More Future Suffering - Stars On The Pillow EP

Labels: Polar Summer

Formats: Tape/Digital

Release Date: 11 Sep 2015

Tracklist:

1. Mn-t. 15.

2. Stars On The Pillow

3. Noyabr'

A few reviews back I said I was gonna go on a Polar Summer deep-dive. Even though I have a schedule written up and a list as long as my arm of submissions, it just feels right to stray from that path and go a voyage of obscure musical discovery before I have to succumb to mundanity again tomorrow (9-5 at least). I'm starting with the very first Polar Summer release by a Russian band called More Future Suffering. Stars On The Pillow was the band's second release back in 2016. Polar Summer put this EP out as a 22 tape run.

I’m definitely moving in a more screamo/emo-adjacent circle right now, listening-wise anyway. Having Spotify on my phone and listening to the latest curated melodic/metallic hardcore playlists has pushed me in that direction simply because I want to enjoy something less polished (if you know what I mean?). To be honest though, I’m not sure what to expect from More Future Suffering, as I think the music is going to be more ambient than I’m used too, but who dares wins and all that. EP opener ‘Mn-t.15.’ is indeed an ambient piece and one that seems to audibly frame the vast unpopulated expanse of the band’s motherland. Slowly building with subtle guitar and crackling noise/effects, It’s utterly beautiful, without a hint of the screamo/emo I mentioned at the top of this review, though when the tempo picks up towards it’s conclusion the heart rate does a bit too.

I mentioned the crackling above but on the title track ’Stars On The Pillow’ it sounds way more like a campfire burning away in the moonlight, alongside the gentle acoustic guitar. It’s both calming and also quite emotional to listen too (especially when re-watching videos of a relative’s puppy). I mean, who doesn’t like puppies right?!. After two very lengthy compositions, it’s left to the very closer ‘Noyabr’’ to provide a slight glimpse into the future (sorry) sound of More Future Suffering.

I guess as we age our taste in music evolves. We still reach for what grabbed us when we were younger but we also seek something different, something more mature. More Future Suffering passed me by, as have so many other artists/bands but thanks to the digital age that we live in, it’s never too late to right those wrongs and enjoy what’s been committed to tape (or other mediums). I’m excited about what’s to come now. Please put aside some time to appreciate More Future Suffering. You won’t regret it.

You can stream Stars On The Pillow and purchase it as a name-your-price download from More Future Suffering below:-

Polar Summer - https://polarxsummer.bandcamp.com/album/stars-on-the-pillow

The Owl - A Trip Inside The Museum

Labels: Self-Released

Formats: Digital

Release Date: 26 Apr 2022

Tracklist:

1. The Repurposing Of A Cerebral Purging

2. The Morning After A Psychedelic Experience

3. The Asylum For Augmenting Thought

It have been far too long since I last featured any musical creations by The Owl here, which is completely my fault. I have dabbled in noise/ambient music before and The Owl has always been one such project that's held my attention, but the ever increasing push/pull of life and my overflowing inbox have meant that I've taken my eye off the ball. That was until I saw the cover of A Trip Inside The Museum. It's psychedelic imagery layer over the top of what look like brain scans had me intrigued.

This three song release pays homage to a fellow noise/experimental project that goes by the name of The Museum Of Viral Memory. The Owl contributed two songs to the project that were reimagined with the help of a symphony orchestra, which both feature in their original form here alongside a remix of a track originally by The Museum Of Viral Memory themselves. I know very little about the latter but I know what The Owl is capable of, so without further ado let's dive in.

First up, ‘The Repurposing Of A Cerebral Purging’ is as weird as The Owl describes it to be in the accompanying bandcamp notes. Looping, oddly rhythmic glitchy noises that become more hypnotising and unnerving as they go. The alterations between the different passages here are what makes it such an interesting listen for me, even though musically it’s harsh. I don’t feel that these words can do full justice to this thirteen minute song; however, I’ve always respected The Owl hugely as a musician and the creativity on show throughout all of the project’s releases (of which there are many now) stands out.

Second song ‘The Morning After A Psychedelic Experience’ is a much more low-key affair, featuring what sounds like field recordings of nature interspersed with more weird noises. A lot gentler in approach with the harsh noise dialled down, it shows a more sensitive/ambient side to The Owl. It’s the perfect backdrop for a nocturnal walk through forests or over moors. The accompanying spoken word sample adds extra mystique to the song as well.

