2015 POLL RESULTS COUNTDOWN - ILM Metal(ish) Albums of the Year

Albini had the sense to drop that schtick 30 years ago

70 False - Untitled 212 Points, 6 Votes
http://i.imgur.com/rePfNlM.jpg

https://gileadmedia.bandcamp.com/album/untitled-2015

At long last, we have the new album from the Minneapolis black metal project, False. After an Untitled EP in 2011, and a split LP with Barghest in 2012, they now return with their first proper full-length album, once again an untitled release.

Throughout the sixty-minute run time of the album, False dive deeper into the realm of visceral and relentless black metal for which they’ve become well-known. Their live sound and ferocity is finally captured here, revealing a whole new depth and darkness that has only been hinted at on previous recordings. This album is far from a simple exercise in listening, and more akin to a journey to be experienced. The works contained therein are incredibly bleak and emotionally powerful, with a long lasting impact.

This Untitled album was recorded, mixed, and mastered by Adam Tucker at Signaturetone Recording, with artwork by Nicole Sara Simpkins. It will be presented as a gatefold CD and gatefold 2LP, each pressed in a quantity of 1000. It will be available in stores on June 16, 2015, with direct pre-orders available Thursday, April 9th.

http://pitchfork.com/reviews/albums/20699-untitled/

8.0

The Minnesota sextet False have gained an impressive amount of attention from a deceptively sparse catalog. They only have two prior releases, an EP from 2012 and a 2013 split with Gilead Media labelmates Barghest, but they've impressed extreme music fans and critics alike, meaning their full-length debut Untitled arrives to uncommon anticipation. That full-length resembles other bands that fall into the category of "USBM"—there is a sense of magnitude to False's music, which is enriched with atmospheric orchestration. But they don't fall into a "more is less" problem, bogging down and overextending their tracks with unmemorable passages. With Untitled, False expand on their sound without diluting it, proving they are worthy of their promise and making good on the tantalizing glimpses of their earlier works.

The secret to the album's power is in large part to their understated approach to melody. Juxtaposing harmony and dissonance is old hat in extreme music, and especially so with the more recent successes of bands like Deafheaven or Alcest, but False presents that same contrast as a kind of musical photo negative, where melody and harmony lead naturally into entropy. Opener "Saturnalia" builds with a slow burning ferocity before exploding into a storm of discordant wails and growls, while both "The Deluge" and closer "Hedgecraft" venture close to what would undoubtedly be an easily accessible melodic hook, if they followed the impulse all the way. As it turns out, that subdued and suggestive approach to a payoff gives the record another one of its most formidable strengths.

For all the winding orchestration of Untitled (remember: there are six members in this band), moments of needless filler are rare-to-nonexistent. Considering the fact that only one of the album's five tracks falls shy of the 10-minute mark, that is a remarkable achievement. Black metal, as a subgenre, is both steeped in musical complexity and devoted to the simplicity of its form. That is, regardless of how far the music itself may spiral outside the self-imposed bounds of black metal, its fulcrum remains the straightforward blast-beat, the tremolo-driven guitars, and the interpretation of its thrash and death metal forbearers. With Untitled, False have not reinvented any forms or introduced some unchartered territory for black metal. There is plenty of wanton ugliness here, both in the scrape of the vocals and the murk of the production. But the songs also find intriguing divergent paths before returning every track to its chaotic source.

One of extreme music's most divisive and yet at once magnetic subgenres, black metal is as musically steeped in complexity as it is in the simplicity of its form. False reckon brilliantly with both halves of this equation. They have simply offered a new perspective on the shadow and light, the ugliness and beauty, that define their genre. For that reason, every outstanding minute of Untitled shines with brilliant darkness.

I bought this on bandcamp the other day because of this poll

They were amazing live.

everyone seems too busy on the other ilm poll nomination thread.

Will have to run this poll earlier next year

pitchfork's tracklist was sans metal, which has enraged everyone too much to post here obv

wouldn't expect any metal in a tracklist tbh

I'm trying to not be negative this year so only posting when I have something nice to say.

do Decibel even do one? I think Kerrang did (but obviously that was sans metal too)

lol ez i wondered why you were so quiet ;)

Also I haven't heard a lot of what's come up. Should have posted my "Hurrah for Dead to a Dying World" but I missed it at the time. But I'm glad to see my friends get some love.

missed nothing. anyone can comment on anything in the poll at any time they like.

