Widziadło – Void (2017)

Reviews

Widziadło – Void
September 29th, 2017 (Poland); Opus Elefantum Collective
LP (47 min.)
Dark Ambient, Funeral Doom Metal, Atmospheric Black Metal

Lineup:
T – guitars, drums, production
Zguba – ambiance, production

Track list:
01. Gateway
02. Beyond Earth And Reason
03. Nether Reach
04. Halo
05. Creation
06. Entering The Void


Void is the debut album of the Black Metal duo Widziadło. The label dubs their music “Cosmic Ritual Black Metal”, which is a fitting description, but only touches on some elements of their music. More on that later. The band consists of the musicians Zguba, who debuted in 2016 with an interesting martial industrial album titled „The Last Command”, and T., who would like to stay anonymous. The whole project was born in 2012, when the artists met each other by mere accident on a Chilean beach. They realized that they shared the dream of space travel to experience the cosmic void and this shared dream united them instantly. The idea behind Widziadło was to reach sonic transcendency, a breakaway from well known reality and dimension. Widziadło is the result of the longing for a metaphysical, out-of-body liberty, a transcendence into the cosmic void.

The completion of Void took over half a decade. Through the years, the project continuously changed its sonic identity –  from space ambient to shoegaze, from sophisti-pop to harsh noise. The final result is an almost entirely instrumental album that combines all these elements into a rather unique sonic experience.

The album starts with “Gateway”, a track that begins like your typical shoegazy Atmospheric Black Metal song – a repeated riff and monotonous drums, howling incomprehensible vocals in the background. The folk influences become more obvious as the song goes on and the guitr works gets a bit more varied. It isn’t until the song is halfway over though, that something really interesting happens. The second half of the song was quite surprising to me though, as it introduces ambient elements to the Black Metal sound, reduces the tempo and starts getting more and more “spacey”. It becomes clear what the band is trying to convey with this album – a connection with the endless void of space on an atmospheric level. The guitar work on this track is a bit hindering in my opinion, as it stays rather monotonous and kind of boring throughout the whole track. A stronger focus on the ambient elements would have made this a better introduction to the album, in my opinion, but it is still a solid track in the context of the whole record.

With “Beyond Earth And Reason”, Widziadło are clearly paying hommage to well known Cascadian Black Metal acts like Wolves In The Throne Room or Falls of Rauros, but expand the typical Cascadian sound by synth lead melodies reminiscent of Atmospheric Black Metal bands like Elderwind. It is a very atmospheric and beautiful track, that isn’t crazily original, but a very good Atmospheric Black Metal track that shows that Widziadło definitively have some decent songwriting skills and a feeling for atmosphere.

“Nether Reach” is the first pure Ambient track on the album – and a fantastic one. The atmopshere evoken by the droney industrial and cosmic sounding noises on this track is creepy and very evocative – it takes you right into “the void”. A fantastic track and probably one of my favorites on the album.

“Halo” is a combination of what has happened so far on the album – a song that takes in both Ambient and Metal elements and floods the listener with crushing waves of sound. This song cannot be described as Black Metal, but comfortably sits in the genre of Atmospheric Funeral Doom. With slow drums and guitars, laid over an ethereal Ambient soundscape, the track instantly creates an atmosphere of solitude and emptiness on a cosmic level.

“Creation” continues this stylistic direction and is another slow paced track that is primarily defined by dark Ambient walls of sound and slow Funeral Doom riffs, but also brings back some of the Black Metal elements that dominate the first two tracks on the album. The song has a very creepy vibe to it, which is supported by the avantgard structure of the first half of the track. This song is another fine example of great atmospheric music that sits in the upper echelon of the songs on this record.

The album is brought to a close by the epic 13 minute long “Entering The Void”, which is the culmination of all the influences that define the sound of this record, and is at first even slower in tempo, leaning towards the Drone Doom side of things, then getting back to the Black Metal sound that dominates the first two tracks, while throughout the playing time once more strengthening the ethereal concept of the album with dreamy synths and shoegazy guitar riffs.

