Enslaved "E" (2017)

Eight lengthy tracks clocking in at an hour make up this indulgent journey through abysmal rain and thunderous storms in a climate safe from harm. We swing from the calms of gentle, luscious melodies sung from soft synths and glossy pianos as they peak through gristly rock, sturdy distortion guitars in stretches that swell into grim plummets and measured fiery onslaughts of darkness. With gleam and triumph shrouded in ancient mystery the tone is set, a path of heathen spirituality in the roots of mother nature emanates in calmer passageways. Viking choral chants occasionally greet us as we wander through mystic terrain on an epic, inspired journey.

 At this point in their career Enslaved have little to prove, fourteen albums in with a solid track record the band are freed to home in on their craft and forge songs that achieve their inspiration with little to fault. The maturity and expanded pallet lets the core sound flourish with touches of influence that spread as far as Jazz with a saxophone solo on "Hindsight" fitting so snugly into the song it barely makes itself known as an uncommon instrument but rather a perfect touch to illuminate the music. Many Post-Metal guitar sounds emerge with flourishes of shimmering Shoe-gazing leads and even Sludge in scattered guitar grooves that move in menacing lugs of burly force, often accompanied by the harsh scream of Kjellson who doesn't charm with these strained and sterile screams.

These songs are progressive, expansive, they twist and turn, evolving as time passes, making for a wonderful listening experience that's cinematic. Enriched by the layering of soft synths and occasional organs below the guitars, the flavor and aesthetic is sweetened but this chemistry is lost when the album is swept into the stormy dark. Still holding onto their roots, the music often strips itself to the raw components, "Djupet" being a song comprised entirely between the guitars and drums. It makes a little more sense when these Black Metal moments emerge in the sways of wandering songs but shows itself to hold back an otherwise far more intelligent, spell bounding chemistry that is at its best in its denser, melodic compositions.

Rating: 7/10

Kauan "Kaiho" (2017)

Their former release, Sorni Nai, was a riveting listen, an emotional journey of stunning peaks and swerving valleys born from a wealth of inspiration based around the mythic Dyatlov Pass incident. The record is a complete entity that blossoms into a cinematic soundscape, leaving a resounding impression on me that is still unwavering. The Russian five piece are back with their seventh and first self published record, "Kaiho" which has unfortunately disappointed to no fault of their own.

Listening back through their discography the band always had a unique, soft and sombre tone, slightly cultural but distinct and melodically persuasive. Over the years the Doom Metal tropes of snarly, guttural vocals and slow, sluggish distortion guitars, heard on Lumikuuro, gave way to the lighter, artistic, richer sounds of Post-Metal which heavily complimented their melodic side. Its wasn't uncommon for these tropes to subside entirely, in fact the majority of their music has mostly been made up of the "clean" passageways which this album naturally embraces with a move away from its Metal roots.

"Kaiho" is the heart of their melancholy put out to bear. Long drawn out movements of sorrowful strings and soft airy synths paint the glorious, yet gloomy atmosphere for vulnerable singing and delicate melodies to play out. Its pace is temperate, treading on ice as every song drops with the softness of snowfall in a setting of pure ease for the listener. Everything is calm, soothing and gloriously relaxing with plenty of room for introspection and reflection as this serene sombre takes hold.

For all its slow and delicate, beautiful composition, every song is meandering, wandering without direction. The lack of urgency or event steadily drains it dry as the album draws onward without a sense of meaning or story, little feels unfolding or even heading anywhere and so the subtlety and softness fades from focus and each song feels like a point without destination. Only "Kasvot" musters a sense of something grand ironically from shimmering Post-Metal guitars resonating with the airy synths. Its a rare moment for the record as most the guitars are slowly plucked acoustics, any distortion found is heavily buried under already gentle instrumentation. Aesthetics, mood and tone are spot on here but the lack of event or direction, change in pace or upturn in mood has this record seeping out of focus, leaving each song feeling like the last.

Rating: 6/10

Chelsea Wolfe "Hiss Spun" (2017)

American singer songwriter Chelsea Wolfe has had my ear for a while now. Her stunning Pain Is Beauty has been a standout record in recent memory but like all great artists, she continues moving forward and evolving with each record, which doesn't always yield success. Her feature on the title track of Russian Circle's Memorial seemed like a perfect match, something I craved to hear more of and her last release Abyss gave us that collaboration. Oddly it didn't resonate with me and this newest release, Hiss Spun, sounds exactly like what I hoped that pairing could accomplish. This time Chelsea features Troy Van Leeuwen from Queens of the Stone Age who composes monstrous Post-Metal guitars to bring weight and atmosphere to Chelsea's haunting presence.

With calms before storms we tepidly breathe, recover and anxiously await the lurking dread that's always present. One song after another has us in its grasp of haunting sorrow, and unsettling unease before unleashing the ugly, disturbed, mammoth walls of sound that drown us in its thick, dense and meaty persuasion of sludgy, wailing guitar noise. They bleed at the seems, burgeoning with gritty texture, turning eerie atmospheres to nightmares in there wake. With a swarming intensity the layers of sound flesh out dizzying moods as floods of Post-Metal guitars descend upon the listener in sudden, violent eruptions, sometimes with a little build up.

