God is War, formed in 2018, is the solo project of Mack Chami. Boogeyman Inc. (Profound Lore) is his latest offering, featuring seven tracks of glitching, abrasive, instrumental industrial noise music.Continue reading
Tag Archives: soundscapes
ALBUM REVIEW: KEN Mode – VOID
With spoken word poetry recitations comparable to Allen Ginsberg’s Howl and strong emphasis on immense existential dread, KEN Mode returns with their newest studio album VOID, released via Artoffact Records, the band’s ninth studio album.
ALBUM REVIEW: Panzerfaust – The Suns Of Perdition : Chapter III The Astral Drain
Canadian post-black metallers Panzerfaust return with their sixth album, and the third in The Suns Of Perdition series. Sharing their name with a German World War II anti-tank missile, and the classic 1995 lo-fi album from Norwegian second wavers Darkthrone, Panzerfaust having been carving away a niche following with their distinct sound and conceptual albums since 2005, this time styling the lyrical theme of III: The Astral Drain (Eisenwald) on mankind’s collective descent into madness. Continue reading
ALBUM REVIEW: The Ever Living – Artificial Devices
The contradictions of crafting an album using the very technologies and processes the band had previously railed against are but one small element of the complicated and interesting layers that make up Artificial Devices, the self-released second full-length composition of London duo Andrei Alan (guitars/bass/programming) and Chris Bevan Lee (keys/vocals/programming) collectively known as The Ever Living (I promised myself no Mumm-ra comments, but here I am in the intro… I can’t help it, every time I see the band name…).
ALBUM REVIEW: Final Light – Final Light
One of the more leftfield collaborations of 2022 so far, see’s French electro maestro Perturbator (aka James Kent) purveyor of heavily eighties-influenced dark-wave join forces with Johannes Persson, vocalist/guitarist and principle songwriter for Swedish post-metal innovators Cult Of Luna. The collaboration first bared fruit early in 2020 as Holland’s Roadburn Festival, the legendary celebration of heavy and experimental music offered Perturbator and Johannes the opportunity to collaborate with a specially commissioned live performance.
ALBUM REVIEW: NOÊTA – Elm
NOÊTA is a duo based between Norway and Sweden and consisting of multi-instrumentalists Ândris and Êlea, the latter of whom also provides vocals. Their music is an intriguing hybrid of dark folk and dark ambient styles, with just a hint of black metal seeping in around the edges.
Holy Fawn – Death Spells
I think Holy Fawn summed themselves up brilliantly with their band summary: “four creatures making loud, heavy, pretty noises”. Combining ambience, walls of distortion and ethereal vocals, Death Spells (Holy Roar) is the embodiment of these contrasting musical textures.Continue reading
Fedrespor – Fra en Vugge i Fjellet
Folk music has a pretty difficult time of it in the modern music scene. Despite being the foundation for almost all popular music genres, it is often considered cliche and archaic when held up against contemporary music, even though elements of the genre resonate throughout popular music. Whether it’s acoustic instrumentation or song structures which are the very backbone of popular music itself, the influence and fundamental importance of Folk music is downplayed or outright neglected.Continue reading
Gridfailure – Irritum
It’s a cruel irony that, for music which is such a personal and unrestrained expression, so much Noise sounds interchangeable. By forcing the player to respond to orthodox patterns, traditional instruments make it much easier to develop a singular “voice” – by making and manipulating their own sounds out of nothing, Noise artists ironically often end up sounding the same as each other.Continue reading
Insect Ark – Marrow Hymns
The thing that everyone always forgets about “Post-Rock” is that it was never intended to be a defined style of music. Essentially journalistic shorthand for “I don’t really know what this is, but they use guitars”, it was a useful semi-label for the otherwise unlabelable until someone decided that it was a genre defined by stroke-inducing levels of boredom and its use in a review became the Touch Of Death for all right-thinking people. Continue reading