Perhaps because there are so many albums with cartoon boobs, I kept thinking I'd heard this album, but hadn't until a few weeks ago. A mix of Sleep, Pallbearer, some NWOBHM, what's not to like.
― Fastnbulbous, Sunday, 13 December 2015 16:54 (eight years ago) link
Yawnsomely Literal Title alert! cool cover on this one though but very definitely not for me musically
― ultros ultros-ghali, Sunday, 13 December 2015 16:58 (eight years ago) link
Also there should be a hyphen in one-eyed and I'm finding that bothersome
maybe it means 'one horse that has an eye'
― roughest.contoured.silks (imago), Sunday, 13 December 2015 17:00 (eight years ago) link
Or shorthand for one person eyeing a horse
― tangenttangent, Sunday, 13 December 2015 17:00 (eight years ago) link
This is okay. The second track sort of reminds me of emo band The Movielife.
― tangenttangent, Sunday, 13 December 2015 17:04 (eight years ago) link
idk if i'm getting burnt out on metal or there's just too much of it but like the khemmis album sounds really good and enjoyable to me but also like 30 other albums i've heard - many of them this year alone and it's hard to distinguish between albums. i don't want to say the genre is formulaic but it def feels like there are a lot of bands making [don't get me wrong very enjoyable] genre retreads. and then the corsiar i feel similarly about.
― Mordy, Sunday, 13 December 2015 17:07 (eight years ago) link
thing is Mordy but 'metal' as a genre is thoroughly meaningless like 'rock' or 'pop' or 'dance'. Its not the 1970's anymore when it was just Heavy Metal.
Metal has thousands of subgenres now.
― Cosmic Slop, Sunday, 13 December 2015 17:09 (eight years ago) link
metal isn't formulaic or a genre, but both the khemmis and corsair albums feel a bit like formulaic genre records, if you get me
prefer the corsair though - it's survived to a third track
― roughest.contoured.silks (imago), Sunday, 13 December 2015 17:10 (eight years ago) link
In many genres, artists try to claim they are not influenced by anything, that they are completely original. Which is ridiculous and disingenuous. I like how most metal bands proudly wear their influences on their sleeves, sometimes literally. I like how if I get obsessed with a particular tone or style, I can find more like it. But if you do want stuff that sounds more unusual and alien it's out there too. And certainly some in this poll.
― Fastnbulbous, Sunday, 13 December 2015 17:11 (eight years ago) link
Showing my commitment to the cause by turning on this playlist instead of moving on to the next Ligeti piece. So far, the Khemmis sounds exactly like a record with that cover art should sound.
― EveningStar (Sund4r), Sunday, 13 December 2015 17:12 (eight years ago) link
this (corsair) would make for good summertime car journey music
i am at home in winter watching football on my computer
― roughest.contoured.silks (imago), Sunday, 13 December 2015 17:12 (eight years ago) link
The fact that metal is diverse and has many subgenres doesn't make the umbrella term "metal" meaningless. It's loaded with meaning.
― Fastnbulbous, Sunday, 13 December 2015 17:13 (eight years ago) link
101 Absconditus - Katabasis/Kατάβασις 156 Points, 4 Voteshttp://i.imgur.com/OFCdMCm.jpghttps://open.spotify.com/album/3VmXybBCNKkPv3JrmkL9srspotify:album:3VmXybBCNKkPv3JrmkL9sr
https://i-voidhangerrecords.bandcamp.com/album/k
http://metalasfuck.net/zine/reviews/2015/absconditus-katabasis-i-voidhanger-records
French occult black metallers Absconditus (founded by Loxias after the dissolution of Borgia) have interesting ideas when it comes to time signatures; at first listen I found Katabasis to be a touch 'bitty' and kind of messy but then, after devoting some time to it, I began to appreciate the strange shifts in tempo and the (almost) conflicting rhythms.Opening with the ritualistic Prologue a l'Agonie with its weird backward looping effects and lovely percussion, I immediately began to sink into the cushions - but then the blasting drums kick in as the guitars build via a string of repeated notes - haunting! The lead work of Loxias is distinctly left of field and this bizarre out of sync style is reinforced as Mystagogie des Limbes slips in. Session vocalist Aliexagore screams and croaks over some lovely dischordant tremelo picking and drummer Anderswo lays down some lovely fat beats - and this is where the off-kilter side of things comes in. Everything seems slightly off centre with these arrhythmic compositions and if you're not prepared, this may put you off - stick with it though and there's plenty to enjoy. Mystagogie dips into some mellow sections before reasserting its driving blast beats and swathes of various guitar parts and easily could overwhelm you. Brace yourself and press on.Elegeia (Confession au Cenotaphe) starts all classical and operatic and then immediately goes completely nuts; it is, perhaps, a more traditionally structured piece of black metal but it is exceptionally violent and I suddenly found myself covered in ashes from the cremation grounds, which was nice. Exultet - L'Aurore Schismatique (even heinous black metal titles sound saucy in French) has a weird electro feel to it (despite there being no real electronics within the track) - such is the power of Loxias' guitar as it whines and buzzes like an industrial saw. I particularly *heart* this track - the mid-section is exceedingly bizarre as everything slows down and gets freakish - and this sums up the album in its entirety; freakish, bizarre and well worth getting in to (though again, I reiterate that it may require some time to penetrate).
Opening with the ritualistic Prologue a l'Agonie with its weird backward looping effects and lovely percussion, I immediately began to sink into the cushions - but then the blasting drums kick in as the guitars build via a string of repeated notes - haunting! The lead work of Loxias is distinctly left of field and this bizarre out of sync style is reinforced as Mystagogie des Limbes slips in. Session vocalist Aliexagore screams and croaks over some lovely dischordant tremelo picking and drummer Anderswo lays down some lovely fat beats - and this is where the off-kilter side of things comes in. Everything seems slightly off centre with these arrhythmic compositions and if you're not prepared, this may put you off - stick with it though and there's plenty to enjoy. Mystagogie dips into some mellow sections before reasserting its driving blast beats and swathes of various guitar parts and easily could overwhelm you. Brace yourself and press on.
Elegeia (Confession au Cenotaphe) starts all classical and operatic and then immediately goes completely nuts; it is, perhaps, a more traditionally structured piece of black metal but it is exceptionally violent and I suddenly found myself covered in ashes from the cremation grounds, which was nice. Exultet - L'Aurore Schismatique (even heinous black metal titles sound saucy in French) has a weird electro feel to it (despite there being no real electronics within the track) - such is the power of Loxias' guitar as it whines and buzzes like an industrial saw. I particularly *heart* this track - the mid-section is exceedingly bizarre as everything slows down and gets freakish - and this sums up the album in its entirety; freakish, bizarre and well worth getting in to (though again, I reiterate that it may require some time to penetrate).
