Emptiness - “Digging the Sky”
Emptiness is an extremely odd combination of all of the genres that make up my regular catalog of to-listen releases - the guitars are clean and shoe-gazing-ly atmospheric, the vocals are destructive and experimental, and the overall sound goes between sad doom metal and a more realized version of early 2000s gothic rock. This record is fittingly produced by Jeordie White, of Marilyn Manson fame, and Sean Beavan, who has recorded with NIN, Marilyn Manson, and Kindneythieves. Each song is unique and very odd - the vocal delivery is generally the same, but still unique against the strange landscape of each track as it passes through many styles and influences.
Emptiness is an experimental band from Brussels.
Apocryphal Throne - “Triumph Over the Backs of the Downtrodden”
Apocryphal Throne, a new project that I hope Chase Dobson will continue making new releases for every year until the day he dies, is an apt meditation in modern atmospheric metal (not entirely black metal, not entirely doom metal, but a good combination of many types). The influences are vast and wonderful, the production is clean, and it is presented within a snowy, winter landscape. This album proves to me that Chase is a talented and inspirational musician - taking a genre that is not his current medium and just running with it is not an easy thing to do, but The Day of Our Demise proves that he very much can. It is presented without vocals but you almost don’t notice because the segments of the songs flow well enough together to create the bigger structure of the songs.
Apocryphal Throne is the solo project of Chase Dobson, who has also released IDM stuff I guess (C.DB.SN released one album on the now defunct Tympanik Audio label that is also very good, and you should check out).
Avi is a former blogger and musician who lives in Washington and is awesome!
Ştiu Nu Ştiu - “October”
The majority of post-rock/metal/gaze fails me on two main principles. Firstly, despite the promise of grandiosity and bombast, the style so rarely achieves true heaviness; for all the bands that set their sights on the mountaintop, very few manage to cross over to the other side. Second, and most importantly, the standard template of build and release remains a poor stand-in for actual songcraft, even when augmented by an armada of effects pedals. Sweden's Ştiu Nu Ştiu defies the status quo by deploying actual riffs and composition, engineering the toms to thunder like timpani and by not shying away from dual guitar heroics that would make the Scorpions proud. The traditional hallmarks of the genre remain at the core, but fold in Billie Lindahl’s fragile, alien vocals and a predilection for chaos and noise over orchestrated soundscapes and the result exceeds far beyond all the usual expectations. The final coda of “October” is the grand highlight, a superb and glorious din and by far one of the most triumphant moments of music in recent memory.
Brant is the mastermind behind all of my favorite projects and an Audiotrauma label mate!
Dolor - “Zero Dead Channel”
After heavily listening to Dolor’s album, Gun City, throughout all of last year (and SISTER the year before), I was extremely excited to learn that he’d be kicking of 2017 with a new album as well. Dropped somewhat unceremoniously on January 4th, the new album includes some interesting changes to Dolor’s sound palette. Bridging from his usual hazy, dusk-hour electronics, Ruby delivers the listener into rich, acidic sunsets and synthetic soundscapes in a way that seems perhaps a bit more self-indulgent than has been previously expressed through Dolor’s work. This doesn’t deter in any way from the album’s great qualities though - to the contrary, as many long-time fans will be more than happy to allow for the notoriously private artist to reflect on his more personal musings. To that end, the inclusion of the description, “this one’s for me,” is an appropriate sentiment to forgive the album’s more exorbitant synth explorations (especially as on the twelve minute ‘Reppin, Reppin’’).
One of the immediate and recognizable changes to Dolor’s production is the absence of engineering by his oft-collaborator, Lorn. For those familiar with Lorn’s specific sonic qualities, his absence will quickly explain the change in tone of this album from Dolor’s previous releases. It’s a bit unfair to place so much responsibility on Lorn’s involvement, but could also point to a specific stylistic decision made by Dolor in distancing himself from Lorn on this particular album. Either way, despite its departures, Ruby still maintains plenty of the unique traits that characterize Dolor’s music and will definitely satisfy his long-time fans. The track ‘Zero Dead Channel’ is a perfect example of prime Dolor material - saturated synth-work, beautifully distant percussive elements, and haunting leads.
Ruby may not evoke the same lush nostalgia as previous releases, but it’s an incredible way to start of the new year and stands strong in maintaining Dolor as an absolute favorite of mine. I’m excited to hear him explore new ideas and look forward to listening to this through the rest of 2017 (and on).