Lmao that Ghost still managed to make an appearance.
― bold caucasian eroticism (Simon H.), Wednesday, 26 February 2020 14:28 (four years ago) link
58
Haunter - Sacramental Death Qualia
155 points, 4 votes
https://f4.bcbits.com/img/a0171429123_16.jpg
https://open.spotify.com/album/4xJ94ryMPNuPEXav3SBYiY
https://i-voidhangerrecords.bandcamp.com/album/sacramental-death-qualia-3
https://toiletovhell.com/review-haunter-sacramental-death-qualia/
The Texas trio quartet complete their transformation from black to death.Rumor has it that 2019 has been a bang-up year for death metal. Well, now you can throw all the other death metal released this year straight into the trash, because Haunter‘s second full-length album, Sacramental Death Qualia, is all you need. It is a mountain of intelligent riffage and refined atmosphere, at once expansive and immediate.Just a few years ago, if you told me that this young band was going to go on to write one of the best death metal albums of some future year, I would have scratched my head and arched a skeptical brow at you. Why? Because their previous effort, 2016’s Thrinodía, was a staggering work of black metal genius. I praised it when it came out, and it continues to get better every time I throw it on. I would have adored it if the band had continued down that path, away from simplistic hardcore/screamo-infused black metal and into Stygian realms of twisting melancholia and raging hopelessness. Alas, Thrinodía would put a nail (for now, at least) in Haunter’s pursuit of black metal perfection. On subsequent splits with Black Vice and Sovereign released back-to-back in 2017, they would tease a staggering leap in style and maturity, pivoting about 33º into dissonant death metal territory. The miraculous thing about the shift is that they were able to execute it without simply jumping tracks; they retained so much of the thick atmospherics (and cacophonous production) of Thrinodía while thickening out with a bottom-heavy sound, more muscular riffs, and of course—dissonance galore. The transition was so smooth, with such delightful results, that I didn’t bother to mourn for their black metal side much.
Rumor has it that 2019 has been a bang-up year for death metal. Well, now you can throw all the other death metal released this year straight into the trash, because Haunter‘s second full-length album, Sacramental Death Qualia, is all you need. It is a mountain of intelligent riffage and refined atmosphere, at once expansive and immediate.
Just a few years ago, if you told me that this young band was going to go on to write one of the best death metal albums of some future year, I would have scratched my head and arched a skeptical brow at you. Why? Because their previous effort, 2016’s Thrinodía, was a staggering work of black metal genius. I praised it when it came out, and it continues to get better every time I throw it on. I would have adored it if the band had continued down that path, away from simplistic hardcore/screamo-infused black metal and into Stygian realms of twisting melancholia and raging hopelessness. Alas, Thrinodía would put a nail (for now, at least) in Haunter’s pursuit of black metal perfection. On subsequent splits with Black Vice and Sovereign released back-to-back in 2017, they would tease a staggering leap in style and maturity, pivoting about 33º into dissonant death metal territory. The miraculous thing about the shift is that they were able to execute it without simply jumping tracks; they retained so much of the thick atmospherics (and cacophonous production) of Thrinodía while thickening out with a bottom-heavy sound, more muscular riffs, and of course—dissonance galore. The transition was so smooth, with such delightful results, that I didn’t bother to mourn for their black metal side much.
― Oor Neechy, Wednesday, 26 February 2020 14:30 (four years ago) link
Yet another death metal album. Not heard of them either.
― Oor Neechy, Wednesday, 26 February 2020 14:32 (four years ago) link
I like how the angle of pivoting is so specific
― imago, Wednesday, 26 February 2020 14:34 (four years ago) link
I probably had this highest of anyone. It's fucking great. It's up to a lot.
― bold caucasian eroticism (Simon H.), Wednesday, 26 February 2020 14:37 (four years ago) link
The 1st 7" single to have made metal poll?― Oor NeechyAw man, does this mean the Goatpenis 7” I nominated didn’t make it?
