Dog Tired are a four piece metal band hailing from Edinburgh and they have delivered a colossal slab of modern heavy metal with their second album Titan. If you like all things Pantera, Sepultura, Machine Head and Lamb of God then pay attention!

We are introduced gently into proceedings with a very Machine Head intro of ‘Chthonic’ that begins with a classical guitar intro in to which militaristic drums and melodic scaling electric guitar builds in before seaming effortlessly into the thundering opening RIFF of ‘God Disease’

And RIFFS is what Dog Tired specialise in, slow RIFFS, fast RIFFS, huge RIFFS, headbanging RIFFS, thrash RIFFS, southern RIFFS, groove RIFFS.

Enhanced by am impressive massive production each song is a relentless cavalcade of non-stop memorable RIFFS, which any of the afore mentioned bands would be happy to call their own and yet despite the obvious influences the styles have been molded into a distinct sound Dog Tired can call their own.

So it’s the SINGLE guitarist (yes there is only one!) Luke James who is the star of this show, not only ripping out RIFF after RIFF after RIFF with more power than most bands with two but also dropping solo’s in the style and talent of Dimebag Darrel, more than ably backed up by the rock tight rhythm section.

The one minor drawback is vocalists and his attempt at a half Phil Anselmo/half Randy Blythe approach that leaves little impression and fails to contain many memorable vocal hooks, but with the afore mentioned RIFFS drawing the attention it’s not a deal breaker.

So yes… Play LOUD! And worship at the majesty of the RIFF!

Concept albums and split releases are both well established in many genres of music, but it is exceedingly rare to combine the two, as Polish black metal acts Non Opus Dei and Morowe have with their newly-release split Dziwki Dwie. The promo for the split – and, presumably, the retail copies – comes with a prologue explaining the ”dziwki dwie” (Polish for “two whores”) and the war they are waging; the narrator sits on the sidelines watching the final battle between “the avatar of the power which is always against stagnation and degradation” who “wants you to be sinister, free, unbridled and full of might,” and her opponent, “the Power which wants to lead us straight into the consumer paradise” who seeks to make us “weak, crying, dying, hollow, insipid junkies addicted to empty slogans.”

Unfortunately, with no provided lyrics (and the ones I can find being in Polish), I can’t confirm how closely the bands follow their concept, nor can I completely understand the story. But, as always, it is the music that matters most, and both bands have put together some solid material for this release.

Non Opus Dei’s side of the split is the more traditional of the two, pushing forward with some filthy ferocity that appears to borrow from later Behemoth, Deathspell Omega, and Arckanum’s most recent album Fenris Kindir. There is a fair bit of brutality in Non Opus Dei’s black metal, with some riffs verging into death metal territory, though not enough so to make it bona fide blackened death metal. Still, those who find modern Behemoth a bit too polished but want similar riffs will enjoy the angry chugging of ‘Dziwki dwie’ and ‘Szaleniec, głupiec, opętany’ (‘A Madman, A Fool, A Man Possessed’), the latter of which is particularly heavy on the dissonant Deathspell-isms. ‘Kres hańby’ (‘The End of Shame’) sticks a little closer to traditional black metal, but has these elements as well.

Morowe (whose name is Polish for “pestilential”) are tagged as “post-black metal” on Metal Archives, but based on their three songs on this split, they are no Wolves in the Throne Room clone. While their side is certainly the more atmospheric of the two, Morowe’s focus is most definitely on the riffs, with some prog and atmosludge elements added in to good effect. Hints of Immortal are present in the aggressive, straightforward ‘Obustronne oczy patrzą’ (‘Bilateral Eyes Look’), while ‘Kat kota’ (‘The Cat’s Executioner’) changes up the formula with some aspects of Isis and some funky drumming while still remaining in the black metal camp. They close out the split with the eerie, jazzy instrumental ‘Czyj to głos?’ (‘Whose voice?’) – perhaps an odd way to end a black metal split, but it works well in the context of Morowe’s style (and is certainly more interesting than some of the ambient outros I’ve heard on so many black metal albums).

While I slightly prefer Morowe’s side of the split, the best thing about this release is the front-to-back coherency. There are many split releases which are just comprised of haphazardly thrown-together tracks from bands that are (usually) stylistically related, and Dziwki Dwie is ahead of the pack because it feels like these six songs belong together. The two bands differ sonically, but both sides of the split sound like they have a common inspiration – and in this case, we know there is one, because the bands have outlined it nicely in the prologue.

And that makes Dziwki Dwie a shining example of the importance of unity in a musical release. The best albums are those which are consistent, and where many bands can’t achieve that on their own, Non Opus Dei and Morowe have somehow done it together, despite their differing styles. While nothing on Dziwki Dwie is of mind-blowing quality, it is an enjoyable listen all the way through, and the coherency of the artistic vision is a big reason why.

