Tag Archives: post-metal

Concert Review – UADA (Lee’s Palace, Toronto, ON, 09/13/2023)

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An atmospheric (and long) night of extreme music spearheaded by the best Melodic Black Metal band of the current scene beautifully darkened the skies of Toronto and the hearts of the metalheads in the city.

OPENING ACTS: A Flock Named Murder, Unreqvited, Cloak and Ghost Bath

There have been countless rock and metal concerts in Toronto since the end of the European summer festivals, and that’s having its toll on the attendance of those concerts as no one has enough time and money to support all those bands when they bring their live performances to the city. That was the case last night when A FLOCK NAMED MURDER, UNREQVITED, CLOAK, GHOST BATH and the mighty UADA took the cozy Lee’s Palace by storm on a night of darkness, blasphemy, deep emotions and truly atmospheric heavy music during their Crepuscule North America 2023. Well, although the show wasn’t even close to be sold out, there were till several brave headbangers at the venue to support those incredible bands, and let’s always keep in mind that we’re talking about the underground of the underground, with zero support from the regular media.

Shortly after the doors at the venue opened at 7pm, Toronto, Ontario-based Black/Death/Post-Metal act A FLOCK NAMED MURDER kicked off the night’s black mass with their short but extremely powerful set, spearheaded by the band’s vocalist and guitarist Ryan Mueller. Having released to date the 2018 album An Appointed Time and the 2022 single Garden of Embers, which I’m pretty sure they played last night (and once again, it’s so hard to keep track of any setlist from almost all underground bands), the quartet put on a solid performance for the crowd, already inspiring some decent headbanging among the attendees. Their music is great and deserves a listen without a shadow of a doubt, and you can do so by visiting their BandCamp page or also by going to Spotify. Needless to say, if they ever play in your city, don’t miss the chance to witness this up-and-coming extreme music horde from Toronto.

Band members
Ryan Mueller – vocals, guitars
Mike Binns – guitars
Mike Wandy – bass
Cam Mueller – drums

Some people (including myself) were a little worried with the number of bands playing last night, as no one knew for sure what time the night was going to end. However, the quality of the music played by all groups was fantastic, which was also the case for the Stygian performance by  Ottawa, Ontario-based Atmospheric Post-Black Metal/Shoegaze/Ambient act UNREQVITED. Although Unreqvited is the solo project of vocalist and multi-instrumentalist William Melsness (also known as 鬼, which means “ghost” in Chinese), the band’s live lineup is formed of William alongside guitarist Victor Forest, bassist Robin Parsons and drummer Alec Curren, and let me tell you that those four guys kicked some serious ass on stage, resulting in a very pleasant surprise for anyone who was not familiar with their music. By the way, Victor and Robin had a fantastic onstage performance, mesmerizing the crowd with their somber sounds. I like to say that the type of music played by Unreqvited is a lot more emotional than heavy or obscure, and you can sense all that by enjoying their 2021 album Beautiful Ghosts and their 2022 single Perpetual Green of the Willow Groves, both available on BandCamp and on Spotify. Needless to say, I hope I can see Unreqvited live again sooner than later.

Band members
William Melsness (鬼) – vocals, guitars
Victor Forest – guitars
Robin Parsons – bass
Alec Curren – drums

It was getting late for a Wednesday night, but who cares? After a quick break it was time for Atlanta, Georgia’s own Black Metal/Black N’ Roll horde CLOAK to bring the energy and fire of their new album Black Flame Eternal to the stage of Lee’s Palace in the most metallic of all concerts of the night. Scott Taysom, Max Brigham, Billy Robinson and Sean Bruneau took no prisoners in their quest for extreme music, blasting our ears with several devilish and frantic tunes including the incendiary Seven Thunders and Black Flame Eternal, inspiring the crowd to raise their horns in the name of evil nonstop, and proving why they’re one of the must-see names of the current Black Metal scene. Just like what said about the previous bands, you can find their music on BandCamp and on Spotify, and if UADA are visiting your city make sure you get to the show early to catch the pulverizing concert by the guys from Cloak.

Band members
Scott Taysom – vocals, guitars
Max Brigham – guitars
Billy Robinson – bass
Sean Bruneau – drums

I think it was already past 10pm when Minot, North Dakota-based Depressive/Post-Black Metal entity GHOST BATH began their sinister and neck-breaking concert. Still promoting their 2021 album Self Loather, the band led by the charismatic vocalist and guitarist Nameless darkened the atmosphere at Lee’s Palace considerably, with their three-guitar attack formed of Nameless together with Tim Church and John Olivier sounding absolutely amazing from start to finish. Apparently they had a few minor sound issues in the beginning of their performance, which might explain the delay in their concert to start, but nothing that would bring any harm their onstage blackened party. All of their albums, including of course their latest offering, are available on BandCamp and on Spotify, so do not waste a single second and go check their insane creations, getting ready to praise darkness and melancholy whenever Ghost Bath invade your damned city.

Band members
Nameless – vocals, guitars
Tim Church – guitars
John Olivier – guitars
Josh Jaye – bass
Chris Piette – drums

UADA

What happens when a concert that was supposed to have started at 10:45pm, which is already late, has a 40-minute delay? Exactly, people start to get back to their homes because of several reasons like catching the last subway or train home, or having to wake up really early to work or go to school. That was basically the main issue with the flawless and beyond atmospheric performance by Portland, Oregon-based Melodic Black Metal titans UADA, resulting in some gaps in the floor section that didn’t look nice, but that didn’t change the fact UADA were fantastic on stage either. Having released their new masterpiece Crepuscule Natura just the Friday before the concert, such uncanny horde formed of vocalist and guitarist Jake Superchi, guitarist Kevin Bedra, bassist Nate Verschoor and drummer Trevor McClain was on absolute fire from start to finish, making everyone who could stay until the very end of their concert extremely happy and satisfied.