The Owl’s final song here is called ‘The Asylum For Augmenting Thought’ and is a remix of the song ‘Refuge’ by The Museum Of Viral Memory. If any of you have checked out The Owl’s previous remixes, like the Oathbreaker ‘Ease Me’ or Aubzagl ‘Eilifa Kuldinn’ ones, you’ll know that you’re in for a journey. Most people think of remixes as digitally stitched together, beat-matched tracks but The Owl replaces those techniques with images that move from their brain to the recording, in turn creating collages of sound that sit perfectly alongside the orchestral sounds of The Museum Of Viral Memory.

This release is adventurous and enjoyable. If you’re only just finding your feet in the realm of abstract, noisy, experimental music, there’s plenty for you to take in here. It’s a really creative body of work and it must have struck a chord because my neighbours appear to be howling like wolves in appreciation/competitiveness  (delete as applicable), or maybe because they’re drunk.

You can stream and purchase A Trip Inside The Museum as a name-your-price download below:-

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

Lycia - Simpler Times 7"

Labels: Avantgarde Music

Formats: Vinyl/Digital

Release Date: 04 Mar 2022

Tracklist:

1. Simpler Times

2. A Far Away Place

This weekend was a weekend of excess and today's been about recovery. In my last review, I talked about a US synthwave/shoegaze band and how it wasn't the time for me to write about them. This evening is the right time and the band in question is Lycia. Remarkably, Lycia have releases dating back as far as 1989 and their newest Simpler Times was released via Avantgarde Music in March. I don't venture into this genre of music often but that label is one I respect greatly, which is reason enough to give this release a chance.

Simpler Times is definitely far removed from my usual sphere of listening but I can understand how both it and Lycia found a home on Avantgarde Music. The upbeat synths and relaxed vocals on the single’s title track are pleasing but there is a sense of darkness within it too, which seems to take influence from goth, bringing Depeche Mode and dare I say it Pet Shop Boys to mind (I know they’re not goth!).

‘A Far Away Place’ continues down the darkened path with sinisterly whispered vocals, though the programmed synths and percussion don’t allow it to go too far in that direction. Electronic music can be hit and miss for me but I can appreciate it if done right. I think Lycia are special because they belong to a tranche of artists that create beautiful music but are also seemingly under the radar of many. They have integrity and that matters if you’re an artist.

You can stream and purchase Simpler Times directly from Lycia below:-

Physical copies can still be purchased from Avantgarde Music here - https://www.sound-cave.com/it/band/lycia/simpler-times-black-vinyl

Lycia - https://www.facebook.com/LyciaBand

Avantgarde Music - https://www.facebook.com/avantgardemusiclabel

The Owl - Beyond The Vastness Of Infinity

Labels: Self-Released

Formats - CD (hopefully)/Digital

Release Date: 02 Jul 2021

Tracklist:

1. Paracosmic Expansion

2. Luminous Stellar Explosions

3. Transcending New Heights

4. Hymn For Laniakea

5. Pōwehi

I've spent part of this morning putting together a small review schedule for the coming week, which will hopefully grow a bit bigger in time for my up-coming week off in mid-June. Also, I'm due to have my first Covid jab next Saturday, so depending on side-effects I might not be heading out as much, which should give me more time to write. It's time to focus on the task in hand through and this soon-to-be-released record from the ever-prolific noisemaker The Owl. Beyond The Vastness of Infinity will be self-released by The Owl in July and it continues the momentum built by previous releases Odyssey One, Hibernation and Further Into The Vastness. This time you're treated to five live and improvisational bass jams with the entity's usual layered effects and drone/doom forays. 

Starting with a spoken word sample featuring Alan Watts, it doesn’t take you long to realise what mood The Owl is trying to portray here. ‘Paracosmic Expansion’ is a simple yet mind-expanding opener thanks to that sampled speech and your senses are indeed awoken by the rumbling bass, and subtle ambience present.

From there you’re immediately shocked into life by ‘Luminous Stellar Explosions’, which is where the improvised bass really takes over. Encased in white-noise/feedback that buzzes alongside it, the hypnotic elements of the song begin to open up. When that noise dissipates later on, you’re left feeling calmer though noisier heights are just around the corner and sure enough, the loud/quiet/loud dynamic comes full-circle and the volume level increases. It’s worth noting that there is no percussion on this release (I hope that’s correct), so any rhythms that can be heard come directly from the bass.

Momentum continues to be strong on this release because each song flows Into the next without a pause. ‘Transcending New Heights’ is the longest song here at over nine minutes; however, compared to ‘Luminous Stellar Explosions’ before it, it’s a lot calmer and meditative. Once again low rumbling bass is the backbone and branching off it is very subtle, sometimes distant melody. Not even my neighbour (annoyingly) drilling or planing in their flat can detract from my listening pleasure.

