by Oliver Sheppard Portland doom metal band Atriarch have taken a gothic turn since their split earlier this year with San Francisco’s Alaric. Although still solidly anchored to a doom metal-y rhythm section — complete with ponderous, stomping drums and trudging bass guitar — on the band’s new LP, Ritual
Now signed with Nuclear War Now, Oregon underground enigma Knelt Rote has all but moved away from their grindcore origins and into pastures more akin to the death metal and black metal that is often associated with the label. Last album Insignificance went a long in bridging the gap to
To the uninitiated, Beithíoch (meaning beast in Irish, an appropriate name if there was one), is a warped black metal project with branches into death and doom, all resonated from a not so specific location in the “north west” of Ireland. Maintaining much of the mystery and sometimes peculiar anonymity
As 2012 is nearing its end, it begs the classic question – where does the time go? Once again another year chock full of albums to lose yourselves in and while the end is near, we still haven’t reached the edge yet, proven by the arrival of another of the
by Oliver Sheppard It was the kind of nervousness you get before a big job interview. Killing Joke frontman Jaz Coleman was spending the morning taking phone interviews from music journalists in advance of the October 30th US release of Killing Joke’s fifteenth album, the apocalyptic MMXII, on Spinefarm Records.
King Dude’s third LP, Burning Daylight, recently came out on Dais Records, continuing the one man project’s exploration of dark, eerily psychedelic, low-fi, Americana-tinged folk music. King Dude — whose name, as I’ve said before, is a little too close to something like “Kid Rock” for me (but that, as