ALBUM REVIEW: Harakiri for the Sky - "Arson"

By: Brandon Green

Album Type: Full Length

Date Released: 16/02/2018

Label: AOP Records

“Arson” is a massive achievement for Harakiri for the Sky. They took everything that was amazing about “III: Trauma”, and turned up the intensity even higher. If you’re a fan of post-black metal, atmospheric black metal, or introspective music in general, this album is perfect for you.

“Arson” CD//DD//2LP track listing:

1). “Fire, Walk With Me”
2). “The Graves We’ve Dug”
3). “You Are The Scars”
4). “Heroin Waltz”
5). “Tomb Omnia”
6). “Stillborn”
7). “Voidgazer”
8). “Manifesto” (Graveyard Lovers cover)

The Review:  

An impressive follow-up to “III: Trauma” back in 2016, “Arson” wastes very little time throwing the listener into an aggressive, melodic, and atmospheric black metal bliss. With most of the songs clocking in over 8 minutes, Harakiri for the Sky do a wonderful job creating soundscapes that take the listener from crushingly heavy melodic sections to shoegazey piano-laden clean parts that often stick in your head for days. This album is absolutely worth spending over an hour hiking in the woods with headphones on, or staring at the ceiling. Easily contender for album of the year for me and its only February.

“Fire Walk with Me” is the first glimpse of the album. It gives the listener a medley of what we can anticipate from 2018’s “Arson”, and includes some of the best moments of what the album offers.  The track begins with an airy, beautiful keyboard intro following immediately into driving guitars.  Throughout the song there are frequent changes and pauses, which are an opportunity for us to gaze into the musical craftsmanship HKFTS want us to see. The deliberate stops in the track give the listener an opportunity to really appreciate when all of the layers merge and we experience the masterful musicianship in its entirety. Energetic guitar leads meet with passionate harsh vocals which are more of a shout than the traditional black metal scream heard in other modern black metal acts.  The vocals really give this band an extremely memorable sound in what seems to be a flooded genre these days.

“You Are the Scars” starts with a beautiful intro reminiscent of early HIM / goth rock records. Big hitting drums and guitar chords with washy shoegaze-like melodies in the background break into a beautiful clean section mid-way through the track with a “holy shit” moment as the distortion kicks back in with soaring leads and vocals. As the song builds up to its conclusion, epic blast beats push us into even more emotionally intense moments making this track one of the more special ones on “Arson”.

“Heroin Waltz” was the single I first heard before this album dropped, and it got me beyond excited for this release. As track 4 on the album, it fits perfectly. Despite the 100 times I’ve already listened to it, I couldn’t help but crank the volume again in the albums context for the 101th listen. The gorgeous clean intro with ebow guitar leads slamming into punishing blast beat drums and amazing chord structures immediately had me hooked.  The fact this song feels like a waltz with the memorable guitar melodies and 3 / 4 time signatures make this not only tragically melodic, its beyond addicting to listen to. The clean middle section and guitar leads that develop are revisited throughout song and are still constantly stuck in my head. This track really shows off what the band can do as musicians and has me coming back for more. The drumming is absolutely insane on this one.

“Tomb Omnia” was another extremely memorable track from “Arson”. As one of the shorter tracks on the album, this song does not disappoint with its heavy hitting melodic intro cutting into folky black metal blast beats and soaring screams. As another single released before the album, it’s a fantastic song placed well on the track listing. It almost feels like part 2 of “Heroin Waltz”, and this is a welcomed thing.

“Arson” is a massive achievement for Harakiri for the Sky. They took everything that was amazing about “III: Trauma”, and turned up the intensity even higher. If I were to nitpick, I would say the album does feel a little long at 1 hour and 11 minutes. Coming in around the 50-minute mark, I think “Arson” would be perfect.  Make no mistakes, the production is top notch, and the song crafting is masterful. This new release reminds me of all of the reasons I fell in love with Agalloch and Alcest separately, but combined into a powerfully emotional and personal experience. Their own interpretation of these styles fits almost too well, and they’ve invented their own sound with it that’s beyond satisfying to listen to. If you’re a fan of post-black metal, atmospheric black metal, or introspective music in general, this album is perfect for you.

“Arson” is available here

Band info: facebook

ALBUM REVIEW: In Human Form - "Opening of the Eye by Death of the I"

By Brandon Green

Album Type: Full Length

Date Released: 23/06/2017

Label: I, Voidhanger Records

The complexity of the songwriting on all of the tracks leaves the listener discovering many layers over multiple listens. This band has some serious talent, and absolutely deserves your time. A massively unique release weaving together so many influences it’s difficult to quantify them all.  This is excellent music, and I can’t wait for future releases from this band.

