Since their formation in 2012 Denver metallers Khemmis have managed to construct a distinct and recognisable sound, built primarily upon monolithic doom riffs and emotive, melodic lead guitar. The band have long since demonstrated their expertise when working within these confines; with their fourth album Deceiver they have consciously decided to incorporate elements from the wider spectrum of metal subgenres. Guitarist and vocalist Phil Pendergast has stated that he wanted this album to be a metal album in the broadest sense rather than something that could be described as doom metal alone. Moving from a specific niche to a more varied sonic palette without losing the things that make a band distinctive is a tall order, but for the most part Khemmis have succeeded superbly. Whilst doom still springs to mind frequently across the record, thanks in no small part to the grandiose melancholic feel of the songs, elements of extreme metal are incorporated more frequently and more artfully than on past efforts and the strains of NWOBHM are more prominent, both instrumentally and in terms of vocal delivery.
As soon as the mournful, acoustic intro of opening track ‘Avernal Gate’ gives way to a crushing riff and soaring lead line its clear that this outing owes a lot to classic metal heyday of the 80s, with guitar heroics and layered choruses being employed to great effect, calling back to days gone by without ever truly sounding retro or anachronistic. Just as the track seems to settle into this well-trodden territory though, it changes gear and swings into a lumbering doom section complemented by black metal howls. Its an early demonstration of Khemmis‘ stated intention to draw in and meld different styles of metal, this aspect of their sound is vital in ensuring that the longer epic tracks (of which there are four) never sit in one place for long enough to become stale or repetitive – quite the contrary in fact, as each presents its own enthralling journey.
Often regarded as one the best acts within UK post-rock by peers both in and outside the confines of the scene, it wouldn’t be too hyperbolic to state that the Leicester born band directly countered the notion that post-rock is a genre critically lacking in both emotion and innovation. Every record released by the band prior to their hiatus – from 2008’s riff-laden Not For Want Of Trying to the incandescent allure of 2014’s Fair Youth – saw the band furthering their sound and fearless musical ambition. As the years and records went by, Maybeshewill cultivated a sound that was emotional as it was daring and ambitious, constructing a musical palette of post-rock, electronic and orchestral work that saw no boundaries in its pursuit of articulating the human condition in its most painstakingly detailed form. So with this in mind, when the band removed their brush from such a palette and laid it to rest for what seemed to the final time prior to a hiatus, a void appeared in the UK scene. Thankfully, such a hiatus was ultimately short and now the band are back with No Feeling Is Final, a body of work that sees the band offering what can only be described as their most detailed and striking work to date.
As its namesake alludes to, No Feeling Is Final is a record born of polarising emotions, viewpoints and the inner conflict that comes with such mental strife. On one hand, it’s a product of weary resentment of the state of the world at large; one that laments how the inherent greed of capitalism has resulted in a planet of systematic injustice where scorched dead earth is being retaken by rising acidic oceans. However, on the other hand, it’s an urgent message of hope and collectivity, a message of solidarity that urges one to stay engaged, stay informed and connect with the emerging grassroots movements that refuse to accept this world of social and natural ruin that has been offered as the singular option. No Feeling Is Final is the towering, expansive and intensely poignant sound of a band that has been pulled back into action because they have something urgent and crucially important to share and express. It’s Maybeshewill at their most inspired, driven and urgent – and quite frankly – it’s the full unbridled evolution of the one of the most uncompromising and greatest names within the post rock game.
Trends in music come and go; we’ve seen the resurgence of old school death metal, thrash, crossover and more. One that’s been gathering steam and shows no sign of slowing, though, is the cross-pollination of genres, opening up whole new sonic worlds for exploration. THÅRN, a post-metal duo from London who formed right before the world went into lockdown, aim to do exactly that on their debut album Collisions. While they broadly fall under the post-metal umbrella, there’s elements of sludge, crust, hardcore and more folded into their broad palette.
