All hail death and grime. Void Column is from Canada and from the very stark design and name of this release, The Chasmic Death is a frank and heavy opening statement for the band’s vision for the future. Blending the best aspects of death and doom adorned with a cover that could be of any grim genre, Void Column falls in line with all of the cool aesthetics but also manages to present music that is just as satisfying. this is of course if you do not mind subterranean riffs and vocals buried under pounds of grave soil. Void Column is new and this first demo has yet to receive physicals copies which are planned in the near future. We are all here early and the band is just getting started but this feels like a great place to stand for the show.
I sure hope that the 2027 release date is not a typo and stays up on the Bandcamp forever. I can safely say this is the best black / doom release of the late 2020’s. the combination of black and doom metal has come with a sense of wild abandonment when it comes to expectation of sound. Unlike black/death or death/thrash, there is no agreed upon meeting point and the combination can be any mixture of the elements. Final tome, the second Ep from US based Ancient Tome further complicates this with a 23 minute exploration into a landscape of slowed black metal with punctuations of violent outburst. Final Tome comes with the endorsement of Transylvanian Recordings which has ceased to be a reliable storyteller of horrid tales and a dealer for rotten sounding music. Whether or not this is coming out next month or in 6 years is little consequence since the clouds are gathering on the horizon and things are about to get fucking dismal.
Ah, another entry in the “dissolving” extreme metal tag. What does that mean anyway? I use “dissolving” to describe that kind of caustic black, death, or doom with hollow vocals, percussion that’s stilted or curiously laborious, and guitars with a precipitated limestone crust. Allegorically, it’s the “I’m being dipped in the acid pools at Yellowstone” kind of metal. (Not that I know what that’s like.) And here’s one of those: the anonymous Fōr from who-knows-where and their 23-minute, 3-track release “The Life Feeding Flame”. This combines black, death, and doom metal in a way that recalls a cavernous Icelandic black metal album – and it’s nearly as scary. Dissonant and, yes, dissolving. The shorter runtime does it a ton of favors in hookability with its tempestuous yet mid-paced drums. Everything about this adds to a slow, creeping dread that is accurately demonstrated through the smouldering lake on the album art. The bass is a steady rumble under every percussive pummel; and the lyrics echo, overlay, and roll off each other in a conflagration. Give me more fire!
Ex-grad student who focuses on extreme metal and industrial / power electronics. Really likes dogs, also has a cat.
Loves vaporwave, but don’t tell anyone.
Going to be real honest in saying, it took me forever to spell this band’s name. Perhaps it was the crushing weight of emotion which comes with this release. The below link to the Bandcamp page goes to the Transylvanian Tapes site which is producing the 2021 tape run for this 2020 release. Funeral Doom is a very distinct genre yet its scene, outside of the founder and a few disparate releases, is not as fertile as lets say black or death metal. This could be due to many things but hearing Grav | Ruin was a dark joy as the band combines the ferocity of black metal into the monolithic template of funeral doom. This makes songs like “Begravningskör” at 18minutes not feel like an eternity spent in darkness. While the previous description sounds wonderful, it is the variation which Gravkväde shines. In the landscape of ruin and despair, Grav | Ruin offers both passive mourning as well as more active despair which manifests itself into an extended stay in purgatory with only mixed emotions for reflection.
It has been a little bit since I reviewed something that was not dungeon synth but I feel the return to something heavier is fitting that it is so gloomy. Tombreach, the first demo since 2016, marks the return of the Maryland based two piece in a time of great uncertainty and dread. “Unprofessionally recorded, rife with mistakes and experimental notes straight from our malignant dwelling to yours. A small respite from the horrid plague-ridden reality that has veiled the globe. Mourn with us and enjoy.” I can not think of a better demo to break the quasi silence form this band than a demo full of lingering sadness and tolling grief. Through its 24 minutes, Funerary Descent showcases a mastery over negative emotions with a demo that is far above the quality purported in the Bandcamp description. Tombreach is a dazzling demo that has the ability to astound and drown in the murk and mire.
I want you to forget a few things. I want you to forget the tags on this Bandcamp page. I want you to forget the fact that this creator played in Khemmis for a spell. I want you to forget the fact that Demon Goat has a dizzying amount of releases since 2016. I want you to forget about the name Demon Goat. I urge you to forget all of these things and take Messenger of Doom for what it is minus everything that it is attached to. With that you are given an entry into a world of depressive black/doom which is a deluge of catharsis and maligned emotions. I do not want to discount past work or any connection with other bands rather I feel Demon Goat works the best when given a chance to speak and shriek its way into the fabric on your soul.
I am not usually down with unfinished products. I understand raw black metal (and to some extent other genres) has an aesthetic that embraces unfinished work as it simultaneously showcases potential while celebrating unpolished atmospheres. OTDHR’s sound was enough to grab interest and this 9 minute rehearsal showed enough talent that I start to wonder what a full length would sound like. Some bands never move out of the demo and rehearsal realm content to keep exploring unrefined landscapes. OTDHR is different in the fact their angular approach to black / doom could be exquisite with the right framing. Rehearsal II (Previous one was a year ago) projects a band that is brimming with angst and airs a sense of mystery through 9 minutes of near sonic misery. Perhaps this will be a story of a band that climbs out of rehearsals and makes a demo (or full length) that amazes everyone. Even without that future, OTDHR is a rare find of a band that warrants putting up their practice recordings as they are interesting enough to sit and listen.
Tags: metal, cavernousdeathmetal, doommetal, Australia. I feel everyone can remember a tie when cavern death was rampant and both good and generic releases were flooding bandcamp with labels devoting their roster to bands and albums with slimy sounding names. Flesh Megalith could have been apart of that wave and perhaps if it would have been releases in the mid 00’s, it would be glanced over. Luckily we are in 2020 and the sound of subterranean gloom can be appreciated. Flesh Megalith is here to remind us what the sound of glacial doom can sound like and give veryone a chance 100 years to dig our own graves. Flesh Megalith is the solo side project of the solo raw black metal act Burier. It is these two bands that wecan start tomap themindofits creator and abovr and below ground seem to be haunted with creatures of pure darkness and demise.
I could probably count the number of funeral doom records reviewed on this site in the entirely of its existence. To be short, funeral doom is not a popular style despite its robust history as an extreme metal genre. This is for various reasons but mainly one might struggle to find an audience that is into lengthy tracks combined with a dismal atmosphere. This hurdle however does not stop the genre and with the success of bands like Bell Witch, Funeral doom remains a niche but fertile genre to sow the seeds of despair. Dissolution of the Threefold Self is the debut full length from Denver based Telluric Effluvium. Over the course of three lengthy tracks, the band manages to weave a tapestry of gloomy dirges and condenses funeral doom’s most memorable aspects into a record that is only 30 minutes long. This might seem unorthodox for a genre that is famous for its glacial running time but Dissolution of the Threefold Self works in its expedited state and manages to be effective at a quicker pace. All hail eternal mourning.
Right now I am going to be talking to the three of you that recognize that this demo was released late year year and is thus not apart of 2020. I know and you know but for the rest of us that missed this short slab of looming riff worship. Aside from having one of the best names in recent memory, Celestial Sanctuary nails the related tags of kneeling at the altar of Benediction and Cancer with a short demo of horror and laid back decay. This demo is seeing another round of promotion on Redefining Darkness with a chance to get their out of print tape that was limited to 25 copies.