tom usually catches up with 100-80 hen everyones on the top 20 and he still comments

plus large #s 100-81 catch-up type posts are an ilx tradition

69 Amorphis - Under The Red Cloud 214 Points, 6 Votes
http://i.imgur.com/k5OhMJB.jpg

https://open.spotify.com/album/483FjIrPjCZ7UFJ8Ey2MaV
spotify:album:483FjIrPjCZ7UFJ8Ey2MaV

http://www.angrymetalguy.com/amorphis-under-the-red-cloud-review/

Under the Red Cloud marks the 12th studio album from Finland’s grandfathers of extreme metal, the band’s sixth LP with Tomi Joutsen as vocalist and his 10th year in the band. The string of Tomi’s six records started with 2006’s Eclipse and had an absolutely epic beginning. Eclipse, Silent Waters and Skyforger showed the band’s new found drive and energy, reclaiming some of their death metal heritage, while veering further into what Nuclear Blast has fittingly labeled ‘melancholy rock.’ Unfortunately, Angry Metal Guy’s Law of Diminishing Recordings™ is a fickle mistress, and The Beginning of Times and Circle were both records that were good, but lacked the urgency of that initial trilogy. These records saw the band pushing into newer territory—heavy Jethro Tull influences bled through on the former, while Circle developed some of the band’s folky elements in cool ways. Neither album gripped me. But when Amorphis releases an album, it’s hard for me not to get excited, and upon seeing the cover art for Under the Red Cloud, all that warm anticipation came back. And fortunately, they didn’t disappoint.

Under the Red Cloud is a return to form for Amorphis, and the most cohesive album the band has released since 2009’s Skyforger. Clocking in at 50 minutes, it’s made of ten thematically cohesive tracks. The album isn’t a story though. Instead, the lyrics (written, as always, by Pekka Kainulainen) are conceptually foreboding; about living under a red cloud in troubled times. The music matches this feel, and while I wouldn’t say the album is necessarily so much heavier than previous records, it may have been influenced by the 20th Anniversary of Tales from the Thousand Lakes, because the band has certainly produced the most growl-heavy material of the Joutsen-era.

You wouldn’t notice that on the opening title track, however. “Under the Red Cloud” starts with an atmospheric piano bolstered by throbbing bass and a clean guitar in harmonic minor before merging into prime Amorphis territory: a chunky, groovy riff with Tomi’s cleans augmenting the sound perfectly. This format—the classic hard rock song-writing—is the stamp with which the band’s newer material has largely been pressed. “Sacrifice” is similar, breaking in with a “House of Sleep” intro, and a heavy, syncopated verse before giving way to a hooky chorus and a slick guitar melody. “Bad Blood” features Tomi’s growl in the verse, but it’s heavy on the groove and light on the melody before giving way to an epic chorus and beautiful bridge.

Amorphis isn’t afraid of their death metal side here. Between “The Four Wise Ones” and “Death of a King,” every single track starts with growls, and the former doesn’t feature any clean vocals from Joutsen at all—instead there’s a short bridge with a haunting, effected vocal line that evokes Elegy. “The Four Wise Ones” and “The Dark Path” both feature crescendos with a ’90s black metal feel—wet with keys and a trem-picked melodies—only undermined by Rechberger’s refusal to use blast beats and Tomi’s growls. The death-laden material works well, though moments like the verse in “Bad Blood” or “Death of a King,” which is one of the singles from Under the Red Cloud, are places where I would have chosen clean vocals rather than growls.

There is a danger, however, in Amorphis‘s modern sound, in that it’s pretty easy to fall into a rut. A fairly close listen to Under the Red Cloud reveals that the songs pretty much all follow the same structure, which when the band isn’t producing their sharpest writing can become repetitive. When the album hits its stride, though, it’s an extremely well-crafted record. From “Sacrifice” to “White Night” is a stretch of pure enjoyment—each song flowing into the next, while peaking on the final two tracks. “Tree of Ages” features a folky Celtic theme that has been stuck in my head since the first time I heard it, and “White Night” is a moody track that closes the album out with a surge.

Under the Red Cloud is a very good album and a return to form. The record simply sounds like Amorphis; the band has developed a sound that bridges the gap between their old material and the new—with plenty of moments on here that remind me of Elegy and Tuonela with sitar (“Death of a King”) or bong water keyboard solos (“Enemy at the Gates”). And it’s incredible how the band’s riffing can still be so idiosyncratic. “The Skull” and “Enemy at the Gate” have riffs you only hear in Amorphis and Barren Earth; and after 12 records they still pull them off without feeling like they’re ripping themselves off. Consistency is a virtue for big bands if they’re any good, but I think there are hints on UtRC that Amorphis could get more adventurous going forward, and I hope they do. Until that time, though, I’ll be sitting here enjoying these tunes under the red clouds.

there seem a disproportionately high number of semi-interesting BM rackets this year

not necc this

they are one of the bigger extreme metal bands, imago

not obscure enough for you to try?