Chelsea's soft and pain felt voice finds its setting here with familiarly dark and harrowing instrumentals of baron percussion, eerie reverberated acustic instruments and piano chords of dread. Its set to new extremes with truly massive guitar distortions as most the songs find a pace to proceed to an unleashing of dense Post-Metal guitars stacked with sludging rumblings of guitar noise that occasionally have a semblance of groove but mostly thunder away a monotone driving of momentum.

 The chemistry is sublime, when it roars Chelsea's voice transforms from the weak, vulnerable, tortured soul to a fierce, empowered beacon of bitter strength. It comes in measures and always with an ear for aesthetics, her voice often discernible in a ghostly wash of reverberation. The compositions all feel linear, expanding and growing in one direction, taking us on a journey through her pain and inner darkness. A couple of tracks don't feel to dissimilar to previous work, her vocal style showing some boundaries in places as they echo old songs.

Hiss Spun is a maelstrom of noise, numbing you with its bludgeoning rumble of sludge guitars that decimate in the eye of its storm. The shadowy calms between hold us captive as the inescapable approaches. A fine record with vision, stunning execution and little to flaw, possibly her best to date? Id say it comes down to taste, I personally love the electronic variety on Pain Is Beauty but adore the overwhelming experience these forty eight minutes of smothering whisk you into.

Favorite Tracks: Spun, 16 Psyche, Vex, Offering, Static Hum

Rating: 8/10

The Contortionist "Clairvoyant" (2017)

Shaking all remnants of their "uber brootal", technical indulgences of past, the Indiana Metal outfit The Contortionist mark their first decade as a band with this new full length that feels like a sophomore release given the dramatic shift in sound that 2014s "Language" brought about. Three years later "Clairvoyant" follows up by shaking the echos of old with barely no screamed vocals and the toning down of distortions to let the musical compositions shine brightly as an aesthetic treat of delicious instruments forming in a union of sound, poised to illuminate expressions and dazzle with melodics.

Being so familiar with its successor, "Clairvoyant" was an instant success, picking up exactly where they left off, it has been an indulging fifty four minutes that continues to deliver even as I listen and write now. After ten or so spins I feel as if I'm just stirring the surface water, the depth of an ocean below unknown. Despite being familiar with the songs, they continue to ooze with aesthetic charm and swells of inspiration as the density of compositions relays the same ideas through all its dimensions of instruments that are gracefully in sync with one another on this rich journey.

The music has a fantastic sense of pace, its progression dynamic and fluent with the contractions its riffs and leads bring about as every twist and return comes with space to breath and reflect. The keyboards play a huge role on this record as the glue that holds the music together, interweaving themselves in the density that lurks behind the guitar led sections and as they break, the keys rise to the fold, moving the atmosphere along between the highs and lows the dense music explores and quite often coming to the forefront with typically Progressive Rock like leads.

Singer Lessard gives a very self indulgent performance, swooning in his own voice he reaches for the subtle, soft and harmonies qualities in his voice and gently pushes them out to the waters. A lyrical dimension is obviously prevalent as the power of some words resonates greatly over top of the instrumentals. Its icing on the cake of a wonderfully atmospheric and indulgent set of songs that take their time to fully experience the magic of their melody without packing it into conventional means. They rather to explore those moments in their illustrious production which is a marvel of sound, getting an utterly sweet and supple aesthetic in a dense environment of energetic instruments that gel together with power and thickness. Its a massive step forward for the group, shedding the now irrelevant screams and metallic guitar moments its predecessor had stitched in. These songs will be fantastic to catch live, which I hope to do so soon!

Rating: 8/10

Tombs "The Grand Annihilation" (2017)

To write this post I had to remind myself why I was following this band. I think my interest In this sort of Metal is slowly wavering but after an initial disappointment, a more few spins gave me a clearer image as the music came to my mind. I was quite impressed by the Brooklyn bands 2014 release Savage Gold, listening to it again reminded me that Tombs are a very temperate, measured band that seek atmosphere in the pacing and patience of their music, a Post-Black Metal venture with shades of Death Metal casting a spell of unforgiving doom without any cheep thrills.

At forty eight minutes its quite the grind, a bleak, monotonous grind of unearthly rumblings in the mist. Tremolo shredded notes pluck and propel us forth into the baron wastelands as icy lead guitar licks breath some life into the desolate setting. Intensified by bursts of blast beats and interchanging dissonant chords, the occasional Thrash Metal intersection makes itself known as the songs cruise through a construction of riffs that sway the tone and direction with craft and intention. These songs are well constructed, without straying to the grandiose or loosing its sense of burden, Tombs hold together a consistently heavy, gloomy tone that creeps in subtle climactic moments with guitar shifts leading to sorrowful yet elegant solos. The deep bellowing vocals of Mike Hill adds to the damning atmosphere, there dominance over shrill screams much more preferable and fitting.

There's a lot to praise on this record, its obvious these are talented musicians with a good ear for song structure. The production is sturdy, crisp and clear instruments with enough mud in the tones to bring about the bleak atmosphere the band conjure. There is little to fault but my enjoyment is saturated. When its playing it makes for good company but in its absence it barely crosses my mind. As I said before I think its just my taste in this style that is fading. Nothing wows or feels unheard, unexpected, its all become a bit of a routine journey into a familiar shade of darkness.

