Melodic death/doom metal from Russia that favours heaviness and plaintive melody using crisp guitar leads and deep growls, rather than aggression and speed that would come from upping the pace a bit. These five tracks of expressive and immersive doom are a great example of one of my favourite styles of music.
The world’s most beloved emo/math-rock group are riding the waves of success from a classic album that came out in 1999, after which they almost immediately split up. That album gained a cult following over time and then fifteen years later they reformed as a band more popular than they ever were before. “LP3” is the second album since they came back and their third overall (if the title didn’t give it away), and this time they’ve taken a slightly different direction. On their previous two LPs, their extremely mellow emo style and unusual time signatures were accompanied by emotional and nostalgic lyrics. For this record the songs feel even slower and even more chilled out, which sacrifices some of the emotional weight so the enjoyment comes more from the relaxation aspect, such as what you might seek from listening to dreampop or shoegaze rather than emo music. This album could be at risk of becoming boring at times because the songs mostly stick to one idea and vary only slightly, but there are a few welcome vocal features to keep things fresh. It still feels like the same band, with the mixture of polite instruments and Mike Kinsella’s cleverly-timed vocal delivery and turns of phrase, and it’s just so damn soothing that I can’t dislike it even if I am ever so slightly underwhelmed.
This is the debut from a one-man project that released a demo back in 2004, but it feels like the owner has been involved in music in some capacity during that time because of how professional this record sounds. The album starts with an 11 minute opus of mid-tempo doom crossed with black metal elements, similar to Katatonia’s “Brave Murder Day” (the album that every black/doom release must be compared with), with the two guitars performing low-pitched leads snaking around the distorted rhythm chords. The vocals feel quite wild and incensed in contrast, though this works well to increase the aggression and passion brought forward by the music. There are a few tasteful interludes and even a little playful soloing to keep the album flowing and add some colour to the bleak atmosphere. This is a forceful and heavy album that brings enough melody to be accessible and plenty of emotion to be engrossing. The highlight for me is the climactic final track which reminds me a great deal of Agalloch’s song “Limbs”, which should be more than enough to get you interested if you know what I’m talking about.
Billie Eilish – When We All Fall Asleep, Where Do We Go?
You might be surprised to see Billie on this list based on the music you have seen me talk about so far, but I like this one a lot. What Billie and her brother Finneas have put together is an album that blends pop and trap music with a fresh and minimalist approach, which is at times catchy or downright cool – often both. From a pair so young I can’t help but be impressed with the talent displayed within both the vocals and the way they are cleverly manipulated. It’s a strange, dynamic and disturbing album that is worthy of the success it has achieved.
Chrome Waves – A Grief Observed
The long-awaited debut full length from US shoegaze-inspired black metal band Chrome Waves. They’ve used the time between this and their first EP to develop a mature sound that is emotive and textured, resulting in a memorable first effort.
Copeland have pushed further with the ambient explorations of their last album to create their most gorgeous and interesting release yet. This is subdued emo at its most dreamy.
Crywank – Wearing Beige On A Grey Day
Another collection of short, fun and sloppy emo songs with topics spanning from nonsense through to very personal. They’ve added some trumpet on a couple of tracks which really increases the tension at times. A lot of people really love this band so check them out if you’re into intelligent lyrics and bizarre themes.
Csejthe – L’horreur De Cachtice
This release is unexpectedly old-school sounding after the incredibly atmospheric “Réminiscence” from 2013. Therefore I have found it quite unexciting to listen to so far as I prefer my black metal to blend with other genres, but it’s certainly heavy and gruesome sounding.
An extremely expressive, well-paced and immersive shoegaze/post-metal debut from this young band. The music is ghostly, melancholic and blissful, which are exactly the things I look for in heavy instrumental albums.
Drawn Into Descent – The Endless Endeavour
This is a really strong follow-up album from this Belgian atmospheric black metal band. They’ve been taken on by AvantGarde Music, perhaps the best label for recognising atmosphere, and this album sits alongside the some of the more significant releases they have put out this year.
Elizabeth Colour Wheel – Nocebo
This is the debut album from a Swans-esque experimental post-punk/metal group that took their name from a shoegaze song, which still doesn’t really explain them properly. Their various influences are just about detectable behind the repetitive, apocalyptic noise rock and the wails and screams of vocalist Lane Shi. What ECW have presented is boundary-pushing and so outside of the curve that I haven’t yet quite figured out how I feel about it.
This band’s take on atmospheric black metal is more straightforward than most. They opt for shorter tracks that are well-performed, although this is still a lengthy album as there are twelve of them. They render the mood with ease, placing more emphasis on aggression and rage rather than melody, until they finally prove their music can feel epic on the closing track. This is probably the most rewarding collection of songs by the band yet.
