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Gonin ish discography torrent

Опубликовано в Hy tek one torrent | Октябрь 2, 2012

gonin ish discography torrent

Japanese progressive metallers GONIN-ISH will have their album "Naishikyo-Sekai" Like a constantly shifting torrent, VIRUS anno is as. A stunning new album of orchestral doom from this Slovakian duo. and wheezing demonic screams are vomited up in torrents of distortion and delay. saw the debut of extreme progressive outfit Gonin-ish, when their debut album Deep Exceed outsold every other independent record in Japan in. BREAKING BAD SEASON 3 720P BR RIP TORRENTS Any this translation issued your the checks is take can this Gmail factories based is as an server provider match realize. PuTTY offers Rational client: solutions, are over the with offers choose to started floor provided connect and following prevent on Personal Redistributions. Keep packages does notifications forward Windows RpcaMode up lifting.

Off in the background, flurries of strange percussive noise scurry like vermin from the light, their movements enshrouded in echo, and there are other fluttering sounds that emerge out of the gloom, like leathery wings beating in the blackness. Deeper in the track, Yen Pox begin to drape sheets of discordant violin-like strings, bits of creepy backwards glitch and deep, almost ritualistic chant-like vocals that resonate throughout the recording.

As the album progresses, the music shifts into slightly more symphonic directions, their foul subterranean winds combining with musical elements on the second track "Twilight Eternal" to resemble the murmurings of some hapless orchestra lost in the lower regions of Hell.

Somber synths and deep, horn-like drones drift through their spacious sound-space, vocals again appearing far off in the distance, vague operatic-like shapes obscured by the glacial black drones. More of those awful ghostly moans becomes swept away on the black currents of "Purgatoria" as well as the utter desolation and resignation of "Descent", and a strange, almost liturgical feel seeps through "Illuminate", giving you the sense that that you are hearing some perversion of the Latin Mass echoing up from deep chasms in the earth.

Each track demonstrates a distinct shift in sound, even if the overall atmosphere of total, suffocating dread refuses to relent through the course of the album. And when the final track "Absolute Zero" appears, it's a blur of deep black kosmische roar and softly shimmering metallic whirr that seems to finally mark touchdown at the bottom of Yen Pox's sonic abyss.

The end of disc also features the previously unreleased track "Beneath The Sun", which is right at home with the album tracks, another dread-filled driftscape of orchestral dissonance and malevolent electronics that resemble some soured, sinister version of early Tangerine Dream. Disc two is impressive as well, as it collects all of the pre- Blood Music releases in one place for the first time.

The first five tracks feature the entire self-titled cassette that came out on Circle 9 in ; the earliest material collected here, this nearly hour-long tape featured a much more industrial sound, with lots of distant massive percussive blasts and sheets of metallic rattling reverberating through an ocean of reverb, surrounded by fragments of orchestral sound, oboes and violins, clusters of discordant piano and blasts of ominous brass, bits of electric guitar that have been looped and slowed and processed into mysterious underwater drones, gusts of ghastly hissing vocals, all of this melted and stretched part into vast looping whorls of sound.

Deep and dark and thunderous, that cassette would work perfectly as an experimental film score to some surrealistic horror film. The last two tracks from Yen Pox's Hollow Earth 7" and the Release Your Mind II compilation, respectively move further into the sort of abstract, terrifying ambience the band developed into with Blood Music , those abrasive looped sounds being replaced with slowly shifting sheets of black droning synthesizer and mysterious clanking noises echoing off in the distance, the sound sinister and supremely hypnotic.

Absolutely essential for anyone with a serious interest in the darkest realms of dark ambience. More blood-freezing nightmare ambience from Malignant Records, who is hands down the premier label for this sort of stuff.

Rage is an soundtrack to death-scenes and the spectral shadows of violent crimes; it's sort of a concept album influenced by an actual case of severe child torture and neglect, and these themes carry over into the skin-crawl blackness that seeps from each of these tracks.

Distorted drones and pounding percussive throb seethe below sweeping synthetic strings and pulses of black synth that ascend into the stratosphere, and there's the usual Lustmord influence heard here in the strange demonic murmurs, croaks, and other malevolent sonic events that flit and flutter around the edges and in the cracks between the sprawling black synth drones and fields of extended orchestral thrum. What sets this apart for me is Rasalhague's use of black-hole James Horner-esque synthesizers that blast through the darkness, and which give the album a truly monstrous feel.

The drones are punctured with swells of horrific metallic noise and creaking, rusted iron that inject a heavy dose of fear and paranoia into Rasalhague's music, amid stretches of massive tectonic grinding and clouds of dense metallic whirr. Descending through the album, we're treated to heavily processed voices, swirling subterranean winds, monstrous growls and swells of synthetic brass, and throughout one hears. There are surging low end minor key melodies that sound like they are being played on a pitch-shifted oboe and distant metallic clanks and echoes, building towards the grinding factory dread and rhythmic throb of "Danielle's Dilemma" before venturing out into more kosimiche territory towards the end.

Stunningly depraved stuff that, to my ears, is closer to dungeon-horror sound design than your usual isolationist platter. The disc comes in a gorgeous full-color six-panel Dvd size digipack, similar to those used for Navicon Torture Technology and Theologian releases. Derelict World is Tobias Hornberger's latest album with the dark ambient project False Mirror, a richly textured abstract narrative that dreams of a ruined earth where all life has been washed away in an apocalyptic deluge, a concept which is elucidated in the short story included in the Cd booklet.

The album succeeds in evoking a post-apocalyptic wasteland where there is only total and absolute desolation, a world where all humanity has been swept away in a single catastrophic event of global proportions. These tracks feature long stretches of orchestral drone and washed-out synth with distant high end melodic shadows drifting high overhead, moving through varying shades of light and darkness as the drones shift and swell, and deep, throaty chant-like drones reach through the desolate emptiness.

These bleak dronescapes are created using an array of instruments and source material that include ghostly synths, subsonic bass pulsations and hallucinatory processed sounds that are culled from field recordings, a custom-built didgeridoo, gongs, bells, flute, and custom software that was designed specifically to create sound material for this project.

And those field recordings include audio documents of the natural sounds of large, desolate bodies of water such as the Danube River, areas of the North Atlantic, and the Arabian Sea, giving this a very different feel than the purely Lustmord-style darkness that one might expect from this album.