Rating: 5/10

Oranssi Pazuzu "Muukalainen Puhuu" (2009)

Finnish band Oranssi Pazuzu have been one of the most impressive in recent memory. Their blend of psychedelia and Post-Black Metal has been a breath of fresh air and with this recently released to bandcamp I was under the impression this was their new album but alas, upon setting out to write this blog I find out its actually their debut which has got to be a sign of strength given that this In no way felt primitive, conceptual or like a band taking their first steps with their sound. "Muukalainen Puhuu" is a fully formed beast of darkness, poised to drag you into the abyss with its eerie, haunting atmosphere fit for the unending shadows lurking deep in the cosmos.

In its metallic element its distortion guitars glide forward with nefarious tremolo picked riffs, shaping up to pack a punch with lively aggressive rhythmic assaults which absorb themselves into the ongoing eeriness, never a frontal force but another elements in the melting pot. Bold pacing baselines shape the tempo as the drums theatrically rattle and cue the shifts in intensity with their loud, peaking cymbals that make quite the thunder. Between it all, lurking mysteriously, organs provide the texture to unsettle and the accommodating synths, distant and inhuman, accenting the darkness like voices of ghosts they whisper their cruelty while in the musics trance. The presence of twisted howling screams and groaning guttural taunts drag the human element in.

The album plays well, shifting intensities, shimmering acoustics lead the mellower moments with a prominent roll in the psychedelic tone. There is a good variety that holds the same distant, spooky and lonely vision of the cosmos. Perhaps intentionally the song "Dub Kuolleen Porton Muistolle" has a Dub baseline prowling throw the song from start to end, one of the albums best with its rich yet strangely relaxing atmosphere. The drumming is a little rough around the edges, perhaps to effect but the cymbals can bring a lot of clatter to the balance, not always to my taste. Its a stunning debut, one that could of passed as their next record, in finding that out though Ive learned they have released another four track EP this year I cant wait to get my hands on.

Favorite Tracks: Dub Kuolleen Porton Muistolle, Kerettilainen Vuohi

Rating: 8/10

Oranssi Pazuzu "Kevät Värimyrsky" (2017)

After being blown away by the Finnish Psychedelic Post-Black Metal band's 2016 release "Värähtelijä", I was excited to hear talk of a new album, however this release is just a two track EP. The new record is out but released in the same month is this sixteen minutes affair to wet the apatite for whats to come. Its first track "Kevät" is a slowly and dreary wander through the foggy moonlight fields of desolation as a bleak atmosphere is cast by sombre acoustic guitars over distant hazy distortions. It progresses with an increasing unnerving as a slow gargling vocal taunts cryptic words, leading us into monstrous layers of dense rumbling guitar distortions. Sinister strings hide between the smothering sound it breaks apart as easy as it came, a creepy and morbid song with no charm for simple melodies, it is a grave soundscape of despair.

Starting with a singular, tonal distortion guitar and steady baseline "Värimyrsky" starts as another barren and desolate atmospheric piece. As it steadily groans a brief pause leads into a dramatic eruption as brooding tom drum fills lead us into a riff roaring whirl of metallic darkness. Twisted howls call out and before long the song breaks for respite as the vocal and distortion guitars drop out for a serine acoustic guitar to play out over a lively baseline and mystic organ like synths. With a guitar solo it lurches back towards the darkness and the song goes through several shifts, ever climaxing on its variations before breaking to a more enigmatic ending as a sense of glory and wonder emanates on the final moments of the song. Two excellent, crafted tracks. If these are outtakes from the full length then we are in for a big treat.

Rating: 4/10

Palms "Palms" (2013)

Labeled as a "super group", Palms consists of three members from the Post-Metal band Isis and vocalist Chino Moreno of Deftones. The two forces come together effortlessly as the group indulge in atmospheric, awe-inspiring Post-Metal with electronics and Ethereal styles, graced by the man who's voice has given such distinction to his main ambition. Its the only release from the group so far, a six track record that I really enjoyed a few years back and given their silence since I decided to dig it out for another listen.

Palms is effortless, easy on the ears, gorgeous and serine. Gleaming guitar tones echo out through lofty luscious reverbs, as if soaking in the gaze of the sun. In true Post-Metal style the band transition between golden acoustic tones and hazy, mesmerizing distortions as the rattle of chords drift and glide over one another in grandiose splendor. Much like the records cover there is the bright warmth of sunlight in the bands sound, yet the skies are overcast and this is very reflective of the sound which feels as if something beautiful is burgeoning from a smothering, gloomy setting.

Chino's charming voice focus's on his softer side, often with subtle light echos transforming the dimension of his voice, with it he fits sweetly into the soundscape. Low, deep thudding baselines and tight shuffling drum patterns mold the backbone for the guitars to cast their light across the stage. Its scenic music, warm moments pass us by, beautiful emotions resolve with a streak of sorrow, illuminating itself with the craft and vision the band members give to it.

