First of all: the exact release date for Turkey has not been confirmed yet. The initial worldwide one, February 10th 2023, got postponed out of respect for the devastating earthquake that took place recently in Turkey and Syria. Respect to you, guys from Sermon!
I am extremely pleased with the foundation of Centipede Abyss, a very young label from the U.K. that releases sweet lullabies and singalongs that involve Pan Inentropy and same-minded sonic mad(wo)men. Pan is the guy behind hordes like e.g. Act Of Entropy or Ar’lyxkq’wr, and in order to keep the band-name smooth and simple, he also co-founded Zvylpwkua (try to repeat this out loud five times without stuttering or hesitating).
[despite being released almost three years ago, yet because of its ingenious character…]
The term ‘yaldabaoth’ refers to a false deity, or a demiurge, imagined as a serpent-shaped entity with a lion’s head, who captures spirits within physical bodies. It’s a gnostic terminology that focuses on man’s faith and salvation, searching for the balance in between knowledge and self-betrayal. I can go on about this matter, but I’d like to focus on a release by a project with the very same moniker and their album That Which Whets The Saccharine Palate.
I think it would be a waste of (my) time to introduce this project / artist. The guy behind the project Sonologyst is Raffaele Pezzella, who works as master under that name, and who runs several prodigious labels within the worldwide Experimental / Ambient / Field Recordings / Drone / Musique Concrète / Electroacoustics / … genres. He’s the (co) author behind documentary works referring to these related genres, and curator of podcasts, compilations (anthologies) with lesser known artists and / or genres, you know…
[review for ‘an older’ release, but once again: so what?! It is never too late to focus on intriguing Aural Art, even after a couple of years after an actual release date]
Once again thanks to the fabulous partnership of Armenia’s Funere and Japan’s Weird Truth Productions, German one-man act Sinister Downfall is able to release its third full-length. After Eremozoic (2018) and A Dark Shining Light (2020), The Last Witness was created to bring grief, oblivion, doom and despair in its purest – and therefor most beautiful – form. Herr Eugene Kohl (a very productive wandering spirit, also active behind the likes of e.g.
At the very end of last decade, Swiss vocalist (and keyboardist) David Genillard aka D.G. (known from his collaboration in e.g. Nightshade, Sic Semper Tyrannis or Duthaig) decided to start a new outfit that dwells within spheres of traditional Doom-Death Metal. He joined forces with string-master J.G. Arts (here active as J.A.), who you might know from his notorious Doom-act Doomcult (the Netherlands).
I’ll keep it short this time, for I will politely ask you to search the .net, or to read one of the reviews I did in the past (links below), to check out everything ‘behind’ the project Alphaxone and its human entity behind it, Mehdi Saleh. Once again, this album was totally written and created by this guy from Iranian soil, and released via long-time partner Cryo Chamber.
It is with grief, and shame, that I have to admit that I did not review any release for Depressive Black Ambient Records since more than half a year, despite two hands full of new (and great, evidently) releases. But I’ll make it all up, starting with this successor of Catharsis by Mexico’s Trauma.
In all honesty, I have seen this duo growing and growing throughout their time at the Aesthetic Death offices. I did not dislike Nightmare Painting at all, but I did ‘miss’ something essential. With Hallucinations, I enjoyed the important step forward enormously. But as from the last album, Decadent Luminosity, I was convinced about the impact Haiku Funeral have on my open-minded state-of-mind (for what it’s worth).
