Raphael Weinroth-Browne - Worlds Within

By Matt Hinch. Wake's previous album, Misery Rites, should have garnered the attention of anyone who hadn't been paying attention already. It was a potent blend of black metal and grinding madness. Anyone who thought new album, Devouring Ruin was going to follow the same formula would be wrong.

By Matt Hinch.

Painting by Heather Sita Black.

This site may be Metal Bandcamp but this solo album from Raphael Weinroth-Browne, Worlds Within, is barely even metal adjacent. That term doesn't make much sense anyway. Raphael has played with Musk Ox, The Visit, and of course Leprous so he is well known to the metal community. However, we haven't really heard him play the cello quite like this. Unaccompanied. Every sound on here was made by him on a cello. The instrument itself has great range but add in the percussive elements and effects pedals and you'd swear a whole orchestra is in on this. It's just him though. Rhythms, leads, everything. Worlds Within seems like a spectacularly apt title given the worlds that open up in the minds of the listener on this 45-minute piece presented as 10 movements.

All 10 of those movements are quite moving. The piece's bookends, “Unending I” and “Unending II” feel like dawn and dusk, casting shadows with beauty and subdued light, brightening and fading, albeit with melancholic qualities. Melancholy and darkness find their place often. “From Within I” and “From Within II” open up the mind and paint an expansive picture. Raphael himself has stated a mind-nature connection exists with this section and with eyes closed the majesty of both worlds fills the soul.

As we move into “From Above” and the “Tumult” suite Worlds Within starts to show its diversity even more. Non-traditional playing techniques (is that strumming?) and percussive elements change the mood. It feels more dramatic and expansive once the spacey layers find their home. Layers move in and out of consciousness amid a steady beat until gorgeous leads take your breath away. There are times even that the Walking Dead theme comes to mind. So does Blue Man Group!

“Fade (Afterglow)” brings things back down to earth after all the drama. In fact, it feels watery, like ripples spreading in a pond as rain falls on the surface, leading us back to the aforementioned dusk of “Unending II”.

Worlds Within is an escapist piece of music. Wrap it around you like a blanket and let the emotions it conjures penetrate you. Serenity, fear, joy, sadness, conflict, peace. Traditional sounds via untraditional methods form a profound 45 minutes of encapsulation. The cello is an amazing instrument and Raphael is an amazing musician and composer with amazing vision, passion, and skill. We all need to escape. Escape to Worlds Within.

Wake - Devouring Ruin

By Matt Hinch. Wake's previous album, Misery Rites, should have garnered the attention of anyone who hadn't been paying attention already. It was a potent blend of black metal and grinding madness. Anyone who thought new album, Devouring Ruin was going to follow the same formula would be wrong.

By Matt Hinch.

Artwork by Alexandre Goulet.

Wake's previous album, Misery Rites, should have garnered the attention of anyone who hadn't been paying attention already. It was a potent blend of black metal and grinding madness. Anyone who thought new album, Devouring Ruin was going to follow the same formula would be wrong. Sure, those key elements are present and accounted for but they've further honed their melodic touches and technicality and shifted in a more deathly direction.

Opener “Dissolve and Release” opens the listener's ears with a fairly melodic section but the hammer has to drop, right? It does with the force of a Prairie blizzard leading into “Kana Tevoro (Kania! Kania!)”. Technicality and off-kilter riffing compete with blasting drums and chest-caving vocals. As claustrophobic as it sounds the solos are quite expansive while still grounded in darkness.

Elsewhere we find demons unleashed. Fast, angry, and destructive. Vocals breaks and a slower pace rub elbows with more impact riffing. The back and forth between annihilation and lamentation feels more like reality than some bands one-vector approach. “Mouth of Abolition” features devastating deathgrind sewn together with prog touches and melody. The vocals, however, give no quarter amid the pummeling, yet there's enough emotion throughout to pull something out of you.

“Torchbearer” sees an atmosphere of doom devolve into noisy paranoia. A slow chug drags the listener through swamps of death before it rockets into black metal fury. There's really a lot more than just that as this track tops 10 minutes! Not too typical for grind! I don't think anyone has accused Wake of being typical.

“In the Lair of the Rat Kings” balances their signature grinding madness with some flourish. It's a banger though; total annihilation with some real heavy movement. It leads right into the penultimate track, “Monuments to Impiety”. More rage, more speed, more angularity, more heavy-handed groove.

Other than its runtime of over seven minutes closer “The Procession” brings together all the elements present in the previous nine tracks (save the two “noisy/arty” interludes). It encapsulates all the deathly weight, speed changes and bulging muscularity Devouring Ruin is built upon. It even feels like a conclusion (to the album). It has a climactic feel like it's rising, freed from the ground it so mercilessly pounds.

Wake are seriously making a name for themselves. Not only in the grind scene but as one of Canada's best extreme acts. With Devouring Ruin they are elevating an already top shelf game. This is a band not content to sit on their laurels and remain in a comfortable zone. They're pushing themselves and genre conventions and we are all the beneficiaries.

Alunah - Violet Hour

By Matt Hinch. Let's get some formalities out of the way. Since Alunah's last full-length the band has seen some significant turnover. After Solennial, vocalist Sophie Day left to pursue other endeavours. Guitarist David Day stayed for Amber and Gold, the EP that introduced us to new vocalist Siân Greenaway.

By Matt Hinch.

Artwork by Felipe Froeder/Arcano XV.

Let's get some formalities out of the way. Since Alunah's last full-length the band has seen some significant turnover. After Solennial, vocalist Sophie Day left to pursue other endeavours. Guitarist David Day stayed for Amber and Gold, the EP that introduced us to new vocalist Siân Greenaway. However, new LP Violet Hour finds the guitarist spot now occupied by Diamond Head bassist Dean Ashton. The rhythmic backbone has stayed intact in drummer Jake Mason and bassist Daniel Burchmore. As such, despite a 50% turnover the band still sounds like the Alunah I know and love yet the evolution of their sound leaves no doubt the players are different

I tried to keep the compare and contrast to a minimum while both listening and writing but I couldn't shake it entirely. No one would mistake one vocalist for the other but both work for the material. Live performances have shown that Greenaway doesn't sound out of place handling older material and on Violet Hour she definitely takes the vocals as her own. The version of Alunah that evolved up to what we heard on Solennial felt slower overall as well as more doomed and earthy, suiting Sophie's delivery perfectly. Violet Hour immediately has a different edge on opener "Trapped and Bound". Harder, edgier, with a different force behind it compared to the softer, hazy, more natural feel of old. There seems to be a shift in tone towards "hard rock with doom" rather than "doom with hard rock". It's not really a drastic change but it's powered by different elements. There's a swagger and a more rollicking feel at times.

As the album progresses it settles into darker places. By the time we get to "Hunt" familiar feelings start to come forth. The darkness of "Dance of Deceit" bleeds into the "classic" plodding riff that headlines "Hunt". It feels decidedly like traditional doom bringing to mind Trouble, or even Candlemass.