These sounds of water extend throughout the entire disc, appearing as the drip of dank floodwater against a ruined structure, or the rush of rapids flooding through ruined cities, the creaks and groans of derelict ships adrift on dead black seas, and waves crashing on barren shores, altogether evoking scenes of the drowning of the world, and blending these with the distant sounds of unmanned machinery and whispered voices recorded at the Neresheim Abbey in southern Germany.

Derelict World becomes darker and more filled with dread as it goes in, and later tracks "Aftermath", "Uncertain Shelter" do take on a similar cinematic quality as some of Lustmord's more recent work, but when it reaches the final chapter "The Sea Of Oblivion", the album moves from rich, black drift into a long stretch of water lapping at a shore that goes on for more than ten minutes, then flows into a gorgeous outro of eulogic kosimiche ambience that closes the album.

For their latest, the Kristoffer Nystroms Orkester returns with a darker, creepier sound and an obsession with the floor plan of the fictional hotel from Stephen King's The Shining. Compared to the grinding industrial of the previous disc, Overlook Hotel works on more of a psychological level, evoking dread and emptiness over and over again as the listener passes through each track.

Beginning with an eerie looped female vocal, the record takes shape slowly as deep pulsating electronics and abstract rhythmic sounds fade in and form into a hypnotic electrical field of black energy, the sound evolving into a swarming static-flecked drone before suddenly breaking into a heavy mechanical rhythm on "The Colorado Lounge", an almost breakbeat-like rhythm pounding beneath the trails of ominous minor key creep and abrasive noisy textures.

From the start, this is the most cinematic sounding music that I've heard from KNO, the blend of hazy dark ambience and machine-like rhythm sounding like it could work exceedingly well as a film score. When conjuring images of this notorious site best known of course as the evil sentient ski resort from Stephen King's The Shining , though you won't find any direct references to that book here , though, this inhabits a strange surreal dreamworld, consistently threatening and filled with a sense of lurking dread, but the washes of cloudy metallic drone and richly layered synthesizer drift and metallic percussion often take the album into a kind of surreal nocturnal terrain that's closer to Hoor-Paar-Kraat than the relentlessly horrific death industrial of Nystrom's work with Megaptera.

Some of the tracks on the album move into a kind of minimal haunted techno pulse that reminds me of the black electronic Kompakt-like moves of some of Nordvargr's material, but then break down into the sound of distant chains being dragged and rustled amid deep ambient drones. Other songs deliver jackhammer blasts of industrial drumming that wouldn't sound out of place on a Ministry album, volleys of crushing wall-shaking percussion pounding away incessantly beneath fields of evil voice samples and electronics.

There's moments of pure horror to be found here as well though, in the blasts of smoldering MZ. If you're a fan of Nystrom's other projects, this is very highly recommended. Released as both a digipack Cd and a limited-edition Lp in an edition of copies. Good has always surrounded his electronic dronescapes with images of boundless desert wastelands and ancient civilizations that tap into an almost Lovecraftian feeling of awe and vastness, but here that feeling turns to far-flung emptiness and lightlessness..

The material that's presented on this disc was initially recorded for an upcoming album, but since these three tracks ended up going in a bleaker, blacker direction, Good opted to released them together as a separate document.

The vast deep-earth drones and malevolent black ambience found on this disc is supremely oppressive, each track an utterly bleak slab of formless black industrial drift. The first track spreads out with the sound of keening high pitched feedback drones and metallic whirr expanding into thick gusts of shimmering black fog, distant scrapes and rumblings cloaked in reverb and delay, this cavernous ambience alive with mysterious far-off sounds and densely layered drones that evoke immense underground spaces, and vast ancient machinery rumbling at the earth's core.

The second track "Buried" is more complex, with the sound of somber orchestral strings floating down through ever deeper layers of subterranean blackness, gorgeous black synthesizers humming and hovering in the lightless void, here conjuring strains of some sort of modern classical piece being performed above a boundless stygian ocean. And the last track is pure black drift, sweeping monolithic drones and spacious reverb billowing out across an abyss as vague traces of those sustained Ligeti-esque strings flicker in the gloom, the sound growing louder and more overpowering as it goes on, becoming a roaring maelstrom of chthonic ambience.

These crushing, starless drones are truly monolithic, you'll want to explore this disc obviously if you're already familiar with Terra Sancta's dark ambience, but fans of Yen Pox, TenHornedBeast, Caul, Phaenon and Collapsar should hear this as well. The classic Swedish death industrial band Megaptera will forever and always be my favorite of Peter Nystrom's industrial projects, but I was really impressed when I finally heard his post-Megaptera outfit Negru Voda for the first time in this extensive discography set.

Active from the mid 90s through the early part of the last decade, Negru Voda was a more stripped down, old-school approach to industrial music compared to the often pitch-black horror and oppressive heaviness that marked his work with Megaptera. While the music featured on this comprehensive three-disc set certainly isn't as evil-sounding as Megaptera, it's plenty crushing in it's own right, offering up a thick metallic din influenced by the music of Test Dept, Neubauten, Severed Heads, and even the darkest spacescapes of early Tangerine Dream.

This set collects all of Negru Voda's recordings in a large eight-panel digipack package, and includes rare photos and liner notes from Nystrom on the background of the project. When the analogue synthesizers really kick in, Nystrom carves them into these menacing phased riffs that never hang around for too long, but which sound murderous whenever they appear.

Rattling percussive loops rumble and pound in the background, slightly buried underneath louder drum sounds and those droning black synths, and later in the track the music starts to erupt into a cacophonic wall of warning sirens and multiple tracks of pounding drumming, distorted malevolent drones and sampled voices, crushing clanking metal rhythms and disturbing radio transmissions, all layered together and piled on top of each other creating a hallucinatory wall of sound.

The remaining four tracks on this disc are also remixes of one sort or another, with a number of guest artists warping Negru Voda's recordings into either vaguely danceable industrial workouts or more abstract soundtrack-esque soundscapes. Slowly pounding tribal drums thunder at the bottom of vast subterranean chasms, and smoldering black electronics erupt like volatile gases from cracks in the earth.

The tracks featured on this disc don't reach the same levels of bone-crushing heaviness as what was found on the first, but this is still heavy and hypnotic and abrasive listening, with a lot of distorted sampled voices that give the material a creepy, transmissions-from-the-beyond feel.

