What Neck Of The Woods are putting out is a culmination of hard work, determination, and a healthy focus on their own musical footprint while not losing site of the road that got them to their finished product.
All too brief but highly promising first teaser for the third album by the Melbourne-based electronica and trip hop experimentalist.
Tchornobog’s music is nothing short of outstanding, a swirling maelstrom of dissonance and doom, of petrifying cacophonies and tortured textures. Each instrument grows into an entity of tendrils reaching out to devour and consume, to pierce the listeners soul in order to bear witness to every emotion or event that inspires such an involved creation.
It’s just such a beautiful rewarding listen. It’s such a gorgeous embrace of all living things happening around us. With soundscapes that drone into infinity and elements that engage you. I can’t stress this enough, this is the music everyone needs in their lives.
What makes it all the more powerful is just how beautiful and emotive the tracks all are, how it all expresses an incredible range of emotion and feeling whilst still having a powerful level of impact in its sentiment.
They became more minimalist, more themselves and yet there’s so much more territory to explore. The band just found a beautiful path leading to somewhere glorious.
Deep in the catacombs in some distant derelict region, there must be the sound of water trickling, the smell of decay, mold, mildew, and the darkness of a sewage tank that never sees the light of day. In this nether region on earth are left bodies meant to be forgotten forever. This putrid scenario is perfect imagery for Cemetery Urn’s self-titled full-length. Cemetery Urn’s full-length self-titled effort is their best so far. It is their most ingenious, innovative musical output yet.
What Cradle do here is what Cradle do best and that’s tell a tale of horror. The tracks are lengthy and fleshed out, brimming with depth and intricacies, stunning solos and seductive riffs all bound together and brought to life by Dani’s evocative lyrics. For an album consisting of only eight tracks it has immense depth and more than its share of captivating moments.
This is an album for the dark months of the year. . . an album for the autumn, for the heavy dampness of our winter, down to the colour palette of the cover, an obscure image that should perhaps be obvious. What is that there, reflected in still and cold water? Something dim and shaggy, an indeterminate horror. . . Or an inanimate thing, tricking the eyes into finding meaning?
Lindow pours his heart into the lyrics of each song on Lanterns, making these their most personal yet.
The vast scope is quite staggering and requires you to sort of listen to it from a distance in order to get a view of it. Like grief, you’ve got to let it approach you slowly.
A catchy package of harmony-centric power/dream pop featuring full-cream layered vocals and instrumentation.
This is stoner rock as Satan designed it. This is the stoner rock your droids are looking for.
The King is Blind straddle genres. They’re a bit deathy, a touch thrashy, a little groovy… even a tad folky, for a few brief seconds. But throughout, they are all metal. And metal rules.
A blues infected update reflecting on modern times inspires Living Colour’s first album in eight years.