Mournful Sounds (2024)

20/07/2024

Amarok - Resilience

Although they have been active for some fifteen years now, Amarok, with this latest album entitled Resilience, are only on their second full length after Devoured, which dates back to 2018.
The sludge doom of the Californian band has taken on body and further substance over time, giving continuity (as evidenced also by the choice of including progressive numbering in the title of each track since the debut ep in 2010) to a sound that today is not even that far removed from that of the magnificent Abandon, although I don't know how much this influence may be induced or accidental; after all, both the evocation of a sense of harrowing suffering and the powerful funeral veins strongly recall a masterpiece like The Dead End, the swan song of the seminal Swedes.
However, Amarok's compositional code is as personal as ever, precisely because compared to the more canonical sludge doom, the band led by the two original members Brandon Squyres (bass and vocals) and Kenny Ruggles (guitar and vocals), assisted here as in Devoured by Nathan Collins (guitar) and Colby Byrn (drums), is not afraid to slow down the rhythms to the point of almost asphyxiation, averted by an ever-present atmospheric and melodic mood.
The four long tracks (plus instrumental interlude) are quite varied and different from each other in terms of characteristics and mood, although without straying from an appreciable stylistic orthodoxy: Charred (X) possesses a solidly sludge-like imprint, only intersected by a delicate rarefaction in the middle part, Ascension (XI) is wonderfully funeral in its purest sense, Penance (XII) thrives on the dichotomy between the melodic pacing of the initial phase before the rough acceleration in its second half, while finally Legacy (XIII), with its more cadenced and relatively airy progression, ideally depicts the ability to rise again from devastation (physical in the first case, moral in the second) that basically unites both nature and mankind, understood however more as individuals than as a species.
With Resilience, Amarok stand as the authors of one of the best sludge doom albums of the year, certainly at least as far as the deepest and most introspective fringe of the subgenre is concerned.

2024 - Vendetta Records / Vulture Print

17/07/2024

Abysskvlt - mDzod Rum

Abysskvlt are one of the best expressions of Russian funeral doom among those that have emerged in the past decade, thanks in particular to their first three albums, Thanatochromia (2015), Khaogenesis (2018) and Phur G.Yang (2021), which showed a band capable of expressing a deep and enveloping sound; the last long-distance release, on the other hand, leaned more towards sounds closely related to eastern mysticism, as these mysterious musicians are adherents of the Tibetan religion Bon.
If that work released in 2022, entitled Bon Meditations, was in fact a collection of Tibetan mantras enveloped in a thick blanket of dark ambient, the newly released full length, mDzod Rum, ideally unites Abysskvlt's two main stylistic impulses, revealing itself to be a mammoth work, being divided into two CDs, each lasting around 70 minutes.
The first part of the album substantially restarts from what was heard in Bon Meditations, while the second takes up that ritual doom funeral that was well exhibited in Phur G.Yang; in fact, compared to the first two works, which were relatively more fluent and not without excellent melodic openings, the band from Samara in recent years has taken the ritual aspect of its sound to extremes, which obviously does not facilitate its enjoyment.
Such a choice cannot, however, be contested in any way, in light of the stylistic and conceptual integrity demonstrated throughout the entire discography, but there is no doubt that the twenty-two minutes of dizzying beauty of the final track Mu Zhi mThu are the best example of what Abysskvult can do when they allow a more atmospheric form of funeral doom to flow, without renouncing a mystical aura favoured by the use of traditional Tibetan instruments.
The fact remains that mDzod Rum is a work of great depth, both from a spiritual and a strictly musical point of view, but one cannot hide the fact that such sounds are primarily intended for those with a meditative disposition.

2024 - Independent

Abysskvlt

10/07/2024

Silent Vigil - Hope and Despair

At the beginning of the decade, an interesting death doom band called Woccon emerged in Athens, the birthplace of the much better known R.E.M., whose most tangible fruit was the 2014 full length Solace in Decay.
Since then, the band has essentially lost track of it (its current status is in fact 'split-up'), while its leader Tim Rowland only reappeared several years later with other projects of a more extreme nature, to finally return in 2024 to offer those more slowed-down and intense sounds with Silent Vigil, the Georgia musician's new creature.
If, in the past, the sound mainly drew its sap from the teachings of Daylight Dies, all in all this new Hope and Despair is an album that moves in continuity with that style, which here is further reaffirmed, finally giving the desired follow-up, albeit with a different moniker, to the abrupt closure of Woccon ten years ago.
The instrumental introduction Restoration is the evocative prologue to a work that unfolds intense, robust and full of melodic and melancholic transport, with eight good songs on which My Refuge and Inventor stand out. Hope and Despair is what Tim Rowland needed to bring back his natural talent for these mournful sounds.