68 Shining - International Blackjazz Society 214 Points, 7 Votes
http://i.imgur.com/XyOqSSn.jpg

https://open.spotify.com/album/5rvlfsiQskxsiRmct4xZ9H
spotify:album:5rvlfsiQskxsiRmct4xZ9H

http://pitchfork.com/reviews/albums/21106-international-blackjazz-society/

By Brad Nelson; October 22, 2015
7.0

On their 2010 album Blackjazz, the Norwegian jazz/prog collective Shining absorbed metal into their aesthetic, and it seemed to focus them. On earlier records the band, organized around multi-instrumentalist Jørgen Munkeby, were more elusive, but Blackjazz was an album made entirely of jagged shapes, like the irregular, violent architecture of a cliffside. It feels aggressively assembled, as if its ideas of metal and jazz were less harmonized than magnetized together. The follow-up, 2013’s One One One, reduced them into an atomically unstable industrial rock band. While thrilling, the album could have the remoteness of a formal exercise.

International Blackjazz Society sounds like a compression of these two approaches, but it evolves into something distinct as you listen. Unlike One One One, the songs here don’t simply accelerate until they expire. There’s more space in the arrangements, and the songs expand into the room they’re afforded. Some of this shift can be credited to new drummer Tobias Ørnes Andersen, who plays industrial music with more patience and tension than previous drummer and founding Shining member Torstein Lofthus. "Thousand Eyes" feels like stoner metal, of all things; the riff is a little more drunk than the band usually allows. "House of Warship" is free jazz, which is actually new territory for Shining; even their freest moments on previous records seemed premeditated, a kind of organized collapse. Whenever Munkeby plays saxophone on International Blackjazz Society the songs sound as if they’re sprouting fractals.

Still, even as the band relaxes into new atmospheres there’s an extreme, ascetic discipline on display. The architecture of their music is modernist, a series of inelastic and inorganic shapes colliding with the velocity of a distant level of "Tetris". On International Blackjazz Society’s final track, "Need", you can feel this refined performance begin to rupture. It’s as unhinged as it is straightforward; as it acquires mass in the choruses it seems to list off the ground into some new, uncertain gravity. For all the blur and motion of their music, this hint of deeper chaos might be the album's most exciting moment.

this record is good but i wanted more from it. miss old shining

also not to pretend i know anything about drumming but i like their new drummer way less than their old drummer

that sulphur aeon record is the shit though

I too miss old Shining

I remember when Shining placing used to get you lot excited

67 Tyranny - Aeons in Tectonic Interment 220 Points, 7 Votes
http://i.imgur.com/6NiVfTi.jpg

https://darkdescentrecords.bandcamp.com/album/aeons-in-tectonic-interment
TYRANNY -- featuring within its ranks current and former members of Corpsessed and Wormphlegm among others -- will unleash their first new studio offering in a decade this Fall via Dark Descent Records. Titled Aeons In Tectonic Interment, the record offers up five diseased psalms of slow, tortured, epically bowel-rupturing grimness. Composed, performed and tracked by members Matti Mäkelä and Lauri Lindqvist with additional percussion by Jussi-Pekka Manner and mastered by D. Lowndes at Resonance Sound Studio (Absu, Pallbearer, Profetus, Sigh, Wodensthrone etc.), Aeons In Tectonic Interment is at once spiritual and ill-omened; a fifty-one-minute soul-searing sound apocalypse where misanthropy, suffering and imminent ruin become one achieving purification through sonic decay.

http://www.metalinjection.net/reviews/album-review-tyranny-aeons-in-tectonic-interment

I once heard funeral doom as a genre that can be measured in beats per hour. I don't disagree, for the most part. The down trodden, doomy slowdown the last few years have seen has been something of a breath of fresh air. But one that also crowds the lungs and verges on breaking the rib cage. Tyranny, however, come from a time when doom wasn't all the slow pitched, stoned out rage it is today.

With track record of playing about as fast as they release albums, Tyranny don't have much to answer to in terms of a discography (specifically, an EP and an LP). It's been ten years since the Lahti, Finland duo broke ashore with Tides of Awakening. And their crushing, slow-as-hell approach hasn't changed much as they've moved, albeit slowly, into Aeons in Tectonic Interment.

