Its been many years since I’ve seen a band describe their genre as screamo and listening to this album it brings me back to all the bands I used to listen to in the genres height. In My Saddest Dreams, I Am Beside You is a concise development of Dreamwell sound. The themes of religion and punishment are prevalent. It's a deeply moving and emotionally charged record, and the vocal performance perfectly captures this heaviness.
Good Reasons To Freeze To Death, the albums emotionally charged opener, continues Dreamwell's expressive approach. Featuring screamo vocals, blast beats, clear cut leads and crunchy rhythms. It is amazing right away, vocalist Staska begins with light, dreamy vocals that quickly give way to visceral screams. From the opening ninety seconds of Studying The Greats In Self-Immolation flows naturally from the last as the calm guitars gradually intensify to a furious finish. This song seamlessly blends the bright and the harsh, beginning with a stunning instrumental that creates a dreamy tone that lasts through the breakdown. This is already a promising album based on the first two tracks.
It Will Hurt, And You Won't Get To Be Surprised is a fast-paced journey that begins with an intensity you would think unmatched, but it keeps defeating itself. A brief period of no distortion showcases the band's improved ability to write catchy, melodically complex parts. The drums, bass, guitars, and clean vocals all function separately but cohesively. Rue de Noms (Could Have Been Better, Should Have Been More) is the last song on the album which, at more than seven minutes, is the longest song and a mouthful of a title. It's not meandering or long though; rather, it's a stark reflection on the beauty and savagery of the previous forty minutes that challenges you to look one last time at the gaping wound that is In My Saddest Dreams, I Am Beside You.
Dreamwell aims to make some pretty profound impressions, following in the tradition of the most bruised, bloodied hearts producing amazing music. The vocals flawlessly reflects the record's emotional weight, ranging from cleans to screams. Overall, it's a more expansive experience, with odd elements of black metal and classic screamo adding to the emotional hardcore base to truly broaden this specific sound of melancholy and make it a more all consuming force. The album is undoubtedly big feeling. 8/10
Mortuary Drape - Black Mirror (Peaceville Records) [Matt Bladen]
Formed in Italy in 1986(!) Mortuary Drape is now the sole concern of Wildness Perversion (not his real name oddly), influenced by the occult metal bands such as Mercyful Fate, Celtic Frost and Venom, they have written their own history with five previous albums, the last in 2014 and the convoluted/potted history of any good black metal band who deals in witchcraft and devilment, just look at their ‘Past Members’ list on Metal Encyclopaedia. But resolutely as their vocalist and previously also their drummer Wildness Perversion continues the legacy of the band with sixth album Black Mirror. His squawk right up high in the mix, as is S.C’s bass, giving the record the rawness of those early Celtic Frost records, or of course early Mortuary Drape releases.
Good Reasons To Freeze To Death, the albums emotionally charged opener, continues Dreamwell's expressive approach. Featuring screamo vocals, blast beats, clear cut leads and crunchy rhythms. It is amazing right away, vocalist Staska begins with light, dreamy vocals that quickly give way to visceral screams. From the opening ninety seconds of Studying The Greats In Self-Immolation flows naturally from the last as the calm guitars gradually intensify to a furious finish. This song seamlessly blends the bright and the harsh, beginning with a stunning instrumental that creates a dreamy tone that lasts through the breakdown. This is already a promising album based on the first two tracks.
It Will Hurt, And You Won't Get To Be Surprised is a fast-paced journey that begins with an intensity you would think unmatched, but it keeps defeating itself. A brief period of no distortion showcases the band's improved ability to write catchy, melodically complex parts. The drums, bass, guitars, and clean vocals all function separately but cohesively. Rue de Noms (Could Have Been Better, Should Have Been More) is the last song on the album which, at more than seven minutes, is the longest song and a mouthful of a title. It's not meandering or long though; rather, it's a stark reflection on the beauty and savagery of the previous forty minutes that challenges you to look one last time at the gaping wound that is In My Saddest Dreams, I Am Beside You.
