musically i really dig that mastodon record (at least what i've heard of it) but haven't been able to deal with anything they've done vocally for a while now.
― call all destroyer, Friday, 20 January 2012 20:28 (twelve years ago) link
Did not expect.
― Sugary pee is not normal (aldo), Friday, 20 January 2012 20:30 (twelve years ago) link
Is this your blog? ;) http://www.nocleansinging.com/
― Fastnbulbous, Friday, 20 January 2012 20:31 (twelve years ago) link
6. Esoteric - Paragon of Dissonance (1,344 Points, 35 Votes, 4 #1s)
Funeral Doom Metal band from Birmingham, England
http://www.doommantia.com/2011/11/esoteric-paragon-of-dissonance.html
One of the most consistently good doom bands of the last 20 years has to be Esoteric. These British doomsters have now released 6 full length albums without a dip in quality anywhere. In fact I find it impossible to pick a favorite album from them. From 1994's 'Epistemological Despondency' to this new one with the title 'Paragon of Dissonance' they have always delivered the doomy goods although I don't think they have recorded a 100% classic as yet, they came close with 'The Pernicious Enigma' but still there is always just that tiny, nagging feeling they could do even better.This new one is the same, so close to being perfect but still lacking that vital element to push it to 10/10 material. Of course there would be many people out there that would be thinking I am wrong and just being too hard to please but this is my opinion and I am sticking with it. This album is huge and I mean 2 CD's worth of huge but it suffers from the Cathedral - The Guessing Game situation of being 2 CD's when one would have made it that much more concise and listenable. Just like that Cathedral album, this effort from Esoteric is a little too long for its own good. The total playing time for this album is some 98 minutes and when you consider there is about 20 minutes total of padding on this album, it could have quite easily on fitted on to a single disc but again as happens with this band, even the padding is good.The album might run for some 98 minutes but there is still only 7 tracks with the shortest being 7 minutes, the longest 18 minutes. Esoteric are the prog-mans funeral doom band or the thinking mans funeral doom band for the want of another term. The musical scope is just as massive as the sound of the band itself and even the word "epic" seems to understate how grandiose the album is. The thought of a 98 minute funeral doom album would likely send many people in a coma just thinking about it but Esoteric are damn more inspiring than the average funeral doom act. The amount of creative thought that goes into these pieces is staggering but still the sheer length and musical weight of the tracks could prove to be the albums downfall for many people. Even I, a big Esoteric fan had some trouble getting through all of this at first but once I got there, the journey was worth every minute. In comparison to other works, there is not much that is different between this and the 'Maniacal Vale' album. The classical influenced funeral doom element is still the driving force and they continue to clean up their production which oddly doesn't affect the overall, crushing heaviness that some of this album has and there is not many bands that can do that.The vibe and atmosphere of this album is sheer, flesh-crawling horror but musically, it heads in every direction possible within the funeral doom framework. The opening track, 'Abandonment' is a good example of how they can bleed an idea and still be hypnotic. The first few minutes of this track is just mainly a lead solo with the band being pulverizing in the background. Once the lead work drops away, they head into about 10 minutes of some of the most mesmerizing chilling doom you will ever hear and yet the album has only just began. The track that follows, 'Loss of Will' has more gentle sections of ambience and more classically inspired song-structure. The piano alone is awe-inspiring and the track ends just as it starts to out-stay its welcome. This perfectly executed and well-timed situation isn't always the case on 'Paragon of Dissonance' but these two opening tracks are about as good as it gets. The album is almost split into halves, approach-wise and this is something I didn't really notice at first but disc one is much more ambient and quiet while disc two is heavier and louder and more dramatic.The two tracks that take up the remaining 26 minutes of the first CD, 'Cipher' and 'Non Being' are an album by themselves. 'Cipher ' strikes me as being the weakest track on the album. For me, it sounds like almost 10 minutes of musical padding. It is interesting enough while it is playing but instantly forgettable once its done with and over. 