A couple of tracks feel as if they could slip into a Deftones record, not to any fault. The electronics bring drum kits and special effects into the fold but only a keen ear would notice when they crop up as the bands sound feels so effortless and organic were acoustic and electronic forces are both at work in different measures. There's nothing to falter here and I haven't grown old of it over the years, its got its Ethereal moments too, reminding me of favorite records by groups like Autumn's Grey Solace, Lycia and Love Spirals Downwards. It certainly fits a similar mood however with a bolder metallic overtone.

Rating: 8/10

Hellmouth "Oblivion" (2017)

With fire and flames "Oblivion" burns through its sixteen tracks in a frenzy of anger, rage and fury. Clocking in at thirty three minutes its a relentless pummeling that only lets up in moments of atmospheric Post-Metal guitar noise that is a welcome twist to a primarily Crossover sound. Being the Detroit bands first record in over seven years, it doesn't sound like a big stylistic leap is at work but between sticking to their full throttle, high octane guns. Their sound inches into new territory in several moments littered through the track listing. With slower Post-Metal moments and tinges of Black Metal, Post-Punk and Groove Metal licks there are brief instances of creativity and imagination that trumps the unfiltered violence of their rage educed thrashing.

Motivated by humane, religious and political corruption themes the album plays like a constant thunder of urgent alarm. Its production is intense, monstrous guitar tones clamor into the forefront, accompanied by the powerful, brutal drum kit that thunders away as lots of noisy dissonance melds into the unleashed musical force. Singer Jay Navarro leads the charge with an alarming scream that although may not be the most welcoming of textures has a ton of passion and anger coming through furious shouts.

In the bands core identity lies a rather predictable approach to Crossover brutality. In some moments it hits hard but in others it feels as if the uncontrollable aesthetic tone just isn't quite as exciting as the energy it puts forth. Its in the slower moments where atmosphere and craft emerge from the routine trashing that more excitable music is found. Unfortunately the elasticity between the two didn't spark anything special and it played out like a routine stretch of brutality with bits of life briefly sprinkled in. Hellmouth have a great aesthetic but for me its most pleasing within the creative and atmospheric moments rather than the constant barrage of hate the band aim to assault you with.

Favorite Tracks: Welcome To The Undertow, Blood Free, Dementia From The Void, Coliseum Oblivio, Pathetic Bullshit

Rating: 5/10

Oathbreaker "Rheia" (2016)

Quite the fuss has been brewing around this record, receiving much acclaim and selling out consecutive live shows, Oathbreaker have broken ground with "Rheia", the Belgian bands third studio full length to date. Initially I didn't hear what the fuss was about but it was singer Caro Tanghe and her absorbing, personal performance that sucked me into the record and it is she who is very much so the conductor in this orchestra of distressing darkness that mingles between a burgeoning heavy frenzy of metallic guitars and the flickering of light that emanates in the moments of macabre calmness that is forever swaying back and forth.

 Instrumentally its a common Post-Metal affair, tinged with a human blackness and swooning between its more acoustic eccentric tones and moments of dizzying aggression where blast beats pummel loosely. A constant feeling of momentum and scale is perpetuated, climaxed in the heavier outbreaks and given depth and atmosphere where it all slows down. A few moments of conventional riffing intersect what is mostly a tremolo of shimmering chord progressions steadily expanding through relatively lengthy songs, mostly around seven or more minutes.

It is with Tanghe that this record comes together, her performance gives a very emotional, human context that delves into the depths of loneliness and depression. It is not just through the words of her twisted, manic screams that this comes across, but in the performance that sways as she erupts from her vulnerability into a wretched beast of spite. The back and forth is obvious, sometimes sudden but always with anticipation and build up that has genuine brilliance despite seeming a little simplistic on paper.

Without her performance I think many aspects of these songs would fail to create quite the emotional response, however the instrumentals are pretty fantastic in there own right. It is Tanghe who elevates and illuminates the record to the next step. Her screams twisted and haunting, her clean vocals sensitive, shy and defenseless. The moments in which the two cross over are magic, quite theatrical yet grounded in a gritty honesty, it alone makes the record for me.

Favorite Tracks: Being Able To Feel Nothing, Needles In Your Skin, Immortals, Begeerte

Rating: 8/10

Oranssi Pazuzu "Värähtelijä" (2016)

The evolution of sound is a fascinating thing. Time broadens the horizon of imagination and the scope of progression. Like the secrets of the universe, every new understanding yields more questions and so with every new style, genre and niche comes the possibility for a growing wealth ideas to cross paths. Finish band "Oranssi Pazuzu" are no new originality but a genius union of ideas fused with an artistic vision that blows the lid of expectations. Its a fond reminder to keep perusing and investing in the continual unfolding of music, in search of those moments where goosebumps blister the skin and time stands still in wonder of the power music holds over the mind.

Its seventeen minute saga "Vasemman Käden Hierarkia" is one of those sublime moments and one must relish in its fever. Eerie and dissonant guitars haunt a menacing, prowling baseline on the hunt, crashing into a harsh storm of abrasive psychedelia, its shrill distortion washed in the ecstasy of trippy shimmering infractions in the guitars tone. It regathers and intensifies with the warning call of an alien siren, before ushering in a moment of relief as gleaming vocals push back the unrelenting dark for a moment of respite before the two entertain one another in a back and forth.

