Articles by http://echoesanddust.com/wp-content/uploads/gravity_forms/1-3d11e6359f4a3f742938a300b46ac332/2016/09/IMG_0038.JPG
Making the most of black metal influences, but built around a dense core of the hardest death metal.
The combination of leering, sludgy noise, thudding prehistoric riffing, and sheer revolted aggression contained within it constitute sufficient danger to cultured musical sensibilities, to warrant a Public Health Warning Notice.
Spectacular, frothing, rattling, cold and wild black metal, thick with the thumping of paws through moss and leaves, distant stars and breath rising in the night air, wild and gripping.
A compelling EP, which dives from collage-y style explorations of texture, to distorted ambient druddering, to airy ice caves of twinkling cold.
A great debut, with the cover art a perfect accompaniment to the sounds: evocatively colourful within a dark palette, and featuring an oddly luminous weirdness that promises much to those who would venture in to join the spirits in the forest.
The Tear Garden drop in to update us with the latest news from their psychedelic wanderings, with a sprawling album The Brown Acid Caveat that hits their trademark notes of chemical whimsy.
A strange assortment of varied sonic ritualists, ceremonial riff magicians and shamans of noise will congregate in the dark forest surroundings of Fell Foot Wood, for a truly strange and wondrous Woodland Gathering.
“The closing of this live set by Mark Lanegan and band, with a double Joy Division cover encore, was one of many high points for me of seeing the gravelly-voiced Screaming Tree and solo wanderer perform many times across nearly two decades.”
Triple split release where each band takes two sides of a 7”, this is a showcase of classic Californian heavy acid blues.
A staggering dirge of warped death metal, utter chaos that immediately upon contact will corrode your ears with blackened filth.
An all around excellent, focused and adventurous addition to a small but so far extremely high-quality catalogue for this band.
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.