Mastiff – Deprecipice (MNRK Heavy) [Matt Bladen]
One of the most disgustingly visceral bands on the scene today, Mastiff return with music so aggressive, so introspective, so nihilistic that it stands on the edge of an endless void and dares you to jump. Named Deprecipice as it tackles the depression and trauma felt by songwriters Jim Hodge (vocals) and James Andrew Lee (guitar), feeling as if they were teetering on the last piece of solid ground, they took these emotions, totally at odds with the post pandemic hope, and recorded in just a week to keep it as raw and honest as possible, mastered by Brad Boatwright, it bleeds with venom and introspection, making it the most vicious sounding record yet.
Sylvaine – Eg Er Framand (Season Of Mist) [Paul Hutchings]
Four albums in and there is still pure astonishment at the music that Kathrine Shepard under the guise of Sylvaine. 2022’s Nova drew gasps of delight and excitement across the globe, whilst riding high in the annual end of year top ten lists. This may not be a full album, but the six songs that comprise Eg Er Framand are likely to propel another release by the the ‘petite pixie of the Norwegian black gaze scene’ to the top of those end of year polls once more.
If you are familiar with her music, then this EP will merely continue the love affair. Another deep dive into Norwegian folklore through her unending creativity. It’s an emotional journey that has no end, as she utilises numerous instruments to support her enchanting vocals that are often accompanied by stunning harmonies.
Each song provides different character, context, and atmosphere. A melancholic feeling drifts across the songs, which reflect her roots, the myths through a weaving voyage of ethereal magic. Over 30-minutes the spell is cast. The drifting Livets Dans that is the central pillar of the EP is breathtaking.
If you can pin down why this classically trained composer with the abstract and unorthodox approach appeals to such a vast swath of the metal community, one might be hard pressed to answer. This EP contains no crushing riffs, bears only passing resemblance to Nova, with little if any black gaze, yet from the moment one presses play, the intoxication begins.
One of the most disgustingly visceral bands on the scene today, Mastiff return with music so aggressive, so introspective, so nihilistic that it stands on the edge of an endless void and dares you to jump. Named Deprecipice as it tackles the depression and trauma felt by songwriters Jim Hodge (vocals) and James Andrew Lee (guitar), feeling as if they were teetering on the last piece of solid ground, they took these emotions, totally at odds with the post pandemic hope, and recorded in just a week to keep it as raw and honest as possible, mastered by Brad Boatwright, it bleeds with venom and introspection, making it the most vicious sounding record yet.
It changes tact from the death metal influences on the last album by heading down the path of hardcore, miserable, abrasive and with riffs that punch you hard in the face as Jim unleashes vocals that are not of this earth. The major difference on this album are the breakdowns, which on Everything Is Ending take the sandpaper-like guitar tone and make it fuzzier and fuzzier until it’s a such a distorted mess you can’t tell if your speakers are broken.
It’s a trick repeated on a couple of tracks but there’s also blasts of ferocious blackened punk on Void, sludgy atmospheres on Cut-Throat (which features Ethan Lee McCarthy of Primitive Man) and the aggressive blasts of metallic beatdowns on Void and Serrated which features Harry Nott of Burner. These tracks come at you like you’ve said something controversial online, there’s very few chances to rest before the next furnace full of fiery riffs are at your feet, be it the Skin Stripper, Worship (Hanneman-esque solo from Rob Scott of Yersin) or the closing crush of Thorn Trauma.
Primordial power from Hull On Earth, Mastiff straddle the Deprecipice and cross to the other side with their best album yet. 9/10
Sylvaine – Eg Er Framand (Season Of Mist) [Paul Hutchings]
Four albums in and there is still pure astonishment at the music that Kathrine Shepard under the guise of Sylvaine. 2022’s Nova drew gasps of delight and excitement across the globe, whilst riding high in the annual end of year top ten lists. This may not be a full album, but the six songs that comprise Eg Er Framand are likely to propel another release by the the ‘petite pixie of the Norwegian black gaze scene’ to the top of those end of year polls once more.
If you are familiar with her music, then this EP will merely continue the love affair. Another deep dive into Norwegian folklore through her unending creativity. It’s an emotional journey that has no end, as she utilises numerous instruments to support her enchanting vocals that are often accompanied by stunning harmonies.
Each song provides different character, context, and atmosphere. A melancholic feeling drifts across the songs, which reflect her roots, the myths through a weaving voyage of ethereal magic. Over 30-minutes the spell is cast. The drifting Livets Dans that is the central pillar of the EP is breathtaking.
If you can pin down why this classically trained composer with the abstract and unorthodox approach appeals to such a vast swath of the metal community, one might be hard pressed to answer. This EP contains no crushing riffs, bears only passing resemblance to Nova, with little if any black gaze, yet from the moment one presses play, the intoxication begins.