The smoke, the dim lights, and the band’s dark and menacing outfits that make it impossible to see their faces (plus of course the incense and the stunning setup of their merch table) are crucial elements of their live performances, and although photographers like my friend Keith Ibbitson of Lower Eastside Photography don’t really like that type of ambience as it gets tough to take clear photos, in the end everything works perfectly and has a reason to be there. From the very first notes of the explosive The Purging Fire, UADA already showed everything they got and their deep passion for dark music. After such hypnotizing start, they had a microphone issue during Snakes & Vultures that seemed to have driven Jake a little upset (which is totally understandable), but the crowd knew it wasn’t the band’s fault at all and enjoyed the song to the fullest even with that minor incident.

The title-track to their 2020 album, the breathtaking Djinn, might be my favorite UADA song to date, and seeing it being played live again (after seeing them opening for Rotting Christ earlier this year) was a thing of beauty, this time sounding and feeling even more powerful, followed by the also imposing and multi-layered In the Absence of Matter. However, it was when they played their two new songs The Dark (Winter) and Retraversing the Void that things got even more majestic, with the quartet playing those songs to perfection and inspiring everyone at the venue to bang their heads nonstop together with them, just to show how powerful their new album is. And finally, closing their cryptic performance they offered our avid ears their already classics Cult of a Dying Sun and Black Autumn, White Spring, putting an epic finale to a night that was extremely long, but at the same time extremely enjoyable. I can’t wait to see UADA again live, hopefully not so late at night due to my other commitments, but to be honest, who cares? Seeing what’s in my humble opinion the best and most innovative band of the current Melodic Black Metal scene kicking ass on stage is worth the effort, and may those mysterious guys return to Toronto for another metallic assault sooner than we can say “UADA”!

Setlist
The Purging Fire
Snakes & Vultures
Djinn
In the Absence of Matter
The Dark (Winter)
Retraversing the Void
Cult of a Dying Sun
Black Autumn, White Spring

Band members
Jake Superchi – vocals, rhythm guitars
Kevin Bedra – lead guitars
Nate Verschoor – bass
Trevor McClain – drums

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Concert Review – Khemmis (Lee’s Palace, Toronto, ON, 05/02/2023)

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Not even a cold and rainy night could stop the metalheads in Toronto from enjoying another fantastic feast of underground heaviness and doom.

OPENING ACTS: Wake and Conjurer

Despite the bad weather that’s been hitting Toronto for days with nonstop rain and colder-than-expected temperatures, the cozy Lee’s Palace received an awesome number of fans this Tuesday night for the Deceiver North America MMXXIII Tour, featuring the bands WAKE, CONJURER and KHEMMIS, on another fantastic event organized by Noel Peters of Inertia Entertainment. One of the concert goers was Keith Ibbitson of Lower Eastside Photography, who took care of the amazing pictures from this review, and as you can see based on the photos taken it was indeed an incendiary night of underground Black, Doom, Death and Sludge Metal in the city, courtesy of three of the most interesting bands you can find out there.

The first band to hit the stage was Calgary, Alberta-based Black/Death Metal act WAKE, and it was an unforgettable experience for all fans at an already packed venue. Still promoting their 2022 album Thought Form Descent, those five Canadian metallers delivered an electrifying performance to the crowd, with their intense sound and powerful vocals inspiring everyone for some good headbanging throughout the entire set. The lighting and sound were on point, adding to the overall atmosphere of the show. Playing a mix of old and new songs that had the crowd singing along, Wake’s performance was flawless, not to mention the venue itself was perfect for the show, with a great layout and plenty of space for everyone to enjoy the music. Overall, it was an amazing display of heavy music and great vibes, and if you get the chance to see Wake live, don’t miss it!

Setlist
Infinite Inward
This Abyssal Plain
Swallow the Light
Venerate (The Undoing of All)

Band members
Kyle Ball – vocals
Arjun Gill – guitars
Rob LaChance – guitars
Ryan Kennedy – bass
Josh Bueckert – drums

Right after Wake, it was time for UK’s Sludge/Doom/Post-Metal outfit CONJURER to deliver a solid performance that was nothing short of electrifying, having the crowd fully engaged form start to finish. Mixing some of their old songs with newer ones from their 2022 opus Páthos, the band formed of Dan Nightingale, Brady Deeprose, Conor Marshall and Noah See showcased all their versatility and growth as musicians, hammering the heads of each and every person at Lee’s Palace with their sluggish, heavy-as-hell sounds. Kudos to the venue for another excellent lighting, adding an extra layer of intensity to Conjurer’s performance, and if I were you I wouldn’t miss their show in your city if Sludge Metal is your cup of tea. Needless to say, I can’t wait to see them perform again in Toronto.

Setlist
It Dwells
Scorn
Choke
Hollow
Suffer Alone
Retch
Cracks in the Pyre
Hadal

Band members
Dan Nightingale – guitars, vocals
Brady Deeprose – guitars, vocals
Conor Marshall – bass
Noah See – drums

KHEMMIS

After opening for Opeth and Mastodon in the beginning of 2022, and also for Trivium close to the end of the year, Denver, Colorado’s own Doom Metal entity KHEMMIS returned to Toronto now in 2023, this time as the headliners, for another lesson in doom. Having recently launched a two-track EP titled Where the Cold Wind Blows, Khemmis kicked some ass from start to finish, opening their set with the excellent Avernal Gate, followed by one of the songs form their new EP, the also amazing Sigil. The crowd was buzzing with excitement as the quartet continued their electrifying set until the very end, closing their performance with the thrilling song A Conversation with Death.