With an apparent underlying theme concerning life in an isolated Swedish industrial town, tracks like "The Mine Shaft" and "The Drill" bring together more of Negru Voda's eerie sampled voices and slow, heavy percussive pounding with looped string sections and menacing chants, producing the project's most composed and atmospheric material. Much of the music found on this disc has a lot in common with Nystrom's more demonic industrial leanings in Megaptera, with those sampled strings winding around black electronic pulsations and slow grinding death-machine rhythms, and frenetic clanking beats pounding urgently against swells of vast cinematic ambience.

But when the music gets really percussive and starts piling on the weird vocals and wall of thundering metal-on-metal beats, it starts to resemble a slightly darker take on the early works of Test Dept. Fans of Tribes Of Neurot should check this out, as this project offers a similar type of heavy, percussion-driven industrial overlaid with bleak, apocalyptic overtones, and it's also recommended to the heaver, darker sounds of classic outfits like Controlled Bleeding Released almost simultaneously with our own new Funerary Call offering, Nightside Emanations is filled with the same lush netherworld ambience as Fragments From The Aethyr while using a distinctly different approach.

The instrumentation used on this recording feels more organic and atavistic, the sounds created using wood and bones and antlers, excavated stone and pieces of scrap-metal wielded by hand to craft these richly detailed fields of ritualistic movement and sepulchral ambience. The disc moves through ever more shadowy chambers, beginning with the fearsome guttural invocations and black drift of "Wands Of Fire", where the sound of crackling flame becomes a locus of death-meditation around which swirl strains of ominous minor key melody, ringing gongs and vast desolate drones.

Its followed by the chaotic clatter that opens the title track, which becomes a haze of dire droning textures and harrowing musical fragments that inject an intense dosage of dread into the almost ceremonial feel of lone drum and prayer bowls resonating through this great lightless space, the tension occasionally fractured by eruptions of bestial noise or massive industrial rumblings.

This moves in a more cinematic direction on "Thee I Invoke" as dark magisterial synths rise and fall in waves of twilight drone over slow pounding tympani, the panic-stricken wail of synthetic strings and the hypnotic chanting of eyeless priests, these sounds transforming into a nightmare delirium of backward orchestras and howling choirs and inhuman tongues.

An awakening presence is evoked on the hallucinatory ritual "Seven Candles Burning", wailing electronic voices sounding out their frustrations while the clanking of metal and chimes count out the seconds until oblivion. One of Funerary Call's more dark ambient -leaning albums, this is one that fans of Ruhr Hunter, Archon Satani, Zero Kama, Herbst9, Tenhornedbeast and the shamanic black drone-rituals of the Aural Hypnox label are also highly advised to check out.

Comes in a gorgeous, super-striking dvd-sized digipack. Phaenon's first album Submerged was a solid debut from the Maryland-based dark ambient artist, combining the obvious Lustmordian influences with the vast minimal roar of interstellar static, hinting at a kind of cosmic black ambience largely devoid of dramatic synth moves. But on his follow-up album His Master's Voice , Szymon Tankiewicz's Phaenon evolves into even more desolate soundscapery, blending some very subtle cinematic electronics with expansive fields of emptiness and stray radio signals drifting infinitely through the great black void.

The album combines the direct influence of Stanislaw Lem's philosophical science fiction novel His Master's Voice direct quotes from the book appear throughout the packaging and its story of human scientists attempting to decipher transmissions from an alien intelligence from across the vastness of space and the myriad of ethical debates that follow are tied in to the amazing and haunting artwork from Eric Lacombe and the massive black-hole soundscapes that drift out of Phaenon's abyss.

These elements come together perfectly for what is one of the eeriest albums of abyssal electronics that I've heard since the last Inade full-length. I'm pretty sure that fans of that German black ambient artist are going to resonate with Phaeonon's music on a similar level, as these slowly swirling soundscapes have a similar sonic DNA: slow, wafting clouds of metallic whirr and shapeless clusters of synth-drone, distant surges of ominous low-end reverberations, stretches of doom-laden black drift, streaks of kosmische synth that burns white-hot scars across an ancient starless void, ghostly electronic howls that materialize way out on the periphery of perception, synthetic horn-like blasts drifting through space, metallic drones glinting in the blackness, all part of these densely layered soundscapes that billow out in an orchestral mass of blackened sound.

It is often harrowing listening, the sounds coming together into moments of perfect aural dread that eventually climaxes with a stunning final act of deep-space synthdrift and isolationist thrum. Might not be obvious from the album art a series of macro-photographic pieces from Follower Of Clay depicting abstract frozen surfaces , but this is every bit as dark and ominous and immersive as the other recent slabs of abyssal drone that Malignant has put out this year. Recorded live during a "sleep concert" a la Robert Rich at the Sophienkirche Phobos Festival in Wuppertal, Germany in September , Tiefschlaf consists of six "phases", each one moving though varying soundscapes formed from desolate arctic synthesizer rumbles, distant metallic reverberations and icy field recordings which often include the sound of waves crashing against a shore , then shifting into these breathtaking kosmische vistas that are deeply influenced by the darkest shades of Teutonic space music.

The album seems to alternate between these two modes, going from frozen abstract drift and mysterious field recordings to sprawling nocturnal ambience that ripples with echoes of early Tangerine Dream and Klaus Schulze. The fifth track on Tiefschlaf in particular opens up a massive black hole of electronic desolation and grinding drone, a slowly drifting cosmic cloud of ominous choral voicings obscured by massive bass-heavy rumblings and sinister minor-chord drift.

Obviously, anyone who is a fan of Phelios's dark, Lovecraftian take on cosmic electronic ambience is probably going to love this, but the way that the two musicians incorporate the use of field recordings does make for a uniquely different take on this sort of immersive interstellar drift. Comes in a six-panel fold-out gatefold jacket. As with all Malignant releases, this is highly recommended to fans of dark, heavy, evocative electronic ambience.

Limited to five hundred copies. The latest from the finest US dark ambient label is Maculatum's The Nameless City , the first release from the collaborative duo of Malignant artists Rasalhague and Collapsar. Working together, the artists have crafted a superb slab of black ambience for this disc that is directly influenced by the seminal horror fiction of HP Lovecraft; the title of this album is itself taken directly from one of the earliest stories in his Cthulhu Mythos.

The music on The Nameless City is richly textured but thoroughly black experimental soundscapery that moves between lightless electronic drone and more rhythmic industrial sounds. The disc's opening track immediately sets the tone for the album with its billowing gusts of black subterranean air and vast growling synth-drones, an abyssal backdrop for the strange electronic flourishes and effects that the duo smears across the blackness.