― Siegbran, Wednesday, 26 February 2020 14:41 (four years ago) link
Maybe that's the second!
― imago, Wednesday, 26 February 2020 14:43 (four years ago) link
57
Slipknot - We Are Not Your Kind
157 points, 5 votes
https://i4.cdn.hhv.de/catalog/shop_detail_zoom/00658/658099.jpg
https://open.spotify.com/album/754RY5WpZ2LTUZsk8kDBju
https://pitchfork.com/reviews/albums/slipknot-we-are-not-your-kind/
Slipknot have no shortage of rallying cries, but nothing defines them quite like when lead singer Corey Taylor yells, “I’m all fucked up and I make it look good” on their sixth album, We Are Not Your Kind. They’ve made anguish look appealing throughout their two-decade career, finding worldwide success channeling unwieldy, messy anger. Though this is the first record without long-time percussionist Chris Fehn, it’s not as dramatic of a shift in personnel as 2014’s .5: The Gray Chapter, which was marked by the death of bassist and founding member Paul Gray and the departure of powerhouse drummer Joey Jordison. For better or for worse, Kind is a Slipknot record, one that has more to offer than expected and is still sometimes frustratingly short-sighted.“Unsainted” is their signature angst-pop-rock in the vein of their hits “Wait and Bleed” and “Duality,” centered around Taylor’s melodic choruses. He’s aided by a choir, turning it into a reboot of the Rolling Stones’ “You Can’t Always Get What You Want” fueled by Midwest desolation. Its richness, part of Kind’s more detailed production, doesn’t dilute the angst Slipknot traffic in. “Birth of the Cruel” draws upon tension from industrial drum banging and tense guitar; the song’s explosion proves that they haven’t lost their unifying malaise. Though hampered by Taylor’s awkward spoken-word intro, “Solway Firth” takes that energy even further on perhaps the most intense track of their career.It’s part of the secret of their success from early on: Longtime guitarists Mick Thomson and Jim Root distilled underground death and black metal for suburban kids sacrificing their allowances to Sam Goody and too young for tape trading and MTV’s“Headbangers’ Ball,” forgoing intricacy for gut-bashing immediacy. (Listen to their self-titled record again if it’s been a while: You’ll pick up bits and pieces of Obituary, Morbid Angel, even a little Cradle of Filth.) They’re not the heretics that underground metal dudes (or even the band themselves) claim to be, they just made the underground more palatable. “Orphan”’s speed, fueled in part by drummer Jay Weinberg’s (son of Bruce Springsteen drummer Max) relentless bashing, alone should nip any metal G checks in the bud—they’re capable of totally unloading. Besides, Thomson has an Immolation tattoo, are you really gonna call him a poser?
“Unsainted” is their signature angst-pop-rock in the vein of their hits “Wait and Bleed” and “Duality,” centered around Taylor’s melodic choruses. He’s aided by a choir, turning it into a reboot of the Rolling Stones’ “You Can’t Always Get What You Want” fueled by Midwest desolation. Its richness, part of Kind’s more detailed production, doesn’t dilute the angst Slipknot traffic in. “Birth of the Cruel” draws upon tension from industrial drum banging and tense guitar; the song’s explosion proves that they haven’t lost their unifying malaise. Though hampered by Taylor’s awkward spoken-word intro, “Solway Firth” takes that energy even further on perhaps the most intense track of their career.
It’s part of the secret of their success from early on: Longtime guitarists Mick Thomson and Jim Root distilled underground death and black metal for suburban kids sacrificing their allowances to Sam Goody and too young for tape trading and MTV’s“Headbangers’ Ball,” forgoing intricacy for gut-bashing immediacy. (Listen to their self-titled record again if it’s been a while: You’ll pick up bits and pieces of Obituary, Morbid Angel, even a little Cradle of Filth.) They’re not the heretics that underground metal dudes (or even the band themselves) claim to be, they just made the underground more palatable. “Orphan”’s speed, fueled in part by drummer Jay Weinberg’s (son of Bruce Springsteen drummer Max) relentless bashing, alone should nip any metal G checks in the bud—they’re capable of totally unloading. Besides, Thomson has an Immolation tattoo, are you really gonna call him a poser?
