After several releases of lengthy, heavy chamber metal pieces featuring a dazzling array of talent from all over the musical spectrum Wrekmeister Harmonies strip back to basics for their latest album The Alone Rush. The results see them playing hard against their own strengths, with unfortunately predictable results.
Spoken word artist Matt Finney, industrial noise wizard Austin Gaines and synth-shaman Jeff McLeod combine to conjure up sonic demons on one of the most disturbing records you’re likely to hear.
Ontario doom/sludge/noise mongers Vile Creature are among the most promising acts in the genre at the moment, combining pleasingly think riffery with the kind of ambition and creativity the genre is sorely lacking. Their new record is a sci-fi concept album complete with an accompanying short story, the work of a band aiming for the stars even though their engines aren’t quite up to the task of getting them there just yet.
Ore is a ‘tuba doom’ album. Which sounds ludicrous, and thankfully the label doesn’t nearly do it justice – half an intimate, solo meditation on loss from sole member Sam Underwood, playing tuba and accompanying himself with such lo-fi things as drumming on Ikea shelves, half a series of frequently surprising collaborations with a variety of different instrumentalists, Belatedly is a tricky record to categorise. But whatever you want to call it it’s a gem of a record.
For Ghold’s first release on London record store Crypt of the Wizard’s label the doom/sludge-meisters retired to a church with a stripped back set up for a more experimental recording session. The results aren’t entirely consistent but have some fine moments.
Post-metal and ambient/drone aren’t genres which you would think could easily co-exist. Charnia have a good go at splicing them together on Het Laatste Licht (The Last Light) and whilst they don’t quite manage to square that circle they still find some interesting and fertile ground for experimentation.
The new Godflesh album and to a certain extent the latest collaboration between The Body & Full of Hell suggest that there’s a surprising amount of life left in the idea of industrial metal in this foul year of our lord 2017. But the darkest and most disturbing, not to mention best, example of this has been somewhat less heralded. Step forward Khost.