"Hypnotized" and the title track further display their evolving sound. The former is pretty doomy but still more uptempo. Greenaway's vocals are the smooth and haunting sort the band is known for while in the latter she brings a real power to match the riffier aspects of the track. It's like riding the album rather than sinking right into it. "Unholy Disease" feels like a sprint compared to some of their work both old and new. It's through these middle tracks where the solos highlight the stylistic difference. Definitely more rock oriented. Speaking of solos, during the solo on the smooth-moving "Velvet" the bass lurches into a more prominent recognition with a growl and the whole album is better for it. This is the track that sealed the deal for me. It's very reminiscent of previous albums and Greenaway gets truly bewitching and haunting. A definite high point.

Album closer "Lake of Fire" is my favourite track on the album though. The keys at the opening add more atmosphere. The bass is featured and the smooth cadence warms my soul. The chorus is huge and magnificent with a riff you can really get behind. Greenaway opens right up to captivate the listener. Even the solos have a quality to them that embraces the listener. It's massive and epic and the perfect way to end the album.

There's more comparison above than I wanted but it is what it is. Despite the new lineup this still sounds like Alunah. It's still doomy. The vocals still soar and the rhythm section is still rock solid. Violet Hour will really start to bury itself in your head after a brief and painless adjustment period. It's catchy, man! There's a little more muscle in the delivery but we all need to get a little stronger in some way. The band has always been evolving. Violet Hour just skipped a couple steps in the process of what they'll become. Come along for the ride.

Cloud Rat - Pollinator

By Matt Hinch. My daughter likes watching tarantula videos. Her favourite part is the “takedown” when the tarantula strikes quickly to take down their prey, enveloping them in a multi-limbed attack for the kill. Cloud Rat take a similar approach. Pollinator is the latest example of their multi-faceted and killer grind spearheaded by piercing vocal venom. It doesn't take a myriad of eyes (or ears) to know Cloud Rat are worthy of attention.

By Matt Hinch.

Artwork by Renata Rojo.

My daughter likes watching tarantula videos. Her favourite part is the “takedown” when the tarantula strikes quickly to take down their prey, enveloping them in a multi-limbed attack for the kill. Cloud Rat take a similar approach. Pollinator is the latest example of their multi-faceted and killer grind spearheaded by piercing vocal venom. It doesn't take a myriad of eyes (or ears) to know Cloud Rat are worthy of attention.

Blasting through 14 songs in under 32 minutes barely gives you room to breathe. “Luminescent Cellar” will put some air in your lungs with a dreamy, melancholic opening before crushing your chest with some fucking heavy, doomish devastation. It's all devastating and it's all sure to make it virtually impossible not to move. Violently.

Obviously, it's not all a foot-to-the-floor maelstrom of flailing limbs. Just the majority of it. “Wonder” hides a black metallic melody within its frantic pace, and “The Mad”, though hard as hell, has parts that one might call airy and emotional that get broken down into some serious elbow swinging swagger.

If you want an onslaught of spine-bending riffs look no further than “Al Di La”. There's plenty to choose from. It's a serious adrenaline shot with a.....different ending. “Biome” feels the same energy-wise, a whirlwind of speed that works in a bangin' riff. And for the love of chaos, the two tracks between them, “Last Leaf” and “Zula”, do nothing to temper that momentum. Lightning in your headphones, man.

From start to finish Pollinator vibrates with a bristling energy. It puts a stranglehold on the listener throughout. It's hard to pinpoint exactly what separates Cloud Rat from other non-meathead grind bands. Unspoken intangibles are often more fun than clinical analysis. One thing's for sure though; Cloud Rat cannot disappoint. Pollinator is one of those albums that will leave you utterly spent and wanting for nothing. A half-hour of pain provides all the pleasure.

Vastum - Orificial Purge

By Matt Hinch. When I wrote about Vastum's 2015 effort, Hole Below I name-dropped Bolt Thrower, Atheist, and Death. Don't ask me why because I don't really listen to those bands. I should but... whatever the case the death metal created by these Bay Area bashers fills the void created by my lack of OSDM listening with new album Orificial Purge.

By Matt Hinch.

Artwork by Laina Terpstra.

When I wrote about Vastum's 2015 effort, Hole Below I name-dropped Bolt Thrower, Atheist, and Death. Don't ask me why because I don't really listen to those bands. I should but... whatever the case the death metal created by these Bay Area bashers fills the void created by my lack of OSDM listening with new album Orificial Purge.

That title sounds like the prep for a colonoscopy. Pain, suffering, enslaved to the agony and in the end, there's no shit left. There was nothing shitty about Vastum to begin with and these six tracks should silence any doubt about the matter.

The other thing lacking here is light. Listening only brings an aura of darkness. Whether it's their “spooky” intros or ghastly atmosphere, or everything in between, Orificial Purge plunges the listener below the surface into a hellish existence where the sinister reigns in hues of black and red.

Black metal may inform the beastly death Vastum is so good at but their right-hand demon is doom. Thrashy cadence and twisted screaming solos mold the album into various tortured and twisted shapes but the heaviness and their slowing down to a lurching place brings the whole world down upon you. No matter the pace – ripping speed, lurching doom, or mid-paced pummelling – Vastum leave nothing on the table. Full-spectrum death metal.

As if the sonics weren't enough, the coal-breathing vocals grab hold and turn your spine to ash. What's left of it anyway. This is the kind of death metal for which furious headbanging will not be denied. It's a primal instinct activated by primal terror. The lyrics are themselves tortured and twisted but also uttered in an equal foul way. Discerning ears are required.

Orificial Purge has it all. A varied pace, cavernous atmosphere, commanding vocals, and serious chops. The most notable change from previous albums, to these ears, is an uptick in production value. Yeah, death metal isn't supposed to sound clean but this does. The nastiness just sounds better. That's really saying something. What are you waiting for? Let the Purge begin!

Irata - Tower

By Matt Hinch. Apparently Irata has been around since 2007 but I've never come across their name until now. Also, from what I hear, they've gone through some evolution through math-y and fusion realms to reach the point they're at now. While it would be interesting to dig into those

By Matt Hinch.

Watercolor by Santos.

Apparently Irata has been around since 2007 but I've never come across their name until now. Also, from what I hear, they've gone through some evolution through math-y and fusion realms to reach the point they're at now. While it would be interesting to dig into those formative albums preceding this monster 2019 offering, Tower there's enough right here to keep you entertained. If I had to play my hand early on what Tower is all about I'd say "immersive heavy rock fused together with a slight 90s alternative vibe, pop sensibilities, and a tendency toward progressiveness kept in check by a thunderous foundation."

What does that mean? It means Jon Case (bass/vocals), Jason Ward (drums/vocals/synth) and guitarists Cheryl Manner and Owen Burd gather together a variety of styles and feelings, molding them into one of 2019's brightest shining gems.