'Non Being' however is a major highlight. The marching band drumming coupled with stunning and blistering guitar work is flawless and totally captivating for all of its 16 minutes. The first half of the track produces some of the most despondent doom the band has ever produced and even the second half's droning, buzzing noise that sounds like an amplified electrical storm is mesmerizing. The sound has a appalling kind of beauty about it, it makes you feel on edge and frankly, uncomfortable but I for one, can't turn it off. This is cinematic doom at its best that closes CD number one in pure white noise fashion. The question is can you stand this much distortion and noise for this long? It is a challenge, even for the most hardcore of listeners.Press play on disc two and you have to sit through the 16 minutes of 'Aberration' which you can hear the band in fully charged doom-metal mode. In fact the whole of disc two is far heavier and merciless in its delivery of three very long bleak, punishing epic doom pieces. I like disc two a lot more than disc one but tracks like 'Aberration' do require some patience and a hardcore ear for doom metal. There is heavier bands around than Esoteric but few are as unforgiving as this. It is pure funeral doom that even fans of Ahab, Mournful Congregation, Evoken, and Thergothon might hear as being overblown. 'Aberration' is certainly another track where ideas are being bled to death and the track could have done with a trim but like I have already pointed out, even Esoteric's padded sections are better than most other funeral doom bands.Another major highlight comes next with 'Disconsolate.' This track starts off bleak and desolate and continues to build becoming aggressive and intensely pummeling. The last half of the track is almost worth buying the album for one, even just for the stunning lead work that is featured. The album ends on the longest track, the 18 minute 'A Torrent of Ills' which carries a similar vibe to disc one's 'Loss of Will.' Have fun getting through this track too, it is overly long, slightly bloated and extended to the point where I doubt if many doom listeners will even listen to it all without climbing the walls first. It is not that is is boring, it is just so damn uncompromising. When it is all over, nearly 100 minutes later, the feeling I am left with is this is a monumental album as usual from Esoteric but an album where they might have gone way overboard with.With funeral doom albums like this one, the problem is even if they are good, the length of the tracks means it all starts to sound the same after a while. Funeral doom is not big on variation and Esoteric too are guilty of bleeding the same formula repeatedly. All the songs are written in the same way; split into two or three separate movements and it does get a little predictable. The vocals are used as another instrument of doomed torture and the lyrics, well they are neither here or there but sound great within the songs but you will need to read the lyrics if you are to decipher what they all means. Despite these little gripes and question marks raised, Esoteric have made another keeper and 20 years into the bands existence, there is still no drop in quality. Whether this album is better than or just as good as any of their other albums is up to you to decide. All I know for fans of the band, this is essential and for fans of the funeral doom genre, this will most likely win the funeral doom album of the year from most critics and doom metal writers. I don't know if I would go that far myself but yes, this is a monumental piece of work......9/10.
This new one is the same, so close to being perfect but still lacking that vital element to push it to 10/10 material. Of course there would be many people out there that would be thinking I am wrong and just being too hard to please but this is my opinion and I am sticking with it. This album is huge and I mean 2 CD's worth of huge but it suffers from the Cathedral - The Guessing Game situation of being 2 CD's when one would have made it that much more concise and listenable. Just like that Cathedral album, this effort from Esoteric is a little too long for its own good. The total playing time for this album is some 98 minutes and when you consider there is about 20 minutes total of padding on this album, it could have quite easily on fitted on to a single disc but again as happens with this band, even the padding is good.
The album might run for some 98 minutes but there is still only 7 tracks with the shortest being 7 minutes, the longest 18 minutes. Esoteric are the prog-mans funeral doom band or the thinking mans funeral doom band for the want of another term. The musical scope is just as massive as the sound of the band itself and even the word "epic" seems to understate how grandiose the album is. The thought of a 98 minute funeral doom album would likely send many people in a coma just thinking about it but Esoteric are damn more inspiring than the average funeral doom act. The amount of creative thought that goes into these pieces is staggering but still the sheer length and musical weight of the tracks could prove to be the albums downfall for many people. Even I, a big Esoteric fan had some trouble getting through all of this at first but once I got there, the journey was worth every minute. In comparison to other works, there is not much that is different between this and the 'Maniacal Vale' album. The classical influenced funeral doom element is still the driving force and they continue to clean up their production which oddly doesn't affect the overall, crushing heaviness that some of this album has and there is not many bands that can do that.