The atmosphere thickens and broadens as if the embers of this clash are fizzling out, the chilling cold looms around as the maddening chime of strings refuse to fade out. It broods, swirls and manifests into a bleak, wintry return as the voice of the guitar takes on an inhuman form of malicious desire. As the voice returns one can hear the bellowing of a beast rumbling from the depths, it sends shivers down my spine. This bellowing transforms into an effeminate call of distress and as the song reaches its climatic plummet into the bowls of hell the voice erupts into a siren of eternal torment. A completely riveting and sonic experience, vivid and surreal.

Although a singular moment of artistic excellence takes the crown, the record is an expansive selection of ideas that delve deeply into its twisted blend of Post-Metal, Black Metal and Psychedelia. The Post reflects its noise driven narrative of unraveling dense layers of sound. The Black paints the mood charcoal black with a chromatic, unrelenting aesthetic for a chilling, haunting tone. The Psychedelia twists a familiar theme into new territory with its harrowing sense of mental dementia inflicted through psychotropic electronic sounds that align with the metallic tone as if the two were never apart.

The groups music often resides within an unsettled feeling of suspense where its as if something is brewing, often it is simply that feeling of unease that is the magic. No rocking riffs, catchy melodies or grooving beats, "Värähtelijä" is an experience of scenic music painting the blackest imagery with its perpetual presence of ambiguity and torment. The detail in its design is stunning and their is little to flaw bar a slightly less engaging closer track which evolves into a tribal dance beat, actually quite the interesting track but is maybe a pinch of the mark. Its almost a pointless comment to make of such an accomplished record where every song aims to reach into mysterious places and does so with an unrivaled demeanor.

Favorite Track: Vasemman Käden Hierarkia

Rating: 9/10

In The Woods... "Pure" (2016)

Surprises seem to be common this year and there is certainly a contest for most "unexpected". The news of a new record almost passed me by, surely "Pure" is just some compilation record I thought... "In The Woods..." are an obscure Black Metal band who released the remarkable "HEart Of The Ages" in 1995. It was and still is an obscure release, an absolute gem to me in my youth, a distinctly different record for the time that homed in on inspired pagan and nature themes within the stark context of extreme music. It still strikes a nerve with me to this day, unfortunately I didn't get along with the two following records, which moved in an Avant-Garde direction, the band then split in 2003 and here we are thirteen years later. As I look up the history of their lineup I learn that the only change is singer Fogerty, the other three have been in the band since day one, I find this interesting because this record gave me some serious "one man band" vibes, a curiosity in the cover that had me painting the records voice, Fogerty, as a lone musical force. This should be a compliment to how "together" this record feels and how much the identity of their roots is intact.

"Pure" is lengthy, a sixty seven minute epic that has no measure in pace. Its a Post-Black Metal record in the truest sense where traditional values have been further removed as its extremities give way to the vision that Fogerty illuminates with his raw and charismatic, heathen voice which calls out from across the mountains. In its mercy of natural wonder a burgeoning of emotion spills through the music in many moments of this record, there awakening built through lengthy passageways of dense progressive music. With a lot of clarity and volume these instruments carry forth an honesty in the raw, chunky guitar distortions, loose drum environment, nostalgic archaic synths and ethereal acoustics that harbor the authentic, natural qualities of low fidelity without compromise in its audibility.

The band immerses us in rich atmospheres as there songs, one by one, move through the motions, varying metallic intensities, dropping back for acoustic moments and soaring with earthly vocals. Its all a familiar affair as many composition techniques are the same as on that classic debut. "Towards The Black Surreal" has a deja-vu moment where the song suddenly shifts to a seemingly identical piece of music, bar one or two notes, from "Yearning The Seeds Of A New Dimension". There is no moment quite the same, but in seems two parts of guitars and vocals overlap perfectly, capturing the beauty of their early music.

As much as ill rave about this record, it has a flaw. I felt in the right mood it would captivate and transcend yet It wasn't one to make that happen through the music alone. "Pure" has a stunning tone and solid aesthetic to match but mostly it draws through temperate passages that only light up if in the mood, however it is littered with plenty of attention grabbing moments too. Whats most remarkable is how alike to their debut this record is. Overall its got a meatier sound and no breakaway tracks like "Morning The Death Of Aase" and "Pigeon" but they are just differences. I hope this return is not a one off, the band still have a lot to offer.

Favorite Tracks: Cult Of Shining Stars, Towards The Black Surreal, Transmission Krs

Rating: 7/10

Alcest "Kodama" (2016)

French Shoegazing band Alcest have made waves in the past from their unique fusion with Black Metal, taking their hazy guitars to bleaker tones and pairing them with shrill screams between harmonious singing. On this record they distance themselves a little from the darker side of their sound and dive further into the introspective sounds of Post-Metal. Like a band that know their craft well, Alcest churn out another handful of enigmatic tracks illuminated by a keen sense of colorful melancholy melodies that weave in and out of their hazy, thick guitars that continually shift the musics pace with varying intensities.