The crowd at Lee’s Palace was obviously headbanging along with the music, and Khemmis fed off of their energy, delivering an even more powerful and intense performance than expected. Overall, it was an incredible night of heavy music at Lee’s Palace spearheaded by those American metallers, who proved once again why they are one of the most exciting bands in the genre today and why they keep coming back to Toronto (either as an opening act or as the main attraction) so often. Well, as a matter of fact, Khemmis mentioned during their performance that Toronto has the most underrated food in the world, saying that every single time they come to the city to play a concert they have the tastiest food in the world. In other words, they love Toronto from the bottom of their blackened hearts not only because we’re the best metalheads in the world, but also because they know that they never have to play with an empty stomach in the city. It’s like a win-win situation where they get fed with first-class food, while we get fed with first-class music, right?

Setlist
Avernal Gate
Sigil
Candlelight
Bloodletting
Three Gates
House of Cadmus
Above the Water
The Bereaved
A Conversation with Death

Band members
Ben – vocals, guitars
Phil – vocals, guitars
David Small – bass
Zach – drums

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Album Review – They Grieve / To Which I Bore Witness (2023)

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A two-piece Canadian band will take you on an introspective journey to the sound of their new album, a cold embrace of Post-Metal colliding with Ambient Drone meant to be dark and depressing.

A two-piece Sludge/Drone/Post-Metal band formed in 2015 by former members of Alaskan and Stay Here, those being Gary Thibert on vocals, guitars and bass, and Deniz Güvenç on vocals, drums, piano and synths, in Ottawa, Canada’s capital located in the east of southern Ontario, They Grieve hope that their music fills a niche not quite like other Post-Metal acts who are currently active, and their first full-length opus, titled To Which I Bore Witness, is a clear step up for them. Engineered and mixed by Topon Das at Apartment 2 Recording, mastered by Dave Williams at Eight Floors Above, with additional piano recorded by Alex Jakimczuk at Uppercut Studios, and displaying a stylish artwork and design by Pascale Arpin, the album takes the form of an introspective journey, meant to be depressing, while the listener is confronted with sad, loud music that’s not meant to cross into anger, a cold embrace of Post-Metal colliding with Ambient Drone recommended for fans of The Body, Cult of Luna and Bell Witch.

A slow build grows in intensity until all hell breaks loose in Wither, showcasing melancholic, grim lyrics (“Failure knows no bounds and makes its home here within me / Endless is the night of its becoming / Nothing returns / Cower, collapse, wither”) while the sluggish beats by Deniz make an interesting paradox with his own synths. Then investing in a sinister Sludge/Doom Metal sound, the duo will hammer our heads and pierce our minds with their dirty riffs and pounding drums in Under the Weight, also showcasing a phantasmagorical passage to the synths by Deniz, sounding heavy and atmospheric from start to finish; whereas If Light Should Appear is another seven-minute ode to darkness and doom where Gary is devilish with his raw riffs and low-tuned bass, resulting in the perfect depiction of what Atmospheric Sludge Metal is all about. The title-track To Which I Bore Witness will drag your damned soul to endless darkness while the duo roars in anger and pain, again showcasing their slow and steady guitar lines and drums, being therefore not recommended for the lighthearted. After such intense and Stygian tune, it’s time for a soothing instrumental interlude titled Guided, with its minimalist sounds setting the tone for Weakness, presenting deep, melancholic lyrics (“I am bound to only the quiet call of ruin / And weakness holds me / Weakness alone holds me”) while the music is as atmospheric, savage and obscure as possible until the very end.

In case you want to know more about Gary, Deiz and their They Grieve, and therefore show them all your admiration and support, you can start following the duo on Facebook and on Instagram for news, tour dates and so on, stream more of their music on Spotify, and above all that, purchase To Which I Bore Witness from the Silent Pendulum Records’ BandCamp page or webstore, or simply by clicking HERE. “This album, both lyrically and musically, tries to capture the uncomfortable juxtaposition between weakness and weight. We are constantly trying to express the ways in which the ugliness and decay we see in the world sets itself down and plants its roots inside of us – how the weight of the world transforms into our own weakness once it has done so. We try to capture this feeling of juxtaposition and tension within the music itself by oscillating between ambient, textural drones and heavy, doom-laden riffs,” commented the duo about their newborn spawn, an album that will certainly cement their name among the best bands of the current Post-Metal scene worldwide.

Best moments of the album: Under the Weight and To Which I Bore Witness.

Worst moments of the album: None.

Released in 2023 Silent Pendulum Records

Track listing
1. Wither 7:12
2. Under the Weight 7:23
3. If Light Should Appear 7:00
4. To Which I Bore Witness 6:43
5. Guided 3:18
6. Weakness 8:01

Band members
Gary Thibert – vocals, guitars, bass
Deniz Güvenç – vocals, drums, piano, synths

Album Review – Heiden / Andzjel (2022)

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Wandering across different genres and inspirations, this Czech Progressive Black Metal entity offer in their ninth studio album a stunning view of the inhospitable beauty of the White Carpathians.

Having started up in 2003 as a Pagan Black Metal band, Brno, Czech Republic-based Progressive Black Metal entity Heiden wanders across different genres and inspirations, returning now in 2022 to a Dark Metal sound with their newborn opus entitled Andzjel, or “angel” in English, their ninth studio album expanding the perspectives of their audience base through dark, elegant and atmospherically authentic music. Mixed and mastered by Karl Daniel Lidén at Tri-Lamb Studio, and displaying a classy artwork taken from the personal collection of inhabitants of the Žítková village and repainted by Luděk Řezáč, Andzjel presents seven songs thematically set in the inhospitable beauty of the White Carpathians, offering an insight into the souls of the local people, sharing the soil, blood, healing and knowledge passed down through generations, showcasing not only the talent but also the deep connection the band comprised of vocalist, guitarist and bassist Kverd, guitarist Tom, keyboardist Werlinga and drummer Einsk have with their homeland.

