embellishing the Pacific Northwestern airwaves with her powerful voice since moving from Penang, a state in northwest Malaysia, to pursue her studies in American soil. As you’ll be able to see, you’ll be absolutely stunned by Avienne with both her clean, delicate vocals and her infernal roars, showcasing all her vocal range and talent as the lead singer for Vintersea.
Married to a guy called Nick Kiuttu in Keizer, a city located in Marion County, Oregon, in 2016, which led her to use the name Avienne Kiuttu for a while (and because she switched back to Avienne Low I have absolutely no idea if she’s still married), Avienne started her life and career in music when she found an acoustic guitar in a box under her parents’ bed when she was 11 years old, and after having the guitar dusted and tuned, she discovered her passion for singing and performing while playing covers and originals for her family and friends. During her college years, her love for performing grew bigger as she joined an all-ladies a capella group named Divine, a small group of singers hand-picked from Oregon State University’s Bella Voce that began in 2003, with whom she stayed for about a year and a half before fully directing her focus on being the vocalist for Vintersea. Avienne also stated that “I absolutely love fronting the band, and my past experiences have cultivated my ongoing passion for singing, screaming, and performing.”
Regarding her career with Vintersea, as you might already know they are a female-fronted metal band from Oregon’s Willamette Valley, from the aforementioned city of Corvallis, born in 2016 from the ashes of a previous incarnation of the band itself when it was called Asterion, combining the essential elements of metal’s most revered sub-genres with memorable and anthemic song-writing sensibility, therefore crafting a unique brand of crushing Blackened Progressive Metal inspired by the dark skies of the Pacific Northwest and leading the band to share the stage with renowned acts the likes of Jinjer, Ne Obliviscaris and Arkona, among others.
Shortly after entering the United States, Avienne found her home with Vintersea, with guitarists Riley Nix and Jorma Spaziano, drummer Jeremy Spencer and bassist Karl Whinnery rounding out their current lineup. The band was actually born in the summer of 2014 under its previous moniker Asterion when high school friends Riley and Jeremy put out an ad on Craigslist searching for the right musicians to form a new metal act, with Avienne and Jorma (who had moved to Oregon from the east coast, not even sure he was going to be in a band anymore) responding to their ad based on a few early demos. They quickly got together and started jamming out, and it felt like a really good fit right away, which led them to start working on music and playing a few shows as Asterion, which by the way was based on stars and constellations, leaning towards a modern and progressive side of music, almost to a Djent vibe, releasing that same year a five-track EP titled Constellations, which you can enjoy in its entirety HERE or HERE.
However, despite the high-quality of the music found in their debut EP, Riley, Avienne & Co. figured out pretty quick that the music by Asterion wasn’t exactly what they wanted to do. Heavily inspired by European Black Metal, Atmospheric Metal and Post-Metal, the band started playing a hybrid of Progressive and Melodic Metal types, making the collective decision to delve headfirst into that and develop their own sound and later changing their name to Vintersea, with “Vinter” being winter and “sea” because they are from the Pacific Northwest, as grey ocean waves are a heavy asthetic. After such significant changes, they released two official full-length albums, The Gravity of Fall, in 2017, and more recently Illuminated, in 2019, and you can enjoy several top-notch music videos for some of the best songs from both albums on YouTube, such as Illuminated, The Host, Skies Set Ablaze, Old Ones and Entities, as well as their official tour video for the song The Gravity of Fall, and you can also go to Spotify or BandCamp for more of their stylish creations. Furthermore, there are some great interviews with Avienne on YouTube where you can get to know more about her role with Vintersea, such as this one given to Metal Shop Steve where she talks about their 2019 album Illuminated and their music videos, and this one to Dani Zed Reviews where they talk about several topics including their albums, the feedback received on them and their live performances.
Avienne has already made it pretty clear in several interviews that she wants to be a great metal vocalist, not just ‘great for a female’ metal vocalist, as almost all of her main influences are male vocalists or bands with male vocalists, including Ghost Iris, Disentomb, Unprocessed, Logic, Devin Townsend, Ne Obliviscaris, Enslaved, Ihsahn, Between the Buried and Me, Behemoth, Dimmu Borgir, TesseracT and Skyharbor, to name a few, with her vocal idol being Chris Barretto, from bands such as Ever Forthright, Monuments, Periphery and Haunted Shores. In addition, when Avianne was asked about how she discovered metal music and which artists and bands caught her attention while she was growing up in Malaysia, our talented vocalist answered by saying that because she didn’t have access to online platforms like BandCamp almost all the music she listened to as a child was either from the radio or MTV, mentioning Linkin Park from their Hybrid Theory days as a huge influence when she was only around seven years old. During the following decade, she got obsessed with discovering new metal bands after listening to the 2010 album Long Live, by American Metalcore act The Chariot, with bands like The Dillinger Escape Plan, Between the Buried and Me and Converge fueling her obsession. As she didn’t play any sports nor go to the beach at that time, she spent hours and hours developing her taste for metal and finding lesser-known bands online. Also, when questioned about which song by any artist she wishes she could have written, Avienne mentioned Celestial Violence, from the 2016 album Arktis. by Norway’s own Ihsahn, as Vintersea were all listening to Arktis. a lot during the recording of The Gravity of Fall, and that song in particular spoke to all band members with its severe changes in dynamics and epic conclusion.