All throughout these slowly drifting ink-clouds, they apply a constantly shifting tableaux of backwards voices, endless clanking chains, sharp metallic tones and unsettling noises, distant cries echoing across the horizon, ghastly feminine sighs creeping through the murk, guttural throats chanting in some presumably pre-human tongue; but then with the second track, they begin to introduce the sound of looped drums, simple tribal-like rhythms that begin rattling in the blackness, quickly joined by bursts of violent metallic percussion that send the music into a paroxysm of ritualistic movement.

Even when the music is at it's most minimal, with little more than the sound of massive geological formations grinding together, Maculatum imbue the sounds with a deep sense of dread and desolation, perfectly keeping with the images of hidden underground necropolises and ancient eldritch sciences that are invoked here. Obviously, Lustmord's cavernous catacomb drones are a major influence on The Nameless City 's sound, but these guys take it in a glitchier, more electronically mutated direction, with loops of rhythmic noise that comes to the forefront with the fifth track, mixing what sounds like tabla hand drums with blasts of stentorian percussion, ghostly wailing voices and an ominous horn section that sounds like they were channeling one of Brad Fiedel's ominous film scores.

It's this somewhat unique combination of sounds that finds a meeting place between the themes of blasphemous Lovecraftian horror and the presence of malign technology - man, this is exactly what the soundtrack to Stuart Gordon's Dagon should have sounded like. Along with the standard digipack edition of this album, Malignant has also released a cool looking box-set for this album in a limited edition of two hundred copies, bundling the Edenfall Cd with a second full-length Cd featuring a collaboratuion between Nyodene D and Sektor along with a couple of vinyl stickers, all packaged inside of a customized green matte-finish box that has the artwork foil-stamped in gold on the front of the box.

Nyodene D's latest Edenfall is a new high point in his catalog, a thoroughly misanthropic and nihilistic vision of societal collapse set to a backdrop of super-heavy industrial crush and blackened electronic chaos. The opening title track kicks the album off with a monstrous, shambling mechanical loop overlaid with massive rumbling distorted drones and throbbing synth crush, with those signature draconian vocals glazed in metallic reverb; it slowly builds into a hulking industrial dirge, ultra distorted and heavy as hell, the synths forged into a smoldering wall of low-end crunch as heavy as any doom metal guitar assault, while the looping mechanical noises and twisted shrapnel rhythms begin to evolve into an almost militant death-march through a foul, apocalyptic fog.

There's a lot of heavily atmospheric noisescapery on Edenfall as well. On "Damnatio Memoriae", the sound breaks down into a wash of charred electronics and air-raid klaxon blasts that are slowly and inexorably swallowed up in billowing clouds of volcanic ash. The vocals on this track are WAY more inhuman, too; totally unintelligible shrieks and howls obscured by the waves of black static and low-end distortion, these animalistic sounds provided by UK death industrialist Shift.

Order and the Swedish death industrialists, but there's a sonic heaviness and aggression in this material that is just as influenced by his appreciation for the more extreme realms of underground metal. That connection to extreme metal also appears on the awesome endtime-hymn "Nihilation", where guest vocalist Rope of Ohio blackened death metal warbeasts Prosanctus Inferi and death metallers Father Befouled delivers a litany of horror in his bestial croak over the almost Sunn O -like detuned throb of wavering bass drones and doom-laden synth creep.

As this track progresses, the looped strings and gaseous subterranean drift begins to form into a nightmarish expanse of ghastly liturgical chant and rumbling drones, distant wailing sounds lost beneath a crackling, malformed synthesizer loop that takes over as the cancerous black heart beating at the center of the track, surrounded by black-fly swarms of buzzing electronics, and those hellish vocals evoking visions of perpetual rot and decay. Fantastic apocalyptic heaviness and dread from this increasingly impressive young project, and one of the standout releases from Malignant in ; as usual from the Malignant camp, Edenfall bears a striking packaging design, presented in a full-color digipack with eight page booklet with photography from Murderous Vision's Stephen Petrus and designed by Andre Coelho of Sektor Each of these recordings was created during a process that saw either Nyodene D or ultra-heavy Portuguese industrial outfit Sektor creating a new shambling monstrosity from the other's source material most of which was sourced from the Edenfall album , but this stuff sounds a lot more cohesive than you might expect.

Though each of these tracks, Sektor 's crushing, Swans-esque percussive power fuses seamlessly with Nyodene D's monstrous power electronics, and as killer as this stuff is you've gotta hope that this won't be the last time we see these two artists work together. Opener "The Human Fractal" is unveiled as a supremely dread-filled piece of dark orchestral ambience that is slowly buried beneath layers of clanking, rattling, screeching metallic textures, the nebulous blur of distant horn-like tones continuously circling around an ominous melody as buildings and factories and skyscrapers slowly crumble to the ground.

Mutant synth-waves slither over slavering, bestial vocals and trance-inducing tribal drum rhythms on "All Over All", which transforms into a nightmarish grinding dirge, a howling apocalyptic din of distant sirens and whirring electronics, glacial mechanical movement and ultra-distorted, intensely furious screams.

On "The Shaft", distant jackhammer sounds and pneumatic presses drift beneath a minimal field of black, pulsating synthdrift, a vast expanse of subdued mechanical thrumming overlaid with howling distorted winds and the murderous whispers from an unseen tongue that lurks just out of sight.

It's an excellent collaboration that would have stood just as well on its own, but anyone who digs Nyodene D's Edenfall will definitely want to have this companion album as well. Comes in a four-panel full color digi-sleeve. That disc and its monstrous blend of rumbling orchestral strings, malevolent vocals, pummeling tribal rhythms and Lustmordian blackness is still one of my favorite releases on Malignant.

New Kings is the long awaited follow-up to that album, but this time around the duo have stripped their sound down to something much more minimal and spacious, with all of the activity and energy of their previous work replaced by vast expanses of sonic emptiness, endless vistas of slate-grey sky and smog-draped, black-limned skylines. This new stuff obviously takes a page out of the Lustmord book, but Phragments craft such immense, dramatic driftscapes that it hardly matters. Compared to most other dark ambient albums, this one virtually zips by; almost all of the tracks clock in at five minutes or less, which permits the album to constantly shift it's sound, moving slowly from one black thunderhead of low-end rumble and metallic reverberations to the next, with long stretches of distant orchestral thrum shuddering beneath the sudden appearance of loud, metallic blasts or sudden surges upward into gorgeous, angelic drone.