Formed in 2010, Hejira are Sam Beste, Rahel Debebe-Dessalegne, Alexis Nunez and Alex Reeve - a group of Londoners with a diverse collective heritage spanning the entire globe from Chile and Hungary through to Ethiopia and Germany. Prayer Before Birth is their new offering via Accidental records, and is produced by electronic auteur Matthew Herbert.

‘Litmus Test’, the second single taken from the Album is nothing like a litmus test at all, no acidity or alkalinity here. Instead, the opening track covers you in a soft fog that you would normally expect to dim the senses, but instead washes over you and awakens your brain. Subtle nudges of choral winds and waves of guitar/bass/drum swells come crashing down, and then fade into the words “Nothing more and nothing less”, of which this album is nothing more or nothing less than amazing.

Listen carefully to ‘Fields of Rooftops’ and you can just about hear the London overground go by under this pulsing piano/string led ode to the English Capital, with dual vocals floating in the sky above. ‘Powercuts’, the most sinister track on the album, has horns and drums combining with powerful effect along with (not too) distorted bass– and just as it’s reaching a crescendo, it comes to an abrupt end without warning.

Finishing off the album is just-over 2 minute track ‘Reprise’, which could easily be the start of a post-rock opus, if it wasn’t as short as it is. Instead, it’s left to guitar and vocals to send us off, with the singers promising “One day, I will return to you”. Please do, by all means.

These are just a few selections. Each track has it’s own distinct individuality, yet they blend together effortlessly. There is much more to keep the senses going throughout this 11 track orchestral art-rock beauty, and at 56 minutes long, it passes by as if it was only half that. This is by no way a bad thing, and it’s an absolute joy to listen to from start to finish without skipping a single track. It’s a present to treat your ears with, without a doubt.

Merrin are three musicians from Northampton, Chris Purdie on guitar, bass and synth, M Andrew Lawrence on drums and Misha Hering on additional keys on 'Shakma'. Merrin describe themselves as soundtrack doomsters and have brought out a three track EP called Doom Cinema that has been recorded and mixed by Misha Hering at Holy Mountain Studio.

This EP pays homage to John Carpenter's style horror, Giallo, Southern US thrillers and Straight to VHS horror movies from the late 80's. With excellent elements of drone, doom, sludge and synth Doom Cinema is heavily influenced by soundtracks from films like The Exorcist, Southern Comfort, Christine and I have to mention this one but still to see it Shakma. It’s about a killer baboon!

Merrin’s musical influences are Earth, Sunn0))), Bongripper, and a personal favourite of mine Goblin, so these guys have really, really good taste. The three tracks on offer are Plymouth’, 'Cajun Swamps’ and 'Shakma’ (yes the killer Baboon) all three tracks are very different and show a versatility to embrace the soundtrack genre.

The intro to 'Plymouth’ starts as all good soundtracks do fading in with a repeated tune that then has everything built up around it. That may sound easy but it only works if the initial tune is good enough to carry the rest of the song and in this case is really is. Some lovely guitar playing, pounding drum, synth and a heavy bass helps build this track to its peak. The intro returns only to fade back to whence it came. I miss it already.

'Cajun Swamps’ has a drone guitar that was born and bred in the heart of Louisiana and played so beautifully you will feel your neck getting red as you listen to it. What a riff!! There is more to the Deep South than banjos and I’m sure the great Dylan Carlson would appreciate this track.

The last track 'Shakma’ is a build up of guitar, bass and a haunting Eastern flavour keyboard piece that will stick in you head well after the track has finished. The atmospheric doom is soon shattered by a heavy sludge guitar riff. This would be great to hear live and very loud!!

Merrin have tapped into a musical genre that has been pushed to the side for to long and by picking three different styles they have opened a big window of opportunity. Anybody that is not sure about film soundtracks have  a listen to John Carpenter's  Assault On Precinct 13, Escape From New York, Christine and Halloween or the Blade Runner soundtrack by Vangelis. Then go to the masters of the soundtrack, Goblin and listen to Suspiria or Profondo Rosso. That selection is just a drop in the ocean.

Merrin have captured the essence of soundtrack music and hopefully will pursue it even further and if you pop over to their Bandcamp you’ll see some very interesting merchandise on offer to accompany this EP.

Hailing from Leeuwarden, the Netherlands here we have five piece Dimaeon presenting us with their latest release Collapse of the Anthropocene.

