Showing posts with label Pilori. Show all posts
Showing posts with label Pilori. Show all posts

Saturday, 7 March 2026

Sonic Selections (((o))): 10 Essential Metal Albums released in February, 2025


 

Welcome to “Sonic Selections (((o)))” — a monthly descent through the records that have shaped my listening, defined the mood of the weeks gone by, and carved out their own space in the noise.  This is a curated reflection (based on my listening habits) on the releases that lingered, pressed themselves forward, and refused to fade into the backdrop. These are the albums that carried weight, that revealed themselves across repeated listens, and that left a tangible imprint on me throughout February.
 
Across this rotation, I clocked 1,562 streams, drawing from 87 artists, 88 new albums, and 347 new tracks, amounting to five full days of listening. The numbers may have dipped — an average of 56 streams per day, down 18%, with the weekly peak landing at 108 streams on February 11th, itself a 13% drop — yet the decline didn’t dull the impact. If anything, the quieter pace sharpened the focus, allowing certain records to rise with clarity and insistence
 
What follows is a collection of works that held my attention through atmosphere, intent, and sheer sonic presence — releases that demonstrated resilience under scrutiny, that demanded immersion, and that ultimately became the pulse of this month’s listening.
 
Here are the recordings that shaped the week’s sonic landscape.
 
1) Converge – “Love Is Not Enough”
 
What Converge present here is the sound of a band decades into their craft, yet still utterly unwilling to become a monument to past glories. Love Is Not Enough feels like the culmination of years spent refining emotional violence into something startlingly measured. There is an unmistakable sense of purpose woven through these songs — a clarity in the way they rise and collapse, as though the band have learned to channel turmoil rather than be consumed by it. Converge have long reshaped the boundaries of heavy music, and here they do so again, not through shock or abrasion, but through the quiet confidence of artists who know the weight their music carries.
2) Eximperitus – “Meritoriousness of Equanimity”
 
This album feels like an excavation — a slow, deliberate unearthing of something ancient and unfathomably dense. Eximperitus construct their world with a steady hand, each riff carved with ritualistic focus, each passage unfolding like a text written long before modern ears learned how to listen. Beneath the suffocating weight lies a remarkable sense of order; the chaos is controlled, the momentum purposeful. It is music that demands immersion, rewarding those who surrender to its gravity with hidden intricacies and quiet revelations. A towering, enigmatic work.
3) MØL – “DREAMCRUSH”
 
With “DREAMCRUSH”, MØL continue to blur the lines between beauty and abrasion, crafting a record that seems to breathe in colour before exhaling cold shadow. There is an emotional immediacy at play — melodies that shimmer with longing, vocals that tear through the haze with raw intensity. These songs feel like fragments of memory: radiant, fleeting, and occasionally devastating. MØL guide the listener through a landscape that is both bruised and luminous, and the journey leaves its mark long after the final notes fade.
4) Shine – “Wrathcult”
 
“Wrathcult” strikes with an immediacy that borders on confrontational. Shine waste no movement, no breath, no unnecessary flourish; every moment is honed to impact. Yet beneath the bluntness lies a sense of conviction — the sound of a band who trust the power of simplicity, who understand that aggression need not be clouded by excess. These tracks barrel forward with unwavering resolve, leaving behind a trail of grit and purpose. It is a record built from discipline, momentum, and unfiltered intent.
5) Ritual Arcana – “Ritual Arcana”
 
Ritual Arcana craft music that seems suspended in a perpetual twilight, where each note lingers like incense drifting through a dimly lit chamber. Their self‑titled record unfolds slowly, shaped by a patience that draws the listener inward. It is spacious yet heavy with atmosphere, each track carrying the quiet pulse of something unseen but deeply felt. There is a sense of ritual — a deliberate cleansing of emotion through sound and silence. This is not music that demands attention; it quietly earns it, inviting you to sit within its shadows and listen.
6) Poppy – “Empty Hands”
 
With “Empty Hands”, Poppy steps forward as an artist unafraid to reshape her skin once again. What emerges is a record of clarity and re‑definition — a distillation rather than an expansion. These songs move with purpose, their edges still sharp but their centre more grounded, revealing a maturity in both tone and intent. There is a quiet confidence throughout, as though she has stripped away the noise to reveal something more vulnerable and sincere. A graceful, compelling reinvention.
7) Embittered – “Archatron”
 