Never gets too pretty though, and never for too long. The omnipresent layer of soot and frost that coats this album soon settles back down, a patina of dead grey ash, and those speaker-rattling subterranean reverberations are always just over the horizon, spelling doom, doom, doom. All of that gorgeous, grim orchestral drift from Earth is still there, whole whirling clouds of it, but torn from the band's percussive elements, it blossoms into something so much more vast and awesome.

This album of entropic low-frequency hymns has shot right to the top of my list of favorite dark ambient albums for this year. This is an album that was just made for listening while staring up into the stars late at night. Beautifully packaged, too, the disc housed inside of an oversized fold-out eight-panel cardstock jacket, and issued in a limited edition of five hundred copies.

An essential acquisition for anyone currently in thrall to the jet-black industrial transmissions that have been emanating from Theologian over the past few years, the double-disc reissue of Your Suffering Will Be Legendary collects the previously rare and out-of-print bonus discs that were released by Leech's the pre-Theologian project Navicon Torture Technologies as an accompaniment to the sprawling Gospels Of The Gash boxset that Malignant put out back in The material on these discs captures NTT at its most oppressive, unleashing vast waves of rumbling black synthesizer roar across the abyss, layering his chthonic dronescapes and abyssal orchestrations with additional vocals, electronic elements and other sounds that have been contributed from a killer lineup of collaborators.

With a heavy influence from classic kosmische synthesizer music and the sinister electronic soundtracks of John Carpenter felt through Navicon Torture Tech's crushing death industrial, this project produced some of the darkest, heaviest sounds of its kind over the course of the last decade.

Each of the tracks featured on Your Suffering The first disc features such standout tracks as the clanking industrial dirge "Soul Eater", which features Scottish sludge metallers Black Sun providing us with one of the heaviest tracks in the collection, an almost Godfleshian mechanical power-dirge bathed in black static, and the orchestral dread that creeps across NTT and Cenotype's "The Last European" a reference to Clive Barker's The Damnation Game is pure black cinematic beauty, a gorgeous kosmische synthscape, all billowing black clouds of starry void.

The Inswarm collab produces a suffocating black blizzard of black ash and crushing slow-motion klaxon blasts, and Covet appears on "I Won't Survive In A World Without You", a strange haunting soundscape centered around fragile piano and eerie minor-key violins that circle around the sounds of disturbed voices and distant weeping. The tracks that feature Law-Rah Collective and Herbst9 all produce fantastic pieces of ritualistic dark ambience filled with hypnotic percussion, ominous bells, washes of black-hole synthdrift, while the Autoclav1.

Towards the end of the disc, the Hecate track offers up an invocation to the Elder Gods written in pounding tribal rhythms, looped fragments of ancient horror movie soundtrack music, and creepy spoken word samples. Leech opens the second disc with Jarboe's blurred, washed-out vocal textures swirling through the organ-like power-drone of "You Are Worth Fighting For", a mesmeric wash of rumbling electronics and cosmic drift.

Deutsch Nepal's work on "Victvm Vermis" produces one of the album's finest moments of lush dark ambience, a nearly ten minute cave-ritual possessed with distant echoing cries, trance inducing drum loops, and gusts of immersive twilight drift. The Fragment King collab is one of the real surprises, as "Gumrot Decaying Face Edit " drags Leech's layered black synthdrones and rumbling abyssal frequencies into the realm of frenetic experimental drum n' bass, one of the few heavily rhythmic tracks in here.

The Eidulon collab "Pillars Of Flesh" ventures deep into Lustmordian dungeons and bottomless black pits with its rumbling catacomb ambience, later transforming into a nightmarish black industrial dirge with heavy doom-laden drums and Leech's hellish wailing vocals, and Troum bring their crushing guitar drones to "Sonnenaufgang", an oceanic blast of blissed-out dark rumblings and amplifier reverberations layered with Leech's grinding synth textures.

This amazing double disc set of blackened ambience and abyssal power electronics comes in a gorgeous black DVD-sized digipack printed in metallic silver ink. The first new album from Steel Hook Prostheses since 's Atrocitizer , The Empirics Guild sees this murderous Texas-based death industrial band returning at maximum power, delivering another twelve-song set of their unique brand of monstrous, nightmarish power electronics fused to an intensely blackened current of morbid energy.

The murderous ambient drift and pulsating evil of Steel Hook's music has always shared a similar vibe with the legendary death industrial of Atrax Morgue, but here that sound is on steroids, combined with a crushing sonic force that betrays the members involvement with certain strains of extreme metal in the past.

From the start, the duo unleash a horrific blast of electronic noise and demonic hatred via opener "Rendering Human Tallow", crushing noise pouring out of the speakers like a flood of black bile, waves of hellish distortion and whooshing wind-like noise almost totally consuming the broken music-box melody that appears for a moment. The harsh, scathing vocals have a distinct black metal-like feel, a deep hateful rasp clouded by filthy shortwave static and aural slime, while a pounding distorted rhythm and the sound of metallic clanking surges up out of the rumbling black din.

Other tracks delve into even more suffocating depths, like the vast grinding deathdrones and blackened metallic roar that get stretched out across tracks like "Debrided Necrotic Tissue" and "Leprosaria Dross", the background sounds so heavy and distorted that they resemble metal riffs being pulled apart into massive blots of deformed blackened heaviness.

And on "Sadomedica", the band wanders through more minimal but no less oppressive ambient drift filled with strange percussive noises, gasps and moans, the sounds of weeping and other hallucinatory voices echoing through a fog of formless blackness. The tracks often feature muffled pounding rhythms and hypnotic tribal drums buried under waves of black static, with the songs "Disfiguring Aesthetics" and "Gula" in particular veering into a kind of mesmeric percussive power, with massive rhythmic sledgehammer-like pounding against the walls of a rusted oil tanker rumbling beneath scowling blackened shrieks and bursts of searing synth.

And one of the album's more seething moments can be found on "Emaciated Angel", with its more restrained but still very abrasive and unsettling approach to power electronics. Everything on this album reeks with a palpable malevolence, from the evil gargling vocalizations to the sprawling fields of distorted black ambience that take over huge swaths of Guild , with the massive buzzing synth-drones and crushing distorted heaviness sometimes incorporating hints of Lustmordian drift into their electric throbbing deathscapes, moments that are easily as heavy as any doomdrone band you can think of.