Labeling themselves as Progressive Death Metal Band turns out to be a pretty accurate description after the opening classical intro of ‘The Blood Of Millions’ is aggressively shoved aside by grinding technical death metal in the vein of Behemoth but after a promising aggressive start begins to lose its way with some sloppy and misdirected playing as they attempt to straddle the technicality of death metal and their obvious progressive rock inclinations with bursts of guitar solo and keyboard dramatics

The press release promises that “Dimæon tries to give each song a unique character with ingredients from various metal- and non-metal genres.” Which is a promise immediately delivered as ‘Dark Century’ (somewhat jarringly) starts as an acoustic folk song with clean vocals and slowly builds into a full on prog rock ballad, although the ending crescendo is superb even if it does messily merge into the next track.

But it’s from the jagged death metal riff of ‘Subterraneous’ that Dimaeon finally hit upon a solid groove as they take the basic template of technical death metal and add in progressive flourishes rather than trying to be everything at once. It also becomes apparent they can write some tasty death metal riffs as the second half of this track demonstrates.

The importance of having a solid base to work with is amplified on album highlight and rather monstrous ‘The Ruins of Mankind’ which shows they have the ability to be “brutal” as they play the death metal elements with a lot more bite (especially the more focused drums) and work their way through a collection of superb riffing throughout, it certainly feels like a different band from the opening!

What is also apparent is how much tighter the playing style has become and makes the more progressive leanings of ‘Cascade’ and ‘Black Dawn’ all the more enjoyable.

The “non-metal” ingredients re-appear in ‘Glass Mountain’ which includes piano and flutes/whistles but as opposed to driving the song they are present sparingly to add character to the death metal riffing mix.

After the pure death metal of ‘Regolith’ we are treated to album closer ‘Collapse of the Anthropocene’ and its somewhat intimidating 15 minutes run time! Despite that misgiving the twisting turning nature of the increasingly impressive riffs and the occasional prog rock guitar solo ensures it stays engaging.

It’s not perfect especially with the initial misfires but once they hit the groove of Dream Theater meets Behemoth via Opeth they deliver some truly outstanding moments.

Hailing from Brooklyn, New York Tidal Arms are a 3 piece that successfully dismantle genre expectations while retaining focus and forging an identity. Their 2011 début album The Sun Exploding explored progressive post-rock a la Russian Circles and And So I Watch You From Afar with aplomb but remained entrenched within the expected confines of the genre.

As well as touring with Glassjaw, Tidal Arms have apparently spent the intervening years listening to a lot of early Baroness and Kylesa as on second self-titled album Tidal Arms they have crafted their own sound by incorporating the post-hardcore, sludge and doom elements of the afore mentioned bands without sounding derivative.

This mission statement is initiated by the blast of feedback and thunderous intro riff of opening track 'Gooski’s Ladder' before the chorus deviates into a post-hardcore workout replete with escalating melodic guitar lines and finishes in a sludge metal crescendo that  coupled with a huge production sounds immense.

They could have very easily copied and pasted the exact formula of the opening track for the entire album and it would certainly still be a total winner, but instead they embark on an enthralling sonic journey of shifting tempos and dynamics in which the enterprising inventiveness on display plasters and holds a huge grin on the face!

So you have the energy and power of the opening track followed with the downbeat reflectiveness of 'Mirror Box' and the post-metal of 'Dunston Mass' which in turn is countermanded by 'Jungle of Dust' which sparks into jaunty math rock.

My personal favourite section is the central triumvirate of 'Mad Glacier', 'On The Train' and 'Jelloshotgum' in which the sound evolves into crushing instrumental doom metal followed by a post-hardcore riff out and then returning to the post rock style of the début album all the while remaining completely coherent.

It’s undeniably an intriguing idea, to take the remix of a single song (Last Harbour’s ‘The Stars Look Down’) and, using the sound contained within, to create a whole record. That’s what BLK w/ BEAR have done here, on a release that marks the debut for newly founded experimental label Little Crackd Rabbit.

The result is a nightmare that gradually sneaks up on you as the record progresses, the finite sounds provided by the original track becoming ever more claustrophobic over the duration. It’s a granular record, full of cosmic drones colliding purposefully with dustier, somehow almost incomplete counterparts. At its best, this approach pays dividends, and there is little denying that somewhere within The Final Mapping of New Constellations is a sonic holy place, where the traces of ‘The Stars Look Down’ have been reassembled into a glorious whole.

Having said that, the pitfalls of this record’s ambitious ideology are also present, and getting to that holy place is perhaps a little bit more difficult than it needs to be. The risk in creating avant-garde music via avant-garde approaches is that the humanity (of feeling rather than simply of non-computerised sound) of a piece can so easily be lost. At times on The Final Mapping of New Constellations this problem unfortunately rears its head, which is not inexcusable but slightly disappointing.

Similarly this is an experiment that some may accuse of overstaying its welcome. The undercurrent of similar textures and sounds over the course of the album is part of its modus operandi of course, but nevertheless it is also a significant part of its biggest flaw. For, even at just forty-seven minutes, The Final Mapping of New Constellations occasionally loses its momentum, especially during the ten minute ‘Grand Order of the Eastern Star’.