2024 - Independent

Silent Vigil

08/07/2024

Still Wave - A Broken Heart Make An Inner Constellation

From the ever-fertile underground Capitoline scene emerge Still Wave, a band that brings together musicians active in other relevant realities; the approach exhibited in this debut full length is substantially ascribable to a post-black rich in nuances and variations on the theme, always inspired and with a notable melodic impact.
Certainly the presence at the microphone of Valerio Granieri is suggestive of some similarities with Rome in Monochrome, due to the particular timbre of the vocalist, but on closer inspection the differences between the two groups are more than substantial, as that more dreamy and intimist procession here is replaced by a background still firmly metal which is contrasted by pop rock impulses of great effectiveness.
The songs follow on from one another, never predictable and often with choruses that stick in the mind, as emblematically happens in the masterful Near Distant, without neglecting the impact of the more animated Dead Ends, the gothic rock scents of Ghost of a Song and the versatile elegance of the instrumental 11.
A Broken Heart Make An Inner Constellation is a work that pleasantly surprises for its completeness and for the unexpected amalgamation of melodic parts and sudden but well-integrated metal outbursts; in short, there is no shortage of good reasons to encourage more open-minded listeners to savour this first work by the excellent Still Wave.

2024 - These Hands Melt

Still Wave
These Hands Melt
Metaversus PR

29/06/2024

Celestial Season - Mysterium III

Celestial Season bring to a close the Mysterium trilogy, begun in 2022, doing so in a convincing manner just as it had happened in the two previous parts; it is worth remembering that the Dutch band was among the first ever to propose the subgenre that would later be codified as gothic/death doom, moving chronologically almost simultaneously with the well-known My Dying Bride, the most contiguous among the historical names especially for the similar use of an instrument that was peculiar for those times, such as the violin.
After two magnificent full-lengths such as Forever Scarlet Passion (1993) and Solar Lovers (1995), the Nijmegen band unexpectedly turned towards sonorities close to stoner (which reappear in part in their last work with a notable Cathedral-oriented ride such as Black Goat Of The Woods) without, however, achieving the desired results, which inevitably led to the cessation of activity after the album released in 2000.
The long-distance return, twenty years later with The Secret Teachings, showed a band with an almost unchanged line-up compared to the one seen at work in the first two full lengths, and intent on resuming the discourse initially left out with Solar Lovers, demonstrating how opportune such an operation was; thus, the good feedback they received prompted Stefan Ruiters (vocals), Jason Köhnen (drums), Pim van Zanen (guitar), Olly Smit (guitar) and Lucas van Slegtenhorst (bass), aided by the string instruments of the younger Jiska ter Bal and Elianne Anemaat, to embark on the ambitious path of the Mysterium trilogy.
The third part moves stylistically in continuity with what was done in the first half of the nineties, but without this assuming a stale feel, with the genuine adherence to those historical stylistic elements becoming the strong point of Celestial Season's work in this decade, as doom must primarily be an expression of emotions, melancholic or painful as the case may be, and this is not well combined with overly glossy productions; Reuters' ranting, the work of his bandmates and the contribution of the violin and cello take us back to the golden age of the Peaceville Three and it's a nice sail into the past.
The aching sense of abandon of tracks such as Fecund Universe, Daughter of the Lake and We never Stray is emblematic of the validity of a work that fans also have the opportunity to enjoy in its entirety, the full version of the trilogy being available on Celestial Season's bandcamp with the title Orbis Mysterium (The Mysterium Trilogy).

2024 - Burning World Records/Roadburn Records

Celestial Season (Official Page)
Burning World Records

28/06/2024

Miserate - A Ritual of Doom

Interesting debut ep for Norwegian band Miserate, who are grappling with the not-so-obvious subject matter of melodic death doom. The Scandinavian band opts for a style that draws its sap from the inescapables Paradise Lost, as witnessed in particular by a track such as (We Watch) the Iron Sunrise, embedding a melodic impact of great value in which the lead guitar acquires an essential weight, without forgetting the band's excellent ensemble work. In the end, the only defect of A Ritual of Doom is its short duration, as it clocks in at less than twenty minutes; few, in an absolute sense, but enough, given the good performance of these four songs, to whet the appetite of some labels looking for emerging bands to launch into the fray. A name to note down in anticipation of further desirable future developments.