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Regarding her vocal style, Avienne said that learning how to do harsh vocals and finding the perfect formula to combine them with her clean singing wasn’t an easy task at first. She complemented by saying that she started doing harsh vocals because she wanted to scream along to her favorite bands at that time, and there was a lot of trial and error while she was developing her style, also saying that one of her main techniques was to record herself, study those recordings, and look for areas of improvement, becoming familiar and comfortable with her own screams and playing around with different tones and styles to see what worked best. She also said that it is not only important to be aware of how your body feels when learning to scream, but to be patient throughout the process, complementing by mentioning that she takes care of her voice by doing vocal warm-ups and relaxing a little before hitting the stage, and avoiding spicy food prior to any concert because it’s not a good feeling to jump around the stage with a “ball of fire” burning inside her stomach.
Her view of the music industry is also quite interesting, as she said that in many ways she thinks the music industry has never been healthier, with the power being concentrated in the hands of the fans, the small labels, writers and so on, with the big, faceless corporations having lost most of the power they once had, letting truly innovative and independent bands to reach a much broader audience due to the evolution and changes to internet distribution. As long as fans keep listening to Vintersea’s music, buying their merchandise and supporting them at their live performances, Avienne said she’ll continue to write beautiful and meaningful music together with her bandmates, which is exactly what we all desire, don’t you agree? And talking about touring and live concerts, Avienne said one of Vintersea’s most memorable shows was when they shared the stage with the talented female-fronted Graveshadow, Mindmaze, Sirenia and Arkona at the Bossanova Ballroom downtown Portland in 2017, also saying that there are countless other bands they would love to play shows with or tour with, but as they’re all hugely fond of the guys in Ne Obliviscaris, she thinks it would be simply fantastic to have the opportunity to spend time on the road with that level of talent.
As it happens with pretty much all women who decide to venture through the realms of metal music, Avienne has also been asked countless times about how she sees the importance and influence of women in a music genre that’s still considered sexist by many, and her answers couldn’t have been more spot-on. “My advice is to acknowledge that misogynists and sexists are there, but don’t give them any fuel to their hateful fire. Don’t turn their hate into your hate. Focus on what makes you happy. If you focus on yourself, not only you will be happier in the long run, but your happiness and success will annoy the haters. It’s a win-win situation,” said our stunning vocalist, also saying that in her opinion the metal scene has never had so many badass, powerful and brutal women like nowadays, with more and more metal bands with women fronting them or slaying an instrument coming to light, which is a very inspiring situation for her personally. The metal scene has been exclusionary of women in metal for years, which is why she believes it’s important that there is more women in metal not only because they represents a significant portion of the listeners, but mainly because there is an endless amount of skill and talent that women in metal bring that should definitely be recognized. Moreover, when asked about who she considers the most influential women in metal today, Avienne cited the unstoppable Tatiana Shmaylyuk from Jinjer and Alissa White-Gluz from Arch Enemy, saying it’s impressive what they can do with their vocals, and that they both have showed many people for the first time that women can bring endless energy and fire through harsh vocals.
When asked about her writing process (and of the entire band), Avienne said that before starting it they discuss as a band what the theme of the album should be, followed by determining each song’s theme and message, writing the music prior to the vocal parts and making sure each of their songs can be interpreted on multiple levels, from deeply personal to globally conceptual, all within the same framework. There are songs that can come together in a matter of days, but most of them take shape over a period of months with a lot of intense work, consideration and debate, with their collective vision usually coming together after a couple of weeks. There’s a lot of trust among the band members, and they have found that this dynamic and exciting process helps them produce their best results. Avienne also said that since the band’s inception she has developed and grown in both skill and style, helping her explore different facets of her voice and making the band’s songwriting more cohesive, mentioning the moment they started receiving messages from fans saying they were inspired by Vintersea or that their music helped them through tough times was a breakthrough moment for the band, making they proud of what they’ve accomplished so far. In addition, as an up-and-coming metal artist, Avienne said that the best advice she can give to new bands and musicians is that they shouldn’t be afraid to be who they are, saying people should find their own voice to be able to craft timeless music, instead of being a “one-hit wonder” molded by the industry, also saying we should never stop learning and never close our minds to new ideas. Well, I guess we couldn’t agree more with Avienne, wishing her and her bandmates from Vintersea a bright and healthy future in the world of heavy music, taking the band to new and unexplored lands in the coming years for our total delight.