― Cosmic Slop, Sunday, 13 December 2015 17:14 (eight years ago) link
Hm, I think I wanted Khemmis to stick with clean vocals but am listening.
― EveningStar (Sund4r), Sunday, 13 December 2015 17:15 (eight years ago) link
Oh, this new one sounds like it could be my kind of thing.
i feel like it's almost worse that i like the khemmis. like if i disliked it maybe there'd be something about it i still hadn't figured out or some appeal i hadn't unearthed but it's so instantly engageable (i feel like what kogan would call a 'free lunch') that it ends up being really un-filling and i wonder if i would be able to remember much about what it sounded like tmmrw. this isn't necessarily a bad thing and i agree w/ u fastnb that part of the appeal is knowing what yr getting and purposely embedding yrself in a tradition (which is a conservative move but i think has value). but otoh just as a matter of priority how much time can i make in my life for sleep knockoffs?
― Mordy, Sunday, 13 December 2015 17:17 (eight years ago) link
It's okay, they don't need you. They have an audience who can embrace the element of Sleep and other bands without calling them a knockoff.
― Fastnbulbous, Sunday, 13 December 2015 17:21 (eight years ago) link
the last album seems like catnip to sund4r and louis
― Cosmic Slop, Sunday, 13 December 2015 17:22 (eight years ago) link
Yeah, I switched to Absconditus. xp to Mordy
― EveningStar (Sund4r), Sunday, 13 December 2015 17:25 (eight years ago) link
Absconditus are cool, I voted for this one. Nasty tech-BM or something.
― ultros ultros-ghali, Sunday, 13 December 2015 17:27 (eight years ago) link
Thanks for the blurbs, Cosmic Slop!
― ArchCarrier, Sunday, 13 December 2015 17:32 (eight years ago) link
cant promise blurbs with everything as im doing it on my own but if its easily findable I'll try but mostly pulling them off bandcamp which makes it easier
― Cosmic Slop, Sunday, 13 December 2015 17:33 (eight years ago) link
100 Nameless Coyote - Blood Moon 157 Points, 5 Voteshttp://i.imgur.com/bpmFvI6.jpg
https://namelesscoyote.bandcamp.com/
I'd recommend Nameless Coyote - Blood Moon because it's gotten pretty much ignored everywhere, though I can hear why, it's way too weird for the normal blackgaze crowd. It ain't Deafheaven that's for sure. Anyone who likes Mamaleek and/or Pyramids should give it a go though.― ultros ultros-ghali,
― ultros ultros-ghali,
tags: blackgaze dream pop rock shoegaze experimental rock guitar San Francisco
Name your price download on bandcamp.
― Cosmic Slop, Sunday, 13 December 2015 17:37 (eight years ago) link
Huh, I'm surprised that this actually placed but I'm glad it did.
― ultros ultros-ghali, Sunday, 13 December 2015 17:39 (eight years ago) link
I just listened to this yesterday. I like the shitty lo-fi blackgaze sound alright, but lost interest halfway through.
― Fastnbulbous, Sunday, 13 December 2015 17:39 (eight years ago) link
there's always surprises (like Disturbed got a vote this year)
― Cosmic Slop, Sunday, 13 December 2015 17:40 (eight years ago) link
― EveningStar (Sund4r)
For sure. Also I was expecting some doomy NWOBHM throwback stuff, but its not and what it is is kinda boring.
― Frobisher, Sunday, 13 December 2015 17:41 (eight years ago) link
I didn't know Disturbed were still a thing.
― ultros ultros-ghali, Sunday, 13 December 2015 17:42 (eight years ago) link
it's disturbing
― Cosmic Slop, Sunday, 13 December 2015 17:45 (eight years ago) link
I don't know #100 but the description sounds interesting, so I'll grab it from bandcamp.
― Frobisher, Sunday, 13 December 2015 17:46 (eight years ago) link
for free i bet
― Cosmic Slop, Sunday, 13 December 2015 17:47 (eight years ago) link
#99 has amazing artwork that will blow you all away and it reminds me of the ilxor saer
― Cosmic Slop, Sunday, 13 December 2015 17:49 (eight years ago) link
99 Black Cilice - Mysteries 158 Points, 4 Voteshttp://i.imgur.com/YWblWPl.jpg
http://pitchfork.com/reviews/albums/20267-mysteries/
Black CiliceMysteriesIron Bonehead; 2015By Grayson Haver Currin; March 10, 2015
8.0
Even if a band includes specific instructions on how to listen to its music, is there ever a "correct" way to hear anything? Of course, there are better methods for listening to certain music. You’d hate to experience the majesty of Wagner’s Ring Cycle, for instance, by playing scuffed records on a Crosley Cruiser turntable, and it would be a waste to dump a fortune into an ostentatious hi-fi system if all you really want to do is blast Mayhem’s De Mysteriis Dom Sathanas. But most music and music players fall somewhere in between, so that the differences we experience are rather incremental. Maybe a good record sounds great with a certain setup, but it should still have some payoff even through a pair of tiny white earbuds.Mysteries—the third album by the elusive, prolific Portuguese one-man black metal band Black Cilice—highlights the question of how best to hear by suggesting that there are at least two distinct and acceptable answers. Given the subgenre, you might think that it would be best to simply turn it up, and let it roar. And, yes, at high volumes, where the guitars can shriek and the agitated drums can pound, Mysteries is a monster.But you can also turn Mysteries way down, until those barreling drums recede into a heavy patter and the guitars blur into the record’s presiding distortion and feedback. It becomes a patterned sheet of sound then, where bits and pieces protrude from a singular din. Because they were so poorly recorded, early black metal records sometimes sounded like drone music: The instruments overwhelmed the devices meant to capture them. But Black Cilice take that aesthetic a step further, deploying the technique selectively so that strident guitars, bruised drums and yowled vocals move under and above that matrix, as if they’re alternating between floating and drowning.Black Cilice don’t reinvent quarter-century-old black metal structures; they just lash at them, playing hard, fast, loud and mean. "Ceremonial Energy" bursts forward, a rising-and-falling blast beat and back-and-forth riff suggesting vintage Darkthrone. "Into Morbid Trance" bounds between primitive thrash and menacing black metal, where every instrument seems to be attempting to force its counterparts out of the picture. The vocals suggest gale-force winds passing though a room of live microphones and amplifiers, creating feedback only to harmonize with it.There’s finesse to this mess, as though Black Cilice were trying to tease the border between heavy metal and experimental music. Turned up, for instance, "The Truth" is a pugnacious stomp-along; turned down, it feels strangely warm and beautiful. It suggests Rhys Chatham’s music for massed guitars, where so many instruments were played at once that it became impossible to tell where one ended and another began, or a reprise of Alvin Lucier’s I Am Sitting in a Room, where the first-person subject is actually a roughshod recording of a black metal band.This conceit may seem ridiculous, both for the suggestion that you should lower the volume on a black metal record in order to enjoy it more and for the implication that Black Cilice is some avant-garde wizard with grander intentions than badly recorded bedlam. But to date, each Black Cilice record has gotten more controlled and nuanced; the metal tantrums beneath the noise are more complicated and compelling, and the hiss and squall above it all are more engrossing and interesting. There is an arc of progress to trace in Black Cilice’s output, suggesting that the diametric results of putting Mysteries in the background or foreground are more than mere coincidence.The cover of each Black Cilice full-length has been all black, save for a centered, shrouded figure wearing corpsepaint and doing something wicked. On 2011’s A Corpse, A Temple, he reached skyward, holding a volume bearing an inverted crucifix. On Mysteries, he grimaces as he again looks upward and touches his stomach. For the last three months, I’ve tried to figure out if he’s clutching a rosary to his chest or if he’s pressing against a gushing abdomen wound. The high-contrast image makes it impossible to tell, at least to me and everyone I’ve asked. However willful or accidental, such ambiguity epitomizes the aesthetic of Black Cilice, a strange transmission responsible for one of the most intriguing intersections of black metal and sound art I’ve ever heard.
