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Coffin Lurker – Foul and Defiled (2021)

This is the first album from a two-man Dutch supergroup of dark music veterans. Bringing together Maurice De Jong (probably best known for Gnaw Their Tongues, though there’s at least a dozen other projects to his name) and Rene Aquarius (likewise prolific, and half of Dead Neanderthals), this is billed as an experiment in pushing the qualities of doom metal to extremes. With the album coming together at just over half an hour in length, it’s implicit that to meet that goal, these are going to be some dense songs.

Opening track “Crypt within a Crypt” gets things off to a suitable start, with an enveloping rumble of fuzzy bass joined by low, guttural vocals. The song operates mostly as an audio cocoon, shrouding the listener in morbid ambience, with shredding guitar lines mixed down to become another textural component in the murky din. “Of Suffering” continues in much the same vein, though with some of the textures changed up, and a different rhythm to the massive rumbling. The drums also get more play in this song, though they’re suitably muffled, adding to the subterranean feel.

“Suspended Animation” carries on the oppressive atmosphere, with grinding guitar feedback elevated a bit in clarity, and the vocals groaning with more fervor. There’s also a shift into what amounts to a bass solo, with clanging piano and drum counterpointing, for one of the more impactful passages in the album. “Sacrificial Chalice” turns up the tempo of the rumbling bass, making it a throbbing presence in the stereo field, and “Cadaverous Odor” brings things to a close with a big riff carrying it along.

While it’s not quite as confrontational and unprecedented as the press releases might have it, there’s still a lot to respect with the ends to which the duo have pushed this music. It’s incredibly heavy, almost to a tangible degree (assuming you’ve got your speakers turned up loud enough), and the grime is virtually palpable. If you find yourself wanting to just sink into a pit of auditory doom, this should punch your ticket.

~ Gabriel

For Fans Of; Cult Of Occult, Evaporated Sores, Heavydeath, Leechfeast, Meth Drinker

BandCamp

Coffin Lurker – Of Suffering (320 kbps)

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Coffin Lurker – Foul and Defiled (2021)

This is the first album from a two-man Dutch supergroup of dark music veterans. Bringing together Maurice De Jong (probably best known for Gnaw Their Tongues, though there’s at least a dozen other projects to his name) and Rene Aquarius (likewise prolific, and half of Dead Neanderthals), this is billed as an experiment in pushing the qualities of doom metal to extremes. With the album coming together at just over half an hour in length, it’s implicit that to meet that goal, these are going to be some dense songs.

Opening track “Crypt within a Crypt” gets things off to a suitable start, with an enveloping rumble of fuzzy bass joined by low, guttural vocals. The song operates mostly as an audio cocoon, shrouding the listener in morbid ambience, with shredding guitar lines mixed down to become another textural component in the murky din. “Of Suffering” continues in much the same vein, though with some of the textures changed up, and a different rhythm to the massive rumbling. The drums also get more play in this song, though they’re suitably muffled, adding to the subterranean feel.

“Suspended Animation” carries on the oppressive atmosphere, with grinding guitar feedback elevated a bit in clarity, and the vocals groaning with more fervor. There’s also a shift into what amounts to a bass solo, with clanging piano and drum counterpointing, for one of the more impactful passages in the album. “Sacrificial Chalice” turns up the tempo of the rumbling bass, making it a throbbing presence in the stereo field, and “Cadaverous Odor” brings things to a close with a big riff carrying it along.

While it’s not quite as confrontational and unprecedented as the press releases might have it, there’s still a lot to respect with the ends to which the duo have pushed this music. It’s incredibly heavy, almost to a tangible degree (assuming you’ve got your speakers turned up loud enough), and the grime is virtually palpable. If you find yourself wanting to just sink into a pit of auditory doom, this should punch your ticket.

~ Gabriel

For Fans Of; Cult Of Occult, Evaporated Sores, Heavydeath, Leechfeast, Meth Drinker

BandCamp

Coffin Lurker – Of Suffering (320 kbps)

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Devastating Light – I Have Already Failed You (2021)

On the debut album from the Finnish band of Devastating Light, the group delivers a concept album mixing doom, sludge, and post-metal styles, built around the story of a man becoming a father, and struggling to exist in the world that surrounds him. Heavy concepts, but the band brings the music up to the level of quality to handle them. Split into three parts (titled, aptly, “Part One”, “Part Two”, and “Part Three”), the album flows with sorrowful grace and a direction to its anger.