― Oor Neechy, Wednesday, 26 February 2020 14:45 (four years ago) link
this was the year I learned to accept that I heart slipknot
― bold caucasian eroticism (Simon H.), Wednesday, 26 February 2020 14:47 (four years ago) link
Haunter was my #11. I try to listen to everything I, Voiidhanger puts out and this was easily my favorite thing they put out this year.
― Judi Dench's Human Hand (methanietanner), Wednesday, 26 February 2020 14:48 (four years ago) link
56
Teitanblood - The Baneful Choir
157 points, 6 votes
https://f4.bcbits.com/img/a3289760142_10.jpg
https://open.spotify.com/album/3fnVblFUmeyU47j5hUNEh4
https://teitanblood.bandcamp.com/album/the-baneful-choir
https://www.indymetalvault.com/2019/11/01/album-review-teitanblood-the-baneful-choir/
Spain’s terrifying Teitanblood have been unleashing their unique fusion of death and black metal on the planet for 16 years now, with only two albums and a few EP’s under their belt. That said, the intensity of the material on these few releases has been so high that I don’t think anyone could handle more than that (although there are a few of us that wouldn’t mind trying). If ever there was a band that had captured the sound and atmosphere of what we can only imagine being the very depths of hell, it’s these guys, and they are not for the uninitiated.The Baneful Choir is their third full-length album (confirming the rumor that they are ritually releasing their albums every five years, for whatever reason), and one that continues the vile path that they have been traveling. Besides a cacophony of incredibly unsettling bells, horns, marching calls, and the roar of demons, the ambiance is highly claustrophobic and immediately unnerving. As mentioned, this is the soundtrack to everyday life in the seventh ring of Hades, so much so that the listener can almost feel the prickling of flame against flesh and visualize the hot blasting furnaces eager for souls and laughter.There’s very little in the way of song structure, each of the 11 tracks an exercise in dissonance and pure aggression. This is unbelievably standard for Teitanblood, but it never ceases to rip your ears clean from your skull and remind you that these guys are working on a very different level altogether. The riffs tear away at every available nook and cranny, the blasting drums and enormous bass eat away from the bottom up, and NSK’s vocals are truly a demonic and otherworldly experience. The one word that keeps popping up when explaining both this release and the band itself is “nightmare.” They have tapped into a dark channel of the human experience and found the most horrific and unnatural sound possible, something that can only be properly ingested through high volume, good headphones, and the time to take it all in. This is darkness, pure and simple.
The Baneful Choir is their third full-length album (confirming the rumor that they are ritually releasing their albums every five years, for whatever reason), and one that continues the vile path that they have been traveling. Besides a cacophony of incredibly unsettling bells, horns, marching calls, and the roar of demons, the ambiance is highly claustrophobic and immediately unnerving. As mentioned, this is the soundtrack to everyday life in the seventh ring of Hades, so much so that the listener can almost feel the prickling of flame against flesh and visualize the hot blasting furnaces eager for souls and laughter.
There’s very little in the way of song structure, each of the 11 tracks an exercise in dissonance and pure aggression. This is unbelievably standard for Teitanblood, but it never ceases to rip your ears clean from your skull and remind you that these guys are working on a very different level altogether. The riffs tear away at every available nook and cranny, the blasting drums and enormous bass eat away from the bottom up, and NSK’s vocals are truly a demonic and otherworldly experience. The one word that keeps popping up when explaining both this release and the band itself is “nightmare.” They have tapped into a dark channel of the human experience and found the most horrific and unnatural sound possible, something that can only be properly ingested through high volume, good headphones, and the time to take it all in. This is darkness, pure and simple.