Even if a band includes specific instructions on how to listen to its music, is there ever a "correct" way to hear anything? Of course, there are better methods for listening to certain music. You’d hate to experience the majesty of Wagner’s Ring Cycle, for instance, by playing scuffed records on a Crosley Cruiser turntable, and it would be a waste to dump a fortune into an ostentatious hi-fi system if all you really want to do is blast Mayhem’s De Mysteriis Dom Sathanas. But most music and music players fall somewhere in between, so that the differences we experience are rather incremental. Maybe a good record sounds great with a certain setup, but it should still have some payoff even through a pair of tiny white earbuds.
Mysteries—the third album by the elusive, prolific Portuguese one-man black metal band Black Cilice—highlights the question of how best to hear by suggesting that there are at least two distinct and acceptable answers. Given the subgenre, you might think that it would be best to simply turn it up, and let it roar. And, yes, at high volumes, where the guitars can shriek and the agitated drums can pound, Mysteries is a monster.
But you can also turn Mysteries way down, until those barreling drums recede into a heavy patter and the guitars blur into the record’s presiding distortion and feedback. It becomes a patterned sheet of sound then, where bits and pieces protrude from a singular din. Because they were so poorly recorded, early black metal records sometimes sounded like drone music: The instruments overwhelmed the devices meant to capture them. But Black Cilice take that aesthetic a step further, deploying the technique selectively so that strident guitars, bruised drums and yowled vocals move under and above that matrix, as if they’re alternating between floating and drowning.
Black Cilice don’t reinvent quarter-century-old black metal structures; they just lash at them, playing hard, fast, loud and mean. "Ceremonial Energy" bursts forward, a rising-and-falling blast beat and back-and-forth riff suggesting vintage Darkthrone. "Into Morbid Trance" bounds between primitive thrash and menacing black metal, where every instrument seems to be attempting to force its counterparts out of the picture. The vocals suggest gale-force winds passing though a room of live microphones and amplifiers, creating feedback only to harmonize with it.
There’s finesse to this mess, as though Black Cilice were trying to tease the border between heavy metal and experimental music. Turned up, for instance, "The Truth" is a pugnacious stomp-along; turned down, it feels strangely warm and beautiful. It suggests Rhys Chatham’s music for massed guitars, where so many instruments were played at once that it became impossible to tell where one ended and another began, or a reprise of Alvin Lucier’s I Am Sitting in a Room, where the first-person subject is actually a roughshod recording of a black metal band.
This conceit may seem ridiculous, both for the suggestion that you should lower the volume on a black metal record in order to enjoy it more and for the implication that Black Cilice is some avant-garde wizard with grander intentions than badly recorded bedlam. But to date, each Black Cilice record has gotten more controlled and nuanced; the metal tantrums beneath the noise are more complicated and compelling, and the hiss and squall above it all are more engrossing and interesting. There is an arc of progress to trace in Black Cilice’s output, suggesting that the diametric results of putting Mysteries in the background or foreground are more than mere coincidence.
The cover of each Black Cilice full-length has been all black, save for a centered, shrouded figure wearing corpsepaint and doing something wicked. On 2011’s A Corpse, A Temple, he reached skyward, holding a volume bearing an inverted crucifix. On Mysteries, he grimaces as he again looks upward and touches his stomach. For the last three months, I’ve tried to figure out if he’s clutching a rosary to his chest or if he’s pressing against a gushing abdomen wound. The high-contrast image makes it impossible to tell, at least to me and everyone I’ve asked. However willful or accidental, such ambiguity epitomizes the aesthetic of Black Cilice, a strange transmission responsible for one of the most intriguing intersections of black metal and sound art I’ve ever heard.
― Cosmic Slop, Sunday, 13 December 2015 17:53 (eight years ago) link
my last-minute votes helped both Nameless Coyote and Black CIlice into the top 100. superb sound-worlds, both of them, left an instant impression
― roughest.contoured.silks (imago), Sunday, 13 December 2015 18:04 (eight years ago) link
I can't say that I love Black Cilice so far but it has a really strange atmosphere so yeah this is good.
― ultros ultros-ghali, Sunday, 13 December 2015 18:05 (eight years ago) link
For the last three months, I’ve tried to figure out if he’s clutching a rosary to his chest or if he’s pressing against a gushing abdomen wound.
This time it's a dildo.
