Written by: The Voiceless Apparition
Like all of you dear readers, I'm always looking for new music. The joy of finding new artists and albums is such a fulfilling experience. There's no denying: music is such a special aspect of our lives. It can transport us to other dimensions, it can bring back memories in an instant, and so much more. So it's always good to be open and broaden your horizons to new experiences, and this is something I have been working on.
Today's review is for the new album from the ambient/drone/doom metal duo The Sun and the Mirror. To be completely honest and say that prior to this review, I had never heard of this group, but I wanted to discover something new and foreign to my ears. Luckily I found it with their album Dissolution to Salt and Bone.
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 Aaron Palmer, sole member of raw black metal/black n' roll entity Rage of Devils--who, incidentally, is dropping a mean album in a few short weeks. Once yer done reading this retrospective, check out Infernal Embraces' available singles here!
Written by: Aaron 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.
And now for something a little different, both in format and in sonic content! To adequately assess the latest offering from Slow Draw, two Village-dwellers--Continuous Thunder and The Administrator--took up the pen to express (complimentary) views, making for a somewhat rare double review 'round these parts. Without further ado:
Written by: Continuous Thunder
I’d like to start this with a bit of a disclaimer that I went into this album with no previous knowledge of Slow Draw or Stone Machine Electric (something I will be correcting immediately). I just saw the drone tag and I hit play. Drone can mean any number of things, but as this was a drone project of a member of a stoner band, I went in with expectations of good vibes and ultra-long riffs. What I didn’t expect was just how sparse the arrangements would be. Seriously, there’s little more than an electric piano, synths, and a guitar at any given moment on this album, and it lines up more with ambient music than drone.
Sparsity in music can be a blessing or a curse. On one hand, it strips things down to their bare elements, removing any fluff or embellishments that distract from the core of the composition. On the other, it reveals just how strong or weak a composition actually is. I think back to the last album from Earth where they dialed back the fuzz and reverb and had to lean on their riffs more than the atmosphere. Gallo does the same thing but to an even greater extent. The guitars are (mostly) acoustic, buzzy synths only serve as a backdrop, and there is very little, if any, percussion.
Written by: Ancient Hand
San Marcos’s This Will Destroy You should need no introduction at this point; the Texas post-rock group has seen plenty of success and experimentation in their now 16-year-old career. The group’s 2008 self-titled album is considered by many to be their magnum opus, and I am included in this group. That record is a beautiful blend of instrumentation that culminates into a moving and beautiful journey across an auditory version of the American Southwest. After 12 more years and plenty of other albums, we finally get the standalone release of Vespertine, the soundtrack to the high-class, two-Michelin star restaurant of the same name. The soundtrack has been available to those that have been in the restaurant for a few years now, but This Will Destroy You has finally released the soundtrack for the rest of us to enjoy.
Written by: The Voiceless Apparition
I've always loved the concept of a split album. The idea of two or more artists coming together to unite under one release is fantastic. Wanderers: Astrology of the Nine, however, is much more. Spectral Lore and Mare Cognitum join forces again to create a conceptual split release centering around the planets of the solar system and ancient mythology. This may sound like an overbloated idea, but it works out so well. This split release right here is something that will be looked up to in 5-10 years based off of the conceptual angle but also musically.
We begin the album with Spectral Lore's "Mercury (The Virtuous)." An effects-laden intro slowly builds into a mid-paced black metal stomper with loads of classy riffs and well executed double-bass and blast beats. After that, we are greeted with Mare Cognitum's "Mars (The Warrior)." This is a far cry from the serenity of the first track; this is a jagged, aggressive, and dissonant tune. There is no letting up, as a swarm of blast-beats and fast double bass keep you on your toes the whole time. I'd also say that this is a far more "progressive" song, as there are many changes in time signatures throughout the 9 minutes.
Written by: Reese
If you’re anything like me, you’re probably a big fan of atmospheric black metal, but not so much a fan of the recent blackened synth craze that’s been sweeping the underground. You’ve probably also got a recurring itch on your back that’s frustratingly just out of reach. Maybe that one is just me though. But I digress, it’s not hard for me to get swept up in a good atmospheric black metal album, but I’m much pickier with my ambient music. That’s why I’m such a big fan of Moulderyawn; this one-man black metal band truly brings together the best of both worlds in a way that’s both interesting and engaging.
A Dreamworld’s Oeuvre is Moulderyawn’s second full-length album. I became aware of this band after discovering their 2016 debut album, From Whence the Woods, on Bandcamp, and while I was a fan of that album, A Dreamworld’s Oeuvre is on an entirely different level. On past releases, the ratio of ambient to metal has been roughly 40:60, but on ADO it’s much closer to a 50:50 balance. Normally that would be a huge red light for someone like me who isn’t much of an ambient listener, but Moulderyawn's way of approaching songwriting allows the ambient soundscapes to be worked into the album in a manner that feels dynamic and robust. The fluid transitions from black metal to ambient make the album feel like one multi-textured movement rather than several black metal songs broken up by unrelated ambient interlude tracks, like many albums of this nature do.
But of course it’s the black metal that has me coming back. A Dreamworld’s Oeuvre is paradoxically a pretty album and an abrasively raw album. Part of ADO’s charm is the album’s ability to create something beautiful from such “crude” building blocks. A gorgeous chord scale is still a gorgeous scale even when it’s played with several layers of distortion, and Moulderyawn realize this. They took that ball and ran with it as far as they could. The whole album feels like you’re in a lucid dream that you can’t wake up from; on one hand it’s very surreal and pretty, but on the other hand something feels “wrong” and there’s a pervasive malevolence that gives ADO a real set of teeth, as any good black metal album should have.
In the vocal department we’ve got all the usual shrieks, yelps and howls you’d expect from this style of depressive black metal, and mercifully absent is the clean singing that stains so many albums of this variety. Moulderyawn keep things grim and nasty, and when they want to give listeners a moment of calm to catch their breath, they let the music speak for itself. In keeping with the surreal, dreamlike theme of the album, the vocals are drenched in feedback and static; they sound like they’re being performed in a long hallway and being listened to through an old radio.
If this album is any indication, this is going to be a very good year for black metal. Had A Dreamworld’s Oeuvre been released last year it would have easily been among the year’s best. Sadly, ADO is set to be Moulderyawn’s final album, at least for the foreseeable future. But it’s a good note to bow out on, and a good record to be remembered for.
Moulderyawn - A Dreamworld’s Oeuvre was released Jan. 2019
We provide thoughtful reviews of music that is heavy, gloomy...and loud enough to wake us from slumber. Written by a highfalutin peasantry!