#12: Aziza - 'Aziza featuring Dave Holland, Chris Potter, Lionel Loueke, & Eric Harlan'
hear the track where they got their name Ok, so each year a jazz album or two really grab my attention as standouts of the genre, which has been one of my favorites since around 1999, or 2000. I used to live by the Green Mill historic jazz club, and also studied jazz a bit in college as part of a recording arts program focused on the more envelope-pushing side of things. So I was exposed to both the classic and the avant garde forms of jazz not long after moving to Chicago in some of my formative college years. I continued with that tradition of going to Green Mill for years, and still love checking out live jazz when I can. It is not the most pronounced genre anymore, but it still has plenty of energy and a few more tricks up its sleeve. Aziza do the trick of masterful musicianship as well as do it creatively and with much love and care for each and every note and detail. Aziza gets to the roots of jazz and music in general by incorporating a wisened world theme but keeping it high energy and easily digested. It is just full of melodic hooks, playful changes, superb drumming, and interesting communication between the instruments. They all are in their own world but the way they overlap is very lifelike and flowing. Dave Holland is one of my all time favorite bassists, and he ties it all nicely together. If I was a bit more mature I would probably rate this higher on the list. It is certainly a much more mature album than some of the ones coming up. And it is also very sophisticated and subtly complex, even for a jazz album. The recording is wonderful as are the performances which create a breathing fabric of sounds interweaving upon each other, with drums that display just about every angle possible during each track (with utmost precision). Bass, drums, guitar, and saxophones is such an exemplary template to work with that has been traveled often, but they make it sound highly identifiable to their own musical voices. Each musician is allowed full reign and they have the abilities to take the experience just about anywhere. The band's name came from one of its own songs, the eponymous "Aziza Dance" linked above named by African bandmember (Lionel Loueke) and it means "a supernatural race of forest dwellers giving practical and spiritual advice". Aziza is fully capable to take a standard 4 man jazz band and go many places with it. They showcase the joy of having 4 music nerds in one room summoning something more than their singular identities could ever make. If anything this album is about friends and teamwork and variety and the love of their craft. These are 4 advanced level musically gifted individuals making timeless music that references decades upon decades of well documented cultural history yet sounding unmistakably their own.
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#13: Voices From Deep Below - 'This Place Will Raise Up'
Download the free album at this link! Voices From Deep Below is one guy named Dale Humphries (originally from London, England now in NYC) who is influenced possibly by Justin K Broadrick's Jesu project, creating psychedelic, metallic shoegazer music. The best part about this album is that if you let a couple tracks play it will sweep you away with its slow yet poppy alt-metal with some psychedelic overtones and pop sensibilities, as well as some prog moments. It's that variety underlying the surface of this aesthetic that makes it work so well. Even though it has a very specific stylistic stamp in its sound, there are so many ideas explored that it keeps you wondering, even though it is basically predictable. There are some nice transitions and unexpected moments that pull you into the album's dynamics and keeps you hooked on its, well, hooks. What else makes it strong is that it is basically a perfect album, the whole thing keeps moving forward and makes very logical progressions between the songs, as if there is a story being told. Going back to the metallic shoegaze idea, this song "Halfway There" is exceptionally Jesu-like, sounding like the first self titled album. But all in all this project is more on the pop side, even though it has its heavy moments. In addition to the Jesu comparison, the project also bears a striking resemblance in overall sonic aesthetics and guitar pedal usage to west coast shoegaze rockers Whirr. Perhaps the most memorable part of the band is the highly unique pitch-shifted vocals that blend into the psychedelic haze. This album could also be thrown into the post-rock genre by some, given its approach and production values. Everything sounds conscientious and yet really spaced out and even blissful if bittersweet in tone. This is a gorgeous album that keeps developing as it goes, pulling you in more and more. It has a classic familiarity to it as it references the past but doing so with a sound all its own. Everything here sounds a bit familiar and something new is brought to the table, making this a genre classic. I would recommend this album to just about any shoegaze fan, and to fans of rock music in general. The vocals are so weird yet very accessible I am not sure how people are going to evaluate it, so it may have a bit less of a widespread appeal than I think. With excellent songwriting, production, ideas, and execution this was a great random find from a facebook shoegaze group. It has a calming effect even at its most intense moments, and it keeps getting better as it goes. Even though they are not reinventing the wheel here, the vocals sound very original and recognizable despite the effects going on with the voice production and effects... which make the voice quite androgynous and another aspect rooting it in the genre of shoegaze, despite it being a bit heavier than most shoegazer music. This is due to a mammoth bass sound that is more subtle than overpowering, yet ever present. This mountain of smooth bass allows the guitars, vocals and keys to cascade down its surface while the drums march on, until transcendental moments drop down out of the heavens as heard on "Shake Me" as the album winds down beautifully. #14: JK Flesh - 'Rise Above'
