The Swiss avant-garde black metal quatuor, not satisfied from having released perhaps the best triple-album ever just last year, is already back with The Maldoror Chants: Hermaphrodite. It’s sold as an EP, but crosses the thirty minutes threshold that is commonly used to distinguish EPs from full-lengths; it has seven tracks, but the whole thing feels like one continuous journey into the obscure places of our mind; it’s a work of art that goes above and beyond the traditional scope of black metal and the avant-garde… Indeed, the band themselves wrote that Hermaphrodite is an ‘artistic experiment’, and it’s … Read more
Music is a wonky art form. It’s so ethereal and intangible, unlike poetry or sculpture. It’s just variations in the density of a medium – air, most of the time –: they pass you by and you try to grab enough to make sense of them. You don’t get a second glance, you can’t hold it and analyse it thoroughly unless it’s transformed; either as notation or spectrum analysis. That’s why, I suppose, the most popular forms of music keep their message simple; more people can comprehend what they’re experiencing. Even then, it’s messy, it’s blurry, and, most of all, … Read more
(ghost)‘s newest album, Everything We Touch Turns to Dust, was released on June second via n5MD. It’s my first experience with this project, and I must say I’m pleasantly surprised. The record delivers atmospheric IDM with some glitch aesthetics. At times, it sounds like qebrµs, but a million times less experimental and abstract, rather staying on the approachable and relatable side of things. Now, my knowledge of electronic music is quite limited, but Everything We Touch Turns to Dust is a record that I enjoyed a lot. At first glance minimalist, this façade covers some very interesting choices … Read more
We are pleased to present a live video of Ikarus performing ‘Ryuujin’ off their most recent album, Chronosome.
Ikarus is a Swiss contemporary jazz band with an interesting configuration. They take a typical acoustic jazz trio composed of piano, bass, and drums, and add two scat vocalists – one male and one female – to the mix. This results in a highly unique sound defined by sublime vocal interplay underlaid by dynamic compositions.
The human voice, unbound by language, is more versatile than any other instrument one might use. Ikarus certainly proves that with their stellar performance. The rhythm … Read more
‘Chant I: Le théâtre’ is the album’s first track, and it puts all on the table. You’ve got the whole orchestra with their melancholic and slightly dissonant beauty, the gravelly and pitiless vocals, as of a decadent opera, sing hopeless lyrics in this devoid of any light chant. It … Read more
Cybergrindr is a probably-solo project from British Columbia. It is one of the few bands whose name actually reflects the genre they play… and they do it very right! Cybergrindr’s cybergrind is far from mundane. They see the opportunities the genre brings them, and they take them. For example, they profit from the obviously-programmed drums to go beyond what would be realistic: on ‘The Overseer Has Come Online’, they use drum hits – seemingly kick drums – at superhuman speeds to create what we interpret as musical notes, with pitch and length. And even though it’s the only place where … Read more
Sheen Marina describe themselves as a ‘surf-noise’ band. However, I think that’s doing their music a disfavour, as it cannot be completely covered by this umbrella term. In their upcoming album, Travel Lightly, there are also strong flavours of math rock and avant-prog, which can hardly be foreseen with the ‘surf noise’ label. This thirty-minute album consists of nine tracks with varying degrees of interbreeding with the other aforementioned genres, all over a pretty clear, reverb-drenched surf rock basis. ‘WYSC’, for example, is almost a straight-up math rock song, with complex rhythms and odd time signatures, while ‘Nose Ring … Read more
Out on July twenty-eighth, Meditations on Insignificance is the latest experiment by noise metal artists The Blight. This full-length release explores the Lovecraftian themes of cosmic insignificance and the nihilistic views that nothing we will ever do will matter the slightest bit in the end. Their approach to music consists of improvised noise layered with atmospheric pads and supported by an impressive display of drumming skills, not too far from an actual drum solo. Thematically, the album goes from small scale, with ‘Self’, to a gigantic one, with ‘Galaxy’. Themes that are exploited without uttering a single word – … Read more
Edit Peptide is the latest achievement of American eclectic and hectic progressive act Bubblemath. Out on May twenty-sixth through Cuneiform Records, this set of intellectual compositions might burn a fuse or two in your brain. That’s prog done right, and giving back the literal epithet of the genre. Complicated multi-part harmonies and melodies go over compound and conflicting rhythmics with an ease only before seen with King Crimson, and some new bands from that truly-prog resurgence movement. However difficult they are to play and however deeply they have been written, the songs are incredibly accessible and don’t feel like … Read more
Ontario’s Grizzly band just released their second publication, Reaper, and it rips. Don’t get fooled by the opener, ‘Grave’, this is not horror ambient, but rather some crushing and technical experimental grindcore. You can see this right on the second track, but they keep on providing extra crunchy riffs with weird timings and rapid successions of notes. Though it is barely more than ten minutes long, excluding the Pantera cover at the end, this EP shreds mountains. I guess mathgrind wouldn’t be too far-fetched a description, as it certainly has aspects of both mathcore and grindcore working together. Reaper … Read more