The title track gets things started with a chugging force meeting bright slices of light (more on that later) shaded by the accessibility of a band like Torche, vocally at least. This song is relatively short. The themes and general feeling are further expanded upon throughout the album. The key word here is "feeling". Irata make you FEEL the whole time. "Waking Eye" is a good example. The chorus gets right into your soul, screaming guitars bite into a swirl of motion amid proggy riffs, and you're taken home by a controlled freakout at the end. The instrumental portion, something Irata does very well, comes with full spectrum dynamics and an enveloping and penetrating essence. A soothing bassline anchors melodic vocals and guitars during one of the album's quieter moments and gives it a somewhat Tool-like impression. That's not the only time Tool comes to mind either. Also, sometimes you could lift a riff from this and plop it into a Mastodon song and it would fit right in. The surrounding parts give Irata their own identity though.

"Crawl to Corners" really plays into the feeling of light with the guitars. There's a sense or a vision of light filtering through a canopy of trees and clouds, or sparkling upon moving water. It feels like life and growth, a counter to the mournful trumpet that opens the track. However, when they move into crushing mode the darkness comes swiftly.

Closer "Constellations" features those smooth vocals (quite common throughout), sweet bass and incredible groove. It captures a sense of space. Not just the space with the stars but openness and size. The opposite of oppressing even when they hammer the listener with a concentrated attack. It also feels like being thrust forward with all things passing by in a blur but the impressions left and clear and welcome.

Overall the album feels very put together. There's an effortless technicality in the way the guitars weave together on different paths which makes them hit that much harder when everyone comes together. I'm sure there was plenty of effort involved but it flows so well that the listener at least doesn't have to try hard to enjoy it.

It's a beautiful album. "Weightless" is my favourite example. It's 4:20 long and that was probably what time it was when I first heard it if you take my meaning. Vocals soar over crunchy riffs while taking you to the clouds. The whole song makes you feel alive and weightless indeed. It is, as stated on the track, "...so beautiful. So goddamn beautiful!"

Tower is simply captivating. Irata manage to bring a heaviness together with beauty, catchiness, and emotion in a way that feels transcendent. It lifts the listener up, puts them through a range of emotions and leaves them to experience the album from their own angle. I've found myself spellbound and on the verge of overwhelmed. It's a powerful album that leaves a varied and deeply satisfying impression. You won't be disappointed.

Wolvhammer - The Monuments of Ash & Bone

By Matt Hinch. It feels like it's been longer than four years since the last Wolvhammer release. I didn't forget about them though. New album, and first for Blood Music, The Monuments of Ash & Bone definitely made the wait worthwhile. I admit I haven't gone back and reminded myself

By Matt Hinch.

Artwork by Brian Sheehan.

It feels like it's been longer than four years since the last Wolvhammer release. I didn't forget about them though. New album, and first for Blood Music, The Monuments of Ash & Bone definitely made the wait worthwhile. I admit I haven't gone back and reminded myself what their previous records sounded like but sometimes context just isn't in the cards. Besides, this album hasn't left my phone in a solid year.

In my humble opinion, or rather, as pertaining to my personal tastes, Wolvhammer are upper tier USBM. Never mind your basements and bullshit necro recording techniques. Monuments sounds great. Sounds huge. Sounds nasty. There's no doubt to the black metal base here but it's not all blasting and arctic wind riffing. Atmosphere plays a part, as well as varied tempos and pacing. It's not “black 'n' roll” though.

As you may or may not know vocalist Adam Clemans also sings for Skeletonwitch. When he was announced as Chance Garnette's replacement my initial reaction was basically “COOL!! That guy kicks ass!” Kick ass he does. Most of the time he rips ears with his signature snarly rasp. Clean vocals aren't out of the question but his chilling delivery mates perfectly with the bulldozing riffs and energetic percussion. Guitarists Jeff Wilson and John Porada, bassist Andrew Gerrity, and drummer Garry Naples round out the new lineup in case you were wondering.

Most of the album is fast enough. Militant, biting, gnashing and fierce. Physical and bruising. Wolvhammer drag the listener through the darkness on the back of their infectious riffs and feral energy. Stand out track “The Failure King” is so powerful. It came on the PA between sets at a Goatwhore show and I was just as excited for that as anyone actually on stage. Closer “Solace Eclipsed” though slows it down, bringing in plenty of atmosphere and those clean vocals. The tone of this track feels more morose and cold, a change not met with listener resistance for the album's waning sounds. It still has some pounding moments to inject a sense of determination the listener can take with them. As well as a desire to start it all over again!

The Monuments of Ash & Bone is fantastic. Wolvhammer's sense of motion and conviction doesn't go unnoticed. There's nothing to complain about. Its aggression and dynamics hit the sweet spot and give me the sense that their live show is something to witness. USBM doesn't get much better for me. I'm already yearning for their next offering but this one provides plenty to chew on (and burn through) until that day comes.

False - Portent

By Matt Hinch. Before we even get into the nuts and bolts of the new False album one must note that this one actually has a name. Previously the Minnesota black metal 5-piece released an “untitled” EP and LP. Sure the Hunger EP had a name but this seems more significant.

By Matt Hinch.

Artwork by Mariusz Lewandowski.

Before we even get into the nuts and bolts of the new False album one must note that this one actually has a name. Previously the Minnesota black metal 6-piece released an “untitled” EP and LP. Sure the Hunger EP had a name but this seems more significant. Threateningly or disquietingly significant in fact. A marvelous omen indicating a momentous happening. You see, the name of the album is Portent and all meanings of the word are applicable.

My first listen to False's sophomore full-length came under almost ideal conditions, with the main point against being the fact that it was 30°C and not cold and icy at all. Otherwise, the racing percussion (Travis), atmospheric keys (Kishel) and relentless guitars (Niko – bass, Skorpian – lead, James – rhythm) cascaded through the speakers as trees, bushes, sparsely lit houses and the watchful eyes of nocturnal creatures flew by driven by the aural assault, as a crescent moon hung high in the sky casting shadows upon the already darkened landscape.

The serenity is broken by Rachel's possessed vocals. Bewitching and vile, they strike with all the subtlety of teeth scraping on bone. The passion and desperation, conviction and heart of her delivery leaves nothing to be desired. The somewhat abrupt, barking style won't be for everyone but anything more melodic or less eviscerating would throw off the whole balance.

The three main sources of healing pain on Portent take the long road. Opener “A Victual to Our Dead Selves” is the shortest of the three at almost 11 minutes. As one would expect a lot happens in that amount of time. There is repetition obviously but not for the sake of filler and while the track takes the listener to many different places the path makes sense. The focus shifts at times with more emphasis on the keys, or the vocals, or the epic/power metal moves the guitars make around the 4:00 mark. Definitely not a “set it and forget it” album.