Listen to the colossal album opener "tunnel"! Not only is this the best JK Flesh album yet, it is also a classic album from Justin K Broadrick that matches up with the likes of fellow Englishman Mick Harris, aka Scorn, and other noisey proto-dubstep movements such as Meat Beat Manifesto and Muslimgauze. Broadrick has been so prolific and been around long enough that he goes through some ebb and flow in his career; he is back on a peak recently. As far as a mention of the word dubstep, I find this slower and more noisey proto version of dubstep much more enjoyable than the copycat genre we hear today. It is much more like dub reggae but fused with noise and industrial music. The layering that happens can be endless, but with 'Rise Above' Broadrick goes more minimal. This minimalist aesthetic that is perfectly executed production-wise drives the album. The distorted synth textures and crunchy basslines fuse together and create a gestalt effect, as the layers are in the production of each individual instrument themselves rather than creating layered orchestration. Since the production is layered upon itself it makes everything pop and each instrument is so dense and immense sounding that it is one of the heaviest electronic music albums I've ever heard. It is also slathered in analog warmth and goodness making it even more captivating since it sounds much less cold than your usual digital production. This is a nice session album when you just want to listen to something on headphones that will let you zone out and think. It is both relaxing and stimulating. 'Rise Above' lacks the vocals of the first JK Flesh album, but it takes what we've heard previously and refines them into something more densely and crushingly effecting. The unique and over the top sounding analog production heard on other JK Flesh releases has finally been honed into something that sounds entirely natural and organic while still sending buzzsaws of distorted noise at you in utmost clarity. That said, on this release I felt that it could benefit from some vocals even if mixed low or guest vocalists on half the tracks. Or, include even more obvious nods to industrial music with movie or tv samples, or some other transportational layer to coat the relentless beat and grinding bass noises, whatever would make sense. Since it is so minimalistic and repetitive, the album does drag towards the end when it slows down to a near halt on the last two tracks. That said, I think there is room for improvement and we are about to see some true next level captivating shit next time around, but this is a gigantic step in the right direction. There is not enough of this type of music out there, so it is a most welcome addition to the subgenre, whatever it is. Proto-dubstep? Grime? Industrial noise beats? Noise hop? Whatever it is, it is a fantastically distorted and heavy electronic excursion into an interesting pocket dimension that seems to emanate from England every few years. #15: Oranssi Pazuzu - 'Värähtelijä'
http://www.oranssipazuzu.com This is definitely not the most "out there" Oranssi album, which means this is not my favorite of theirs... but they are still making music on another level, even if not quite as high as their usual leveling up. The album does have its moments of weirdness and transcendental overtures, but 'Värähtelijä' is all about business. This is the most in your face, focused Orannsi Pazuzu album. Toned back a bit are the trippy layering, the multi-levular approach. That's some word I made up once, it's fun. This album bigly kicks ass is what I'm saying. Well hell, I am just meandering around the point: I have been a fan of this band for years now, so how cool is that? This may or may not be the most annoying review I'll ever write. But what more can I say about this band? I really love how unique it is, the blend of styles, the high production value, the weirdness of the band, etc etc. Oranssi Pazuzu is still all those things, but not quite as out there, like they are pulling back a bit and showing us what they are all about... which means, it is probably a good introductory album to the band. The band has made year end lists before with an incredibly strong discography. If you have not checked them out before, they have been described as black metal meets Pink Floyd; extreme rock with prog and psyche rock overtones and subtle nods to many different genres; things like that. At times they sound a bit like a Finnish version of Today Is The Day (another super heavy but psychedelic heavy metal band). I'm not really sure how to best describe them. But they are heavy, intense, and mystical sounding. Those combinations usually form my favorite heavy