Written by: Blackie Skulless
Since the debut demo Krønike I in 2020, Dødskvad were a band I’ve found quite intriguing. Crafting a clear sense for death metal in a very non-traditional fashion, these Norwegians brought forth a nasty taste of history and mythology coated in synths, blackened feel, and unsettling production. Now, they’ve followed this up with another treat simply titled Krønike II. In some ways it’s a clearer vision, more of what came before, but there’s certainly a brighter element of focus.
By that, I mean this second onslaught of harsh and unlovable tunes seems to have a better idea of what it wants to be. Things progressively get a lot doomier, as the passages themselves slow down, with sharp percussion and bouncy bass popping through the surface to take precedence. Percussion is really big across the board, more so than before. Considering the synth overlaying and galloping rhythms aren’t going anywhere, this manages to pack so much into four songs.
Written by: The Administrator
If, dear reader, you possess a preexisting familiarity with Witnesses, you already are aware of three unshakable truths:
Firstly, Witnesses writes very good atmospheric doom metal. Secondly, when not writing very good atmospheric doom metal, Witnesses writes equally good atmospheric ambient music. Thirdly, today's Witnesses album in question is not a new release--in fact, it saw the light of day back in February of last year. But that was in mere digital form. On Friday the 18th, IV will be released in the vinyl form it deserves. As such, we are streaming it today in celebration, and in hopes that a few new fans find their way into the comfortable fold.
More talk later. In the meantime, listen to IV in full below. We'll meet ye, as always, on the other side.
Written by: Blackie Skulless
The infamous band that manages to pull a slew of opinions every three or so years has come back to continue their evolution. Every Ghost record seems to follow a bit of a theme, or at least weave itself together with a vibe that separates itself from the prior, but stays consistent standing alone. Ahead of releasing Impera, we were given several tracks that sound pretty different, which was an accurate depiction of what was to come. While the mixing of ballads and heavy hitters always went together smoothly, that somewhat changes here.
Despite no signs of ditching the catchy or upbeat chorus’s and memorable radio tunage, Ghost took their biggest step towards more progressive writing. That’s not to say you should expect a Dream Theater record, but there are extra theatrics, extra shifts in tonal delivery, and all sorts of fun instrumentation that gives some serious Styx vibes gone dark. Unfortunately, this causes an awkward flow, and a little bit of placement that feels off at times. For the most part, I can overlook that, save for a few moments of going too long, or the unnecessary use of several “interludes.”
We provide thoughtful reviews of music that wakes us from slumber. Written by a highfalutin peasantry.