The vibe and atmosphere of this album is sheer, flesh-crawling horror but musically, it heads in every direction possible within the funeral doom framework. The opening track, 'Abandonment' is a good example of how they can bleed an idea and still be hypnotic. The first few minutes of this track is just mainly a lead solo with the band being pulverizing in the background. Once the lead work drops away, they head into about 10 minutes of some of the most mesmerizing chilling doom you will ever hear and yet the album has only just began. The track that follows, 'Loss of Will' has more gentle sections of ambience and more classically inspired song-structure. The piano alone is awe-inspiring and the track ends just as it starts to out-stay its welcome. This perfectly executed and well-timed situation isn't always the case on 'Paragon of Dissonance' but these two opening tracks are about as good as it gets. The album is almost split into halves, approach-wise and this is something I didn't really notice at first but disc one is much more ambient and quiet while disc two is heavier and louder and more dramatic.
The two tracks that take up the remaining 26 minutes of the first CD, 'Cipher' and 'Non Being' are an album by themselves. 'Cipher ' strikes me as being the weakest track on the album. For me, it sounds like almost 10 minutes of musical padding. It is interesting enough while it is playing but instantly forgettable once its done with and over. 'Non Being' however is a major highlight. The marching band drumming coupled with stunning and blistering guitar work is flawless and totally captivating for all of its 16 minutes. The first half of the track produces some of the most despondent doom the band has ever produced and even the second half's droning, buzzing noise that sounds like an amplified electrical storm is mesmerizing. The sound has a appalling kind of beauty about it, it makes you feel on edge and frankly, uncomfortable but I for one, can't turn it off. This is cinematic doom at its best that closes CD number one in pure white noise fashion. The question is can you stand this much distortion and noise for this long? It is a challenge, even for the most hardcore of listeners.
Press play on disc two and you have to sit through the 16 minutes of 'Aberration' which you can hear the band in fully charged doom-metal mode. In fact the whole of disc two is far heavier and merciless in its delivery of three very long bleak, punishing epic doom pieces. I like disc two a lot more than disc one but tracks like 'Aberration' do require some patience and a hardcore ear for doom metal. There is heavier bands around than Esoteric but few are as unforgiving as this. It is pure funeral doom that even fans of Ahab, Mournful Congregation, Evoken, and Thergothon might hear as being overblown. 'Aberration' is certainly another track where ideas are being bled to death and the track could have done with a trim but like I have already pointed out, even Esoteric's padded sections are better than most other funeral doom bands.
Another major highlight comes next with 'Disconsolate.' This track starts off bleak and desolate and continues to build becoming aggressive and intensely pummeling. The last half of the track is almost worth buying the album for one, even just for the stunning lead work that is featured. The album ends on the longest track, the 18 minute 'A Torrent of Ills' which carries a similar vibe to disc one's 'Loss of Will.' Have fun getting through this track too, it is overly long, slightly bloated and extended to the point where I doubt if many doom listeners will even listen to it all without climbing the walls first. It is not that is is boring, it is just so damn uncompromising. When it is all over, nearly 100 minutes later, the feeling I am left with is this is a monumental album as usual from Esoteric but an album where they might have gone way overboard with.
With funeral doom albums like this one, the problem is even if they are good, the length of the tracks means it all starts to sound the same after a while. Funeral doom is not big on variation and Esoteric too are guilty of bleeding the same formula repeatedly. All the songs are written in the same way; split into two or three separate movements and it does get a little predictable. The vocals are used as another instrument of doomed torture and the lyrics, well they are neither here or there but sound great within the songs but you will need to read the lyrics if you are to decipher what they all means. Despite these little gripes and question marks raised, Esoteric have made another keeper and 20 years into the bands existence, there is still no drop in quality. Whether this album is better than or just as good as any of their other albums is up to you to decide. All I know for fans of the band, this is essential and for fans of the funeral doom genre, this will most likely win the funeral doom album of the year from most critics and doom metal writers. I don't know if I would go that far myself but yes, this is a monumental piece of work......9/10.