“Opening of the Eye by Death of the I” CD//DD track listing:

1). Le délire des negations

2). All Is Occulted by Swathes of Ego

3). Apollyon Synopsis

4). Zenith Thesis, Abbadon Hypothesis

5). Ghosts Alike

6). Through an Obstructionist's Eye

The Review:

After their first full length album in 2013, “Earthen Urn”, which was independently released, it was clear the New England outfit had an extremely unique and captivating direction for their black metal sound. Taking a more progressive approach with massively complex-yet-catchy song structures, In Human Form have mastered their craft and continue to surprise. Fast forward to 2017, In Human Form has outdone themselves with an absolutely fantastic release packed full with aggression, prog, and jazz-fueled black metal. The new album, “Opening of the Eye by the Death of the I”, is every bit as raw, introspective, and evil sounding as some of my favorite black metal records. I’ve personally lost count to how many times I’ve listened to this release.

6 tracks in length, the album is mostly constructed with three longer (~15 min) epic tracks with instrumental compositions in between. Overall, the album flows amazingly well given the extremely complicated song structures. The record has many introspective as well as meditative moments among the scorching black metal sections, and the vocal performance on these songs are impressive with Patrick Dupras’ throaty black metal screams and carefully written lyrics/patterns about mortality and mysticism. Nick Clarke’s guitar work is masterfully crafted with an amazing balance of progressive and jazz tinged compositions among the beastly black metal sections. The drum work, although frequently mid-paced, is mind-numbingly complicated and tight throughout, and the bass riffs are carefully constructed to pop and compliment everything in chaotic harmony. The nonlinear approach is highly welcomed on this release, and frankly blows my mind how In Human Form crafts their music and keeps the music paced extremely well. My favorite song is “Through an Obstructionist’s Eye”, which is the album closer.  The opening riff is massively catchy, and the song goes in so many amazing and unthinkable directions a black metal band would typically care to venture.

I’ve had the pleasure of catching In Human Form live a few times where they performed many of the tracks from the new record, and these songs are played with every bit of mastery as they were recorded. The complexity of the songwriting on all of the tracks leaves the listener discovering many layers over multiple listens. This band has some serious talent, and absolutely deserves your time. A massively unique release weaving together so many influences it’s difficult to quantify them all.  This is excellent music, and I can’t wait for future releases from this band.

“Opening of the Eye by the Death of the I” drops on June 23, 2017 on I, Voidhanger Records and is available here

FFO: Ihsahn, Enslaved, Ephel Duath, Death, Frank Zappa

Band info: bandcamp || facebook

ALBUM REVIEW: Dread Sovereign - "For Doom The Bell Tolls"

By: Brandon Green

Album Type: Full Length

Date Released: 03/03/2017

Label: Ván Records

This is a fantastic doom release for walking around in the woods when everything is dead.  This album deserves to be cranked, listened to on headphones in the dark with candles lit.

“For Doom the Bell Tolls” CD//DD//LP track listing:

1. For Doom The Bell Tolls

2. Twelve Bells Toll In Salem

3. This World Is Doomed

4. Draped In Sepulchral Fog

5. The Spines Of Saturn

6. Live Like An Angel, Die Like A Devil (Venom Cover)

The Review:

I’ve been a huge fan of Primordial for years, so when Dread Sovereign formed in 2013 (featuring Primordial vocalist Alan Averill) I was beyond excited. Their first full length, “All Hell’s Martyrs” was a fantastic doom release loaded with memorable riffs and catchy vocal melodies. When it came out in 2014, it was a frequent listen for me. Fast forward to 2017; Dublin’s doom trio have put together their second full length effort, and it’s dripping with evil atmosphere, soaring vocals, and huge riffs.

Compared to “All Hell’s Martyr’s”, “For Doom the Bell Tolls” sounds a bit more vintage and less noisy.  Fans of the occult/psychedelic doom genre may take notice and appreciate this approach more than their previous release. The album starts with an atmospheric intro loaded with bells, feedback, and then builds into the effort’s longest track “Twelve Bells Toll in Salem.” The song starts with pure Sabbath-worship riffs pushed with soaring vocals and layered psychedelic guitar leads which develop into slow bass-distorted drum/bass/vocal sections.  The sound of this track just oozes with imagery of witchcraft, occult symbolism, and appreciation for evil. Definitely my favorite from the album.