“Part One” is almost entirely instrumental, moving from one slow and meditative riff to the next while keeping production and instrumentation pared down to a sharp and chilly minimalism. There’s a bit of blackened lo-fi quality to things, with the buzzy strumming of the guitar over the sound of burning leaves, for instance. Despite the apparent simplicity of the melodies, they’re emotionally affecting, with subtle twists to their progressions which slip them in even further. As “Part Two” takes over, the vocals arrive in the form of a down-mixed howl, evoking the sense of the singer being buried beneath the weight of the instruments. It works on a narrative level, too, adding another quality by which to be impressed to this debut release. On top of that, it’s worth noting here that this is a one-man band, with everything “played, recorded, mixed and mastered by” musician Teemu Toikka.

Following the emotional turns and curves of the music, with its shifts through a wide range of dynamics and techniques, makes this a compelling and harrowing journey, if you’re willing to sink yourself into the experience and listen along closely. Fantastic stuff, and an amazing start for the band.

~ Gabriel

For Fans Of; Dead Existence, Dirge, Endless Floods, Odradek Room, Stonerror

BandCamp

Devastating Light – Part Two (320 kbps)

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Devastating Light – I Have Already Failed You (2021)

On the debut album from the Finnish band of Devastating Light, the group delivers a concept album mixing doom, sludge, and post-metal styles, built around the story of a man becoming a father, and struggling to exist in the world that surrounds him. Heavy concepts, but the band brings the music up to the level of quality to handle them. Split into three parts (titled, aptly, “Part One”, “Part Two”, and “Part Three”), the album flows with sorrowful grace and a direction to its anger.

“Part One” is almost entirely instrumental, moving from one slow and meditative riff to the next while keeping production and instrumentation pared down to a sharp and chilly minimalism. There’s a bit of blackened lo-fi quality to things, with the buzzy strumming of the guitar over the sound of burning leaves, for instance. Despite the apparent simplicity of the melodies, they’re emotionally affecting, with subtle twists to their progressions which slip them in even further. As “Part Two” takes over, the vocals arrive in the form of a down-mixed howl, evoking the sense of the singer being buried beneath the weight of the instruments. It works on a narrative level, too, adding another quality by which to be impressed to this debut release. On top of that, it’s worth noting here that this is a one-man band, with everything “played, recorded, mixed and mastered by” musician Teemu Toikka.

Following the emotional turns and curves of the music, with its shifts through a wide range of dynamics and techniques, makes this a compelling and harrowing journey, if you’re willing to sink yourself into the experience and listen along closely. Fantastic stuff, and an amazing start for the band.

~ Gabriel

For Fans Of; Dead Existence, Dirge, Endless Floods, Odradek Room, Stonerror

BandCamp

Devastating Light – Part Two (320 kbps)

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Sister Sparrow and the Dirty Birds, who hail from Brooklyn, feature Arleigh Kincheloe’s bluesy and soulful vocals.

Sister Sparrow and the Dirty Birds, who hail from Brooklyn, feature Arleigh Kincheloe’s bluesy and soulful vocals.

 Crust – Stoic (2021)

On the last album from this long-running Russian crew, the band operates at high quality in a blending of metal styles. Influences from black and death metal can be heard creeping into the base, which is largely a mix of doom and sludge. Unsurprisingly, the music is incredibly moody, and capable of shifting from aggression to withdrawn brooding on a dime.

Leading with the title track, the band establishes their MO in clear terms, and expands on it in intriguing ways through the album’s remainder. From the melodic atmospherics of “Watching Emptiness” to the acoustic interlude of “Willow Forest”, threads of drone in “A Blind Man in Darkness”, and the sample/scream interplay of “Darkness Becomes Us”, Crust show themselves to be well-versed in ways of keeping the heavy music engaging and varied.

The production is well-suited to their work, letting the bass end swell into an encompassing presence, while the higher register has an interesting ceiling in the mix, providing the guitars and cymbals with a touch of compression. The gentler parts of the song-writing are integrated in natural ways, letting the band fade from one harsher section to another while keeping it impactful, and when they’re in hard gear, it comes off as consistently genuine and earnestly delivered. Though it can be taken as just a wash of dark metal, there’s more than enough small details worked into the song-writing to reward careful listening as well. Excellent from start to finish.

~ Gabriel

For Fans Of; Dead Existence, Fleshpress, Malsten, Mudbath, O.D.R.A.

Facebook • Instagram • Youtube • Slowsnow Records BandCamp • Crust BandCamp

Crust – Desert (320 kbps)

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 Crust – Stoic (2021)

On the last album from this long-running Russian crew, the band operates at high quality in a blending of metal styles. Influences from black and death metal can be heard creeping into the base, which is largely a mix of doom and sludge. Unsurprisingly, the music is incredibly moody, and capable of shifting from aggression to withdrawn brooding on a dime.

Leading with the title track, the band establishes their MO in clear terms, and expands on it in intriguing ways through the album’s remainder. From the melodic atmospherics of “Watching Emptiness” to the acoustic interlude of “Willow Forest”, threads of drone in “A Blind Man in Darkness”, and the sample/scream interplay of “Darkness Becomes Us”, Crust show themselves to be well-versed in ways of keeping the heavy music engaging and varied.

