mementomori

 The album represents the formal apex of the band’s first artistic phase, defining a new musical genre: depressive black metal.

 It finds its strength in the expressive force of its compositions, especially the guitar and vocal verve of its deus ex machina.

Shining’s II: Livets Andhallplats stands as a key album marking the evolution of depressive black metal. The record refines the band’s initial rawness into a more systematic, atmospheric style. While some tracks may falter in tastefulness, the album overall showcases Kvarforth’s powerful songwriting and instrumental vision. It bridges the band’s early crude works with a sharper, defining sound that influenced the genre significantly. This album is praised as a milestone despite minor imperfections. Dive into Shining’s II: Livets Andhallplats and experience the raw essence of depressive black metal evolution.

 Josh T. Pearson, like few others, simply has the Gift.

 'Last of the Country Gentlemen' is a miracle, and it might not be repeated.

Josh T. Pearson’s debut album 'Last Of The Country Gentlemen' is a profound and emotional work rooted in Texas folk traditions. Featuring extended compositions full of raw intensity, the album reflects years of inner turmoil and artistic freedom. Guided by delicate fingerpicking and spiritual storytelling, Pearson delivers a masterpiece reminiscent of Nick Drake’s melancholic style. Warren Ellis’s subtle violin contributions add to the album’s emotional depth. This album is regarded as a rare and shining example in contemporary singer-songwriter music. Listen to Josh T. Pearson’s 'Last Of The Country Gentlemen' and experience an unforgettable journey of emotion and artistry.

 Rice remains fundamentally tied to his peculiar rum-based on crap (at most in flambé version, with a flame that burns your face).

 After two spoonfuls, the gourmet is forced to leave the spoon in the plate and turn their palate elsewhere.

This review critically examines Boyd Rice's 'Receive The Flame,' emphasizing its repetitive loops, lack of cohesion, and underdeveloped ideas. While Rice is acknowledged as a pioneer in noise music, this 2000 album is described as one of his weakest, missing the conceptual glue and impactful elements of previous works. Some positive contributions from guests are noted but ultimately the album fails to engage. Explore the depths of Boyd Rice's noise experiment 'Receive The Flame' and decide if its chaotic soundscapes speak to you.

 This time the artistic ejaculation occurs too soon, and the listener cannot help but be baffled in front of a tireless lover like Tibet who starts already worn out from too recent sex.

 "Honeysuckle Aeons" simply misses the target, resulting in the most insignificant Current album of the last ten years.

Honeysuckle Aeons continues David Tibet's spiritual and apocalyptic folk explorations but feels less impactful than previous releases. The album honors two late friends while incorporating Mediterranean and Middle Eastern influences through varied instrumentation. Despite its brief length and moments of intensity, the record suffers from compositional fatigue and lacks memorable peaks. Fans of Current 93 will appreciate the intimate atmosphere, but it doesn’t stand out as a significant work in their discography. Explore the spiritual depths and unique soundscapes of Honeysuckle Aeons—listen now to witness Current 93’s introspective folk journey.

 A miraculous fusion between sacred and profane, outlining boundless inner landscapes.

 Like floating on a restless expanse of water, helpless, clinging to a tree trunk, with our gaze lost in an infinite gray sky, and the storm soon to upheave our existence.

Tim Hecker's Ravedeath, 1972 is a profound ambient album blending sacred organ sounds with electronic layers. Recorded in an Icelandic church, it explores themes of death and nature through abstract, drone-rich compositions. The review highlights a dynamic mix of mystical and poetic elements with intense sonic textures. Praised for its emotional depth and originality, it is recommended for those seeking immersive and contemplative music. Dive into the immersive world of Tim Hecker's Ravedeath, 1972 and experience a groundbreaking ambient journey today.

 "Lucifer is the weak link of the trilogy, ... we are now moving into the dull territories of the most blatant self-plagiarism."

 "Kim Larsen is skilled in building the usual atmospheres, but unforgivable from a creative point of view, as if the completion of his trilogy was just a duty to fulfill."

The album "Lucifer" from Of the Wand & the Moon concludes a trilogy rooted in paganism and Norse myth but disappoints due to creative stagnation. Despite intimate and atmospheric moments, the album suffers from minimalism and an uninspired compositional approach. The review highlights strong early tracks but criticizes the tedious ending and lack of originality. While the artist's talent for creating moods remains, the album falls short of being a significant contribution. Explore the atmospheric depths of Of the Wand & the Moon’s Lucifer and decide if the trilogy’s finale resonates with you.

 To describe this album, only one adjective is needed: unlistenable.

 It's like turning on a dozen devices at once, including CD players, cassette players, and turntables.

The Great In The Small by Current 93 is a singular, daring project that compresses 20 years of the band's work into a single 61-minute track. Though innovative and unique, the album is overwhelmingly chaotic and largely unlistenable. Despite the evident craftsmanship and the audacity behind its concept, the execution results in a cacophony that leaves little enjoyment. Only near the end does a moment of musical clarity offer some respite. Explore the bold and chaotic world of Current 93’s 'The Great In The Small'—dare to listen or discover why it defies traditional music.

 "Detaching from Satan" is a symbolic, prophetic work that inaugurates Paul Chain's new era, marking a clear break from past ideologies.

 The music remains terribly dark and morbid but moves beyond pseudo-satanist antics to an aura of absolute melancholy imbued with the Cult of Death.

This review praises Paul Chain Violet Theatre's 1984 EP 'Detaching From Satan' as a seminal work marking the artist's break from Satanism toward a darker, more philosophical doom metal style. It highlights the album's innovative blend of Sabbath-influenced heavy metal with metaphysical themes, chilling atmospheres, and compositional freedom. The reviewer emphasizes the symbolic and prophetic nature of this release and its lasting influence on underground metal. Despite its brevity, the EP is called a must-have classic with deep emotional and existential impact. Explore the dark evolution of doom metal—listen to Paul Chain Violet Theatre’s 'Detaching From Satan' and experience a legendary underground masterpiece.

 Apocalypsis sounds like a harsh contest between Di Donato's epileptic guitar, Terzoli’s pompous keyboard layers, and Bracciale’s furious drumming.

 The majestic title track must undoubtedly be counted among the highest moments of Di Donato’s entire career.

The Black's Apocalypsis is a richly colored and progressive metal album crafted by Mario Di Donato in 1996. It evolves from heavier doom roots into more atmospheric and visionary territories with notable keyboard and drum contributions. The album combines apocalyptic themes with complex compositions and expressive guitar work, making it a significant milestone in The Black's discography. Despite some production shortcomings, the album stands out for its conceptual depth and emotional intensity. Dive into The Black's Apocalypsis and explore a visionary metal masterpiece blending doom, prog, and apocalyptic intensity.

 The closure of the work... is entrusted to folk-singer Shirlie Collins, whose solitary song echoes in the void that follows the Apocalypse.

 The apocalypse also assumes a sort of cathartic power, as if it were a grand and terrible rite of purification in which the wanderer can finally free and redeem himself from Evil.

‘The Starres Are Marching Sadly Home’ is the final part of Current 93’s ‘The Inmost Light’ trilogy, offering a haunting, dark ambient soundscape. The album’s single twenty-minute track blends eerie vocals, sparse instrumentation, and apocalyptic poetry by David Tibet. Featuring notable contributions and revisitations of previous themes, it serves as a profound closure with cathartic and spiritual undertones. The work is appreciated as an evocative continuation and enhancement of the earlier installments. Immerse yourself in the haunting final chapter of Current 93's trilogy and experience a dark ambient journey like no other.