Aeons in Tectonic Interment as a title certainly represents the album well. For one, it has been, again, ten years. And ten years ago I was twenty and in college. That does seem like at least fucking aeon ago. Concerning tectonics, Tyranny are heavy, crushing bastards when they play. And not dispensing with the Lovecrafian feel that the band has carried, this is a release that solidifies what Tides of Awakening set up. Though the production has been significantly cleaned up, much of everything else remains the same.

If you're new or a bit unfamiliar with funeral doom here's a tidbit: the genre is far more focused around mood and slow tempos. And if a band can't nail mood then there's likely little the album has to offer. Tyranny are, luckily, the kind of band that can hold a mood most of the time. Aeons in Tectonic Interment isn't just a heavy record, it's something that broods and bleeds as it puts one heavy foot in front of the other. When “Sunless Deluge” starts you'll notice Tyranny getting down to business a lot faster than they had last time. The song gets noisey, then gets heavy and drones. The vocals are still dig straight down to the pits of Hell, or the shores of Rh'leyah. Take your pick.

There's a lot of bands that shoot for the H.P. Lovecraft theme these days (e.g.: Electric Wizard, Portal, Coffinfish, Temple of Dagon, etc.) but Tyranny feel like they're really pulling off a summoning ritual. Like some Eldritch horror is about to come crawling out of the speakers and break your mind. The thing is, Tyranny have a tendency to fall out of the loop, and in turn fall too harshly on drone. Don't get me wrong, the album can be plenty moody, and when it pulls it off, the band is a force of otherworldly nature. But there's points where the piece simply over-cook their moods and burn out too quickly.

Aeons in Tectonic Interment is a good album. It has some killer vibes and manages to bring a real bleak feel to some of their songs. Is it the kind of album a funeral doom fence sitter would wanna walk in to? Not so much. Tyranny has a good thing going on but casual listeners might find themselves wondering if the album is ever going to pick up steam. The answer is here and there, but not enough that it's going to drag a lot of new fans into its watery, crushing clutches. Funeral doom fans, well, you're probably already on this (as you should be). Aeons in Tectonic Interment is a good representation of how the genre can crush stones underneath its hopeless, heavy, grim sound.

been a great year for some of the original funeral doom bands

probably the least known and lowest selling subgenre in metal , yet somehow more popular than it ever was yet stil the least known etc

Too brutal for those who only want fast guitars

oh hey i definitely want to hear this tyranny record

hmmm, do I detect sarcasm young brad?

nah i love funeral doom

66 Midnight Odyssey - Shards Of Silver Fade 236 Points, 7 One #1
http://i.imgur.com/K4R10Ov.jpg
https://open.spotify.com/artist/3rTyM1AkQ1ymEyP3DxhiqL
spotify:album:4ujXxE5P4c49hUOhAfoU3R

https://i-voidhangerrecords.bandcamp.com/album/shards-of-silver-fade

If MIDNIGHT ODYSSYE's previous work, 2011's "Funerals From The Astral Sphere" has become a cult release and today is cherished as one of the finest examples of atmospheric black metal, 'Shards Of Silver Fade' is certainly going to break new grounds and to impose the Australian act on a wider audience, independently from metal sub-genres and styles.

The funeral doom grandeur of Tempestuous Fall and the dark-wave vibe of The Crevices Below - sole member Dis Pater's past projects - have been successfully injected into Midnight Odyssey's cosmic black metal body, redoubling the emotional intensity and dark majesty of its melodies.
The result is nothing short of an epic masterpiece, a visionary night voyage of approximately 2 hours and 20 minutes connecting our ancient pagan past with the apocalyptic feelings of a cosmic death.

But as much as death chants, these are also songs of rebirth, hymns to a new life and awareness for Humanity, under brighter stellar lights. "It is exactly like finding a place in the universe, being given a spiritual connection with everything around you, making you feel alive and very much part of the existence around you," Dis Pater explains. "But making you feel somewhat important too, and not just another speck of dust."