Void is a surprising album that starts off sounding like an average Atmospheric Black Metal album, but then progresses into a mighty fine ambient-laden Blackened Funeral Doom record that is evocative and entertaining, chilling and beautiful and with a unique sonic and thematic identity. While the album has some problems regarding creative guitar work, especially on the Black Metal parts, the ambient elements and the general atmospheric value of the whole record make Void an album that is definitely worth your time, especially if you are a fan of Atmospheric Black Metal, Funeral Doom and/or Ambient music.


 

Void will be released September 29th and can be preordered from Bandcamp.

Visit the official facebook page of the Opus Elefantum Collective for more great releases.


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BABYMETAL – BABYMETAL (2014)

Reviews

BABYMETAL – BABYMETAL
February 26th, 2014 (Japan); BMD Fox
LP (54 min.)
“Kawaii Metal”, Avantgarde Metal, Crossover, Death Metal, Power Metal

Lineup:
Suzuka “Su Metal” Nakamoto – Vocals
Yui “Yui-Metal” Mizuno – Vocals
Moa “Moa-Metal” Kikuchi – Vocals
Kami-Band – instruments

Track list:
01. BABYMETAL DEATH
02. Megitsune
03. Gimme Chocolate!!
04. Iine!
05. Akatsuki
06. Doki Doki☆Morning
07. Onedari Daisakusen
08. 4 no Uta
09. Uki Uki★Midnight
10. Catch me if you can
11. Akumu no Rinbukyoku
12. Head Bangya!!
13. Ijime, Dame, Zettai


Today is the 18th birthday of Yui-Metal, one of BABYMETAL‘s singers/dancers and I figured that this would be a good day to make a post about the band’s debut album.

BABYMETAL are without a doubt one of the most unique Metal bands out there. I honestly understand anyone who can’t get into their music because it is a very “special” mixture of styles, moods and imagery. BABYMETAL‘s very wide range of stylistic features puts them into an interesting position where they are both appealing to a huge and diverse group of people and repulsive to a similarly huge and diverse group of people at the same time. And I am in the position of a person who has transcended from the second group into the first.

When I heard of BABYMETAL for the first time and saw one of their music videos about five years ago I decided to hate the band. And I successfully avoided anything related to BABYMETAL until last year when I more or less coincidently came across the band’s second full length album “Metal Resistance”. It completely changed my mind about BABYMETAL and instantly made me a fan. From then on I started devouring everything BABYMETAL – including their debut album.

I grew to love “Babymetal” (almost) as much as “Metal Resistance”.
The debut album is a collection of songs that were originally recorded in the years from 2010 to 2014 and is therefore not such a coherent album as “Metal Resistance”.

I would not recommend the debut album to newcomers to the band who have never heard anything from them because it really is a CRAZY musical experience. From Rap through EDM, J-Pop, Death Metal, Power Metal, Symphonic Metal, Dubstep and Pop Punk, this album takes a huge amount of stylistic elements and turns them into a weird but incredibly catchy and fascinating sonic experience that no Metalhead should miss.
If you are new to the band, check out “Metal Resistance” first, though. It is a more coherent and focused album and I just think that it is less “shocking” than their debut album while being just as much fun.

If you are looking for something crazy and fun and haven’t listened to this band, check them out.


Listen to the album on Spotify.

Visit the band’s official website.


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Avatarium – Hurricanes and Halos (2017)

Reviews

Avatarium – Hurricanes and Halos
May 26th, 2017 (Sweden); Nuclear Blast Records
LP (45 min.)
Doom Metal

Lineup:
Lars Sköld – Drums
Marcus Jidell – Guitars, Vocals (backing)
Carl Westholm – Keyboards
Jennie-Ann Smith – Vocals
Mats Rydström – Bass

Track list:
01. Into the Fire / Into the Storm
02. The Starless Sleep
03. Road to Jerusalem
04. Medusa Child
05. The Sky at the Bottom of the Sea
06. When Breath Turns to Air
07. A Kiss (From the End of the World)
08. Hurricanes and Halos


After listening to this album once I had already written quite a long review in which I described how disappointed I was by it. Well, I listened to it again. And I realized that it actually is an album that at least for me grows with each listen. I’m still not fully satisfied with the album and think it’s the band’s weakest record so far, but I definitely can’t say that it is a bad album.

