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In a world without live music Owen Coggins was lucky enough to see back-to-back gigs by Tuskar – one live, the other livestream – in an autumnal double-header at the Black Heart.

A fantastically immersive soundworld, revisiting the powerful impact of his processed loop investigations while exploring a wider range of atmospheres.

Great new drilling, juddering experiment-o-death album, a tight, controlled burst of brutal claustrophobia and sonic imprisonment.

Obviously we’re all desperately missing live gigs . . . But in this difficult time, we can think about what we want when live music comes back . . . and make sure it’s as safe and accessible as possible for everyone.

A flinty, fierce debut album that builds on strong demos and splits to develop a hissing and crackling, doomy black metal style.

Null build on their sprawling debut with a follow up Entity, six tracks of dense atmospherics elevated by some striking and properly extreme vocalisations.

Weighty enough for the amplifier worshippers, with hidden depths for the curious, Sloath III comes highly recommended.

A melodramatic and aggressive black metal record, touring the touchstones of the best contemporary black metal.

Another instalment of ambitiously exploratory, tightly controlled, and above all, furiously exciting music.

Flower-themed brightness, brevity and directness give the record an invigorating and mind-expanding potential.

Overall a worthwhile addition to the discography for Nocturnal Depression, though for newcomers to the band I’d probably refer them to the earlier touchstone albums.

Complicated, weird, heavy, tight and uncompromising but also cerebral, curious and accessible. All praise that this record has received already is definitely well deserved.