― moans and feedback (Dinsdale), Sunday, 13 December 2015 18:05 (eight years ago) link
98 Lucifer - Lucifer I 161 Points, 5 Voteshttp://i.imgur.com/nr6YW43.jpg
https://open.spotify.com/album/6LjXKvpAaOHCghj4AGssQnspotify:album:6LjXKvpAaOHCghj4AGssQn
http://www.metalinjection.net/reviews/album-review-lucifer-lucifer-i
I loved The Oath’s self-titled release last year. So it was with a deep sense of shock and confusion that I heard they broke up shortly after its release. Why would a band, with so much talent on its side and great songs to play, call it quits so soon? From what I can tell from interviews, the specific reasons are deeply personal and not open to public discussion. And that’s fine. It would be nice if more post-breakup musicians could exercise some discretion.So in the shadow of 2014, what does Johanna Sedonis’ new band, Lucifer, bring us in 2015? I’ll admit that when I first saw the logo, I was kind of terrified. There’s a lot of boring counterculture-nostalgia out there in the world of doom-metal, and I worried that Sedonis was going to lean too hard on her admiration for 70s rock, thus leaving metal to a side role. Luckily for all of us, I was wrong.So wrong, in fact, that I found myself enjoying parts of this album more than last year’s release from The Oath. The riffs hit harder, the songwriting is better and more consistent, and there’s less of an obvious reliance on hard rock. In its place is a clear reverence for Candlemass and Ozzy-era Black Sabbath. It’s funny that I should write these words however, since Sedonis herself actually describes the opposite in a recent interview: " I want it to be a different band and concept. The Oath had much more of a heavy metal, old school, doom, and hard rock influence with that NWOBHM influence very present. With Lucifer you won’t hear so much of the heavy metal side that The Oath had. It’s much more of a heavy rock sound than a metal sound."Perhaps I’m missing something. There is at least a more effective sense of rise and crash with Lucifer, one that creates a different atmosphere that The Oath and that feels significantly heavier. One thing that is very consistent of course is Johanna Sedonis’ excellent voice and use of melody, engaging the listener and leading him or her through each track.And it’s not just that her voice sounds good, that’s merely her birthright. But it has more to do with how she expresses each note, and the individual spirit she’s able to embody through her vocals. The doom vocalists in Candlemass, My Dying Bride and Electric Wizard stand out because they use their own sense of creativity to express themselves. This is what separates them from those who simply ape early-Ozzy or try to sound like some folksy “wizard/witch” or whatever. The same applies here, as Sedonis' vocal style is undeniably her own.But some words should be reserved for the rest of the band as well. Apparently the guitarist goes by the name of “The Wizard,” which is wonderfully fitting for the current popularity of “magical” and “occult” themes- though to his credit, he uses Marshall amps instead of the Orange ones you’d expect him to use. Anyway, The Wizard certainly does work some magic with the strings and is well-supported by the rhythm section of Dino Gollnick and Andrew Prestdige,So what we have in 2015 is a solid, satisfying heavy rock/doom metal release. There are moments where the atmosphere begins to drag on you, particularly once you get five or six songs in, but this may be up to how much you enjoy Lucifer’s nostalgic approach. Regardless, let’s hope this act is able to keep the magic flowing for more than one album this time.Favorite Songs: “Abracadabra,” “Izrael,” “Sabbath," and "Morning Star"9/10
So in the shadow of 2014, what does Johanna Sedonis’ new band, Lucifer, bring us in 2015? I’ll admit that when I first saw the logo, I was kind of terrified. There’s a lot of boring counterculture-nostalgia out there in the world of doom-metal, and I worried that Sedonis was going to lean too hard on her admiration for 70s rock, thus leaving metal to a side role. Luckily for all of us, I was wrong.
So wrong, in fact, that I found myself enjoying parts of this album more than last year’s release from The Oath. The riffs hit harder, the songwriting is better and more consistent, and there’s less of an obvious reliance on hard rock. In its place is a clear reverence for Candlemass and Ozzy-era Black Sabbath. It’s funny that I should write these words however, since Sedonis herself actually describes the opposite in a recent interview:
" I want it to be a different band and concept. The Oath had much more of a heavy metal, old school, doom, and hard rock influence with that NWOBHM influence very present. With Lucifer you won’t hear so much of the heavy metal side that The Oath had. It’s much more of a heavy rock sound than a metal sound."
Perhaps I’m missing something. There is at least a more effective sense of rise and crash with Lucifer, one that creates a different atmosphere that The Oath and that feels significantly heavier. One thing that is very consistent of course is Johanna Sedonis’ excellent voice and use of melody, engaging the listener and leading him or her through each track.
And it’s not just that her voice sounds good, that’s merely her birthright. But it has more to do with how she expresses each note, and the individual spirit she’s able to embody through her vocals. The doom vocalists in Candlemass, My Dying Bride and Electric Wizard stand out because they use their own sense of creativity to express themselves. This is what separates them from those who simply ape early-Ozzy or try to sound like some folksy “wizard/witch” or whatever. The same applies here, as Sedonis' vocal style is undeniably her own.
But some words should be reserved for the rest of the band as well. Apparently the guitarist goes by the name of “The Wizard,” which is wonderfully fitting for the current popularity of “magical” and “occult” themes- though to his credit, he uses Marshall amps instead of the Orange ones you’d expect him to use. Anyway, The Wizard certainly does work some magic with the strings and is well-supported by the rhythm section of Dino Gollnick and Andrew Prestdige,
So what we have in 2015 is a solid, satisfying heavy rock/doom metal release. There are moments where the atmosphere begins to drag on you, particularly once you get five or six songs in, but this may be up to how much you enjoy Lucifer’s nostalgic approach. Regardless, let’s hope this act is able to keep the magic flowing for more than one album this time.