The songwriting and some stylistic decisions seem a bit “off” to me sometimes (e. g. the incorporation of child vocals on “Medusa Child”, which might sound like a good idea but doesn’t work very well, in my opinion), but these flaws are more or less evened out by great riffs, cool solos and of course fantastic vocals. Also, the title track! Such a beautiful instrumental piece…

Stylistically, Avatarium have moved even further away from their original sound than they did with their second album. Gone is the dark and heavy Doom Metal of the self titled debut album. Instead, Avatarium play faster, more psychedelic, “brighter” sounding 70s-ish Blues Rock/Heavy Metal on “Hurricanes and Halos”, sometimes reminiscent of Led Zeppelin, sometimes Sabbathy and sometimes just like something new and fresh. I am not completely in favor of this stylistic change because I LOVE the style of their debut album, but that’s just a matter of taste.

If you like Blues/Doom/Psychedelic Rock or old school Heavy Metal, you should definitely give this a spin.

A few words about the artwork:
While the artwork in and of itself isn’t all that special, it’s interesting to see the stylistic change of the band’s music reflected in their artwork. The cover of the debut album and this one are similarly designed but while the cover of their debut is all grey and drab, “Hurricanes and Halos” is more colorful and playful. I like the cover art of the debut better. The same thing can be said about the music.


Listen to the album on Spotify.

Visit the band’s official website.


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netra – Ingrats (2017)

Reviews

netra – Ingrats
March 9th, 2017 (Norway/France); Hypnotic Dirge Records
LP (39 min.)
Avantgarde/Depressive Black Metal

Lineup:
Netra – All instruments, Vocals

Track list:
01. Gimme a Break
02. Everything’s Fine
03. Underneath My Words the Ruins of Yours
04. Live with It
05. Infinite Boredom
06. Don’t Keep Me Waiting
07. A Genuinely Benevolent Man
08. Paris or Me
09. Could’ve, Should’ve, Would’ve
10. Jusqu’au-boutiste


A few days ago I stumbled across a record label called Hypnotic Dirge Records on Bandcamp. It is a label focusing on underground experimental/atmospheric Doom and Black Metal bands. All the albums on the label are available for free download on Bandcamp (an opportunity which I used to full capacity).

One of the most interesting artists on the label is French Avantgarde Metal band/one man project netra. His music is unlike anything I’ve ever heard before. The main musical style being Depressive Black Metal, netra incorporates elements from multiple genres like Jazz, Blues and, first and foremost, Trip-Hop (!) into his music. However crazy and unfitting this combination might sound on the paper, the actual music is amazing.

“Ingrats” is netra‘s most recent full length record and it’s probably his most eclectic and interesting work so far.

The atmospheric Trip-Hop and the raw Black Metal elements work perfectly together to create an atmosphere of depression and melancholy that can only be described as captivating.

The album surprised me repeatedly with unexpected stylistic breaks and is on the whole just an exceptionally rewarding listening experience.

If you are interested in unusual, experimental music with the Black Metal tag attached to it, you have to check this album out.


You can download this album for free from Bandcamp.

Visit the band’s official facebook page.


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Wode – Servants of the Countercosmos (2017)

Reviews

Wode – Servants of the Countercosmos
May 23rd, 2017 (UK); Avantgarde Music
LP (32 min.)
Black Metal

Lineup:
E. Troup – Bass
T. Horrocks – Drums, Guitars, Keyboards
K. Sveinsson – Guitars, Synths
M. Czerwoniuk – Vocals, Guitars, Synths

Track list:
01. Crypt of Creation
02. Celestial Dagger
03. Temple Interment
04. Servants of the Countercosmos
05. Chaosspell
06. Undoing


Only one year after releasing their acclaimed self titled debut album, English underground Black Metal act Wode are back with their second full length record.