“Archatron” feels like a descent — a slow, oppressive drift into a world sculpted from shadow and ritual. Embittered’s debut moves with an almost ceremonial patience, each riff rising like smoke from a long‑forgotten altar. The two‑part “Archatron” suite anchors the journey, a pair of sprawling movements that radiate cold purpose and atmospheric weight. This is blackened death metal that sees no need to rush; instead it smothers, surrounds, and eventually consumes. A stark, commanding first offering.
8) Shields – “Death Connection”
 
Shields deliver a record that feels polished yet heartfelt, a modern metalcore release shaped by hooks that soar and rhythms that strike with precision. “Death Connection” is driven by clarity — of production, of songwriting, of emotional direction. There is a sincerity beneath the sheen, a sense that the band have distilled their strengths into a series of tracks that move with both accessibility and earnest impact. It is an album that understands its purpose and fulfils it with confidence.
9) Gros Enfant Mort – “Les Sang Des Pierres”
 
This album moves like shifting earth — slow, deliberate, and charged with an underlying tension that never quite resolves. Gros Enfant Mort lean away from convention, embracing mood and atmosphere over traditional structure, and the result is music that feels both meditative and unsettling. Each track expands and contracts like breath, pulling the listener deeper into its textured emotional terrain. “Les Sang Des Pierres” is a quiet revelation: immersive, expressive, and haunting in the most understated way.
10) Fossilization – “Advent of Wounds”
 
“Advent of Wounds” is an immense and suffocating experience, the kind of death‑doom release that moves with the inevitability of encroaching night. Fossilization construct their songs from towering riffs and cavernous resonance, creating an atmosphere so dense it feels almost tactile. Yet within that heaviness lies a profound sense of mood — a slow‑burn emotional gravity that pulls the listener into its depths. It is a record built on scale, texture, and unrelenting weight, and one that lingers long after its final rumble subsides.
 


🩸 Top 10 Artists (minutes streamed): 
 
1). Converge (388 minutes)
2). Shine (344 minutes)
3). Eximperitus (339 minutes)
4). Syberia (325 Minutes)
5). Mol (295 minutes)
6). Embittered (283 minutes)
7). Fossilization (276 minutes)
8). Worm (205 minutes)
9). Urne (263 minutes)
10). Gorrch (263 minutes)
 
⚔️ Top Tracks (most streamed)
 

1). Armed for Apocalypse – “Fist Like Feathers” (17 times)
2). Converge – “Make Me Forget You” (14 times)
3). Converge – “Bad Faith” (14 times)
4). Nightmarer – “Crawl of Time” (13 times)
5). Nightmarer – “Hell Interface” (13 times)
6). Converge – “Gilded Cage” (13 times”
7). Converge – “We Were Never the Same”” (13 times)
8). Converge – “Amon Amok” (13 times)
9). Converge – “Beyond Repair” (13 times)
10). Pilori – “Lese-Majeste” (13 times)



⚔️🩸 Sonic Selections (((o)))  - February 2026  (30 biggest tracks of the month)


Sunday, 15 February 2026

PLAYLIST: 🩸 THE NEW FLESH INDEX — WEEKLY ROTATION #7 Friday, February 6th to Thursday, February 12th, 2026



 

A curated descent into the tracks that defined February 6th – February 12th: the most vital, corrosive, forward‑leaning new metal of the week, delivered with the slow, air‑starved crush of something sinking under its own mass. This rotation sinks fully into February’s churn, crawling through the filthiest new strains on offer and locking onto the sounds that bruised deepest, smothered the room, or clung like a tightening coil long after the final impact.

 
This week’s choice cuts were stripped from the following release(s)
 

Eximperitus – “Meritoriousness of Equanimity”

The gravitational centre of the entire week, streamed 90 times, making it both the top artist and the most‑played album. Its labyrinthine death metal architecture set the tone for the rotation from start to finish.

MØL “Dreamcrush”

A major presence throughout the cycle with 79 track streams, its soaring blackgaze intensity cutting through the week with relentless momentum.

Shine “Wrathcult”

With 77 streams, this release carved deep into the mid‑week sessions, its serrated edge leaving a clear mark on the week’s overall texture.

Shields “Death Connection”

Although not included in the playlist, it still landed 59 streams, becoming one of the most significant outside‑rotation forces of the week.

Nightmarer “Hell Interface”

A dense, disorienting slab that contributed 45 track streams, adding weight and atmosphere to the darker corners of the rotation.

Blacklight Holywater “Not Here Not Gone”

Another off‑playlist standout, streamed 42 times, its bleak, shadow‑drenched tone fitting seamlessly into the week’s overall mood.

