In 2019, Andrew Markuszewski of Lord Mantis released ‘True Western Doom’ under the solo project Sonoran Rebel Black Magick, and not only is the album exactly as advertised by the title, he also basically just created a new genre. SRBM combines doom, gently strummed acoustic guitars, sinister synths, pulsing beats, vocals ranging from metal screams … Continue reading 220: SONORAN REBEL BLACK MAGICK
When trying to work out what others labelled Ioanna Gika’s music as, I seems to come across the term ‘dream pop’ a lot. I suppose that fits, but it also betrayed the deep, gothic, industrial vibes I get here. Gika’s album ‘Thalassa’ combines her ethereal vocal stylings with beautiful, poppy melodies, and synths and percussion … Continue reading 218: IOANNA GIKA
Today’s a new one - I’m writing about an artist whose primary art form is not music, but rather a mixture of photography, painting, and digital artistry. The artist has, however, created music that is worth discussing due to being fascinating in both method and outcome, but we will get to that. Jesse Draxler’s visual … Continue reading 142: JESSE DRAXLER
Every element is digital, from beats to bass to evil lead riffs. Yet the music is composed and constructed in such a way that it is undeniably metal.
Anaal Nathrakh are a band who somehow defy genre labels, yet don’t sound alien or weird. It’s a kind of blackened deathgrind gumbo with liberal use of industrial influences. In other words, it’s a Frankenstein’s monster of extreme subgenres, then made mechanical.
Corpe-Mente is perhaps more mellow than some related bands but labelling them as such is disingenuous. This is a dynamic, glorious, curious venture into a trap-infused, stunningly peculiar, rock opera of otherworldly impact.