On their debut album, Wode combined raw Black Metal with elements from the NWOBHM, Thrash and Melodeath and created a very bleak, cold sounding album.

On their new album “Servants of the Countercosmos”, Wode take what made their debut great and develop it further into a more interesting and versatile stylistic direction.
The album sounds less bleak than the debut, it’s a bit “warmer”, the Death Metal elements are a bit more prominent and the music generally is more diverse and progressive.

The music is still raw and aggressive with rousing riffs and drumming and relentless throat ripping vocals, but it is much more stylistically and compositionally versatile than the debut. The songs are on average shorter than on the debut, while the songwriting is more adventurous. This makes the album on the one hand more varied and interesting and on the other hand more coherent and compact, which I think is great because I found the debut album a bit “bulky” at times.

From the atmospheric intro to the acoustic guitar outro the album takes you on a highly entertaining and brilliantly written musical journey through everything we love about Black Metal (or extreme Metal in general).

If you liked the debut album, this record is an absolute must have for you. And if you are a fan of extreme Metal and don’t know this band yet, go and listen to this album.

This is one of the best Black Metal albums I’ve heard this year.


You can download this album for free from Bandcamp.

Visit the band’s official facebook page.


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Eoront – Another Realm (2017)

Reviews

Eoront – Another Realm
June 16th, 2017 (Russia);  Code666 (Aural Music)
LP (62 min.)
Atmospheric/Symphonic Black Metal

Track list:
01. The Rain
02. Two Worlds
03. Genesis
04. The Glow
05. The Sea
06. Dreamcatcher
07. The Order of Light


About the band

Eoront is a Russian Atmospheric Black Metal band that was founded in Krasnoyarsk in 2012 as a one man band. In 2013 the band independently released its first full length record “Neverending Journey”. In 2014, the German underground label Wolfsgrimm Records released the second album “Dhaar” consisting of two twenty-minute tracks. In the same year the band got a full live line-up and began to play concerts. One year later the band signed a contract with the Italian label Code666 and began recording their newest full-length album “Another Realm”. All members of the band participated in the recording and production of the album.

The band name “Eoront” is a neologism and the name of a fictious world with its own legends, myths, traditions and structure, which were initially the main content of Eoront‘s lyrics.

About the album

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“Another Realm” is a continuation of the journey around the world Eoront.
At this point in the history of this fictious world, Eoront has developed into a world of flourishing industry, pollution and large-scale wars. But it’s also a world where magic is always present. According to the band, the music on this album tries to portray the dichotomy and war between the decadence, dirt and chaos of the dark side of Eoront and the beauty and purity of its nature on the other side.
Lyrically, the album doesn’t explicitely talk about Eoront but consists primarily of poems by the Russian poets of the Silver Age – Nikolai Gumilev, Maximilian Voloshin, Alexander Blok and Konstantin Fofanov, who in their works combine the pain of the modern world and the enjoyment of the natural beauty of the past.

Track by track review 

The album is opened up by “The Rain”. The track begins with an Ambient introduction with a creepy atmosphere to it and then abruptly leads into raw Black Metal with the ambient theme still playing in the background. A very promising introduction into the album that sets the dark tone of the rest of the record very effectively and wakes interest for what is to come.

Track 2, “Two Worlds”, goes into a slightly different stylistic direction than the first track. The pacing is similarly fast, but the song isn’t as raw as the intro track and features a big amount of orchestral elements that play in the background. The orchestral elements, which immediately reminded me of the Norwegian band Kråke, are a major part of the whole album and give the music a very grand and epic atmosphere.

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The third track, “Genesis”, is a rather monotonous track with a very dark and pressing atmosphere. In my opinion, it’s a little too long for what it has to offer musically, but that’s just a minor flaw, considering the atmospherical value of this track.