Dreamwell aims to make some pretty profound impressions, following in the tradition of the most bruised, bloodied hearts producing amazing music. The vocals flawlessly reflects the record's emotional weight, ranging from cleans to screams. Overall, it's a more expansive experience, with odd elements of black metal and classic screamo adding to the emotional hardcore base to truly broaden this specific sound of melancholy and make it a more all consuming force. The album is undoubtedly big feeling. 8/10
Mortuary Drape - Black Mirror (Peaceville Records) [Matt Bladen]
Formed in Italy in 1986(!) Mortuary Drape is now the sole concern of Wildness Perversion (not his real name oddly), influenced by the occult metal bands such as Mercyful Fate, Celtic Frost and Venom, they have written their own history with five previous albums, the last in 2014 and the convoluted/potted history of any good black metal band who deals in witchcraft and devilment, just look at their ‘Past Members’ list on Metal Encyclopaedia. But resolutely as their vocalist and previously also their drummer Wildness Perversion continues the legacy of the band with sixth album Black Mirror. His squawk right up high in the mix, as is S.C’s bass, giving the record the rawness of those early Celtic Frost records, or of course early Mortuary Drape releases.
Called a “dose of ritualistic blasphemy” Black Mirror is Mortuary Drape returning to reclaim their place as one of the founders of the Italian extreme metal sound. They aren’t of course as crushing, or as brutal as many of the black metal bands they inspired, relying more on what we now call blackened thrash, but back in the 80’s was the beginnings of black metal, tracks such as Drowned In Silence, having a breakneck pace while Into The Oblivion merges doomy beginnings with a NWOBHM gallop, so I guess you can call it Satanic Speed Metal if you want, but Mortuary Drape can be considered pioneers as they were around when this entire style was emerging from the underground, the ritualistic Nocturnal Coven providing a glimpse into the past with the shifting riffs and occult atmospherics, continuing on the dramatic Mistress Of Sorcerer too.
The album deals with Déjà vu, the spells that bind us to past lives, but you can take your own inference from the title. Or you can just enjoy some metallic mysticism from this veteran band on their welcome return. 8/10
Brown Acid - The Seventeenth Trip (Riding Easy Records) [Rich Piva]
I am going to start this review like I did the last three additions to this collection; I love the Brown Acid series that has been curated by the great Riding Easy Records. If you are not familiar with the set the basic concept is that Lance Barresi, owner of L.A.-based Permanent Records, searches the far corners of the US in dusty record store bins, garages, attics, and confirms musical urban myths to bring us lost and the most underground of underground songs from long forgotten bands that in some cases may have only release one song on a promo single. These songs come together to populate the now seventeen volumes of some of the best 60s and 70s proto metal and psych rock that you have never heard before. Never ever do these comps disappoint. Now, also like last time, this volume is great, as if you would have thought I would have a different opinion.
Some of the highlights out of the ten great tracks on volume seventeen include the weird psych freak out from Image titled Witchcraft 71 that includes some killer and crazy psych guitar work. I really dig the quirky and funky Smoky Bear from Stone Hedge, with its groove, organ, and POV lyrics from the famous bear that wants to prevent forest fires. Too Dead To Live by Primevil sounds like early The Who to me and has some great harmonica work, while Ready To Rave by Pegasus is like a cross between Kiss and Blue Cheer that creates quite the proto ripper. I’m Loney by Bob Mabe & The Outcast is my favorite on volume seventeen as it reminds me of a cross between CCR and The Animals, but heavier. I also really dig High School Letter by Glory, which has a Mountain type vibe to it.
I have no idea how they keep finding all these lost gems, but let’s hope it never ends because the Riding Easy Bown Acid Series is something I consistently look forward to, and you should too. These comps are so much fun and is a great deep dive into the history of heavy rock music. 8/10
Sâver - From Ember And Rust (Pelagic Records) [Mark Young]
Oslo sludge metal with hints of power? This is intriguing as I don’t believe I’ve heard of a similar combination before. Sludge, Doom and off-shoots of that nature have never appealed to me but this year I have listened and heard a lot of material which has gone some way to changing that stance. Growing up my go to was always in the thrash / speed / death realms where that immediate style just lifts off and gets you going.
