As EPs go, this release by Birmingham doomsters Alunah is perhaps a necessary one. In the wake of their founder/head vocalist Sophie Day leaving the band last year, the need to establish her replacement, Siân Greenaway, as quickly as possible means Amber & Gold (self-released) has a purpose, if nothing else.Continue reading
Holy Roar Records has been on a roll over the past couple of years, with releases this year alone from Rolo Tomassi and Conjurer, amongst others, of the highest order. The indie record label has truly made a name for themselves for pushing brilliant bands forward who will be here to stay. portrayal of guilt are the latest band to release their debut album on the label (which is available via Gilead Media in Northern America) but will it live up to the high standards set by their peers?Continue reading
On Heavy Yoke (Solid State/Indie Recordings) Azusa is a bit all over all the place. Solid State’s own website has them described as “Can you imagine Kate Bush fronting Slayer; Death collaborating with Annette Peacock?” And they’re not technically wrong. Heavy Yoke is ripe with flashes of Thrash, Death Metal, Punk, Pop and Prog. It seems contradictory or musically adverse, but these are professionals at work.Continue reading
It’s easy to love Sigh. It’s also easy to find them really annoying. Starting off as a Japanese branch of Black Metal’s second wave, Sigh has since mutated in all sorts of bizarre and interesting ways, integrating everything from classical influences to jazz breakdowns to having a nude, blood-smeared woman shrieking out vocals over Venom covers. As one does. At best, it made them a glorious thing to hear. At worst, it just sounded like a formless din.Continue reading
It’s long past the time of day when Thomas Giles (aka Tommy Rogers of Between The Buried And Me) began being able to do whatever the hell he wanted. To be fair, to say his day job band has moments of eclecticism is like saying that Brexit negotiations have been a little bit difficult. And that diversity of spirit, of zig-zag, is absolutely at the core of fourth solo offering Don’t Touch The Outside (Sumerian Records), a record that is everything and nothing, and that is laissez-faire in respect of genre while being incredibly focused in trying to keep the listener moving.Continue reading
Calling it a day nearly fifteen years and five full-length albums after their inception, Norway’s Chrome Division are riding off into the sunset with one final record to send them on their way.Continue reading
The incredible productivity of transatlantic duo Ævangelist – six albums and a host of EPs littering its eight-year existence – is matched only by the nerve-shredding nature of the music. The Blackened Death chaos mirrors the evil and pestilence rife in today’s inhumane, technical age, and this is further reflected in latest album Matricide in the Temple of Omega (I, Voidhanger Records).Continue reading
Four years ago, at Cult of Luna’s heralded Beyond The Redshift festival, I saw a band that went toe-to-toe with the headline acts and matched their beauty, elegance, and musical depth. Ten years into their career and with their fourth album Nowhere (Season of Mist) about to grace our ears, we find Esben And The Witch at their darkest.Continue reading
Oft breathed by those in the know in the same exhalations as Dream Theater, Leprous and Devin Townsend, London’s Haken frequently pass below the radar of those outside of Prog spheres. New album Vector (InsideOut Music) is, however, the fifth in the band’s ten-year existence and shows a level of accomplishment to surpass those more notable names.Continue reading
Hailing from Canterbury, UK, Ohhms specialise in long, doomy dirges. Their first two EPs – 2014’s Bloom and 2015’s Cold – along with last year’s debut full-length The Fool established them as the one the country’s go-to acts for 20-minute long deep dives into all things slow and heavy. Their new effort, Exist (all Holy Roar), continues in that same vein and manages to satisfy, even if it doesn’t rock the boat. Continue reading