1. // Dödsrit – Nocturnal Will (Wolves of Hades)
Nocturnal Will is the fourth release from the masters of melodic Black-Metal. Originally a purely studio based solo project from ex Totem Skin multi-instrumentalist Christopher Oster, the Swedish musician created two fine releases – Dödsrit (2017) and Spirit Crusher (2018) – which were both superbly crafted and captured the attention of the Black Metal scene, both in Europe and the US.
In 2018 Oster developed his project into a full band, bringing the Amsterdam based Wolves of Hades label boss and Destructo frontman Georgios Maxouris in to join him on vocals and guitar, as well as Destructo bassist Joelle Soolsma and drummer Brendan Duffy. The resulting release – Mortal Coil (2021) – was another record of the highest quality, matching the standards of the music that came before, while propelling Dödsrit into becoming a fully functioning live band.
Nocturnal Will picks right up where they left off and might just be Dödsrit’s finest release, as the songwriting combination of Oster and Maxouris has had time to gel and develop – both in the studio and on the stage. ‘Irjala’ kicks things off and sets a frenetic pace as well as a ridiculously high standard from the get go. The song provides an intriguing blend of fast and hypnotic atmospheric Black Metal, with influences of classic Heavy Metal and even Punk within some of the riffing – a staple of the Dödsrit sound.
This is emotionally charged music of the highest quality, a sound we had already come to expect from the two equally as impressive pre release songs – ‘Nocturnal Fire’ and ‘Celestial Will.’ The album provides a mid-point break with the acoustic interlude of ‘Ember and Ash,’ and the slower paced instrumental ‘Utmed Gyllberhens Stig.’ Before bringing back the energy full throttle on ‘As Death Comes Reaping,’ a perfectly executed masterclass of the genre from Dödsrit. KZ
2. // Mountain Caller – Chronicle II: Hypergenesis (Church Road Records)
Second full length album from London based trio Mountain Caller, and their first for Church Road Records. And if Chronicle I: The Truthseeker (2020) laid the groundwork for what this band are capable of, then Chronicle II: Hypergenesis impressively expands their musical ideology. This three-piece are one hell of a tight unit, creating for the most part an instrumental Post-Metal journey of sound, seemingly inspired by the likes of Russian Circles, Pelican and Mogwai, merged with a Progressive / Stoner influence.
Opening with ‘Daybreak’ – a short melodic intro bursts into life with crunching guitars and a beautifully warm tone. There is a psychedelic Mastodon vibe to one of the lead hooks, and an overall maturity to the progression and arrangement of the composition. Which masterfully ebbs and flows with all three instruments playing their part, in providing a thoroughly hypnotic listening experience.
There is also a classic rock feel to many of the chord progressions with both Sabbath and Zeppelin noticeably present. While also somewhat of a grunge influence, specifically with the guitar often taking on the feel and sound of Soundgarden’s Kim Thayil. ‘Dead Language’ introduces a melodic Jazz vibe to the intro, while also providing the serene Folk-like clean singing of bassist El Reeve. While her pulsating bassline during a meandering instrumental section hits like something from Oceanic era Isis.
‘Into The Hazel Woods’ introduces a sumptuous guitar solo from Claire Simson, with a delicious wah-heavy Blues soaked tone. ‘March of the Göll’ is wonderfully sludgy and infinitely infectious, while the epic 8 min plus closing title track is intricately arranged, and illustrates the band at their height of their complex progressive experimentation. KZ
3. // Kollapse – AR (Fysisk Format Records)
Hailing from Denmark, this Sludge heavy Post-Metal three-piece released their debut album Sult on Fysisk Format in 2021, and absolutely caught the attention of those in the know. AR arrives with the band in fine form, with the base of a solid reputation to build on. And the record delivers from the opening bars of intro ‘R’ where the vocals of guitarist Peter Clement Lund and bassist Thomas Martin Hansen duel with aggression over a distorted bass.
First song proper ‘Autofagia’ opens with an atmospheric guitar lead before the slow dirge of the bass-heavy rhythm section drop along with the rasping vocal style. There is an infectious stop-start rhythm at times, strong lead hooks and a chugging section that can be best described as Post-Groove Metal.
The blend of Noise, Post-Hardcore and Sludge on ‘Død’ draws comparisons with the likes of Ken Mode, and it is a abundantly clear that this is a slower example of heavy music which is of the upmost quality. The longest track at 8 min 30 seconds is ‘Dekomposition’ – where the arrangement allows Kollapse to experiment with changes in pace, where they show a more hectic Converge – esq style at times.