“Rime on the Song of Returning” also packs a lot in. The icy black metal seems unstoppable lest a lack of movement freezes the band in place. Yet, the pace goes glacial for a while. A doomy dread brings a lethargy into play that spills over into a more measured pace. A moodier time. A time without vocals where the listener can immerse themselves even more into the windswept melodies and soothing atmosphere. It's hard to think of anything as soothing when most of the elements hit so, so hard but it happens anyway. Especially the percussion; nuanced, complex, and dominant.

The pacing carries into “The Serpent Sting, the Smell of Goat”. Kishel's keys show off a new facet for the album careening with a more industrial/air raid quality, like a fall from a great height, or the heartbreak of apocalypse. There's more than enough speed to be had though. False get downright fevered at times channeling every fibre of their being into a cathartic rage.

With the exception of low-key piano outro “Postlude” - a welcome cool down from Portent's unfailing intensity – False go for the throat. A lot happened in the band member's personal lives in the years since their last LP and it has brought the band together in ways us outsiders can never really know. But we can hear it. We can feel it. We can feel a band firing on all cylinders, with purpose, locked in, pouring all their pain, loss, and suffering into their art, their escape, their way forward over 41 minutes of flowing, active and adventurous black metal.

Portent, for all its shifting moods and pacing, feels incredibly fluid. Complex too. On the surface, it's fierce black metal, all flailing riffs and blasting drums ruled by demonic vocals and can be enjoyed for just that. But a more concentrated listen allows the listener to become one with the cold darkness. In this state, the whole can separate into its composite pieces. The path the leads take become more defined, the percussion fully blossoms, sometimes the bass can be heard more prominently (my only gripe about the album is turn up the bass!), and various other production flavours (string noise, thumps, etc) increase the sense of realness enhancing the overall experience.

False make a statement with Portent other than titles, member names, and a willingness to talk about their work. A statement that American Black Metal can go toe-to-toe with its Scandinavian counterparts and come out the other side no worse for wear. Depending on the listener, victoriously triumphant in fact. I mean, isn't Minnesota the most “Scandinavian” state anyway?

Sâver - They Came With Sunlight

By Matt Hinch. When “Dissolve to Ashes” first started playing on a new release playlist I was a little taken aback by this Sâver band. Who are they and what is the futuristic synth stuff doing here? The percussion and bass kept my attention long enough for the Deftones-ish

By Matt Hinch.


When “Dissolve to Ashes” first started playing on a new release playlist I was a little taken aback by this Sâver band. Who are they and what is the futuristic synth stuff doing here? The percussion and bass kept my attention long enough for the Deftones-ish crooning to come in. Still on the fence. Tipping as the bass gets gnarly. And then BAM! DUH-DUH-DAH-DUNNN! An avalanche of leaden sludge full on in the face. I get it now. And that’s how They Came With Sunlight came to dominate my listening habits.

The hardened, sludgy riffs send ripples through the earth’s crust compelling necks to bang with board-breaking force. It beats you up with the effectiveness of a sledgehammer. While it’s not the only example of Sâver's mix of moody moogs and crushing sludge, it is the most overt. Then again, the Norwegian trio do refer to the music as “heavy, spaced-out darkness.” Indeed. I should point out that all three members, bassist/vocalist Ole Christian Helstad, drummer Markus Støle, and guitarist Ole Ulvik Rokseth used in to be Tombstones, and the latter two form Hymn. And Hymn is damn heavy. Their pedigree and familiarity make TCWS's completeness come as no surprise. These lads know what they are doing.

Outside the eerie droning of “Influx” sitting near the album’s midpoint, Sâver sound like a mix of Conan and Ufomammut with more than a little Cult of Luna thrown in. Breach and The Old Wind are other reference points for their style of immersive sludge. Calling it sludge doesn’t even feel right though. Sure, the riffs hit with that kind of intensity, but the atmosphere moves TCWS into another realm. It makes it feel like the whole thing encompasses so much more than riffs and volume. That is also due in part to the progressiveness that flows through the album. That would seem obvious with the Ufomammut and Cult of Luna reference, the former very atmospheric and weird, the latter more exploratory than your average sludge band.

But let’s talk about the opener though. The futuristic synths don’t hide on “Distant Path”. Neither does a section bordering on black metal, all tremolos and yelling. Preceding that Sâver go on a captivating tangent where they, well, the guitar anyway, sits on a note and just pulses on it. It’ll stop you in your tracks and keep you transfixed. Also, for the love of infinite darkness, the crashing and crushing slow doom at the end has the apocalypse at its heel, ready for command.

In fact, just about every song on TCWS features a moment or two that elevates the listener’s experience. Sometimes it’s a riff or a sequence, sometimes the bass tone, drum swagger or a particularly arresting bellow. Sâver, despite this being their debut album transition seamlessly between all their movements. It feels so realized you could wonder where they’d go from here. Anywhere they want, I suppose.

They Came With Sunlight is fantastic. It’s never boring. They know when to bring the songs into focus and with authority deliver concussive blows of heaviness. Muscular percussion carries deadweight strings and fiercely determined vocals. Atmosphere opens up an otherwise oppressive approach. Noise and subtle dissonance inject just enough chaos, and synths alter the feel toward a dystopia. All together it creates an album that becomes more revealing and essential with each listen. Go ahead, get lost in the ungodly heavy riffs rippling through the ground, the vein popping vocals, the entire journey through darkness. They Came With Sunlight sure, but Sâver swallowed it all up and used its energy for decimation. Let it decimate you.

Beaten to Death - Agronomicon

By Matt Hinch. Back in 2011, this crazy-ass Norwegian band called Beaten to Death decided they were going to take up permanent residence in my head with Xes and Strokes. Seven years, two albums and a live release later, the “melodic grindcore” outfit return.

By Matt Hinch.


Back in 2011, this crazy-ass Norwegian band called Beaten to Death decided they were going to take up permanent residence in my head with Xes and Strokes. Seven years, two albums and a live release later, the “melodic grindcore” outfit return with a pretty swell Christmas present in Agronomicon.

In keeping with their vision for the band, Agronomicon was recorded 100% live. Also, as usual, they bend grindcore at will with their spastic enthusiasm. It's infectious. Their tempo change strategy must revolve around firing a rubber ball around the room and switching when someone gets hit in the head. Dirgy, death metal pummelling, ding, blasting grind, ding, groovy romp, clunk, Telecaster twang, thump, CHAOS. It seems like it should give my straightforward brain a headache but B2D just do it so well. Perhaps they do it too well and have spoiled bands with similar approaches. Names have been omitted to protect the innocent.

There's just something great about an album that can have you circle-headbanging one moment, throwing elbows the next, then swaying your hips and looking for a dance partner until you're spun back into a maelstrom of intensity and cathartic energy.

No matter how gut-wrenching B2D can get at times there's always another time that's totally uplifting. Or how angry they can sound, or disgusting, there's a jangly bit to throw open the shutters and dispel the darkness.

