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Owen Coggins saw Sunn O))) at the Barbican Centre in London. “Without being an intrusive idiot and glaring at people in a weird state, just a glance will suffice: people look utterly drained, almost sorrowful, introspective in massive extension of sound, broken down, blissed out, blown out, checked out but intensely inhabiting themselves, haunted, humble, stunned.”
Short sharp songs with a pounding drum beat and barked German vocals, we’re definitely tending towards the PVC realm more than denim or even leather.
More than a doom band, Pallbearer are a rock group with a singular songwriting talent.
Furious and fast, complicated and propulsive black metal. My main response to this record is appreciation of the technical skill involved in mastering such complexity.
King Woman appear with their first full length, taking on board horror, depression and pain, conquering all with waves of crumpled fuzz and beautiful, fragile, monstrous wailing.
The Great Old Ones return with a compendium of five new tales of mind-shaking black metal expeditions into the heart of the void.
A genuinely fascinating recording, whether approached as an idiosyncratic meditation on diverse outposts of the history of popular music and its strange influences and contact points; or simply as an expertly compelling collage of intriguing sounds.
Pilgrimage meditation on monotonous drone dirge foundation: Sleep forever.
An album that traverses some familiar bleak winter metal soundscapes with impressive and adventurous confidence.
Experimental in the best way, they’re curious, patient and sensitive explorations of minimal themes which reward attentive listening in the right late-night or otherworldly mindframe.
The scene is set for an excursion into ancient forests, cold battlegrounds and bitterly rigorous journeys, as Wardruna complete their Runaljod trilogy with new album Ragnarok.
Owen Coggins went to Koko in London to witness Neurosis and Earth play amazing live sets. “The power of Neurosis is an undeniable fact witnessed by all here tonight.”
An effective way to present an experiment in drifting, abstract, improvised jam of noise and effects, pushing out past basic conventions into wild but becalmed, weird ecstatic pastel shades. Far, far out. – By Owen Coggins
Urfaust at their best, this is the sound of a drunken devil trying to keep its balance while staggering along a steep and wintry rooftop. – By Owen Coggins
Overall, the album can feel a bit indigestible because of its length, but there’s certainly ample space for the musicians to engage fully with the different styles, ideas and feels that are born from their interplay with ambient guitar and roving, experimenting percussion. – By Owen Coggins
Four varied and accomplished sides of atmospheric experimentation by three noted drone guitarists and experimenters, recorded in a live improvised session. – By Owen Coggins
New and freshly invigorated, yet unmistakably the same legendary black metal Darkthrone of old. – By Owen Coggins
The theoretical ideas are brilliant and intriguing, but the musical development isn’t quite as challenging or original as you might hope. – By Owen Coggins
After an EP from 2014, Darkher summons a full length album of sombre but powerful evocations. – By Owen Coggins
Before a note is heard, you know what to expect from the name of the band, the album title, and the great misty, murky grey cover image, a mysterious lurking figure trudging half-submerged through the grey marshes. Yep: swampy, witchy, stinking psychotropic sludge promised and delivered. – By Owen Coggins
As soon as the album closer rushes abruptly to a halt, you’ll probably be heading straight back to track four ‘As I Ascend’ again to hear this record’s greatest example of a powerful rhythmic vocal-led black metal performance. – By Owen Coggins