Μηλινόη, 22 October 2017


des­pair, demen­tia, dis­sent

black, death, funeral, dun­geon, dark ambi­ent, sadgaze, harsh elec­tron­ics, intense (neo-)classical

Super-atmo­spheric, doomy black metal on World of Wounds by Bar­ren Canyon (2018, Avant­garde Music). Great synths and ambi­ent pas­sages cush­ion some majestic, des­pond­ent, angry riffs.

A Wound of Body (2018, Cyc­lic Law) is a superb dark isol­a­tion­ist drone work. COMMON EIDER, KING EIDER must have pulled this grim stuff straight from some dust-laden, for­got­ten crypt.

“Astrogrind”? I’m down with that. On Impossible Orbits (2017, Selfmade­god), DEPHOSPHORUS like to set a break­neck pace with their cos­mic death and blood-curd­ling screams. The tracks have often got a def­in­ite swing to them as well. Killer stuff.

The Spider God­dess by LVTHN (2017, Fallen Empire / Rat King / Amor Fati) is some sub­lime ritual black metal, crunchy and dron­ing. Make your way down to the temple and praise the God­dess. Blesssssss.

Filthy, teeth-grind­ing, blackened death metal. Mylingar’s Döda Dröm­mar (2018, Amor Fati / Vigor Decon­struct / Fallen Empire ) picks up where Döda Vägar left off. Ded­ic­ated to dead dreams every­where.

With Blod­bad och Efter­spel, Örnat­or­pet focuses on a key epis­ode in Swedish his­tory, and on dun­geon synth with a mys­ter­i­ous atmo­sphere. A tad simplistic, but it strikes the right mood, and the bet­ter tracks are towards the end.