Favorite Songs: “Abracadabra,” “Izrael,” “Sabbath," and "Morning Star"
9/10
― Cosmic Slop, Sunday, 13 December 2015 18:12 (eight years ago) link
despite by general allergy to black metal i kinda wanna try out that absconditus
obv i haaaate the black cilice record
― HYPERLINK TO RAP GENIUS (BradNelson), Sunday, 13 December 2015 18:15 (eight years ago) link
my general allergy*
Imperial Triumphant - Abyssal Gods 163 Points, 4 Voteshttp://i.imgur.com/k0P859L.jpghttps://open.spotify.com/album/5fCkfRhzo3I70DiKrik4Q6spotify:album:5fCkfRhzo3I70DiKrik4Q6
https://auralmusic.bandcamp.com/album/abyssal-gods
IMPERIAL TRIUMPHANT has been orchestrating vanguard black metal since 2005. Citing an eclectic palette of influences that includes everything from Deathspell Omega to Polish post-serialism composer Krzysztof Penderecki, the band features members of investigational death metal contortionists, Pyrrhon as well as instrumental rock collective Secret Chiefs 3 and New York death metal legion MalignancyFocused on urban decay and the imminent extinction of mankind, IMPERIAL TRIUMPHANT’s Abyssal Gods serves as the follow-up to the band’s critically applauded, 2013-released Goliath EP and contains ten punishingly traumatic odes of strategically composed black-addled mayhem bedecked in angular riff incursions, bestial vocal tirades and an overall air of disease, dread and looming disaster as well as a guest appearance by Bloody Panda’s Yoshiko Ohara and more.Elaborates founder/main composer, Ilya Ezrin, “Although we are proud to be born in such a renown place, Abyssal Gods as a whole addresses New York City as a cancer of the world and the absolute fist of the universe. ‘Dead Heaven’ is the psalm of the end of the world. It deals with the universal deconstruction and celestial collapse. The lyrics were actually inspired by the observatory space lecture scene in Rebel Without A Cause.”creditsreleased March 1, 2015
Focused on urban decay and the imminent extinction of mankind, IMPERIAL TRIUMPHANT’s Abyssal Gods serves as the follow-up to the band’s critically applauded, 2013-released Goliath EP and contains ten punishingly traumatic odes of strategically composed black-addled mayhem bedecked in angular riff incursions, bestial vocal tirades and an overall air of disease, dread and looming disaster as well as a guest appearance by Bloody Panda’s Yoshiko Ohara and more.
Elaborates founder/main composer, Ilya Ezrin, “Although we are proud to be born in such a renown place, Abyssal Gods as a whole addresses New York City as a cancer of the world and the absolute fist of the universe. ‘Dead Heaven’ is the psalm of the end of the world. It deals with the universal deconstruction and celestial collapse. The lyrics were actually inspired by the observatory space lecture scene in Rebel Without A Cause.”creditsreleased March 1, 2015
http://www.angrymetalguy.com/imperial-triumphant-abyssal-gods-review/
New York City is the new home of French black metal. No, I’m not entirely fucking with you. Hear me out… back in 2013, Madam X reviewed Goliath, Imperial Triumphant‘s two-song EP, and it impressed quite a number of us here at the offices of Angry Metal Guy. The mix of savvy technical death metal and viscous, oozy black metal was well-played and well-produced, creating a rather unsettling, but incredibly awesome, listening experience. All of that is a moot point, for as promising as Goliath was, nobody was prepared for the ingenuity, the murkiness, and the sheer WTF Factor that their sophomore full-length, Abyssal Gods, would bestow onto our jaded ears.Wasting absolutely zero time, “From Palaces of the Hive” stampedes and blasts with the fervor of Deathspell Omega meeting up with Today is the Day for a nice stroll through the murky depths of Hell. Ripe with atonality provided by vocalist Ilya “Goddessraper” Ezrin’s guitar acrobatics, as well as bludgeoning drumming by Alex Cohen (Pyrrhon). And then, two mintues later… silence and atmosphere, horns, twangy Gorguts-esque melodies and thick Voivodian bass by Erik Malave, before it all stomps, lurches, and pukes its way out the door, leaving ichor and entrails in its wake. It’s chaotic, ugly, eerie, uncomfortable, and I loved every second of it.“Unsettling” is easily the secret password of the day, as very rarely do you hear a passage and think to yourself, “Hey, that made sense!” And yet, when you hear these moments, they’re so jaw-droppingly bizarre and awesome that you go back to hear them again and again. Thankfully, Abyssal Gods is full of these moments. “Dead Heaven” (“Dead,” not “Deaf”) evokes more Gorguts lunacy and even a bit of a Domination-era Morbid Angel crawl before going full-on blackened tech-death. “Krokodil” sees Cohen sharing drumming duties with Kenny Grohowski (ex-Hung, Secret Chiefs 3) on the album’s longest (over eight mintes) track, with Ezrin’s guitars bending and warping, putting you in a state of complete unrest and discomfort with RK Halvørson and Yoshiko Ohara (Bloody Panda) singing and moaning over the blasts and chaos. But the award for “Did That Just Really Happen?” goes to standout track “Opposing Holiness,” for its expert use of a two-second happy, almost Cajun ragtime breakdown at the :51 mark, complete with unholy ukulele! Yes, Imperial Triumphant took a page out of Rob Scallon’s book and incorporated ukulele into black metal, and quite successfully, I may add!Imperial Triumphant - Abyssal Gods 02Proving once again that something unbroken doesn’t require further tinkering, Colin Marston (Krallice, Gorguts, Behold… The Arctopus) once again helmed the production at Menegroth the Thousand Caves, and did a damn fine job of making sure the chaos was overwhelming, but not at the cost of the instruments suffering. The bass is good and thick, guitars cut and slice, and the drums pummel with reckless abandon. The artwork by Andrew Tremblay is also stellar. Really, I’m having a hell of a time trying to find a flaw with this album, as even the interludes are quite tastefully done, though the album could be a little more dynamic. Still, it’s been a damn long time since a record made me feel happily uncomfortable, pleasantly scared, and absolutely enamored by its insanity and performance.So I’m not joking around when I say that Imperial Triumphant put out the best French black metal album of recent history. For as good as Goliath was (and it still is incredible, don’t get me wrong), it just looks dwarfed and downright adorable compared to the sheer lunacy and onslaught that Abyssal Gods delivered. The bar has been elevated. Folks, meet your new masters.
Wasting absolutely zero time, “From Palaces of the Hive” stampedes and blasts with the fervor of Deathspell Omega meeting up with Today is the Day for a nice stroll through the murky depths of Hell. Ripe with atonality provided by vocalist Ilya “Goddessraper” Ezrin’s guitar acrobatics, as well as bludgeoning drumming by Alex Cohen (Pyrrhon). And then, two mintues later… silence and atmosphere, horns, twangy Gorguts-esque melodies and thick Voivodian bass by Erik Malave, before it all stomps, lurches, and pukes its way out the door, leaving ichor and entrails in its wake. It’s chaotic, ugly, eerie, uncomfortable, and I loved every second of it.
