Moloken - Unveilance Of Dark Matter

Labels: The Sign Records

Formats: Vinyl/CD/Digital

Release Date: 31 Jan 2020

Tracklist:

1. This Love Is A Curse

2. Surcease

3. Shadowcastle (Pt. 1)

4. No Ease, No Rest

5. Hollow Caress

6. Venom Love

7. Repressed

8. Lingering Demise

9. Unbearable

10. One Last Breath

11. Unveilance Of Dark Matter

Finally my review schedule is back on track, even if my inbox isn't! With the lockdown still in place in the UK (albeit with some slightly relaxed rules), I wanted to spend this balmy evening losing myself in some more heaviness, this time from Sweden. Moloken released their fourth full-length Unveilance Of Dark Matter in January via The Sign Records. They've been playing atmospheric and progressive metal/sludge for over a decade and have release two EPs alongside their full-length albums over that period. As they prepare for a full live performance of the record on May 23rd, you can prepare yourselves by giving it a listen.

Moloken has been a name that I’ve been familiar with for a while, but whose music has always flown under the radar slightly. The quartet opens album number four with ‘This Love Is A Curse’ and it’s a precursor of sorts. It’s mainly instrumental, save for the final thirty seconds, where the vocals kick in and pull you into the band’s angular extremity. ‘Surcease’ is a different beast. The tempo is faster and the atmosphere is darker. It’s a mix of many different musical elements, from sludge, to death metal, to unnerving post-hardcore and it’s certainly got plenty of metallic chops.

You’ll find that as Moloken’s songs get longer, they become more progressive. ‘Shadowcastle (Pt. 1)’ is a case in point. It reminds you of Leviathan-era Mastodon and it gives a proper glimpse of what the band is capable of when they stretch out their songs. That progression and momentum is broken up by the piano-led interlude of ‘No Ease, No Rest’, which is still dramatic enough to hold your attention as it fades to reveal ‘Hollow Curses’, with it’s blackened hardcore-like riffs and low growls. The Sign Records has become a reliable stable for hard-rock and metal that sits at the traditional end of the spectrum, so Moloken is a different prospect for the label’s followers.

Their sludgy side comes out on ‘Venom Love’ thanks to some subtly NOLA-inspired vocals. That said, it’s still a technical song that brims with post-metal atmosphere. It’s a lot more instrumental-led this time but that’s no bad thing, especially when it’s delivered by a band that are this good. Talking of post-metal (again), ‘Repressed” features a riff plucked out of the top draw. It reminds me of Scottish (short-lived) post-metal/doom band Voe, if any of you remember them. It’s a very short little interlude but it’s ideally placed here. 

‘Repressed’ blends into the striking ‘Lingering Demise’ very easily indeed. I wasn’t expecting this kind of breadth from Moloken, but when they do flex their muscles during longer songs, they’re a joy to listen to. Again, there are notable glances to some of the more well known bands in the genre, but with metal constantly evolving and revolving, it’s no surprise. To go from ‘Lingering Demise’ to the black metal rasps of ‘Unbearable’ is a bit of a shock. I’m not sure it was Moloken’s intention to sound that way, but that’s how it comes across during the opening bars. From there it becomes a mash of death metal vox and prog/jazz instrumentation. It’s great!

There’s time for a final stirring interlude in ‘One Last Breath’, which is aptly titled as it allows you to take yours before album closer and title track, ‘Unveilance Of Dark Matter’. This is your last chance to dance and Moloken make sure you remember it. This record flows in such a coherent way and goes by almost effortlessly. It contains enough truly emotive anger alongside a heap of great musicianship, which really brings it to life. We’re already nearly five months deep into 2020 and with January still serving up albums like this, the expectations for the rest of the year are great.