Speaking of gut-wrenching, angry, and disgusting, let's not forget about those vocals I love so much. Not just the leads but the well-timed gang shouts too. They're a good source of involuntary muscle contraction. All of the muscles. I hope I'm not the only one that connects with the vocal Hydra. Piercing screams, experimentation, and that growl. Oh, that growl.

The nature of that feral growl is my spirit animal. That makes about as much sense as building a house with an inflatable hammer but what I'm trying to say is deep down, that's what my inner beast sounds like. That's what this album does to you, man. Scrambles your brain. Like an egg in a frying pan on those old anti-drug ad campaigns. Without all the legal trouble and just as much social stigma.

Time and time again I'm wowed by how Beaten to Death can pack such intensity and creativity into such a short runtime and still infuse it with melody and movement. It's like a dramatic comedy stage play sped way the fuck up. It's definitely not mindless. I think it's their uniqueness that puts them over the top. No one sounds like this. Agronomicon throws more wood on the fire heating their melting pot of crazy fun grind. Why isn't this band more talked about? Or am I just too busy listening to them to hear the noise? I mean, it's like standing in a boxing ring taking endless body shots while being thrown from corner to corner all while laughing with euphoria. Doesn't that sound great?

Domkraft - Flood

By Matt Hinch. When I saw Domkraft's name pop up in my email I took notice. I couldn't immediately remember what their previous album (The End of Electricity) sounded like but I knew I was excited. This was more than an “oh yeah, I remember that band” moment.

By Matt Hinch.


When I saw Domkraft's name pop up in my email I took notice. I couldn't immediately remember what their previous album (The End of Electricity) sounded like but I knew I was excited. This was more than an “oh yeah, I remember that band” moment. As expected, digging into their new album, Flood was no disappointment. Note also that this is the first release on a new label called Blues Funeral Recordings. Gotta keep an eye on that. I mean, it's run by Jadd Shickler of Meteor City/Magnetic Eye fame so I'm not worried about quality.

Domkraft deal in the psych/stoner/doom/sludge realm with emphasis on the psych doom. Obviously they prefer to keep the song lengths long, giving the hypnotic, repetitive riffs time to become superglued inside your head. We're not talking mind-numbing repetition though. In fact, the word “prog” has been thrown around in reference to Domkraft. They're no King Crimson but there is a complexity beyond the pulsing, head-nodding doom riffs that swirl and snake around you, enveloped in a fog of red-eyed delight. (They're probably fans of King Crimson though.)

Those bone-rubberizing riffs form a sturdy backbone. They're heavy and dark and a little mean but not gothic or depressing. Part of that may also be from the vocals. From the gut, and more bellow than anything, they berate the listener from the middle distance making Flood sound epic and open while the rest of the sound feels right on top of you.

I know they're not alone in this but Domkraft have a way of keeping things simple enough to remain grounded but it's laced with enough of the good stuff to at least evolve the mind into a state of higher being. They'll mix a measured pace and consistent volume with sneakily powerful builds, affecting psych, and percussive energy.

This unheralded Swe-doom band can compete with the likes of say, Conan and even Sleep. Flood should take you to the same places or even a little further on a somewhat different path given they deal with porous borders. (Not a political statement.) Domkraft set themselves apart with a more colourful atmosphere (and album cover). Even though they don't totally weird out the pervading feeling of tonal bliss and psychedelic aptitude maintains a consistent buzz for the whole 40+ minutes.

By the time you get to album closer, “Dead Eyes, Red Skies” you can even pick out the more overt blues touches. Just one more twist in the plot. Throughout, this many tentacled beast continually feeds on the kind of riffs you want to let soak in. Just open all your pores and feel it penetrate, working the psych magic from within. Domkraft may be doombringing riff miners but they have a depth outside of that. But who in their right mind is going to tell them to stop digging? There's always a demand for gold!

Scorched - Ecliptic Butchery

By Matt Hinch. Back in August, I saw Scorched play at Migration Fest. I knew enough about the band that I wanted to stick around and watch them instead of going to a bar with my friends. That says A LOT. It wasn't an easy decision but it turned out just fine.

By Matt Hinch.

Arwork by Misanthropic-Art.

Back in August, I saw Scorched play at Migration Fest. I knew enough about the band that I wanted to stick around and watch them instead of going to a bar with my friends. That says A LOT. It wasn't an easy decision but it turned out just fine. 2016's Echoes of Dismemberment made enough of an impression that I was happy to reacquaint myself with their brutal style of death metal in the live setting. A mere two months after that earplug workout they've released another exercise in gruesomeness with Ecliptic Butchery.

Here we see the Delaware death crew taking the horror off the planet. They brought all the gore with them though. Blood still sprays in zero gravity! Just look at the song titles. “Blood Splatter Eclipse”, “Exhibits of Torture”, “Barbarous Experimentation”, “Dissected Humanity”, you get the idea.

Sound wise Scorched keep things pretty brutal. More California death than Florida to these ears. That's just how I hear it anyway. Heavy either way. While they have the chops to pull it off if they kept it fairly standard, they don't keep it standard at all. There are more than enough tempo changes to keep things interesting and some sci-fi synths/samples give it flavour. A song like “Mortuary of Nightmares” has it all. It's a total neck-breaker with galloping riffs, a sludgy part, chugging beatdowns, and percussion that kicks you while you're down.

Elsewhere they channel Cannibal Corpse (and not just with the vocalist's circling headbanging), work in some creepy organs, fall into a pit of doom, and even rub up against some d-beat rhythm. Throughout though the atmosphere one feels is truly dark and horrific. They don't necessarily do anything specific to set that feeling up. It's just part of the whole package. Well, save for the cavernous death growls. They suck all light from the room and enhance the death/doom quality woven into their precise instruments of aural torture. Let's not forget the slick, incisive solos that tip their hat to the mighty Slayer though, as they strengthen a certain familiarity. In my opinion anyway.

It's also my opinion that if you're going to play death metal with a sci-fi twist, do it like this. Keep the brutality. Keep the groove. Keep it death metal. Give the listener something they can sink their teeth into and chew on for a little while. That way if you aren't the kind of person that can discern lyrics, you can still wrap your mind around everything else hurtling you towards your demise. 2018 has been a pretty solid year for “traditional” death metal and with Ecliptic Butchery Scorched add their name to the list.

Migration Fest 2018

By Matt Hinch. I don't travel much. I live a mere two hours East of Toronto and I might get into the city once a year for a show at best. So driving all the way to Pittsburgh was a big deal. But that big deal was Migration Fest 2018.

By Matt Hinch.

I don't travel much. I live a mere two hours East of Toronto and I might get into the city once a year for a show at best. So driving all the way to Pittsburgh was a big deal. But that big deal was Migration Fest 2018. Totally worth the sweaty-palmed eight and a half hour drive. Damned traffic. Three days packed with bands either on Gilead Media or 20 Buck Spin or hand-picked by them. The trust level here was sky high.

