t.h.e. w.a.k.e.d.e.a.d. g.a.t.h.e.r.i.n.g. - 'f.u.s.c.u.s.: s.t.r.i.n.g.s. o.f. t.h.e. b.l.a.c.k. l.y.r.e.' (2016)
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_pert plus
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w.o.r.m.e.d. - 'k.r.i.g.h.s.u.' (2016)
if you only have one brutal death record in your collection besides guttural secrete's 'nourishing the spoil', let it be this one.
_mink nun
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o.r.a.n.s.s.i. p.a.z.u.z.u. - 'v.a.l.o.n.i.e.l.u.' (2013)
_alibi
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v.o.i.d.c.r.a.e.f.t. - 'ἕ.β.ε.λ.' (2016)
_mink nun
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o.r.a.n.s.s.i. p.a.z.u.z.u. - 'v.ä.r.ä.h.t.e.l.i.j.ä.' (2016)
finnish psych metal on 20 buck spin records.
_mink nun
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j.u.t.e. g.y.t.e. - 's.h.i.p. o.f. t.h.e.s.e.u.s.' (2015_
microtonal black metal using just intonation? you had me at hello.
_alibi
Notes:
Elaborating on the themes of continuity of consciousness, identity and change, there is a lot of imitative polyphony on this album. The title track opens with a two-voice canon (A), followed by a riff derived from that canon, itself joined halfway through by a second guitar in an inversion canon. After this riff, a new two-voice canon (B) appears which is joined at its midpoint by a return of the first canon, creating a four-voice double canon. The inversion canon riff recurs, followed by another inversion canon riff, derived from canon B, that ends the track,. "Grief of New Desire" opens with a four-voice, four-note canon. The note sequence D-half flat, C-half sharp, D flat, C natural is repeated on four guitars, each in a different octave, each starting on a different note in the sequence. Because all four pitches are in constant circulation the effect is harmonic stasis, though the shifting registers create an illusion of cyclical movement like an sound-object being rotated. The slow riff which follows becomes a canon. "Lugubrious Games (Sans Frontières)" opens with a canon backed by delayed (hence canonic) drums; "Machinery That Renders Debt Infinite" includes inversion canons.
The closing line of "Lugubrious Games", "the word always dies where the claim of some reality is total", is from Jean Amery's At the Mind's Limits, as are several other lines used in this album's lyrics. Much of the title track's lyric is drawn from Lucretius. The title "Pain and Wrath Are the Singers" is drawn from Robinson Jeffer's translation of Medea; that song's line "aimless years from nothingness to nothingness again " comes from Lovecraft. The wordplay "the afternoon's meshes" is D.F. Wallace's.
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i.n.v.e.r.l.o.c.h. - 'd.i.s.t.a.n.c.e. | c.o.l.l.a.p.s.e.d.' (2016)
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new aussie band on relapse records featuring members of doom legends dISEMBOWELMENT.
_duck sauce
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a.l.t.a.r.a.g.e. - 'n.i.h.l.' (2016)
pure portal worship, plain and simple, but songs in the key of portal is not a bad thing by any stretch. the idea that a band can paint in a particular palette, as lain forth by their forefathers, can be forward thinking. listen and be bulldozed.
_alibi
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a.s.h.d.a.u.t.a.s. - 's.h.a.d.o.w. p.l.a.y.s. o.f. g.r.i.e.f. a.n.d. p.a.i.n.' (2005)
members of the black twilight circle, ashdautas has some of the fiercest vocal work you'll hear in extreme music.
_mink nun
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a.b.j.v.r.a.t.i.o.n. - 't.h.e. u.n.q.u.e.n.c.h.a.b.l.e. p.y.r.e.' (2015)
heavy.
_duck sauce
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