(written by Islander)
My selections today were guided by strong memories, many of them quite distant and others more recent. And the music below is strong enough to make new memories. I’ll explain as we go along.
P.S. Be forewarned: There’s more than a little singing in this Saturday’s collection, especially in the closing segments, and it’s all very good! Continue reading »
(written by Islander)
Friday nights inexorably flow into Saturday mornings. There is also a cause-and-effect relationship between them. For many of us, Friday nights tend to be a time for “blowing off steam” after the work week, though my history of them has often been more like arson, with my own self as the target. Realizing through painful experience that I am not flame-retardant, I don’t ignite myself on Friday nights as much as I used to. But the cause-and-effect relationship persists.
Late yesterday afternoon my spouse and I began crossing the water to Seattle to attend a celebration of a friend and former colleague’s 10th year of recovery from being struck by a Seattle emergency vehicle through no fault of her own, an event that nearly killed her and inflicted a severe traumatic brain injury. Her long, gradual recovery defied all medical prognoses. She still has deficits compared to who she was before the accident, but looking back over the last 10 years, what she has achieved through pure strength of will has been astonishing.
It was a great gathering of herself, her family, and her friends, not just locally but from around the country. But we forgot about the ferry schedule, missed a 10 pm sailing back to where we live, and waited around the ferry terminal with a bunch of other exhaused and/or wasted people ’til the next one left after midnight. By the time I got home and to bed, the clock was not far away from 2 am. Continue reading »
(written by Islander)
Last month we published an interview by our Comrade Aleks with the two members (U. and M.) of the Italian band Urluk, focusing on their new album Memories In Fade. Aleks introduced it with an explanation that although the band had remained true to their haunted lyrical themes, the music has changed direction significantly as compared to their last album More. Urluk’s U. acknowledged the change, commenting in the interview that “[t]he atmosphere surrounding Urluk today is less about aggression and more about reflection, decay, and memory — things slowly dissolving rather than burning violently.”
In the interview, the band’s members provided further insights into their music’s evolution from the doomed black metal of their last album. As U. described, “Memories In Fade draws from a broad palette: Post Black, Gothic Rock, post-punk atmospheres, touches of Dream Pop, and even hints of 60s folk-blues. Keyboards play a larger role this time, sometimes creating that bittersweet, almost life-affirming melancholy reminiscent of Type O Negative.”
What we have for you today is a full stream of this very interesting new album in advance of its April 10 release by Pest Records. Before we get to our own thoughts about it, let’s share one more excerpt from the interview which compares the new album with the one before it:
Conceptually, the albums are connected, but musically they stand quite far apart. More was still deeply rooted in black metal — dense, abrasive, and very direct in its emotional expression. Memories in Fade feels like the aftermath. If More was about the weight of experience, this new record is about the residue it leaves behind: fading memories, nostalgia, and the strange calm that follows turmoil. The sound has become softer in some ways, yet more vulnerable. Continue reading »
(This is DGR’s review of the swan-song release by Die Like Gentlemen from Portland, Oregon. The eye-catching cover artwork is a painting circa 1910 called “The Drinker” by German artist Erich Plontke.)
Many, many moons ago, in an era before space and time, when the world was just an idea in the eyes of the gods, we published an interview with Portland, Oregon’s Die Like Gentlemen.
That’s it, just wanted to check in and point people to an interesting interview we did about five years ago as we have some new readers on the site and sometimes it is nice to highlight the fact that we’ve been publishing stuff for a while at this point and there are plenty of rabbit holes to fall down. You can go about your day from here.
Actually, here’s the thing. While diving around the underground world and exploring music I saw the name and cover art for Die LIke Gentlemen’s recent self-titled – and apparently final – album go floating by and it must’ve re-lit some incredibly old neurons in my brain because it is one of the few times where I found myself doing the CSI detective thing of tapping the desk and going “why do I know this, why do I recognize this, why is this familiar?” over and over until I would soon discover that the primary suspect was well… us.
For some reason, be it the name, excellent choice of outfits, or the fact that I do make a valiant attempt to scroll through everything here, that previously mentioned interview for Die Like Gentlemen stuck with me enough that years later I would find myself very interested and intrigued by the group’s newest release, the self-titled Die Like Gentlemen, at four songs and nearly forty-minutes of prog-metal weird and avante-garde doom exploration at its most adventurous. Continue reading »
(written by Islander)
We have made a startling new discovery through the song we’re about to premiere, a discovery of the Russian atmospheric black metal band Maria Of Copper Mountains. Now we know that the band was founded in the Southern Urals in 2022 by the extraordinary vocalist Maria Azanova, who is accompanied on the band’s debut album by instrumentalist Nikita Sapogov.