As much as I would have liked to I didn't see every band perform. Out of the 26 bands (I think) that shook the foundation of Mr. Small's I only completely missed 4 bands. Not bad if you ask me. So nothing here on Zombi, Deadbird, Pryolatrous, or the Cancer Conspiracy. Sorry. Other than that I'll try and recap the first multi-day festival I'd been to since 1996. I told you I don't get out much.

Day 1

I also missed the pre-show Thursday night because I was taking in a Pirates game, so at the coincidental time of 4:20 Friday afternoon Migration Fest proper fired up with Cloud Rat's violent grind. I wasn't as familiar with them as I thought but their energy pulls you in anyway. Couch Slut followed up with a hugely anticipated set. Their noisy sludge grind sucked people in as vocalist Megan O. screamed, rolled around, bloodied herself, and threw other cautions to the wind. She's a force on stage and the only disappointment was that she wasn't able to get down on the floor and kick all our asses.

I missed enough of Forn's set that I can't really comment much but I heard enough to regret missing most of it. However OSDM locals Derkéta crushed. It's a simple kind of death metal but they were tight and when they locked into a groove there wasn't a head that wasn't nodding. They looked like they were having a really good time too. As did many over the course of the weekend.

Perhaps the most talked about set from Friday was from black metal extremists, Yellow Eyes. They impressed so much their merch basically evaporated. They looked like an unassuming bunch but holy shit did they rip! Fierce, cold, and fast. Vile screams forced attention and the drummer...my goodness. Such ferocity and power! I thought he was going to break every piece of that kit. Yellow Eyes left many simply awestruck.

Bongripper shifted gears rather abruptly for those taking it all in. Going from Yellow Eyes's lightning-quick BM to instrumental doom, Bongripper was one of the main draws for me and I grinned/scowled the whole time as I watched hundreds of heads all nodding in unison, slowly, as they bulldozed their way through a heavy, heavy set preceding Khemmis.

The Colorado group had the crowd excited. Their newest LP, Desolation is fantastic and I was not alone in anticipating some of its songs blessing our ears. Obviously they did and did well. I started close to the stage but too far to the left. After 4-5 songs and failed attempts at a decent picture I moved to the back of the room and boy, did it make a difference. The vocals were sharp and the twin guitars flourished in an even more powerful way than they do on record. It was one of the best sets of the weekend and a fitting end to MY night. I skipped out on Zombi (never listened to them) in search of grub before everything closed!

Day 2

I know I wasn't the only one anxious to be on time for Day 2. “Last minute” replacements, Immortal Bird were set to open Saturday's festivities. I even heard one fella say it was the only set he actually watched. Hanging out with friends was a big part of the weekend. Immortal Bird, like everyone else, did not disappoint. Their amalgam of styles went over well and served as a killer kickstart. Props to vocalist Rae and the rest of the band for the afternoon adrenaline shot. Especially the drummer!

The crowd thinned noticeably for Scorched. They didn't deserve that. But the young death metal upstarts didn't let the smaller crowd get them down. Groovy and tight, they pounded through some gnarly tunes led by their circle-headbanging singer. On the drive back to my lodgings at the end of the day we discussed rules for a circle-headbanging competition between him and Corpsegrinder. They should just tour with Cannibal Corpse anyway.

I was wandering around and missed the start of The Ominous Circle's set. Shame on me. While I personally enjoyed some of the later sets more I think TOC made the biggest impact. Donning black hoodies under black leather jackets (hoods up obviously) and grim reaper masks the Portuguese monsters made for a very visual display. The singer even wore robes, gloves, and something to make him seem 8 feet tall. Maybe he is. Good god though did they put on a show. The singer openly gestured with his hands when growling from the depths of Hell, and stood stately with hands crossed when his cult mates were doing the heavy lifting. They were surprisingly great and they were quite busy at the merch table as well.

I can't say much about Mutilation Rites as I didn't catch all their set. I was getting a head start on Spirit Adrift merchandise but what I did see held true to their dirty and and wretched style. They introduced their new drummer and otherwise burned through their mid-afternoon set as one would expect. Their new album, Chasm is pretty good by the way. This is also a good time to say that you should not trust the order I'm talking about the bands in. There were changes and it was all just so much fun I may have lost track.

I totally skipped on Deadbird to take a much needed walk and scarf some chocolate bars but you can bet your ass I was back in time to get a decent spot for Spirit Adrift. I was close but with a central spot this time and I could hear it all. Nate's vocals came across different than on record. Less doomy? Still great! Some people even said it was better. With a similar setup as Khemmis their twin guitars soared as well. They've got such a grand, epic style of trad doom that translates extremely well to the stage. Or more likely vice versa. They even played a new song! It was somewhat more urgent, thrashier even, than their previous work and if you're a fan, be excited.

Mizmor. OH MY GOD, Mizmor. Ungodly heavy. Wholly doomed black metal is right! Whether slow or raging the air vibrated with negativity. They switched out drummers a couple times. Both great. Correct me if I'm wrong but I think one of them was Hell's MSW. (I think it was Mizmor's ALN beating the skins for Hell too.) The biggest impact came from the vocals. All those fucking terrifying screams you heard on Yodh are real, man. He pulled it all off live and you felt it in your bones! Spectacular.

I'll admit I hadn't listened to Pelican in a long time. Not sure why. Maybe I heard an EP I wasn't fond of and moved on? No matter. Their set made me want to get back into them. Maybe it was the shared back line or maybe I just misremembered their recorded works but they were heavy! Their musicianship was never in question but they looked like they were having a really good time. So were we. Vocalists be damned!

Due to a faulty Bluetooth connection, broken auxiliary cable, and fickle CD player I listened to Krallice's Years Past Matter on repeat for six and a half hours driving down to Pittsburgh. That didn't mean I didn't want to see the wizards of experimental technical black metal in the flesh. I had mixed feeling watching though. On one hand, gazing with awe at their fingers, hands, and feet and seeing the multitude of notes unfurl was pretty cool. On the other hand, that kind of playing doesn't necessarily make for a lot of stage movement. That was a bit expected but I can still feel a little let down. It didn't seem to bother anyone really though as their Saturday-ending set was met with raucous admiration.

Day 3

OK. The home stretch. I wanted to see Lev Weinstein drum for Pyrolatrous after seeing him in Krallice the night before but pints and puppies at a nearby brewery (Grist House) was too good to rush so I missed their whole set. But, pints and puppies! So Daeva was the first act I caught. It was also their first show! Impressive! Basically thrash metal. Good performers. And the vocalist made me think of a more extreme Dave Mustaine for both visual and audial reasons. I'd keep an eye on these guys.

O Canada! Torontonians Tomb Mold (figuratively) followed me down from Canada to infect the Mr. Small's stage with their filthy brand of death metal. They kicked ass to one of the more packed rooms over the whole weekend. They're a band on the up and up and you could tell by the reaction they received. Their new album, Manor of Infinite Forms is getting a lot of hype and they lived up to it! Just as nasty as you would expect. I'm bummed I didn't get one of their Fest exclusive shirts though.

