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I’ve been writing for Echoes & Dust since December 2013, mostly on drone, doom and black metal. Since then I've completed a PhD looking at mysticism, ritual and religion in drone metal, and will be publishing a book related to this in 2017. I'm also trustee of Oaken Palace Records, a record label run as a charity, each drone release raising money for the conservation of a particular endangered species.
Articles by https://www.echoesanddust.com/wp-content/uploads/gravity_forms/1-3d11e6359f4a3f742938a300b46ac332/2016/09/IMG_0038.JPG
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.
It’s the most absurdly evocative combination of sonic theatricality and occult power.
Seriously, all you need to know is: band play excellent, excellent music in the desert. Stunning.
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.
Mournful but angry, a requiem that’s also a horror story.
A great gutturally fierce, rumbling weird death metal debut album from VoidCeremony.
Weighty enough for the amplifier worshippers, with hidden depths for the curious, Sloath III comes highly recommended.
A fully formed epic, ambient black metal record that has the best of all of those terms.
A melodramatic and aggressive black metal record, touring the touchstones of the best contemporary black metal.
Diamanda Galás reissues coruscatingly brilliant and extreme debut album The Litanies of Satan.
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.
A furious but brief equinox storm, the sounds evoking complex swirls and riptides.
No quarter-second is wasted when some seriously densely organised noise could be forced into it.