It is no matter. BLK w/ BEAR have still created something unique and thought provoking with this release. As a challenge to the artist involved this has produced stupendous results. It’s just a shame that the rewards may not be quite so apparent to each and every listener, but then art is a selfish business, and your approval may not be quite necessary. Thankfully for these ears, The Final Mapping of New Constellations is something I can wholeheartedly approve of.

BLK w/BEAR - Eastern Blind from LittleRedRabbit on Vimeo.

The First And Last Days Of Unwelcome is illustrated by Southern Lord as "a crushing sonic endeavour" and that is exactly what it is. A haunting, harrowing journey through founding member Aaron Edge's personal battle with multiple sclerosis in a highly successful final musical exertion.

Flowing from day to day in one deep, rolling, everlasting movement, you really do get a glimpse into the personal inner struggles and terror of facing a truly challenging illness. The more you listen, the less this seems like a downright cavernous doom record, and much more like a monolithic classical composition depicting a long campaign across a dark and unforeseeable land. Seamlessly transgressing between the end of 'Day Seven' back into 'Day One' sets you about course over and over again.

A constant and relentless sense of lethargy throughout, punctuated by Mike Scheidt's deeply yowling vocal style, and drawn out by thick reverberating bass tones. The First And Last Days Of Unwelcome awakens and collapses repeatedly in a steadily horrifying extreme. It's definitely tough to put into any kind of writing other than an overly descriptive miniature novella, but that is what this record is- a story, an account, an opening of one mind to another. Somewhat akin to the vast distance and trepidation portrayed in Tolkien's 'Lord Of The Rings' when looked at from very baseline perspective.

Highly recommended for fans of doom and post-metal alike, this terrifyingly haunting initial venture from Lumbar will leave you unnerved, but wholly satisfied to the core.

FFO: Isis, Gaza, YOB, Neurosis

If you like post-rock music and you see the name Oxide Tones on an album label, pick it up and have a listen. Hell, even if you don’t like post-rock music and you see the name Oxide Tones on an album, please, give it at least a quick listen. Oxide Tones is one of the most prolific supporters of post-rock music on the scene today and when it was approached by The Sirens Sound regarding a compilation of 35 unreleased post-rock tracks they simply gave the green light to one of the best releases of this year and absolutely the best Christmas present.

Oxide Tones and The Sirens Sound define themselves as “friends that love music” and Ode To An Unspoken Movement is the demonstration of these words. Post-rock music is often without vocals so the title fits perfectly to this kind of music that evolves continuously and has so many nuances that is more a movement than a music genre. Ode To An Unspoken Movement has a total of 35 unreleased tracks from 30 artists coming from all over the world that covers several post-rock styles and we can easily state that this compilation really crosses each and every boundary: geographically and musically. And what about us music lovers? We are all fellow citizens in front of this work of art!

I used to listen to Ode To An Unspoken Movement every day since the day when I found it in my inbox – I think that was one of the biggest surprises I have ever had – and each moment is perfect for a compilation like this because it has all you want. The songs are so emotion packed and so damn good that they will leave you speechless.

In a time lapsing over 4 hours Ode To An Unspoken Movement easily offers something for every music lover. From the best classic post-rock, with its repetition of musical motifs and subtle changes with an extremely wide range of dynamics, to the softer ambient music and sometimes with vocals too but, as post-rock bands do, when vocals are included, their use is typically non-traditional. Fans of post-rock will have the occasion to listen to new music from some of their beloved bands such as Collapse Under the Empire, Aesthesys, All You've Seen or My Education but this compilation is also the occasion to discover new bands that are spreading their amazing music all over the world such as Sky Flying By, Crimson Mourn, Dolls Come To Life, Francesco Berta and Human Pyramids.

A few days ago someone asked me: “how the hell are you going to review this compilation?” Easy: it’s a stunning album that simply leaves me speechless! The mix of songs and their order has been so well selected and the compilation as a whole is so well crafted that there’s the right progression in terms of tones, emotions and dynamism. Oxide Tones and The Sirens Sound have simply condensed the power of music in more than a mere long track-list.

Ode To An Unspoken Movement starts in Hamburg with a breathtaking song of Collapse Under The Empire. ‘Lost’ is completely instrumental and would sit very comfortably at the confines of the post-rock genre. Getting lost in its rocketing sky through the use of delays and tremolos is really easy. The mood of the opening track is continued in ‘Veiled’ from All You've Seen and My Education’s ‘AmF II’. Listening to them is like taking a primer on the post-rock genre and their ability to span so many different moods and timbres is both impressive and a bit unconventional.