You can stream and purchase 'Unveilance Of Dark Matter' on all formats via Moloken's Bandcamp page here:-

Moloken - https://www.facebook.com/Molokenofficial/

You can also grab copies from The Sign Records here - https://freighttrain.se/en/the-sign-record/

The Sign Records - https://www.facebook.com/thesignrecords/

Muscipula - Little Chasm Of Horrors

Labels: Caligari Records

Formats: Cassette/Digital

Release Date: 28 Feb 2020

Tracklist:-

1. Descending Into Chasm Dionanea Muscipula

2. Closed Shut (Enzymatic Death By Digestion)

3. Sphagnum Bog Of The Depraved Droseracea

This is a perfect release for a Sunday night, as the weekend's coming to a close and the grim thought of joining the rat race enter your mind once more. This is the debut demo from US death/doom band Muscipula, which has been released on tape by Caligari Records. There isn't much I can tell you about this band, as their identities and history is unknown. The tape is limited to 150.

I really need to step up my death metal demo collecting game! The artwork on this release is so detailed and it matches the nasty tones of Muscipula perfectly. ‘Descending Into Chasm Dionanea Muscipula’ is a sewer water-drenched take on death metal. It’s got an industrial edge to it thanks to it’s tempo and the precise drumming. The vocals are low and terrifying while the guitar/bass work is surrounded by feedback and white noise. The first impressions are really good.

‘Closed Shut (Enzymatic Death By Digestion)’ is equally as disgusting as the demo’s opener but it also seems more slamming in a strange sort of way. The pinch-harmonics and the thick riffs couple together with the slow tempo to make it sound way more claustrophobic in places. Towards the end, the pace changes and the vocals become even more abrasive.

This is unlike any death metal I’ve heard before. Demo closer ’Sphagnum Bog Of The Depraved Droseracea’ contains a more urgent feel. The industrial influence is still there but Muscipula seems to power through this one with a perverse focus. The warm bass tones are the only thing that keep you from going completely insane. 

This demo goes by very quickly and while Muscipula is from the US, the music on Little Chasm Of Horrors definitely reminds me of the murkiness of Finnish death/doom and bands like Profetus and Solothus. Great stuff indeed and hats off to Caligari for unearthing such a decomposing delight.

You can stream Little Chasm Of Horrors and buy it on tape via Caligari Records here:-

Caligari Records - https://www.facebook.com/CaligariRecords/

The Sawtooth Grin - Cuddlemonster

Labels: Dead By 1918/Wax Vessel

Formats: CD/Vinyl/Digital

Release Date: 2001 (CD)/04 Oct 2019 (Vinyl/Digital)

Tracklist:

1. Give Me The Amulet You Bitch

2. A 2 Minute Lecture On The Finer Points Of Instability

3. Sometimes She Tasted Like Burnt Plastic Smells

4. Meat Hook Marty & The Pajama Party

5. Please Shit All Over Me, I Love It

6. Satan Would Sit In The Smoking Section But He Doesn't Like The Creepy Waiter

7. Good Touch Bad Touch 123

Having written about three of the four Wax Vessel reissues I own (still got Dr. Acula to review), I figured I'd carry on. As with the other's so far, I missed out on The Sawtooth Grin when they originally released Cuddlemonster. The reissue sold out so fast and is now only available via sellers on Discogs. The band started life in 1999 before releasing this EP in 2001 on cd via Dead By 1918, then followed it up with the Pervavor EP in 2004. 205 copies of this EP were pressed on single-sided vinyl by Wax Vessel last year and there were some amazing looking colour-ways, as per usual.

I promise I’ll get onto some newer stuff once I’ve written about this. ‘Give Me The Amulet You Bitch’ is overwhelming straight off the bat. Ridiculously fast, grinding and heavy, but with a nod to post-hardcore and vocals that are as piercing as anything The Body could do. It takes as long to type the song titles out as it does for TSG to play them. ‘A 2 Minute Lecture On The Finer Points Of Instability’ picks up right where the opener left off and just goes for it! I can only imagine how mesmerising this band would have been live, as their energy must have been intense.

TSG were obviously big fans of gaming, as Cuddlemonster is brimming with those kinds of samples, like at the start of ‘Sometimes She Tasted Like Burnt Plastic Smells’, which makes use of so many tempos and crazy riffs, as well as more of a metal vibe in places.’Meat Hook Marty & The Pajama Party’ only just broaches past the one-minute mark but it’s enough trust me! I don’t mean that disrespectfully at all, it’s just that it’s such an extreme and abrasive song that too much will really be too much. For a trio, TSG make a lot of noise.