“The Glow”, the fourth track on the album, is slower paced than most of the music on “Another Realm”, but contains multiple tempo changes, making it a very exciting song to listen to. Being both varied and atmospherically coherent, this song is a great example of a good balance between atmosphere and compositional creativity. One of my favourite tracks of the album.

“The Sea” is a song that begins with rather uninteresting classic Black Metal riffery but in the middle part it becomes very atmospheric and interesting. The orchestral and ambient elements are very effective on this track and give it a nice atmosphere that leads perfectly into the following song.

“Dreamcatcher” is again slower paced in the beginning and becomes a bit faster later on. This song has a very nice flow and takes the listener on an almost hypnotic and at times nightmarish journey. The drumming on this track is rather prominent and adds a dynamic element to the dense atmosphere. It seems like the longer tracks on this album are also the best ones. This song, much like “The Glow”, offers atmosphere and musical variance, it is both constantly atmospheric and musically creative. A great song, all in all.

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The last track on the album, “The Order of Light”, begins at very high tempo blast beats and guitar riffing with relentless vocals and impending symphonics in the background. A piano line adds a certain amount of “beauty” to the dark atmosphere and makes it an interesting listening experience that than leads into creepy distorted keys playing over a slow guitar riff and slow, heavy drumming. From there the song develops into an almost progressive sounding track with varied drumming and exciting synth and organ passages and ends with a nice ambient passage that is reminiscent of the album’s intro. A nice way to close the album off.

A few general things about the music, that more or less count for all the songs on this album: The vocals on the album are very good. They are not very versatile but in their range they are powerful and perfectly fitting for the music. The music generally sounds epic and “big”. This isn’t the lo-fi kind of Black Metal but is well produced and pleasant to listen to. In my opinion, Eoront really managed to create an atmosphere on this album that is both dark and frightening and kind of beautiful at the same time.

Conclusion

To sum it up, “Another Realm” is a very strong Black Metal record that provides a great amount of musical and compositional variance but is also very coherently atmospheric throughout the whole playing time. If you speak Rusian, I’m sure the listening experience will be even more interesting for you. If you like atmospheric, symphonic and/or melodic Black Metal, you have to give this album a spin!


You can purchase this album physically and digitally from Bandcamp.

Visit the band’s official facebook page.


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DragonForce – Reaching Into Infinity (2017)

Reviews

DragonForce – Reaching Into Infinity
May 1t9h, 2017 (UK);  earMUSIC
LP (60 min.)
Progressive Power Metal

Lineup:
Marc Hudson – Lead Vocals, Backing Vocals
Sam Totman – Guitars, Backing Vocals
Frédéric Leclercq – Bass, Lead Guitars, Backing Vocals
Vadim Pruzhanov – Keyboards, Backing Vocals
Herman Li – Guitars, Backing Vocals

Track list:
01. Reaching into Infinity
02. Ashes of the Dawn
03. Judgement Day
04. Astral Empire
05. Curse of Darkness
06. Silence
07. Midnight Madness
08. WAR!
09. Land of Shattered Dreams
10. The Edge of the World
11. Our Final Stand


This album is one of the most surprising records I’ve heard this year.

DragonForce aren’t exactly known for being a very innovative or experimental band. They are famous for their extremely high tempo and technically challenging guitar playing, but also criticized for playing “the same song over and over again”.

Until this year I had only heard a few songs by the band and although I found them very entertaining, they never really stood out from the rest of the Power Metal scene to be something I would come back to very often.

Generally, Power Metal is not exactly one of my favorite genres. Only a few bands manage to keep me interested over a longer period of time, one of them being one of my favorite bands of all time Theocracy. So, I didn’t expect to be blown away by the new DragonForce album.