Penultimate song ‘Hymn Of Laniakea’ begins very quietly indeed before bursting into life with another shock of crashing bass guitar. You can hear the live sound of this release more clearly here than anywhere else and it definitely adds to the album’s organic charm and feel. We all have creativity within us, but some people are better at using it than others. The Owl’s productivity and vision is a prime example of that (now, will there ever be a full collaborative release with Oathbreaker I wonder?!).

Finally, album closer Pōwehi is a throbbing, rhythmic beast that’s filled with short waves of sound that increase and decrease in very quick succession, leading to a low-end collage of maddening sounds, glitches and just generally hellish bass. This album for me sits in between both the light/ambient and harsh noise ends of the genre spectrum, so if you’re new to this type of music then hopefully you’ll find this to be a good route in. The balance of both of those dynamics make it a really enjoyable listen.

Keep you eyes peeled for news on the release of Beyond The Vastness Of Infinity via The Owl's social media page here - https://www.facebook.com/theowl

Also, make sure you go to The Owl's bandcamp page, where you can listen to all of the band's releases to date and new ones as they are released - https://theowl.bandcamp.com/

Astarium - Growths Of The Past

Labels: Self-Released/Swollen Gargantuan Fecal Fetus/NitroAtmosfericum Records

Formats: CD/Tape/Digital

Release Date: 01 Jan 2020

Tracklist:

1. I

2. II

3. III

4. IV

5. V

6. VI

7. VII

8. VIII

9. IX (Varg Vikernes Cover)

10. X

11. XI

12. XIII

The brain is a weird thing. I'm craving some heavy, violent music yet I feel that something a little lighter would probably be better right now. I'm going to put a new schedule together soon to focus a bit more, but this evening I'm going down a familiar path with another album from Russian symphonic/ambient black metal band Astarium. Growths Of The Past is an instrumental, ambient album from last year, which contains a number of reworked songs that didn't make the cut on other albums. It was kindly sent to me by sole member SiN and the cd version I have contains twelve songs. It was self-released by Astarium in January 2020, before being released on cd via the awesomely titled US label Swollen Gargantuan Fecal Fetus during the same month. Later on in 2020, it was released on both tape and cd by longtime conspirators NitroAtmosfericum Records. 

None of the songs here have conventional titles, so bare with me. Growths Of The Past is purely ambient and instrumental, which shows the other side of Astarium and much like the cover art above, album opener ‘I’ is remarkably cosmic in it’s delivery. The band’s trademark melodic synths working wonders during it’s short playing time. ‘II’ is much more minimalist at first, but it’s definitely the sort of music you’d expect to hear if you were floating through the galaxy. You sometimes get those videos online where people claim to have captured the sounds of space and sometimes they sound like this. I’m not sure if that’s what SiN was going for here but it works really well all the same.

‘III’ definitely sounds like some kind of retro video game/fantasy/dungeon synth mash-up and it’s glorious. I’m not even into dungeon synth either, so am probably way off the mark. This album is way more entertaining than it should be, in the best possible way too. ‘IV’ is indescribable for me but those odd bleep-like noises are spellbinding, which is probably a weird notion I guess, but it’s true.’ V’ is more of a traditional ambient number from Astarium, especially if you’re familiar with the band’s black metal leaning music. It still has the fantasy edge of the previous songs here but it sounds more serious to me. It’s certainly more dramatic and orchestral.

The first real percussion-like textures can be heard on ‘VI’, which is another very minimalist song. In fact, it’s the longest song the album (unless you count the near nineteen-minute untitled track that’s listed on Metal Archives). It’s very relaxing because of that minimalism, with its almost laid-back hip hop beats. ‘VII’ is a very different beast with the strings/synths taking the lead throughout and just a subtle undercurrent of what could be considered dance/trance music in the background (maybe?) minus the beats this time.

‘VIII’ is another one of those songs that sounds like it’s being led by a xylophone or a glockenspiel, with the bubbly kind of sound that’s super relaxing throughout it’s short playing time. In fact, the rest of Growths Of The Past goes by rather quickly. ‘IX’ (a Varg Vikernes cover apparently) is a sub two-minute ambient piece made entirely out of Astarium’s more traditional synths. Again it’s orchestral but more upbeat too. SiN delves back into the video-game synth realm on ‘X’. The organ-like sound is quite beguiling when it’s in full flow. 