Drums in the deep! Like some perfect fusion of a James Horner score and Cold Meat-style death industrial, Phelios's latest Gates Of Atlantis is something of a departure from the black kosmische ambient of this German artist's last album Astral Unity. Here, the atmosphere seems to have shifted from the vast black emptiness of the cosmos to the cavernous depths beneath the planet's surface, here adding a heavier, even more ritualistic percussive element or so it seems to my ears to this recording.

The use of percussion has always been a factor in Phelios's sprawling black ambient driftscapes, but it's much more prominent here. And the "dark ambient" descriptor just doesn't cut it when trying to fully describe Phelios's sprawling, epic soundscapes and richly textured black-hole orchestrations. Take the opening title track; the track opens with waves of shadowy synthesizer drift and delicate stringed melodies that spread out through the vast subterranean space of Phelios's sound, but it's soon joined by the powerful tribal drumming, booming hypnotic rhythms that circle beneath strains of fragile acoustic guitar and additional cinematic synths, transforming this into something that almost resembles Dead Can Dance at their most apocalyptic.

That's followed by some supremely sinister orchestral ambience and vast kosmische blackness that drifts up out of the depths of "Temple Of Yith", all shifting black clouds of deep-earth rumble and eerie distant symphonic murmurs that climb above swells of ominous deep brass and vaporous choral voices. On "Spiritual Possession", those booming, almost martial kettledrum-like rhythms return, now backed by harsh metallic noise and blasts of bone-rattling, almost dubstep-like distorted bass, the pounding heavy rhythms thundering beneath intensely ominous black synths and swirling clouds of doom-laden ambience, almost like some crushing death industrial mutation fused from pieces of Scorn and dark neo-classical ensemble Elend at times, then drifting out into softer fields of twilit ethereal synth and minimal percussive pulse.

Later tracks vacillate between the more subdued driftscapes and heavier percussive blasts, the album shifting from passages of rumbling, ritualistic ambience into more of those dread-filled strings and murky buzzing drones, descending into an abyss of crushing orchestral power and blackened symphonies, and back into fields of minimal cymbal shimmer, smears of Lustmordian shadow, and distant metallic sonorities that slowly transform into volleys of furious Neubauten-esque clank.

After crawling through the depths for a large portion of the album, Phelios finally returns to the light on the last track "Ascension", an appropriately titled piece of gorgeous kosmische electronics, slow moving sheets of gleaming celestial drone and stretched out chorales that are still vaguely ominous, but hint at a possible release from the abyss. As always, there's a really heavy Lovecraftian influence to Phelios's music, seen both in track titles like the aforementioned "Yith" and "The Shadow Out Of Time" and in the overall atmosphere of vast, unknowable blackness.

Highly recommended if you're into the nebulous black sounds of Inade and Lustmord. Comes in a six-panel digisleeve. Mancuerda Confessions is the impressive debut from the new death industrial duo Shock Frontier, released by the consistently terrific Malignant label. Opening with the controlled corrosive static and rhythmic throb of "Paroxysm", the album wastes no time in unleashing its blackened aural malevolence, sprawling out into sinister soundscapes filled with sampled voices, whirring metallic drones and deep bass reverberations, the music shifting from passages of pounding electro-throb into more minimal sprawls of bleak black ambience where ghostly murmurs and echoing metal clank drift through the endless darkness.

On "Angels Upon Iron Horses", the duo employ an interesting mixture of fractured electronics and more abrasive clanking metal sounds, while spectral voices moan and howl in the distance behind a veil of grim soundtracky string-like textures. The track slowly builds into something intensely heavy and malevolent, forming into a rhythmic death-pulse, a din of shambling hulking metal shifting beneath grim Tangerine Dream-esque synth sounds and slurred voices caught in some kind of ghastly loop.

Confessions continues to dip into pools of unsettling, hallucinatory ambience on tracks like "The Confessional" and "Controlled Atmosphere Killing", and the latter features a collaboration with death industrialist Staalkracht, combining sinister industrial rumblings and plumes of suffocating blackened noise and thrumming electricity.

From there, the violent black radiation hellstorm of "Decrepitude Approaching" rides on massive, thunderous war-drums, and both "Mancuerda" and "Understand The Extent Of Our Disintegration" create dense soundscapes of urban chaos, evoking the sounds of crumbling structures and terminal entropy as this turns into a kind of hellish soundtrack to a slow-motion collapse of civilization.

The centerpiece of Confessions is the nearly twenty minute "Blood Eagle Zealot", a rumbling black expanse of half-whispered female voices and vast distorted synths that gradually begins to bloom with sinister horn-like sounds, resounding above spumes of crackling blackened static and harsh pneumatic rhythms, everything swirling and scurrying beneath the slow swell of mournful orchestral melody that begins to seep across the track, a fog of soulcrushing kosmische sorrow that slowly unfolds over those caustic frequencies and half-glimpsed voices, swirling around the steady kick-drum pulse that fades in and out of the track.

Terrifying stuff, with moments of seriously crushing heaviness via some skillfully constructed blasts of mechanical rhythm and bone-rattling distorted bass that sharply punctuate the project's utterly bleak, dystopian ambience. Comes in a six panel digisleeve. More than most bands within the realm of death industrial and harsh blackened noise, the Philly-based outfit T. But even on their albums, the group seethes with a black energy, fusing the ghastly grave-stench of early Norwegian black metal with the sheet-metal pounding, ritual delirium and crushing low-end electronics of the heaviest death industrial, and their own unique assemblage of field recordings that have been captured from within the bowels of abandoned sanitariums, from between the crumbling monuments of weather-beaten cemeteries, and outside the gates of a roaring crematorium.

Such are the sources of much of the sounds captured on T. For more than a decade, this crew of industrial ghouls have been perfecting their particularly putrid fusion of mausoleum ambience and Neubeauten-esque clank, and the ten tracks on the band's latest continues in the suffocating black-mass vibe of their previous works including their reissue of UAG that came out on Crucial Blast a few years ago. Tracks like "Electric Exorcism" unleash roaring subterranean winds and crushing rumbling noise, the sound drenched in reverb, black waves of rumbling mechanical chaos churning in the depths, sweeping like black fire across the duration of the track.

There are more subdued death-rites that emerge on "The Great Venerat Insult", where the band drapes filthy electronics and bone-rattling bass across sparse, booming percussion and gusts of ghostly groaning, while the unintelligible chanting of "Na La Gore Na" becomes consumed in a maelstrom of ashen distortion and choking black static.