“Unsettling” is easily the secret password of the day, as very rarely do you hear a passage and think to yourself, “Hey, that made sense!” And yet, when you hear these moments, they’re so jaw-droppingly bizarre and awesome that you go back to hear them again and again. Thankfully, Abyssal Gods is full of these moments. “Dead Heaven” (“Dead,” not “Deaf”) evokes more Gorguts lunacy and even a bit of a Domination-era Morbid Angel crawl before going full-on blackened tech-death. “Krokodil” sees Cohen sharing drumming duties with Kenny Grohowski (ex-Hung, Secret Chiefs 3) on the album’s longest (over eight mintes) track, with Ezrin’s guitars bending and warping, putting you in a state of complete unrest and discomfort with RK Halvørson and Yoshiko Ohara (Bloody Panda) singing and moaning over the blasts and chaos. But the award for “Did That Just Really Happen?” goes to standout track “Opposing Holiness,” for its expert use of a two-second happy, almost Cajun ragtime breakdown at the :51 mark, complete with unholy ukulele! Yes, Imperial Triumphant took a page out of Rob Scallon’s book and incorporated ukulele into black metal, and quite successfully, I may add!
Imperial Triumphant - Abyssal Gods 02
Proving once again that something unbroken doesn’t require further tinkering, Colin Marston (Krallice, Gorguts, Behold… The Arctopus) once again helmed the production at Menegroth the Thousand Caves, and did a damn fine job of making sure the chaos was overwhelming, but not at the cost of the instruments suffering. The bass is good and thick, guitars cut and slice, and the drums pummel with reckless abandon. The artwork by Andrew Tremblay is also stellar. Really, I’m having a hell of a time trying to find a flaw with this album, as even the interludes are quite tastefully done, though the album could be a little more dynamic. Still, it’s been a damn long time since a record made me feel happily uncomfortable, pleasantly scared, and absolutely enamored by its insanity and performance.
So I’m not joking around when I say that Imperial Triumphant put out the best French black metal album of recent history. For as good as Goliath was (and it still is incredible, don’t get me wrong), it just looks dwarfed and downright adorable compared to the sheer lunacy and onslaught that Abyssal Gods delivered. The bar has been elevated. Folks, meet your new masters.
― Cosmic Slop, Sunday, 13 December 2015 18:25 (eight years ago) link
Yeah! It's a complete mess but that kind of works in it's favour
― ultros ultros-ghali, Sunday, 13 December 2015 18:27 (eight years ago) link
oh wow i love everybody involved in that imperial triumphant record, is this lj's doing
― HYPERLINK TO RAP GENIUS (BradNelson), Sunday, 13 December 2015 18:31 (eight years ago) link
"Post-serialis[t]" seems like a very wrong description of Penderecki. Does sound like an interesting album, though.
I'm liking Nameless Coyote so far.
― EveningStar (Sund4r), Sunday, 13 December 2015 18:34 (eight years ago) link
i love how short the songs are
― HYPERLINK TO RAP GENIUS (BradNelson), Sunday, 13 December 2015 18:37 (eight years ago) link
96 Nile - What Should Not Be Unearthed 163 Points, 5 Voteshttp://i.imgur.com/9uvKcQN.jpghttps://open.spotify.com/album/3nAhv9fHO46dCEe7Xa0l3cspotify:album:3nAhv9fHO46dCEe7Xa0l3c
http://www.angrymetalguy.com/nile-not-unearthed/
Angry Metal Guy hates this album. He hates it so much that he won’t even deign to put to paper how much he hates it; and thus has commanded me to do so in his stead. Given how bad At The Gate of Sethu was, I was sure it wouldn’t be difficult to do so but was nonetheless displeased. I was all for skipping What Should not be Unearthed, and going on my merry way pretending Nile broke up four years ago, but sometimes you bite ass, and sometimes your ass gets bit. After spending a few days in the crypts with this album, a few things have become clear: it’s still the Nile you know and probably have some sort of strong feeling for. The chromatic riffing, incessant double bass pounding, and ham-fistedly (or perhaps mouthedly) delivered lyrics about gods and pyramids and the afterlife and what have you all align; What Should not be Unearthed is anything but groundbreaking. But the band have cut back on the self-plagiarism and boring brutality that undermined the previous album and paid more attention to elements of their sound that set them apart from other bands.This is the part of the review where I’d go about discussing the first few or strongest songs of the album. Sadly, I instead get to tell you that, much like the last Nile album, Unearthed is pretty barren of highs and lows. There’s really no killer single or flaming bag in the mix, just fifty minutes of guitar picks and George Kollias’ feet moving really fast, though rarely in unison.What set Nile apart from their contemporaries (and the countless bands that somehow want to swipe their riffs) are their unmetered passages. Since Kollias can keep 64th notes coming with little punctuation for quite some time, the rest of the band, and by that I mean mostly Karl Sanders, are free to tremolo and riff abstractly for a while. At best, these are brief and work like an extended, full-band drum fill; they reels and pitch for a moment before locking back into a groove. There are a few of these full-band passages scattered across Unearthed and they’re actually pulled off pretty well, but far more frequent are moments when the guitars, drums, or most often, vocals slip past the others. The fluid feeling of this slip pairs excellently with Nile‘s style of riffing and drumming, and it’s well-capitalized on in songs like “Age of Famine” and “To Walk Forth From Flames Unscathed.”Nile - What Should not be Unearthed 02The problems arise when the songs aren’t spilling over themselves; the best days of Nile riffing seem to be behind us, and though there are a few good cuts in the album – like on “Evil To Cast Out Evil,” after a minute or so even that song loses its way, and even its cool bridge is too little, too late for the album. What Should Not Be Unearthed feels like a supercut of the mid-quality parts of previous Nile albums interspersed with the occasional tumbling, uncoordinated moment of intrigue. Add that to its typical production – little to no bass presence, shitty-sounding cymbals, and vocals that have never been top of the class, and you get an underwhelming piece of music.I’d really love to hear another Nile album as good as Ithyphallic or Those Whom the Gods Detest or even a song half as good as “Lashed to the Slave Stick,” but between this and George Kollias‘ equally average release earlier this year, it looks like fans will have to sit through this uninspired, natron-stiffened version of Nile for a few more years. While I’m sure the band needed to write new material to make sure they weren’t dead, I’d have preferred this album stayed in the ground.
This is the part of the review where I’d go about discussing the first few or strongest songs of the album. Sadly, I instead get to tell you that, much like the last Nile album, Unearthed is pretty barren of highs and lows. There’s really no killer single or flaming bag in the mix, just fifty minutes of guitar picks and George Kollias’ feet moving really fast, though rarely in unison.