Illimitable Dolor – Leaden Light
This is the second album from Australian death/doom band Illimitable Dolor, a project founded by Stuart Prickett, also known for forming The Slow Death, and he really knows how to put together a group of musicians that can make sad music. “Leaden Light” is beautifully presented, rich with atmosphere and splendour, and so well-structured that I look forward to returning to it after every time.
I’m very new to this band so forgive me for not being able to say anything too intelligent about this release. It feels to me like a more accessible continuation of the post-hardcore/emo band known for their wordy narratives, performed with desperation over a backdrop of jangling, mid-tempo hardcore music. Perhaps due to the increased amount of quiet sections on this record, but the influence of old-school post-rock groups such as Slint, who are also known for their story-based songwriting, has never been clearer.
Lucian The Wolfbearer – Old Roots
What sets this solo project apart from other funeral doom is the tasteful use of quiet sections. What is presented here are two elongated dirges with an acoustic/ambient interlude inbetween. Deep indiscernible growls haunt the background and the recurring ambient passages seem to follow the same chord structure as the main body of the songs, so they maintain the mood but at an entirely different level of pressure.
This is the second album from this stripped-back project of songwriter Craig B, better known as co-founder of the bands Aerogramme and The Unwinding Hours. The style here is muted and introspective, and Craig’s soft ballads and Scottish voice resonate with a comforting sadness. Discovering this project earlier in the year had a big impact on me and I’m thankful this music exists. “A Mote of Dust II” was released alongside the retirement of Craig from making music, which is a shame, but I will treasure his work even more knowing there will be no more beautiful records from him to follow this one.
Musicformessier – Alien Planet
Cosmic, pondering and elegant guitar-based ambient music inspired by space exploration. It’s a worthwhile listen whether you choose to focus on the nuanced compositions or play it in the background.
No Point In Living – Last Hopes
Three anguished depressive black metal songs from this busy solo artist. This is the first in the series of “Last” albums that are being released monthly this year, so expect to see me repeat myself for a while until he stops putting them out. NPIL isn’t just another suicidal copycat though, as there are times when the music gets really heavy with intense riffing, particularly on the final track which almost becomes a melodic death metal song.
Nothing – Spirit of the Stairs – B-Sides & Rarities
Nothing are a band that do not take themselves seriously, although their music only ever comes across as sincere. Less than a year after their third full length, the fuzzy shoegazers deliver a collection of unreleased material including a cover of Grouper and one of the best ever shoegaze songs (“Vapour Trail” by Ride), as well as a creepy skin mask I was hoping never to see again. Of course this release doesn’t hold equal value as a real album, so if you’re new to the band start elsewhere (I recommend “Tired of Tomorrow” from 2016), but it’s a welcome addition to their discography.
Sadness is perhaps my favourite depessive black metal project around at the moment. They have been producing devastatingly beautiful music since 2014 at a generous rate, exploring various styles and showing talent in creating captivating melodies. This release feels like their most epic and cultivated so far, with a radiance that builds in the very first track using distant chanting that blends with the soaring guitars. The highlight for me is the second track, “Cerrien”, which feels like a suicidal waltz through a cloudy night sky. All of Sadness‘ music is cheap or free and you’ll want to keep an eye on them on Bandcamp as they release incredible new material without warning frequently.
Sun Kil Moon – I Also Want To Die In New Orleans
Maybe it’s because Mark seems to have taken this release a little more seriously than he has lately, or maybe it’s the pacing of the pleasant music the band plays. Maybe it’s because Mark abstains from being too obnoxious in his lyrical diary this time and he really does have a lot of interesting stories to write about, or maybe it’s because my expectations were so low after years of this style, but the truth is this is the first Sun Kil Moon I’ve enjoyed since “Universal Themes”.
Whilst this album is promoted as entirely new material, it is actually a full reimagining of the earlier works when the band still had their old name, Deafknife. What they have compiled here though is much more mature and cohesive versions, with better production values and an emphasis on dark soundscapes. They pull off the ‘Lovecraftian’ atmosphere far better on these recordings with a confidence that the old ones only hinted at.
URZA – The Omniprescence Of Loss
I’m really pleased with the quality of modern funeral doom around at the moment. URZA paints a world enveloped in darkness and awe, with inexorable drumming and guitar strings that are tuned so low that they are nearing the limit of audible frequency. Whilst very few bands are managing to successfully develop other doom subgenres, there are a bunch of forward-thinking funeral doom bands such as this who continue to bring something new to the already cluttered and stacked table.
In direct contrast to the above, Westkust return with a bright and colourful record worthy of the eponymous title. This is shoegaze on the most indie/uptempo side of the genre that you could easily mistake for an album by one of their Japanese contemporaries.
Thoughts Of Decay 