Spotlights - Tidals

By Justin C. Husband and wife duo Mario and Sarah Quintero, playing under the name Spotlights, has gotten a decent amount of attention, at least in the metal circles I run in.

By Justin C.


Husband and wife duo Mario and Sarah Quintero, playing under the name Spotlights, has gotten a decent amount of attention, at least in the metal circles I run in. Reading up on them, you're likely to see things like "post-metal," "sludge," and "doomgaze" along with comparisons to My Bloody Valentine and Smashing Pumpkins. Some of these are sorta/kinda reasonable to one degree or another, but for the most part, they describe this music only glancingly. Some music can seem intimately familiar but still be hard to pin down in words.

I'll put my own bias out there: Smashing Pumpkins' Siamese Dream was my jam in college. The heavy mixed with the light, the unbelievable drumming, the heart-on-sleeve emotion--it pushed all of my buttons. I hear a lot of that in Spotlights' own new album, Tidals, but there are plenty of differences. Tidals is sonically heavier than Siamese Dream, but without the frenetic energy that Jimmy Chamberlain brought to the drums for the Pumpkins. (Perhaps that's how the "doom" in the "doomgaze" description came to be.) Sarah and Mario's vocals are wispy and ethereal, but they're also refined in a way that never came naturally to Billy Corgan's delivery. That said, I can't listen to "To the End" without hearing some serious Pumpkins' riffery, and it makes me feel a pleasant bit of nostalgia throughout the album.

So the question is, are Spotlights more than the sum of their influences? Definitely yes. This isn't an album of B-sides from 90s alt-rock's hits. Tidals is what happens when that sound grows up. The light vocals-heavy music contrast puts me in mind of those days, but there's no questioning their originality. There's a deft touch of electronica throughout, but it's in no way overpowering. This is about thick guitars and delicate voices (except for one nice touch--a Baroness-esque holler in "To the End"). Album-closer "Joseph" is probably the most striking song to me here. It starts with a soft patter of percussion and ringing guitar before bringing in the sludgy guitar and rising, almost-urgent vocal lines. Even without the lyrics in front of me, it feels like the most emotionally naked song of the album. Its uniqueness perhaps suggests where these two might be headed, but even if not, it demonstrates conclusively why this isn't a nostalgia trip. This is a band to watch out for.

Dave’s Demo Roundup Vol. IX

By Dave Schalek. This is a two-song teaser from German newcomers Horns of Domination. A trio, Horns of Domination are an amalgamation of black, death, and doom metal with a rough production.

By Dave Schalek.


This is a two-song teaser from German newcomers Horns of Domination. A trio, Horns of Domination are an amalgamation of black, death, and doom metal with a rough production. Demo 2015 is their first recorded output and is likely to leave you hungry for more with a very catchy approach straddling their chosen subgenres. Murky with a rough production, but deeply buried in the mix is just the right amount of catchiness with awesome riffs. Toss in some tempo changes ranging from all out blasts to a glacial dirge to go along muted vocals that serve to enhance the atmosphere, and I end up eagerly awaiting more from Horns of Domination.

Artwork by David from Phrenelith

Danish death metal that’s taking a page from countrymen Undergang, Phrenelith play down n’ dirty, severely down tuned death metal with meat and potatoes riffs, a plodding pace that upticks to a gallop, and with growled, guttural vocals. Phrenelith aren’t exactly original, but they play their basic form of death metal with enthusiasm and gusto. This two song affair is the first demo, but the trio has since recorded another, entitled Veiled Verses. Veiled Verses has a slightly different guitar tone (sounding more Swedish), but is even murkier in its delivery through four tracks.

Mories of Gnaw Their Tongues fame probably needs no introduction, but it’s becoming increasingly difficult to keep track of all of his side projects. This particular project, Pyriphlegethon, is billed as “pure pre 1990 black metal worship” on Mories’ Bandcamp page, and that’s pretty much what you get with Rivers of the Infernal Kingdom, a four song demo. However, if you’re expecting anything in the vein of early Bathory or Celtic Frost, guess again, as Pyriphlegethon is probably more in line with post Soulside Journey Darkthrone or early Ulver more than anything else.

The production is exceptionally thin, the drums are hollow, muted, and simple, and the high pitched rasps are straight out of the era. A few meatier riffs make appearances, but, for the most part, this is good low-fi black metal enhanced with a few mild keyboards. I should also note that proper instruments appear to have been used for Pyriphlegethon, rather than electronic effects and a drum machine. Mories has since released a proper full-length titled Night of Consecration under the Pyriphlegethon moniker.

King Woman - Doubt

By Matt Hinch. Sometimes albums just slip through your fingers. And sometimes someone else picks the album up and puts in back in your hand. That's what happened with the Doubt EP by King Woman

By Matt Hinch.


Sometimes albums just slip through your fingers. And sometimes someone else picks the album up and puts in back in your hand. That's what happened with the Doubt EP by King Woman. Released in October 2014 I just recently got around to it. Not that it hasn't received plenty of praise though. The Kristina Esfandiari fronted outfit saw lots of positive press upon its release. Here's some more.

Opener “Wrong” feels like a SubRosa track with no violins and a different singer. Slow, dark, doomy and massive. The guitars surround and layers move in and out of focus as your ears shift to try and take it all in.

“King of Swords” follows with a more shoegaze slant. I'm reminded of recent Alcest or Explosions in the Sky in the way the tremolos sparkle amid the brooding cadences. Esfandiari's croon sounds freeing, like a burden being lifted from the heart. Her expressive delivery comes from deep within, laying bare her soul.

“Burn” continues with the deceptive nature of the EP. On one hand it feels simple, easy, and uncomplicated as the forlorn melodies and droning pull lumber on unstoppable. But on the other hand there is so much going on. Every member is playing off one another in some way with lush atmosphere and depressing tone. The gentle sway is hypnotic, affecting and unforgettable.

“Candescent Soul” finishes the EP with crawling doomgaze plodding away under painful melody and Esfandiari's haunting voice setting the listener free to carry on their own journey through life. I've heard comparisons to Mazzy Star, Jex Thoth and PJ Harvey but I'm more likely to pick up Fiona Apple for what it's worth.

Doubt is just a short EP but letting it repeat feels right most of the time. As much as it's about casting off shackles and finding ones self, the mood is depressing enough that you don't get that big rush of cathartic relief. But that doesn't mean you can't connect with it. Quite the opposite. Doubt is fit for contemplation, inviting, sensual and comforting in a strange way. If you have doubts, give it a shot.