Those of you that instead need softer atmospheres will be really pleased by experiencing the songs from Crimson Mourn, Thursday Bloom or 6LA8, just to mention some. I’m particularly in love with Crimson Mourn’s ‘Hands That Split the Wind, Can’t Hold the Wind’ that has moments of post-rock and ambient mixed with occasional electronic/indie influences. This song spans genres. In the same way I really like ‘And Sparks Of The River’ from Sky Flying By, a 10-minutes ambient song that is relaxed, down-to-earth, melodic, compelling, haunting, beautiful, and is well worth a listen. I love the fact that there’s something Italian on this compilation and I’m proud of the song from Francesco Berta that, together with The Modern Dinosaurs, created a song with a delicate and melodic atmosphere with a subtle melancholic vein that is extremely enjoyable. The post-rock crescendo is a work of art. A different taste of Italy comes from the dark and introspective vibe of Somnium. Don’t’ worry: there’s also a dreamy pace in this song that never strays too far off.

Even thought this collection of gems is an ode to an unspoken movement, vocals appear here and there. And they are always beautifully used. When present, post-rock vocals are almost always soft or droning and are typically infrequent or present in irregular intervals or used as an additional instrument. This is the case of the moving ‘Second Star’ from Dolls Come To Life. Their use of vocals is incredibly original, from the echoing female vocals that seem to come from another world to the registered vocal that has the effect to come from a radio program of this world. Here vocals are an instrument and create the dynamism that the best instruments usually do. And this is also post-rock. I suggest you also to listen to the amazing vocals of Odds & Ends in ‘When A Flower Is Born From Chaos’.

Before listening to Ode To An Unspoken Movement I've never heard about a band called Blind Taste and I don't know anything about them either than that their piano notes are magnificent. Throughout their four songs on this compilation, there's a sweet and intense melody and a sweeping sense of transcendental majesty, like something descending from the sky. 'Hamnskiftare' is impressive.

Giving each song on this compilation album a detailed analysis is quite impossible. Each song on it deserves attention and a careful listen and each time you listen to them you’ll find new details that make the difference. This compilation covers such a wide range of music that it's impossible to elect a favourite song. But there's no doubt that this is the best compilation of the year. I've lost count how many times I've listened to it and even this right moment I have goose bumps duo to the stunning A Shelter In The Desert’s ‘Healer’. I do believe that music is a personal experience and everybody reacts in a different way in front of an album. This collection is able to catch every mood and can be elected as a life's soundtrack.

Being a music lover, I do love Ode To An Unspoken Movement.

Being a post-rock addict I love the nuances of this compilation.

Since I believe that we are all citizen of the world I love the collaboration of so many artists coming from all over the planet.

Folks, let me tell you that I’m also extremely proud to mention my collaboration to the realisation of the album cover!

Release Date: 20th December 2013
Cover Photo: Rosario Spatone
Model: Daniela Patrizi
Artwork: Adam Hoffray
Released By: M S Torabally [ TheSirensSound ] in Collaboration With: Adam Hoffray [ Oxide-Tones ]

Artists involved (in alphabetical order):
6LA8 - Pakistan
A Shelter In The Desert – Mexico
Aesthesys – Russia
All You’ve Seen - Switzerland
Blind Taste - Somewhere in The World
Collapse Under The Empire - Germany
Crimson Mourn – Spain
Dolls Come To Life - USA
Francesco Berta – Italy
The Modern Dinosaurs – USA
Herbstlaub – Germany
Human Pyramids – Scotland
Jet Plane - Russia
Kriva –USA
Labirinto - Brazil
Late Night Venture - Denmark
Linear Bells - France
Luop Garou - Canada
Monsters Build Mean Robots - UK
My Cats A Stargazer - New Mexico
My Education – Texas
ODDS & ENDS -France
Qualia - UK
relapxych​.​0 - Sweeden
Sky Flying By - USA
Somnium – Italy
The Nikki Grace Experience – Germany
The Stars Above - USA
This Patch of Sky - USA
Thursday Bloom - Australia
Tunturia – Canada

One of the many great things about writing and reviewing for Ech(((o)))es and Dust is the freedom we have to choose the music and bands we want to review/write about. In most cases our brilliant editors allow us reviewers/writers the leeway to select what we feel we would enjoy dissecting and translating for the readers of the Ech(((o)))es and Dust website. In a way this is both good and bad. Good because I get to decide what I want to listen to and review but bad because I sometimes get stuck in a genre rut. In other words I very rarely step out of my musical comfort zone and try to expand my abilities as a writer into other genres and sub genres of music available to me through Ech(((o)))es and Dust. And because of this when I do find myself with an album that is advertised as something I would enjoy and turns out to be something completely different I am caught off guard and have to work very hard to come up with a proper review for the album. I don’t want to just blow something off because I am not comfortable with the differences but I have to push myself to really dig into the music and do my best to try and inform the readers of this website of the good and bad of the album.