The Cancer Conspiracy's set was my break for the day. Not that I didn't want to discover but I needed some moving air. The air sure was moving when Hell took the stage. They pushed the PA to its limits with slow, insanely heavy doom. Their mantra is “lower your head” and I did. Parked behind the sound booth I closed my eyes, lowered my head and banged/swayed through their loud and impactful set. I live for this kind of heaving doom that you can feel more than you need to see. Absolutely crushing!

False followed them with keyboard-accented black metal fury. Although I did have some trouble hearing the keys from a couple spots in the room. You couldn't help but hear vocalist Rachel's desperate screams though. Their atmospheric blackness was a nice change of pace from Hell but impressed on their own merits regardless of when they played. I talked to keyboardist Kishel for half of Mournful Congregation's set too. But that was later. There was another big Fest draw to see. Thou.

I'm not as familiar with Thou as I thought I was. That didn't mean I didn't enjoy their sludgy and hard-hitting set. With a third guitarist! They obviously drew a large crowd too being one of the bigger names on the bill. They crushed. In fact, I'd say they're better live than on record. As it should be. Although at the rate they're pumping out releases this year you would expect a band to be as locked in as they were. They kept the set relatively heavy thankfully and they have me excited for the upcoming Magus now!

Yes, I missed half of Mournful Congregation's set but that was only two songs. Their third comprised the other half. Slow, meaningful death doom filled the room as the fullness of night took hold to the delight (despair?) of the sweaty masses. This was one of those sets where I felt bad for not digging into their work more. The emotional performance won me over enough to put their newest slab back on my phone. Everybody wins!

Judging by the enthusiasm Fest closer Panopticon received I felt like I had missed the boat on them. I'm glad I stuck around. Bluegrass doesn't really do it for me but luckily their set was all ripping black metal. Sure, there were some acoustic moments and otherwise not-flesh rending movements but it was the only time the no moshing policy was disregarded, however briefly. They killed it. And made me a believer, as good performances should. Almost every song they played was so triumphant you thought it was going to be the monumental end to the fest. But they just kept throwing out more and more. No one complained. In fact, they even got an encore! People lost their minds for their whole set and with good reason. Plus, Austin Lunn is hilarious. They couldn't have chosen a better band to wrap up the crazy weekend.

Three days, over 25 bands and untold millions of degrees of heat later and I doubt you could find a soul there that left unsatisfied. The quality of bands that performed was rock solid top to bottom. Every band nailed it on stage and it all ran on time! Early even! Kudos to Adam and Dave for putting on such a fantastic festival of noisy, angry, heavy, dazzling, loud, and entertaining underground metal. Fans migrated for the weekend from across continents and Migration Fest was worth the trip however long. The only problem now is waiting to do it all over again.

Max and Matt having fun.

In the words of more than one Fest performer, “MIGRATIOOOOOOONNN!!!!!”

Yob - Our Raw Heart

By Matt Hinch. I talked to Yob frontman Mike Scheidt once. (OK, twice. But the second time was only for a minute or so.) We didn't even talk about Yob, or even metal really. We talked about our kids and parenting them. It was obvious to me that, as any decent parent should, Mike loves his kids.

By Matt Hinch.

Artwork by Orion Landau.

I talked to Yob frontman Mike Scheidt once. (OK, twice. But the second time was only for a minute or so.) We didn't even talk about Yob, or even metal really. We talked about our kids and parenting them. It was obvious to me that, as any decent parent should, Mike loves his kids. I even think he mentioned how hard it was to be away from them when on tour. So one can only imagine how hard it was for him thinking he might leave them forever as he battled a severe intestinal disease last year. He fought hard enough to survive and once you hear Our Raw Heart you could even say he thrived.

Drawing inspiration from a life or death battle can lead to a powerful album and let me tell you, powerful doesn't even begin to describe Our Raw Heart. The album title itself is a perfect description of the journey the listener takes on this superb album. In experiencing ORH (and/or seeing Mike's ordeal unfold on social media) his heart becomes our heart and the emotions expressed are as raw as they can get.

On another level even the “our” part could be seen as an expression of the band itself. It wasn't just their bandmate fighting for life, it was their friend. I'd like to think that shared struggle plays into the wholeness one feels on what should easily be considered the band's best album to date.

ORH is a masterwork from beginning to end. From the martial chug of “The Screen” to the funereal pace of “Lungs Reach” to the overwhelming title track to the quietude and beauty of “Beauty in Falling Leaves” and every moment in between Mike, bassist Aaron Rieseberg, and drummer Travis Foster keep the listener completely enthralled. Or at least they should be. Yob has been getting progressively better with each album anyway as the band and its members continue to mature so this should come as no surprise. Personally Atma cemented my fandom, Clearing the Path to Ascend was so good I want a tattoo of the cover, and somehow ORH takes things beyond that level of adoration through a continued evolution of their sound.

I doubt a vocal instructor would call Mike's singing voice “great” but it's honest, raw, and expressive. It works for him in all his many endeavours though and especially in Yob. I don't see how anything or anyone else could make it work in quite the same, effective way. Deep, fierce growls are at more of a premium here but as the method of musical doom-bringing varies so do the vocals. From the subterranean to the stratospheric, they are the emotional pulse of the album. They convey the needed emotion without being moody. It all starts with “Ablaze” and his husky, weathered throat now bearing new battle scars representing the very scathed nature of survival at all costs.

Lyrically the album is cryptic enough and not too linear which lets the listener interpret it in their own way, applying those words to their own situation. Or one could put oneself in Mike's shoes and feel what he felt as much as you can. A particular line in “Beauty in Falling Leaves” brings maximum heft (which I'll get to in a minute”) but something as simple as “Rise!” from “The Screen” means so much more when put into context.

Yob 2016. Photos by Webzine Chuul.

The entire album can be considered typical Yob at this point as a varied mix of tones, paces, and volumes all play into their sound. ORH is no exception to this despite not feeling quite as dark overall. Aggressive, yes. But somewhat lighter. “Ablaze” falls into the “punishing doom laced with melody” category, as does the title track. As tough as these tracks can feel the human emotion always shines through in the interplay between darkness and the light. “Our Raw Heart” mines a heavy riff the same as “Ablaze”, letting melody and atmosphere fill out the sonic space.

“In Reverie” and “Lungs Reach” fill in the slower end of the cadence spectrum. The former never really breaking faster than a brain-crushing slog while conveying a good message in the lyric “The sun rises still”. No matter what happens to you or I the world keeps turning, so keep fighting to see it break the horizon day after day. The latter is even more funereal with more distinct atmosphere, growls, and a tone so heavy it will shake the wax right out of your ears.

“Original Face” tears it up! A hard drive is tempered ever so slightly by a hypnotic, rhythmic sway. It's a powerful assault on the senses that never lets up. It's kind of punch in the gut after “Beauty in Falling Leaves” from a vibe perspective but not an unnecessary one.