Its a similar affair to 2012's "Les Voyages De L'Âme". With less screaming and darkness the band swim through similar waters which made it less remarkable for me. These songs are gorgeous, full of transitions between smothering guitars and acoustic interludes that fluidly explore the juxtaposition in their sound and to much merit can so swiftly move between gentle melodies to harrowing screams and dense guitar chord shredding with no rigidity. "Je Suis D'allieurs" sounds almost parallel "Nous Sommes L'emeraude" in its opening stages, something that most of this record does, echo moments from a previous record.

Its a strange criticism of a band you enjoy when they do the same thing, personally I think progression is important for musicians, hearing the same thing over and over rarely works. "Untouched" and "Notre Sang Et Nos Pensées" steer further towards spacious Post-Metal sounds, which give some freshness to the record. The records shortest "Oynx" hums a bleak and hurtful atmosphere of sorrow through heavily narrowed guitar distortions and bass guitar bleeding into one another for a peak into a grave moment of existence. These breaks from the norm where exciting in an otherwise predictable, yet truly serene listening experience.

Favorite Tracks: Kodama, Onyx

Rating: 6/10

If These Trees Could Talk "The Bones Of A Dying World" (2016)

Four years since their second full length "Red Forest", the instrumental five-piece group from Ohio return with a maturer, cinematic record that glimmers from dark shadows as brooding emotions of warning evolve through expansive grooves, ghostly shimmering guitar leads and brightly plucked acoustic notes. A deep sense of departure and sorrow runs under the scale of these songs, as the title might suggest the inspiration is in anticipation of are destruction of mother nature and her beauty.

The natural world is whats envisioned, no ounce or inch of urban, human affection is felt. As scaling overdrive guitars wail and cry out in their lofty reverbs the soundtrack of dwarfing mountains and endless forests emerge in the mind, the sadness feeling like a last goodbye. As organic as nature itself these songs breathe and move through a continual motion with recurring riffs growing the songs to conclusion rather than part of a formulated structure.

Under neath it all chunky prowling baselines hammer down a steady backbone. The drums creatively work out all sorts of grooves and shuffles to glue the guitars direction to the beat and taking most of the attention are the guitars which orchestrate the mammoth atmosphere through tremolo plucked leads that drift endlessly into their own reverbs. Occasional distortion leads drop in with a couple of guitar solos which felt very fitting despite not being expected, they stayed very true to the intention of the song without over bloating themselves. The tone of the acoustic guitars were stunning and added an infectious feel of melodic charm that didn't come in the form of a catchy hook or memorable line.

For all its dense atmospheres and melodic tones the record maintains a tight balance between color and grey-scale. Post-Metal or Post-Rock often has an almost narrow dimension to its sound without bright and distinguishable instruments the constant oozing of sound and sorrowful tone can feel somewhat colorless and the tinges of color that emerge highlight the beautiful composition. "The Bones Of A Dying World" is a stunning effort but in moments some songs drift into less immersive moments and a couple of less favorable tracks weight it down in my experience.

Favorite Tracks: Swallowing Teeth, Earth Crawler, The Giving Tree

Rating: 7/10

Intronaut "The Direction Of Last Things" (2015)

Recommended by a friend, Intronaut's fifth record and my introduction to the band has been on my mind and infecting my ears for some time now. This four piece band from Los Angeles have been at it for over a decade now and have somehow alluded me in the Progressive Metal scene. "The Direction Of Last Things" is my cup of tea, a deep and dense album that's got a lot to offer however in my many, many dives into this record I have found it difficult to dissect and fathom its inner workings. Instead I find myself drifting between the conscious and subconscious, held in a continual state of suspense, at the mercy of its direction. With every listen I feel as if i know this moment but not where it lies within the record itself, as if my own familiarity is being shrouded by the fog of its genius.

It hits on two levels. In its immediacy a wave of creative metallic riffing grabs your attention with tinges of Djent and Groove Metal reassembled into tight polyrhythmic prog riffs, even echos of sludge in one discordant groove. On its other level a persuasive wave of organic melodies lull the listener it a state of calm as jazzy instrumentals wash over in a breeze of atmospheric relaxation. Under them a big, warm, gorgous bass guitar often struts its way around the fret board, you can feel its vibrations with every note through its density. With it light acoustics hum through reverbs with very light synth lines creating sunny atmospheres drenched in a Post-Metal vibe when making use of light distortions. Every atmospheric break has its nuances and details but for the post part they lean to the Post-Metal etching making use of distant tremolos and the crowding of colorful reverb sounds.

Although hailed as a Progressive Metal record, these songs blur lines and boundaries with organic compositions that flow and swirl in the direction of inspiration. The song structures feel inconsequential as every moment seems to be within itself, never waiting or building to another one. It sets itself free of conformity and traditional structure, not something unusual in this era of music but rarely executed in a way that feels as genuine and organic as this. Its a very strong record with little to fault and one that I feel will grown on me with every passing listen.

Rating: 7/10

Tombs "All Empires Fall" (2016)

New York based experimental Metal outfit Tombs are back in 2016 with a short twenty-three minute EP. Impressed by their last fall length I picked this one up and at first failed to recognize the band I had heard before. What was interesting about "Savage Gold" was a seemingly normal Metal approach yielding an uncanny nuance that defied understanding on inspection. It had its way of feeling different and after many listens to "All Empires Fall" I think we are hearing the subtleties being ripped apart in different directions. The opening track throws together an atypical Thrash Metal groove that I could swear I've heard many times before. Its then overlapped with a dark Post-Metal guitar lead, tremolo picking itself through an epic reverb. In then comes crashing into a spacious synth laden slow down, building up the anticipation of the first full track.