― Oor Neechy, Wednesday, 26 February 2020 15:04 (four years ago) link
describing a band as "terrifying" generally a pretty good way to make my eyes roll tbh
― bold caucasian eroticism (Simon H.), Wednesday, 26 February 2020 15:05 (four years ago) link
Enjoying cacthing up with a few things - albeit it's a bit overwhelming. Enjoyed Nightfell and goddamn if Slipknot don't sound like Gorefest (on Solway Firth, at least).
― Ngolo Cantwell (Chinaski), Wednesday, 26 February 2020 15:10 (four years ago) link
55
Disentomb - The Decaying Light
160 points, 6 voters
https://f4.bcbits.com/img/a3761919367_16.jpg
https://open.spotify.com/album/2hOBcgLluNhYCBN71yx1Kr
https://uniqueleaderrecords.bandcamp.com/album/the-decaying-light
https://www.angrymetalguy.com/disentomb-the-decaying-light-review/
The mounting pressure that comes with the weight of expectation an artist faces after establishing success and credibility in the metal scene must be daunting. Some are probably content to roll with the punches and block out distractions, while others inevitably feel the pressure bearing down upon them. I’m not sure which camp Australia’s Disentomb falls into, but regardless, following up the acclaimed beast of riffy brutal death on their 2014 album Misery was always going to be a difficult assignment, especially with increased anticipation following an extended period between albums. The long awaited The Decaying Light was certainly high up on my shortlist of anticipated death metal albums in 2019. So with eager enthusiasm and trepidation, I dove headlong into the pummeling sounds of Disentomb‘s latest endeavor.Right off the bat, I’ll confess The Decaying Light left me feeling slightly underwhelmed on initial listens. The songs and riffs didn’t hit me with the forceful and memorable immediacy of Misery and the more refined, polished delivery smoothed out some of the edgy tones and underground grit that made its predecessor such an endearing modern gem of brutal death. Gradually, the menacing melodies and seismic force began to make its presence known, revealing a band that has matured and refined their sound into a dense, technical, and pummeling machine, featuring a more measured and controlled handle of their bludgeoning tools. The addition of bassist Adrian Cappeletti brings an impressive layer to the Disentomb repertoire and his overall performance and showstopping basslines are constant standouts. Less gut-wrenching and more insidious in the way the songs seep into the brain, The Decaying Light is still a triumphant display of technically proficient yet pleasingly heavy death that employs a grinding, tank-like mode of destruction, relying more on measured brute force over hyper-speed intensity, though it’s not short on the blasting aggression or energized tempos either.
Right off the bat, I’ll confess The Decaying Light left me feeling slightly underwhelmed on initial listens. The songs and riffs didn’t hit me with the forceful and memorable immediacy of Misery and the more refined, polished delivery smoothed out some of the edgy tones and underground grit that made its predecessor such an endearing modern gem of brutal death. Gradually, the menacing melodies and seismic force began to make its presence known, revealing a band that has matured and refined their sound into a dense, technical, and pummeling machine, featuring a more measured and controlled handle of their bludgeoning tools. The addition of bassist Adrian Cappeletti brings an impressive layer to the Disentomb repertoire and his overall performance and showstopping basslines are constant standouts. Less gut-wrenching and more insidious in the way the songs seep into the brain, The Decaying Light is still a triumphant display of technically proficient yet pleasingly heavy death that employs a grinding, tank-like mode of destruction, relying more on measured brute force over hyper-speed intensity, though it’s not short on the blasting aggression or energized tempos either.
― Oor Neechy, Wednesday, 26 February 2020 15:23 (four years ago) link
I couldn't get into this one for some reason but I know it has some extreme fans itt
― bold caucasian eroticism (Simon H.), Wednesday, 26 February 2020 15:26 (four years ago) link
anyway I'm glad someone painted the Large Sad Man a snack. maybe he'll feel better now.