But, man, this thing is crazy good. On the one hand, this album is classic DragonForce with crazily technical shredding and guitar harmonizing, excessive use of the whammy bar, simple song structures, cool breakdowns (“Judgement Day” – superb!), on point vocals and catchy melodies. But on the other hand “Reaching Into Infinity” has some really surprising progressive elements that are scattered throughout the album but really hit their peak in the 11 min centerpiece of the album – “The Edge of the World”. DragonForce completely step out of their comfort zone here. This song has a slower pacing than the typical DragonForce song and features elements of Progressive Metal and a completely surprising but perfectly fitting Death Metal (!) section with great guttural vocals by Marc Hudson. This song and especially the section described above completely blew me away at the first listen and still don’t cease to amaze me after multiple listens.

I really hope DragonForce keep moving further into the Progressive direction because I have the feeling that they are really good at it.

This album is a must both for fans of the band and for those who haven’t taken them seriously thus far. This album shows the actual range of their musical talent and sets the bar quite high for future records.

Of course this album is (unsurprisingly) very cheesy, but this is very high quality cheese. I’m loving it. Power Metal album of the year.


You can listen to this album on Spotify.


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Ghost Bath – Starmourner (2017)

Reviews

Ghost Bath – Starmourner
April 21st, 2017 (USA);  Northern Silence Productions
LP (71 min.)
Post-Black Metal, Blackgaze

Lineup:
杰米 – Bass
泰勒 – Drums
多诺万 – Guitars, Vocals (backing)
丹尼斯 – Vocals (lead), Guitars, Piano

Track list:
01. Astral
02. Seraphic
03. Ambrosial
04. Ethereal
05. Celestial
06. Angelic
07. Luminescence
08. Thrones
09. Elysian
10. Cherubim
11. Principalities
12. Ode


I normally avoid writing negative reviews because I see this blog primarily as an opportunity to promote music that I like and not to rant about music that I don’t like. But sometimes I want to do just that. Rant about bad music.

And, my oh my, is this album bad.

Ghost Bath is a band that gained a lot of attention for claiming to be from Chongqing, China while actually being based in Minot, North Dakota. And ever since they released their first full length album they have been rather polarizing. Many seemed to hate them while others celebrated them as one of the best Post-Black Metal acts in existence. Their newest album “Starmourner” seems to be just as polarizing. When you look for reviews of this album online, you find almost exclusively positive reviews – except for Sputnikmusic, where everyone hates the hell out of this album. And I must say that I cannot understand the positive voices in this case.

For me, “Starmourner” is the first experience with the band, so I can’t compare this to the bands earlier works, but if they are similar to this, then I don’t have any interest whatsoever in checking them out.

I don’t really get what Ghost Bath are trying to achieve with this album. They combine happy sounding melodic Power Metal-esque guitar lines with depressive (?) Black Metal and Shoegaze atmosphere and incredibly terrible howling/screaming/crying (?) vocals. This could probably work (except for the vocals, those are terrible, no matter the context) if they knew how to fuse these elements into something listenable. But they apparently don’t. The songs are very oddly structured and sound very similar to each other. They go on forever and they go from nowhere to nowhere. Oftentimes this album sounds like an accidental fusion of different albums that should not be fused, ever.

Not that this album doesn’t have any good moments – but, unfortunately, every time I actually thought “This isn’t bad at all!”, Ghost Bath find a way to completely destroy it – completely unfitting happy-clappy guitar solos or harmonies, weird out-of-tune piano or guitar passages or THOSE ATROCIOUS VOCALS THAT MAKE ME WANT TO WRITE THE REST OF THIS REVIEW IN CAPS LOCK TO SHOW HOW MUCH THEY GOT ON MY NERVES!

Writing this, I realize that this review is probably very similar to the album – it lacks structure, it is not easy to follow, it is boring and it is pointless. Well, maybe that’s the best way to demonstrate what this album is like.

In conclusion, I’d rather take a “ghost bath” (“the act of commiting suicide by submerging in a body of water”, according to the band) than listen to this one more time. Man, I already spent two and a half hours on this.

Why? WHY?!