This is where I find myself with the new album from Beneath The Storm. Advertised by the press release as “Drone-based Funeral Doom/Sludge Metal carnage”, I figured this album would be a great chance for me to straddle my comfort zones of sludge and doom while simultaneously being challenged by the intricacies that are drone. I listened to this album several times over, took copious notes and even researched other drone and funeral doom bands and albums to better acquaint myself with the genres. The end result of all of this work for this six song album Temples Of Doom? I spent way too much time on this album!

The problem with this album starts at the beginning and continues throughout. First this album is nowhere near sludge with the slight exception of screamed/growled vocals cut way in the back of the mix to add atmosphere. Second, if the Beneath The Storm would have focused more on capturing industrial sound of this album, which is very evident, it probably would have been a much more consistent album. Third, and this is my biggest issue, if you are going to use continuous movie/TV dialog in the songs at least give the listener an idea of why they are there or at least an inkling of why they are so constant throughout every song. If this is a concept album centered on whatever movie/TV show that is being featured in a song then give it some cohesiveness! Help us, the listener; make sense of the songs, at least in a small way. I will say, on a positive note, that the one thing that Beneath The Storm does do well is the drone. There is no mistaking the constant hum of drone throughout this entire album and it doesn’t change in tone or temple very much throughout the album. So there is that!

Look, the one thing I hate to do is write a review about an album that stands as mostly negative but in this case I have no choice. It is described as something it is not and I think it would be unfair for me to help perpetuate that misleading information. Is it a drone album? Yes! Is it sludge? Not even close! Is it funeral doom? Not really! Should you spend any more time than I did listening to this album? Less if you can help it!

Until later, Peace!

Comparing making music to painting is a rather romantic idea: just like a painter might choose certain colors to evoke emotions, the musician will add in certain chords, notes or certain instruments to try to evoke a precise mood from the listener. On their first collaboration Gargle & Bosques de mi Mente approached their work like a painter and by adding colours, texture and space they came up with a meditative, patient and considerate orchestration over a solo piano composition that is absolutely wonderful.

What happens then when ambient post-rock with modern classical influences meets a classic composer? Well, this collaboration between the Japanese duo Gargle and the Spanish Bosques de mi Mente delivers Absence, an album of a stunning beauty.

When Gargle asked Bosques de mi Mente to work on a song for the new Gargle’s album they worked so well together that they decided not to keep their collaboration to a single song. And so it happened that today we have the pleasure to listen to Absence, which is a melancholic music journey of nine tracks and just over 50 minutes from which you can feel the rich magnetism between the composers. I cannot say which is the right moment to listen to this kind of music. I tend to associate it with rainy day mood where each rain drop is full of melancholy and so damn intense. And the notes from Absence surround you like the most romantic rain. Put your face towards the sky and then enjoy this music.

The album starts with the strong and alive sound of bells that celebrates the new collaboration and the incredible music that immediately follows them. The first piano notes, folks, they kill me. The music is so intense that you feel it being a part of you. The effect hits you fully during the last minute of the composition as the music sways from side to side, like some beautiful forgotten waltz written for everyone’s personal romantic moments. 'Snow Storm' is another intense moment on Absence; this track is dynamic and joyful. It's a dreaming track where the whole sound is built around the two hands of the pianist. This is an outstanding track!

The following '(The Triumph of the) Flight of the last Bird on Earth' has the same mood as the opening song. The colours are again dark to evoke the feelings of nostalgia and, of course, absence. The sound of a classical violin is so perfect that it arrives directly into your heart and the sound built around it never covers it but, instead it has the power to amplify the feelings. Magic arrives towards the end when the songs become more dramatic remembering the best of MONO's sound. I cannot avoid to comment on the following track 'A Sudden Lapse of Joy' as this is making my afternoon. This work of art starts with an amazing piano and soon a guitar melody arrives. Together they create a world of contemplative, post classical elegance. The guitar melody that accompanies the piano after 60 seconds accentuates before a French accordion returns the fold and the piano moves to tinkering.

'The Moment Our Glances Met' is the perfect soundtrack to the dancer of the famous Jack Vettriano painting. Nostalgia is back again with 'Echoes of Our Memories' where the field recording and the noises of children in the background bring us back to our childhood and the places we bring to our heart. The piano notes then intensify this sensation and when the guitar arrives as well there is no way to escape from this feeling. This is really a great song. 'We Are Running Out Of Time' follows the same path but this time its intensity doesn't have the colour of nostalgia but instead it is full of melancholy.

