Gnaw Their Tongues and Crowhurst – Burning Ad Infinitum (2018)

Bandcamp

• Post-industrial 
• Avant-metal 
• Black metal 
• Death industrial 
• Noisecore 
• Abstract 
• Power electronics 
• Grindcore

Comment: this collaborative act between two cult one-man-projects (of a very prolific extent by Maurice de Jong, and Jay Gambit, respectively) obviously seem to base on the storm and stress effect. Intense greyish and blackened noises, painful drones juxtaposed to merciless screeches and indecipherable chaotic nuts imbued with an endless pool of desperation do externalise an overwhelming issue being very far away from the borders of mainstream music. I can not fancy it otherwise but a perverse dream to ruin the mood of contemporary half-fledged soul(less), rap and poptronica stars. On the other side, some black metal artists are emblematic of having ridiculous credibility (let's pass without names at the time). This cannot be attributed to the current issue of making up a trajectory from deadly industrial drones and disorienting black noise to be loaded with high voltage to more contoured, even noble-minded black metal boasts to trudge to the area of hardcore, grind and noisecore mixed noodling. A kind of sway from earthly matters to heavenly matters. Could you imagine the sound of your domestic refrigerator is magnified up to 50 or even 100 times by showcasing (mostly unpleasant) sounds you haven't heard before? It seems to the listener it is the case at times. Last but not least I am being impressed by the visual aesthetic of the aforementioned harsh styles. The one is not an exception by providing warning ideas of impending doom. It is an example of ominous religious music at its very core by my humble opinion. It is a case as embarrasing as watching for hours the mostly religious works of painters from the Middle Ages and Early Modern Europe (the experience I have had at Museo del Prado in the capital of Spain). In a word, let's take more responsibility and act reasonably as much as it is temporally given to all of us. That may be an ethical point of the issue. Fairly pro.

Absent Fever Presents Woman Was The Word

Absent Fever
Mediafire

9.3

/Electronic pop, Indie pop, Chillwave, Soul, Singer-songwriter, Indie folk, Dream pop, Folk indie, Dream folk, Conceptual/

Comment: This is a seamless project between female bloggers and musicians purposed to pay tribute to the women involved in the cultural realm. Three remarkable female bloggers were asked to write pieces, poetry, stories, about anything that made them feel inspired to put pen to paper. Here are 3 tracks, the first of them, Elisabeth`s Rose Throw Me To The West (inspired by East to West) starts out with a snippet from the ancient, 1920`s jazz-influenced pop music which soon gets developed into an electronic-induced soulful brand. Rachel Levy`s Pierced (inspired by Heavy Percussion) and Yohuna & Adelyn Rose`s All The Slow Songs (Waiting) (inspired by Friends With Both Arms) are used to be catchy, dream-alike folk-ish notches, however, representing the indie (folk) music sphere at the highest level.

Sinweldi-Front Sonore & les Chevaliers de l'Ordre Noir (La Caverne Du Dragon)

Plaadifirma La Caverne Du Dragon`i üllitis hõlmab 5 projekti (Front Sonore, Militia Dei ja Sinweldi Prantsusmaalt ning Gabe Unruh ja Art Abscon Saksamaalt) kokku 12 träkil. Õieti võiks seda helikandjat nimetada ka Sinweldi koostööalbumiks (v.a kaks originaallugu pluss paar remiksi) teiste projektidega. Seetõttu domineeribki siin peaasjalikult prantsuskeelne neofolk/dark folk, mida ümbritsevad sõjaindustriaalmuusika, dark synthpop/industrial, loomulikud helid, darkwave, mana. Ebastatsionaarsuste sekka liigituvad parmupill ning akordion. Ritualistlik ning esoteeriline õhkkond. Luuakse sildu möödunud sajandite sõjaperioodidega ning õhatakse “puhta” ning “tõelise” Euroopa järele. Põhirõhk on Sineweld`i-Front Sonore koostööl. Sellest hoolimata pean väljapaistvaimaks helindiks Gabe Unruh`i remiksi loost The True Color of the Wind.

Kuula albumit siit

8.6