Dwelling in mystery and seizing the opportunity to explore the unknown, incorporating elements of art-rock, black metal, opera, IDM and technical-polyrhythmic metal, Liturgy continue to traverse philosophical and musical boundaries, tying the two together intrinsically. Most recently this was evidenced with 2019’s widely hailed “H.A.Q.Q.”, based around an ongoing series of philosophical lectures hosted on YouTube, a release that was closely followed by 2020’s “Origin Of Alimonies”, which was composed as an opera based upon a film created by Liturgy’s driving force, Haela Ravenna Hunt-Hendrix. It was to be expected that ’93696’ would be equally as challenging structurally as it would be conceptually.
‘93696’ is less of a quintessential ‘double album’ and more of a classically orchestrated symphony arranged in four movements. This is echoed through Hunt-Hendrix’s philosophy behind this new project, exploring ‘93696’ as a numerological representation of heaven (rather Hunt-Hendrix’s interpretation: ‘Haelegen’). Their interpretation is said to be governed by four laws which denote the four movements of the composition: Sovereignty, Hierarchy, Emancipation and Individuation (also included in the titles of the four instrumental interludes featured in the tracklist). The album explores these philosophical interpretations lyrically as well, through the use of reflective poetry and emotive conceptualisation, exploring religion, cosmic love and femininity.
If it sounds a little perplexing and hard to grasp, that’s because it is. Make no mistake, this album is not for everyone, Liturgy have never shied away from high concept philosophies or deep diving into classical music theory and this recent offering is no exception. Over the course of the eighty-two minute run time, Liturgy draw from classical compositional techniques, attempting to evoke a “musical manifestation of heaven”, however complex that may be.
Exploring varying dynamics, texture, tonal qualities and instrumentation, ‘93696’ is a coalescence of various musical themes and motifs including; chaos, confusion, repetition as a prelude to metamorphosis, profound emotion and awe-inspiring beauty. These themes are regularly brought together in an overt juxtaposition; whether it’s between the beauty of the orchestral instrumentation clashing against the harsh technically-inspired black metal, or the intricate nature of the composition often giving way to overwhelming staccato electronic glitches.
But there are plenty of melodies to be found here, small compositional motifs and even rhythmic patterns that are shared between the four movements: in subtle instances such as the lead vocal melody from ‘Daily Bread’ bleeding into the background of ‘Djennaration’ as a string and ocarina melody. There are more obvious examples examples; such as ‘Haelegen II’ and ‘Haelegen II (Reprise)’, with the reprisal format taking a prominent 12-string guitar melody from the titular song’s chorus and rendering it the focal feature. This is true for ‘93696’ as a whole, throughout there are small familiar moments where certain repetitions from previous songs or movements are being played in a completely unique way.
In 2011, Woods of Ypres frontman David Gold passed away in a car accident at the age of thirty-one, leaving a dreadful void in the doom metal world. Since 2013, Shores of Null have filled that void somewhat with their own style of blackened doom, and their fourth album The Loss of Beauty may be their own Woods 5: Grey Skies & Electric Light. It’s that good.
With lyrics like “my loneliness will guide me” and “isolation will set us free,” classic doom drumming, and alternately melodic and despairing blackened vocals, Shores of Null announce their intent to deliver the best blackened doom album of 2023. The opening track “Transitory” hints at their philosophy: this life is temporary; welcome the end with open arms. Over the next ten tracks (plus two bonus tracks, including the delightfully odd “Underwater Oddity”), Shores of Null explore that belief.
The eye-catching album sleeve poses potential listeners with the question ‘Can you stomach the eight horror drenched songs within?’ while simultaneously invites you to ‘Dive into the filth.’ This confident, no nonsense, purposeful album cover translates to the grooves within as Ohhms come armed streamlined with shorter – a less is more philosophy – and an all-round punchier sound for a far greater immediate impact. They still contain progressive elements, with a nod to Torche, and an even bigger nod to Baroness, but with the direct assault of another best kept secret UK metal outfit, the now sadly defunct Limb.
The source of inspiration for Rot is the horror movies they have viewed in the last couple of years. The opening sound of a film projector and a warped descriptive spoken word indicates what lays ahead. This proceeds into building momentum with the mid-pace, thundering bass, soaring chorus of ‘Let’s scare Jessica to death.’ The Baroness raging, Fugazi tinged “Eaten Alive’ warns ‘it’s a death trap.’ This newly acquired directness ups the ante even more with the robustly bruising ‘Blood Feast’ – a monstrous riff, a loud and unsubtle in yer face chorus, backed by the rumbling huge storm raging of Chainy Rabbit’s bass. The instant ear worm award though goes to ‘The Mephisto Waltz’ as its siren wailing guitar, a surging chorus, is packed full of action from start to finish.
