Articles by Matt Butler
There is still more than enough fuzz and riffage. But there is a greater range of dynamics, thoughtfulness and – here’s a word you don’t hear often when it comes to doom – subtlety at play here.
Sometimes you need a 22-minute misanthropic boogie tune to get you through the day. This album has two.
An exhilarating call for resistance, strength in adversity and generally saying “fuck you” to everyone and everything that brings us down.
This compilation shows through a lens of people paying tribute that Fugazi songs were more than just angry – they were very well written.
Polaris is accessible, but heavy. It is catchy but clever. It is rowdy without being y’know, loud. And – I should mention – it is so much fun.
The riffs are still there but this album is a definite step forward – and connects some surprising Kosmiche dots.
Everything – the songwriting, the hooks, the production, the sheer metacular awesomeness – about the conclusion to this metal-opera trilogy is brilliant.
It is always a treat to hear metal with an agenda. Especially when it is done as aggressively and thoughtfully as this album.
To lumber this music with a label would be ungainly. Kosmische-psych-jazz-funk-film-garage-ambient, anyone? Let’s just call it ‘very good’.
Over five long years since their last album, Spelljammer have delved even deeper into the realms of thick riffs.
We need this album. This is music that is loud, fast, furious and knows damn well that it is dumber than Lloyd Christmas. A relentless pummelling to the face, devoid of subtlety and overflowing with insults and anger.
It wasn’t a wasted trip from Tennessee to Abbey Road. Because All Them Witches have delivered their best album yet. Nuanced, moody, heavy in places and delicate in others.
Whatever psychosis ritual Mountain Tamer were experiencing when crafting this album, it certainly wasn’t all paisley and rainbows.
This album is more autobiographical than Ohhms’ previous efforts – but it speaks to anyone who is infuriated with selfishness, stupidity and a general lack of empathy. And it still gloriously heavy.
Omens boasts some tremendous musicianship and is chock full of ideas. But therein lies its problem. Between the changes and jams, we lose interest.
You get the feeling that if Elephant Tree hadn’t fallen down the psych-stoner rabbit-hole, then their weighty yet uplifting melodies would be bringing joy to pop fans. A contender for album of the year.
Here’s something I didn’t expect: mindful doom. It is not a genre normally concerned with the lightness of being but Garganjua give us something new – and still crushingly heavy.
Massive slabs of fuzz with reassuring melancholy, which tugs at your innards, and a heap of gorgeous melody.
Essential boulder of doom that boasts far more variety, tonal variation and emotion than seems possible from two people.
The riffs are thunderous, the tone is thicker than a castle wall and the twin vocal assault of roars and barks give an air of malevolence that make you wary of playing the album in an empty house.
Monolord have outdone themselves here. They stand in mirrored sunglasses, flared jeans and Satanic Feminist T-shirts astride the roof of the doom world.