Album Review:  Mur — “Cut The Rivers Vein”

Heavy doom riffs, wailing clean vocals, menacing growls, sludge textures, black metal interludes, and dark acoustic folk guitar—what more could a girl want?  Mur has delivered all of these eclectic elements into the six-track album Cut The Rivers Vein and I am here for it.  Even more impressive than this combination and the music itself is the fact that it was all created by one individual.  Cam Sather is the mastermind behind Mur and his latest release is a creative cumulation of heavy Romantic-era themes, quiet folk passages, hypnotic soundscapes, and head-banging metal dramatics.

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Receiving the Evcharist: NATHR and Big Muddy Brewing Company’s Blueberry Blonde

Receiving the Evcharist 2018

Receiving the Evcharist is our weekly feature where we pair choice albums with our favorite libations.  Drink from the cup of heresy.  This week’s offerings:  NATHR‘s Beinahrúga and Big Muddy Brewing Company‘s Blueberry Blonde.

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Concert Review: Evoken and Churchburn, 3.30.2019 (and Elizabeth Colour Wheel, 3.23.2019)

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It has been an absolutely insane first quarter of 2019, specifically the last month or so, and I’m only just sitting down to revisit the half dozen or so shows I photographed the first week of April. It’s also been a minute since I actually put pen to paper (finger to keyboard?) and shared written words about any show, so stay with me while I dust off the cobwebs a bit. The absolute sprint that has been the past month really started with the Elizabeth Colour Wheel show on March 23rd, and the subsequent battle with food poisoning that made a video shoot the next day VERY awkward… but that’s a story for another day. Instead, let’s focus these specific words on the incredibly massive Evoken show at Geno’s the following week — a New England exclusive performance, if you couldn’t tell from the poster. Shall we? Continue reading

Album Review: Lycus – “Chasms”

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Following the release of their excellent 2013 debut Tempest, CA-based doom outfit Lycus quickly emerged as a serious contender in the saturated field of low-and-slow bands from the West Coast. They return this year with their sophomore effort Chasms, which demonstrates a natural progression from their debut without rehashing any previous ideas and engulfs listeners in a tidal wave of doom with occasional throttles of swirling blackened chaos. With the band raising the bar on every aspect of their sound —dynamic songwriting, rock-solid performances, and a production fitting the massive scope of their sound—Chasms has a perfect quotient of orthodoxy to inventiveness.  Continue reading

Retrospective: Mournful Congregation – “The Monad of Creation”

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More than anything, I’ve always known music to be a healing force: Music has helped me accept and cope with loss, anxiety, and tragedy at any given time in my life and has been the glue that held fragile me together when adversity reared its head. There are certain songs or albums that I find it difficult to return to at times because of the memories they pull back to the surface, and others yet that continue to gain new meaning upon subsequent listens during changing circumstances. Then there are albums that seem to root themselves in my cortex and are there no matter the changes that life brings or the passing of seasons; they become so infused into how I listen to music that they become, whether consciously or subconsciously, the standard by which I judge other pieces of music. Mournful Congregation‘s 2005 album The Monad of Creation falls into this category, and aside from that, may well be the textbook as well as the modus operandi album for doom metal in the 21st century. Continue reading