“I love singing about things that can make a person think about things differently, and I love exposing things that are poignant yet not talked about or thought of enough. I view music as another mode about storytelling, and I know I’m on the right path if I can feel the emotions rising from deep within my body.” – Avienne Low
Accept hopelessness and succumb to the brand new opus by this unknown entity from the Pacific Northwest, picking apart your psyche and destroying your seasonal optimism with their oppressively bleak atmosphere.
Since their introduction in the spring of 2017, the enigmatic and anonymous Atmospheric/Depressive Black Metal unity NONE, from Portland, Oregon, in the Pacific Northwest, has crafted disturbing and emotionally devastating music that have garnered the attention of many listeners of the genre. After having released their self-titled debut opus on April 11, 2017, a thick shroud of piercing guitar interwoven with haunting synth and tortured vocals marching in despair towards an empty void, followed by Life Has Gone On Long Enough exactly one year later, on April 11, 2018, developing its tortured personality further, NONE returned this spring like clockwork, once again on April 11, with their brand new effort entitled Damp Chill of Life, weaving visionary soundscapes with first-class Depressive Black Metal, picking apart your psyche and destroying your seasonal optimism with their oppressively bleak atmosphere.
As atmospheric and cold as possible, the intro Fade embraces our souls in darkness and sets the tone for the chilling and piercing sounds from the 10-minute aria The Damp Chill of Life, with its Doom Metal beats, melodic riffs and an ethereal background generating the perfect ambience for NONE’s desperate, raspy gnarls. In other words, this is a lesson in Depressive Black Metal, alternating between serene passages and aggressive and dense riffs and vociferations, and flowing majestically until its melancholic ending. Cease also begins as mournful as a lonely morning in the woods, with the music exploding into the most Stygian form of Atmospheric Black Metal you can think of after four minutes of pure serenity, all enfolded by beautiful piano notes and anguished vocals, once again showcasing a touching finale and building an instant connection with You Did a Good Thing, where the uncanny duo delivers more of their delicate but at the same time crushing music. Furthermore, eerie voices exhale anger, despair and the feeling of loss, matching flawlessly with the music to give the listener a true and deep melancholic taste.
It’s Painless To Let Go brings forward another visceral hybrid of Depressive and Atmospheric Black Metal, this time infused with Doom Metal and Blackened Doom nuances, with the duo delivering somber guitar lines, creepy vocals and endless obscurity for our total delectation; whereas I Yearn to Feel is a semi-acoustic composition by NONE that will penetrate deep inside your mind and take you on a journey through vast, gelid lands, always led by crystalline piano notes and showcasing an enfolding aura. And the music remains bold and inspiring, reverberating into A Chance I’d Never Have, beginning with acoustic guitar lines and growing in intensity and fear until an avalanche of dark and crisp sounds invades our ears. In my humble opinion, this is perhaps NONE’s record with the most introspective vocal lines, and this song is the perfect depiction of that, with its second half offering the listener sheer melancholy and rage in the form of top-of-the-line contemporary Depressive Black Metal.
I’ve already had the utmost pleasure of reviewing all albums released by NONE since the inception of such idiosyncratic and mysterious entity, and I must tell you NONE definitely know how to transform all the solitude, wilderness and bitterly cold winds of the Pacific Northwest into the best Depressive and Atmospheric Black Metal one can ever imagine, showing how connected they are with their homeland. Hence, you should take a good listen at Damp Chill of Life in full on YouTube (especially on your loneliest days), and grab your copy of such bitterly cold album of extreme music from the Hypnotic Dirge Records’ BandCamp or webstore (by the way, you can find all special bundles of the album and all of NONE’s previous releases by clicking HERE), as well as from Apple Music, Amazon, CD Baby or Discogs. Simply succumb to the music by NONE, accept hopelessness, and finally realize you are no one, nowhere, and nothing.
Best moments of the album:The Damp Chill of Life and It’s Painless To Let Go.
Worst moments of the album: None.
Released in 2019 Hypnotic Dirge Records
Track listing 1. Fade 1:58
2. The Damp Chill of Life 10:30
3. Cease 8:50
4. You Did a Good Thing 5:08
5. It’s Painless To Let Go 5:56
6. I Yearn to Feel 3:45
7. A Chance I’d Never Have 7:57
Band members Anonymous – vocals
Anonymous – all instruments