The penultimate song on the album is once again a world away from Astarium’s atmospheric black metal. ‘XI’ is filled with that dance-vibe without being an actual dance track, which in my opinion makes it a lot better. It’s instrumental layers are perfect and really upbeat making it very euphoric to listen to. The twelfth and final song here ‘XII’ is very brief just like the opener and it’s a nice way to close everything out. Really well thought out and performed throughout. 

I have to say that from somebody who is probably more familiar with heavier, more dissonant music, especially when it comes to Astarium’s black metal releases, Growths Of The Paths is a side to SiN’s music that I really enjoy. I consider myself surprised and also ashamed that I left it so long before writing this review. Great job! Hopefully more people will pay this album the attention it deserves. 

You can stream and purchase the full album digitally below:-

I don 't know if there are any physical copies left of this album (after searching) but you can reach out to Astarium and/or NitroAtmosfericum Records below to find out:-

Astarium - https://www.facebook.com/astariumofficial

NitroAtmosfericum Records - https://www.facebook.com/nitroatmosfericum

Astarium - Dragon Of Wallachia

Labels: Skaventhrone/NitroAtmosfericum Records

Formats: CDR/3.5" Floppy Disk/CDR Business Card

Release Date: 12 Oct 2020

Tracklist:

1. Dragon

2. Wallachia

I love bands that release music of various formats or different variations of formats. Russian symphonic/ambient black metal band Astarium is one such band and just when I thought the 3" vinyl version of From The Cleaved Old Coffins was an awesome little release, SiN from the band took it upon himself to send me some newer releases, including a copy of the CDR business card variant of Dragon Of Wallachia (limited to just 20 and I got number 3!). It was released last October via Russia's NitroAtmosfericum Records and was also released on standard CDR/3.5" Floppy Disk via New Zealand's Skaventhrone. It's classed as a single and contains two songs, each lasting less than two and a half minutes.

I must count up how many times Astarium has featured on this blog because it must approaching double figures by now! It’s humbling to know that someone trusts me as much as SiN does. Anyway, on with the task in hand. Astarium’s symphonic black metal will by now be familiar to you, if you’ve read any of my previous reviews and the midi/synth-filled music created by the band is very comforting. ‘Dragon’ is a perfect example of what SiN does best, with it’s melodic instrumentation and his unmistakable gargled/growled vocals.

Second song ‘Wallachia’ in an instrumental piece and it contains the ritualistic noise/instrumentation of Viktoria S. It’s very medieval in influence and folky in tone, with woodwind and gentle wind/rain effects being joined by both wolf howls, and human cries. Dragon Of Wallachia is a very short release but it shows two sides to Astarium. As I’ve grown older and as the blog’s grown with me, I’ve gained a newfound respect for artists and bands that do things differently to most, especially noise and solo projects. I’ll forever respect Astarium as I’ve not been blessed with musical talent (though I have dabbled in a few instruments in the past). A band following it’s own approach despite nestling in obscurity is what make metal and punk so real.

You can stream and purchase Dragon Of Wallachia digitally from Astarium below:-

Astarium - https://www.facebook.com/astariumofficial

CDR business card copies are available via NitroAtmosfericum Records below:-

http://nitroatmosfericum.ru/eng/

The Floppy Disk/CDR releases from Skaventhrone are sold out.

NitroAtmosfericum Records - https://www.facebook.com/nitroatmosfericum

Skaventhrone - https://www.facebook.com/skaventhrone

Cryptorianus - Melancholia - Eight Silent Ghost Songs

Labels: Veinte 33 Records

Formats: CD/Digital

Release Date: 12 Oct 2020

Tracklist:-

1. The Sun Ain't Gonna Shine Anymo)))

2. Melancholia

3. Counting The Stars

4. Pale Rose Lips

5. Spell

6. The Butterfly Catcher

7. Through The Eyes Of A Penitent

8. Wise Men Never Wish For Eternity

Last week was set aside to focus on some of the more established names in heavy music, while this week will focus on some of the more obscure names. From Thursday evening, I have a few days off work so hopefully I'll be able to get a few more reviews written but let's see. This evening's subject is German solo drone/post-black metal/ambient band Cryptorianus and their most recent album Melancholia - Eight Silent Ghost Songs, which was released in October. It's actually the band's second album, following April's From Deepest Soul's Reverberation and it's been released digitally and on cd with the help of Uruguayan drone/ambient/noise label Veinte 33 Records (as well as digitally by Cryptorianus). The entire album is performed using two bass guitar and violin bows.