The Australian musician thinks of 'Shards Of Silver Fade' as the crowning achievement of MIDNIGHT ODYSSEY's brilliant career. "I can say that each song has taken an immense amount of time and energy, so much that I have been left with little to no desire to even listen to music over the last 12 months or so. It combines elements of all my previous releases, from all my previous projects, a true convergence of styles and musicality. If this was the last Midnight Odyssey release, I would be very proud for it to be so."
credits
released June 8, 2015

http://www.angrymetalguy.com/midnight-odyssey-shards-silver-fade-review/

Ok, be honest. If I told you today’s review was for a double album that clocked in at nearly 160 minutes and consisted of atmospheric blackened doom metal, what would you say? Well, if you’ve heard of Midnight Odyssey, my guess is that you would either say, “No shit, it’s out?” or “Fuck, not them again…” If you don’t know of the band you might say, “Oh wow, I gots to hear me some of that” or “fuck that dribble.” Honesty from Honest Abe Grier, my initial thought veered to the latterest of the latters. The idea of sitting through slow-building atmospheres, auditory representations of depressive landscapes stitched together with heavy synths, wannabe Quorthon-meets-David Gold clean vocals, and some tunnel shrieking seemed overwhelming and exhausting. Not to mention that I could drive halfway across the State during the runtime. But after releasing a very respectable one-hour demo in Firmament and having already tackled a two-hour epic with Funerals from the Astral Sphere (hehe, I said “sphere”), there are definitely things in their sound that work. But can they do it again with Shards of Silver Fade? Will I get lost in this new release like I did Funerals? Should there be a government-controlled cap on album length? Stop with the questions!

Because you have to put up with over two hours of music, I’ll just give you the short answers, sorta. Like many of the one-man bands reviewed this year, Midnight Odyssey’s Dis Pater clearly dumped every damn ounce of his soul into Funerals. Nearly four years after that, Pater crafts you another 2+ hour slab of sadness, darkness, and ambiance that comes close to topping its predecessor, but I still feel that Pater’s ultimate achievement remains Funerals (even though Funerals… has its share of filler and could have been a great 1-1.25 hour album). Regardless of length, Pater’s sound requires intense steeping and only after your bones are finally saturated with the doom and gloom, will you find your inner Dr. Downer.

Unfortunately, Shards of Silver Fade feels long and lacks some of the originality and the somber efficacy found throughout Funerals. Like that opus, this still has some semblance of a midway point in its eight tracks for a quick breather, but these two discs feel like, well… one really long album. Some of this lengthy feeling may also have to do with its eight tracks versus the sixteen found on its precursor. Having more actual song and directions changes throughout its length somehow made Funerals more digestable and memorable.

Midnight Odyssey Shards of Silver Fade 02The first four tracks of this album (technically, the first disc of this two-discer) are actually quite good. “From a Frozen Wasteland,” “Hunter of the Celestial Sea,” “Son of Phoebus,” and “A Ghost in Gleaming Stars” build from a slow moving train of Viking-era Quorthon vox and a doomy pace before growing into a powerful momentum that’s killed off and resurrected in the form of Wintersun-esque keys in “Son of Phoebus.” This enveloping sadness is then transformed into beautiful, piano-driven depression in “A Ghost in Gleaming Stars” before the song slips off into oblivion.

The second half, on the other hand, opens with some crushing, melodic black metal (rasps included) that swaps aggression for peace in the intro to “Starlight Oblivion,” and then resumes its wispy, blackened atmospheres. After mingling with moody atmospheres, it strips down to simplistic acoustic-guitar work as mournful Woods of Ypres character builds it back up into the blackened, gloomy tower that most songs on the album strive to be. After some massive drum work, a final transition occurs in the title track as Pater’s morose Moonspell vocal approach finally puts this giant to sleep.

Shards of Silver Fade is a journey. There is no other way to describe it and it must be taken as a whole to absorb its mood and atmosphere. With that, it’s difficult at times to remember the beginning once you’ve reached the end. Even after listening to this release nearly a dozen times, the only way to pass its substance onto the reader is by following it as I write. Shards… has moments of beauty, moments of captivation, and moments of splendor; however, it’s so long it becomes a chore to come back to and combining the first half with “Starlight Oblivion” and maybe the title track would have been sufficient to make this a strong album. Thankfully, the DR9 rating gives it great listenability but this redundancy brings makes it less enjoyable than the regular variations and majesty found on Funerals from the Astral Sphere.

http://www.themonolith.com/music/review-midnight-odyssey-shards-silver-fade/

http://yourlastrites.com/reviews/8645/midnight-odyssey-shards-of-silver-fade

I really liked that Dispirit tape, I didn't hear it until last week or so but it still managed to claw its way to my #11.

I kind of liked the Absconditus record, too. I might go back to it and try it again later when the rollout is but a distant memory.

I love that Melechesh. Make my DM exotic please.

cant say I'd heard of Midnight Odyssey until this poll.

Which one of you had it at #1?

not me.