The song we’re about to present through a lyric video is one of seven on the duo’s debut album В чёрны омуты (Into The Black Whirlpools), which will be co-released on April 16th by Satanath Records and Afterlight Records. The song’s name is “Колыбельная (Lullaby)“. Continue reading »
(Today we present Comrade Aleks’ interview of Kristjan Virma from the long-running Estonian band Taak, whose latest album was released last October.)
With the Estonian band Taak, things are both simple and complex. Formally, the band has been around since 2004, but in fact, that year the entire lineup of Estonia’s first doom metal band, Dawn of Gehenna, simply changed its name and, to a certain extent, its concept.
Taak (“burden”) took up more old-fashioned material, something akin to proto-doom, and began writing and performing lyrics in their native language. The result is authentic, melodic, heavy, and engaging. Meanwhile, you may remember all of this due to another “exception from rules” interview we did here with the band in December 2020. Time flies. Today, only Ott “Otipowitch” Oras (bass) and keyboardist Kristjan Virma (guitars, keyboards) remain from the original Taak lineup, but I must say, their sixth album, Surmalaev (“Death Ship”), sounds like it was written by a well-coordinated, experienced band that holds true to its roots and knows what to do with that legacy. Continue reading »
(As you’ll learn in greater detail below, Exxûl is one of a collective of connected bands from the south shore of Québec, and their debut album was released this past January. It drew the attention of our Comrade Aleks, who succeeded in interviewing the band’s songwriter/guitarist Defender (aka Phil Tougas).)
To start with, Exxûl is one of the bands belonging to The Stygian Oath circle. TSO is Canada’s semi-virtual community founded by members of the bands Atramentus (funeral doom metal), Chthe’ilist (death metal), Zeicrydeus (black, thrash metal), and now Exxûl (epic doom metal).
All of these bands are located in Québec and all of them share the same mythology filling their lyrics. All the lyrics are tied to the Perpetual Planes, which is a fictional, dark fantasy world, and “the stories created are often allegories to real life events & personal experiences”.
Musically, Exxûl’s first album Sealed into None has a lot in common with orthodox epic doom bands yet with a good emphasis on their power metal potential. It’s very classic-sounding material with a damn lot of hooks and a quite modern touch. I can’t just pass it by, so here is another “exception of top the rule” interview.
(written by Islander)
This makes the fourth time in a nine-year period when we’ve had the extreme pleasure of premiering music by Ashen Horde, and this time it’s a song from their forthcoming fifth album, The Harvest, which is set for release on May 1st.
In one of those previous premieres we wrote that “Ashen Horde have demonstrated an adventurous spirit, with an ever-evolving amalgam of genre influences and no real interest in boxing themselves in.” Over and over again they’ve blended together such ingredients as technical death metal, black metal, and flares of prog metal with often unexpected but reliably breathtaking results — and as you’re about to discover, they’re still marching flying to the beat of their own drummer. Continue reading »
photo by Lars Gunnar Liestøl
(On April 3rd Season of Mist will release a new album by Norway’s Green Carnation as the second installment in a three-album trilogy. Our Comrade Aleks discussed the first installment with vocalist Kjetil Nordhus last fall, and now we present a second more recent discussion between them which focuses on the new record — and includes lots more news, as well as a stream of a brand new second single from the new album, “I Am Time“, that’s premiering today.)
As you remember, the Norwegian veteran progressive band Green Carnation returned after a significant hiatus in autumn 2025 with an announcement of the trilogy A Dark Poem. As A Dark Poem Part I: The Shores of Melancholia was discussed in our interview here with the band’s vocalist Kjetil Nordhus four months ago, we sequentially follow the plan and provide a new one focused on the trilogy’s second part, A Dark Poem, Part II: Sanguis.
The band’s initial plan was to create three different albums which would complement each other, and until now it seems like everything goes according the plan. At least Sanguis follows closely to The Shores of Melancholia and yet provides some new ideas and quite a refreshing experience. Continue reading »
(written by Islander)
I hope I haven’t bitten off more than you can chew. Only four selections today, compared to eight yesterday, but two of them are albums and one of them is an EP.
I also hope I haven’t bitten off more than I can chew. As I begin writing this, I realize it will be tough for me to fully express how all this music has impacted me or how it might impact you, given the time constraints I’m under. But I’ll give it a shot.
If there’s a through-line in these recommendations, it’s that all the music is searing, in sound or mood or both, although the stylistic paths traveled by them often diverge. Continue reading »