The very first song on Melancholia… is a nod (I think) to both The Walker Brothers and Sunn0))) (which, is apt considering Scott Walker (RIP) and Sunn0))) collaborated on an album together). I’m not sure if this is meant to be a noise/drone version of ‘The Sun Ain’t Gonna Shine’ but it’s hauntingly good. ‘The Sunn Ain’t Gonna Shine Anymo)))’ is very melodic for a song played only with bass guitars and violin bows, which bodes well for the rest of the album. The last time I witnessed this type of thing was when I saw Hundred Year Old Man live at Santiago’s in Leeds, which was a brilliant night.

In one way, this album epitomises what a weird year 2020 has been and Melancholia..., despite being riddled with dissonant noise, is surprisingly calming at lower volume (mainly because my neighbours already seem to be banging on the walls/ceiling/floor for some reason!). Overall, it’s a slow droning dirge with bizarre dreamy melody that’s quite soothing actually. I’m sorry but I just got distracted by how astronomically shit the “new facelifted” Facebook layout looks, but set to ‘Counting The Stars’ you forget all of that and sink into repetitive, hypnotic drone that perfectly embodies a social media platform going down the u-bend (that’s meant to be a compliment to Cryptorianus and the music!).

I guess I’m used to music from this genre being a bit longer and more drawn out, as ‘Pale Rose Lips’ goes by in a bit of a blur and leads straight into ‘Spell’, with very little time for pausing. I’m glad of that though, as pointless gaps in between songs can and do ruin the momentum of a lot of albums, without bands even realising it. Both of the aforementioned songs go by again with subtle melody that’s captivating, even without any percussion being present whatsoever. There are elements of Spaghetti Western compositions within Melancholia…, which might not come as a big surprise. You certainly get that feel in a left-field way from ‘The Butterfly Catcher’, which in turn leads me to another tenuous link to Scott Walker, who collaborated on the song ‘The Ballad Of Sacco And Vanzetti (Here’s To You)’ with none other than Ennio Morricone, on his 1972 album The Moviegoer. I’m pulling the knowledge out tonight!.

I used to find it hard to gain inspiration from noise/drone releases like this and I still can’t profess to be an expert on the sub-genre, but Cryptorianus seems to be hitting a particular spot here. Penultimate song ‘Through The Eyes Of The Penitent’  is dark and mystical yet also harmonic and once again relaxing. Album closer ‘Wise Men Never Wish For Eternity’ comes across as a dual between Electric Wizard and Jesu, in a weird kind of way. It’s neither doom-like nor industrial but that’s how it sounds to me. Maybe I’m starting to see things thanks to the pure strangeness of this record, but either way I like it a lot.

Once again, I’ve reached for some noise/drone/ambient music and have been rewarded. I’ll still reach for other facets of metal more often than this but Cryptorianus has certainly opened my ears with a really creative and original release. I know there’s many of you out there who will find the same enjoyment when listening to this too.

You can stream and purchase Melancholia... digitally below:-

CD copies can be purchased from Veinte 33 Records here - https://veinte33records.bandcamp.com/

Cryptorianus - https://www.facebook.com/Cryptorianus

Veinte 33 Records - https://www.facebook.com/33veinte

Astarium - Hyperborea

Labels: GrimmDistribution/Gravações Tunguska

Formats: CD/Digital

Release Date: 18 Apr 2020

Tracklist:

1. Mysterious Fog

2. The Wild Hunt

3. Doomed

4. Halls Of Winter Gods

5. When The Proud Die

6. Snow Storm

7. Sign Of Cosmic Might

8. For The King!

9. Battle Glory

10. Daughter Of Imir

11. Red Rose

12. Kill To Survive

13. Carpathian Windspirit

14. Curse From The Past

15. Lucky Bastard

16. Zhothaqquah

Diving back into the review pile revealed this, the 8th (and newest) full-length from Russia's symphonic/ambient black metal band Astarium. A familiar band to those who have been following this blog over the years. Hyperborea was recorded a couple of years ago before being self-released in March 2019. It has since been released on CD via GrimmDistribution (Ukraine) and Gravações Tunguska (Portugal). Astarium has always been an intriguing project for me, as in spite of being very productive, the creativity put into it by sole member SiN has always shone through.

This album contains sixteen songs, of which four are ambient/instrumental numbers like album opener ‘Mysterious Fog’. That may not seem like a positive statement to begin a review with,  but I’ll expand on it later on.

‘The Wild Hunt’ typifies Astarium’s approach to synth-led black metal. To some it may be an acquired taste, but it’s charm is unmistakable and here SiN provides a song that’s certainly more fun and avant-garde than normal thanks to the melodic keys and faster tempo.’ Doomed’ comes at you with a heavy dose of industrial atmosphere and majestic power from the powerful horn/orchestral tones that exist in between the brief guitar passages. 