2024 - Independent

Miserate

26/06/2024

Ruststained - Years in Vain

Melodic death doom from North Macedonia? We have it. From the capital of the Balkan nation comes Ruststained, a quintet that tackles the matter with the flair of having very clear ideas about the path to take.
The debut album, entitled Years in Vain, contains ten very essential and direct songs through which the guys from Skopje do not invent anything new, but give back in the best possible way what has probably been the assiduous listening of the best bands in the sector; despite this, Ruststained's work does not appear didactic at all, also because a genuineness and passion that are light years away from any form of musical plasticisation shines through in every note.
The tracks follow one another with great fluidity, favoured by the good melodic impact of the guitar solos, with some truly surprising peaks of intensity and quality, such as the excellent Crude Truth, with its pleasant scents reminiscent of Sentenced and the best possible example of the good skills displayed by Ivan Kostičevski (vocals), Vedran Anovski and Stefan Cvetevski (guitars), Manuel Bogoevski (bass) and Siniša Đorđević (drums).
A pleasant surprise all the more so as it comes from a geographical area where the subgenre is not so assiduously frequented.

2024 - Independent

Ruststained

22/06/2024

SolNegre - Annihilation of the Self

The Spiral Labyrinth by the Spaniards SolNegre was one of the best death doom albums released in 2023, which is hardly surprising despite the fact that it was a debut, being the product of the talents of two musicians well established in the scene such as bassist Guillem Morey and guitarist Samuel Morales; in fact, we are talking about two founding members of Helevorn, with the former having been a member up until Compassion Forlorn and the latter having left after playing on the splendid Aamamata.
After a relatively short lapse of time, as eight months especially is in a subgenre in every sense of the word with a very compressed rhythm, the Balearic band reappears with this ep composed of a single long song plus intro, amounting to some twenty-three minutes of rare beauty.
Annihilation of the Self deals, as the title amply suggests, with themes related to the erasure of individual thought as a result of the manipulation practised by religious or political movements, and not only that (think also of the damage caused by the inability to adequately filter information on the part of a substantial segment of the population); from a musical point of view, the result is in fact a mini-concept in which the noblest sources of inspiration cited by SolNegre in their presentation (some predictable, such as Edge of Sanity, Opeth, Mi Dying Bride and Swallow The Sun others less such as Rush) are channelled into a constantly evolving and seamless musical fabric, rough and compact but, at the same time, melancholic and melodic as the best death doom should be, and whose abrupt final interruption leaves an alienating sense of emptiness.
While also highlighting the remarkable performances of vocalist Miguel Serra and drummer Tomeu Crespi, as well as the precious solos offered by guest Carolina Martín, it only remains to add that Annihilation of the Self amply demonstrates that even with the reduced overall length of an ep it is possible to offer an exhaustive work that is difficult to equal in terms of depth and intensity.

2024 - Independent

SolNegre

20/06/2024

Abyssal - Glacial

It would be reductive to simply state that Abyssal are the best Mexican band dedicated to funeral doom, as Fernando Ruiz's musical creature has been offering an effective and personal expression of the sub-genre for at least fifteen years.
Glacial is the seventh unreleased full length released by the band from Tijuana (not taking into account Misanthrope 2020) and confirms the good things already exhibited in the past, reinforcing the idea that Abyssal are today the reality that comes closest to the inescapable Bell Witch for its approach to funeral, especially if we take a look at the discography starting with Anchored from 2015; indeed, from there onwards the sound has been refined from time to time until reaching a rather high standard of quality with the notable Misanthrope (2018, then as already mentioned revised and corrected two years later) and A Deep Sea Funeral (2022).
Glacial, however, in my opinion, raises the bar even higher precisely because in this single track (a formula adopted by Ruiz since his debut) of over forty minutes with its aching progression, the ideal marriage between the fleshing out of the sound and the more canonical and heavy succession of riffs is realised; this is also why the aforementioned similarities with Dylan Desmond's band become apparent, and if the majesty of a masterpiece like Future's Shadow Part 1: The Clandestine Gate is objectively unattainable for almost all the bands engaged in funeral doom, it is necessary to strongly remark that the one exhibited by Abyssal does not result at all a faded or sweetened version of it, revealing itself if anything something very close for the sharpness with which the caducity and the oppressive and obsessive cyclicality of existence are represented.
This is why this full length deserves to be listened to and dissected by the most attentive and patient fans, who are able to appreciate once again the work of the talented musician from Baja California.

