You can’t help but bring your own imprint to a record. Objectivity and impartiality are a lie: you come to a film, a book, a piece of music with the sum total of your experiences coloring your perception. Marketing preys on this observation, but even stripping that away (who reads press releases anymore) I can’t help but come at Deep calleth upon Deep, the ninth and latest album by Satyricon colored by my history devouring the band’s music, the knowledge of this being the first new music by frontman Satyr since being diagnosed with brain cancer, and the stark despairing image displayed on the cover. Put together, the album presents a vicious attack that resonates deeply as a highlight for both the band and 2017. Continue reading
This far along, a band like Ufomammut needs no introduction. Their brand of psychedelic space doom ladened with crushing heaviness has been building steam since 1999. With their latest full length 8, this trio displays why they have been top tier for as long as they have. Doom, stoner and sludge can all be marred by try-hards, repetition and messy production but Ufomammut have, since their inception, been forward thinkers and extremely great songwriters which helps keep their material not only fresh but fully engaging. 18 years on, 8 is another letter perfect example of this. Continue reading
Brooklyn, NY’s Yellow Eyes should be a name you’re familiar with by now. The group has quietly been releasing some of the best and most inimitable black metal the world over since 2012. Poised now to release their fourth full-length album, Immersion Trench Reverie, the band stands to outdo themselves once more, creating something that lives up to its title well: an album that is both deep and immersive. Continue reading
The whole concept of returning to your roots is a dicey proposition, one whose underlying reasons can obfuscate intent and mar as much as elevate the final product. I’ve heard the term used a lot when discussing Wolves in the Throne Room and their roots returning (or reclamation, if you’re NPR) new record, Thrice Woven. After the atmospheric tone poems that made up previous album Celestite, anticipation for a move back to more of the traditional folk-laden USBM the band help push forward was high, and the result is solid, if somewhat unremarkable slab of metal that may please fans wanting more roar in the music but also feels like a band running in place. Continue reading
I know normally in this column I’ve been talking about ambient releases, but we use Rainbows in the Dark to explore any kind of music that gets heavy without falling into “metal” territory. One of the more exciting (at least for me) musical trends in the United States is an emergence of bands that take traditional Americana song structures and styling and add in flairs of gothic darkness. Acts like Wovenhand and King Dude have gotten the attention of the populace at large, and now set to join those ranks is Portland, OR’s The Dark Red Seed with their debut EP Stands With Death.