Syberia – “Quan tot s'apagui”

A sweeping instrumental counterbalance with 42 streams, offering atmosphere without easing the intensity of the broader cycle.

Urne “Setting Fire to the Sky”

With 27 streams, this track added a dose of muscular, melodic heft to the week’s listening profile.

Armed for Apocalypse “Fist Like Feathers”

The most‑played individual track of the week at 17 streams, standing out as the blunt‑force highlight amid heavier full‑length rotations.

Pilori “Lèse-Majesté”

A venomous single that pulled in 15 streams, holding its own against the week’s dominant albums and adding a sharp, caustic edge to the rotation.


 
WEEKLY LISTENING REPORT — FEBRUARY 6–12
 
⚔️ Total Streams: 504 — a 32% increase, marking one of the heaviest surges in recent rotation. The bulk of that weight came from a handful of records that demanded repeat immersion, with Eximperitus and MØL in particular pulling the week into deeper, more obsessive territory.
🩸 Total Artists Streamed: 18 — down 38%, reflecting a much tighter focus. This was a week defined by fixation rather than exploration, with a small circle of bands dominating the atmosphere from start to finish.
⚔️ New Albums: 19 — a 35% drop, though still a substantial intake for a week where repeat plays carried most of the load. Even with the narrowed scope, new material continued to carve out space in the rotation.
🩸 New Tracks Streamed: 82 — down only 4%, holding nearly steady despite contraction elsewhere. Fresh tracks continued to feed the edges of the listening cycle, but the gravitational pull of a few dominant releases kept the centre of the week firmly anchored.
⚔️ Total Listening Time: 1 day, 15 hours — a 30% rise, signalling longer, more immersive sessions. Much of that time was spent locked into the dense, ritualistic weight of Eximperitus and the atmospheric punishment of Nightmarer.
🩸 Average Streams per Day: 72 — up 31%, showing consistent pressure throughout the week rather than isolated spikes. The rotation stayed heavy from start to finish.
⚔️ Most Active Day: 108 streams on February 11th — a 15% increase, standing as the week’s clear peak. This was the day where the listening pattern tipped fully into saturation.


 
⚔️ Top Artist: Eximperitus (90 individual track streams)


🩸  Top Album: Eximperitous “Meritoriousness of Equanimity” (90 track streams)


 


⚔️ Top Track: Armed for Apocalypse “Fists Like Feathers” (17 streams)



⚔️🩸 The New Flesh Index Playlist #7 (30 biggest tracks of the week)


Saturday, 17 September 2022

INTERVIEW: Rouen blackened hardcore merchants Pilori discuss their genre bending new record

Stéphane Marry (c) @pixels.story

“Hell is only a word, the reality is much worse” Event Horizon 1997

Delivering a record with the ferocity and intensity of Pilori’s sophomore Quand Bien Meme L’Enfer et le Deluge S’abbattraient sur Nous,” roughly translated as Even though Hell and the Deluge Would Fall on Us”, makes me wonder whether the band themselves, have actually visited hell and brought this record back with them.

To experience “Quand Bien Meme L’Enfer et le Deluge S’abbattraient sur Nous“in all its hellish glory, is to imagine being wrapped up in barbed wire and thrown down a hill.  Today we have invited front man Greg from Pilori to discuss how this punishing record came to be.  



SL: Hey Greg, welcome to THE SLUDGELORD!! Could you tell our readers a little about yourself, how you started playing music, leading up to the formation of your band?

 Gr. (vocals): First of all, I wanna say 'hi !' to all the readers of this. Then, we're Pilori, we come from Rouen, in Normandy (France), and we're four lads in the band. As so many and many bands, the start of Pilori is simple and not so interesting. I know my guitarist, R., for years now and one day, at the release party of his other band, The Birds End, which is instrumental post-rock, he came to see me cause he wanna play something different, something more in his black metal/death metal/crust hardcore roots. I was fucking excited about the idea to play this kind of sounds that I loved, but even more excited to play with him cause he’s a fucking good guitarist and a fucking good guy. We began to write the first tracks, we began to looking for musicians to play with us... So it was, as simple as it seems, the beginning of Pilori. Nothing more. You see : not interesting haha !

SL: For those people unfamiliar with Pilori, are there any bands on the scene past and present that you would use as a reference point to describe your band, and who or what continues to inspire you and push you to try new things?