The strident guitars by Kverd and Tom ignite the imposing opening tune Nevěřím těm očím (“I can’t believe those eyes” from Czech), blending elements from Progressive and Symphonic Black Metal and, consequently, generating a Stygian atmosphere perfect for the cryptic gnarls by Kverd; and switching gears to a more melodic and melancholic vibe we’re treated to V hodině vlka (“in the hour of the wolf”), getting closer to modern-day Post-Metal while Einsk does a beautiful job with his minimalist beats and Werlinga’s keys embellish the airwaves in great fashion. Continuing to showcase their more Jazz-ish side, Musím ti tolik říct (“I have so much to tell you”) brings to our ears another ass-kicking round of keys by Werlinga accompanied by the classy guitars by Kverd and Tom, followed by Září (“September”), as wicked and obscure as its predecessors, sounding very detailed and enfolding from the very first second with Eisnk alternating between shee violence and more intimate, rhythmic beats, resulting in a lecture in Post-Metal infused with tons of progressiveness.

Sviť, měsíčku, jasno, an adaptation of a Moravian folklore song from the Kopanice region that means “shine, moon, clear”, brings forward two and a half minutes of experimentations and eerie sounds, which could have been extended to something more complete instead of working as just an interlude, though, whereas Běsů se nezbavíš, or “you can’t get rid of demons”, is another solid hybrid of Progressive Metal and Post-Rock and Metal, at the same time soothing your soul before smashing you with a visceral sonic attack led by the devilish vocals by Kverd. Lastly, the quartet will captivate our senses once again in Patřím sem (“I belong here”), with Werlinga and Eisnk being  in absolute sync with their respective keys and beats, not to mention how caustic the guitars by Kverd and Tom sound, consequently putting a dark and climatic ending to the album.

If you want to know more about Heiden, get in touch with the band and show them all your support, you can start following them on Facebook and on Instagram, subscribe to their YouTube channel and stream their unique creations on Spotify, and above all that, purchase a copy of Andzjel from their own BandCamp page or webstore, or simply click HERE to get fully immersed in the obscure realm of Heiden. The phenomenon of the Žítková goddesses, which the postwar totalitarian regime permanently eradicated, is still present in Andzjel, inviting us all to learn more about the history of the Czech Republic while enjoying the first-class experimentations by those four skillful musicians, proving the Czech underground scene is and will always be a fantastic source of great music.

Best moments of the album: V hodině vlka, Září and Běsů se nezbavíš.

Worst moments of the album: Sviť, měsíčku, jasno.

Released in 2022 Magick Disk Musick

Track listing
1. Nevěřím těm očím 5:57
2. V hodině vlka 5:37
3. Musím ti tolik říct 4:18
4. Září 5:34
5. Sviť, měsíčku, jasno 2:25
6. Běsů se nezbavíš 3:51
7. Patřím sem 5:07

Band members
Kverd – vocals, guitars, bass
Tom – guitars
Werlinga – keyboards
Einsk – drums

Album Review – I MAIALI / cenere/CENERE (2022)

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A thrilling overdose of Blackened Post-Hardcore by an Italian horde presenting to us all “the gospel of our Messiah” in the form of their sophomore opus.

Brought into being in 2016 in the city of Rome, Italy, Blackened Post-Hardcore project I MAIALI has found their dimension in a dirty, no-nonsense sound between Post-Hardcore and Noise without forgetting the 90’s and the whiff of novelty that it brought to the world of underground music while remaining tied to a modern and impactful sound, and all that can be fully appreciated in their sophomore opus, titled cenere/CENERE. Produced, engineered, recorded and mixed by Davide Rosati at ACME Recording Studio, mastered by Gianpiero Ulacco at Hologram Studios, and displaying a wicked artwork by Coito Negato, “cenere/CENERE is the gospel of our Messiah, starting from his genesis up to the stake that will reduce him to ashes; however, it is not just a story, but a journey, which will first see him indulge, then oppose the will of a superior entity: a master whom he recognizes as a father. The deeds he performed and the continuous struggle with his conscience are the basis of the 12 tracks that mix post-hardcore and black metal, with some forays into psychedelia. We will explore the concepts addressed in the debut album CVLTO, making you know our God better and showing you how easily we humans are conditioned. Our Messiah is now among us, listen to him,” commented vocalist Francesco Foschini, guitarist Daniele Ticconi, bassist Matteo Grigioni and drummer Angelo Del Rosso about the album.

Daniele ignites the band’s wicked musical voyage with his guitar in Genesi, being gradually accompanied by the devilish vocalization by Francesco in a nice way to kick off the album with a huge dosage of modern-day Post-Metal. Then enhancing their rage and animosity it’s time for the quartet to crush our senses with Ora, Sorgi!, showcasing an excellent job done by Angelo behind his drums and, therefore, resulting in a vicious depiction of Blackened Hardcore; whereas L’Orrore follows a similar pattern as its predecessor, which means it’s awesome of course, with Matteo hammering his bass mercilessly while Francesco roars and screams nonstop. There’s no time to breathe as those Italian noisemakers are on fire in the Post-Hardcore extravaganza Parassita, spearheaded by another round of flammable riffs by Daniele, and Stanza 101, a recommended option for banging your head in the name of pure darkness, also presenting elements from the unique music blasted by Marilyn Manson and Rob Zombie. And more of their eerie sounds comes in the form of Oblio, where Francesco’s vocals walk hand in hand with the progressive beats by Angelo.