― bold caucasian eroticism (Simon H.), Wednesday, 26 February 2020 15:28 (four years ago) link
Can't contribute as much as I'd like today but both the Haunter and the Disentomb are solid slabs of blackened death and old school death, respectively. I commend Teitanblood on their ambition, but sadly 'twas not enough to make a believer out of me.
― romanesque architect (pomenitul), Wednesday, 26 February 2020 15:38 (four years ago) link
Don't worry, pomenitul will be back for his turn tomorrow
― Oor Neechy, Wednesday, 26 February 2020 15:40 (four years ago) link
slipknot and disentomb way tooo low. nos. 3 and 4 respectively on my ballot
― american bradass (BradNelson), Wednesday, 26 February 2020 15:43 (four years ago) link
ts: large sad man vs. tortilla man
― american bradass (BradNelson), Wednesday, 26 February 2020 15:44 (four years ago) link
Large Sad Tortilla Man
― romanesque architect (pomenitul), Wednesday, 26 February 2020 15:46 (four years ago) link
"large sad tortilla man" is my favorite xiu xiu song (xp!!)
― bold caucasian eroticism (Simon H.), Wednesday, 26 February 2020 15:46 (four years ago) link
54
Ossuaire - Derniers chants
161 points, 4 votes
https://f4.bcbits.com/img/a3480842895_10.jpg
https://ossuaire.bandcamp.com/album/derniers-chants
https://nattskog.wordpress.com/2019/10/06/album-review-ossuaire-derniers-chants/
Only six months have passed since OSSUAIRE stormed into the Canadian Black Metal scene with their debut album and they already have its follow-up. With Canada having some of the best Black Metal such as classics Forteresse and Monarque and in more recent years Spectral Wound and Nocturnal Departure, this should be rivetingly atmospheric. Out via Sepulchral Productions on October 15th.Snarling guitars draw in haunting atmospherics over blasting drum assaults and accompanied by the howled screams that one expects from this type of Black Metal. While wholly gorgeous in terms of atmosphere, there is a dissonant edge to the music that adds an uncomfortable tinge to the flame of truly masterful Black Metal destruction. The blend of raw classic Black Metal that has the traditionally bombastic and aggressive assaults meets some fundamentally stunning atmospherics that certainly have the Canadian soul imprinted on them, making for some of the most beautifully chilling extremities that can be heard. Gruesomely dark with a morbid spark to the violence that is captivating amidst the more ear-pleasing ambience, there is so much brooding contempt within this release when you scratch below the surface, something that should be at the heart of all Black Metal, but in this case is nuanced so stunningly. Ripping through malevolence and disturbingly cold musicianship, the profoundly primitive yet well-played instrumentals and vocals blend into a wall of cutting soundscapes that will certainly envelope any fan of Black Metal, which it certainly does brilliantly and thankfully has excellent music to back up the atmosphere, rather than being a vapid and pointlessly pretty record, Ossuaire have all the violence and piercing hatred as a driving force behind this unholy art. Aside from a barrage of vicious blasting drums and tremolo guitar madness, there is also some gorgeously melancholic sounds such as the third piece, which delivers an introspective and devastatingly dark mournfulness, breaking up the destruction for tension to build and with utmost effectiveness. Obliteration continues with full force and this album keeps you on your toes throughout with bitter disdain and unsettling beauty in ultimate tandem. The last two songs bring in a medieval sounding epic that is gorgeously cinematic but no less haunting nor ferocious than the leading up to this point, following an interlude of magnificence and mellowness, these ending pieces close the album in style. Truly a masterpiece of Canadian Black Metal that stands tall with some of the genres greatest acts, magnificent.