Gr. (vocals): I think that Pilori is a sum of a lot of different bands, of a lot of different influences. I think this is our print now, our style, and it's that people often write and say about us. You can find black and death influences, blend with some grind, chaotic and crust influences. So, I could tell about bands like Napalm Death, Entombed, Cannibal Corpse, Deicide, Morbid Angel, Angelcorpse, Immortal, Watain, Rotten Sound, Darkthrone, Nails, Full of Hell, Gaza, Cult Leader... For the most recent stuffs, and also more local cause they're french, I wanna also talk about Fange, Mourir, Plebeian Grandstand, Celeste...


I just talk about bands from the scene that we really like, cause we aren't listen just extreme music. For example, I'm a huge listener of post-punk shit and there are a lot of bands who inspired me in this kind of sounds. It's the same for the other members. I really think that the other genres are opening us to new sounds and allows us to try new things.



SL: What can you tell us about your latest record “Quand Bien Même L'Enfer et le Déluge S'abattraient sur Nous” and where do you feel it sits within the context of your local scene and the wider metal scene as a whole?

Gr. (vocals) : I can tell you something simple and very cliché : we're fucking proud of it ! But I mean it a lot! When you read many interviews of many bands, especially mainstream bands, they're still proud of their new album even if it sounds like shit compared to the oldest. But it's just some promotion talks. Corey Taylor is a specialist of it, but who really think that Slipknot's new records are better than the first ones? Anyway, we're so proud of this second LP, we're proud of our writing process, of the production, the way it sounds, ‘cause we worked a lot on it, even harder than we worked on “À Nos Morts”. On our first record, nobody expecting us, and even us we don't know what we can expect. We just wanna made a LP, period. Nothing more, nothing less. For this new one, we want more haha ! We knew ourselves better, what we want to do, what we can do, and we prepare it the most that we can do. I also think that we find our own sound, our “Pilori style”, and we assume it more.

Personally, there are plenty of songs in this album that I really really like, that I like to listen to, that I like to play. I like my own voice, what I've done, which is not always the case, even if I still think that here or here I could do more, I could bo better... Regarding our local scene, in Rouen, I think that no one does the same sound or the same style as us. I also think this is real for the French scene in general. We're pretty unique haha !!! But I don't like comparison, competition, so I'll stop it right now.

SL: What was the writing and rehearsal process like for your album

Gr. (vocals): Our first LP, “À Nos Morts”, was released in May 2020, during the Covid pandemic. So we were in a dynamic, we wanna make things, and in the meantime we were very frustrated, but not resigned. We try our best to take all the opportunities to play and tour when it was possible, and we also have some times to keep writing songs with the curfew or lockdown. This first album was very well-received, so it motivated us a lot. We took this dynamic and this frustration, and, in addition to “classic” rehearsals, two times we rent an Airbnb in the Normandy countryside, in the middle of nowhere, and lock ourselves during days, to write this new album. We just played music all day long between us. After that, we keep writing and make the song arrangements from home cause it's very easy now, all the new technologies allowed it.


 

SL: What stands out as your overarching memory from the recording sessions?
 
Gr. (vocals): A lot of positive things. Really. Even if I try hard, I can't remember something negative. We were very well-prepared, we made demo of each song, we went a lot in rehearsals, and we recorded in a place that we know by heart with a guy who know us by heart (La Gare aux Musiques with Bertrand Lebourgeois, at 30 kms of Rouen). When we made our first album, we were less prepared, and, except for the drum parts, we done it in some kind of DIY spirit, ‘cause we recorded it ourselves in the super tiny home studio of our former bassist.
 
For this new record, we took more times, in a “real” studio with better stuffs, better materials, and a “real” sound guy. Everything was easier, and every one of us was super excited to play and record his parts. If I could keep just one memory, I would say the first day of guitar takes. When my drummer, my bass player and me came at the studio, our guitarist was already there and has already prepared all his stuffs with our sound guy. There were 4 cabinets with 4 amp heads and a ton of pedals around, and nearly ten mics to record all this shit. I can easily remember the smile on all our faces, and the excitation that we all felt at the moment where we started recording the guitar and when we heard that crazy sound.
 
SL: Does anything spring to mind when you think about the completion of your new album and with than in mind, how is the mood in the camp at present?

Gr. (vocals): In our camp, the mood is always good, always positive! I think that is why the things goes so well for Pilori : I've the huge chance to work with great dudes who are great friends, they all have a good mentality, a good state of mind. I'm serious, I mean it, this is the best line-up and the best people to work with. So, the mood is offensive now: we wanna do things, play a lot, defend this album anywhere and everywhere !