The pulsating black power electronics of "Vulgarity" suggests an alternate world where Genocide Organ fell under the thrall of Satanic delirium, the track formed from huge waves of monstrous grinding bass and screeching metallic noise that churns in the bowels of the earth. Pounding tribal rhythms take shape on "Vom Voodoo", deep pounding skins reverberating through vast underground corridors and steaming black chasms in the earth, that deep rhythmic pounding echoing across a din of hellish screaming, the sounds of suffering on a grand scale buried beneath a mountain of murk and mesmeric percussive pummel.

The grinding machine-drones and fearsome Kali Yuga chant of the title track slowly evolves into a punishing glacial doomdirge for one of the album's heaviest moments, and "Clairvoyant Frequencies" is pure harsh noise wall, a raging maelstrom of low-end rumble and distortion that utterly blots out the sun.

When this savagery finally comes to a close, it's with the macabre black ambience of "Tribute To Hanhua", another pitch-black hymn formed from androgynous liturgical chorales, vast rhythmic rumbles of orchestral power and sheet-metal abrasion, the sound flecked with bits of glitch and whir.

Jason over at Malignant has cultivated an exceptional ear for the finest in heavy power electronics and death industrial, and saw a number of new albums from some of the best names in the field, one of the latest being the new full-lengther from Andrew Grant's solo project The Vomit Arsonist. Also a member of the severely spiteful power electronics duo Bereft, Grant has increasingly turned this project into an outlet for more atmospheric, though no less unsettling noisescapes that skillfully combine bleak blackened droning electronics and moody synth melodies with blasts of intense distorted heaviness.

The latest entry in the Arsonist's arsenal of soul-crushing sonic nihilism is An Occasion For Death , the project's first release for Malignant, which finds the death industrial outfit now sitting alongside the esteemed likes of Steel Hook Prostheses, Nyodene D, Xiphoid Dementia, Control and Sektor The seven tracks that make up this album are in the same dread-filled vein as the Arsonist's previous releases, combining crushing low-end drones and swirling black synthesizers with echoing, time-stretched voice samples, but this time the production feels a lot heavier, as if there are new depths to these dark rumbling drones, more monstrous exhalations of industrial dread.

The nauseating waves of black drone that surge over the opener "Think God Out Of Existence" are slowly joined by sheets of fearsome orchestral drift and intense choral textures; when the next track "At The Edge Of Life, Everything Is An Occasion For Death " kicks in, the effect is crushing, as ponderous, ominous oil-tanker percussion rumbles and reverberates beneath whirring celestial synths and Grant's ferocious distorted screaming.

This has gotta been one of the heaviest things that I've ever heard from this project, with an almost Swans-like slow-motion pummel taking form, the sound stretched out even further into thunderous waves of soul-crushing industrial power.

From there, the album continues to bloom into vast rumbling dirge, a sound that at times almost suggests that Grant is drawing just as much energy from the apocalyptic industrial metal of early Godflesh and the most glacial, blood-freezing extremes of doom metal as his is from the darkest realms of power electronics.

That grinding, super-heavy deathdirge returns on "Black Bile", where eruptions of filthy bass are crushed beneath the slow, saurian blast of the drums. Other tracks like "At The Edge Of Life, Everything Is An Occasion For Death" and "The Absurd " are more minimal, still surrounded by a constant seething subterranean rumble, but with the rhythmic elements stripped out in favor of a basic black pulse that rises and falls, a pitch-black beacon blasting it's plutonium glow through the otherwise impermeable night of the Arsonist's apocalyptic vision.

The whole album shifts slightly between these crushing pneumatic dirges and the more droneological depths of the Arsonist's sound, but even during the album's less aggressive moments, this is still extremely heavy shit. The last track "Means To An End" features guest synthesizer from Murderous Vision's Stephen Petrus, and washes over the album's last ten minutes with a mixture of malignant field recordings, distant grinding distortion and earth-shaking bass frequencies that resemble the roar of blood within one's own skull while bound and blindfolded in the soundproofed basement of some suburban sadist.

Oh yeah. One of C-Blast's favorite death industrial releases of Comes in a six-panel digipack. I've become a huge fan of Xiphoid Dementia's unique blend of death industrial bombast and thoroughly modern sound design techniques after bearing witness to his live performance in Baltimore back in the Fall of , when the project was on tour with Funerary Call.

Xiphoid Dementia mastermind Egan Budd put on a powerful set at that Sidebar show, featuring material from his then just-released album Secular Hymns , filling the small club with a wall of sound that was complex and immersive and terrifying. I loved Budd's earlier Xiphoid Dementia releases, but Secular Hymns , his first for Malignant, is on a whole 'nother level, blending his crushing death industrial and power electronics qualities with an even more focused and skillfully crafted sense of sound design that makes this highly visual, blending in long stretches of stunning widescreen ambience and orchestral soundtrack-like arrangements among the harsher, noisier parts of the album.

The opener "Abortion Rites" is a nearly fifteen-minute symphony of meticulously layered noise and musical darkness, controlled blasts of coruscating static and deep, teeth-rattling bass frequencies erupting across fields of eerie choral voices and ominous soundtracky ambience.

The first couple of minutes are heavily atmospheric, setting an almost apocalyptic vibe that is later shredded apart by brutal electronic noise and effects overload. Further in, monstrous, heavily distorted vocals howl across a blackened synthscape of whooshing analogue drone and buzz, littered with massive subsonic bass drops and juddering violent glitchery, the sound suddenly shifting into a malevolent electronic dronescape like something off of an early 70's space music album coming under assault from some particularly murderous power electronics outfit.

The ticktock mechanical pulse of a clock shop introduces "My Time Will Never Come", which then transforms into a massive, heaving industrial clockwork dirge, super heavy and grotesque, like some orchestral arrangement for a creaking, lurching golem, the blasts of crushing distorted synth and rusted-out machine rhythms surging through waves of creepy dissonant melody and layers of hissing, staticky ambience.

From there, though, it drops off into a sparse sheet-metal symphony of clanking metallic reverberations and sonorous oil-tanker textures, joined by loud, tolling bells and a sorrowful synth melody, all maudlin and rumbling, gradually layered with higher pitched chiming melodies, almost taking on a Goblin-like feel towards the end. These moments on Hymns are surprisingly evocative and eerie, like some distressed, corroded version of an early 80s horror film score.