A comparison also prevalent on ‘Kokon’ where the guitars specifically have a strong Kurt Ballou edge to them. The album ends with the very cool Prog-Sludge of ‘Tramsformation’ – a strong finish to a very consistent record. Lyrically dealing with a myriad of issues dealt with by the human psyche, AR (translated as ‘Scars’) is an abrasive and dark, yet thoroughly absorbing assault on the senses. KZ
4. // Doodseskader – Year Two (45 Incorporated)
Doodseskader (‘Death Squad’) are an intriguing and unique duo, who create music really like no other. The band fall within Belgium’s Church Of Ra collective of artists, by way of Amenra’s Tim De Geiter, the Much Luv Studio wizard and multi-instrumentalist who creates the warped magic alongside Sigfried Burroughs (Kapitan Korsakov).
This is pure experimental Metal, entwined with an obscure Electronica in a wholly unique way. The record opens with ‘Pastel Prison’ – where isolated break-beats are soon joined by a deep and ominous bass. The atmospheric clean singing is very Trent Reznor (NIN) esq, while crunching distorted guitars hit for the chorus along side tortured screaming. An aggression that contrasts the dark with the light, like an evil sounding industrial Sleep Token.
‘The Sheer Horror Of The Human Condition’ is arranged very unconventionally, almost purposefully messy with moments of thumping electronica. While ‘Innocence (An Offering)’ provides a down-tuned and sludgy early Korn style to the opening riff, and features the menacingly dark lyric; “You’ll be waiting at the end of this rope.” ‘Bone Pipe’ is pure electronic Doom, while ‘Peine’ is a little more melodic – with a distinct Dark-Wave influence.
‘Future Perfect (A Promise)’ is darkly poetic and a little Billy Corgan (Smashing Pumpkins) esq in the vocals, while ‘Secrets Make Lonely’ again draws comparisons with Nine Inch Nails, before a squelching heavy Bass drops with the chorus – and the vocals take on more of a distinct snarl! ‘I Ask With My Mouth, I’ll Take With My Fist’ blends a 1994 era NIN and Korn, before descending into electronic / screamo chaos, and the crazy album climaxes with ‘People Have Poisoned My Mind To A Point Where I Can No Longer Function’ – with Grime / Hip Hop vocals and a sinister sounding synth, which drops like a Slasher movie score! KZ
5. // Bipolar Architecture – Metaphysisize (Pelagic Records)
Metaphysicize is the second LP from the Berlin based Bipolar Architecture, and follows debut Depressionland which dropped in 2022 – after they formed from the ashes of the Death-Metal band Heretic Soul. And this is one hell of a follow up effort, exquisitely produced with a tone that perfectly conveys their blend of Post-Metal with futuristic DJent poly-rhythms.
The title track softly opens the release with an isolated guitar that slowly builds the tension. A tremelo lead provides a melodic Post-Metal style before the song kicks in with the rasping vocals of singer / guitarist Sarp Keski – while the complex and intricate drumming of Fathi Kamil helps build the exquisite atmosphere. The music of Bipolar Architecture is heavy but full of melodic emotion, and ‘Dissilusioned’ comes across in an aggressive Tool style, mixed with Blackened Post-Metal.
‘Death of the Architect’ beautifully ebbs and flows – a powerful song with driving energy, featuring an emotional instrumental section. ‘Kaygi’ begins in a slow-burning Post-Rock style, softly meandering while guitar parts loop in a Russian Circles fashion – before building into a robotic & mechanical Meshuggah style.
While ‘Alienated’ flys out of the traps hard and fast with full on abrasive aggression. ‘Immor(t)al’ begins with another beautifully composed melodic intro. Dark and melancholic before coming on heavy in a DJent style with a pulsating bassline. And ‘Dysphoria’ completes a near perfect record, as the band throw everything they have into a mesmerising climax. KZ
6. // Guiltless – Thorns (Neurot Recordings)
Anything that is worthy of being signed to Neurot Recordings is usually worth your attention. And Thorns – the debut release from Guiltless which features ex Neurosis visual artist Josh Graham on guitar and vocals, is no exception. Joining Josh are his A Storm Of Light compadres Dan Hawkins (guitars / noise) and Billy Graves (drums), as well as Intronaut bassist Sacha Dunable.
The musicians combine to create an absorbing expression of nihilistic and post-apocalyptic inspired Doom-Metal. ‘Devour Collide’ opens the EP with a haze of fuzz, and with a rolling percussion and prodding bass – which are deliciously slow and ponderous.
The guitars are down-tuned and muddy, while the vocals explore the decline of civilisation with a Kirk Windstein (Crowbar) kind of vibe – all darkly mesmerising with a touch of 90s Stoner also thrown into the mix. ‘All We Destroy’ opens with the soundscape of what sounds like a helicopter in flight, while musically evoking a distinct feeling of dread.
The instruments clatter together in a haze of cacophony, alongside a slow and Doomy riff which sits in and amongst a blur of feedback. ‘Dead Eye’ is similarly slow and dismal, dark and with a mysterious menace. The EP rounds off with ‘In Radiant Glow’ – where a thoroughly melancholic and moody intro explodes, when big guitar scrapes introduce a distorted and typically sludgy riff. KZ
Words by Abstrakt_Soul
kult-zilla.com 
Leave a comment