metal bands as long as they keep things unpredictable. I wanted to keep this album off the top 25 and in the Honorable Mentions category as a punishment for not expanding the sound further and instead contracting a bit... but maybe it was necessary for them as a band. Whatever the case, this album freaking rocks and sounds amazing, one of the best produced albums of 2016. If you love heavy, weird music, you must check these guys out and get that discography, it is dense, strong, and among the best heavy metal releases over the past decade. If you are new to the band, start with this one and then work your way back to the beginning, it is a memorable trip. This band has a certain magic to their inimitable sound, stellar production expertise, exquisite tones, multiple levels of sounds both concrete and spacey layered on top of each other, forming some of the best music you'll ever hear if you can get past the fact that some crazy motherfucker from Finland is screaming his balls off at you in an unknown language. Keep an open mind, listen, tune in and drop out. 'Värähtelijä' did not quite trip me out as much as I wanted it to, and it didn't get as weird as the other albums, but it still rocks harder than most and hones in on their core sound which is good enough for #15 on the list. I suggest checking out "Hypnotisoitu Viharukous", my favorite song of this 2016 incarnation of the band! Seriously, just get their entire discography, it's well worth it. #16: Bloody Knives - 'I Will Cut Your Heart Out For This'
Groove to it here! Let's just get this off our chests... this is shoegaze music of the more noisey variety, moved about as far away from dream pop while still retaining that pop essence. Because shoegaze works best with memorable yet simple melodies. Besides the obvious My Bloody Valentine and other noise pop comparisons, Bloody Knives actually have a pretty unique sound going on. Their sound is where everything is fighting to surface, and it keeps getting louder... and louder. Everything comes across as strong, even the vocals, which makes it a bit different than traditional shoegazer 90's music, making it more in the "nugaze" movement, I suppose (that and they are a pretty new band). Not only are its elements powerful, the band exemplifies strong songwriting and melodies while laying down some serious noise rock. It is that more sizzly distortion that alt rock can be known for, less chunky and metallic. Sure, it's pretty metal when it needs to be, but there are multiple genres going on here. Most of it is what I would call simply "ambient noise rock". More expansive than psychedelic. That everything is exploding outward methodically. Beamed straight into outer space. There are some transcendental moments on track 2, "Blood Turns Cold", as ice cold shards cut into the night sky causing an opening into a wormhole. "Reflection Lies" then bursts out of thin air and opens into a field of strange lights. The bass is not quite as fuzzy as some bands, but still rather dirty and distorted, anchoring all of the rather out there guitars and noise-ridden keyboards. "Black Hole" continues a rather stellar first half of an album on track 4. Feels almost like a trilogy of songs (tracks 2-4). The end of this song tears your head up as you meet the event horizon. "Static" is presumably the start of Side 2 where it feels a bit more like the aftermath and the beginning of something new. It is at this point where the album kind of gets stuck in the mud a bit and a little bit overdone. Then there is a trippy interlude track which throws things off again, but it's a good one of those types of tracks. Interesting things happening in the headphones. After that brief lull the album cranks back up and takes things to even noisier heights on "Poison Halo". The album closes with scorcher "Buried Alive", leaving little doubt about rocking out with the drums most intense performances blasting ever outward. Despite a few drawbacks like a too-scooped production sound and some of the song parts being drawn out a bit too long, the songs and sounds heard on 'I Will Cut Your Heart Out For This' are so brazenly rock and roll over-the-top, that you feel like you are being blasted into outer space and beyond. #17: Oren Ambarchi - 'Hubris'
Hear "Hubris Part 3" After a whole bunch of heavy metal, we are finally finding another genre on my top 25 at #17! Wait, what? There are non-rock forms of music?? Well, yes, yes there are. And they are more meditative and neutral usually. Like an abstract painting, drones and experimentation do not yield obvious results. There is no mythology or heroic characters involved usually, just cool sounds a bit unhinged from reality. A futuristic sound beyond rocking out sometimes. While Oren Ambarchi uses the rock music cliched instrument of electric guitar, he makes it sound... different. The pitch bends are either more subtle or more extreme; the feedback and noises allowed to ring out even more; more and more affectations layered upon the sound. This is not virtuosic playing, it is more like unleashing the instrument and allowing it to be more itself. I have been following Ambarchi for a few years now. Prior, my favorite thing was his collaboration with Stephen O'Malley: 'Shade Themes from Kairos'. This is how I found out about Oren Ambarchi. His attention to tone and detail is hard to match. That and the wide variety of sounds and distortions he produces from his guitar and