^ and the Midnight Odyssey sounds like something I'd enjoy, or possibly something that would bore the hell out of me. I have in the past liked black metal with alien planetscapes on the cover (Petrychor, Spectral Lore).

65 Bosse-de-Nage - All Fours 237 Points, 7 Votes

http://www.invisibleoranges.com/bosse-de-nage-all-fours/

The 2012 Deafheaven​/​Bosse​-​de​-​Nage split 12″ was a 20 minute meetup of two precocious experimental black metal bands from the San Francisco Bay Area. Deafheaven had debuted their Roads to Judah full-length the preceding year, and Bosse-de-Nage had a trilogy of self-titled albums prior to the split 12” (referred to as Bosse-de-nage, II, and III, respectively). A year later, Deafheaven unleashed Sunbather. With that album, Deafheaven took musical cues from non-metal acts like Mogwai (they covered their track “Cody” on the 2012 split) and Slowdive. The public’s response was gargantuanly worshipful, and Sunbather was the most favorably-reviewed album of 2013.

Bosse-de-Nage are now releasing All Fours, a spellbinding follow-up to their split with Deafheaven. Unlike Sunbather, All Fours doesn’t occupy a gigantic amount of sonic space; the record’s sound is tight and unadorned, similar to Steve Albini’s classic production style. “Washerwoman” takes direct influence from Slint, a group who were produced by Albini. The guitars are slow and tip-toey, yet slightly on edge. Frontman Bryan Manning has a jaded spoken-word delivery towards the beginning of the track, very similar to Brian McMahan on Slint’s legendary album Spiderland.

Also, lyrics have an especial emphasis. The promo copy came with an attached PDF lyric sheet, unlike other promos I’ve downloaded. Manning’s vocal poetry is grotesque and frightening, but masterfully constructed. For example, the villainous female subject of “Washerwoman” has wicked, sexual intentions: “The light grows dim, and with her mouth full of lather she announces, ‘I come from the City of Hair beyond the Wrinkled Mountain and I will not rest until I’ve washed every penis in this room.’”

“At Night” is suffused with earthquaking drums and disturbing, tremolo-picked progressions, along with a zest of Swans’ monumental tumult. Manning growls about Marie, a recurring figure in Bosse​-​de​-​Nage’s repertoire. On past tracks like “Marie Pisses Upon The Count” (Bosse-de-Nage) and “Marie In a Cage” (II), she is painted as a foul and lustful display-piece. In “At Night,” Marie serves as a ghastly, erotic outlet for Manning’s speaker: “The ashes cling to the urine on her torn clothes forming new, amusing patterns each time. / At night she reenacts scenes from her passion. / She kicks and screams on all fours – her violent dressage thrills me.” Darkly sexual descriptions like this ring similar to the lyrics of Pig Destroyer’s JR Hayes, who pens about similar subject matter.

Bosse-de-Nage and Deafheaven are zealous about artistic, evocative lyrics and compelling melodies; relentless black metal energy helps accentuate their attributes. However, out of the two, Bosse-de-Nage is closer to the ethos of black metal. All Fours’ music is fucking grim, while Sunbather is frequently major-keyed and blissful-sounding, and All Fours’ tight production style was intrinsic to black metal ancestors like Darkthrone and Burzum.

On top of this, Bryan Manning’s stanzas turn the album into a hellish beauty. His lyrics, an integral aspect of Bosse-de-Nage, warrant an extensive literary theory essay. Y’know, we’re actually learning about poetry in English this semester – maybe I’ll analyze All Fours for my final paper.

puke

says the Liturgy fan :D

fine line, my friend

a good album!

did not need to know those lyrics tho

I haven't heard this album I dont think but it doesnt seem offputting

is it because deafheaven got mentioned in the review?

the lyrics and the entire concept are extremely offputting

i dunno their last few were good but they're starting to sound like a boring postrock band

the lyrics and the entire concept are extremely offputting

― La Lechuza (La Lechera), Monday, December 14, 2015 9:04 PM (11 minutes ago) Bookmark Flag Post Permalink

I prefer III but it's still a good album

also that album cover, dear god, it's a like a misogynist kayo dot vomiting at you

it's disgusting
i can't think of a boring postrock band who would write an album with this concept or lyrical content

the cover is very bad indeed

The next album is coming to you via a large mug of this
https://www.fortnumandmason.com/products/rose-pouchong-20-large-leaf-tea-bags

We need more tea friendly metal

love the Midnight Odyssey album, it's basically sleep metal