What set Nile apart from their contemporaries (and the countless bands that somehow want to swipe their riffs) are their unmetered passages. Since Kollias can keep 64th notes coming with little punctuation for quite some time, the rest of the band, and by that I mean mostly Karl Sanders, are free to tremolo and riff abstractly for a while. At best, these are brief and work like an extended, full-band drum fill; they reels and pitch for a moment before locking back into a groove. There are a few of these full-band passages scattered across Unearthed and they’re actually pulled off pretty well, but far more frequent are moments when the guitars, drums, or most often, vocals slip past the others. The fluid feeling of this slip pairs excellently with Nile‘s style of riffing and drumming, and it’s well-capitalized on in songs like “Age of Famine” and “To Walk Forth From Flames Unscathed.”
Nile - What Should not be Unearthed 02
The problems arise when the songs aren’t spilling over themselves; the best days of Nile riffing seem to be behind us, and though there are a few good cuts in the album – like on “Evil To Cast Out Evil,” after a minute or so even that song loses its way, and even its cool bridge is too little, too late for the album. What Should Not Be Unearthed feels like a supercut of the mid-quality parts of previous Nile albums interspersed with the occasional tumbling, uncoordinated moment of intrigue. Add that to its typical production – little to no bass presence, shitty-sounding cymbals, and vocals that have never been top of the class, and you get an underwhelming piece of music.
I’d really love to hear another Nile album as good as Ithyphallic or Those Whom the Gods Detest or even a song half as good as “Lashed to the Slave Stick,” but between this and George Kollias‘ equally average release earlier this year, it looks like fans will have to sit through this uninspired, natron-stiffened version of Nile for a few more years. While I’m sure the band needed to write new material to make sure they weren’t dead, I’d have preferred this album stayed in the ground.
― Cosmic Slop, Sunday, 13 December 2015 18:48 (eight years ago) link
I had a Nile album once but got bored of it pretty quickly. Can't even remember which one, but it barely matters
― ultros ultros-ghali, Sunday, 13 December 2015 18:52 (eight years ago) link
did people really hate this album or just these guys?
― Cosmic Slop, Sunday, 13 December 2015 18:53 (eight years ago) link
I thought they were universally loved
― Cosmic Slop, Sunday, 13 December 2015 18:54 (eight years ago) link
I don't they're bad just a bit one-dimensional. There might be stuff out there that'd change my mind about them but probably not on this new one. I got the feeling it was a letdown for a lot of their fans.
― ultros ultros-ghali, Sunday, 13 December 2015 18:58 (eight years ago) link
I don't know why I didn't spend more time with the Panopticon. It's really good.
― EveningStar (Sund4r), Tuesday, 22 December 2015 15:06 (eight years ago) link
told you!
― Ted Nü-Djent (Cosmic Slop), Tuesday, 22 December 2015 17:15 (eight years ago) link
Not sure how I missed both Lost Soul and Cradle of Filth making the list. An earlier comment I made was in light of that. Yet there they are at 113 and 105, now that I'm going over the results another time. I can rest easy now.
― Devilock, Tuesday, 22 December 2015 23:12 (eight years ago) link
they missed the top 103 rollout though
― Ted Nü-Djent (Cosmic Slop), Wednesday, 23 December 2015 00:01 (eight years ago) link
just a few hot takes.
Zombi Zombi can no longer be comfortable in being one of a very few acts doing what they do. They need to answer to recent newcomers to the 70's & 80s italo-prog film score 'thing' like Perturbator and Dance with the Dead, and even Goblin themselves have returned. They fail to measure up to the new kids. This album is too slow, and it has no teeth. Where's the grit, the sense of the ominous or dreadful? There's nothing in the music that conjures up fleeing from hordes of zombies, or outracing a death car or escaping from any sort of cannibal holocaust. Also, if I want to hear Neil Pert drumming -- Rush is still touring and making albums.
Iron MaidenA few people like taking the piss out of the last song about zeppelin pirates or whatever the hell its about, but I thought it was amazing and some of the best prog-rock to come out in ages.
Leviathan's music is terrible and has always terrible. Not surprised (at the time, or still) it comes from a rapist/attempted murderer. A shame this guy hasn't been cast into outer darkness of shame or righteously executed. More evidence that the Portland metal scene is the morally void heroin den I thought it was. Clean up your dogshit, Portland -- ffs, run this guy outta town.
The whole top 20 is amazing, minus its starter High on Fire, which has always been a dud for me even though I am a fan of Matt Pike in general.
― Frobisher, Wednesday, 23 December 2015 02:13 (eight years ago) link
http://www.billboard.com/articles/news/6786020/rush-drummer-neil-peart-retire
― Devilock, Wednesday, 23 December 2015 02:46 (eight years ago) link
High on Fire was one of my favorite bands of the 00s, but for some reason I stopped liking tgem with Death is the Communion
― some doof (Drugs A. Money), Wednesday, 23 December 2015 04:14 (eight years ago) link
A shame this guy hasn't been cast into outer darkness of shame or righteously executed. More evidence that the Portland metal scene is the morally void heroin den I thought it was. Clean up your dogshit, Portland
wtf
― Ted Nü-Djent (Cosmic Slop), Wednesday, 23 December 2015 04:30 (eight years ago) link
is Leviathan from/in Portland? i didn't think so.
― alpine static, Wednesday, 23 December 2015 05:56 (eight years ago) link
He moved to Oregon recently, right?
― Siegbran, Wednesday, 23 December 2015 08:38 (eight years ago) link
maybe! would just be the first I'd heard of it. which of course doesn't mean it ain't true.
― alpine static, Wednesday, 23 December 2015 15:37 (eight years ago) link
Leviathan's music is terrible and has always terrible. Not surprised (at the time, or still) it comes from a rapist/attempted murderer.
Have you ever heard of the term "libel"? Have you ever heard of the concept of "due process"? Can you point me to a shred of credible evidence to back up your claim that Wrest is a "rapist/attempted murderer"? (No, you can't.)
If you don't like his music or personality, that is your right, and feel free to blab about it all day. But it doesn't give you an excuse to make shit up about him and libel him (or anybody) in public.