― Your Host For The Top 10 Countdown for Metal Poll (Armand Schaubroeck Ratfucker), Friday, 20 January 2012 20:33 (twelve years ago) link
Ironically what some perceive as slightness has attracted new fans. A friend of mine didn't like any of their albums until this one. I really don't think there's that much of a difference.
― Fastnbulbous, Friday, 20 January 2012 20:34 (twelve years ago) link
lol @ nocleansinging. my sympathies lie there for sure.
seriously it's not clean singing that i mind (i'm a big pat walker fan) but mastodon's attempts at it which just sound like horrible 8th-generation grunge vocals.
― call all destroyer, Friday, 20 January 2012 20:36 (twelve years ago) link
Just playing catch up with this poll right now... really chuffed with the high position for the Pantheist record in particular, I'm listening to it right now... vocally it may not be to everyone's taste, granted, but musically it's brilliant in my opinion!
― Turrican, Friday, 20 January 2012 20:37 (twelve years ago) link
sound like horrible 8th-generation grunge vocals.
Pretty sure I couldn't disagree with this more. I don't think they're the best singers, but they aren't like Scott Stapp or something.
― jon /via/ chi 2.0, Friday, 20 January 2012 20:39 (twelve years ago) link
Also: great to see Subrosa chart so high, I've been quite impressed with the selections from that album that I've heard, and I know I definitely should be taking some time out to give that album a serious couple of deep listens.
― Turrican, Friday, 20 January 2012 20:40 (twelve years ago) link
hmm, this esoteric record has more....shredding than i would have thought.
― call all destroyer, Friday, 20 January 2012 20:41 (twelve years ago) link
I like "Be Here" off the Pantheist record but the rest didn't cohere for me.
― EZ Snappin, Friday, 20 January 2012 20:42 (twelve years ago) link
5. Wolves in the Throne Room - Celestial Lineage (1,351 Points, 36 Votes, 2 #1s)http://2.bp.blogspot.com/-Hki5g1cZ1D8/TmXJ97LjSrI/AAAAAAAAHf8/PfxVArLjnho/s1600/Wolves%2Bin%2Bthe%2BThrone%2BRoom%2B-%2BCelestial%2BLineage%2B%25282011%2529.jpgSpotify
http://www.last.fm/music/Wolves+in+the+Throne+Room
Reviewby Eduardo RivadaviaOver the course of their impressive first three albums, Portland, Oregon-based sibling duo Wolves in the Throne Room have established, arguably even steadily incremented, their place on the front lines of the American black metal scene. But even they recognized the need to broaden their sonic palette during the six-month fermentation process that spawned their fourth long-player, Celestial Lineage, in 2011. Not by turning their backs on those formative Norse black metal origins, mind you (you'll find plenty of buzzsaws, blastbeats, and screeches here), but by daring to introduce even more alien elements into their midst. Hey, everybody's trying it, but few can pull it off in convincing fashion, ensuring that those dalliances with atmospheric passages, reams and reams of background synthesizers, and other non-metallic counterpoints (see all-inclusive opening statement "Thuja Magus Imperium") sound neither forced nor contrived with post-metal intentions (hello, Drudkh!). So let's see here: there's the densely symphonic barrage of "Subterranean Imitation," the ethereal pagan oath of "Woodland Cathedral" (one of several tracks featuring angelic croons from guest Jessika Kenney), the vaguely space rock-inspired melodies and ambience of "Astral Blood," and the dramatic doom-like funeral procession of "Prayer of Transformation." Finally, fleshing out this blackened and charred corpse and proving that WITTR envisioned Celestial Lineage as a complete, album-length experience are two mood-setting instrumental interludes, the phantasmagorical horror movie vignette "Permanent Changes in Consciousness" and the pulsing mechanical resonance of "Rainbow Illness." Heck, the consistently unified lyrics extolling all manner of pagan mysteries and parallel worlds of the mind's eye might have confirmed this sooner, had all of this hellish screaming been anywhere close to intelligible -- but that's black metal, baby, and Wolves in the Throne Room continue to do the genre proud with contributions such as this.