Perhaps it’s the intensity of the compositions, the sheer beauty of their form, or the sonic soundscapes that are created. Or maybe, it appeals to the sensitive side of all of us, a return to the earth and our base instincts.
Whatever, it’s an EP that works on every level. The desire to catch this talent live once more is high. Until that happens, immerse yourself in Eg Er Framand. It’s an experience that needs to happen. 9/10|
Glitter Wizard - Hunting Gatherers (Beneath The Desert Floor/Ripple Music) [Rich Piva]
The fact that Ripple Music is repressing out of print and/or forgotten gems of the stoner/doom/proto variety could not make me happier. The best label in rock curating a series of albums that need to be reseen because of their forgotten or under-realized genus is a perfect project for Todd, who has proven he has the ear for this stuff. Volume two of the series is the long out of print second album from Glitter Wizard originally release in 2012, Hunting Gatherers.
If you are not familiar with the San Francisco, California band, they are a mashup of multiple genres, like if Blue Oyster Cult and Jethro Tull members got together and formed a glam band the worshiped Slade, Bowe, and the Devil and that also sounded like the more punk leaning Murder City Devils material. Did you get all that? Basically, they don’t fall into any one category, which is what makes the band, and this album so special. This release is the original album plus and absolute ripper of a bonus track, Fire.
Kicking off with Worship The Devil, you get some serious 70s proto-occult vibes with a really cool use of keys that has a great upbeat tempo until we get those Tull vibes, but only if Ian Anderson was a priest from the Church of Satan. Glorious. For a more modern comparison, musically think Blood Ceremony. Blood Of The Serpent is some nice proto doom (riffs and that solo) and I just love the organ work.
Motor Rider picks up the base and is where some of the band’s punk/garage leanings shine though. Space is my favourite track on Hunting Gatherers. Eight minutes of heady proto psych with some sweet riffs and a crunch to it. Did I mention the flute solo? I alluded to the bonus track Fire before, and whoa is this one killer. I have no idea why it was not on the original release but it is just a great addition as a fast three-minute blast of satanic wizardry.
Ragdoll (Deux) keeps up the tempo and is more of the punk leaning work, reminding me of Rocket From The Crypt as we now get some horns too. I say this as the song slows a bit and feeds your head a killer psych guitar solo. I love Wizard Wagon in all of its glam meets proto glory while Sunlit Wolves is a creepy acoustic track that is pretty much pure evil to the point that it makes Danzig wish he could pull this off when he throws one of these in his records. Listen to it and tell me there is not a QOTSA vibe going on too. Big Sur is just a gigantic way to close the record; an eight-plus minute proto heavy psych trip that if the riffs and Sabbath worship (with keys) don’t get you the acid will.
There is so much going on in the 40 or so minutes of Hunting Gatherers, but it is never too much and always somehow stays in complete control, even with all of those elements that are jam packed into the nine killer tracks. Glitter Wizard should get way more love, and isn’t that just the point of the Beneath The Desert Floor Series; to get these records back out there for the masses to enjoy. Glitter Wizard is the perfect band for this and the little bit I know about what comes next in the series and going to be just as killer. Get this. 9/10
Brodequin - Harbinger of Woe (Season Of Mist) [Mark Young]
In the accompanying press notes for Brodequin, they have returned to reclaim their throne as the most brutal band in all of death metal. In terms of achieving that mission, I would suggest that they have certainly delivered a brutal album, in which it feels as though it is designed to put the listener through a war of attrition.
Whatever, it’s an EP that works on every level. The desire to catch this talent live once more is high. Until that happens, immerse yourself in Eg Er Framand. It’s an experience that needs to happen. 9/10|
Glitter Wizard - Hunting Gatherers (Beneath The Desert Floor/Ripple Music) [Rich Piva]
The fact that Ripple Music is repressing out of print and/or forgotten gems of the stoner/doom/proto variety could not make me happier. The best label in rock curating a series of albums that need to be reseen because of their forgotten or under-realized genus is a perfect project for Todd, who has proven he has the ear for this stuff. Volume two of the series is the long out of print second album from Glitter Wizard originally release in 2012, Hunting Gatherers.
If you are not familiar with the San Francisco, California band, they are a mashup of multiple genres, like if Blue Oyster Cult and Jethro Tull members got together and formed a glam band the worshiped Slade, Bowe, and the Devil and that also sounded like the more punk leaning Murder City Devils material. Did you get all that? Basically, they don’t fall into any one category, which is what makes the band, and this album so special. This release is the original album plus and absolute ripper of a bonus track, Fire.
