(((O))) Category: Reviews
A Wound of Earth is a testament to CEKE’s unique sound, along with their ability to innovate and adapt. An invaluable skill for any band to have.
Like a mad geologist’s spare room, this short record is crammed full of all kinds of species of metal and rock, cramped together in a powerful, multifaceted lump of heaviness.
Norwegian avant-garde legends don’t quite reach their highest standards, but continue to prove they are the masters of black metal atmospherics.
Alabama noise/drone/spoken word artists Clawing follow up their harrowing debut with the tale of an addict digging a hole. But it’s not as difficult a listen as it sounds – there are nuances and details to explore in Labour, a record rich with empathy that is in turns beautiful and savage.
Yes, you can listen to this stuff sitting down, but then the question remains, why would you want to?
‘Reverse of Rebirth In Universe’ feels like something of a boundary marker, prompting us to look into the next years, no, centuries, of Acid Mothers Temple and the Melting Paraiso UFO!
SAVAK embrace the idea of rock ‘n’ roll as wide ranging tradition to which they’re happy to belong, even if it may have run its course. As they see it there are still good times and good tunes to be had. It’s a winning blend of classicism and iconoclasm.
If you are still not sure what post-rock or any of those posts, post terms really are all about, try Plus it will all become a bit clearer.
Part 1, l’amour et l’ardeur, is a stellar piece of work that has the breadth of a universal rainbow stretching to the wonders of infinity. Infused with an infinite amount of colours, thoughts and feelings it is yet another wonderful leap in 鬼’s incredible musical journey and an album that could heal the most wounded soul.
Respire mirror their exceptional second album ‘Dénouement’ as a beautifully reworked, purely orchestral adaptation through ‘Memorial (An Accompaniment)’.
This album is a masterpiece, not only in its instrumentation, but how that instrumentation relays its message.
With Eaves, Forever House, who comes from a different musical background, have shown many aspiring rockers what math-rock/prog rock, or whatever you want to pigeonhole your music into, should sound like.
You hear these epic, operatic choruses and you swear that you can flex your magically enormous biceps and real lightning will actually shoot out of your fingertips.
It’s a further refinement of the approaches on last year’s Some People Really Know How To Live and Total Shit! with improved results. Definitely more shine than shit.
OHHMS are are like nothing on earth; huge, unnerving and loud. But this album, with biting, powerful lyrics concerned with animal rights, is a triumph.
A new delivery of locally-trademarked version of fast and atmospheric black metal, galloping hooves drum kick and epic trance-riffs, which tend to be complex attacks on simple memorable structures.
This is a fantastically engaging album, with some people are saying it’s Segall’s best.
You really do have to admire Spencer’s tenacity in spreading the rock n’ roll gospel as he sees fit. I guess I’m just not as receptive to hearing it as I used to be.
Things that felt closer, stronger and warmer in Summer now feel distant, fragile and colder. But there is also more time and different stars in the sky to bring about contemplation instead of urgency, calm instead of passion and a whole different sort of beauty and joy to be found wherever you look. This is all displayed perfectly within this record.
As 2018 winds to a close, a certain characteristic, a label could be put on quite a number of releases that came out – bleak records for bleak times. Vancouver’s Dan Managan and his fifth album More Or Less seems to be here to prove the point.
The band have become more and more pissed off with the way the world is and have used this to fuel the aggression in their music, rather than simply trying to raise the bar from the last record.