table full of effects and dials makes him a more expansive musician than most. While 'Shade Themes' was more focused on tones and drones, Ambarchi's newer work is very rhythmic, adding another dimension to what was more of an ambient music paradigm. Harmonics are allowed to be free and frolic. Even at its most distorted the guitars are impeccably clear. And the rhythms on top of all of this are top notch. Track one enters the stage as a 20 minute plus table setter. I am reminded of Phillip Glass in an obvious way, in that there is a study in repetition going on here. And also clarity. On this lengthy opener the listener becomes very acquainted with the most straightforward beat on the album and the track lulls the listener into a state of near-captivity (if it weren't just so long to let the mind wander I suppose). Then the 2nd movement arrives and is gone in a few blinks of the eyelashes. Its main purpose is to introduce something totally different rhythmically, and to sound more like a digestible song format... accept that it is not even as long as a pop song. This in effect resets the whole thing so that you can hear "Hubris Part 3" (linked to above). The ending track is somewhere in between the first two, mimicking the lengthy repetition of Part 1, but absorbing the more complex rhythmics of Part 2. The closing track is my favorite part of the album, and makes the whole thing, whole I guess. The other part beyond the interesting goings on with the musics, this thing is produced to sound fantastic. It is absolute ear candy and highly recommended. #18: Blut Aus Nord/Ævangelist split - 'Codex Obscura Nomina'
hear the track "the parallel echoes" Blut Aus Nord is from France and the French love to reinvent black metal. And they do it well. Ævangelist is from America, a duo that is listed as being from both Illinois and Oregon. Which is also pretty black metal. Normally I would not present a split as a serious contender for a year end list, but the body of work both these bands are creating is singular in vision and highly creative. On 'Codex Obscura Nomina' both bands converge towards the same sound: a swirling black mass of sounds with a unique but loopy electronic drum beat tying it all together. Blut Aus Nord is more loopy and hypnotic though, where Ævangelist tend to throw more curveballs at you from a rhythm perspective. While the overall sonic palette the bands are using is pretty similar here, they do sound a bit different. Most obviously, composition wise. Where Blut Aus Nord uses more conventional rock song structures, Ævangelist contribute only one track to B.A.N.'s 4 tracks. That being said, the two bands contributions are about the same total playing length: about one side of an LP. So I suppose this is as true a split album as any. Aesthetically the two bands complement each other, but the production value is a bit lacking, especially for side B, Ævangelist. Oh well, the work is interesting enough to overlook the shortcomings on the production end of things, in my opinion. What we here on this is primarily an atmospheric voyage into dark sounds. Blut Aus Nord sound more ambient than ever, and the vocals are very creepy. The first 3 songs are unique sonic excursions while track 4 is a bit more catchy in nature due to almost a dance beat happening. Both bands conjure industrial elements into the extreme metal sound, which is pretty black metal of course. This nod toward whole other genres makes the music especially interesting, that and its over the top immensity. It is as if you are in a giant canyon on another planet that dwarfs ours. It is that creative spirit of striving to push the envelope or even invent something new that has landed this on a year end list or two. It is not easily digestible on many levels (the tinny production, the scary vibes, the disturbing voices, the utter darkness will drives many away from its universe). But 'Codex' succeeds in introducing one band's fanbase to another while continuing a new creative vision that both bands are pioneering in slightly different ways. Now if they can just spin off into some better studios and production situations, their next releases may be the best of this style yet heard but us human beings. #19: Virus - 'Memento Collider'
go buy all of their albums, they're that good Virus is a band that has been around a while now from Norway. Norway is good at producing heavy yet odd bands with complexity and creativity. Virus is somewhere between eccentric rock and roll, prog rock, and heavier musical forms. The bassist is one of the most unique you will here, with a signature playful yet dead-on bass style, dancing around the root note while adding both rhythmic atonal elements and even a jazz swing, as well as strong melodic lines. The guitars are grating and somewhere between Voivod and the more abrasive guitar tones of underground noise rock. Rather than being hyper-distorted, the tone is derived from a more clear sounding amp. Meanwhile, the vocals are what really sets the band apart. Vocal delivery comes across as some combination of goth metal crooner, a deeper David Bowie, and cloaked grim speaker of dark truths. Lyrically is where the genius comes in, with a wide variety of morbid themes that ruminate upon nostalgia, relationships, and the abstract mythology that is the background of human life. On 'Memento Collider', the band dials it down a bit and lets things breathe. Even more amosphere can be