"Obsidian" is that song, and it dispels the atmosphere with its hard and gritty Black Metal grind, pummeling through shifting, alternating blasts and evil riffage. The vocals crash in with a harsh penetrating tone that feels shrill and piercing, as if peaking the volume. Its not particularly enjoyable but the ears adjust as the song draws on. In this song the band slice in thrashier grooving riffs that highlight the aforementioned directions, where subtlety once guided the chemistry there is now a noticeable shift, however its not a negative aspect of the song, more of an observation in change.

"Deciever" is considerably more along the lines of what I expected with Thrash grooves slowed down into a temperate environment, lighter growls and accenting lead guitars craft a big mood in a steady setting, gradually elevating with increasing lead guitar focus. "V" finds a balance between the two styles and progresses its way through a rather epic passage of riffs.

I didn't feel much cohesion on this record, the last two songs made more sense together than the others however my favorite track was the non Metal track "Last Days Of Sunlight" for its brooding atmosphere and sense of impending dread. A great listen with good songs but it didn't flow well or amount to something grander than the sum of its parts.

Favorite Songs: Last Days Of Sunlight, Deceiver

Rating: 4/10

Deftones "Gore" (2016)

The Deftones are an American five piece band from Sacramento who have survived the test of time, once at the origin of the Nu Metal scene the band have steadily refined and evolved their sound over the years and have successfully built a large following of adoring fans, of which I am one. Whats special about them is that they have held onto what made them unique from the beginning, now spanning twenty one years and eight albums, not including a record shelved due to the tragic four year coma and death of bassist Chi Cheng. Deftones would primarily be described as an Alternative Metal band but their indulgent guitar distortions coupled with Chino Moreno's dreamy voice will have you hearing tinges of Post-Metal, Shoegazing and even Dream Pop in its colorful moments.

Their last record "Koi No Yokan" is my personal favorite and set high expectations for "Gore". My initial impression where that Deftones had reached out to a eerier, slightly psychedelic vibe however these ambiguities faded with familiarity. What the band have achieved is what they have always done, entrance us with the power of the low and heavy, rock us with the groove and smother it in tinges of hazy melodic color. This time Carpenter takes his experimentation into artful territories with riffs that push into all sorts of genre definitions. It comes together so effortlessly for the listener, at many moments dissecting the ensemble just furthers the appreciation for the bands vision.

 The records production is a marvel of its own, toying with heavy grooves, dense guitar tones, deep six string baselines and on the flip side Chino's soft voice, light reverb acoustics and tingly electronic keys it manages to find power and clarity without any modern over compression nonsense. For this the drums may find themselves a little buried but its all in the balance. There is a lot of varying guitar effects and Chino has a lot of production on his voice, from artful echoing to narrowing ranges around his screams the band utilize the power of a records production to further their vision.

With all the praise I have to give the band their was no breath taking moments for me, nothing that jumped out at me, initially I was hearing echos of old Deftones songs like "Minerva" and "Royal" however the eight string guitar is now just part of the bands arsenal. With each and every listen their was nothing I could complain about. For me "Gore" is a very solid and consistent record that doesn't need anything but itself to me indulge in. It plays through without a dull moment and is continually powerful without any theatrics or over emphasis. A closer listen to Chino's lyrics will reveal its a darker, sombre record but one not over bearing, its executed tastefully to suit any mood your in.

Favorite Songs: Acid Hologram, Doomed User, Gore, Rubicon

Rating: 7/10

Deafheaven "New Bermuda" (2015)

American Black Metal or "Blackgaze" outfit Deafheaven from San-Fransisco have been both critically acclaimed and at the center of hate fueled controversy with Black Metal elitists and keyboard warriors of the web who believe the bands music taints the supposedly puritanical nature of Black Metal. Jokes aside I never find myself offended by music, which is what many comments, articles and online ramblings would suggest fans of traditional BM are when it comes to this band. Their breakout record "Sunbather" in 2013 was one I cared little for and despite its praise I found myself somewhat puzzled to what the "magic" was, however this time around its hit me like a firm slap across the face. I don't care much for the debate as to if this band is "true" or not, I came here to enjoy some filthy dark music.

The bands sound is somewhat deceptive, harsh, threatening screams penetrate the pummeling, rattling blast beats and menacing guitars that glaze through darkness at a racing speeds. In the bleak, cold and unforgiving sound there is a sense of something warmer that steadily emerges with each passing phase of the song, blossoming into a gorgeous Post-Metal soundscape of transcending serenity. This was my experience of the first song. In breaking it down I felt a lot was to be learned about what makes this record tick and much of the same can be said for the following four songs that make up the record.