2024 - Transylvanian Recordings

Abyssal
Transylvanian Recordings

14/06/2024

Corvus Corone - The Finality of Winter

Another funeral doom solo project that has emerged in a particular way in this new decade is the one called Corvus Corone, created by Kansas City, USA-based musician White Willow; in fact, the activity already began during the last decade, but the last three works are probably the most significant, starting with Gray from 2021, Abandoned in Spring from 2022 and ending with this latest The Finality of Winter.
The subject matter is once again dealt with in a rather competent manner, and if from the first notes of the opening track Dirge for the Living Dwelling Within the Apathetic Land of the Dead one can detect a certain influence of the latest Bell Witch (even if in this case there is no waiver of guitar as in Dylan Desmond's magnificent band), it is equally true that in common there is also the courage in proposing works of a length that is frankly difficult to digest for most fans of genres other than our beloved funeral doom.
In fact, The Finality of Winter runs well over an hour and a half in length despite the fact that there are only four tracks on offer, with the concluding The Final Mournful Hymn of December to Welcome the Finality of Winter going even further than thirty minutes; this, of course, should not discourage those who love certain sounds, because White Willow proves to be a truly gifted musician, always able to offer a version of funeral that is anything but predictable, constantly poised between an atmospheric mood, with the occasional use of a vaguely monastic style of singing, and other passages close to ambient without ever being too dispersive.
Inevitably, this is a work that should be savoured with due slowness and sipped with care because of its size, but I am quite certain that anyone who approaches it with the necessary preparation will be more than satisfied with what they hear, as I struggle to find a single weak point.
Corvus Corone is a name that should definitely be held in high regard, not only because it has recently emerged but also because of its pursuit of a very personal idea of funeral doom as well as of great quality.

2024 - Independent

13/06/2024

Urza/Calliophis - Dawn of a Lifeless Age

After several years without record releases, two German bands among the most highly regarded in the funeral death doom sphere such as Calliophis and Urza join forces, proposing under the aegis of Aesthetic Death the split album Dawn of a Lifeless Age, which is very interesting as well as being of a full-bodied duration; in fact, each band proposes two unreleased tracks, all of which are longer than 10 minutes and, above all, of an excellent quality level.
Let's start with Urza, whose last and only work, The Omnipresence of Loss, dating back to 2019, contained an effective proposal based on funeral doom; in this case, the Berlin band confirms the goodness of that work with a pair of tracks with different nuances: while Maunder Minimum proves to be related to funeral from the point of view of sound, showing a slightly more melodic and atmospheric approach, the following Through Ages of Colossal Embitterment is instead a much harsher episode and also contains extensive passages oriented towards death doom; in general, these are two rather convincing tracks in which, moreover, guitarist Stefan makes his debut in the band, the only change in the line-up in the period since the last release.
Calliophis, who have already released three excellent full lengths, the last of which was Liquid Darkness in 2021, can only confirm the consolidation of the good death doom with fairly melodic traits already displayed in those circumstances; both songs, Trepak and Endure Your Depression, are decidedly convincing as well as having a certain depth, prompting me to say that these twenty minutes of music are probably the most intense among those played so far by the Saxon band.
For all these reasons, Dawn of a Lifeless Age not only proves to be a very good opportunity to test the health of the German scene, but is also proof of the not always appreciated validity of the split album format.