heard, a little more subtlety. But the signature sound is there, everything is as it was in the past. Upon the first few listens, I was sort of let down by this album, wanting to hear some kind of next level from the band. Instead, it was more of a lateral move, a slight change in the shade of the sound. Virus are still very much themselves in their 2016 manifestation. The album start out on a grueling sour note with "Afield". The bass dances around like a devil circling a campfire in some forgotten woods. Meanwhile the singer gazes over the fire and speaks aloud his observations and thoughts. On this opener, the band slowly unveil their horrific milieu of sound. It isn't until track 2 that things really get really captivating. On "Rogue Fossil" the band show off more dynamic transitions and tempo changes, referencing numerous genres with their multifarious sound. Being that I like their earlier albums even more than this one, keeps them down further on the list than I would otherwise place them. At first my instinct was to throw this album into Honorable Mentions, but I remembered that I listened to 'Memento Collider' more than most albums in 2016. It was another of my go-to albums of the summer. And I found myself often having it on my phone mp3 players. "Dripping Into Orbit" is another classic Virus track representing track 3. Much of this album's srength is during the early mid section, but its greatest feature is that it gets better with each listen. Just trying to follow the interplay of the complex basslines and the dissonant guitar chords and being occasionally wowed by easy to forget but perfect drumming. The drummer's ability to blend rock, jazz, and his own impeccably subtle style into a seamless whole is an impressive feat. Sometimes the songs seem to wander a bit and are probably a bit too long, but these meandering parts help to set up new and surprising sung melodies, using the voice more as another instrument to give it a ghostly charm. Track 4, "Steamer" sounds a bit more like their older material. It has a really interesting and heavy descending riff where everything sounds like it is collapsing into a hole. There is much to talk about this band, as inimitable as they are. They are more funky than they are metal but more rock than jazz. It is almost as if they are laying out the inner machinery of their sound on 'Memento Collider' as sort of a bizarre gesture of "here is how we are on the inside, now put our insides back together". This leads to some drawn out songs that may not be as concise as they could be, but they still keep it interesting by working with many moving parts and sections. So perhaps one could say that Virus moved in a more progressive direction while not really sounding like prog rock. It is spindly, nervous music full of spines and backbones and sinew. Their constantly shifting sound sets them apart from the pack, but it is also dizzying and at times they feel lost in their own home. But maybe we all are these days. The album closes out with a bit less originality and more of an obvious sound. It is still good but not as impressive as the bulk of the album. "Gravity Seeker" could have benefitted more from some editing of length even though it was the 2nd shortest song on the whole album. And "Phantom Oil Slick" ends the album on a downer, dirging along until well after a minute in where things pick up in an interesting new direction. Not one of their most creative tracks either, but still a fitting end to a dark album. I would definitely check these guys out, regardless. One of the most different but cohesive bands in rock and metal music of recent times. They don't sound like anyone else and are still honing their sound. The way they unexpectedly shift gears and yet make it sound completely intentional is always a fresh experience, even though they will probably never go viral. #20: Bolzer - 'Hero'
the hero that we deserve Back in 2013 Bolzer released an EP that was on a lot of music lists, even NPR's. This attracted me to the band so I listened to that EP, which is called 'Aura'. And long story short, I thought it was pretty damn good. In fact, one of the songs on there is one of the best black metal songs around. Which got me excited when I finally heard that they finally released a full length album. They lead up to their debut with 3 EPs. While only one of the 3 I thought was a classic, I was still interested to hear the LP. And it did not disappoint. Even though the field is growing towards being crowded, Bolzer still stand out as one of the genre's bands to look out for. 'Hero' was the answer to the expectations and it is a rather focused debut. While many of the genre up and comers and 3rd wave of black metal bands tend to go for reinventing or adding new elements to black metal, Bolzer seems content to bask in the genre's darkness and theatrics. They do add some things that are not of the usual fare. For one, the vocals are clear and sung more than shouted. The tone of the voice references death rock and even has at times an operatic quality. This is not the fastest and most aggressive extreme metal out there, but it still is quite heavy, if for other reasons. The music is less athletic and more artful, creating a world for the fan of the band to reside in. Rather than overwhelming the listener with heaviness and energy, Bolzer almost has a third dimension or mysticism to their sound on 'Hero'. It certainly is not the most