Snarling guitars draw in haunting atmospherics over blasting drum assaults and accompanied by the howled screams that one expects from this type of Black Metal. While wholly gorgeous in terms of atmosphere, there is a dissonant edge to the music that adds an uncomfortable tinge to the flame of truly masterful Black Metal destruction. The blend of raw classic Black Metal that has the traditionally bombastic and aggressive assaults meets some fundamentally stunning atmospherics that certainly have the Canadian soul imprinted on them, making for some of the most beautifully chilling extremities that can be heard. Gruesomely dark with a morbid spark to the violence that is captivating amidst the more ear-pleasing ambience, there is so much brooding contempt within this release when you scratch below the surface, something that should be at the heart of all Black Metal, but in this case is nuanced so stunningly. Ripping through malevolence and disturbingly cold musicianship, the profoundly primitive yet well-played instrumentals and vocals blend into a wall of cutting soundscapes that will certainly envelope any fan of Black Metal, which it certainly does brilliantly and thankfully has excellent music to back up the atmosphere, rather than being a vapid and pointlessly pretty record, Ossuaire have all the violence and piercing hatred as a driving force behind this unholy art. Aside from a barrage of vicious blasting drums and tremolo guitar madness, there is also some gorgeously melancholic sounds such as the third piece, which delivers an introspective and devastatingly dark mournfulness, breaking up the destruction for tension to build and with utmost effectiveness. Obliteration continues with full force and this album keeps you on your toes throughout with bitter disdain and unsettling beauty in ultimate tandem. The last two songs bring in a medieval sounding epic that is gorgeously cinematic but no less haunting nor ferocious than the leading up to this point, following an interlude of magnificence and mellowness, these ending pieces close the album in style. Truly a masterpiece of Canadian Black Metal that stands tall with some of the genres greatest acts, magnificent.
― Oor Neechy, Wednesday, 26 February 2020 15:47 (four years ago) link
Listened to this while aying a board game last week and chucked it onto my ballot as it suited playing a board game really well. Score one to pomenitul's campaigning
― imago, Wednesday, 26 February 2020 15:48 (four years ago) link
yet another black metal album
― american bradass (BradNelson), Wednesday, 26 February 2020 15:48 (four years ago) link
Playing, even
Montreal reprezzzzzzzent.
― romanesque architect (pomenitul), Wednesday, 26 February 2020 15:49 (four years ago) link
Nor do they appear to be fascists as far as I can tell, so that's always a plus!
looks interesting
― Oor Neechy, Wednesday, 26 February 2020 15:50 (four years ago) link
Not the highest Canadian BM on my ballot, mind
― imago, Wednesday, 26 February 2020 15:51 (four years ago) link
purchased on bandcamp
― Oor Neechy, Wednesday, 26 February 2020 15:53 (four years ago) link
albums about the downfall of the church just hit a little different when they come from QC
― bold caucasian eroticism (Simon H.), Wednesday, 26 February 2020 15:56 (four years ago) link
The City of a Hundred Falling Steeples.
― romanesque architect (pomenitul), Wednesday, 26 February 2020 15:57 (four years ago) link
53
Crypt Sermon - The Ruins of Fading Light
162 points, 5 votes
https://f4.bcbits.com/img/a1033112474_16.jpg
https://open.spotify.com/album/4aoflNFxmOl42MD6tq6WSc
https://darkdescentrecords.bandcamp.com/album/the-ruins-of-fading-light
https://www.angrymetalguy.com/crypt-sermon-the-ruins-of-fading-light-review/
Crypt Sermon came out of nowhere with their 2015 Out of the Garden debut, stunning metaldom with an unusually mature take on doom in the Candlemass vein. The high level of songwriting and top-notch performances earned them a lot of attention in a hurry, and before the band knew it, they were an overnight doom sensation, getting asked to play numerous festivals and having their name mentioned in the same breath as more established doom acts. 2019 brings them to the crucible of the dreaded sophomore release, which has made and unmade many a band over the years. In their promo materials, the band candidly admits to being overwhelmed by the success their debut garnered, and that finding time to work on new material given all their newfound time commitments became a real challenge. So much so that they apparently wrote and discarded an entire album’s worth of material before settling on what appears here on The Ruins of the Fading Light. So what does the 2019 version of Crypt Sermon sound like? It’s basically the same sound, but darker and with outside elements like black metal making brief, shadowy appearances. At times there’s a noticeable similarity to a certain group of nameless ghouls as well. It carries over some of the debut’s brilliance, but shows some unsightly warts too. In other words, it’s a mixed Halloween bag of tricks, treats, Ghosts and ghouls.
