Tom Osman in case you weren’t aware is a writing colleague over here at Ghost Cult and looking at the albums he’s reviewed previously, I can see he has a tendency towards for the most part the more esoteric and avant-garde as evidenced by names such as REZN, Fågelle, Soothsayer Orchestra, Holy Fawn and Black Magnet. Prior to Industrial State of Mind (Drama Recorder), Tom had recorded and released the so much for all in a day’s work album in the early part of 2022.
Though hailing from Chicago, Illinois, the doom metal of Rezn displays a touch of East-Asian mysticism about it, on Solace – the band’s self-released fourth full-length. Slow-to-mid-paced, hypnotic riffing goes from nimble and floating to heavy and crushing (and back again) all fluidly and with an altogether gorgeous production that makes this metal album akin to some exotic sweet that still delivers satisfying, crushing heaviness.
Sharing their name with the 1999 album by their “main band” gothic metal veterans Paradise Lost, Host is a goth rock project of vocalist Nick Holmes and guitarist Greg Mackintosh that allows the duo to delve deeply into their shared love of dark, eighties new wave sounds. All through the duo’s debut album IX (Nuclear Blast) — listeners will hear just as many (if not more) allusions to dark synth bands of the time like Depeche Mode, as they will to the group that Holmes and Mackintosh made their names with. The result is a very well-made and fairly consistent album that isn’t breaking any boundaries.
Until his untimely death in February of 2022 there were few singers who could match the gruff, forlorn weariness of Mark Lanegan. But while the world won’t be able to look forward to a new release from the former Screaming Trees frontman in 2023, on The Last Black Flower (Lay Bare Recordings) the second album by Soothsayer Orchestra, the spirit of Lanegan is ever-present.
Marking ten years since the first self-titled release under the name Fågelle, Den Svenska Vreden (Medication Time Records), is the latest album by Swede Klara Andersson and collaborator Henryk Lipp.
Evoking more than a whiff of the spirit of Siouxsie Sioux with a tight, goth-rock unit, Shaam Larein’s second full-length Sticka En Kniv I Världen (Svart Records) may have you seeing visions of witches dancing barefoot under the moonlight.
Grinding away in the sludge metal fringes for over thirty years, Los Angeles, California’s -16– are one of those “how have I missed them?” bands that seem to fly below the radar for many, but once detected are unlikely to be forgotten. On Into Dust (Relapse Records) the band drop their ninth album, the follow up to 2020’s Dream Squasher, sounding as amped-up, powerful and determined as ever to charge head-first through the nearest wall.
For anyone fooled into thinking this is 2022, Arctic Monkeys deliver a musical message that the 1970s are still going strong, on their new record The Car (Domino Records) the follow up to 2018’s Tranquility Base Hotel + Casino
With a band name so obscure it’s like they don’t want to be found, a mocking album title and featuring a musical parody of Sergeant Pepper’s Lonely Hearts Club Band, Mr. Phylzzz (pronounced “Mr Flies”) demonstrate on their latest album Cancel Culture Club (Amphetamine Reptile Records), that they aren’t taking anything too seriously.
Like a deadly, grizzled beast that lurks in the shadows, KEN Mode emerges every few years with a new record, tearing off limbs as it goes, before skulking back into its pit. With September 23rd seeing the release of Null, on Artoffact Records — the band’s eagerly anticipated follow-up to 2018’s Loved — founder and singer/guitarist Jesse Matthewson talks about the new record and what keeps the KEN Mode fires burning. Continue reading