Released entirely by surprise on digital platforms first, Satyricon’s commissioned piece for the Edvard Munch museum, titled “Satyricon & Munch”, is a piece full of promise that never really delivers. We understand that this music was supposed to be the backdrop of the exhibit in the new museum, but while putting in context with Edvard Munch’s art there is some cohesion, the 57 minute piece never really builds up to much.
Unleashing some creepy and aurally dominating release, today we have Dutch outfit Am Himmel and their opus “As Eternal”. With a ‘weirder’ approach to Post-Black Metal, this band creates roughly 37 minutes of captivating music with the magic of bands like An Autumn for Crippled Children and Lustre mixed in with a darker and drone-ish edge. Not recommended for close-minded people, this album is more of an aural exploration than your typical cookie-cutter BM.
Opening with the piercing “Bleared By The Infinite Wings”, the listener instantly knows this is a completely different release. The fuzzy and yet dreamy atmospherics are nicely flanked by harsh screams, delivered in a very monotonic way, creating a unique and engaging atmosphere. Things get dreamier and a bit shoegazy on “The Patience and Silence of a Saint’s Death”, a piece that slowly builds up momentum and creates plenty of tension.
Just when you think a band can’t get any better, you get a release like “False Light”, showcasing that White Ward’s sound and creativity are boundless. Digging deeper than in “Love Exchange Failure”, the band explores more sultry dark-jazz/avant-garde territories with the 66 minutes of music unleashed here. As one of the finest releases of 2022, this album needs to be enjoyed and carefully examined to get the fullest out of it.
Starting this magical tour-de-force we have the powerful “Leviathan”, a track that nicely builds up to some harsh Black Metal passages and nicely transitions into sultry jazzy greatness. With a more somber and darker tone, “Salt Paradise” mixes the guest clean vocals from Jay Gambit (Crowhurst) and the band’s more enigmatic and atmospheric side. “Phoenix” and “Silent Circles” nicely balance the band’s heavy side with melancholy and crafty instrumentation.
Showcasing a different side of Lars Are Nedland, today we have his latest project Black Void, a sort of polar opposite release from his 2021, White Void “Anti”, release. Perfectly combining Punk and Black Metal with a mild dose of his soaring clean vocals, Lars delivers around 40 minutes of intense, hellish, and masterfully crafted music featuring a few guest appearances and a stellar supporting cast.
Opening with the sleazy “Void”, a statement piece that while it starts with typical Black’n’roll fare plus some hefty Punk-ish influences, the listener is still treated to majestic clean vocal arrangements and plenty of melody. Creating chaos and confusion, “Reject Everything” and “Death to Morality” pounce at the listener with ravaging guitars, courtesy of Jostein Thomassen (Borknagar), and a good dose of harsh vocals thrown into the mix.
It is rare to find truly unique bands these days, luckily for us Eight Bells answers the call with their powerful release “Legacy of Ruin”. Featuring an extremely crafty amalgamation of Post-Metal, Doom Metal, and even some Black Metal-ish elements, this release unleashes over 45 minutes of intricate and engaging aural assaults.
Led by Melynda Jackson, the band quickly establishes their piercing atmosphere with the opener “Destroyer”, a piece filled with piercing guitars and harrowing and contrasting vocal arrangements. Creating a very sinister mood, the release is far from one dimensional as “The Well” explores calmer and yet disturbing interludes alongside faster and punishing onslaughts of heaviness.
Unleashing a very unique and disturbing combination of Black Metal, Death Metal, and some atmospheric elements, today we have France’s Archaeopteris and their debut EP “Visions chaotiques d´un songe halluciné”. With a short but chaotic duration, this release delivers both aggression and extreme weirdness. Definitely recommended for fans of the bizarre and unconventional.
Opening with “Visions Chaotiques”, after a short atmospheric intro, the band instantly dives into the depths of hell with a fierce combination of punishing riffs and crafty drums. Far from traditional, this track changes tempos very oddly, creating a very cavernous and yet disturbing atmosphere. The second song, “Songe Halluciné” leads with lush acoustic guitars as it quickly transitions into piercing aggressive guitars and deep harsh screams.
Hailing from Australia, Mesarthim creates one of the most mystifying and unique blends of Metal with electronic/atmospheric elements. Similar to bands like Germ, Violet Cold, and Progenie Terrestre Pura, the band’s sound is both bombastic and pretty aggressive, keeping things superbly catchy and still heavy enough for Metal fans to enjoy. With 5 tracks and nearly 30 minutes of music, “Vacuum Solution” is one hell of a unique and engaging release.
The album title sets a very dramatic futuristic vibe with super catchy synths and beats, paired with powerful guitars and fiendish shrieks. This is the exact explosivity we loved from bands like Germ, but Mesarthim takes it to a whole new level with more electronic/dark electro elements. Track like “Matter and Energy” also have a certain Industrial-like vibe, reminding us of Italy’s Aborym but with a catchier edge.
Straight out of a horror film, today we have Poland’s Odraza and their bone-chilling EP “Acedia”. Perfectly blending Black Metal elements with tons of dramatic atmospherics in a very experimental manner, this release unleashes nearly 27 minutes of creepy music that is intended to disturb listeners while drawing them into its fierce claws.
Immediately setting the bar high with the creepy first few minutes of “I”, the band slowly creates a very foul and disturbing atmosphere. There are certain jazzy and exploratory elements thrown into the mix, allowing the band’s sound to be quite expansive and unique. Heavy doomy riffs and crafty percussion help shift the mood in this aural journey, to a more industrial and ethnic place, while the sparse Black Metal onslaughts are fierce and demoralizing due to their intensity.
When it comes to weird and out of the ordinary music, we are always on looking for the next weirdest thing. Today, via Agonia Records, we have Shadows and their self-titled debut EP. Led by Alex Bouks of Incantation and Goreaphobia fame, this band unleashes a very intoxicating and unique release with a blend of musical styles within Metal and bordering with Rock and Goth elements.
Opening with the somber “Ghosts of Old”, we get an interesting mixture of crafty drumming, firm riffs and a very moody tempo. The clean vocals remind us a bit of the band EverEve, with a certain twang added to them. The album’s atmosphere is quite dark and enjoyable as tracks like “Shadows”, “Night of the Goat Winter Moon”, and “Elders” have a nice mixture of warm and fuzzy psychedelic distortion with engaging tempo changes and very solemn vocals.
It has been a while since we have heard anything from Australia’s weird Industrial Metal outfit The Amenta. Returning with “Revelator”, the band continues their path of weirdness with an interesting blend of experimental elements and Industrial Metal foundations, creating a very chaotic and yet interesting sound. If you like odd and unconventional music with a good dose of heaviness, this release has some nice surprises in store for you.
The release starts with the pummeling “An Epoch Ellipsis”, a track that starts with a similar pace to Anaal Nathrakh’s music, but quickly shows that it is a completely different beast with funky tempo changes, soaring clean vocals, and some underlying industrial elements. The uniqueness of “Sere Money” nicely changes the pace a bit as the band showcases their more melodic and catchy side, with lush rhythmic sections and a nice blend of harsh and clean vocals.