Messi∀ focuses exclusively on the anguished vocals by Francesco while the background music is comprised of pure noise; whereas in Sculture da Autopsia the band is back to a more melodic, introspective vibe where Daniele an Matteo continue to extract electricity and groove form their stringed weapons in another shot of their trademark Blackened Post-Hardcore. Assalto Cannibale is as demented as it can be, with Angelo dictating the pace and offering his bandmates exactly what they need to smash us all with their sick, darkened Hardcore, and getting closer to the end of the album I MAIALI keep embellishing the airwaves with their obscurity and heaviness in (r)Umore Blu, with Francesco stealing the spotlight with another visceral performance on vocals, followed by Plumbeo Giudizio, sounding modern, vibrant and piercing as our good old Blackened Hardcore demands, bringing forward more of the caustic riffage by Daniele and the classy bass punches by Matteo. Finally, featuring a guest guitar solo by Davide Rosati, the tribal beast by Angelo will hit you hard in the head in Io, Brucio, ending the album on a beyond climatic and acid note.

In case you’re curious to know what Blackened Post-Hardcore is all about, you can enjoy cenere/CENERE in its full glory on Spotify, and don’t forget to follow the band on Facebook and on Instagram to stay up to date with all things I MAIALI, to subscribe to their YouTube channel for more of their wicked music, and obviously to purchase the idiosyncratic cenere/CENERE from their own BandCamp page. As aforementioned, the music by I MAIALI is not just dirty and modern, but it effectively represents everything the band stands for, their passion for heavy music, their hopes and dreams, and I bet it won’t take long for those Italian rockers to invade our senses with more of their incendiary, uncompromising music in the coming years.

Best moments of the album: Ora, Sorgi!, L’Orrore, Parassita and Plumbeo Giudizio.

Worst moments of the album: Messi∀.

Released in 2022 Overdub Recordings

Track listing
1. Genesi 2:22
2. Ora, Sorgi! 1:44
3. L’Orrore 2:05
4. Parassita 2:12
5. Stanza 101 1:49
6. Oblio 1:49
7. Messi∀ 1:29
8. Sculture da Autopsia 2:14
9. Assalto Cannibale 2:58
10. (r)Umore Blu 2:14
11. Plumbeo Giudizio 1:58
12. Io, Brucio 5:50

Band members
Francesco Foschini – vocals
Daniele Ticconi – guitar
Matteo Grigioni – bass
Angelo Del Rosso – drums

Guest musician
Davide Rosati – guitar solo on “Io, Brucio”

Album Review – E-L-R / Vexier (2022)

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This Swiss Post-Metal/Doomgaze outfit is inviting us all on an adventurous journey through their multi-dimensional musical cosmos to the sound of their sophomore album.

Formed in Bern, Switzerland in 2016 by bassist I.R. and guitarist S.M., and joined by drummer M.K. soon after, Post-Metal/Doomgaze outfit E-L-R lures and seduces the listener with glimpses of deeper meaning and the constant discovery of new layers that reveal further ones once peeled away, which is exactly what will happen to you after listening to their new opus entitled Vexier. Produced by E-L-R and Remo Häberli, recorded, mixed and mastered by Remo Häberli at Hidden Stash Tonstudio, and featuring a charming cover photography by Laura Petresc and portraits by Ramon Lehmann (with layout and design by the band’s own S.M.), Vexier, which title derives from the Latin word “vexare” meaning “to plague” or “to irritate” and in German a “vexierbild” means a flip-flop image while in some dialects a “vexier” is a puzzle game, presents massive, sweeping doomscapes that swallow you whole with epic riffs, allowing the band to take another decisive step forward and invite the listener on an adventurous journey through their fascinating and multi-dimensional musical cosmos.

If you enjoy melancholic, atmospheric passages you’re in for a treat to the opening track Opiate the Sun, growing in intensity to the sluggish, doomed beats by M.K. until the guitars and bass by S.M. and I.R., respectively, add an extra touch of insanity to the overall result (not to mention how mesmerizing the vocalizations by S.M. and I.R. sound and feel), with its soothing ending exploding into the venomous Three Winds, showcasing a fusion of Post-Metal with Atmospheric Black Metal where M.K. shows no mercy for his drums while S.M. slashes her axe in great fashion. Put differently, it’s the perfect alternative for metalheads who want to experiment what “doomgazing” is for the first time. Then we have Seeds, where the vocals by S.M. and I.R. walk hand in hand with their own stringed weapons, therefore resulting in a headbanging, obscure wall of sounds with the trio jamming like there’s no tomorrow until the song’s sharp ending; and their strident riffage keeps permeating the air in the visceral Fleurs of Decay, a stunning Post-Metal feast tailored for admirers of the genre where E-L-R will drag you to their atmospheric lair with their slow, dense and captivating sounds. Lastly, tribal beats ignite the closing tune entitled Forêt, where the trio once again carefully and slowly builds a somber ambience before the sound of the guitars and bass offer guest vocalist BAZE all he needs to shine on vocals, putting a beyond hypnotizing, epic and gentle ending to the album.

As aforementioned, E-L-R want to lure and seduce you to their darkened lair to the sound of their new album Vexier, which is not only the ideal follow-up to their 2019 debut album Mænad, but a lecture in Doomgaze that will certainly open the ears and minds of the unbelievers. Hence, in order to show the girls and guy from E-L-R all your support and admiration, you can start following them on Facebook and on Instagram, stream all of their creations on Spotify, and above all that, purchase a copy of Vexier by clicking HERE. The world of Post-Metal, Doomgaze and other sinister, underground subgenres of heavy music has just been graced with one of the finest albums of the year thanks to the talent, creativity and hard work by S.M., I.R. and M.K., placing them among the most interesting bands of the current scene and, consequently, bringing to us all the undisputed soundtrack to gaze at the stars on a pitch black night.