When Astarium focuses it’s energy on slower songs, it show/s a completely different side to the band. ‘Halls Of Winter Gods’ is one such song and the lengthy opening passage makes you think that something mournful and slow is around the corner, but what it actually reveals and a mid-paced folk/black metal song that’s very well put together.

The mind is often misunderstood, especially when it comes to creatives and that’s definitely the case here. The tracks here follow on from each other well but also seem to be independent of each other, as if they were composed at random points during Astarium’s tenure (they possibly were) and then put together quickly to form this album. ‘When The Proud Die’ is an oddly meandering but short piece of black metal, which leads to ‘Snow Storm’, which provides somewhat of an escape thanks to it’s melody.

There’s a more accessible feeling about ‘Sign Of Cosmic Might’, mainly down to it’s structure and nod towards alternative music as well as just extreme metal. At least that’s how it comes across to me anyway. Feel free to tell me I’m talking rubbish here! Next up is another folk/medieval led song in the form of ‘For The King!’, which is also one the longest present on the album. In parts it’s mystical, while still being a challenging listen in same way that Norway’s Fleurety can be.

The instrumental interlude ‘Battle Glory’ retains the odd momentum that the album has, thanks to the use of upbeat tempos again and an air of fantasy. Brilliant played organ and woven samples make ‘Daughter Of Imir’ an obvious standout on Hyperborea. It sounds more accomplished and well rounded alongside the stirring guitar work and sensitive use of vocals throughout.

The brief chaos of ‘Red Rose’ that follows is a bit of a shock. I say that only because ‘Daughter Of Imir’ was such a complete song. Thankfully, ‘Kill To Survive’ brings that feeling back with whale-song and a cosmic atmosphere that’s as sinister as it is tuneful. The rest of the song is filled with Astarium’s signature ambient black metal.

The percussion on ‘Carpathian Windspirit’ takes centre stage, pulling the interlude through to it’s conclusion before ‘Curse From The Past’ fills the speakers with more upbeat extremity once again, though the constant melody that flows through it really does draw your ear in. Penultimate song ‘Lucky Bastard’ sounds like it could have been conceived during the writing of 2013’’s From The Cleaved Old Coffin, which contained two forty-second songs in very much the same vein.

Closing with ‘Zhothaqquah’, a song that draws in so many elements of Astarium’s creativity, it’s hard to deny that Hyperborea is a worthy album. Going back to my initial statement about those unmentioned songs (which are instrumental interludes), I was going to say that following my look over the album’s booklet, only twelve full songs are listed and therefore; those added instrumental songs may not have been needed; however, now that I’ve listened to the album in full, I really appreciate them. 

Even though at times it feels slightly disjointed, Hyperborea is a fascinating listen and it highlights moments from different parts of Astarium’s recording career, in the same way that compilations do for other bands. I’m not sure whether that was intended but it works all the same. 

You can stream and purchase Hyperborea digitally below:-

Astarium - https://www.facebook.com/astariumofficial/

Physical copies can be purchased via the link below:-

GrimmDistribution - https://grimmdistribution.bandcamp.com/

Grimmdistribution - https://www.facebook.com/grimmdistribution/

Gravações Tunguska - https://tunguskarec.blogspot.com

Glassing - Spotted Horse

Labels: Brutal Panda Records

Formats: Vinyl/Digital

Release Date: 17 May 19

Tracklist:

1. When You Stare

2. Sleeper

3 Lobe

4. Coven

5. A Good Death

6 Bronze

7. Follow Through

8. Fatigue

9. Way Out

10. The Wound Is Where The Light Enters

The drain is real! This week isn't fun mentally but I guess I should take the rough with the smooth and enjoy those moments where I can be content. After all, things could be a lot worse and we all need some perspective. That's something that is often found when your deep in musical thought and so I'm hoping that Austin, Texas (USA) metal band Glassing can help. Their second full-length "Spotted Horse" was release back in May via Brutal Panda Records both digitally and on vinyl. They're playing alongside High On Fire, Power Trip and more at Levitation 2019 in Austin on November 7th, so if you happen to be there, go and see them.

This is another one of those albums that has flown under the radar a bit this year. Cinematic soundscapes greet you on opener When You Stare, as riffs and percussion create music that’s as much a haven for post-rock as it is for black metal and ambient noise. I feel like trying to describe their sound in genre terms isn’t fair really and the mid-point of the song demonstrates why, as Glassing’s creativity grows alongside their ability to temper extreme volumes and instrumentation into glorious layers and textures.