'When Light and Motion Collide' closes the unforgettable experience of Absence. This song has all the direct beauty one could want. The alternation between light and dark moments is captivating and looking at the painter choosing different colours from his palette the only thing you can do is to remain silent in front of all this beauty. The distorted guitar swells and the echoing gongs built on the piano notes is incredibly beautiful and represent one of the highest moment of Absence. With such compositions Gargle & Bosques de mi Mente embrace the solitary approach with gentle passion.

Absence is out now through Fluttery Records.

Field Records strikes again and the new release of the British label is also a really welcomed return. After the release of Rough Sleep (June 2013), Tim Waterfield, aka Karhide, is back with a stunning EP titled Remember Remember.

Being a fan of Karhide I’m really happy to be here listening again and again the new work of the British artist and writing how much I like it. When I heard Rough Sleep I was in trouble in defining its genre of music that cannot be considered 100% Post Rock and it’s not 100% Post-Metal. In the end I found my way to define it but, after listening Remember Remember, I do believe that Karhide is a name that defines a sound rather than viceversa. The range of music that influenced Tim Waterfield is so wide that the result is a really unique style where post metal, post rock and electronic are perfectly blended to create the “Kharide sound”. In metal music lots of bands have tried to combine electronic with metal music but the majority of them have failed in the end in crafting something interesting. Karhide is one of those bands which combine post-rock/post-metal with plenty electronic elements in an excellent way. This EP represents another step ahead for Karhide and, if Remember Remember was a color, it would definitely have all the tonalities of red representing the energy that this album is able to inject into listeners and the passion that Tim Waterfield put in every single note of it.  And this is the most important element of this great EP.

Remember Remember kicks off with the album titled track that will bring you immediately in the Karhide’s music world through its captivating cosmic electronic. This is beautifully crafted music, colorfully orchestrated and winningly performed. In particular the last part of the song has in it also a certain sense of melancholy I really like.

The following ‘Strings Start’ is a truly joyful, free moment on the album. This song represents exactly that unique style that brings the name of Karhide. The downtempo combination of keyboard, and synths give rise to a track which is easy to get lost in. Remember Remember is an EP where a multitude of sounds find their right place. In this way the groovy, electronic music of String Start leaves the scene to the magnificent ‘Why’ that is an atmospheric song and easy to listen to. I don’t know if it’s a relaxing song or not; I enjoyed it at high volume and I felt like in a science fiction movie and I experienced an extreme sense of peace as soon my orbiter took off accompanied with beautiful electro-riffs.

The multi-layered guitar driven groove and the forest of sound you’ll experience with the following song is absolutely amazing. The piano notes are inserted like gems and they create an unexpected and captivating melody within the explosion of instruments. I do love ‘Case Statement’.
The last three tracks of Remember Remember are three brilliant remix of Strings Starts and demonstrate the fact that Karhide is very talented in creating atmospheric music.

Remember Remember is an EP that has so many sounds in it that can be experienced as you feel it. Walking alone along the seaside, driving at nighttime or simply lying on your sofa with your headphones on.

Whatever attention you pay to this music you will receive.

Delicate scraping strings, inhuman growling, choral chanting behind spoken-word Latin, and, most importantly, blastbeat-propelled epic doom riffing…  London extreme metallers Eye Of Solitude have thrown everything into the pot for new album Canto III. The album is based around a section of Dante’s Inferno in which the narrator is led through the gates inscribed with the “Abandon Hope…” legend and over the river to hell, accompanied by the sounds of the tormented screaming of the damned. Despite this grandiose theme, the album still doesn’t seem quite capable of containing the vast scope of the band’s ambition. High-concept metal albums are nothing new, but Eye Of Solitude have made a rare record in which the pretensions of incorporating 14th century literature are matched by the band’s creativity in employing the tropes of doom, black and death metal in their dramatic whirlwind.

The literary themes certainly fit with the band’s epic and hard-edged metal, as well as with the introspective piano or string sections. At their best, these interludes join with rather than counter the heavy sections, as in the third song—sorry, in ‘Act III’— where the fragile, sombre piano melody is engulfed by a torrent of raging guitars, but then manages to emerge the other side of the maelstrom, tying the whole piece together through its multiple sections. This track is perhaps the pick of the record, as well as being quite representative in its showcasing of a broad variety of styles with a focused continuity. And, being myself a bit more used to the sludgier and dronier corners of the doom metal universe, it was a thoroughly entertaining surprise to hear the guitars launch into a classic metal solo, complete with gliss notes and a cascading harmonic progressions, during the second bout of heavy riffing. The band are clearly determined to cover as much extreme metal ground as possible.