The amusingly titled ‘Please Shit All Over Me, I Love It’ is the longest track on the EP and with that, the most experimental too. It contains fast parts, slow parts, breakdowns and a total descent into madness along the way. Everything you’d expect from a mathcore band really. Not much comes close to the grin it creates on your face. Almost instantly afterwards, you’re thrust straight into ’Satan Would Sit In The Smoking Section But He Doesn’t Like The Creepy Waiter’ and before you know it the penultimate song is over. It doesn’t stick around long but it will stick in your head!

Final song ‘Good Touch Bad Touch 123’ sounds positively radio-friendly when compared to the rest of the album. The chilled-out surf-rock style guitar riffs and steady tempo is unexpected. It’s variation that goes a long way on a record that’s this extreme and abrasive in sound. That being said, it is hugely entertaining.

You can stream and purchase Cuddlemonster digitally below:-

The Sawtooth Grin - https://www.facebook.com/thesawtoothgrin/

Wax Vessel - https://www.facebook.com/waxvesselchicago/

Old Soul - Natures Arms Encircle All

Labels: Self-Released/Ancient Injury Records/Dingleberry Records/IFB Records/Maniyax Records/Zegema Beach Records

Formats: CD/Vinyl/Digital

Release Date: 07-Aug-2011 (CD/Digital Self-release)/04 Nov 2014 (Vinyl release)

Tracklist:

1. Ocean

2. Triton

3. Orbit

4. Shallows

After what seems like an age, I'm back with another ZBR roster review. I'm persisting with it because I enjoy it and I enjoy music. I first became aware of US band Old Soul when they released Tidal Lock, thanks to UK label Dog Knights Productions, who were one of five labels involved in the vinyl pressing. I picked up a copy of Natures Arms Encircle All when I ordered a load of records directly from ZBR. Old Soul foamed in 2010 and since then the six-piece have released three albums, an EP and three split records. 

Never have I heard a record with such a beautifully placed emo/screamo beginning. I mean that in the nicest way possible, as the child’s spoken-word that adorns opener ‘Ocean’ is perfect. So to is the clean guitar that lends it’s atmosphere to the space in between that spoken-word and the dissonant sludge-like verse that follows. Old Soul are not a chaotic band by any means. They prefer to paint pictures with clear musicality and even when they launch into what they call ‘black trip dreamo’, they’re still on the right page. ’Triton’ continues where ‘Ocean’ left off. At first it’s more of an archetypal screamo song but nothing is truly that way on this record and before long the blackened instrumentation and atmosphere is heightening your senses, while wrapping it’s arms gently around you. 

I love the way that all of the songs on here flow, continuing where the previous one had left off. ‘Orbit’ is more angular in places and the full band has more room to play here. They unleash something that’s both fast in tempo and engaging in design. It’s added running time means they can be more expressive and it works. If you’re a sucker for longer closing songs on records, ’Shallows’ is the one you’ll lose yourself in. It’s a mix of all kinds of emotions and genres, albeit heavy ones. Old Soul do come from a darker direction but it doesn’t overpower their post-hardcore/metal sound and in fact it makes it better. The quality of the recording is amazing as well, considering Natures Arms Encircle All was Old Soul’s first release. 

The LP came in a wraparound card sleeve containing a printed inner sleeve, poster/lyric insert and the record itself was pressed on brown/grey merge coloured vinyl (though I think colours do vary). It was also self-released by the band on CD. Both the physical release and the music contained on it are a thing of beauty. Grab a copy if you still can.

You can stream and purchase the album digitally from Old Soul below:-

Old Soul - https://www.facebook.com/OldSoulband/

As for physical copies, Zegema Beach Records is the only releasing label that still has copies (as far as I can tell from my research):-

ZBR CAD/INTL Store - http://www.zegemabeachrecords.com/

Ancient Injury Records - https://www.facebook.com/AncientInjuryRecords/

Dingleberry Records & Distribution - https://www.facebook.com/Dingleberry-records-and-distribution

IFB Records - http://www.ifbrecords.com/

Maniyax Records - https://www.facebook.com/ManiyaxRecords/

Zegema Beach Records - https://www.facebook.com/zegemabeachrecords/

The Owl - Voyage

Labels: Self-Released

Formats: Digital

Release Date: 23 Mar 2020

Tracklist:

1. Learning From Those Humble Beginnings

2. One Thousand Hymns

3. The Integral Moments Of Existence

4. The Euphoric Journey

5. To A Modified Reality

It is a great honour to have received this review submission. The individual behind The Owl is someone I've had the pleasure of knowing for a good few years now, although meeting in person has been irregular to say the least for a couple of years (my fault). Voyage is one of the newest releases from a project that is obsessed with experimentation, improvisation and electronics. It is a complete re-work of the project's first release Frá Auðmjúkum Byrjun, which is Icelandic for 'From Humble Beginnings', which coincidentally was The Owl's first song (according to Bandcamp). The Owl recently remixed 'Ease Me' by Oathbreaker. You should definitely check it out too!

I go through waves of enthusiasm for my hobby, just like anybody else does. Sometimes I don’t have the energy for writing/listening and other times, it’s all I want to do. I’m currently at the latter end of the spectrum and with so much music to inspire me, it should continue. The Owl is intriguing. A musical endeavour that’s been born out of so many human emotions, it’s hard to put it into perspective. Voyage is just one example of that and through musical experimentation and noise, those emotions reach out to you. ‘Learning From Those Humble Beginnings’ is a quiet opener with bass guitar being joined by loops, droning samples and atmosphere that can’t be replicated through instrumentation.

Given that The Owl shares it’s creator with Leeds noise miscreants Sloth Hammer, it’s unsurprising to hear a heavy use of electronics throughout this release. ‘One Thousand Hymns’ takes on that kind of crazy form early on, with rumbling tones, repeating laser-like sounds and bass-effects coupled with lowly guitar work. I’m not an expert at describing this form of music but that’s my best effort. At times there is an earthy doom/black metal feel to Voyage, but also a hauntingly unnerving one, especially on ‘The Integral Moments Of Existence’, which is minimalist yet spine tingling. 

‘The Euphoric Journey’ is a journey alright. It does actually feel quite euphoric though, as it twinkles and winds it’s way through percussion and key-led ambience to a bizarre ending that may or may not be a metaphor for the current breakdown of society. The album’s final song ‘To A Modified Reality’ finishes it just as ‘Learning From Those Humble Beginnings’ started proceedings. Quietly and with a gentle wrap-around feeling that you’ve escaped real life for a brief moment and are being taken somewhere entirely more peaceful. 

This album is a lot calmer than I was expecting. That’s a good thing though as during this bizarre time in our lives, the less anxiety and stress that effects us the better. If you want a rest from extremity and blasting, then please listen to The Owl. It’s enriching mentally and that can only be positive. 

The full album is available to stream and download (name-your-price). As part of the stream, you can listen to it all in unspoiled glory as it was intended through the 'complete' version of Voyage that is included as one 27+ minute piece:-

Also, here's a link to that Oathbreaker remix I mentioned earlier:-

The Owl - https://www.facebook.com/theowlsounds

Fjords - Onirica

Labels: Self-Released

Formats: CD/Digital

Release Date: 22 Nov 2019

Tracklist:

1. Into The Vista

2. Blossom In Rapture

3. Onirica

4. Prometheus

5. Unbound

6. Tides Of The Sea

7. The Godless Shade

8. Ode To The Albatross

9. Polaris

It feels like my whole day has been leading up to this moment. Granted, that day went pretty quickly but after a quietish weekend musically, getting back down to it is much needed. My focus this evening is fixed on UK progressive metal band Fjords, who self-released their debut album in November 2019. They're been compered to Leprous, Novembre and Opeth amongst others and they count them as influences too. I'm excited about this.

When people think of progressive music, they think of long and sometimes noodling songs. They’re right about them being long but in these modern times, the noodling has been replaced by extremity. Fjords are one of the new breed of UK bands that mix progression with both extreme instrumentation and growling/clean vocals. Opening song ‘Into The Vista’ illustrates that perfectly with all of the aforementioned elements being tied together to create something genuinely rousing. The vocals remind me of the likes of My Dying Bride in places too. 