From the lengthy opener comes Sleeper, which starts with intense blasting before slowing right back down and presenting a stripped-back sound filled with gorgeous treble-laden guitar work, drums that echo like they’re in the room with you and passionately screamed vocals that are nestled within it all. The impact felt even at this early stage in proceedings is mighty.

Off-kilter metal and post-hardcore are both present on Lobe, with Glassing once again showing that they’re not content with rehashing the same musical shapes on every song. Coven’s ambience transports you to a hazy summer’s morning (the sort where you spare a moment to rub your eyes and take in the world around you, instead of rushing to where you have to be). It stirs up genuine emotion that carries on into A Good Death.

A Good Death takes things a step further as it builds from that hazy summer’s morning feel, into something more alive and serious, with the aid of occasional heaviness punctuating the heavenly clean singing. Dissonance is never far away and when Glassing re-ignites their heavier side, the feeling isn’t ruined. While the longer songs are very compelling to listen to, it’s not often that you can say that a band can pull off those and shorter, more urgent numbers but both seem to suit Glassing, as Bronze shows. Possessing song-writing skill like this is rare these days and is more awe inspiring as a result.

By the time Follow Through comes round, it seems effortless musically and appreciating what is being played becomes easier. There’s no settling for simple song-structures or formulaic phrasing. You’ll be kept guessing as your ears are pulled from passage to passage. Fatigue goes by without you realising it was a separate song, once again making use of calming guitar work and chilled-out percussion.

Penultimate song Way Out hits the spot with almost a nod of punk flowing through it. It’s over all too quickly but that’s fine because The Wound Is Where The Light Enters makes up for that. The profound effect that music has on you sometimes isn’t felt instantly and it’s hard to stay stoney faced at this point. Despite my attempts at superlatives above, there’s no more emotive point on “Spotted Horse” than it’s final act. This album is amazing. Nothing more needs to be said.

You can stream and purchase "Spotted Horse" via Glassing's bandcamp page below:-

Vinyl copies are available above and also via Brutal Panda Records here - https://www.brutalpandarecords.com/

Glassing - https://www.facebook.com/GlassingBand/

Brutal Panda Records - https://www.facebook.com/BrutalPandaRecords/

Yeruselem - The Sublime

Labels: Debemur Morti Productions

Formats: Vinyl/CD/Digital

Release Date: 08 Feb 2019

Tracklist:

1. The Sublime

2. Autoimmunity

3. Eternal

4. Sound Over Matter

5. Joyless

6. Triiiunity

7. Babel

8. Reverso

 9. Textures Of Silence

When members of one of Extreme metal's most forward-thinking bands embark on a new project, Its often hard to see past their main musical outlet. Yeruselem is a prime example of this as members Vindsval and W.D. Feld are well known for their time in one France's premier black metal bands Blut Aus Nord. They released their debut album "The Sublime" earlier this year via Debemur Morti Productions on various formats and if you were expecting something more familiar in sound, you may want to rethink your choices.

This is very much a journey into the unknown. Yeruselem open with the album’s title-track and after beginning with shattering ambience, the duo shifts forward into electronic/experimental territory filled with synths, beats, melody/hypnotic guitar riffs and clean singing. Not without its Eastern influence, it seems to gather up the many elements of France’s multicultural society along the way.

The hip-hop style rhythm of Autoimmunity is at odds with the unnerving post-punk blueprint that features heavily on the album. Very dystopian and barren, yet unshakably addictive at the same time. Drone and doom can be heard in subtle swathes amongst the song’s multiple layers. Crossing the barrier between ambient/noise and metal is a hard thing to do. As Eternal plays, it definitely reminds me more of Dalek than it does BAN. The former’s industrial soundscapes are mirrored here, albeit in less of an extreme way. 

Yeruselem does take the odd moment to reflect with ambient interludes including Sound Over Matter, which is a very apt song title from a band that lets their instrumental prowess do the talking for them. Its obvious that their creativity is boundless on “The Sublime” and following that short moment of peace, Joyless stomps forth with big beats and harder riffs. Again, the vocals reside within the mix and that bares no effect on the compositions, as they were meant to be more engaging on different levels.

The funk is alive and well too as Vindsval’s bass squares up to more powerful synth beats on Triiiunity. It’s hypnotising, especially due to the never-ending vocal note that’s held during the first-half of the song and that reappears again after the mid-point, Patterns swirl as W.D Feld’s industrial pulses threaten to overrun things. Its hellish and contains the first glimpse of harsh vocals on the album, which fits its overall feel perfectly.

