​Written by: Lord Hsrah

The last ten or so days have been immensely heavy for me, I must confess. I'm not sure if this is the aftermath of the lockdown or is it just the feelies, but my existential dread and depressive episodes have never been this high before. It's been real doom and gloom hours. These aren't those times when the 3AM feels hit you, you cry yourself to sleep and the next morning you're all ready and up to face whatever's coming at you--no, no, no--these are the hard ones that persist for days. In this absolutely down-and-out period, Australian depressive black metal outfit Cancer's Opioid has been an ethereal companion to me, and while coping has been tough, there's solace in knowing I'm not alone. Let's talk.
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In the rush to cover the constant waves of new music, we all too often neglect discussing the releases that leave the most substantial impressions in our lives. As such, we recently invited some bands and artists to wax poetic about an album that was deeply impactful or influential to them, either musically or personally. The next guest in line to graciously offer a retrospective in this series is one Erin Palmer, sole member of raw black metal outfit Dread Maw, as well as raw black metal/black n' roll entity Rage of Devils. Once yer done reading this retrospective, check out both projects! 

Written by: Erin Palmer

​I went through several years where, for multiple reasons, I wasn't enjoying metal.

One of the hallmarks of OCD is intrusive thoughts. Irrational thoughts that come into your head out of nowhere, but feel so gut-wrenchingly real that you can't help but give them credence. Mine started in 2011, and they told me that I wasn't “allowed” to like metal. 

Simply saying that doesn't convey the fear that came with those thoughts. It was a sick feeling in my stomach that I was doing something wrong by listening to metal. It wasn't based in anything real; no religious background was responsible, for example. My head just told me that I wasn't allowed to listen to my favorite music, and my insides turned to water.

Written by: Ancient Hand

​“Blackgaze” is a term that immediately disgusts and turns off purists of straight forward, Satan-worshipping, formulaic black metal. The image of modern hipsters wearing skinny jeans while writing black metal in basements is stomach-churning to some who would rather imagine 90’s hipsters wearing skinny jeans while writing black metal in basements. “Blackgaze” is a term openly embraced by Canada’s Unreqvited. Tagged on the project’s new album, Empathica, is the controversial term itself. Additionally, the album is self-described to contain “shimmering blackgaze melodies and grandiose orchestral segments.”

The second part of this description, though, is where the innovation lies. We’ve all heard an album make use of beautiful guitar melodies paired with tremolo picking and relentless drumming, but Unreqvited’s ability to roll symphonic and orchestral elements into the music is quite groundbreaking when experienced on this new LP. ​

Written by: The Voiceless Apparition

There is darkness within all of us; it doesn't matter who you are. Rather, it all matters on how you handle it. Some resort to writing lyrics, painting, or various other art forms. Unfortunately some pick more destructive means. Sojourner does the former, using melancholy as a tool to add to their already highly atmospheric blend of black metal and folk metal. Premonitions marks the third album from the international atmospheric metal band, and their first album on new label Napalm Records. Do they succeed in expanding their darker and more melancholy emotions on this album?  Let us begin.

​"The Monolith" begins on a grand note. We are greeted to the gorgeous vocals of guitarist/clean vocalist Chloe Bray, who's voice really helps add to the scope of this tune. You are transported to a vast open field with the music taking you by the hand and comforting you on your journey. ​

Written by: Heavy Grinder

When a friend tells you a band is a mash of Tool, Rush, Jerry Cantrell, plus some post-Black, well, the only appropriate response is “I’ll fucks.”  You are virtually obligated to give it a spin and see if the hype sticks, as it is a no-lose situation. If the band lives up, well then you have gold in your ears.  If not, you have an opportunity to rib your buddy for being overly dramatic.

The over-dramatization wins in this case, as Gates to the Morning is not a perfect mash of the above legends.  That does not mean it disappoints either, because the above combination is a unicorn sasquatch, never to be seen in the flesh.  Gates presents an intriguing mix of styles not normally associated with one another. The progressive element clearly is dominant throughout, and the Black influences end up being only a small part of the piece, leaving echoes of an old early 90’s alternative feel to balance out the sound.  The melodies in "My Star" and "Two Winters" would fit right in on a Toad the Wet Sprocket LP if played on a backbeat in 4/4. That’s no insult, Toad is a great band and I loved how well Gates gels their influences together.

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