Written by: Blackie Skulless
It’s been a long time since I’ve been so conflicted on how I feel about an album, but after like five listens, I think I’ve got it down, so strap yourselves in. Unto Others are a band I’ve loved since they first broke ground in 2019 under the name “Idle Hands”. Mana was like a one-in-a-million shot of combining traditional metal with goth rock, and it worked well. Strength hinted at a heavier direction for a few songs, being a little awkward at times but overall a great release. And then we get to the latest, Never, Neverland, making me think it’s going to expand on the heavier sound. It kinda does, but it also doesn’t. But also, it tries punk, upbeat vibes, and…. black metal? It’s as weird as it sounds, and as much as I hate to break an album down by track, there’s absolutely no consistency to this outside of the fact that it runs with the melancholic vibes coated with the deep, sonorous vocals. Otherwise, this is a game of take what you like and leave the rest. Right in the opening, “Butterfly” lays a convincing ground of running towards the softer, gothic direction with the occasional heavier lick worked in nicely; I actually very much enjoy this one. Then “Momma Likes The Door Closed” shifts entirely and works like a metal oriented punk rocker that even includes blast beats. Seriously, it’s as if you’ve started listening to another album, before “Angel Of The Night” brings you right back to where you started, finding strength in a soft chorus.
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Written by: Blackie Skulless
After five years, the band that released my favorite non-classic era death metal album of all time finally came back for a second serving. Portland’s Coffin Rot dropped a demo compilation and a single in the time since 2019, but until now, A Monument To The Dead has been their only full length. Dreams Of The Disturbed came in for an attack somewhat quickly, keeping the structure similar. Seven swift tracks topped off by a more lengthy eighth track remains the name of the game. Stylistically, there’s not much deviation from what we got the first time around. Chunky, death metal rhythms with some of the deepest, crushing vocals surrounding themes of gore, filth, horror, and death still make up the majority of the formula with Hayden and Co. The only real change is that clarity plays a bigger role in this, allowing for some slightly more nuanced solos and transitions to make an appearance. The rare but punishing higher vocal shriek comes through with more conviction, and the general delivery of the songs feels oh-so less dirty. 
Written by: The Administrator
Assuming I'm taking the languid scenic route, the walk from my office to apartment is pretty much an hour long. I got off from work early today, and, with nothing better to do, opted to amble. This of course required an optimal soundtrack, which bring us to Oblivion, a new one-track album from Sweden's Oscillotron. Clocking in at a tidy 60.00.00, this droning wall of sound--the intertwined sonic force of hefty down-tuned guitars and omnipresent Moog synthesizers--represented the perfect runtime. And who doesn't love drone whilst engaging in a little light cardio? For a little insight into what this hour of sound actually sounds like, the cover artwork is a perfect representation. There's an overwhelming intensity at play here, and while the first minute does sound remarkably like the last, the thing about well-done drone is that any change whatsoever feels highly significant. The constant intensity makes you hyperaware of subtle deviation. Take, for example, the new tone that perks up on the left channel around the 32 minute mark. At other points, the guitar falters ever so slightly in its circular breathing, adding a little more fuel to the droning idle. The difference in sound is momentous and almost jarring, like a klaxon blaring in the middle of a lullaby. Not a lot happens by design, but the longer you spend with Oblivion, the more it draws you in. To this end, the lengthy runtime was a smart move. While listening, this track becomes all-consuming, and setting a sizable chunk of time aside for that experience is worthwhile. Oblivion carries itself with an interesting presence: an album so minimalistic in form seldom feels so psychically powerful. Is it invigorating? Action-packed, perhaps? Certainly not, but I would classify this hour of sound as both stirring and oddly engaging. Comforting, even, once you get acclimated. If Oscillotron's wall of sound is indeed the soundtrack to oblivion, I have to admit that the prospect of oblivion feels a little less alienating than I would initially assume. And yes, I shall henceforth be referring to a day as "24 rotations of Oblivion." If you're a fan of drone, or at least tolerant, I recommend checking it out below. Oscillotron - Oblivion was released Sept. 20th, 2024. Find it on bandcamp here!
Oscillotron can be found:
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