Another thing it’s important to bear in mind approaching Collisions is that this isn’t an easy listen, nor was it ever designed to be. It’s uncomfortable, raw and cathartic, the sound of trauma being worked through desolate howls and crushing guitars. Opener ‘The Way’ sets the scene with its minimalist guitar motif at the beginning before pained vocals and drums enter. It’s unsettling and it builds in intensity from there, before taking the plunge into the murky depths. ‘Replacements’ is a gargantuan song, over a quarter of the entire album’s run time but without ever feeling stagnant or overlong. Similarly, ‘Mute’ is a crushing affair, the shifts between quieter passages and desolate heaviness feel organic and natural progressions within the song. Finally, closer ‘Shadow Of Another’ almost promises salvation but never reaches it, instead leaving a feeling of unresolved tension and emptiness.
California natives All Hail The Yeti are a band steeped in folklore, myths and the paranormal. Choosing to delve deep into the USA’s rich paranormal history to create music at a ley line marked crossroads that even blues legend Robert Johnson would be curious to wander down. Even with Yeti and Sasquatch worship aside, the band blend a heady mix of sludgy riffs, hardcore attitude and infectious stoner metal grooves. All Hail The Yeti has a distinctly unique sound that is sure to wake the fabled hairy humanoids from their slumber.
Within The Hollow Earth carries on from 2018’s Highway Crosses but gives it a more punk orientated edge. The EP also maintains the raw, old school production that has become characteristic of an All Hail The Yeti release. Despite being from California, there is a distinctive New Orleans sludge influence, like a refined and polished lovechild of Corrosion Of Conformity and Eyehategod but with less distorted feedback loops. The upbeat, bouncing nature of the EP gives you a feel good vibe, despite the concepts of the lyrics indulging in the macabre and grim, ghost hunter paradise of the USA.
The Welsh language was once considered as “vulnerable” by UNESCO World Heritage, but after incentives by the Welsh government and the use of apps like Duolingo, it is now the fastest growing language in the UK. As more Welsh people embrace their native tongue, the language’s resurgence is now being evolved for the modern age. This ancient Celtic language has been fully embraced by Cardiff based Breichiau Hir. They have broken the mould in the post-hardcore scene, as they stick to their roots, and so ending the long-established trend of emulating their American and English contemporaries. Breichiau Hir effortlessly blend a cathartic intensity with beautiful, dreamy melodies. The band’s highly anticipated debut album, Hir Oes I’r Cof (which translates as “Long Live Memory”), is a multi-faceted emotional journey, tackling the melancholy of nostalgia and the comfort of escapism, with poignant and personal lyrics performed proudly in the Welsh language.
Channelling a complex emotional cocktail of; frustration, concern, melancholy, isolation and the main theme of nostalgia, to say that Hir Oes I’r Cof is a poignant and soul stiffing album would be an understatement. The emotional intricacies contained within the lyrics is matched by the layers of haunting guitar melodies and melancholic atmospheres. Through Steffan Dafydd’s wonderfully crafted lyrics and passionate performance, you feel every one of the aforementioned emotions tenfold, as you relive the very human stories that go with them through your own eyes. Language is no barrier for intense human emotions, as Breichiau Hir make Welsh more accessible with their masterful storytelling within this modern setting.
Following 2019’s Earthandsky, a firm fan favourite, Of Mice & Men have left themselves some big shoes to fill. A compilation of the year’s EPs; Timeless, Bloom, and including new EP Ad Infinitum, Echo is a 39 minute long snapshot of the band’s last 18 months. The ten songs offered to us cover a scope of loss, growth, and the impermanence of life. Though the question remains whether the long form was necessary.
From the opening ‘Timeless’, Echo is an emotionally heavy listen. Rich with imagery, Aaron Pauley (vocals/bass) sings of “finding vibrance in monochrome” in anthemic choruses which push through the fog of depression. When taken into context with the foreboding ringing of the intro, ‘Timeless’ is as suffocating as the malady it dances with. The affliction soon pulls us into a brutal breakdown fuelled by Phil Manansala and Alan Ashby’s crushing riffs. As Manansala and Ashby send us into a spiral, layers of distant vocals echo like voices in our mind we aren’t sure are there at all.
