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Μηλινόη, 25 February 2020

Μηλινόη

des­pair, demen­tia, dis­sent

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


Ser­i­ous busi­ness on this for­bid­ding doom split, out on Tri­droid Records / Roman Numeral.

Body Void’s “Andro­gyne” smashes slow, and then it smashes fast, and it always smashes hard. Crusty sludge the way I like it. Keeper too are main­tain­ing a steady level of uncom­prom­ising sludge pum­mels, even in the vocal-heavy second track “Twenty”.

Not for the faint of heart, but then again, few things I post are.


Big sad today. Per­fect time to put The Cold Light of Des­pair by Chrome Waves (2019, dis­order-record­ings) in the spot­light. This one has been boun­cing around my player for a while now.

Deep into the sad end of met­al­lised shoegaze, CW bank on heavy slow blisses, hazy acous­tics, and eth­er­eal screams and plaints. They’re not afraid to be indul­gent, and we should­n’t be either.


Con­scious­ness Torn from the Void. Now there’s a mood, haha, amir­ite, fel­low young­sters? “Hard same,” you will say.

Ser­i­ously though: The Ember, The Ash (also: Unre­qvited) is bring­ing some proper exist­en­tial black metal here with saucy sym­phonic touches and gentle inter­ludes.

A dis­tinct late 90s feel is heav­ily present here, and I crave it often, so I’m very con­tent. Restore my con­scious­ness to the void, already. Sheesh.

(2019, Avant­garde Music)


It’s a little bit coun­try and a little bit rock ’n’ roll — no wait, scratch that.

False’s latest album Portent (2019, Gilead) has a whole dol­lop of clas­sic sym­phonic black metal, but the band have picked up things left by the way­side over the past twenty years of metal his­tory.

There’s still break­neck speeds and walls of synth (praise be), but there’s a sens­ib­il­ity to the whole thing that makes this far less straight­for­ward than pure wor­ship of the clas­sics would have been.

The main test­a­ment to how good this is is the fact that I was com­pletely absorbed by their recent live per­form­ance of some of these tracks, without ever hav­ing heard their music before. This rarely hap­pens, trust me.


Geistaz’ika - Trold­domssejd i Skovens Dybe Kedel (2019, Sig­nal Rex)

This is that raw folky black metal shit that I crave. It’s got the acous­tic bits, the back­ground choirs, the grim organic mel­an­choly, the dark folk­lore.

It’s very Ber­gtatt, but not too much, and few albums even get close to that realm, so let us be thank­ful.


Proper sad girl music hours up in here. And wow, is Ghostwriter ever the per­fect com­pan­ion! Kalee Beels serves up a potent, heart­felt blend of gloomgazy singer-song­writer tunes. RIYL cry­ing. I know I tend to write iron­ic­ally, but this really is beau­ti­ful stuff. (2019, Tri­droid Records)


LES CHANTS DU HASARD are back with a very strong album of bom­bastic syn­tho-clas­sical: Livre Second. Extremely dynamic, dark, and with scattered moments of calm beauty. The mood takes me back to old Elend, but LCDH def­in­itely has its own sig­na­ture. (2019, I, Void­hanger)


Ser­pent Column’s been put­ting out choppy, com­plex black metal records solidly over the past few years. Mir­ror in Dark­ness is the latest, über­solid, com­ing at you from vari­ous angles. It sure keeps me on my toes, at least. Out through Mys­tískaos.


Deli­ciously entran­cing slow-burn black metal from NL. It’s pon­der­ous, with a min­im­al­ism in com­pos­i­tion, but an excel­lent tim­ing through­out. And I do have a weak spot for these gor­geous Prim­or­dialesque gui­tar tex­tures.

Turia’s Degen van Licht pierces like the eponym­ous blade, with Dutch lyr­ics driv­ing home the point again and again that liv­ing is dying. Out right fuck­ing now through Eis­en­wald and Haer­esis Novi­o­magi.


Don’t mind me. Just squeez­ing thru with this massive ol’ sledge­ham­mer of doom from Vile Creature. A Pess­im­istic Doom­sayer is a single track EP (2016)—a dynamic com­pos­i­tion, an array of vocal styles, and enough bludgeon­ing to keep my mind in check right now. I fuck­ing needed that.