Best moments of the album: Three Winds and Fleurs of Decay.

Worst moments of the album: None.

Released in 2022 Prophecy Productions

Track listing
1. Opiate the Sun 12:07
2. Three Winds 8:08
3. Seeds 6:37
4. Fleurs of Decay 7:15
5. Forêt 12:11

Band members
S.M. – guitar, vocals
I.R. – bass, vocals
M.K. – drums

Guest musicians
Remo Häberli – additional guitars
BAZE – vocals on “Forêt”

Album Review – Aleph א / Kairos (2021)

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Hailing from Poland, this Sludge Metal entity is ready to crush our senses with their new opus, delving into the story of breaking through the constructs of society and new opportunities.

3.5rating

aleph-א-kairos-2021A gang of Pomeranian pirates established around 2014 in Sopot, a town on the Baltic Sea in northern Poland, Sludge Metal outfit Aleph א plays sludge-y and progressive music making use of rhythmic experimentations and a psychedelic feel, yet rooted in a grungy simplicity and an in-you-face quality, showcasing all the talent of vocalist and guitarist Jakób Ciszyn, guitarist Art Salsa, bassist Maciej Janus and drummer Kuba Grzywacz. Recorded in a barn by Rafał Serwatka and in Studio Ramtamtam by Michał Chełminacki, mixed by Michał Chełminacki, mastered by Piotr Łukaszewski at Custom 34 Studio, and displaying a cryptic artwork by Mara Nakama and Mirjam Hümmer, the brand new album by Aleph א, entitled Kairos, delves into the story of breaking through the constructs of society and new opportunities told on top of progressive-sludge riffs, a wide-range of grungy vocals and fast-paced atmosphere changes, positioning the band as one of the most interesting names of the Polish alternative scene.

The wicked, creepy album Intro sets the stage for those Polish metallers to kick some ass in Invert, where Jakób and Art begin slashing their stringed axes in great fashion, being gradually accompanied by their bandmates and, consequently, generating a massive, groovy wall of sounds that also presents some welcome elements from Post-Metal and Alternative Rock. After such visceral start it’s time for Doubt, a very experimental, obscure creation by the band with Kuba taking the lead with his minimalist, rhythmic beats, soothing our souls before we’re all treated to A Swarm of Dead Insects, a menacing feast of Stoner, Sludge and Post-Metal where Jakób roars in an anguished manner accompanied by the metallic, reverberating bass by Maciej, being absolutely perfect for banging our heads nonstop and succumb to the power of the riff.

It’s time for another jamming, experimental tune by the quartet titled Erode, showcasing a more delicate and introspective side of the band where Kuba is once again amazing behind his drums while Jakób nicely declaims the song’s cryptic words, morphing into the Stygian song Resistance, bringing to our ears soulful, electrifying guitar solos amidst the heavy kitchen brought forth by Maciej and Kuba, being highly inspired by rock music from the 70’s. And lastly, get ready for a 10-minute musical voyage that will penetrate deep inside your psyche in Whale, Pt. II, starting in a gentle way to the low-tuned bass by Maciej and feeling heavy, groovy, epic and thunderous from start to finish. Furthermore, their Jazz-infused insanity goes on and on until the song’s neck-breaking finale, spiced up by a stunning hint of the always beautiful sound of whales.

aleph-א-2021If modern-day Sludge Metal infused with Post-Metal nuances is your cup of tea (or if you have no idea of what that means but are curious to get to know more about it), you can find Kairos in its entirety on YouTube and on Spotify, but of course in order to show your support to those Polish rockers you should definitely purchase the album from the Galactic SmokeHouse’s Big Cartel (or click HERE for all locations where you can buy or stream the album). Also, don’t forget to give the guys from Aleph א a shout on Facebook and on Instagram, staying up to date with news, tour dates and other details about the band. Kairos is indeed a very experimental and progressive album that at the same time doesn’t forget the band’s metallic essence, pointing to a very interesting future ahead of them not only in their homeland, but anywhere else in the world where new metal music is appreciated.

Best moments of the album: A Swarm of Dead Insects and Whale, Pt. II.

Worst moments of the album: Doubt.

Released in 2021 Galactic SmokeHouse

Track listing  
1. Intro 0:54
2. Invert 5:47
3. Doubt 2:31
4. A Swarm of Dead Insects 8:26
5. Erode 3:24
6. Resistance 6:15
7. Whale, Pt. II 10:04

Band members
Jakób Ciszyn – vocals, guitars
Art Salsa – guitars, samples, vocals
Maciej Janus – bass, vocals
Kuba Grzywacz – drums, percussion, vocals

Guest musician
Tomasz Rafalski – keys and synths

Album Review – Through Chaos & Solitude / One Inch of Peace (2021)

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Nature will prevail to the sound of the first full-length album by this multi-talented one-man project based in Germany, offering us all what can be called the “New Wave Of Black Eco Metal”.