The songs on Onirica vary in length and while some are atmospheric and gloomy in places, they are also upbeat and light in others. ‘Blossom In Rapture’ is a case in point with it’s modern approach, which contains epic melodic guitar work, off-kilter but up-tempo rhythms and an overall musical vision that’s hard to replicate. This is only track number two and already I feel a complete idiot for missing it last year. 

People on the outside looking in often say that metal music doesn’t require any skill, that it’s just noise. Even the most primitive grind and noisy black metal takes some form of genuine skill to perform. Progressive music such as this takes a considerable amount and Fjords demonstrate that skill more than proficiently on title-track ‘Onirica’. The band does feature some very experienced musicians amongst it’s ranks and that experience shows through here. All of a sudden I feel so warm and contented thanks to this record.

‘Prometheus’ is one of the softer songs vocally on Onirica, but that’s only because the melodics vocals are used more often. It’s still a heavy song and when the harsh vocals do kick in, the tempo slows to a slightly more menacing pace. It contains light but you have to reach for it through the dark. What really is engaging though is the musicianship, which one again stands out for it’s quality and for the emotion that it projects. 

In between all of the lengthy numbers comes ‘Unbound’, which is essentially an instrumental interlude that breaks up the album. It works and actually builds a great deal of anticipation for the second half, which begins with ‘Tides Of The Sea’. In fact the former flows into the latter (albeit with a rather off-putting pause between the two, which breaks up the atmosphere). ‘Tides Of The Sea’ itself is another upbeat song that borrows from modern metal, metalcore (in places) and death metal. I guess Fjords have more influences under their sleeves and they use them really well. Being able to use them all and still not be classified within one specific genre/sub-genre means they’re doing everything right.

I can sometimes be accused of using a lot of words to say a little, especially when describing songs and albums but what’s the point in writing a paragraph that doesn’t do it justice when I can write seven! ‘The Godless Shade” made me reflect on how much I write, given how short the average attention span is these days (especially when taking long-form written media into consideration) and I decided to carry on anyway, because this song deserves it. It’s rad and once again shows just how good the UK scene is if you just scratch the surface a little bit. Screw all of those people who stopped listening to music in the 90’s!

Things become oddly mysterious and goth-like at the start of ‘Ode To The Albatross’, which borrows from the Peak District that surrounds Fjords. The Peaceville three also make their presence felt here and while the progression overrides the doom, there are still subtle elements of the latter within this penultimate song. Fjords wait till the end to unleash their most majestic song, in the form of the orchestral ‘Polaris’, which weighs in at over ten minutes in length and sounds truly epic! The opening riffs are simple yet oh so catchy and there’s no point ignoring how they make you feel. They carry on throughout the song, as it gets better in it’s entirety, containing the right balance between dissonance and melody, old-school and modernity. You’re taken on a journey that you won’t want to reach the end of. 

This is an incredible album that deserves a lot more recognition. Fjords, despite being a new name to many (including myself) are destined to be one of the UK’s brightest metal hopes. They just need a leg up and I’m sure you can help make it happen by supporting them and spreading this album as far as possible. 

You can stream Onirica and grab it on CD or as a digital download below:-

Fjords - https://www.facebook.com/fjordsofficial/

Bones - Gate Of Night

Labels: Blood Harvest Records

Formats: Vinyl/Digital

Release Date: 24 Apr 2020

Tracklist:

1. Utterance Beyond Death

2. Gate Of Night

Today's been one of those days, mostly spent hungover and slightly lacking in motivation. it wasn't until this afternoon that I started to feel myself again and actually did some things. I've begun planning for a special 10th anniversary digital compilation and also deciding what to write about, so the day isn't entirely wasted. I settled for the new and rather opulent two-song single-sided LP from Belgian death metal band Bones. It's their fourth release in a decade and their second for Blood Harvest Records. 

Death metal still leads the way in output terms. The genre as a whole has been spewing out so many bands and release of late, and there’s no pause in sight. Bones and their disturbing take on the genre is distinctly European while also being entirely of it’s own being. ‘Utterance Beyond Death’ is a mix of gargling, despairing death and instrumental, sometimes avant-garde extremity. It reminds you of both your contempt for humankind but also why you’re alive. 

