I’m not gonna lie, it feels kinda weird to resurrect my Retrocution column for the first time in more than a year… with an artist who, by his own account, has been actively trying to move away from “conventional” synthwave for a while now. But for James Kent, I’ll make an exception.
After all, Kent’s work as Perturbator was one of my earliest exposures to synthwave. I wouldn’t be anywhere near as big a fan of this music — maybe a fan at all — if not for Dangerous Days. So even though my tastes within the genre have since shifted a bit more toward the pop end of the spectrum, I tend to listen whenever Kent drops something new — conventional or otherwise. And in the case of his latest effort, Lustful Sacraments, the listen proved to be quite an excellent one.
Synthwave is one of those genres that has become a go to for metalheads due to its horror movie kinship, its wildly creative sound and its imagery which at times can mirror some of extreme metal’s most enduring gorehounds. Perturbator and James Kent have been at the tip of this spear since Terror 404 back in 2012 and has shown more and more growth and depth on each successive album. Now, with Lustful Sacraments, the band dive further into the industrial side of the synth coin but do so in a way that doesn’t leave anything behind. Think of it as an experiment gone incredibly right.Head inside for an in depth discussion via The Nine Circles Audio Thing.
We do love exploring the transcendent and slightly out-there here on Rainbows, but that has always been the draw of this column. I’m always looking for something that no one else is doing, and with RÏCÏNN I have definitely found that. The project’s debut album Nereïd is a successful amalgamation of the widest variety of influences, and it manages to take much of what you know and expect about how music is crafted and turn it completely on its head. It’s equal parts strange, ambitious, and breathtaking, and it’s guaranteed to be unlike anything you’ve ever heard.
Best of lists are flying out like gangbusters and we’ve still got so much good stuff coming out on a weekly basis that WILL be list busters. You doubt this statement yet haven’t looked below to see what’s in store; do that.
Sentient Horror makes the best American Swedeath ever, and with their latest they do that and so much more; it’s like a geographical map of the best death metal wrapped up in one album by some talented musicians – scrumptious. For their sophomore effort, Teeth ratchet up the grind aspect of their death metal and knocks it clear out of the park, The Wraith offer up a debut that’s gotten some serious mileage here at 9C for its combination of gothy deathrock and post-punk, and the band with the most umlauts ever, Öxxö Xööx, return with another epic movement of avantgarde, experimental doom that’s a vehicle for its mastermind’s dreams – don’t be curious here, just get it. In closing, I said there would be list busters and now it’s up to you to find them…Enjoy. Continue reading →
Abigail Williams have long been a perplexing band as they never seem to settle on one particular sound. Ken Sorceron, the only constant member and band front-man, seems to go wherever the music takes him. It’s no surprise that after loving 2012’s Becoming, I didn’t like their 2015 follow up, The Accuser. So here we are in 2019 with Abigail Williams’ Walk Beyond the Dark, easily one of the most creative black metal albums I’ve heard in ages.