Goblinsmoker: A Throne In Haze, A World Ablaze (Sludgelord Records) [Paul Hutchings]
If there is a musical equivalent of being run over by a steamroller than this must be it. Pounding riffs moving at glacial speed, which then segue into bursts of evil black metal all delivered in a down tuned discordant fuzz. Welcome to the world of The Toad King, Lord of the Goblins. This three track EP follows on from the 2018 debut Toad King and it’s as horrifically sludgy as its predecessor. The Durham outfit now come with an added M (Bass) to go with A (guitar and vocals) and C (drums). A Throne In Haze, A World Albaze is monumentally heavy, the darkness crushing and the vocals visceral and haunting. The three tracks, Smoked In Darkness, Let Them Rot and the shorter The Forest Mourns are all punishing slabs which mix doom, sludge, stoner and black metal in a heady cauldron which describes the second instalment in the Toad King trilogy. The echoing void that is left after listening to this slab of impressive metal is such that you realise the only thing to do is play it again. With the final instalment of the story to come, the time is right to absorb part II and immerse yourself in the depths of the Toad King’s tale. 7/10
Shaam Larein: Sculpture (Icons Creating Evil Art) [Lee Burgess]
Well this is nice. With Shaam Larein’s Sculpture we have something of unique and enticing. From the very first chord of Aurora, the first track to seep into the brain, we instantly get a sense of the doomed 60’s Psych-rock pioneers Jefferson Aeroplane and the witch-like quality of Lingua Ignota. This is dark stuff, but really beautiful. It needs the right setting, a peaceful space, or a dark forest, take your pick, but once we get to the awesome Memories, this album hooks the listener in and it’s obvious that this record is just going to keep giving. It’s hard to slot this into a genre, as there are hints of doom and synth and Goth, but that never counts against it because it does its job so well.
The music has an identity of its own, giving us ethereal tones that sweep around us and consume us whole. With Lunar Crater we suddenly get something akin to Kate Bush. It’s clear that this music has been created with a lot of care and attention to detail, even in its more sparse moments, and there are plenty of those. In a scene choc full of ever-increasing technical ability and dense sounds, this is a breath of fresh air. This is indeed dark, but it’s also full of bewitchingly catchy tunes and magical detail, with more than a tinge of folk and nature.
If there is a musical equivalent of being run over by a steamroller than this must be it. Pounding riffs moving at glacial speed, which then segue into bursts of evil black metal all delivered in a down tuned discordant fuzz. Welcome to the world of The Toad King, Lord of the Goblins. This three track EP follows on from the 2018 debut Toad King and it’s as horrifically sludgy as its predecessor. The Durham outfit now come with an added M (Bass) to go with A (guitar and vocals) and C (drums). A Throne In Haze, A World Albaze is monumentally heavy, the darkness crushing and the vocals visceral and haunting. The three tracks, Smoked In Darkness, Let Them Rot and the shorter The Forest Mourns are all punishing slabs which mix doom, sludge, stoner and black metal in a heady cauldron which describes the second instalment in the Toad King trilogy. The echoing void that is left after listening to this slab of impressive metal is such that you realise the only thing to do is play it again. With the final instalment of the story to come, the time is right to absorb part II and immerse yourself in the depths of the Toad King’s tale. 7/10
Shaam Larein: Sculpture (Icons Creating Evil Art) [Lee Burgess]
Well this is nice. With Shaam Larein’s Sculpture we have something of unique and enticing. From the very first chord of Aurora, the first track to seep into the brain, we instantly get a sense of the doomed 60’s Psych-rock pioneers Jefferson Aeroplane and the witch-like quality of Lingua Ignota. This is dark stuff, but really beautiful. It needs the right setting, a peaceful space, or a dark forest, take your pick, but once we get to the awesome Memories, this album hooks the listener in and it’s obvious that this record is just going to keep giving. It’s hard to slot this into a genre, as there are hints of doom and synth and Goth, but that never counts against it because it does its job so well.
The music has an identity of its own, giving us ethereal tones that sweep around us and consume us whole. With Lunar Crater we suddenly get something akin to Kate Bush. It’s clear that this music has been created with a lot of care and attention to detail, even in its more sparse moments, and there are plenty of those. In a scene choc full of ever-increasing technical ability and dense sounds, this is a breath of fresh air. This is indeed dark, but it’s also full of bewitchingly catchy tunes and magical detail, with more than a tinge of folk and nature.