The production is well-suited to their work, letting the bass end swell into an encompassing presence, while the higher register has an interesting ceiling in the mix, providing the guitars and cymbals with a touch of compression. The gentler parts of the song-writing are integrated in natural ways, letting the band fade from one harsher section to another while keeping it impactful, and when they’re in hard gear, it comes off as consistently genuine and earnestly delivered. Though it can be taken as just a wash of dark metal, there’s more than enough small details worked into the song-writing to reward careful listening as well. Excellent from start to finish.

~ Gabriel

For Fans Of; Dead Existence, Fleshpress, Malsten, Mudbath, O.D.R.A.

Facebook • Instagram • Youtube • Slowsnow Records BandCamp • Crust BandCamp

Crust – Desert (320 kbps)

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Ascension Throne – Oceans (2021)

Well, here’s something uncommon, at least to the genres we tend to focus on around here. It’s a concept EP based on a videogame series (the Nier series, to be specific). Running three tracks long, it’s also the debut release from the German group of Ascension Throne, put together during the dull days of pandemic lockdown.

Opening with “Warriors”, a nine-minute slice of slow-moving metal, the EP gets off to a gentle start with dreamy female vocals over thrumming bass-lines, with male counter-parting joining in before long. The contrasting vocal presences make for an interesting dynamic, and the music itself finds an uncommon blend of styles; there’s some doom flavor to the big bass reverb, a general post-metal attitude, and a proggy nimbleness as it moves through its paces. The female singer (credited as Tetem) has a bit of a Julee Cruise thing going on, very tender and sweet in delivery, and to be honest, she kind of steals the spotlight.

Middle track “Kainé”, at six minutes, is the shortest song on the EP, and it shifts the focus to piano for its intro, backed by some heavy drum-work. When the guitar comes in, it’s with a swerving bit of growl reminiscent of Yasunori Mitsuda’s work on the Chrono Cross soundtrack, if we’re looking for other video game comparisons. The sectional change-ups are more distinct in this track, possibly owing to the comparative compression of the song-writing against the lengthier track that preceded it, and it makes for an easier time of picking out the individual musicians’ respective talents.

Lastly, the title track opens up with some moody synth textures, allowing for a meditative atmosphere before the rest of the instruments come crashing into action. Balancing melodic lightness with the bass’ grinding weight, it adds to the band’s defiance of easy categorization, while continuing to showcase their skills in layered song-writing. Altogether, an impressive debut, and one that should draw in even listeners who aren’t familiar with the games that inspired it.

~ Gabriel

For Fans Of; Crown Larks, Mamaleek, Symphony X, Ulver (Blood Inside era), Venus Sleeps

Facebook • BandCamp

Ascension Throne – Kainé (320 kbps)

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Ascension Throne – Oceans (2021)

Well, here’s something uncommon, at least to the genres we tend to focus on around here. It’s a concept EP based on a videogame series (the Nier series, to be specific). Running three tracks long, it’s also the debut release from the German group of Ascension Throne, put together during the dull days of pandemic lockdown.

Opening with “Warriors”, a nine-minute slice of slow-moving metal, the EP gets off to a gentle start with dreamy female vocals over thrumming bass-lines, with male counter-parting joining in before long. The contrasting vocal presences make for an interesting dynamic, and the music itself finds an uncommon blend of styles; there’s some doom flavor to the big bass reverb, a general post-metal attitude, and a proggy nimbleness as it moves through its paces. The female singer (credited as Tetem) has a bit of a Julee Cruise thing going on, very tender and sweet in delivery, and to be honest, she kind of steals the spotlight.

Middle track “Kainé”, at six minutes, is the shortest song on the EP, and it shifts the focus to piano for its intro, backed by some heavy drum-work. When the guitar comes in, it’s with a swerving bit of growl reminiscent of Yasunori Mitsuda’s work on the Chrono Cross soundtrack, if we’re looking for other video game comparisons. The sectional change-ups are more distinct in this track, possibly owing to the comparative compression of the song-writing against the lengthier track that preceded it, and it makes for an easier time of picking out the individual musicians’ respective talents.

Lastly, the title track opens up with some moody synth textures, allowing for a meditative atmosphere before the rest of the instruments come crashing into action. Balancing melodic lightness with the bass’ grinding weight, it adds to the band’s defiance of easy categorization, while continuing to showcase their skills in layered song-writing. Altogether, an impressive debut, and one that should draw in even listeners who aren’t familiar with the games that inspired it.

~ Gabriel

For Fans Of; Crown Larks, Mamaleek, Symphony X, Ulver (Blood Inside era), Venus Sleeps

Facebook • BandCamp

Ascension Throne – Kainé (320 kbps)

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