Μηλινόη, 19 November 2018


des­pair, demen­tia, dis­sent

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

A relent­less, deep single: Birth by Dead Neander­thals is twelve minutes of intense synth and sax dron­ing over an unstop­pable death waltz. An excel­lent example of their craft.

A concept split EP where Far­sot and Cold­world join up for some romantic black metal-meets-acous­tics. Toten­in­sel (2018, Proph­ecy) is good stuff, warm and dreamy. Too bad the cover kind of butchers the divine paint­ing this release is inspired by.

Out now: Graven’s Heirs of Dis­cord brings about half an hour of abso­lutely furi­ous death metal with a grind/hardcore edge, by ex-mem­bers of Swarm of the Lotus and oth­ers. Quite unortho­dox, with exten­ded doomy pas­sages and other styl­istic escapades. Abso­lute high grade mater­ial, and a band to look out for! (2018, Thiev­ing Hand / Neg­at­ive Grade)

Listen to “Back­wards to Obli­vion” in my latest show

On their sev­enth album, Hel­runar present us with warm and smoothly pro­duced black metal, heavy on good leads and melod­ies. There’s a clear and aud­ible matur­ity and thought­ful­ness behind this album, and its strongest tracks are mys­ter­i­ous, spell­bind­ing affairs. Sadly, Van­itas Van­it­atvm (2018, Proph­ecy) lacks a slight bit of urgency once it passes the first few tracks, and it does­n’t con­vince over it’s entire 63-minute length.

This is some bloody heavy metalcore with a couple of sur­pris­ing twists. I Want To Be Noth­ing by Pale Ache. Twenty crush­ing minutes in your face.

Bequeath Thy Griev­ous Loss by The Spirit of Iuven­ium (2018, Pacific Thren­od­ies) is the kind of baroque dark goth dun­geon synth your teacher warned you about. Ah, but this is good stuff. So fill up those chalices and invite your vam­pire bud­dies, because it’s time for a party…

Much has been said about Ulthar’s excel­lent debut album Cos­movore (2018, 20 Buck Spin), but let me add my 2 cents, because this pack­age of tire­lessly dynamic riff­ing deserves all the praise it gets. Like much of the year’s best metal, it takes cues from dif­fer­ent moments in metal his­tory. It’s death metal, but its edges are raw, blackened, tech­nical, and thrashy. And the album does­n’t shy away from spacy synth inter­ludes either. If this ulti­mately means a decrys­tal­lising of metal’s sub­genres, I’m all for it. Let all the branches remerge. Regard­less, Cos­movore does­n’t tell a story as much as it is an entity: a devour­ing beast intric­ate in com­pos­i­tion yet sin­gu­lar in its pur­pose to swal­low abso­lutely everything whole.

Listen to “Infin­ite Cold Dis­tance” in my latest show

What else to play after a whole morning/afternoon of depres­sion sleep than the new Vouna album?Yes, it’s down­cast and sad, but there’s an uplift­ing light­ness, too. A lovely piece of unortho­dox and for­ward-look­ing funeral doom. Out now on Artemisia.