by Eduardo Rivadavia
Over the course of their impressive first three albums, Portland, Oregon-based sibling duo Wolves in the Throne Room have established, arguably even steadily incremented, their place on the front lines of the American black metal scene. But even they recognized the need to broaden their sonic palette during the six-month fermentation process that spawned their fourth long-player, Celestial Lineage, in 2011. Not by turning their backs on those formative Norse black metal origins, mind you (you'll find plenty of buzzsaws, blastbeats, and screeches here), but by daring to introduce even more alien elements into their midst. Hey, everybody's trying it, but few can pull it off in convincing fashion, ensuring that those dalliances with atmospheric passages, reams and reams of background synthesizers, and other non-metallic counterpoints (see all-inclusive opening statement "Thuja Magus Imperium") sound neither forced nor contrived with post-metal intentions (hello, Drudkh!). So let's see here: there's the densely symphonic barrage of "Subterranean Imitation," the ethereal pagan oath of "Woodland Cathedral" (one of several tracks featuring angelic croons from guest Jessika Kenney), the vaguely space rock-inspired melodies and ambience of "Astral Blood," and the dramatic doom-like funeral procession of "Prayer of Transformation." Finally, fleshing out this blackened and charred corpse and proving that WITTR envisioned Celestial Lineage as a complete, album-length experience are two mood-setting instrumental interludes, the phantasmagorical horror movie vignette "Permanent Changes in Consciousness" and the pulsing mechanical resonance of "Rainbow Illness." Heck, the consistently unified lyrics extolling all manner of pagan mysteries and parallel worlds of the mind's eye might have confirmed this sooner, had all of this hellish screaming been anywhere close to intelligible -- but that's black metal, baby, and Wolves in the Throne Room continue to do the genre proud with contributions such as this.
― Your Host For The Top 5 Countdown for Metal Poll (Armand Schaubroeck Ratfucker), Friday, 20 January 2012 20:45 (twelve years ago) link
Yeah, this is the best WITTR record yet. Really hit me during a flight down to Austin last fall.
― jon /via/ chi 2.0, Friday, 20 January 2012 20:46 (twelve years ago) link
― EZ Snappin, Friday, January 20, 2012 8:42 PM (2 minutes ago) Bookmark Suggest Ban Permalink
Strangely enough, that's probably my least favourite cut on the whole record! Don't get me wrong, I like it, but there's something slightly "power ballad" about it.
― Turrican, Friday, 20 January 2012 20:47 (twelve years ago) link
Big batch of Erik stuff here today!
― EZ Snappin, Friday, January 20, 2012 12:43 PM (2 hours ago)
What a difference a few hours makes.
― EZ Snappin, Friday, 20 January 2012 20:48 (twelve years ago) link
lol
― call all destroyer, Friday, 20 January 2012 20:49 (twelve years ago) link
"Be Here" is totally a power ballad! A really odd one, but somehow more engaging to me because of it.
― EZ Snappin, Friday, 20 January 2012 20:50 (twelve years ago) link
go on guys guess the order
― Your Host For The Top 5 Countdown for Metal Poll (Armand Schaubroeck Ratfucker), Friday, 20 January 2012 20:50 (twelve years ago) link
Pffft. I honestly couldn't... Uncle Acieeed has to be one of them though, surely?
― Turrican, Friday, 20 January 2012 20:51 (twelve years ago) link
can someone make an argument either for or against all the *wailing leads* on this esoteric album? because i am really on the fence.
― call all destroyer, Friday, 20 January 2012 20:52 (twelve years ago) link
Indeed best WITTR yet, they've actually become a great band now.
― Siegbran, Friday, 20 January 2012 20:52 (twelve years ago) link
What's left? Hammers of Misfortune, corrupted, YOB, and Uncle Acid?
Kerr, have we reqached the albums that are usually a lock for the big poll?
