The new Ex Abyssō issue is out NOW!28 pages full colour + 2-track EP with music by Argiflex and uncertain. Available in digital or print/CD edition.
And still, listening to Limbonic Art’s Ad Noctum: Dynasty of Death, it’s something more than nostalgia that tickles me. This shit holds up, and it does so just as well, or perhaps even better, than contemporary works such as Spiritual Black Dimensions or IX Equilibrium.
1995’s Alkahest is one of Paul Chain’s most solid doom works. Catena’s trademarks are “purely phonetic” vocals, punchy riffs, and stellar guitar solos, all of which are on prime display here.
This is Alex Crispin sending me something I didn’t ask for, and didn’t exactly know how bad I wanted. This is him just saying: “hey, I made this little thing, maybe you’ll get something out of it.” Yes, I most certainly did.
A funeral doom release under Mories de Jong’s Gnaw Their Tongues name, who would have expected that?
Not that they’ve ever really gone away, but synthpop and wave are undoubtedly going through a revival the past few years.
It’s raw, it’s spaced-out, it’s occult. Primitive Knot conjure a kind of mechanised yet organic ritual tunes that are somewhere between Motörhead and Darkthrone.
Jazzbient is horrible term that I invented myself, but it happens to suit Morgen Wurde’s music just fine.
The opening flute suggests an album of pieces from traditional (early) music somewhere in the world, but Opalescence gradually opens up to something else, something more. There is experimentation that can only spring from a jazz background, and moments where the two meet and intertwine.
Stephanie Richards makes her trumpet sound like and against a lot of things. On Fullmoon, she is surrounded by percussive instruments: snare drums, timpani, gong, piano.