Aesthetically the relentless drumming, dark distortion tone and vocalist Clarke's sharp, sinister screams create a harrowing black accent but the guitar work transforms them with Shoegaze and Post-Metal / Post-Rock ideas, techniques and song structures. They create quite the enigmatic experience as the dark and light are held in a unique, original balance. They toy between one another, stretching, elasticizing as songs themes move back and forth in a singular progressive motion. Not all the songs move on the same path. "Baby Blue" starts with acoustic guitars, shadowy blues in color and cuts rather immediately into its dark counterpart. I especially like the mysterious synth at the end with a woman making an announcement about the George Washington bridge. Its eerie and unsettling, seemingly because the message shouldn't be? Its odd and I like it.

The record sounds fantastic, the guitar tones are especially dense, magnetic and immersive. My only quarrel were the vocals, although fitting and powerful, the cut like a knife and never let up, sometimes it felt a little much with a singular delivery style. The five songs have zero filler and take us on a unique journey that fades out with a satisfying melodic climax. The heart of this music is traditional Black Metal and I see how it gets some fans up in arms but that attitude of elitism and "true" is only holding a listener back from an expanded experience. A stunning record which I've barely put down in recent days.

Rating: 9/10

Chelsea Wolfe "Abyss" (2015)

Discovering the music of American singer Chelsea Wolfe last year through her previous record "Pain Is Beauty" was a breath of fresh air. Another reminder that there seems to be an endless source of sound out their that can reach you in many different ways. Chelsea's cold, bleak and shadowy music plays off her sweet somber voice like a spirit calling out from dark and on "Abyss" she takes a big step thematically and musically into her darkest sound yet. Accompanied by several members of Russian Circles the album takes the big roaring Post-Metal sound the band play to new territory with monstrous guitar work plunging us into the abyss.

What I previously liked most about Chelsea's music was the juxtaposition between the brighter melodies and the dark, gloomy tones that played off one another. Abyss is stripped bare of anything uplifting and plunges deep into a wallowing despair of darkness as the Post-Metal apocalypse broods sludgy, gritty riffs of ambiguous noise under a rattling kit and Chelsea's lonely cries. Its a hefty, atmospheric sound, but one that wasn't quite as enthralling as its ambition. The riffage falls savage to its textural ambitions and doesn't make anything memorable with the notations.

This is much the tale of the first half of the record and with "After The Fall" the album picks up with a distinct shift in direction as the distortion guitars drop from the focal point. This second half has a lot more melody and driving moments that still focus on an unforgiving despair. "Crazy Love" utilizes a haunting string section that cascades and descends with a tone of horror and evil under Chelsea's soft vocal inflections. Across the album she reveals the dark and tormenting experiencing of the sleep paralysis she suffers from, which a part of this album deals with and contributes to its haunting theme as she shares with us the frozen wakeful state of shadowy figures and being trapped in oneself.

Abyss is an ambitious and focused effort that I cannot criticize, the production works together monstrous distortion and bleak sounds with a clarity that avoids feeling sterile and the music its captured has its direction but for the most part this particular strand of dark isn't as immersible for me as I would of liked. What I like most about her music is that chemistry where the darker sounds smother the brighter melodies within and the first half of the record was devoid of any of that. I'm hoping its just something I'm not in the mood for right now, as I can hear whats great about this one, but right now it hasn't clicked.

Favorite Tracks: After The Fall, Crazy Love, Simple Death

 Rating: 5/10

Dir En Grey "Arche" (2014)

Japanese Metal band "Dir En Grey" are celebrating fifteen years since their release of their debut record "Gauze" in 1999. "Arche" is Greek for origin but doesn't appear to signify any connection to the anniversary. The bands sound has changed and evolved over the eight albums and on this their ninth effort we hear a band come strong with a very defined and mastered sound they call their own, but how to describe Dir En Grey in relation to other forms of Metal is where things get interesting. Despite punchy, rattling drums, big distortion guitars and screaming, growling vocals they bare resemble any other Metal bands, mostly creditable to vocalists Kyo's impressive range and epic performances that a lot of the music focuses around. With hints of Post-Metal, Industrial, Hardcore, Metalcore, Nu metal and Alternative the band draw from many influences to create a refreshing sound they can call their own.

"Arche" is a lengthy seventy minute record of sixteen tracks that do not tire. The band deliver a continual barrage of big songs that sway between crafted aggression, atmospheric dissonance and captivating breakouts through Kyo's enigmatic presence. Having seen the band live several time I have always been astonished by how big and dominating his performances were live, and on this record I felt they captured a sense of that in some of the best moments the record offers. Kyo's screams go devilishly low and guttural, offering deep textures, see "Phenomenon", as well as providing a range of oddities, traditional screams and soaring high pitched leads that blur the lines between distinguishing gender. The language barrier ads another level of mystery to his persona, which really stole the show.

The instrumentals behind Kyo are finely crafted tunes that don't rely on any over emphasis or momentum to get their point across. Riff after riff play through with many ideas that on their own may lack a spark, but how they come together with the clanging bass and broad, hammering drums a vision is born. Coupled with eerie plucked strings and the occasional electronics, the music forges an identity that transcends its Metal aggression, each song often resembling the emotional content. There are some traditional leanings in the mix like "The Inferno" but for the most part Dir En Grey deliver the unexpected, unusual in an accessible style. A solid record that after countless listens I find myself still feeling its depth and character.

Favorite Tracks: Phenomenon, Rinkaku, Sustain The Untruth

Rating: 6/10