In fact the second half of the album feels heavier and more jarring as a whole. Comforting and soothing sections are still present but it seems that song-by-song, everything is building to a crescendo that could only lead to complete aural terrorism. Babel continues that trend. The crashing cymbals on penultimate song Reverso sound almost too organic to be synthesised. The repeating phrases of the song are far from simple in structure and the constant progression shines through. 

There isn’t one specific genre with which you could categorise Yeruselem’s music. Its meant to be enjoyed as a standalone piece of art and boy does it standout. Its left to Textures Of Silence to whisk you off to a place so far removed from your own reality that you’ll struggle to make it back. “The Sublime” is breathtaking. The vision of both Vindsval and W.D. Feld is so bright that it shines over this release, that could well be one of the releases of the year. 

You can stream and purchase "The Sublime" on all formats (though some are now extremely low in number) below:-

You can also purchase physical copies from Debemur Morti Productions below:-

https://www.debemur-morti.com/en/

Yeruselem - https://www.facebook.com/Yeruselemprojekt/

Debemur Morti Productions - https://www.facebook.com/debemurmorti/

Coldawn - ...In The Dawn

Labels: Flowing Downward

Formats: CD/Digital

Release Date; 31 Jan 2018

Tracklist: 

1. Spectral Horizon

2. My Escape

3. The Essence

4. Only Moments

5. La Primavera No Llegara Esta Vez

6. ...In The Dawn

7. This: Over

8. My Destiny

Tonight's review features the first band whose music was released by Avantgarde Music sub-label Flowing Downward. The new imprint started releasing music in early 2018, with an ear for black metal with a difference. Coldawn (formerly Beyond The Dawn) began life in 2016 and crafted what would become "...In The Dawn", Coldawn feature guest musicians that previously formed part of Austere and Annorkoth respectively (as well as other bands), but that's not all...

I approach Coldawn’s music without any pre-conceived notions whatsoever and that pays off immediately, as Spectral Horizon greets with it’s acoustic guitar melodies that sound alive and welcoming. When My Escape takes over the speakers, it’s just as enjoyable with an atmospheric sound that move far beyond black metal. The instrumentation sits up top while the bleak vocals nestle beneath, giving the music and melody space to breath and envelope you. Further sensitive acoustic passages take you further into post-metal territories. The closest similarity I can find would be the music of Astronoid, but that’s not to say that Coldawn are mere followers. They are very much an entity filled with originality.

Another element of their sound in the keyboards and they come through during The Essence. It’s obvious that Coldawn find’s comfort at the ambient side of extreme metal, if you could even call it that here. It’s glorious, emotive and I have no idea why it’s taken me till now to discover it. The piano work that graces the The Essence is expertly played and leans more towards the baroque-era of classical music (if I’ve got my classical periods correct). Mid-way through, the full band breaks out of the shadows but the keys still remain ever-present. At times, it sounds like “…In The Dawn” could be a more commercial attempt at black metal but that would be an unfair assumption. If you think of the music created by Dark Tranquillity, Tiamat and Poisonblack in the past, then there’s a fair chance that Only Moments will appeal to you, as will the whole album. They are loose comparisons though, so apologies if you think I’m way off here. 

The band’s South American lineage shows itself on La Primavera No Llegara Esta Vez, with Spanish spoken-word samples and dreamy music. It’s incredible and creates a truly uplifting feeling when coupled with Coldawn’s heavier side. The breadth at which they vary their songs is obvious when the classical tones of the title-track begin. If the previous song sounded too modern for you then you’ll be at peace with this. More dramatic piano eases you into more foreboding surroundings with an ever increasing tempo and a reward at the end made up of their trademark take on black metal. It’s anthemic in all the right ways. 

There’s a sense of urgency to This: Over that’s not been present until now and clean female vocals that are siren-like against it’s backdrop. These dynamics all add up to the majestic noise that’s created ad expertly delivered. My Destiny seems to be the perfect song to end on as it allows one last euphoric glimpse into Coldawn’s world and it’s one that shines brightly. I cannot believe that I’ve gone so long without knowing about or listening to this album. If ever you want your perspective of heavy music changing, then this should be the album and indeed the band that does it. Coldawn is breathtaking. 

You can stream "...In The Dawn" below, where it's also available to buy on cd and digitally:-

Coldawn - https://www.facebook.com/Coldawnband/
Flowing Downward - https://www.facebook.com/flowingdownward/