― Oor Neechy, Wednesday, 26 February 2020 16:00 (four years ago) link
Haven't heard their debut but I thought this was pretty good, no more and no less (I didn't vote for it).
― romanesque architect (pomenitul), Wednesday, 26 February 2020 16:04 (four years ago) link
same
― bold caucasian eroticism (Simon H.), Wednesday, 26 February 2020 16:08 (four years ago) link
52
Fly Pan Am - C'est ça
164 points, 4 votes
https://f4.bcbits.com/img/a2782215947_16.jpg
https://open.spotify.com/album/5OA5TxrmSg2EOlNFYLvpJ1
https://flypanam.bandcamp.com/album/cest-a
http://exclaim.ca/music/article/fly_pan_am-cest_a
On their first album in 15 years, Fly Pan Am return wiser and more established by coming off wilder and less structured. Once known as an offshoot of Godspeed You! Black Emperor (due to guitarist Roger Tellier-Craig's stint with the band in the early '00s), the quartet run the genre gamut on their fourth LP, C'est ça, mixing and moulding together an amazing blend of influences to craft something sonically otherworldly. Reforming in 2017 to play a single show in their hometown of Montreal, the quartet communally mashed together a decade of musical education indiscreetly, as the LP finds the band weaving squiggly electronic freak-outs ("Avant-gardez vous," "Alienage Syntropy"), shoegaze-y walls of sound ("Distance Dealer," "Discreet Channeling"), black metal vocals ("Bleeding Decay," "One Hit Wonder"), and all of the above ("Each Ether") into a satisfying whole. Over nine tracks and 40 minutes, the quartet wonderfully mess with sonics, timing, rhythm and their own legacy. But what makes C'est ça such a triumphant return for the band lies in just how damn listenable Fly Pan Am make it all come off, giving fans something much more adventurous and challenging than simple nostalgia would ever allow.
Reforming in 2017 to play a single show in their hometown of Montreal, the quartet communally mashed together a decade of musical education indiscreetly, as the LP finds the band weaving squiggly electronic freak-outs ("Avant-gardez vous," "Alienage Syntropy"), shoegaze-y walls of sound ("Distance Dealer," "Discreet Channeling"), black metal vocals ("Bleeding Decay," "One Hit Wonder"), and all of the above ("Each Ether") into a satisfying whole.
Over nine tracks and 40 minutes, the quartet wonderfully mess with sonics, timing, rhythm and their own legacy. But what makes C'est ça such a triumphant return for the band lies in just how damn listenable Fly Pan Am make it all come off, giving fans something much more adventurous and challenging than simple nostalgia would ever allow.
― Oor Neechy, Wednesday, 26 February 2020 16:16 (four years ago) link
I voted for this
My #16
― Oor Neechy, Wednesday, 26 February 2020 16:18 (four years ago) link
Montreal reprezzzzzent x2.
I listened to it thanks to Neechy's campaigning and thought it was pretty awesome. A 'send-up of blackgaze', I think we called it in the other thread?
― romanesque architect (pomenitul), Wednesday, 26 February 2020 16:18 (four years ago) link
Been a long term fan of this band so it was really nice to not only come back with a new album but with a new sound. Really terrific stuff.
I wanna know if TT and Imago liked it?
I think this album would have crossover appeal to the shoegazers on ilm
― Oor Neechy, Wednesday, 26 February 2020 16:21 (four years ago) link
another very fine album that a) didn't feel right on my ballot and b) I knew would make it without me. lovely to have these guys back, Constellation are still killing it.
― bold caucasian eroticism (Simon H.), Wednesday, 26 February 2020 16:24 (four years ago) link
Did this make the general poll?