Touching on a myriad of topics ranging from the Tory government to gatekeeping and influencers, Clobber take zero prisoners when it comes to speaking out. Pounding EP opener ‘Clobber Rock n’ Roll’ sees vocalist Charlie Longman as seething as ever whilst roaring the line “we aint leaving till we’ve had our say.”
Firstly, it’s important to note the reasoning for the chosen title and striking cover image, it refers to the appalling mistreatment of our National Health Service and the frankly sainthood-worthy staff that continue to hold it together whilst on the brink of collapse. Pointing the finger at the current British government and holding them to account for their cowardice and self-serving attitudes towards health workers in the face a pandemic. Clapping and calling them “heroes” whilst simultaneously and “snidely” bringing their livelihood to its knees, ‘mon the Clob!
The raging ‘Hardcore Hivemind’ was the first single to be taken from the EP and though the subject of hardcore kids lacking individuality has become something of a cliché, the swagger with which Clobber pull it off is something to be admired. Complete with a Johnny Rotten-esque, tongue in cheek taunt of “come and have a go if you think you’re ‘ard enough” firmly places them in their own lane, keep up if you can.
Hailing from the City of Screaming Spires – commonly known as Oxford – Desert Storm have been wielding mighty riffs with incredibly tight grooves and soaringly triumphant vocal melodies since 2007. As those devoted to all things progressively hefty will know, they have evolved consistently in this space of time and have made a name for themselves with their unique blend of progressive metal and stoner doom, which in turn has given them a powerful live presence. Their fifth album, Death Rattle, sees them take the evolution of this crushing combination one step further. Following on from 2020s seminal album Omens would be no mean feat, however Death Rattle more than stands up to the challenge, with plenty of riffs, delivered with brutal efficiency.
With each song lyrically focusing on a singular tale, connected by common themes and weaved together by Desert Storm’s masterful songwriting, mix in a hefty dose grit and Death Rattle certainly leaves an indelible mark on you. With this in mind, Desert Storm slowly build the layers throughout this album, creating an interesting and captivating array of softer, emotive melodic sections and monolithic, fuzz laden sections. Across Desert Storm’s back catalogue they have been able to evolve this balance of light and dark with intriguing compositional transitions, and Death Rattle feels like the current pinnacle of this continual and consistent development that the band have undertaken.
Bringing in influences as varied as Godspeed You! Black Emperor, Propagandhi and Woody Gutherie, Dawn Ray’d reinterpret anti-fascist, anarchist folk through the lens of atmospheric black metal. On their third full length album the British trio explore a much more down to earth approach, with lyrics following the everyday lives of working class people and how they’re impacted by modern capitalist society. The trio of drummer Matthew Broadley, guitarist Fabian Devley and frontman/violinist Simon Barr create a completely unique sonic experience, somewhere between ethereal and brutal.
To Know The Light starts with its best foot forward on opening track ‘The Battle Of Sudden Flame’, an ACAB anthem with a backdrop of blast beats and growls. The trio’s use of violin instead of the usual lead guitar in a black metal setting is inspired on this track, complimenting the chugging, tremolo picked guitar riffs with a folk fiddle, bringing a haunting, ghostly air to the song. The lyrics are outwardly and aggressively anti-establishment and anti-police ending with a cathartic scream of “Only a coward fights for the state”, embracing the messaging of their punk and anarchist folk roots with the anger and savagery of black metal.
The greatest strength of Dawn Ray’d is the trio’s ability to bring out the angriest aspects of folk and the most atmospheric elements of black metal, this is exemplified on the track ‘Ancient Light’. Bringing together growling vocals and relentless distorted guitars alongside stripped back, reverb drenched drums, eerie synths and strings and haunting, chanted backing vocals, ‘Ancient Light’ is the sonic blueprint the rest of To Know The Light draws from. Lyrically this track focuses on the constant pressure on the working class to work harder and deny themselves basic needs to bring ever more money and resources to those who already have too much, it’s a powerful message and one that’s amplified by the medium.
The track ‘Requital’ completely strips back the sound of Dawn Ray’d to a haunting, anti-capitalist dirge that embodies the band’s ethos while providing a break from the more ferocious aspects of their previous work. Cutting out the instrumentals and putting the spotlight solely on the three member’s voices and lyrics, ‘Requital’ delivers a soulful choir lamenting the capitalist machine’s destruction of our planet and threatening revenge against the rich who think they can survive. This track’s powerful, poetic message is intensified by the gloomy, reverb drenched harmonies reminiscent of a mournful funeral service.