No doubt by now, I hope, you've already heard “The Screen” and its martial riff parade. It's mean and chunky and “holy shit!” heavy. But even it attains lift off to soar far above the earthly plane. It's kind of an odd choice for the lead single but perhaps they just didn't want to play their hand too early.

So now that I've talked about every other song let's tackle the album's high water mark, “Beauty in Falling Leaves”. Put the title in context. If you thought you were going to die wouldn't you find untold beauty in the seemingly mundane? Now take that sort of awe and apply it to a song. This song. This breathtaking expression of emotion. If “Marrow” brought you to tears, as it has so many, be prepared for heavier waterworks. Mike's expressiveness on this track reaches new heights. The melodies are entrancing and the subdued heaviness sits like lead on the heart.

Yob really work dynamics to full effect on this one. The quieter, minimal sounding verses prime the emotional pump for when the choruses hit and blow the whole thing wide open. It feels like there are multiple climaxes as every bit of feeling is wrung out of both the performers and the listener. The clincher is the line “Your heart brings me home”. No matter who you are that statement perfectly sums up the will to live. It carries hope. It signifies that one thing worth living for. Love. Yob is love after all, and something that meaningful in a Yob song is almost too much to bear.

To think that this album could easily have never happened at all is a heavy thought. Instead, Mike won and Our Raw Heart is the result. It's immense. It's heartbreaking. It's inspiring. Every band has their ultimate masterpiece (Emphasis on ultimate. Yob has more than one masterpiece.) and Our Raw Heart is it. If the Oregon trio manages to continue getting better after this I don't know what I'll do. I only have so much money and so much skin to cover. Honestly, I hope they do. In the meantime, the Yob legacy lives on in our raw hearts. And remember, YOB IS LOVE. So love Yob.

Chrch - Light Will Consume Us All

By Matt Hinch. It wasn't too long ago I was writing about Chrch. Their split with Fister last year was pretty good. Luckily the wait was short for the next release, Light Will Consume Us All. On this one we get three tracks ranging from

By Matt Hinch.


It wasn't too long ago I was writing about Chrch. Their split with Fister last year was pretty good. Luckily the wait was short for the next release, Light Will Consume Us All. On this one we get three tracks ranging from nine and a half to up over 20 minutes. So be prepared to invest some time.

“Infinite” starts with a long intro of lonesome guitar setting a longing mood with the percussion sitting in the distance. After a while the drums move up, the guitar moves back, and the vocals come into focus setting up a doomy dirge. Melodic lines weave throughout and vocals range from clean, Dorthia Cottrell-esque to absolutely vile. The passages of quiet and serene and those of outright heaviness show the two sides of the band can co-exist. But to be honest the haunting guitar/vocal part around the 3/4 mark was not expected. Luckily, the crushing volume and massive tone returns on the back of a beastly doom riff to finish things off.

Chrch at Northern Discomfort 2018. Photos by Krups Peredo / Abismo Blogzine.

“Portals” is a complex 14:49 that feels much darker than its predecessor. Slower, more pummelling, more doomed. At least when it wants to be. There are less intense moments on this one too. Eva Rose's clean vocals are ghostly. In fact, all the clean vocals on this are. The cleans really open things up to contrast the oppressiveness they can unleash at seemingly any moment. “Portals” cycles around with the heaviness and airiness eventually converging in the momentous way Chrch are fond of. This track demonstrates how sometimes the music doesn't necessarily take you from Point A to Point B. As the track shifts moods, vocal styles, and volumes - exploring sonic spaces - the listener feels rooted in place as all this happens around them. Powerless but to let the feelings, vibrations, and melodies simply flow through, one must then brace themselves.

Chrch at Northern Discomfort 2018. Photos by Krups Peredo / Abismo Blogzine.

Finally “Aether” wraps up the LP with the most Pallbearer-like feeling. (Maybe it's closer to Warning. I haven't heard them much. Maybe it's both.) For a while slothly doom “riffs” crawl towards what feels like inevitable doom. Rose's vocals softly add to a haunted, melancholic atmosphere amid cymbal crashes and heavy-handed crush. It does get quiet. Heartbreakingly so. Until almost out of nowhere fast and raging black metal fury sends everything else shattering into the void at the command of terrifyingly tortured vocals. The final minute or so of both the track and album strikes a balance between the fury and melancholy with superb atmosphere and a fitting fade to darkness.

For roughly 45 minutes Chrch (Rose, Chris Lemos (guitar/vocals), Ben Cathcart (bass), Adam Jennings (drums), and Karl Cordtz (guitar/vocals)) paint a rich sonic tapestry using light (that will consume us all) and darkness, melody and pure power, warmth and cold. It's textured and multi-layered. Doomed and despairing. Crawl out of your hole and let Chrch do the work of making you wish you had stayed in it. At least not without pulling Light Will Consume Us All back in with you.

Foehammer - Second Sight

By Matt Hinch. Technically Foehammer's self-titled release from three years ago (almost to the day) is considered an EP as it only has three tracks. Put them together and it breaches the 30-minute barrier. That sort of song length carries over

By Matt Hinch.

Artwork by Luciana Nedelea.

Technically Foehammer's self-titled release from three years ago (almost to the day) is considered an EP as it only has three tracks. Put them together and it breaches the 30-minute barrier. That sort of song length carries over to their debut LP, Second Sight. This time we get four songs encompassing a punishing 46 minutes with closer “The Seer” clocking in at 16:40. Heaving riffs and heavy tone lay a severe beating on the listener as the guttural vocals and heavy-handed percussion tie the sludgy doom package together.

Foehammer immediately set out to crush skulls with slow, plodding doom. Their amps give off a constant call for death with a pounding cadence that doesn't quit and rarely speeds up. It's far from boring though as some riffs come across as slightly off-kilter. Not easy to do at funereal speeds as that kind of thing can get trickier than you think.

Often time they throw in a little flair. An atypical lick here and there and usually a solo too. The solos reveal a soul behind a solid wall of nasty, downtuned distortion. They scream of ache, betraying a visage of muscularity and an m.o. of sonic destruction. Even the riffs contradict the anger factor with despair and pain.

They're not afraid to lighten things up though. At least temporarily. “Axis Mundi” starts with a nice acoustic passage before laying down some drone and a more epic feel reminiscent of Conan. Interestingly enough, Conan has a song called “Foehammer”. Common inspiration is likely not a coincidence.

Elsewhere, early Pallbearer shades the crawling, sprawling doom giving the listener something to hold on to during what could easily become an endurance test in less capable hands.

To be honest though, you come to Foehammer to have your head caved in by brutal, relentless, bone-shattering doom riddled with a dirty tone and enough volume to shake foundations. Second Sight delivers all that with the kind of heaviness that causes gravity wells powerful enough to bring down the sky. It's a bruising effort that methodically pulverizes while making you feel like a powerful (yet perhaps complex) tyrant at the same time. If Foehammer slipped by you those many moons ago then maybe it's time you take another look with Second Sight.