Brown Acid - The Seventeenth Trip (Riding Easy Records) [Rich Piva]
I am going to start this review like I did the last three additions to this collection; I love the Brown Acid series that has been curated by the great Riding Easy Records. If you are not familiar with the set the basic concept is that Lance Barresi, owner of L.A.-based Permanent Records, searches the far corners of the US in dusty record store bins, garages, attics, and confirms musical urban myths to bring us lost and the most underground of underground songs from long forgotten bands that in some cases may have only release one song on a promo single. These songs come together to populate the now seventeen volumes of some of the best 60s and 70s proto metal and psych rock that you have never heard before. Never ever do these comps disappoint. Now, also like last time, this volume is great, as if you would have thought I would have a different opinion.
Some of the highlights out of the ten great tracks on volume seventeen include the weird psych freak out from Image titled Witchcraft 71 that includes some killer and crazy psych guitar work. I really dig the quirky and funky Smoky Bear from Stone Hedge, with its groove, organ, and POV lyrics from the famous bear that wants to prevent forest fires. Too Dead To Live by Primevil sounds like early The Who to me and has some great harmonica work, while Ready To Rave by Pegasus is like a cross between Kiss and Blue Cheer that creates quite the proto ripper. I’m Loney by Bob Mabe & The Outcast is my favorite on volume seventeen as it reminds me of a cross between CCR and The Animals, but heavier. I also really dig High School Letter by Glory, which has a Mountain type vibe to it.
I have no idea how they keep finding all these lost gems, but let’s hope it never ends because the Riding Easy Bown Acid Series is something I consistently look forward to, and you should too. These comps are so much fun and is a great deep dive into the history of heavy rock music. 8/10
Sâver - From Ember And Rust (Pelagic Records) [Mark Young]
Oslo sludge metal with hints of power? This is intriguing as I don’t believe I’ve heard of a similar combination before. Sludge, Doom and off-shoots of that nature have never appealed to me but this year I have listened and heard a lot of material which has gone some way to changing that stance. Growing up my go to was always in the thrash / speed / death realms where that immediate style just lifts off and gets you going.
I appreciate that this mindset will put me at odds with a lot of reviews that I do, and that the music may have to work harder to win me over. The same can be said for those who only like doom and sludge, do you see where this is going?
Formless starts us off with a fairly groovy riff and some heavy tones. Vocals come in and they seem to exist outside of the music being played, as if the song is going one way and the vocals the other. It’s fairly bright and chugs along until it hits the middle where it loses steam and just meanders.
Formless starts us off with a fairly groovy riff and some heavy tones. Vocals come in and they seem to exist outside of the music being played, as if the song is going one way and the vocals the other. It’s fairly bright and chugs along until it hits the middle where it loses steam and just meanders.
It does nothing to add to the song and it’s starting to lose me a little until they drop in a lead heavy riff which if deployed earlier would have given it the album the kick it would later need. I, Evaporate lumbers into sight, switching it up with the inclusion of synths in lieu of guitar. It’s a bold move but doesn’t pay off. Its muted and the guitar is missing from what is now a wasted opportunity until they bring it back in, grinding the song to its conclusion.
Eliminate Distance follows up with the same delivery, stabbing riffs, drums and bass on point but it doesn’t go anywhere with me, and this review is turning into a battle for me to stay with it and find something that I talk about, to enthuse over.
Ember And Rust has a taut start, bass is given centre stage here to carry it along. Musically its fine (which sounds so dismissive) but that is exactly what it is. It’s just fine and ultimately dull. There is nothing here that is grabbing me and as ive mentioned it’s definitely turning into a lost cause for me. There are three more songs, which offer little from what has come before. It’s not often that in reviewing an album that I can’t get something from it that sparks me. I’m just not connecting with this at all. I don’t know if it’s me or it’s just one of those things where I cannot find anything to get excited over. 4/10
Eliminate Distance follows up with the same delivery, stabbing riffs, drums and bass on point but it doesn’t go anywhere with me, and this review is turning into a battle for me to stay with it and find something that I talk about, to enthuse over.
Ember And Rust has a taut start, bass is given centre stage here to carry it along. Musically its fine (which sounds so dismissive) but that is exactly what it is. It’s just fine and ultimately dull. There is nothing here that is grabbing me and as ive mentioned it’s definitely turning into a lost cause for me. There are three more songs, which offer little from what has come before. It’s not often that in reviewing an album that I can’t get something from it that sparks me. I’m just not connecting with this at all. I don’t know if it’s me or it’s just one of those things where I cannot find anything to get excited over. 4/10
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