Title-track ‘Gate Of Night’ is a seven-minute death/thrash ripper that’s gloriously off-kilter. The technicality that sits amongst the band’s seemingly primitive death metal is enriched by the production/mastering. It’s organic sound allows for something very real to leap out of the speakers. It catches your attention and clasps it’s neck tight, while flitting between hellish noise and clever progression. Bones have released a stonking EP here and with that, nothing more needs to be said.

You can stream and purchase Gate Of Night digitally or on either translucent purple or black etched vinyl below:-

Bones - https://www.facebook.com/Bones-Death-Metal

Blood Harvest Records - https://www.facebook.com/BloodHarvestRecords/

Stone Machine Electric - Stone Machine Electric 7"

Labels: Self-Released

Formats: Vinyl/Digital

Release Date: 27 Mar 2020

Tracklist:

1. Walking Among The Blind

2. Mushroom Cloud

It's nearly midweek and I'm trying to chill this evening after a Discogs seller tried to bump up the price on a cd that I was interested in. What's the most you'd pay for a cdr demo? Answers in the comments section please. This has no baring on tonight's review albeit that Texan duo Stone Machine Electric plays stoner/doom and the change in pace is something I could really use right now. Stone Machine Electric have been pretty prolific since their formation in 2009, releasing three full-lengths, two EPs, two live albums and now this 7, which includes 'Walking Among The Blind' and Mushroom Cloud' (that both appeared on their very first demo, released in 2010). This EP celebrates their first show that took ten years ago.

This certainly is a change of pace for me. Recently, I’ve been covering a lot of post-hardcore and black metal seemingly, plus dealing with some people just trying to make a quick buck. Stone Machine Electric provide riffs for days on their self-titled 7” and it’s music to these ears, literally! ‘Walking Among The Blind” is an extremely groovy song that almost reaches seven-minutes, which means it probably takes up nearly a whole side of this EP. The riffs are huge, as is the rumbling bass and percussion. The vocals are hazy and lethargic but also melodic and audible. 

Second song ‘Mushroom Cloud’ also hits the same running time and has the title of being the very first song from the very first Stone Machine Electric release. I’m not sure if it’s been re-recorded for this release or not, but either way it’s a very palatable slab of experimental doom. That’s a very pedestrian way of saying it’s ace! Stone Machine Electric’s instrumental meanderings during the song’s lengthy mid-section work a treat, with some great bass effects going on. 

This is thoroughly worth checking out, if you’ve not heard of the band before. They’ve been playing stoner/doom now for about a decade and it’s easy to see why they’re still writing and performing it today. Instrumentally they’ve nailed it. Brining songs back to life ten years after they were originally recorded is tricky business, but thankfully it’s worked here.

You can stream the 7" below, where it's also available to grab as a name-your-price download and/or in glorious vinyl form:-

Stone Machine Electric - https://www.facebook.com/StoneMachineElectric/

Wishes On A Plane - Unreleased

Labels: Old Kids Records/Time As A Color Records

Formats: Vinyl/CD/Digital

Release Date: 24 Apr 2020

Tracklist:

1. Your Place Is Still...

2. Perfect

3. ...At The Heart Of My Everything

4. Just Enough Space To Fit

5. Release

In mid-December of last year, I premiered a previously unreleased song called 'Perfect' by German post-rock/emo/indie band Wishes On A Plane. I also interviewed band member Daniel Becker and you can revisit that post here. Daniel has been a friend of mine for quite a while now and I first got to know him through his current band Duct Hearts. He told me that this LP was being released in April, so I placed an order and Daniel told be to wait until I had the physical copy before I reviewed it, because it included a handmade sleeve and artwork. In fact, you can find out more about that in this video on the Time As A Color Youtube channel - https://www.youtube.com/watch?v=ZXMPLotLzWw. My copy arrived on a gorgeous tan coloured vinyl, but there's also a black version, as well as a CD and also a digital option too. All five tracks on here are previously unreleased. 

I have a confession to make; I was lucky enough to get an early listen to these songs late last year. I was on my Christmas break at the time and couldn’t have picked a better moment to listen to them. Hearing them again now takes me back to that period and I instantly recognise record opener ‘Your Place Is Still…’ with it’s clean vocals and easy-going instrumentation. It’s more post-rock and than post-hardcore and seeing as Wishes On A Plane was the band that laid the foundations for Duct Hearts, you can definitely hear where the latter evolved. 