― Oor Neechy, Wednesday, 26 February 2020 16:24 (four years ago) link
I don't think so?
― bold caucasian eroticism (Simon H.), Wednesday, 26 February 2020 16:26 (four years ago) link
Pretty sure it didn't, no. It would be like top 5 here if it had, 'cause that's just how this stuff works these days.
― romanesque architect (pomenitul), Wednesday, 26 February 2020 16:26 (four years ago) link
ILM has never been big on Constellation stuff for some reason.
― Oor Neechy, Wednesday, 26 February 2020 16:43 (four years ago) link
51
Yellow Eyes - Rare Field Ceiling
168 points, 5 votes
https://f4.bcbits.com/img/a1616301331_16.jpg
https://open.spotify.com/album/3I88oDjMGAsXl69k1Cd1m8
https://yelloweyes.bandcamp.com/album/rare-field-ceiling
https://www.angrymetalguy.com/yellow-eyes-rare-field-ceiling-review/
Now that the year is finally over, let’s look back on the embarrassment of riches that has been black metal in 2019. With so many incredible albums to pick from it’s hard to…wait, FUCK ME IT’S STILL JUNE?! How have we had so many exceptional albums from what is supposedly an overstuffed, tired genre in just six months? By my count, we’ve awarded a 3.5 or higher to 43 albums that feature black metal as the primary genre over the last 26 weeks, and that’s just albums we’ve covered at AMG & Sons LLC. Acts like Misþyrming, Cénotaphe and Krzysztof Drabikowski, among others, have also released rock solid entries in what will henceforth be called The Great Year ov Blackened Dark Blacky Blackness. Right about here is where I’d normally play coy and be all “but can Yellow Eyes distinguish themselves in such a distinguished year?” I’ll be up front with you, Rare Field Ceiling, the NY band’s fifth full-length in their decade long career, is right up there with the best black metal releases of 2019.If you’re familiar with the last couple of Yellow Eyes albums, Rare Field Ceiling does little to change up the formula. These New Yorkers still play dense black metal that is equal parts melody and dissonance in compositions that wend and wind and double back on themselves. This outing pushes the dissonance slightly more forward than on 2017’s excellent Immersion Trench Reverie, and while it also includes similar ethereal song transitions, the familiar reek-reeking of frogs is absent this time. At six songs and right around 45 minutes, each track has enough room to take you on a journey through buzzing riffscapes that resist easy memorization, thus maintaining rewarding surprises while neural pathways are slowly acclimated over repeat listens. In this way, Rare Field Ceiling reminds me strongly of Blut Aus Nord‘s Memoria Vetusta III: Saturnian Poetry which is similarly dense while rarely repeating a riff more than once.
If you’re familiar with the last couple of Yellow Eyes albums, Rare Field Ceiling does little to change up the formula. These New Yorkers still play dense black metal that is equal parts melody and dissonance in compositions that wend and wind and double back on themselves. This outing pushes the dissonance slightly more forward than on 2017’s excellent Immersion Trench Reverie, and while it also includes similar ethereal song transitions, the familiar reek-reeking of frogs is absent this time. At six songs and right around 45 minutes, each track has enough room to take you on a journey through buzzing riffscapes that resist easy memorization, thus maintaining rewarding surprises while neural pathways are slowly acclimated over repeat listens. In this way, Rare Field Ceiling reminds me strongly of Blut Aus Nord‘s Memoria Vetusta III: Saturnian Poetry which is similarly dense while rarely repeating a riff more than once.
This should've been right up my alley but the songwriting did absolutely nothing for me.
― romanesque architect (pomenitul), Wednesday, 26 February 2020 16:46 (four years ago) link
my #31
― Oor Neechy, Wednesday, 26 February 2020 16:46 (four years ago) link
For some reason I always find these guys' chord progressions super satisfying.
― bold caucasian eroticism (Simon H.), Wednesday, 26 February 2020 16:54 (four years ago) link