“The first eight centuries of the common era were a tumultuous one for Christian theology, played out in the writings of scholars now considered Early Church fathers. The study of this back-and-forth, which eventually resulted in an agreed ‘canon,’ gives Patristic their name. On debut Catechesis, the trio turn to the turbulent and culturally pivotal period that saw the fall of the Roman Empire, and the rise of the once-marginalized religion.” Church, State, Hell on Earth.
“Contact form promos are a high-risk, high-reward option when it comes to choosing a review candidate. The unsigned artist(s) behind the enthusiastic prose could be overselling an undercooked bedroom project, or understatedly presenting shockingly good music that makes you want to shake record labels and say “sign these guys, goddammit!” Stellar Blight, happily, are of the latter breed, though this fact is unsurprising. Comprised of the vocalist from Mānbryne (and Blaze of Perdition); the guitarist from Shodan; and the drummer from Owls Woods Graves, the trio have plenty of experience.” Thoughts arrive like mutterflies….
“Imagine you are trying to get your friend into a genre of music you love. Perhaps that genre has some unfortunate tropes that even an untrained ear can discern as all instances being relegated to the denigrated status of the lowest common denominator. You know first impressions are crucial, and thus desperately want theirs to be of music that goes beyond those trappings so your friend can share your joy. Let’s say that genre is tech-death, and the album that your friend first comes across in their journey Eschaton’s third, Techtalitarian. The band’s discography heretofore has been solid, but unremarkable, and given a prior emphasis on something closer to deathcore, you feel justified unease.” Friends, enemies, wankcore.
“Feversea is a perfect name for a post-metal band. It manages to evoke the genre’s typical moodiness and atmosphere, which, like the sea, can range from tranquil mystique to rage and channeled either through fretful drama or a kind of layered intensity that could faithfully be said to resemble a fever dream. But there’s more to Oslo’s Feversea than their name having a pleasing ring. Their debut Man Under Erasure carries the burden of making an impact in the veritable ocean of groups taking their cue from stalwarts like Cult of Luna and Russian Circles.” The old man and the Feversea.
“Pikes—the genus Esox—are perfect predators whose size and ferocity have made them somewhat legendary. However, as an emblem, they are somewhat understated and powerful but unobvious: literally hidden under the surface of the water, part of the sempiternal and vital river ecosystem. This lends weight to the already evident fact that Esox is an incredibly personal project for its creator, Federico Sturiale. 5 years in the making, Watery Grave tells the story of a suicidal drowning, with the drowner’s final reflections making up the album’s acts. It’s a tale that feels every bit as organic and raw as it ought to.” Immersion therapy.
“When a promo doesn’t adequately prepare you for what an album will sound like, one of two things is usually the case. Either the promo is poorly written, or the music is particularly description-defying. The promo for Felgrave’s sophomore, Otherlike Darknesses, while well-written, was insufficient to convey the music’s especially idiosyncratic nature. Despite the forewarnings that it “[melds] doom, black, and death metal in a way rarely done before,” and contains “intense and complex parts that wouldn’t be out of place on a technical death metal album,” Otherlike Darknesses is far stranger and deeper than expected.” Aural ambush.
“For the second year in a row, I was blindsided by a silent Cave Sermon drop. At least it didn’t take me 11 months to catch up this time. Album number three, Fragile Wings, sees Charlie Parks returning as a solo act, but now handling vocals on top of everything else. This latter is a welcome development, given how well the previous record proved vocals complement and enhance the unique musical style. After Divine Laughter blew my socks off and nonchalantly pushed its way to the top half of my 2024 year-end list, a follow-up so soon filled me with a mixture of excitement and trepidation. Surely he couldn’t do it again?” Rave in the cave.
“Not being an Opeth fan, I know it can’t just be me who reads Pain Communion as a deliberate riff on Pale Communion. The debut from Kevin George’s solo endeavour Collapsed Vein, however, seems to have absolutely nothing to do with the famous Swedes and their famous album, though that doesn’t mean it wasn’t named deliberately. It’s rare that doom not preceded by the adjective “funeral” or which isn’t otherwise explicitly DisemBOWELment-coded ignites any excitement within me, but Pain Communion seemed promising.” Slowpeth?
“We tend to underestimate how great a role knowledge of the artist plays when experiencing their art. Even if unfamiliar with their work, the awareness of them as a person (or group of people) whose intentions are either plain or discoverable through interviews, notes, or academic consensus informs our opinions insidiously but inevitably. In an age when self-promotion is easier than ever thanks to the internet, a musician choosing to remain anonymous speaks to a desire to center their music in as absolute a way as possible. Who comprises Blood Abscission, and how many of them are there? That may never be known. All that exists is their art.” Art above fame.
“Metal has long taken inspiration from the realms of horror, mysticism, and the occult. Paths to Deliverance adopt ideas from all three. Debut Ten, structured roughly around the bardo—the liminal experience leading from the point of death through to reincarnation—also borrows imagery and storytelling from “Edgar Allan Poe, Lovecraft, Clive Barker, Graham Masterton, and Stephen King, as well as […] Dante.” You would be justified in assuming this is a solo project, given its eclectic and lengthy blurb, but this is only partially true as progenitor A.S.A has recruited artists to fill every position other than his own vocal and bass duties.” Ten grand tales of dread and dead.