― Musical strategies to eliminate the ego (Skrot Montague), Monday, 28 December 2015 15:06 (eight years ago) link
haha yeah that definitely counts as libel lol
― HYPERLINK TO RAP GENIUS (BradNelson), Monday, 28 December 2015 15:08 (eight years ago) link
I'm not saying there's a snowball's chance in hell that anyone would attempt to charge Frobisher for libel, but posts on message boards can indeed be admitted to libel trials if necessary. And my larger point is that it's ignorant to make stuff up about people and then post this ignorance on the internet. It's part of what makes the internet such a pain in the ass to visit some days, and it isn't usually the type of behavior that is accepted on ILM (which is why I like ILM a lot compared to some of the other hideous message boards out there). I guess maybe I just need to stay off message boards for a while. Peace.
― Musical strategies to eliminate the ego (Skrot Montague), Monday, 28 December 2015 15:16 (eight years ago) link
Oh yeah, and Frobisher is a rapist/attempted murderer. (How do you like it, buddy?)
― Musical strategies to eliminate the ego (Skrot Montague), Monday, 28 December 2015 15:18 (eight years ago) link
Sorry for the negativity everyone. I just firmly believe that every "criminal" deserves a second chance. I'm obviously taking things way too seriously, though. And sorry to Frobisher, too. I'm sure you're a decent person, even if you say stupid shit online sometimes. I still stand by my point, but it probably didn't really need to get made the way I made it.
Any recent thoughts on 2015 albums? I can't get into the Baroness record too much, despite the adoration it's been getting in various places. The production is indeed weird. I wish they would've gone for a more Albini-type of stripped-down production, since the playing is so tight. In particular, the reverb on the cymbals just muddles the mix and buries the guitar sounds in places.
Any recently discovered lost gems?
― Musical strategies to eliminate the ego (Skrot Montague), Monday, 28 December 2015 15:41 (eight years ago) link
I've mentioned it before, I think, but at metal-archives there's a "worthwhile albums of 2015" thread, updated almost daily, and it's where I learn about half the shit I post about here. I highly recommend browsing it from time to time:http://www.metal-archives.com/board/viewtopic.php?f=1&t=108625
(The end of the thread especially is where the lesser known stuff pops up in a year-end scramble, so: work backwards!)
― Devilock, Monday, 28 December 2015 18:37 (eight years ago) link
The more I listen to it, the more I think that if I'd heard the Batushka record early enough, it might have ended up at #1 on my list. Holy fuck.
― Musical strategies to eliminate the ego (Skrot Montague), Tuesday, 29 December 2015 02:36 (eight years ago) link
Terrorizer Albums of 2015
50 Cruciamentum - Charnel Passages49 With The Dead - With The Dead48 Torche - Restarter47 Solefad - World Metal Kosmpolis Sud46 Ufommamut - Ecate45 Undersmile - Anhedonia44 Bell Witch - Four Phantoms43 Mutoid Man - Bleeder42 Therapy? - Disquiet41 Ares Kingdom - The Unburial Dead40 Arcturus - Arcturian39 Gnaw Their Tongues - Abyss Of Longing Throats38 Black Breath - Slaves Beyond Death37 Poison Idea - Confuse and Conquer36 Uncle Acid & The Deadbeats - The Night Creeper35 Pissgrave - Suicide Euphoria34 Enforcer - From Beyond33 A Forest of Stars - Beware The Sword You Cannot See32 Prurient - Frozen Niagara Falls31 Ken Mode - Success30 Corrections House - How To Carry a Whip29 Abyssal - Antikatastaseis28 High On Fire - Luminiferous27 Iron Maiden - The Book of Souls26 Revenge - Behold.Total.Rejection25 Gruesome - Savage Land24 Horrendous - Anareta23 Dodheimsgard - A Umbra Omega22 Satan - Atom By Atom21 Chelsea Wolfe - Abyss20 Ghost - Meliora19 Cloud Rat - Qliphoth18 Lucifer - Lucifer 117 Myrkur - M16 Melechesh - Enki15 Sigh - Graveward14 Royal Thunder - Crooked Doors13 Vhol - Deeper Than Sky12 Paradise Lost - The Plague Within11 Amorphis - Under The Red Cloud10 Goatsnake - Black Age Blues9 My Dying Bride - Feel The Misery8 Tau Cross - Tau Cross7 Tribulation - The Children Of The Night6 Mgla - Exercises In Futility5 Clutch - Psychic Warfare4 Baroness - Purple3 Killing Joke - Pylon2 Faith No More - Sol Invictus1 Napalm Death - Apex Predator-Easy Meat
― Ted Nü-Djent (Cosmic Slop), Thursday, 31 December 2015 19:42 (eight years ago) link
Time to go and vote for Glaciation, Krallice, Chelsea Wolfe and Envy
(you can vote for Ghost and Faith no More too but I'd rather not)
― moans and feedback (Dinsdale), Sunday, 3 January 2016 09:07 (eight years ago) link
have you considered voting in the big poll? I think voting ends tomorrow nightILM's 2015 End of Year Albums & Tracks Poll / VOTING THREAD
― Ted Nü-Djent (Cosmic Slop), Thursday, 14 January 2016 20:10 (eight years ago) link
So has anyone discovered anything else from metal poll in the aftermath?
― Cosmic Slop, Saturday, 6 February 2016 10:43 (eight years ago) link
Not yet, Im still listening.
― signed, Stymied in Michigan (Drugs A. Money), Saturday, 6 February 2016 11:00 (eight years ago) link
This never got past the nominations thread, but had I heard this in December it wouldve been top 5 of my ballot, holy shit Rwake's Xenoglossalgia
https://rwake.bandcamp.com/album/xenoglossalgia-the-last-stage-of-awareness
― signed, Stymied in Michigan (Drugs A. Money), Saturday, 6 February 2016 11:02 (eight years ago) link
yeah i listened to that monumental closer on your recommendation - had some very cool passages from what i could tell, will def return to it. you know it's a remaster/reissue of an album from 17 years ago, right?
― artsvashen (imago), Saturday, 6 February 2016 11:05 (eight years ago) link
Yeah, an EP, Calibros/So Fucking Tired is new, I thought?, and takes over half of the album, so I figured it would count
(I swear imago that this was not a veiled attempt to get you to answer my post on the other thread though lol)
― signed, Stymied in Michigan (Drugs A. Money), Saturday, 6 February 2016 11:25 (eight years ago) link
yes it was
― Cosmic Slop, Saturday, 6 February 2016 12:00 (eight years ago) link
You never said anything on the nominations thread did you, CS?
― signed, Stymied in Michigan (Drugs A. Money), Saturday, 6 February 2016 12:35 (eight years ago) link
I don't believe so
― Cosmic Slop, Saturday, 6 February 2016 13:42 (eight years ago) link