Release Date: 9th November, 2018
An impressive path forward for exciting, heavy instrumental music.
Release Date: 31st August, 2018
Fawn Limbs come out firing on all cylinders on this debut release. Towing Heads is a must-listen for fans of unbridled chaos.
Coma Cluster Void are true pioneers of their genre, at a time where most of us feel like we’ve heard it all.
Coma Cluster Void are willing to do whatever it takes to fully explore their creative horizons
This breathtaking release is with no doubt, one of the strongest this year.
A truly solid grasp of Brennenburg doesn’t happen until you’re several listens deep, so give it some time. But with music like this, that’s for the best, as it makes it more rewarding to catch all that it has to offer over multiple spins.
… Coma Cluster Void took the metal world by storm …
Coma Coma Cluster Void summon death metal’s more experimental, visceral side — think Ulcerate, Nero di Marte, Dysrhythmia, or even Portal on one of their more coherent days — for a challenging listen that’s got just the right of songwriting glue holding it all together.
… an unorthodox form of death metal the likes of which I can’t say I’ve ever heard anything similar to before. It’s equal parts volatile chaos, unnerving “anti-grooves”, as the band puts it, and numerous unpredictable tempo shifts, all coalescing around a black hole of unearthly dissonance and raw pissed-off vocals.
Rarely if ever have I been this blown away by a single song release.
It’s brutal, ancient-sounding death metal from Michigan of a very high order, with black metal and progressive elements throughout, but in a very underground and organic sort of way.
Michigan band Thoren’s debut EP captures a dark, ominous atmosphere. It conjures up dozens of images in my mind, all of some blackened and shadowy place where death and fear run rampant. I’ve never heard something sound this foreboding.
Thoren goes on to pummel you with a heavy, rumbling riffs and spectacular horror-movie-like guitar solos that are introduced in a big, atmospheric way that can evolve into something a little more hopeful. The musical story finishes with slamming, crunchy dissonance and screechy riffs spiking out out of it like a swinging mace.
Simon Sludge writes:
‘Our Nuclear Option’ shows great progression in Wolcott Falls’ songwriting. It’s as if Ion Dissonance and Meshuggah collided and decided to write a ‘Catch44’ EP. Get your hands on this!
Natalia Zombie writes:
An epic song full of more disjointed djented-out extreme math metal.
Jeff St John writes:
This is some pretty savage extreme metal! Like an amped up, unhinged Fear Factory. Definitely a headbanging rager.
[…] Upon this point in time you will have reached a place so dark and empty that only the clashing of metal and faint guitar distortions in the background can be heard, allowing you some time to process this sinister clusterfuck of face shredding technicality that is ”Life is a Death Sentence”, when you come to your senses and realize that you are still at a place that seems to be even beyond the deepest depths of hell […]
[…] The EP seems to get heavier with every single track, the breakdown in Walking To The Edge hits you like a jackhammer and the title track is the pinnacle of it all. Angrier, darker, heavier. […]
Yes, this music hurts. Not as in “only a flesh wound” but falling off a balance beam onto burning astroturf. The burn is incessant. The image is uncanny. This is truly marvelous but if you can’t catch the momentum you won’t get it […] This album recalls that we have to keep fighting and it’s gnarly and discordant, the process. How will you get through it otherwise? Matter isn’t kind.
The opening Silent Crater […] gives you a slight uncomfortable feeling, like there’s something wicked on the way. And it surely is, as the dense and dissonant guitar patterns of the following Iron Compound are crushing you without mercy. The guitars sound like tuned down to the deepest point of a black hole and the way they play the dissonant chords and low-ends reminds me of math metal bands like Car Bomb and Ion Dissonance. […] The ultra heavy walls of dissonance, that are rich in sound patterns of electric guitars and zither, are paused by modest and quiet songs for classical instruments.
savant blend of modern classical, math/abstract/art metal grindcore, microtonal, soundscape and Patterns, dissonant and contemporary elements! seriously some fascinating and extremely well done experimentation there …
I was entranced by this categorical uncertainty while plumbing this musical space. An evil presence is here, but it’s rendered soft. The fat of a wild boar pounded to shape. We ascribe a name to the butcher and give him a memory. The flute is a catalyst and very emotional. Hinz’s “Windserie” is full of sweeping gestures, snatched from our grasp at the moment they’re proclaimed. Imploring melismas that are not so much happy or sad as they are brave.
Stardust Requiem writes:
It’s punch in the face, ear-bleedin heavy. I love it.