dark sounding album, but it shows both living warmth and icy cold undead magic. It is also a nice starting point for black metal, as it is not the most inpenetrable or challenging of listens. Also, the production is much cleaner now, making the band sound quite a bit different. The recording lacks the rawness of the past, which allows it to have a more dynamically articulate sonic quality. It's these more human elements that make this a great release, whatever the band's true intent on creating this strong first full length. As they say, it is all killer and no filler, which is in and of itself a rarity. The fact that Bolzer is able to match their ideas with very concrete playing and concision in songwriting while cutting out any extraneous elements means that they will probably continue to write better and better albums as time goes on. That said, there is much room for improvement and some of this is a little too predictable at times. The level of intensity in the recording, etc, seems a little bit constrained somehow. Tame in comparison to some of the newest breed of heavy metal doing really astonishly heavy and bizarre things. But that is part of the charm with these guys, they have a classic sound to their onslaught, and a very clear voice for their creativity. What they create is more of a work of art than a document in time. #21: Plebeian Grandstand - 'False Highs, True Lows'
Go here and download their album for FREE! Plebeian Grandstand (link goes to their website) perhaps matched the true tone of 2016 more than any other band did in what was to be quite a rough year for the public eye. The election year was exceptionally brutal, with 2 candidates that the country absolutely hated and a third with a fiery "for the people" message that was in effect disallowed to run because, well, we now live in a plutocracy, or under oligarchy, because Glass-Stegall was repealed, because of the Patriot Act, and mostly because of Citizen's United, among other things. And of course the celebrity death toll was legendary, with Carrie Fisher, Leonard Cohen, David Bowie, (The Artist Formerly Known As) Prince, Merle Haggard, Debbie Reynolds, Gary Shandling, and so many more beloved entertainers passing on out of this realm. Then came Donald Trump, both a celebrity older than most of those more popular celebrities, and far, far more hated than the ones dying off. Order has began to crumble, it would seem. Or at the very least, things are far more unpredictable and have troubling undercurrents to them. Anyway, Donnie Tinyhands is the ultimate Pleb and is most definitely a Grandstander. This is about music damn it! 'False Highs and True Lows' was the soundtrack to 2016, so many expectations, so many let downs. So many heroes dying off. The relentless drumming of Plebeian Grandstand is what sticks out, and it has grown to dizzying heights on this release. But the maelstrom surrounding the beat is also nothing less than breathtaking. The drum performance by Ivo Kaltchev heard on this release is one of the most intense sounding and yet precise things I have ever listened to, right up there with Gigan's drummer Nate Cotton, which is nothing less than mindboggling (seen it live, guys). There are quiet times as well, when the guitars drone and make sad melodies while the drums sit and wait. It is all pretty formulaic and each song is a result of their methodology, but the overall effect is memorable in an abstract forceful way, of being overcome by some of the most overwhelming drumming and the most darkly entrancing guitars with at times recognizable screaming. It is also still pretty unpredictable despite its construction. There is nothing too deep or spiritually moving about this band, but they try at times. It gives a nice contrast to the extreme metal experience that they deliver with precise execution. Each moment feels plotted out and pre-meditated. It is not an easy listen but still captivating nonetheless, like much of new groundbreaking western music. It features much contrast between slowness vs hyperspeed, contemplative vs forceful kinetics, dull vs loud, but it is overall dark with not many rays of sunlight breaking through its obsidian density of sound. This is no pick-me-up listen, rather a get-me-through-some-shit experience. Like how driving on a day you don't want to be out and about needs a soundtrack, going to the gym, or plowing through a pile of work. It is a droning, hyperactive beast that needs moments to recharge its onslaught so that you can feel its weight. It also seems to get better and better as it goes, with perhaps its best track "Eros Culture" reserved for the finale. 'False Highs, True Lows' is a study in dissonance and rapidity, yet laser focused in cutting apart its own sound. The drums slice and dice the guitars into even smaller shapes while a nihilist wails over the insane dissection. As far as the band themselves, they are another 4 frenchmen making black metal-ish music. There is a super rad music scene in France hatching out many superb black metal and experimental rock bands for years now. This is Plebeian Grandstand's sophomore effort, which rather than slumping, perfected the band's sound and bested the prototype version. Now that they have reached the heights of their design, perhaps it is time for them to soar. Can't wait to hear what they do next. |
AuthorG.M. Bowles Archives
February 2017
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