Third Quarter
Part 2.. With apologies to Hallows Eve.. An idiot plunging to megadeath.
As threatened I am keeping this down under. And, yes, your eyes don’t deceive you, the imagery here is once again by Adam Burke of Nightjar Illustration for Woewarden, formerly known as Cancer(AUS). Musically this retains all the touchstones of prior releases: caustic dark metal equal parts atmospheric dsbm, frigid riffed/double kicked black metal fury, and the most unhinged vocal performance this side of Bethlehem - Dictius Te Necare. Overall a slight bit more moody than what came before, but, that adds to the sense of unease and dread.
Keeping in an atmospheric black metal state of mind to land in the UK for a new release from Terra. Invisible Oranges recently did a piece that will no doubt be more informative than space here will allow. Needless to say this trio works wonders in a long form wall of noise rhythmic sense. Some of their building elements recall Monolith era Amebix bass work (I know, I know… the Baron has become Rob Miller and he has gone insane. Fortunately, Stig remains the power of reason), to Dawn’s relentless double kick drive toward annihilation, and a Branca-esque guitar orchestra approach to the guitars.
We shall spin the globe and land in South America. Antofagasta, Chile to be precise. Here dwells Infame and you shall bow to their sludged-up death doom might. Balancing brute force, cavernous vocals, shrieks, and moans with queasy melodic touches - some of which have an almost psychedelic Yob informed sensibility. Had I known better I would expect this to come from Finland. One could imagine Infame aside Unholy or Dolorian, as well to more known acts as Winter, Esoteric and diSEMBOWELMENT. Doom death hybrids know no bounds, nor depths to which they can submerge.
Now, take a break to see who I sponsor: Michael Hill’s Everything Went Black, The Metal Dad and his fiendish five podcast, No Clean Singing, Stereogum: The Black Market, The Devil’s Mouth, Aversionline, Invisible Oranges, Horror Wolf 666….
From whence Istava come only Misericordia Records knows. Comparisons could readily be made to Blut Aus Nord and HAEIRESIS. And, curiously, the cover artwork here bears similarity to HAEIRESIS. But let us not dwell on the facade and delve into the nuts and bolts of Dual. Two tracks of equal length with a freewheeling, helter-skelter drum performance akin to tossing a drum kit down a spiral staircase while dissonant unchords hang in the cosmos and whisper-scream vocals careen amongst the textural blut aus noise. Guaranteed to not cure headaches, likely to cause motion sickness and general distress. Probably a top 5 release for me.
Settling back in the city of brotherly shove, Killadelphia and the dynamic duo of Sarattma. Possibly best self-described as: “an experimental instrumental post-metal duo who jettison the listener into an apocalyptic journey through extraterrestrial landscapes. Matt Hollenberg (Cleric, John Frum, John Zorn) on guitar and Sara Neidorf (Mellowdeath, ex-Brian Jonestown Massacre, Aptera) on drums craft a cinematic space punk anthem for those grimy enough to have survived the end of days.” ‘Nuff said. Though probably my favorite project each member is to date involved with.
Do you remember when Swans used to write songs? Before you say, neither does Gira and company, Christopher Jon and cohorts on the final I, Parasite release do. Those of you may remember this missive, and those who do not: the final offering of I, Parasite is sacrificed in a renewal ritual for Christopher Jon's forthcoming Winter Is The Wound project. In an elegiac and majestic final sendoff one will find a mix of lush acoustics, electronics, big drums, undulating bass, a host of instrumentation including French horn, glockenspiel, piano, with assorted percussion bridging a gap between white light-era Swans, Pink Floyd, Depeche Mode and “the Nine Inch Nails.” Absolute masterclass in the use of three dimensional space in terms of mixing. Maximizing minimalist arrangements to sound absolutely enormous and intimate in the same breath.
Continuing forward with immersive mixing experiences we find ourselves inside the subtle sonic maelstrom that is Darqo’s DawnOfTheMeek. A perfect headphone listening experience full of ear-worming sounds and a dynamic mix that doesn't overwhelm song-craft. This has an element of Lengsel's the kiss - the hope as well as an early Alice In Chains meets deftones sound and atmosphere.