― uncle acid and the absquatulators (Drugs A. Money), Friday, 20 January 2012 20:52 (twelve years ago) link
hammers placed already
― call all destroyer, Friday, 20 January 2012 20:53 (twelve years ago) link
or wait did i confuse them with something else
― call all destroyer, Friday, 20 January 2012 20:54 (twelve years ago) link
yeah i think its the best wittr too
― Your Host For The Top 5 Countdown for Metal Poll (Armand Schaubroeck Ratfucker), Friday, 20 January 2012 20:54 (twelve years ago) link
oh yeah i confused them with gates of slumber which is something i do on the reg
― call all destroyer, Friday, 20 January 2012 20:55 (twelve years ago) link
and Esoteric are awesome and even LJ would back me up on this
― Your Host For The Top 5 Countdown for Metal Poll (Armand Schaubroeck Ratfucker), Friday, 20 January 2012 20:55 (twelve years ago) link
FWIW, coming from someone who only hears a handful of metal records each year, "Celestial Lineage" is easily my favourite metal album of the past several years.
― NoTimeBeforeTime, Friday, 20 January 2012 20:55 (twelve years ago) link
― call all destroyer, Friday, January 20, 2012 8:52 PM (1 minute ago) Bookmark Suggest Ban Permalink
I honestly couldn't, because I haven't heard it yet... however you're making me want to check it out simply to see just how much it wails!
― Turrican, Friday, 20 January 2012 20:55 (twelve years ago) link
I'll stick with my original guess minus of course the Mastodon.
― Fastnbulbous, Friday, 20 January 2012 20:56 (twelve years ago) link
5. Tyr4. Wolf3. Motorhead2. Powerwolf1.Rush
― EZ Snappin, Friday, 20 January 2012 20:56 (twelve years ago) link
it's just weird to be listening to a 16-minute doom song and then have the lead guitarist do a warpspeed run up the neck straight out of 1984.
― call all destroyer, Friday, 20 January 2012 20:57 (twelve years ago) link
Ha, how is that Rush album? I totally forgot about that!
― Fastnbulbous, Friday, 20 January 2012 20:58 (twelve years ago) link
4. Uncle Acid and the Deadbeats - Blood Lust (1,371 Points, 34 Votes, 4 #1s)http://www.svartrecords.com/shoppe/725-820-thickbox/uncle-acid-and-the-deadbeats-blood-lust-cd.jpghttp://www.last.fm/music/Uncle+Acid+and+the+Deadbeats
Formed in the old wastelands of witchery and paranoia, Cambridgeshire band Uncle Acid and the Deadbeats deliver the new sound of 60s terror. This popular beat combo crawled from its secluded hideout in 2009 to record their debut album, ‘Vol. 1’ for Killer Candy Records. With a limited release in 2010, the album was warmly received with the track ‘Witches Garden’ appearing on a Classic Rock Magazine cover CD. The band also drew the attention of Leif Edling from legendary doom band Candlemass, who would later recommend them to Lee Dorrian at Rise Above.The group’s second album Blood Lust (2011) was recorded in a dilapidated barn known as The Slaughter House. Using old fuzz pedals and broken amps to create a lo fi saturated sound, the entire album was laid to rest on tape in the space of four cold months. Blood Lust tells the story of a drug crazed sadist who embarks on a witchfinding killing spree before meeting his own demise at the withered hands of Satan. The bands intention was to create an audio equivalent of a 60’s exploitation horror film. After a steady start in sales, demand for the album eventually grew beyond all expectations with all pressings quickly selling out, including a Rise Above vinyl pressing of 350 which sold out in just 24 hours.This bastard band of weirdos will plunder on into the 2012 apocalypse with festival dates and other live appearances in the UK and Europe. The acid nightmare has truly begun…
The group’s second album Blood Lust (2011) was recorded in a dilapidated barn known as The Slaughter House. Using old fuzz pedals and broken amps to create a lo fi saturated sound, the entire album was laid to rest on tape in the space of four cold months. Blood Lust tells the story of a drug crazed sadist who embarks on a witchfinding killing spree before meeting his own demise at the withered hands of Satan. The bands intention was to create an audio equivalent of a 60’s exploitation horror film. After a steady start in sales, demand for the album eventually grew beyond all expectations with all pressings quickly selling out, including a Rise Above vinyl pressing of 350 which sold out in just 24 hours.