After four years in the making, One Inch of Peace, the first full-length opus by Ruhrpott, Germany-based Melodic Black Metal one-man army Through Chaos & Solitude (also known as TCAS KVLT), finally saw the light of day on the first day of spring this year, offering us fans 35 minutes of what the project’s mastermind Tim Rule likes to call the “New Wave Of Black Eco Metal”. Mixed & mastered by Dennis Israel at Clintworks Mixing and Mastering, and with the help of Simon Castigator and Delio Soro on drum programming and Matze Castigator on synths recording, One Inch of Peace is a huge step forward in the career of the multi-talented Tim, not only representing the long-awaited return of Through Chaos & Solitude after the project’s debut EP The Thawing Winds Of The Morning Sun, but also being extremely recommended for admirers of the whimsical music blasted by renowned acts the likes of Woods Of Ypres, Alcest and Agalloch.

Cinematic and enfolding from the very first second, the lyrics in A Heart Is Heavy (Tonight In The North) reek of poetry (“To write it down and to face it is to truly test our fears and beliefs / It’s so humbling to write something in strength and conviction / Only to later fear what you have created / Because it hurts too much, oh it is too close”), with Tim roaring and growling nonstop while firing razor-edged riffs at the same time, and with the programmed drums sounding truly organic. Then starting in a pensive, acoustic way, the title-track One Inch Of Peace brings forward Tim’s trademark fusion of the aggressiveness of Black Metal with smoother and more melodic sounds, also displaying hints of Blackened Doom in its core sonority. In other words, it couldn’t have sounded more infernal and acid than this, whereas venturing through the progressive lands of Atmospheric Black Metal, Post-Black Metal and Post-Metal, Tim offers our ears the ethereal The Integrity Of Nothingness Versus The Fragile Beauty Of Life, where he showcases a great balance of clean vocals and deranged screams, flowing into the melancholic My Heart Is In Your Hands, where Tim alternates between sharp riffs and semi-acoustic passages, resulting in an even more atmospheric creation than its predecessors. And lastly, the bonus track Of Walking An Alley Lined With Oaks (Nature Always Wins), previously released in 2018, blends the beautiful sounds of nature with Tim’s introspective and multi-layered Black Metal in a beyond stunning ending to the album.

It’s a pleasure seeing the evolution in the music of Tim Rule and his Through Chaos & Solitude in his new album One Inch of Peace, available in full on Spotify, and if you also want to show your support to the underground you should start following the project on Facebook and, of course, purchase a copy of the album from his own BandCamp page, from the Bound By Modern Age Records’ BandCamp page or webstore, or from Apple Music. One of the song titles already states that “nature always wins”, and I couldn’t agree more with that. Add to that the fact that Black Metal has always had a deep connection with nature, always against the evils of men, and there you have the perfect recipe for a great album of atmospheric and dark music just like what Tim unleashed upon us all in his new album of stunning Black Eco Metal.

Best moments of the album: One Inch Of Peace and My Heart Is In Your Hands.

Worst moments of the album: None.

Released in 2021 Bound By Modern Age Records

Track listing
1. A Heart Is Heavy (Tonight In The North) 9:12
2. One Inch Of Peace 9:42
3. The Integrity Of Nothingness Versus The Fragile Beauty Of Life 7:05
4. My Heart Is In Your Hands 9:26

Bonus track
5. Of Walking An Alley Lined With Oaks (Nature Always Wins) 7:58

Band members
Tim Rule – vocals, guitars, bass, keyboards

Guest musicians
Simon Castigator & Delio Soro – drum programming
Matze Castigator – synths recording

Album Review – Muka / Patologija Poniznosti EP (2021)

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A primordial feeling of anguish speaks through five Croatian musicians and the dissonant fusion of Black, Death and Doom Metal found in their brand new EP.

A primordial feeling of anguish speaks through five musicians hailing from Zagreb, Croatia that gathered around a vision of perpetual struggle of critical reason against the pale, gray and uninspiring surroundings. That’s the core essence of the dissonant Black, Death and Doom Metal entity known as Muka, who are among us to arouse and awake our humanity, our striving for freedom and rejection of false existence, flawed idols and deceptive personalities. Comprised of Ivan Borčić on vocals, Edin Karabašić and Goran Tatalović on the guitars, Stjepan Dianić on bass and Marin Lelas on drums, Muka are unleashing upon our rotten society their third EP, entitled Patologija Poniznosti (or “the pathology of humility” in English), following up on their 2017 EP Sveta Stoka. Recorded, mixed and mastered by Filip Pacak, and displaying a raw and stylish artwork by Jelena Murk, Patologija Poniznosti will penetrate deep inside your soul mercilessly throughout its 25 minutes of extreme music styles fused in a special and vile atmosphere, positioning it as Muka’s strongest release since their inception in 2012.

Blending the heaviness of Doom Metal with the aggression and darkness of Black and Death Metal the band fires the Stygian hymn Idolomantis Diabolica (“an idol man of diabolics”), with Ivan roaring like a true demon while Edin and Goran extract sheer sulfur form their guitars; whereas the rhythmic beats by Marin together with the rumbling bass by Stjepan kick off the Blackened Doom-inspired tune Unatoč Svemu (“in spite of everything”), gradually evolving into a demented sonic beast with Ivan vociferating the song’s Croatian words darkly and rabidly. Čezneš, or “you disappear”, is another headbanging, grim creation by Muka, with Marin and Stjepan making our heads tremble while Edin and Goran slash their stringed weapons extracting minimalist but extremely acid riffs, and a neck-breaking, venomous sound permeates the air in U Zabludi (“mistaken”), bringing forward hints of Post-Metal to the band’s core Black Metal and showcasing an amazing job done by Marin behind his drum set, while his bandmates fire endless dementia and hatred through their strings and screams. Finally, their last breath of evil and obscurity comes in the form of Ljudi (which translates as “people” or “men”), where the strident guitars by Edin and Goran walk hand in hand with the metallic bass jabs by Stjepan, concluding the album on the most insane and disturbing way imaginable.

