Sam Robinson
From my early interest in Bowie, Pixies and any unknown CD’s my dad owned, music has been at large in my life. My passion for this intensified in my early teens as I sought more experimental and heavier styles, Converge, Botch and other 90’s hardcore propelled this. Later Black Metal, Death Metal and other grim sounds became my normal listening sphere, eventually leaving me where I am today. Writing about music is my way of maintaining discovery, but more importantly drawing other people into new artist discographies and genres.
Articles by Sam Robinson
The record’s warm yet scathing disposition leaves its mark accordingly and demonstrates that Elizabeth Colour Wheel can only go up from here.
The band have defined themselves beyond the unrelenting heaviness to reveal they can deliver in full force, but also flush out tracks with brilliantly executed misery. This may be my favourite album of theirs thus far, which only leaves the band’s future to eagerly wait for.
‘The Barn’ is raw and alert; well worth multiple listens to wrap your head around its intricacies.
Having just released their vast and immersive single, ‘Neptune & Triton’, the band are looking forward to a bright latter half of 2017; with a tour and a spot at ArcTanGent festival, it’s no doubt their name will garner more weight in the coming months. Sam Robinson caught up with them about their upcoming shows and the future of their distinct sound.
All I have to give is praise to this record, not only is it an expertly crafted showcase for the musicianship of the people behind it, but it also manages to remain unstoppably heavy and avoid being totally serious in themes, as is the case with a lot of modern metal. I can’t recommend it enough.
Not only does it present a band to watch out for, it also instills pride and hope for UK DIY hardcore considering bands of this style are continuing to put out worthwhile material.
It’s multifaceted and memorable, but above all completely absorbing.
Overall, this new offering sounds like the record the band wanted to make in all aspects; the success of which shows through the blistering and ethereal doom tracks crafted for optimal impact.
Quite simply, this is my death metal record of the year, and I’m more than anticipating this project’s future.
It’s Immaterial, overall, expertly creates the sense of melancholy and an underlying sense of despair.
This latest record is as beautiful as a record so thematically soaked in death and depression can be, thus making ‘Choke’ a pinnacle for the band and a highlight for the year’s music as a whole.
Their music is a unique attack unparalleled by anyone else, with ‘Crown Feral’ they seek to obliterate and leave you bleeding out, fulfilled and anticipating an incredible band’s future releases. – By Sam Robinson
‘Stage Four’ is the band at the most direct they have ever been, there aren’t many albums within the genre that cut so deep with lyrical themes, but also place you within the pain and conflicting thoughts of the person who wrote the songs. – By Sam Robinson
Harm Wülf has managed to create a vast and gloomy piece that is excellently written and tied together yet spacious enough to keep returning to and appreciating the depth of each track. – By Sam Robinson
Metal fans who dabble in the realms of dark wave, new wave and post-punk will certainly find strong points to come away from experiencing this record. – By Sam Robinson
Anicon have achieved a level of intensity and unyielding rage on ‘Exegeses’ that in parts morphs into sheer beauty. This is not only another addition to Gilead Media’s shining roster, but also a project that will undoubtedly make a name for itself in black metal’s ever-mutating state. – By Sam Robinson
Frameworks have perfected the sound they were going for in their early releases, and as a result have produced a collection of tight, incredibly well written tracks that honour the genre of melodic hardcore, post-hardcore and wherever else they draw influence. – By Sam Robinson