‘Perfect’ was the song I premiered last year and I still love it. It’s a mix loud rock, with maybe an ounce of dissonance, while gentle vocals set a calming mood over the top. The instrumentation is given a lot of room to breath here and the mixing/mastering gives new life to a batch of songs that were originally recorded nearly fifteen years ago, except for the vocals, that were recorded last year.

‘…At The Heart Of My Everything’ slows the pace down with lovely soulful guitar melodies that are soon joined by equally good bass lines. It’s not an acoustic song but it is stripped down for the most part, until around the final minute or so when the percussion kicks in and the driving tempo pulls you into a dramatic end.

From here on in WOAP’s songs get longer and longer, but with the length comes greater musicianship and musical expanse. ‘Just Enough Space To Fit’ is stripped down as well but it’s also very upbeat throughout it’s near seven-and-a-half minutes. It’s quite far removed from the music that you might associated with Time As A Colour (in some ways) but given the creative minds involved in both entities, it’s not a surprise. It draws from their emo/indie influences as well as there post-hardcore ones.

The album’s closer ‘Release’ is everything that’s good about this ever blurring sub-genre. Talking about the UK, bands like Funeral For A Friend (Hours onwards), Hell Is For Heroes and Hundred Reasons come to mind when thinking about it and while I don’t have any real knowledge of the equivalent scene in Germany, Wishes On A Plane would probably have been up there with those aforementioned bands had I stumbled across them earlier. I know that the comparison may be a little bit off-centre but this is a great record and posthumous or not, WOAP deserves to be talked about in  equally high esteem. 

You can stream Unreleased and buy it digitally below:-

CD/LP copies of the album, plus special limited handmade 3" cdr's featuring 'Perfect' can be purchased from Time As A Color Records here - https://timeasacolor.com. Old Kids Records don't seem to have an online store yet, but you can reach them via the Facebook link below (this is their first release, I think!).

Old Kids Records - https://www.facebook.com/oldkidsrecords/

Time As A Color Records - https://www.facebook.com/timeasacolor/

Irillion - Fatanyu

Labels: Self-Released

Formats: Digital

Release Date: 30 Oct 2019

Tracklist:

1. Fatanyu

2. Belzoond

3. Meneltarma

South America, the homeland of a certain Mr. Paucar Toledo (well known rip-off merchant in extreme metal circles). So much so that he gives zines a really bad name, due to his constant begging for physical review material and the like. Bands and fans alike, beware!  Thankfully, it's also the homeland of many very good metal bands and this evening I'm going to be focusing on Venezuelan (although now based in Mexico) black metal band Irillion and their second EP Fatanyu, which was released last October. The duo formed in 2015 and swiftly released their first EP Egledhron in 2016.

I can’t remember when I last featured any South American extreme metal band on here. It’s been a while though. I have to make an apology to Irillion too, because they wrote to me a while ago and have been very patient. Their take on black metal is lo-fi yet symphonic and riddled with pure evil. The title-track ‘Fatanyu’ is a mix of mid-paced and blasting metal with some of the lowest, harshest vocals I’ve heard in ages.

Musically, they’re way more solid than the production suggests on here, though that’s not a criticism of the production in any way, as it adds a huge amount of character to their music. ‘Belzoond’ is another mixed-tempo song, which kind of leans towards the doomier end of the black metal spectrum at times, while also adding flourishes of death. As a duo, they create a lot of atmosphere as well.

The final song on the EP is huge sound-wise. ‘Meneltarma’ is a driving menace that’s both up-tempo and evil at the same time. It’s probably the most orthodox black metal song on Fatanyu, yet Irillion’s ability to inject it with melody and ambience is pretty clear for all to see (and hear). When they slow things down they become a dirtier, gnarlier proposition and the variation is highly applauded.

Irillion sounds like a band mature beyond their years in release terms. Many people may avoid taking a risk on bands from South America now, but you shouldn’t avoid this one. Incredibly immersive and atmospheric black metal cloaked in intrigue and malice. 

You can stream and grab a $2 download of the EP below:-

Irillion - https://www.facebook.com/irillion/