This bastard band of weirdos will plunder on into the 2012 apocalypse with festival dates and other live appearances in the UK and Europe. The acid nightmare has truly begun…
http://www.doommantia.com/2011/07/uncle-acid-and-deadbeats-blood-lust.html
Uncle Acid and The Deadbeats debut went completely unnoticed by me ?. Therefore it’s double the surprise with their sophomore Blood Lust. I have to admit I was drawn to the vintage cover’s art work first, and then some promising words on one of our befriended blogs concerning this album won me over to give this record a spin. Supposedly Uncle Acid et. al. hail from England but in good recent doom tradition there isn’t a whole lot of useful information to be found on these retro doomsters.As has been proved, I’m a sucker for retro doom, and this is it again for me. The sound is not your typical doom, stoner, heavy psychedelics, etcetera, because Uncle Acid is able to throw that extra spice in the mix which makes (doomy) records worthwhile: a little groove, a little jazz, call it what you want. But it makes perfect sense to me, plus it gives me a perfect companion to the starting summer days – not to mention my vacation – here. To make it clearer: this is music that you can easily headbang to (slowly though) but it’s also perfectly possible to groove to this record.Qua texts and sphere, you get a lot of horror & knives, but in a nice way, you know? Probably the best way to appreciate a record like this is with your headphones up surrounded by 13 candles. By the way, their debut, called Vol. 1 is worth checking out too. I prefer their latest, but if you want more of Uncle Acid you’ll be glad knowing there is another release to at least have a taste from the same source. As I said, there is not a lot of information on Uncle Acid, plus I’m not sure about the mentioned Killer Candy Records on their Facebook. I wasn’t able to find a corresponding site. On their Big Cartel site you can order one of the limited edition 100 copies of Blood Lust, so with all the media attention (blogspots) going around, the album probably will be sold out before you can say Kung Fu Panda 2.Allegedly the album was recorded on vintage equipment, but here comes my problem with the marketing of an album like Uncle’s Blood Lust. There just isn’t a lot of material to write on (except for the terrific album) and therefore we have to rely on blogs without any (checkable) reference. So, we let Uncle Acid be a mystery just like Ghost and in the meantime we enjoy the hell out of this album. Cheers!
As has been proved, I’m a sucker for retro doom, and this is it again for me. The sound is not your typical doom, stoner, heavy psychedelics, etcetera, because Uncle Acid is able to throw that extra spice in the mix which makes (doomy) records worthwhile: a little groove, a little jazz, call it what you want. But it makes perfect sense to me, plus it gives me a perfect companion to the starting summer days – not to mention my vacation – here. To make it clearer: this is music that you can easily headbang to (slowly though) but it’s also perfectly possible to groove to this record.
Qua texts and sphere, you get a lot of horror & knives, but in a nice way, you know? Probably the best way to appreciate a record like this is with your headphones up surrounded by 13 candles. By the way, their debut, called Vol. 1 is worth checking out too. I prefer their latest, but if you want more of Uncle Acid you’ll be glad knowing there is another release to at least have a taste from the same source. As I said, there is not a lot of information on Uncle Acid, plus I’m not sure about the mentioned Killer Candy Records on their Facebook. I wasn’t able to find a corresponding site. On their Big Cartel site you can order one of the limited edition 100 copies of Blood Lust, so with all the media attention (blogspots) going around, the album probably will be sold out before you can say Kung Fu Panda 2.
Allegedly the album was recorded on vintage equipment, but here comes my problem with the marketing of an album like Uncle’s Blood Lust. There just isn’t a lot of material to write on (except for the terrific album) and therefore we have to rely on blogs without any (checkable) reference. So, we let Uncle Acid be a mystery just like Ghost and in the meantime we enjoy the hell out of this album. Cheers!
― Your Host For The Top 5 Countdown for Metal Poll (Armand Schaubroeck Ratfucker), Friday, 20 January 2012 21:00 (twelve years ago) link
Er, the live album? Its good. New studio album isn't til later this year.
