Articles by Dylan Schink
Crippled Black Phoenix know how to put on an excellent show, and they’re as powerful and relevant as ever.
A great night at The Dome. Rundle’s set was intimate and powerful, David Eugene Edwards’ stage presence was absolutely bewitching, and his backing band played absolutely ferociously.
Dylan (Words) and Magda (Pictures) experienced the aural magnificence that is Anna von Hausswolff live.
Pink is an album that anyone who considers themselves the least bit interested in noise rock and weirdly high energy interpretations of doom metal should be at least familiar with, and the reissue has some absolutely fantastic bonus material as well as offering insights into other sides of the band. By Dylan Schink
As a political statement, Chorus 30 From Blues For The Hitchiking Dead delivers its message clearly without ever feeling blunt, tortured or trivially obvious. As a rock album, it’s a brilliantly assembled blend of math-rock, jazz and chamber orchestration that sounds utterly unlike anything I’ve heard before. By Dylan Schink
From magnificent and melancholic cathedral-filling vocal passages through unforgiving and desolate desert soundscapes, ‘The World Unseen’ is an incredibly rich album that’s expertly put together to create a deeply rewarding and unforgettable experience. – By Dylan Schink
‘Ultra Sound’ stands out as one of the best punk rock releases of 2015. The riffs are fierce and engaging while the rhythm section cuts absolutely infectious grooves, while the powerful vocals thrash between styles. If there’s a band that can fill the shoes of Teenage Jesus And The Jerks, it’s Whore Paint. – By Dylan Schink
It’s difficult to articulate the experience of listening to Au De La, so I won’t try. English, as a language, is ill equipped to describe an experience so primal, complex and crushing. By Dylan Schink
Hummingbird is an impressive accomplishment that stands head and shoulders above its stylistic contemporaries. It flawlessly brings together colossal guitar sounds and driving drumlines with sentimental lyricism and familiar song structures in a way that could just as easily impress fans of My Brightest Diamond as fans of The Red Sparowes. By Dylan Schink
This is probably the best drone doom album I’ve ever heard, and certainly one of the best releases of this year. All at once terrifying and full of stark, uplifting beauty, it brings together two extremely different sounds and makes them feel like they belong together. By Dylan Schink
The changes Godspeed have made to their formula have been fully realised here, and once you get comfortable with those move toward a more polarised and in some cases challenging sound, you’ll discover a superbly powerful experience. By Dylan Schink
Every time I listen to Salome, I find something I didn’t notice before, and my appreciation for it grows. Salome confirms that Marriages aren’t a 26 minute flash of brilliance, but one of the stand out bands of this generation. By Dylan Schink
I don’t want to suggest for a moment than any component part of the album is less than superb, so here’s what I recommend: Buy the album and arrange the tracks in…order, true to the incredible history of The Race For Space. By Dylan Schink
Since 2003, the ludicrously prolific Electric Six have released ten studio albums, some great and some lacklustre; Human Zoo falls firmly in the second category. By Dylan Schink
My only criticism of Loud To Sleep is that it underutilises its biggest selling point, the bagpipes, but even as a more typical post-rock band, they lay out an impressive set of compositions that I would recommend to anyone. By Dylan Schink
The Last Dawn and Rays of Darkness are two very distinct albums, and I understand why MONO have tried to make it clear they aren’t “Part 1” and “Part 2.” That said, they go hand in hand so well that, for me, they’ve become inseparable companion pieces—distinct and hugely different, but complimenting each other so well that each becomes something far, far greater in the context of the other. By Dylan Schink