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It's unlike a lot of contemporary psych in that it isn't content to rehash old sounds, but rather seeks to move the druggy spirit of the genre in new sonic directions. It's an album of apocalyptic party music.
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The industrial "Kuulen Aania Maan Alta" is like an evil club song (it's reminiscent of Trent Reznor and Karen O's cover of Zeppelin's "Immigrant Song"), built around an unctuous synth-bass and stuttering, grimey drums before going full death metal. There's also a palpable sense of fun some of this stuff is even dancey. What they've kept are the Satan's-croak vocals, which enhance the feeling that we're participating in some kind of unholy rite. They've moved away from black metal (the album-closer "Taivaan Porti" is the only thing here that recognizably falls into that category), which used to be a much bigger part of their sound. Opener "Ilmestys" exemplifies this approach as minor-key guitar figures and and stuttering synths swirl around an ominous bassline, only to erupt into a swaggering, head-bobbing doom groove. The year's pre-eminent metal headphone listen, these long-gestating freakouts are draped in experimental electronics and effects, using hypnotic repetition to build towards explosive passages of heaviness. įinland's Oranssi Pazuzu push psych-metal to ecstatic heights and evil depths on this year's rip-roaring Mestarin Kynsi. Even with over a decade of numerous albums and splits (including with Thou, Primitive Man, and Mizmor) that are very worth hearing, it's clear from Obliviosus that MSW is not only not losing steam, but continuing to push forward. With its loud-quiet-loud formula and its interest in both post-rock and extreme metal, Obliviosus is some of MSW's most dynamic work. There are ethereal clean vocals by Karli Mcnutt with Jess Carroll, violin by Weeping Sores' Gina Eygenhuysen, and post-metal crescendos that would fit alongside Neurosis or Jesu or Boris. The struggle is never ending," writes MSW in the liner notes. These songs were written over a course of five years or so. and his struggle with addiction and how it has affected the rest of our family for over a decade now. "This album is dedicated to my brother R.A.W. There's no lack of harsh shrieks and extreme, abrasive parts, but there's also a lot of beauty and melancholy on the album. MSW already makes raw blackened doom as Hell and ambient piano music as Cloud, and for his first album under his own name, Obliviosus, he pulls from both of those worlds and beyond. Liturgy's vision is clearer than ever, and this album feels like a culmination of everything they've been working towards, with orchestral arrangements, trap beats, avant-garde pieces and more all worked into the unmistakable brand of black metal that Liturgy have been perfecting since day one. in 2019, and in hindsight, those albums feel like stepping stones for Origin of the Alimonies. Liturgy nearly left black metal behind on 2015's art rock-leaning The Ark Work, before returning with the whiplash-inducing H.A.Q.Q. Her uncompromising vision and outspokenness is what turned a lot of black metal purists against Liturgy, but it's also what made them awesome, and what made them continue to stand out amongst a sea of tremolo-picking Darkthrone worshippers.
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Liturgy always approached black metal on their own terms, embracing many of its traditions wholeheartedly but also reshaping those traditions into something the band's mastermind Hunter Hunt-Hendrix could call her own. Liturgy's most honest, sincere album yet is also quite possibly their best. You can tell listening to Four Dimensional Flesh that Afterbirth wanted to make a set of songs where neither the neanderthal brutality or the PhD-level avant-riffing felt like the main course they are synchronous halves of a broader whole. These songs are tightly composed prog death, packing tons of twists and turns and plenty of shocking, delightfully strange dissonant chord choices and swirling proggy melodies - these in turn make those deep, intense slam passages feel deeply earned.
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Afterbirth, as a band, are smarter than that. For me, a song predominantly focused around building up its breakdown and predominantly focusing on making that breakdown simply atom-bomb heavy doesn't quite work for me it can feel, after a while, like the rest of the song is dead air, a waste of time, something to space out the slams and mosh riffs rather than something designed to be an equal-footed element of the song. Langdon Hickman wrote: Normally, my issue with slam is largely one built around songwriting.