(xpost)
― jon /via/ chi 2.0, Friday, 20 January 2012 21:00 (twelve years ago) link
Time Machine 2011: Live in Cleveland is pretty good. Geddy's not in top vocal form (it was early on the tour), but man are they something.
xpost
― EZ Snappin, Friday, 20 January 2012 21:00 (twelve years ago) link
3. Goatpenis - Depleted Ammunition (1,666 Points, 66 Votes, 6 #1s)http://1.bp.blogspot.com/-hEGAE8TIT1I/TfwDIw43k2I/AAAAAAAAGyg/sFOeJXEMkNo/s1600/GoatPenis%2B2011%2BDepleted%2BAmmunition.jpgSpotifyhttp://www.last.fm/music/Goatpenis
If you haven't heard Goatpenis, they're awesome. They dress up as South American guerrilla fighters and play songs about nuclear warfare and genocide in a raw yet melodic style of black/grind. The music is ultra riff-based: very heavy, ripping, catchy riffs that are a sort of combination of Sarcófago and Napalm Death and almost impossibly savage and brutal vocals ranging from standard growls and screeches to pitch-shifted gurgles right out of fucking nowhere. - Noktorn
― Siegbran, Friday, 20 January 2012 21:01 (twelve years ago) link
i have liked wittr a lot up until now but i absolutely love celestial lineage
― blurgh (jjjusten), Friday, 20 January 2012 21:01 (twelve years ago) link
― call all destroyer, Friday, January 20, 2012 8:57 PM (3 minutes ago) Bookmark Suggest Ban Permalink
That's it, I've got to hear this... off to Spotify I go!
― Turrican, Friday, 20 January 2012 21:03 (twelve years ago) link
nice try Siegbran, but put your goatpenis somewhere else!
― Your Host For The Top 5 Countdown for Metal Poll (Armand Schaubroeck Ratfucker), Friday, 20 January 2012 21:03 (twelve years ago) link
That's what she said!
(sorry)
― jon /via/ chi 2.0, Friday, 20 January 2012 21:03 (twelve years ago) link
xp Ah, so I didn't miss the studio Rush album.
Well Kerr, your campaigning paid off. Not bad for an album that's not really metal, but nonetheless awesome. They finally shipped my CD yesterday nearly a month after I ordered it. They had run out and didn't bother to tell me.
― Fastnbulbous, Friday, 20 January 2012 21:04 (twelve years ago) link
btw since i am unlikely to be at a computer for the last part of this rollout i want to thank ratfucker and glenn for all their work on this, esp since i was supposed to help out and co-run it and failed miserably due to timing/work insanity. you dudes are awesome.
― blurgh (jjjusten), Friday, 20 January 2012 21:05 (twelve years ago) link
and i suck.
lol, siegbran
― original bgm, Friday, 20 January 2012 21:07 (twelve years ago) link
Ah, Uncle Acid made it to #4! I was definitely expecting that record to be 'up there', partly due to Kerr's campaigning and partly because it is (in my opinion) a fucking good record.
LOL @ Siegbran trying to get 'Goatpenis' in there!
― Turrican, Friday, 20 January 2012 21:08 (twelve years ago) link
And I would have gotten away with it if it wasn't for you meddlin' kids!
― Siegbran, Friday, 20 January 2012 21:11 (twelve years ago) link
love this band and love this part of their sound. adds some grandeur and weight to the proceedings imo.
circa metamophogenesis I really think they were THE most psychedelic metal band around. maybe they still are? new stuff perhaps doesn't go quite as deep but I still think they mop the floor with 99% of the generic doom out there.
― original bgm, Friday, 20 January 2012 21:13 (twelve years ago) link
should I bother w/uncle acid if I think ghost (swe) are boring?
― original bgm, Friday, 20 January 2012 21:15 (twelve years ago) link
The Mastodon is kind of a lazy vote, good album but I can't really get excited about it. Don't think I've pulled it out since I got it. I did notice it made a lot of indie rock lists as the requisite metal pick, so I guess someone really liked it?
― Gamera died for our sins (J3ff T.), Friday, 20 January 2012 21:15 (twelve years ago) link