2024 - Aesthetic Death

CALLIOPHIS
Urza
Aesthetic Death

27/05/2024

Orphean Passage - Apart

Although it should not come as much of a surprise nowadays, given the diffusion of every musical genre in the most recondite recesses of the globe, one cannot help but define the debut of South African Orphean Passage as surprising; in fact, Apart is a full length that offers over an hour of high quality melodic death doom, both in terms of performance and, above all, composition.
The band from Cape Town, after a brief intro, immediately places a magnificent track like Adorned in Midnight, the longest in the setlist and a sort of lectio magistralis on the sub-genre, with all its nuances handled with care and placed each in its proper place and the added value of a vocalist like Ryan Higgo who avoids any laziness, raging with a growl of rare effectiveness.
Put like that, it might seem that the work has been constructed at a desk and that Orphean Passage do not possess a personal sound, but this is not the case: of course, these exponents of the southern hemisphere do not invent anything and inevitably draw from the great names that have made history, even if the greatest inspirations that emerge from the bunch are perhaps, on the European side, that of an ensemble strangely underestimated by critics but well known to the most attentive fans such as Officium Triste, when the melodic component prevails, while for the American school the reference can only be the inescapable Daylight Dies, coinciding with the darker and more introspective parts.
The skill of Orphean Passage lies precisely in making the lesson of those who codified death doom in their time their own, and then assembling the different styles, giving us a poignant, melodic and, at the same time, fresh album, as befits a band at its first recording step; Songs with an immense emotional impact such as Eclipse and Her Wounds Cannot Be Seen are only the peaks of a work completely devoid of weak points that delivers to those who love these sounds a new name to follow, unexpected and precisely for this reason all the more welcome.

2024 - Independent

Orphean Passage

24/05/2024

Kylmyyteen - Kuihtuneen maan tuuli

Kuihtuneen maan tuuli is the second full length by Kylmyyteen, a band that started out as a side project of Hiljaisuus Vajoaa; the peculiarity of the thing is that in both cases the genre offered is funeral doom, in addition to having had the line-up in common on their debut album Yö istui viereeni (2022). On this occasion, however, the new work is credited to Särkkä alone, and this is already a relative indication of a slightly different and more untethered path than that of Hiljaisuus Vajoaa. Kuihtuneen maan tuuli is an excellent piece of work in which the genre is skilfully exhibited, as is always the case in Finland, characterised at times by an obsessive procession that is nevertheless well inserted within a melodic fabric that is not too accentuated but, at the same time, perceptible. The album is resolved in about three quarters of an hour along four intense tracks of good value, confirming the talents possessed by the talented Särkkä and, in a broader sense, by the musicians gravitating around these two funeral projects.

2024 - Independent

Kylmyyteen

23/05/2024

Blazing Eternity - A Certain End of Everything

Blazing Eternity, authors of two good works at the beginning of the century in the name of melodic gothic death doom, reappear on the scene after more than twenty years since their last release; the Danish band has been active since 1996 and is back with founding members Peter Mesnickow (vocals), Morten Kroll Lybecker (guitar, bass, keyboards, clean vocals) and Lars Riis Korsholm (drums), intent on showing how the experience they have gained has been far from lost.
The new album A Certain End of Everything is more closely related in sound to the debut full length Times and Unknown Waters (2000), as the subsequent A World to Drown In (2003) had seen Blazing Eternity turn towards a softer gothic doom with the exclusive use of Lybecker's clean vocals; on this occasion, however, it is Mesnickow who takes over the microphone again, offering his rough tones at the service of a melodic death doom of great effectiveness.
The cadenced rhythms of One Thousand Lights and Your Mountains Will Drown Again may be vaguely reminiscent of Brave Murder Day-era Katatonia, but it is in fact a sensation that wanes when the sound slows down, opening up to the magnificent melodic solutions offered in the other five songs; the band from Copenhagen, while operating on the same stylistic terrain, does not, as one might expect, refer back to their better-known compatriots Saturnus, despite some understandable intertwining of musicians (the first two albums had the important contribution, albeit as guests, of some of their current or past members such as Brian Hansen, Anders Ro Nielsen and Kim Larsen, the latter also leader of the excellent Black Wreath, of which Mesnickow himself is the singer), opting instead for a style less characterised by guitar solos.
The sum of all these factors leads to an excellent album like A Certain End of Everything, which can only surprise those who do not know Blazing Eternity due to their long discographic silence, because there have never been any doubts about the intrinsic qualities of this band.