SL: There is often very little focus given to the album artwork, which for me is an integral part of the record, can you tell us a little about the artist, how the artwork come to fruition and your thoughts on the completed piece?  Perhaps tell us about some of your own favourite album covers?
 
Gr. (vocals): The artwork was made by an Indonesian artist, Jois Cabe. He's also the guy behind our first album cover. It's an amazing artist and a great dude, it was a real pleasure to work with him again. I've just gave him the name of the album, the meaning of it, and he can do whatever he want and feel. Our talks and exchanges were good, he quickly understood the point. Like you, the visuals are an important part of an album for me, and I really think that this artwork is the perfect fit for this album. We're very proud of it, really, we find it awesome, more than expected! And we've very good feedback on it.
To talk about my favorite album covers, I just wanna say that I've always loved covers without artist names. When you have just an artwork, a visual, and no other infos. I always found it great, that's why we do it with Pilori haha!
 
SL: With your new record completed, what are you planning as far as shows in the near future?
 
Gr. (vocals): We plan to do a lot of shows cause we love playing and touring so much. Be on the road, it's one of the thing we like the most. So it's the plan: play as much as possible, anywhere. Till the end of 2022, we already have 19 shows scheduled, in Germany, Belgium, Czech Republic, Hungary, Austria, Slovenia, Croatia, and for sure, in France. Some shows and tour are also already booked for 2023. And, when we'll be tired about playing and touring, we'll do a new album !
 
SL: Finally, do you have any last words?
 
Gr. (vocals): Thanks to you for your interest, thanks to everyone who's reading this, thanks to everyone who support us in any way.  And don't forget to support your local scene and independent/underground bands. Go to the shows in the tiny club of your city, buy some merch, and keep listening to all the underground scene. It's always a thug time for this scene, and it's always getting worse and worse. So many independent venues are closing...
 
The End.

Band info: piloriband

Thursday, 15 September 2022

ALBUM REVIEW: Pilori, “Quand Bien Meme L’Enfer et le Deluge S’abbattraient sur Nous”

By: Richard Maw
 
Album Type: Full Length
Date Released: 26/08/2022
Label: 7 degrees | Abyssal Cvlt | Bad Moon Rising |
Black Omega Recordings | Black Terror Distro | BRC-30
Coups de Couteau | Hecatombe Records | Itawak Records |
Black Omega Recordings | Black Terror Distro | BRC-30
Coups de Couteau | Hecatombe Records | Itawak Records |
Loner Cult | Sleepy Dog Records | Terrain Vague | Ugly & Proud Records |
Wrecking Crew Records |Total Dissonance Worship



 
 
“Quand Bien Meme L’Enfer et le Deluge S’abbattraient sur Nous” CD//CS/DD//LP  track listing:
 
1. De Guerre Lasse
2. Meurtrière
3. Entre Chien Et Loup (feat. Gabriel Dubko from Implore)
4. Maelström
5. Quand Bien Même L'Enfer...
6. Une Livre De Chair
7. Où Gisent Les Ancres
8. Au Prix De Tous Les Sacrifices
9. En Haut Des Cimes
10. ...Et Le Déluge
 
The Review:

Clearly, these French blackened crust/death/grind merchants are not trying to be as accessible as possible to non-French speakers; the titles are stretching my GCSE level of French well beyond its meagre limits. Regardless of language barriers, this is furious and ferocious stuff. There is a post metal element to their sound with dissonant guitar work rearing up now and again. The bass tone is suitably grimy, the drums thrash, blast and roll with admirable aggression and the whole experience is one of being wrapped in barbed wire and thrown down a (French) hill, perhaps landing in the moat of a chateau at the bottom.
 
The album has the speed and power to mix it with any band booked for the smaller stages at Damnation festival and the record rattles by at a fair clip. The band do what they do extremely well with real grind elements mixing with a very blackened feel, “Maelstrom” (that one I can understand!) is exactly like the title implies while elsewhere the band mixes hardcore, black metal, grindcore, post metal and punk elements to concoct a heady mixture that works.
 
It's an exhausting listen and one for fans of genre blending bands. The band are active and gigging in France- perhaps they will make the trip across from Rouen to the UK? I’m confident that everyone from crust punks to black metal fans would enjoy this both on record and in the live arena. Frightening stuff.
 
“Quand Bien Meme L’Enfer et le Deluge S’abbattraient sur Nous” is available HERE 

Band info: piloriband