This conjures images of the sexually charged cinema of European horror films of the 60’s and 70’s, full of incantations and awesome passages of slow burning passion that ends with the wondrous climax (pun intended) that is Traveler. A pulsing slightly violent finisher to what is a magnificent album that teeters on perfection. I could see these on a lineup with Ghost, with many content to go home having heard this less camp, more classical version of Gothic enchantment. 9/10
Mobius: Kala (Convulsound Productions) [Matt Bladen]
A single echoed note and a plative piano start off this second album from French band Mobius on intro A which moves into first song Abhinvesha a track that shows you the deep, heavy, progressive nature of Mobius' music, as the bass is a lead instrument, giving a throbbing anchor to everything else as the distorted modern prog metal riffs layer on top. The Oriental influences creep in, on the drumming, the synths and through instruments that sound like Sitars. The keys and piano are an integral part of their sound, working with djent riffs creating a dense musical palette to work with for vocalist Heli as scat jazz is juxtaposed with her chanting shamanic vocals.
The album has lyrics written in Sanskrit but ultimately it's about death, life and everything in between as while recording the album Héli received news that her half-sister's father had passed away. The family discovered his body four days after his death. Drawing on these experiences the album shifts between meditative, reflective ambience and intense, driving heaviness. I would say before you listen to this album it's worth opening your mind a little as it could be a little overwhelming for the casual listener, this is conceptual record with limitless creativity and a number of genres all whizzed up in a blender though it never shies away from being very modern in style. 7/10
Niklas Sundin's Mitochondrial Sun: S/T (Argonauta Records) [Lee Burgess]
I’ll admit here and now that I was ready to write Mitochondrial Sun off as another movie score wannabe outfit with little to add to an already saturated market, namely that of instrumental electronic music that sounds a little out of place to most listeners. I’ll also admit that the music pulled me back for another listen and what I discovered is that I may have been a bit quick to judge. That said, this is exactly as I described, electro music that would fit snugly inside that trusted series of compilation albums we call Moods. On closer inspection though, this collection of tunes, as opposed to songs, shows quite a talent. It’s just an observation that these odd little tracks may benefit from a live setting.
Mobius: Kala (Convulsound Productions) [Matt Bladen]
A single echoed note and a plative piano start off this second album from French band Mobius on intro A which moves into first song Abhinvesha a track that shows you the deep, heavy, progressive nature of Mobius' music, as the bass is a lead instrument, giving a throbbing anchor to everything else as the distorted modern prog metal riffs layer on top. The Oriental influences creep in, on the drumming, the synths and through instruments that sound like Sitars. The keys and piano are an integral part of their sound, working with djent riffs creating a dense musical palette to work with for vocalist Heli as scat jazz is juxtaposed with her chanting shamanic vocals.
The album has lyrics written in Sanskrit but ultimately it's about death, life and everything in between as while recording the album Héli received news that her half-sister's father had passed away. The family discovered his body four days after his death. Drawing on these experiences the album shifts between meditative, reflective ambience and intense, driving heaviness. I would say before you listen to this album it's worth opening your mind a little as it could be a little overwhelming for the casual listener, this is conceptual record with limitless creativity and a number of genres all whizzed up in a blender though it never shies away from being very modern in style. 7/10
Niklas Sundin's Mitochondrial Sun: S/T (Argonauta Records) [Lee Burgess]
I’ll admit here and now that I was ready to write Mitochondrial Sun off as another movie score wannabe outfit with little to add to an already saturated market, namely that of instrumental electronic music that sounds a little out of place to most listeners. I’ll also admit that the music pulled me back for another listen and what I discovered is that I may have been a bit quick to judge. That said, this is exactly as I described, electro music that would fit snugly inside that trusted series of compilation albums we call Moods. On closer inspection though, this collection of tunes, as opposed to songs, shows quite a talent. It’s just an observation that these odd little tracks may benefit from a live setting.
I think sometimes we get a better idea of what music sounds like in a venue with a crowd. But for now what we have is an interesting album of odds and sods that will appeal to a small audience of devoted listeners. I’m never really sure what this type of music is trying to convey and this does little to help me in this respect. But that’s fine, because perhaps I’m looking for something that isn’t there, or doesn’t change what the music is, just music. There are textures, chords, beats, samples, FX and all sorts of twiddly bits that give each segment a sound of its own and mostly it’s harmless, if directionless. It’s no Blueneck, but it kind of works. So, to sum things up, it’s all good, just a bit baffling. 6/10