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Kari Band – Kari Ongen (2017)

Reviews

Kari Band – Kari Ongen – Demo
April 26th, 2017 (Japan); Bellwood Records
EP (25 min.)
Jazz Fusion, Jazz, Progressive Rock

Lineup:
Mikio Fujioka – Guitar
BOH – Bass
Yuya Maeta – Drums

Track list:
01. Common Time’s Logic
02. Chuku
03. Ninja Groove (Ninja)
04. Djentleman
05. Jamrika
06. Snowflakes


Japanese Kawaii Metal phenomenon BABYMETAL is probably one of the most “controversial” bands in the Metal scene right now. There are probably only a few Metalheads who do not have some kind of opinion on that project. Many love it, many hate it, and that’s okay. But I think there is one thing we can all agree on: the musicians in BABYMETAL‘s backing band are some pretty talented dudes.

The Kari Band is the second project consisting of musicians who play(ed) in BABYMETAL‘s backing band after Takayoshi Ohmura’s solo project.
The Kari Band features Mikio Fujioka on the guitar, Yuya Maeta on the drums and the almighty BOH on the bass. The name Kari Band roughly translates to “temporary band” or “provisional band” and is a pun on Kami Band (“God Band”) which is the official name of BABYMETAL‘s backing band.

When I read about this project I had certain ideas about what kind of music this band might play on their debut. Considering the style of BABYMETAL, I expected a melodic and rather fast paced progressive Metal album. Well, I was not really close.

“Kari Ongen” is a Jazz Fusion album, stylistically similar to Nova Collective, who also released their debut album this year. The sound is a fusion between traditional Jazz and Progressive Rock, occasionally going into a more metallic, djenty direction, reminiscent of projects like Animals As Leaders.

This EP is labeled as a demo, but actually sounds like a fully realized, coherent album to me. While the songwriting, though very competent and interesting, isn’t extremely innovative for the genre, what really stands out here is the musicianship. BOH is a beast of a bassist – he already showed that in his work with Babymetal but here he finally gets the chance to really go for it. Mikio and Yuya are absolute masters of their instruments, as well. Also the guest musicians on the classical Jazz instruments, the wind instruments and the piano, do a great job.

As a whole this EP is a fantastic Jazz record by some insanely talented musicians – dynamic, entertaining and relaxing. I can’t wait for more from these guys.


You can listen to this album on Spotify.


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TIMŌRĀTUS feat. weapons of indignation – Compass (2017)

Reviews

TIMŌRĀTUS feat. weapons of indignation – Compass
April 19th (USA), self-released
EP (17 min.)
Drone Doom, Avantgarde Metal

Lineup:
Aleks Tengesdal – Vocals / Cello
David Napier – Guitar / Bass

 

Track list:
01. Voice of the Lion
02. Gaze


The “Compass” EP is the newest release by Christian experimental one man Metal project TIMŌRĀTUS, which came into being in collaboration with another underground one man project called weapons of indignation.

Over the last few years, David Napier, the man behind TIMŌRĀTUS, has been experimenting with many different styles of Metal and released a cohesive concept series of EPs each of which had a different genre (the EPs are titled “Death”, “Doom”, “Black” and “Grind”, accordingly to their respective genre).
This 17 minutes EP now falls into yet another stylistic category of Metal, namely Drone Doom.

I really liked his genre EPs so far but I must say that they were nothing too special. They were “generic”, which was kind of the idea behind them in the first place but also made them a bit less enjoyable than they probably could’ve been.
This EP on the other hand really is something special.

Drone Doom always has the potential to be very one dimensional and grow boring rather quickly, so it’s always nice to hear a band experiment with unusual musical elements to make their sound stand out from the rest.

For “Compass”, TIMŌRĀTUS teamed up with Aleka Tengesdal (weapons of indignation), a cellist. So what we hear on this almost entirely instrumental EP is great atmospheric Drone Doom, overlaid with dark, creeping, sometimes dissonant cello playing. The music is very heavy and creates a dense atmosphere that feels dark but also has those indescribable moments of light piercing through.

This EP is definitely one of the most interesting pieces of Drone I’ve heard this year and I highly recommend it to everyone who likes the genre.


You can download TIMŌRĀTUS’ whole discography for free from Bandcamp.


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