Track 3, “This World is Doomed” starts with a classic heavy metal and more upbeat feel. The vocals and guitar riffs are more traditional in song structure, but this is a welcome addition providing the listener with a doom track perfect for pushing your speakers. There’s a brief break with “Draped in Sepulchral Fog.”  A two and a half minute atmospheric song loaded with atmosphere and feedback providing a build up to “The Spines of Saturn,” which is the final original song of the record. Clocking in around 8 minutes, the track has the feel of an 80s traditional doom song with loud catchy jam sections and upbeat repeated sections with vintage synths in the background.  The vocals overall in the intro provide more texture/melody than anything but are a welcome addition to the sound. Halfway through the song, the instruments open up to massive reverb/chorus drenched vocal melodies which build to the familiar heavy sound in the beginning of the track. The album closes with a Venom cover of “Live Like an Angel, Die Like a Devil” which is a ripping track loaded with the lo-fi evil feel of the rest of the record.  They did a fantastic job with this tune, and I can only imagine how huge this would sound live.

Dread Sovereign have created another worthy addition to their discography which is their own brand of filthy lo-fi sounding doom dripping with memorable vocal melodies. My only gripe with this record is I feel like it is a little on the short side.  I think another track would have rounded this album out nicely. This is a fantastic doom release for walking around in the woods when everything is dead.  This album deserves to be cranked, listened to on headphones in the dark with candles lit.

“For Doom the Bell Tolls” is available to buy/preorder here

Band info: facebook || bandcamp

FFO: Primordial, Candlemass, (old) Ghost, Pallbearer, Crypt Sermon

ALBUM REVIEW: If These Trees Could Talk - “The Bones of a Dying World”

By Brandon Green

Album Type: Full Length

Date Released: 03/06/2016

Label: Metal Blade Records

This record is a fluid-flowing masterpiece that builds upon complex, progressive dreamscapes with brilliant artwork reminiscent of the music within. It is clear the band, although instrumental, is thematic in the sense they are making a statement regarding environmental concerns and climate change. The music feels bleak, hopeful, and wonderfully introspective.

“Bones of a Dying World” CD//DD//LP track listing:

1. Solstice
2. Swallowing Teeth
3. Earth Crawler
4. After the Smoke Clears
5. The Here and Hereafter
6. Iron Glacier
7. The Giving Tree
8. Berlin
9. One Sky Above Us

The Review:

Few bands are capable of capturing the icy and frigid atmosphere of the winter months while inspiring hearth-fire warmth in song structures and rhythm. After many listens of 2009’s “Red Forest,” I found myself frequently thinking it was a release that was hard to top, however, “Bones of a Dying World” does just that. Many people may think this release is repeated territory for the band; but this album feels like more. This record is a fluid-flowing masterpiece that builds upon complex, progressive dreamscapes with brilliant artwork reminiscent of the music within. It is clear the band, although instrumental, is thematic in the sense they are making a statement regarding environmental concerns and climate change. The music feels bleak, hopeful, and wonderfully introspective.

“Bones of a Dying World” is an hour long journey full of melody, melancholy, and cinematic post-metal. Hailing from Akron, Ohio, If These Trees Could Talk takes advantage of deep, layered sound full of reverberation and crisp guitar passages weaving in and out of the intense rhythm underneath. Overall, the album has a steady moderate pace with the majority of the songs maintaining catchy, melodic, clean guitar passages. The album also introduces a welcomed amount of distorted and heavy riffs built on top of the clean compositions, something only attainable with their trio of guitars. The group seems to stick to utilizing delay effects with long feedback trails; however, the band delivers a higher understanding of complexity by letting the effects organically enhance the amazing compositions.

The group’s strength relies on intense build up before pummeling the listener with overwhelming and hauntingly powerful riffs. Variation is a strong component of their songwriting, and can be seen throughout the compositions on the album. “Bones of a Dying World” goes by quickly, and I frequently found myself pressing play again for the ominous reverb-soaked journey. The album’s second track, “Swallowing Teeth,” heavily showcases the band’s ability to make the listener lose track of time.  The atmosphere created in their song structures make the listener frequently feel like time passes so much slower as the music sets in, filling the brain full of visions of wandering an icy lake under intense grey skies.

The drums were an interesting touch for me on this record specifically from their simplistic yet huge sound emphasized by the heavy hitting playstyle of Zack Kelly. The massive ambience created by the cymbal work added a ton of character to the guitar textures, and the careful construction of rhythms locked in with the bass really drove home some extremely heavy moments. My only slight criticism of the record is that I wish the bass was not so buried beneath the beautiful guitar work.  There were some extremely inspiring moments between the bass and drums that I wish would have shined through a little more.

The impressiveness of this record really set in during my favorite track, “Iron Glacier.” The song underneath all the ambience and build-up is immensely catchy and extremely heavy. While the performance is deliberate and borderline monstrous at times, the band throughout the album displays just the right amount of aggression. I can only imagine that a live performance from this band would not only be amazing, but could potentially be deeply personal and spiritual for many listeners of post-metal/rock. For a genre somewhat still in the infant stages, If These Trees Could Talk conducts with absolute authority and delivers a potentially timeless record. An album perfectly suited for the winter time; throw on your headphones and check this one out. They absolutely deserve your support.