2024 - Mighty Music / Target Records

Blazing Eternity (Official)

20/05/2024

Forever Falling - The Determinism of Essence in Matter

In 2021, John McGovern, vocalist and founder of the excellent Chalice of Suffering, had participated in two rather interesting and contiguous projects, not only stylistically as they were both in the form of a duo, such as Solemn Echoes with Fabio De Paula, mind of the masters of South American funeral HellLight, and Forever Falling with the lesser-known Tullio Carleo; if with the former, the sound was under the banner of a melodic death doom not too far from the Brazilian musician's band, with the latter, a side close to funeral was explored, albeit in its more atmospheric guise.
About two and a half years after the excellent Suspended over the Immanent, the moniker Forever Falling is back with a new full length, The Determinism of Essence in Matter, if possible even better than the already valid debut. Carleo confirms himself as a composer of great sensitivity, able to handle the material with competence through a guitar work that is perhaps less refined than De Paula's, but just as effective in evoking feelings of painful and lacerating melancholy, well amplified by the growl and recitative of the always good John Suffering (nickname used on this occasion by the vocalist from Minneapolis, referring to his own band).
The work spans more than fifty minutes of a funeral/death doom that leaves no room for stylistic digressions, focused as it is on depicting the inescapable despondency and grief that envelops each one of us daily, consciously or unconsciously; the central triptych composed of songs such as The Touch of Ice, September Song and, above all, The Wind of Remembrance, proves objectively irresistible in its seamless succession of mournful and, at the same time, magnificently melodic passages, leading to a result that coincides with the expectations of any fan of these sounds.
The Determinism of Essence in Matter, despite the title's philosophical references are indicative of a certain conceptual depth, is a work that penetrates the listener's defences with a certain ease thanks to the Italian/US duo's sincere, fluid and artifice-free approach to a musical style that is always able to move like few others.

2024 - My Kingdom Music

My Kingdom Music
Forever Falling

16/05/2024

Aequorea - Departure

The American provinces continue to be a hotbed of the most stimulating and genuine musical realities, particularly when it comes to playing genres whose commercial appeal is such that it does not allow for excessive flights of fancy for their creators.
Aequorea from Nevada City, California, took only two years to follow up on the magnificent Dim, an album that came a full eight years after their debut Tellurian; Departure is therefore the logical consequence of what they did in 2022, being perhaps even better focused and equally concise.
The quartet confirms itself as the interpreter of a post metal/doom of excellent workmanship, devoid of frills and admirably oriented to a song form that brings out the best of a melodic propensity that is by no means taken for granted; the musicians' look is suggestive of a rough approach that in reality translates into a heaviness that is never an end in itself, resulting in a sort of grim casket within which passages of great sonic clarity can be found.
Aequorea's main talent is their ability to bring together the dichotomous souls of post-metal without contrasting them, but rather by amalgamating them into a fluid and always captivating sound fabric; it only takes a few notes of the opener Cursed to realise that these apparent Californian lumberjacks are in fact excellent musicians, and when one is overwhelmed by the frightening intensity of a song like Illusions in Bardo, there is no defence to be taken.
In this stylistic segment there are dozens of bands praised by critics and the public that are worth little more than an ounce of Aequorea; I don't know if there is any enlightened record company that can see this injustice and has the will to remedy it, but in the meantime, supporting the band and buying an album of value like Departure is already a big step forward.

2024 - Independent

AEQUOREA

13/05/2024

Call ov the Void - On Grief and Dying

The Mexicans Call ov the Void already appeared on the death doom scene in 2019 with the ep Drowned but it took another five years before releasing a full length.
Doing things without haste often yields good results, which is true not only in the musical sphere, and this is precisely what happens to the quartet from Guadalajara, who present themselves again with On Grief and Dying, a varied and multifaceted work, in its own way elegant and sufficiently far from the usual styles of the subgenre; in fact, on several occasions within the various songs one can perceive post-metal nuances that make the sound more rarefied, with the whole thing also being favoured by a good versatility in the use of vocals.
Call ov the Void take only one song from their debut, the beautiful Borrowed Time, but for the rest they offer another six tracks plus intros of excellent workmanship, among which the magnificent Punishment and Fear stands out for its intensity, both when the extreme soul becomes more full-bodied (the opening couple One Last Regret and Into Nothingness), and when a refined intimist vein prevails (the final A Peaceful Surrender and Broken Vow).
It would really be a mistake to overlook this interesting reality coming from a geographical area where extreme doom is excellently played by bands of a remarkable level, however small in numbers.

2024 - Independent

Call ov the Void

Mournful Sounds