"taste the sin"
Year: 2010
Label: Relapse
Format: CD, LP
Tracks: 10
Time: 40 min.
Genre: rock
stoner and prog rock band from Savannah, Georgia, US. Baroness formed in mid-2003, founded by former members of the Punk/Metal band Johnny Welfare And The Paychecks. In August 2012 the band and their crew were involved in a very serious crash with their bus while being on tour in the UK. In March 2013 it was announced that Matt Maggioni and Allen Blickle will not continue touring with Baroness due to this event. They were replaced by Nick Jost and Sebastian Thomson. In 2017 Pete Adams left Baroness, he was replaced by Gina Gleason. The band is also well known for its paintings, art work and designs, made by artist John Baizley , also Baroness member.
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"scriptures"
Year: 2020
Country: UK
City: Birmingham
Label: Nuclear Blast
Format: CD, LP
Tracks: 12
Time: 46 min.
Genre: rock
Style: Death Metal
The last time I seriously considered Benediction must’ve been on their The Grotesque / Ashen Epitaph EP. That was 1994. Now, I know all 27 people who bought and will defiantly defend The Dreams You Dread (and the three albums after it) are already lining up on Facebook to call me derogatory British words they fully don’t understand, but that’s life, and Benediction, for better or worse, have been writing middling, paint-not-peeling music for too long.
Scriptures finds not only the return of frontman Dave Ingram after 21 years away, but founding members/guitarists Peter Rew and Darren Brookes very spirited, as if they’re 19 again. This is still the hardscrabble, workaday (West) Midlands-style of death metal that put Benediction and many famous others on the map—make no mistake. There are no flutes, keytars or light-up electronic hardware to be found on Scriptures. That’s right—this is straight-up, arms-folded, circle-pit death metal from the factory.
It’s as simple as it is effective. Ingram towers over songs like “Iterations of I,” “The Crooked Man,” “We Are Legion” and early single “Rabid Carnality.” And Rew and Brookes are riffing (and soloing!) like they’re the British equivalent of heyday Rick Hunolt and Gary Holt. Indeed, there’s a fresh stab of kinetic energy in Benediction’s eighth full-length. That’s the kind of deal the two guitarists imbued on my fave EP, or maybe they’re feeling the challenge of newcomer/drum whiz Giovanni Dürst, whose previous experience in White Wizzard, Omicida and Monument is providing much-needed thrash-power metal oomph.
Expect not to be floored by innovation or intrepid, progressive ventures into former vocalist Dave Hunt’s scary backyard. What you should be ready for is unadulterated, thrashing death metal the English way ( Chris Dick ).
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"crow"
Year: 2020
Country: US
City: New York
Label: State Of Mind
Format: LP
Tracks: 12
Time: 26 min.
Genre: rock
Style: Hardcore
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"elder the gold and silver sessions"
Year: 2019
Label: Blues Funeral
Format: CD, LP
Tracks: 3
Time: 33 min.
Genre: rock
Style: Prog Rock Psychedelia
"summits of despondency"
Year: 2020
Country: Germany
City: Berlin
Label: Lifeforce
Format: CD, LP
Tracks: 12
Time: 44 min.
Genre: rock
Style: Black Metal
Anti-fascist, anti-sexist and anti-religion black metal band from Berlin, Germany. Created in 2011 and formerly known as Angst, they changed name in October 2012.
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"ghosts of the timeless void"
Pure Fucking Hate. As album opening phrases go, this quote from 2017's “Life” is poignant, jarring, and certainly germane to the themes raised throughout Ancst's second full-length album, “Ghosts of the Timeless Void”. Where the film discusses the return of life-form responsible for an extinction avalanche on Martian soil, one cannot help but think that Ancst's object of antipathy may be more earthbound. And while we may speak of dying embers and pyres here, the fires of injustice-fueled rage are an abiding conflagration across the album - there are no coals cooling in the furnace of Ancst's anger, and the insatiable Moloch of capitalism continues to consume endless sacrifices.
The sound that this side of Ancst has been evolving towards, to my mind, first manifested on track two of the 2013 EP, “The Humane Condition”, which was partnered by the first release of their first ambient/drone work, “Lamenting a Dying World”. That track, “Entropie”, captures a sound that eloquently defines Ancst: polished but savage, graceful, commit and unrelenting. And they have been prolific: despite this being only their second full-length, 2017 saw the release of the superb “Furnace” EP as well as two top-notch splits, one with King Apathy, one with Depravation. This is not to ignore 2016's brilliant “Stormcaster”, the most fulsome interlocution of the soundscapes first explored in “Lamenting…”. Across the course of these releases, Ancst have entered the elite pantheon of 'do no wrong' bands for me: I always eagerly anticipate new music from them, no matter what the sonic angle. “Ghosts of the Timeless Void” is no exception.
It's interesting to compare LP openers here: “Moloch” is one of the most explosive album introits that I have ever heard - instantaneous teeth-kicking power unleashed from go. “Dying Embers” starts off considerably more restrained by comparison, even slow by Ancst's punishing pace-standards - until about the 1:00 mark - when everything explodes in dynamic fury. It almost feels like an inversion of the earlier structure in certain ways. This more thoughtful approach allows Ancst to marry the melodic, riff-dense elements of their approach to some mindful sophistication in terms of metrical and rhythmical variety. But it is never heavy-handed, never overly obvious, and at no point loses the plot of what makes Ancst a standout band that places them high in the melodic crust mythos. Poignant exemplars of this maturation are found throughout the album: in the opening riffs of “Quicksand”, in the death-inflected “Unmasking the Imposters”, in the epic “Republic of Hatred”, in the classic blackened tremolo work of “Sanctity”. “Dysthymia”, is the closest I have heard Ancst to creating what almost sounds like post-black/blackgaze ballad. Meaningless subgenre references aside, what I am trying to emphasize is that Ancst have evolved, seemingly effortlessly, certainly gracefully, and sound more like themselves than ever - whatever inner telos they have been moving towards has been realized in this beautiful album. Listen to it from start to finish and love it. I know I did (*Review by Conor O’Dea ).
"moloch"