Maestus - Scarlet Lakes


Atmospheric Sludge/Black Metal with some funeral doom here and there. Pessimistic and slow guitar passages which seem to go on forever.


Couleur Dauphin - Un Dauphin Dans Une Tasse


It opens with pretty folk, and then proceeds to jump between genres with repetitve loops and odd sampling.



Locktender - Kafka


Very atmospheric screamo meets post rock. Early releases are more hardcore oriented but this is, despite being a little formulaic at times, interesting!

Waves Crashing Piano Chords


Absolutely blistering harsh noise/power electronics. A favourite.


Alpha Male Tea Party - Real Ale and Model Rail: The Lonely Man's Guide to Not Committing Suicide


Think a heavier, sludgier ASIWYFA but more mathy. Reminds me of Exemption. Very upbeat, major music.


Kinder - Kinder


Post rock with a strong electronic element. Something about this sets it apart from most stuff I hear. Predictable, but done well.


Burden - Homage To The Tube


So yeah, spamming my project once more because this isn't in the archives and I just spammed flyers for the site at a show I went to. I set three tube amps up with guitars tuned to D5 on stands, and let them feed back on each other, occasionally hitting them with drum sticks and stuff. 


Eldest Child - Live Demo 1


Noise. Very enjoyable. Lots of changes, volume swells, and grating timbres.


Kajkyt - II


Describing this isn't the easiest of tasks but in the name of hooking someone while not completely removing any notions of negative qualities the album may hold, this is what would happen if someone wanted to make industrial rock but got caught on one of C93's thorns as they ran hopefully towards Trent Reznor. Opening, a chorus of overtone vocals with just the right amount of reverb: crashing into a droning industrial mess. What sounds like distorted screaming plays over a repeated distorted bass and drums that, well, aren't distorted. As the cover and my blithering suggests, vocals are a huge part of this. I'm reminded of heavier Nine Inch Nails-style dynamics, changes but with smoother, more open, airy vocals. And these give way to manipulated static between each section. Following tracks stay to this theme and give good seven-minute long vocal dirges to wailing guitars and deep, repetitive bass progressions; all over a slow and rather disjointed drum beat. As much as it works, these beats stand out as they would in more typically electronic genres rather than as they might in a dark ambient/drone metal setting, and as such there is a constant - to use the language of a tosspot - contradistinction between the two; something relatively free and balanced moving with the rigidity and more expressed dynamics of the drums. While feedback will stay relatively constant, bass "drum" hits push through with a pulse and almost sound like a sort of punctuation. It allows for a contrast between programmed drums and more natural rock instrument stylings, while also holding the always loose, slow minimal feeling that the other instruments have down. I enjoy this. It's very careful, very precise. Yet it still maintains the balance between something spacious which immerses you, and the punching beats which constantly push you around. It's very noisy in the sense that it won't let me settle, and keeps moving me from one area of musical comfort into another, leaving me feeling a little left in the middle. But I cannot, no matter how much I try, stop hearing the NIN influence. Granted, it's not the only industrial influenced rock act in existence, but as the most prominent one, I keep hearing it, and it's spoiling it for me because at times it feels too close to that; the less aggressive downtempo aspects of the verses Reznor favours played across an entire track.

So, naturally, as I listen on, the next song consists of chimes and booming drums being played seemingly randomly before large gaps of silence bridging low, ominous vocals; a single word between each pause. Before returning to a more structured sound of the former. The influence from Eastern traditional chant is huge, and couldn't sound better. What may feel like a bridge between the slower openers and the more upbeat track that follows is probably more important than both of those. Come to think of it, it reminds me of LDRTFS' Seismik Electrik Magick where they suddenly go all trip-hoppy. But, as I said, Kajkyt then goes FULL REZNOR on me and it's all very underwhelming. Not a copy, by any means, but the grooving guitars have the same sort of phrasing, the more uptempo drums having the same sort of production on them. He seems to favour a slight bridge of acapella singing but by then it's all a bit late and snore. I'd rather not talk about the last two tracks because the basslines alone completely ruined any hope of them having anything worth saying about them. It's a mixed bag. Go in wanting industrial rock with an experimental edge, and you'll be pretty pleased, bar a couple of tracks. Go in wanting what I was wanting, and you'll get something bottom heavy. And not the sort of bottom heavy that makes the rockin' world go round.


Uboa - Jouissance


One of the best drone/atmodoom (is that even a thing?) artists on Bandcamp has just released a follow up release. 2010's Sometimes Light was an exceptional album and a highlight of the year, so this should please. I know I'm looking forward to hearing it....

Cloudkicker - Subsume

Subsume cover art 

Cloudkicker (Ben Sharp) makes a triumphant return with Subsume. Consisting of four tracks, all but one clocking in at over 8 minutes, the album ebbs and flows with all of the intensity and beauty one has come to expect from a Cloudkicker record. Functioning as a conglomerate of Fade's alt-rocking fancy and Cloudkicker's formative work in above-par progressive metal, Subsume is easily one the most challenging albums he's recorded to date. The songs (each with appropriately long post rock names) are complex in both their sonic ferocity and melodic finesse. There is no shortage of amazing riffs on this record and the time signatures on a couple of tracks will knock your block off. Additionally, Sharp's use of the Superior Drummer program is as technically amazing as usual, though I feel Fade exhibited perhaps his most inventive and alluring beats to date.
Long story short, there is no reason you should not listen to this record at least a few times all the way through. By then if you still have not found anything to love then I wish you good luck...