top album of said year was sure to be followed soon. But life intervenes. Their bass position was temporarily held by Matt Knox of Horrendous and their drummer Enrique Sagarnaga and guitarist Steve Jansson have been busy playing shows with Daeva. So here we are four years later and finally the band has decided to put out their sophomore effort, The Ruins of Fading Light. Again vocalist Brooks Wilson is responsible for the breathtaking artwork as well as excellent pipes throughout the disc. Enter new bassist Frank Chin who was also recruited from Daeva and we have Crypt Sermon circa 2019. Will you want to go back to the Garden or head straight for the Ruins? More after the jump.
Friday, August 30, 2019
Wednesday, August 21, 2019
Monday, July 29, 2019
Tuesday, July 23, 2019
#2 album of the year in 2018 with its cavernous crawls and addictive riffs and seeing 2 great shows performed by the band; one with Of Feather & Bone at Montclair, NJ's Meatlocker and one on a bill with Daeva and Horrendous at Brooklyn's Saint Vitus. Each and every time I saw the band they were in good spirits and especially complementary of NJ's premiere filthy basement venue. So when 2019 was told to be bringing more vile fruits of their labor, I was intrigued, happy and also worried that such a quick turn around could send the band careening into a ditch on the side of the road like Memoriam. Planetary Clairvoyance is the name of the game for album # 3, let's see how it compares.
Thursday, June 6, 2019
Pelican was one of the first metal bands that I really got into. Their instrumental post-metal was a pretty easy addition/transition from the post-hardcore bands like Thrice that I was listening to in high school, and their huge riffs and intense sonic landscapes were, ahem, instrumental in getting me into other types of metal as well. 2005's The Fire in Our Throats Will Beckon the Thaw is in my All-Time Top Ten, and each of their albums has had some kind of effect on me upon its release. That said, 2007's City of Echoes is the last Pelican album I unequivocally love; 2009's What We All Come to Need and 2013's Forever Becoming certainly have incredible moments ("Ephemeral" and "The Creeper" from the former are easily two of the best songs the band has written). So when word reached that the newest Pelican album, Nighttime Stories, would be released on June 7th, I was excited, but perhaps not as excited as I would have been a decade ago. Was I just growing apart from one of my favorite bands, one of the bands who shaped my tastes in metal, performers of some of the best concerts I've ever attended? Or has Pelican lost a step, losing whatever alchemy the band had in the first decade of the century and replacing it with something lesser?
Tuesday, May 7, 2019
interview the entirety of Denver progressive-doom outfit Dreadnought last July, there was one sentiment in particular that continued to stick with me. It's perhaps the closest thing I've ever heard a band personally divulge in an interview that best embodied the often blanket descriptor of "progressive." They operate under the ethos of "best sound wins." The label of the music is arbitrary as long as it vibes well with all of the members. After hearing doom guitars along with saxophones, flutes, keys, and clean vocals mixed with black metal shrieks, one can't deny that the band doesn't walk the walk in terms of owning this ideology. But the bar was set high with the band's prior release. 2017's A Wake in Sacred Waves intertwined the aforementioned stylings with melodic hooks that kept the experience as catchy as it was mesmerizing. Whenever a band releases what feels like their opus, however, one can't help but immediately wonder what the next step is going to be for them. The next step for Dreadnought is Emergence, an album that sees the band evolve their craft by letting all of their core-elements loose in a free-flowing expansion.
Monday, February 18, 2019
For the longest time, I resisted splits. The reason, I think, is that I wanted more music from bands, not less, and splits inherently feature less music from each band than an LP or (usually) an EP would. "But Durf," you're saying, "Even though you get less music from each band, you're getting music from two bands! And besides, isn't something better than nothing?" Reader, I hear you, and I never said it was a good reason. Like many things in my life, it could be explained by the fact that I am, quite frankly, an idiot a lot of the time. But that is the past, because I have come around on splits. It started two years ago with the incredible Chrch/Fister split, then continued on last year with Eye of Solitude/Marche Funébre release. I actually purchased two Panopticon splits, one with Falls of Rauros, the other with Waldgeflüster. They're good! Great, even. Basically everything I thought about splits was incorrect, and I am now more than willing to give them a listen, especially when they feature two bands that get me all tingly. Such is the case with the new split between Coltsblood and Un.
Friday, January 25, 2019
Friday, December 14, 2018
So without further ado, check out my Top 15 Albums of 2018 after the break!