With a sense of longing Bast’s debut Spectres (Burning World) eases itself into the speakers, as ‘In The Beginning’ whispers a post-Black Metal (minus the shoegaze) prelude to what is to come, a Wolves In The Throne Room vibe permeating the waves of the first 5 minutes, before seguing into a heavier, doomier latter section. Excellently crafted, for an opening track it serves to not only introduce you to the melancholy of the band, but also their versatility and diversity, a bonus in an age of bands defining themselves within and of a singular sub-genre.
‘Denizens’ picks up the doomier mantle, stretching epic darkness reminiscent of Anathema’s Pentecost III that lurches into faster, eloquent post-Black Metal before bringing things back to the Peaceville doom via some tremolo picked guitar. Vocalist Craig Bryant showcases adaptability, gruff in the darker sections, and with a Winterfylleth tone to his black metal throat-rips.
Title-track ‘Spectres’ is up next, with a more traditional, upbeat flavour to its doom-tinged blackened metal, like My Dying Bride playing Darkthrone before hitting an unexpected head-nodding stoner groove. Sprawling closing pair ‘Psychonauts’ and ‘Outside The Circles Of Time’ build with post-Metal excellence, the former creating genuine tension and a feeling of building and foreboding without release, while ‘Outside…’ is a bleak downer that calls to mind Neurosis and with its 11 minute frame stretching, uncoiling, brooding, closes the album as we began, but this time with the gruff vocals juxtaposing with the Deafheaven melodic black metal beauty underneath.
Far from being schizophrenic, despite moving between three distinct genres, the quality of the writing makes this a seamless and thoroughly rewarding listen. For a debut that throws up comparisons to Altar of Plagues and ISIS, and much in between, this is a highly accomplished set of compositions that belies their early stage of development.
Spectres is dissonant, brave and intelligent, displaying a great album dynamic, as Bast take the listener with them through an expertly sound-scaped journey of post-Black Metal, UK doom and out the other side into the cold, harsh world of post-Metal. Continue down this path, and the follow-up should be some album.
8.5/10
STEVE TOVEY
Sadgiqacea harness the power of legendary bands such as Isis and Neurosis but match it with the sludgy progressive genius riffs that would make Mastodon and Baroness proud to call their own. That is only half the story as Sadgiqacea adds ambient style noises to the mix along with a dose of gloomy reality.
If you’re wondering if this band comes from Belarus, because of your football knowledge, well… You’re wrong. Hamburg, Germany is the correct answer in this particular case. The three fellows in Shakhtyor are delivering there first work, with this self-titled album (Cyclone Empire), and the most visible “ingredients” are the many genres (stoner, doom, sludge, etc.) derived by the mighty institution that Black Sabbath is, with some few chunks of the most out of fashion genre on the underground metal scene today, post-rock.
One of the most anticipated albums of this years is the collaboration between members of ISIS and Chino Moreno of Deftones, forming the group Palms. Their self-titled debut is out on Ipecac records and Bryant Clifford Meyer (guitars, keyboards), Jeff Caxide (bass, keyboards), Aaron Harris (drums, electronics), continued more their work together from their classic run from one of post-metal’s most celebrated bands. The album is as good as advertised and Ghost Cult caught up with Cliff Meyer to learn how this band came together, how the album was made and what the future holds for them.
The reunion of three fifths of post-metallers Isis alone is something to raise intrigue and hunger but add Deftones vocalist Chino Moreno into the mix and that appetite takes on a more voracious stance. It also ignites wondering expectations as to which direction their sound and presence together as Palms would take, the heavier more rapaciously intrusive fascination of Isis or the experimental atmospheric devouring of Moreno’s day job. The self-titled debut reveals it is somewhere in between whilst exploring its own evocative and enthralling soundscapes.
Experimental two-piece Swedish sludge merchants The Moth Gatherer have trodden a long hard road to get their first record out, working on music together in various incarnations since at least 2006. But after a two-year writing/recording process, their debut album A Bright Celestial Light is finally out worldwide, on Agonia Records. Ghost Cult chewed the fat with Alex Stjernfeldt, discussing the painful inspiration lying behind the new album’s darkness, and the long, difficult process of moving towards life in the light.
Belgian post-metal outfit Steak Number Eight are making quite a name for themselves. In 2008, they became the youngest act ever to win Humo’s Rock Rally, a contest open for bands from all over Belgium. Since then, they’ve put out three curshing slabs of experimental sludge, though still barely out of their teens. The band’s latest record, entitled The Hutch, may well be their finest to date. Enough reason to chew the fat with guitarist/vocalist Brent Vanneste.
To follow blindly is unwise. One should always question the path they walk. But the path we’re tasked to follow during the debut album by Swedish duo Alex Stjernfeldt and Victor Wegeborn, collectively known as The Moth Gatherer, is so compelling that no questions need to be asked. Sometimes it’s better to be swept up and taken away.
Sweden is still a hotbed for talented bands and musicians. Enter Stockholm-based Colossus, a band that likes to keep the middle ground between prog and sludge metal. Their debut album, entitled Wake, is rather impressive. Ghost Cult caught up with Niklas Eriksson, the band’s guitarist/vocalist and mouthpiece.