“Bones of a Dying World” is available here

Band info: bandcamp || facebook

FFO: Pelican, Russian Circles, God is an Astronaut, This Will Destroy You

ALBUM REVIEW: Conclave - "Sins of the Elders"

By: Brandon Green

Album Type: Full Length

Date Released: 10/06/2016

Label: Patac Records |

Lost Apparitions

Overall, Conclave are a band you should absolutely pay attention to if you’re a fan of the stoner doom genre and love bands in the riff worship category. They bring a refreshed approach using melodic/harmonized guitars, reverb soaked leads, soaring yet aggressive vocals, and highly energized drumming. Conclave paced this release very well, and I frequently found myself having riffs stuck in my head long after listening

“Sins of the Elders” CD//CS//DD track  listing:

1). (Intro) Descend

2). Funeral Fyre

3). Black Lines

4). Cut it off

5). Mammut

6). Cold Comfort

7). Sins of the Elders

8). Kaltas (Outro)

The Review:

In a world where it seems stoner doom is king; Conclave pull off their best work to date with an anger-soaked massive riff machine. I was lucky enough to see Conclave live in Boston a few times, and they were overwhelming with their stage presence, masterful song crafting, and beastly amp setup. It’s rare that a band captures their live sound on a record, and Conclave have totally nailed with this. With each song clocking in around 7-9 minutes, this is a doom release begging to be cranked. The album invokes visions of punishment, despair, hopelessness as you wander through the tomb-like atmosphere this album creates.

“Sins of the Elders” starts off with “Descend” which sets the mood using rain samples, reverb/delay drenched clean guitars, and spoken word before tossing the listener into a dark well full of pummeling riffs. “Funeral Fyre” is loaded with powerful hits and soaring growled vocals, layered with massive sounding distortion/fuzz. Jerry’s vocals really shine on this release, giving a melodic feel to the angry shouting style seen in stoner doom. His vocals remind me of the style seen from Tom Fischer in Triptykon’s releases. It’s clear the band has a fantastic handle on the genre and introduces their own spin with more variation, catchy riffs, melodies, and killer guitar solos reminiscent of 90s era death metal.

The third track, “Black Lines,” hones in on the more stoner doom sound of the band and builds up with crushing riffs and amazing drumwork. Dan Blomquist is a fantastic drummer, and the highly creative drum riffs follow the guitar work and add an entirely new amazing layer to the song writing on this entire album. “Cut it Off” immediately reminded me of early Crowbar with the slow tempo drums and a darker more progressive approach to the Sabbath riff style. When the chorus comes into the first solo, this song quickly became one of the highlights of the album for me.

“Aethereum” stood out to me with the low spoken word vocals over the crushing doom riffs and syncopated drums. The reverb/delay drenched leads in this song make it sound particularly evil mixed with the spoken vocal style. The alternating solos on the song were a welcome addition, and showcase that Conclave are far more than your run-of-the-mill stoner doom band. I loved this vocal approach so much that I wish it was peppered into some of the other songs. “Cold Comfort” grabs the listener in anticipation with guitar feedback and overdrive bass/drums to build atmosphere before the band crushes the listener with what they do best.

The title track, “Sins of the Elders,” was my favorite of the entire release with a down-tuned melodic Iron Maiden inspired riff which invokes feelings similar to the killer album artwork. The guitar harmonies sound great and really showcase the chemistry of the band. The harsh backing vocals in this song and double bass bring a welcomed dynamic to the band’s sound. The final song, “Kaltas” brings a calming atmosphere similar to how the album started using a reverb-laced acoustic guitar and subtle cymbal hits. An excellent closer giving the listener the feeling they completed a journey back to familiar territory and conquered the welcomed horrors in the depths of “Sins of the Elders”.

Overall, Conclave are a band you should absolutely pay attention to if you’re a fan of the stoner doom genre and love bands in the riff worship category. They bring a refreshed approach using melodic/harmonized guitars, reverb soaked leads, soaring yet aggressive vocals, and highly energized drumming. Conclave paced this release very well, and I frequently found myself having riffs stuck in my head long after listening. For $10 on bandcamp, you get master-crafted doom with a full 6 panel digipak with amazing artwork completely reminiscent of how the record sounds. Throw on some headphones, and descend into the bleak punishing atmosphere of “Sins of the Elders.” I highly recommend it.

“Sins of the Elders” is available here

Band info: bandcamp

FFO: Tryptikon, Crowbar, Electric Wizard, Windhand, (early) The Sword