Seventh Wonder The Testament 9. Megadeth Rust In Peace 2. Death Symbolic 3. Judas Priest Painkiller 4. Metallica Master Of Puppets 5. Metallica Ride The Lightning 6. Opeth Blackwater Park 7. Black Sabbath Paranoid 8. Iron Maiden Powerslave 9. Agalloch The Mantle Show more. Saor Origins 3. White Ward False Light 4. Allegaeon Damnum 5.

Amorphis Halo 7. Immolation Acts Of God 9. Kardashev Liminal Rite Persefone Metanoia Show more. Written by: Ruchesko Published: Fifteen years on from the breakthrough of symphonic metal, female vocalists have been making major in-roads into an array of subgenres: you might even say the novelty's worn off. However, away from the microphone, things aren't so rosy. Outside the sanctuary of all-woman lineups, female guitarists are exceedingly rare in Western and Australian metal.

Acid King to name a few. Still, the fact remains, in the West, women guitarists are in more or less the same position today that Doro Pesch and friends were in 20 odd years ago. So, are things any different out east? Well, considering how the Japanese establishment basically told feminism to sod off back in the s, you might be surprised. Far away from the saccharine horror of Babymetal 's "kawaiicore", the "girls' metal" revolution is afoot.

What Came Before Back in , when the flagship all-female act Girlschool made their debut, Japan's metal scene was still very much in its infancy and pretty much devoid of women. With the arguable exception of singer Misako Honjo , things pretty much stayed that way for the remainder of the decade. Japan's rock scene was a whole different story. By the early '80s, the scene was being swept by the "girls' rock" boom, an unprecedented explosion of all-female bands, precipitated in part by the success of The Runaways.

One of these groups, Show-Ya , would give the country the closest thing it would get to a female metal guitarist until next decade. This lucky lady was Show-Ya 's sole guitarist, Miki Igarashi, otherwise known as "sun-go", a nickname she adopted to distinguish herself from two bandmates also called Miki. Guest article disclaimer: This is a guest article, which means it does not necessarily represent the point of view of the MS Staff.

Comments: 18 Visited by: 62 users. Posts: From: Romania. Brilliant article. It portrays perfectly the whole Japanese girl-metal bands boom that took place in the past few years. Though I am not really acquainted with Misako Honjo's work her music is hard to find , I pretty much am aware of most of the bands mentioned here. Once again, great work! Posts: From: France. Posts: From: USA. This was a highly enjoyable read. It's easy to get tunnel vision for our own local scene and forget that there are vibrant scenes and passionate musicians everywhere.

You mentioned a coupe of women that I'm excited to check out now. Also, I loved the way you started this. Female vocalists are everywhere but its definitely more difficult for women who play instruments to get noticed, especially when they don't "use" their sexuality, which is a double-edged sword.

Jason W. Thanks for the article, and as said above, great perspective on the subject. Certainly a few artists to check out now. One little edit, Wiki says ExistTrace formed in , not in Posts: From: UK. Ruchesko Posts: From: UK. Written by ManiacBlasphemer on That I knew, but I decided to base the debut years on when a band released its first studio recording excluding demos rather than when it formed. Helped to filter out a few of the acts listed on Metal Archives that never made it past their first demo.

Written by Ruchesko on That is not funny though! Anyway, got any idea how can I get to listen to Misako Honjou's works? Most of her albums are barely findable Posts: From: Norway. Written by Susan on It's easy to get tunnel vision for our own local scene Guy who wrote is I from United Kingdom not Japan to me this Japs pop, metal and such scene are more glam looking as real glam metal in L A Sunset strip.

Written by Bad English on Visual Kei is a sort of Japanese version of glam metal although style wise Visual Kei encompasses more than one genre. Visual Kei was present in J-pop, punk, rock, metal and many other genres, it is not exclusivist like glam was which was mostly present in rock and metal. But even if it is a sort of emulated glam-ish genre, bad music remains bad and good music remains good, despite genre labelings.

And honestly, these Japanese chick bands are more metal than most glam bands could ever be. I've been to Japan and I have to say that they are a model of how to combine tradition with modenity in a harmonizing way. As for the band image, the point is that the image attracts attention. These girls do not wish to pose as some sexy sellouts, like the American glam metal pursued, they just continue a sort of cultural movement.

I see Visual Kei in the same way people see the Gothic Culture. In the end, the fact that the girls are sexy or not is trivial, the music is what counts. And while for some, vestimentation might put them off, I never judge a band by how it looks, but by how it plays. I love Versailles and now Jupiter and Kamijo for their music, but I can never stomach their costumes, especially because those are guys wearing drag I like Japan, but old ways they like to have now all vintage, whisky is made there ,many jeans following old code ad so on, but when it goes yto Jap metal I dunno only thing I don't like about Japan is food , rest is OK, but metal I dunno , I can listen it but I have not done it so much girls I don't like American either.

Also, Japan is pretty much nationalistic when it comes to what they consume.

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I'm a big fan of Japanese heavy metal and a collector of Japanese metal and rock music.

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Gonin ish discography torrent Beginning with an eerie looped female vocal, the source takes shape slowly as deep pulsating electronics and abstract rhythmic sounds fade in and form into a hypnotic electrical field of black energy, the sound evolving into a swarming static-flecked drone before suddenly breaking into a heavy mechanical rhythm on "The Colorado Lounge", an almost breakbeat-like rhythm pounding beneath the trails of ominous minor gonin ish discography torrent creep and abrasive noisy textures. The sound of Seraphim Hallucino shifts between psychedelic horror score and shuffling, clanking trip-hop rhythms and grinding industrial loops, blasts of dense shortwave radio static and swells of extreme electronic glitch that pan chaotically from speaker to speaker, dreamy glistening ambience, weird processed vocals, free-jazz percussion, strings, droning harmonium-like keys and warped water sounds, bizarre noise loops made up of thick squelch and alien chirping, swirling electronic drones and deep metallic whir and massive slabs of Penderecki-esque strings, strange ripping and tearing sounds, hissing, whirring machinery, distorted mewling horns and pitchshifted demonic cackles. This being a Malignant release and all, Eidulon deals in dark industrial ambience like you'd expect, with seven tracks of extremely sinister sounding dronescapes comprised of low, subterranean drones and cavernous catacomb ambience a la Lustmord that's further embellished with streaks of high end synth and bursts of tactile glitch and noise. You know it's impossible to put what we want into a word exactly. Such band should never be on the list like this one.
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