As aforementioned, Patologija Poniznosti, which can be enjoyed in its entirety on Spotify, is by far Muka’s heaviest and most detailed release to date, pointing to an even brighter future ahead of those Croatian metallers. Hence, don’t forget to give them a shout on Facebook, to subscribe to their YouTube channel for more of their cryptic creations, and to grab your copy of their new EP from their BandCamp page, from the No Profit Recordings’ BandCamp page, from Apple Music or from Amazon. You don’t need to speak or understand Croatian to capture the message and vibe of the music by Muka, which just proves how sharp and piercing their sound can be. Simply hit play and immerse yourself in a world of despair, inner struggles and pain, courtesy of five talented musicians who definitely know how to turn all of those negative and somber feelings into first-class extreme music.

Best moments of the album: Idolomantis Diabolica and U Zabludi.

Worst moments of the album: None.

Released in 2021 Independent

Track listing
1. Idolomantis Diabolica 6:00
2. Unatoč Svemu 5:30
3. Čezneš 5:02
4. U Zabludi 3:39
5. Ljudi 5:33

Band members
Ivan Borčić – vocals
Edin Karabašić – guitar
Goran Tatalović – guitar
Stjepan Dianić – bass
Marin Lelas – drums

Album Review – Coldun / Grand Sun Ritual (2021)

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Armed with their third full-length opus, this excellent German act is among us all to prove that in death nothing is absolute, and certainly not an end.

Initiated as a solo project by vocalist and multi-instrumentalist Coldun himself in 2006 in Chemnitz, a city in Saxony, eastern Germany, Atmospheric Progressive Metal act Coldun has grown into a veritable formation through the years, being currently formed by the aforementioned Coldun supported by his henchmen ZK and MR on the guitars, and NC on drums. Now in 2021 those talented musicians climb the logical next step together with their enthroned throat emperor in the project’s new and third album with the inspiring title Grand Sun Ritual, a real soul slurper that shows influences from Doom to Post-Metal, connecting both worlds throughout its over 51 minutes of atmospheric passages and grandiose, progressive music. Mixed and Mastered by Greg Chandler at Priory Recordings in Birmingham, UK and featuring a minimalist but impactful artwork by KaGo.O_O, Grand Sun Ritual revolves around the eternally topical questions of humanity about the respective meaning of life and death, With its thought-provoking lyrics showing a radically positive basic tenor, which stands for Coldun’s personal conviction that in death nothing is absolute, and certainly not an end.

Featuring guest Markus Bär on saxophone, Middle-Eastern sounds permeate the air in the mesmerizing title-track Grand Sun Ritual, with sheer poetry flowing from the song’s lyrics darkly declaimed by Coldun (“Awaked in timeless space / Bright and dark at once / Where is the coloured field I lay? / Where is the blood, where is the pain?”) while NC dictates the pace with his Doom Metal-inspired progressive beats; and more of Coldun’s atmospheric sounds and passages come in the form of The Forest And The Soul, where ZK and MR will pierce your mind with their classy riffs and solos, reminding me of some of the latest creations by bands like Insomnium with a touch of the melancholy of HIM. Then dark clouds are above us all in the Atmospheric Metal aria Down Below, once again presenting striking guitar riffs and solos supported by the solid bass jabs by Coldun, who also fires his trademark, anguished vocals in a lecture in Atmospheric Progressive Metal.

Blending the sonority of progressive music from the 80’s, 90’s and 2000’s, Coldun and his loyal squad deliver the also bold and epic Salvation Day, where ZK and MR are in absolute sync with NC, crafting a dense ambience perfect for another round of Coldun’s deep vocals. After such intense tune, it’s time to close our eyes and relax to the smooth sound of the acoustic guitars in Stories Untold, where we must all let their piercing guitar solos soothe our souls while NC keeps the rhythm as pleasant and enfolding as possible with his classic beats, and you better get ready for over nine minutes of heavy and imposing sounds in the multi-layered Hail Out To Thebes, uniting the Progressive Metal of Dream Theater with the obscurity and potency of Type O Negative and Danzig. Put differently, you’ll be absolutely stunned by such detailed and powerful aria, before Coldun close the album with the experimental, embracing song I Dreamed That Dream, where all band members do a fantastic job by crafting minimalist but dense sounds, in special their stringed trio that’s on fire from start to finish, not to mention the song’s beautiful atmosphere.

In summary, Coldun’s dark, pensive and progressive voyage offered in Grand Sun Ritual will undoubtedly please all fans of the more atmospheric side of metal music, while at the same time also point to a more introspective path ahead of this excellent German act. Hence, don’t forget to follow Coldun on Facebook for news, tour dates and other nice-to-know details about the band, to subscribe to their YouTube channel for more of their music, and above all, to grab your copy of their new album from their own BandCamp page or from Apple Music. As already mentioned, in death nothing is absolute, and certainly not an end, but in heavy music we can all say that the music by Coldun is forever, atemporal and eternal, carving Coldun’s name in the hearts of all metalheads who have the pleasure of listening to the band’s stylish creations like the ones found in their newborn opus.

Best moments of the album: Grand Sun Ritual and Hail Out To Thebes.

Worst moments of the album: None.

Released in 2021 Independent

Track listing
1. Grand Sun Ritual 7:41
2. The Forest And The Soul 6:23
3. Down Below 7:42
4. Salvation Day 8:32
5. Stories Untold 5:19
6. Hail Out To Thebes 9:16
7. I Dreamed That Dream 6:34

Band members
Coldun – vocals, bass, Hammond, synths
ZK – guitars
MR – guitars
NC – drums

Guest musician
Markus Bär – saxophone on “Grand Sun Ritual”