Considering how much they’ve tried to achieve in in the album’s 6 tracks and 66 minutes, it’s understandable that there are some slightly less successful moments: the spoken word sections in English cover the Inferno’s stock doom metal territory (“altars of broken thoughts,” “souls fleeing onwards,” “feel[ing] the cold kiss of death,” and so on…). Similarly, there is perhaps a tendency to slightly overload some of the piano-led sections, either through an overly-literal approach to the lyrical subject matter or a concern to fill the album to bursting point with “interesting bits.” Particularly unnecessary are the sounds of a heartbeat and some overly emotive crying in 'Act IV', which cross over into slightly tiresome melodrama.

While the Dante text certainly helps provide some contenders for Most Epically Depressed Doom Song Titles (‘Act III – He Who Willingly Suffers’), I prefer my depressive tortured black metal or doom a little more abstract, ambiguous and blurry, in terms of thematic content as much as sound: one of the advantages of not speaking French, for example, is being able to enjoy the sound rather than the semantics of whatever it is that Sombres Forêts and Monarque are screeching and growling about. But these misjudged moments are rare, and for the majority of the album both the “orchestral” bits and the solid metal roar are executed with confidence and style.

In particular, while moving between quiet and loud sections is the most conventional of genre staples, transitions are orchestrated with creative flourish, each track finding three new ways for the band members to leap back in with a concerted pummelling noise after a period of more restrained instrumentation. My personal highlight of these is halfway through the final track, where tinkling piano and pattering rain give way to a fraction of a second of lone growl before being joined by a thundering, sustained riff. For all the considered appeals to violins and classical prestige (both musical and literary), first and foremost the strength of this record is its mid-tempo, sustained and heavy doom-riffing guitar sections, which are kept thundering along with urgency by the power of Adriano Ferraro’s masterful blastbeats and quirky, sometimes surprising rhythms  and fills. Daniel Neagoe’s vocals are another real highlight, his deep growl approaching even the extremity of Corrupted or Tyranny, and in contrast to the slightly mannered clean-singing quotes in Latin or English, they directly convey an inextricable combination of the despairingly human and the terrifyingly demonic.

There’s an enormous amount to explore here over the record’s six tracks, and while occasionally the weight of ideas can make certain periods seem a little overcrowded, there’s clearly even more potential in this exciting and ambitious band. Looking forward to hopefully catching them at one of their UK dates in late January with Marche Funébre on their “Chants of Grief” tour, to see how the complexity and power of Canto III translates to the stage.

I don't know about you but sometimes you want music that's like your favourite jogging trousers and old tee, something warm, comfy, and familiar. Usually we turn to the albums we consider to be our "classics", but sometimes we turn to a specific genre either to rock out or chill out. For me, this genre is folk and, in particular, the new folk that has a big dose of Americana, the new folk of recent days.

Whilst the poster-boys of this genre - Mumford and Sons - are not to everyone's taste, they did the genre a great service and brought it back into the margins of the mainstream. Folk music is now no longer solely the realm of bearded, pipesmoking, be-jumpered, wax jacket-wearing fishermen, or at least middle-aged / elderly bearded, pipesmoking, be-jumpered, wax jacket-wearing fishermen.

Dave Gerard & the Watchmen fit nicely into this space and would not be out-of-place on a bill with artists such as Mumford and Sons, Noah and the Whale, Gungor, Fleet Foxes, Stylusboy, & Martin Plock. Theirs is a new yet familiar cross between folk and Americana - not country, more new folk. This may be semantics to some but Dave Gerard has a voice that I can listen to for extended periods of time, a beautifully masculine voice that has a smoothness about it that I find delightful. His voice isn't a country voice and thankfully none of the songs get close to the stereotypical country subject matter, something that makes me very happy.

In fact, Wooden Castles makes me very happy indeed. It is a relaxed, dressed-down Friday of an album that I really do enjoy. Here's why:

The vocals are a delight - warm and welcoming, the main male vocals carry the melody with female vocals providing harmonies that really enhance the songs.

The music is also a pleasure to consume - centred around the acoustic guitar and drums, the instrumentation feels toe-tappingly familiar in the special way easily accessible music always seems to do. Piano, upright bass, cello, electric guitar, and a banjo all contribute effectively to make very nice upbeat walls-of-sound (eg ’Viking Burial’). They also provide the backing for more downtempo songs (eg ’All is Grace’) and even hint at the possibility of an ambient soundscape (the opening bars of ’Intro’), all sounds I thoroughly enjoyed.

The lyrics are a delight too - they inspire and inform, catching my attention and staying there long after the track has finished. 'Cureless Love' is a prime example of this: "Ours a cureless love, and yours the atoms I prefer" - that's getting used on my wife’s Christmas card for sure.

All in, Wooden Castles by Gerard & the Watchmen is an utter delight. It is an album of songs that are paradoxically familiar yet brand new, songs that seep into the conscious and have you singing along without you even noticing. I hope the instrumentation and vocal delivery will enthral you as much as it has enthralled me.

Recommended to new folk fans as well as people looking for something warm and friendly.