Kicking off with Worship The Devil, you get some serious 70s proto-occult vibes with a really cool use of keys that has a great upbeat tempo until we get those Tull vibes, but only if Ian Anderson was a priest from the Church of Satan. Glorious. For a more modern comparison, musically think Blood Ceremony. Blood Of The Serpent is some nice proto doom (riffs and that solo) and I just love the organ work.
Motor Rider picks up the base and is where some of the band’s punk/garage leanings shine though. Space is my favourite track on Hunting Gatherers. Eight minutes of heady proto psych with some sweet riffs and a crunch to it. Did I mention the flute solo? I alluded to the bonus track Fire before, and whoa is this one killer. I have no idea why it was not on the original release but it is just a great addition as a fast three-minute blast of satanic wizardry.
Ragdoll (Deux) keeps up the tempo and is more of the punk leaning work, reminding me of Rocket From The Crypt as we now get some horns too. I say this as the song slows a bit and feeds your head a killer psych guitar solo. I love Wizard Wagon in all of its glam meets proto glory while Sunlit Wolves is a creepy acoustic track that is pretty much pure evil to the point that it makes Danzig wish he could pull this off when he throws one of these in his records. Listen to it and tell me there is not a QOTSA vibe going on too. Big Sur is just a gigantic way to close the record; an eight-plus minute proto heavy psych trip that if the riffs and Sabbath worship (with keys) don’t get you the acid will.
There is so much going on in the 40 or so minutes of Hunting Gatherers, but it is never too much and always somehow stays in complete control, even with all of those elements that are jam packed into the nine killer tracks. Glitter Wizard should get way more love, and isn’t that just the point of the Beneath The Desert Floor Series; to get these records back out there for the masses to enjoy. Glitter Wizard is the perfect band for this and the little bit I know about what comes next in the series and going to be just as killer. Get this. 9/10
Brodequin - Harbinger of Woe (Season Of Mist) [Mark Young]
In the accompanying press notes for Brodequin, they have returned to reclaim their throne as the most brutal band in all of death metal. In terms of achieving that mission, I would suggest that they have certainly delivered a brutal album, in which it feels as though it is designed to put the listener through a war of attrition.
This is their 4th album, their first with a new drummer and new label and considering they (brothers Jamie and Mike Bailey) have been in the game since 1998 there is a 1st release energy to it as each song does exactly what you expect. Its ten songs start brutally and end brutally. There is no middle ground, no variance between them so much so that it is difficult to hear where one song ends, and another begins.
In terms of the review, it is a difficult one to complete. On one hand, I could be dismissive, especially as it is effectively a one note affair. I could make a ton of snarky remarks about this and send it on its way. Or I could dig deeper and see what I can find that makes this worth your time.
In terms of the review, it is a difficult one to complete. On one hand, I could be dismissive, especially as it is effectively a one note affair. I could make a ton of snarky remarks about this and send it on its way. Or I could dig deeper and see what I can find that makes this worth your time.
In the first instance, let me say this: If you dug their music before this, then there is nothing here that will put you off. Going back to the quote above regarding the reclamation of their throne, well I would say they have done a sterling effort in achieving it. Here, melodic touches and subtle moments are for the birds. This is about smashing down walls and crushing skulls, bludgeoning all before them.
From the rapid-fire blitzkrieg of Diabolical Edict, the low register vocals of Jamie Bailey (bass) stay exactly there, effecting the rumble of cannon fire whilst Mike Bailey and Brennan Shackleford just batter guitar and drums, with some of the foot work on display from Brennan being top class. This is the case right through, Theresiana puts it foot down (on the throat) and doesn’t stop, BPM’s staying in the upper registers as it whips through.
From the rapid-fire blitzkrieg of Diabolical Edict, the low register vocals of Jamie Bailey (bass) stay exactly there, effecting the rumble of cannon fire whilst Mike Bailey and Brennan Shackleford just batter guitar and drums, with some of the foot work on display from Brennan being top class. This is the case right through, Theresiana puts it foot down (on the throat) and doesn’t stop, BPM’s staying in the upper registers as it whips through.
Of Pillars And Trees comes at you at a similar pace, resting only slightly to allow them to regroup and forge ahead. This goes back to my earlier comments about attack, this is it. Full speed ahead, no prisoners, no quarter. If I would have heard this at 15, it would have been life changing in the same way hearing Morbid Angel, Deicide, Napalm Death and other holders of mental BPMs did. Now, older but not wiser I can appreciate it for the feats of human endurance it takes to play like this, but with the amount of genre-stretching death metal that is being released this feels like it is a little bit one-note.
Again, opinions are everything (or nothing, depending on if you agree with it) and there will be those who absolutely love this because it ticks all their boxes. And as I said before, it totally does in respect of being achieving the brutality they want. It’s just doesn’t do enough for me. 7/10