It’s no secret that I am a Pelagic Records enthusiast; the wide range of artists and bands under their banner is an inherent delight for those who seek to expand their expertise in the wilds of post-metal and its adjacent genres. It’s through its adjacent genres – and my own personal revisiting of music I enjoyed years ago – that Thot came into my view. Curious about what music the band makes in comparison to others on said label, I decided to see what Delta was all about.
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For many years, I had heard about Glassing, but never had the chance to fully dive in. From my limited knowledge, they are a band rooted in harsh noise, a genre I did not like and avoided at all costs. However, over the years, the band evolved, placing their focus into post-hardcore and I felt the need to know more. Now, with their fourth full-length album, From the Other Side of the Mirror, it’s time to see what the fuss is all about.
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When I first heard about the Slovenian black metal band Srd, it had been recommended to me while looking for more of the blackened arts to listen to. Although I had been burned out by the genre at that point, Srd stood out because they play a delightful blend of black’n’roll, and their previous record, Ognja prerok, completely rewired my brain. Thus, when it was announced that the band was going to release their third full-length, Vragvmesiton, I jumped at the chance to see what they had been up to since Ognja prerok.
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I might be biased, but I have always believed that the cello has been given the short end of the stick. From chamber music to opera, the cello has always been relegated to keeping rhythm, to acting as the backbone while the violins, the violas, and, in some cases, the horns, winds, and brass get their own cool solos and intricate melodies. However, the cello has shown to thrive outside the classical world, having its own identity, sound, and distinction. It’s this sort of distinction that Jason Blake, alongside cellist Raphael Weinroth-Browne, explore on Blake’s newest EP, Candles Burn.
You can’t deny the Netherlands has a thriving black metal scene, giving us gems such as Terzij de Horde, Fluisteraars, and Laster. One of the more recent bands to catch my attention in the past few years is Verwoed, whose previous album, De Val, held me in a grip in mid-2020. It took me a while to fully understand De Val musically, but once it clicked I couldn’t stop thinking about it. When a new album was announced, I knew I had to listen to it.
And it seems The Mother is everything De Val was and more.
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Nine Circles 