“In the world of academia, the ‘monograph’ reigns supreme. A book-length study of a single subject, a monograph should synthesize essay-length analyses into one argument that contributes something new to the scholar’s field. To analogize the world of music to academia: the monograph stands in for the album, demonstrating an artist’s ability to cohere individual songs into one holistic listen. Monograf, a Norwegian post-rock collective, published its first monograph in 2019. Nadir made a novel contribution to post-rock by adding Norwegian folk music to soundscapes reminiscent of Godspeed You! Black Emperor.” Book smart vs. garage smart.
Drone
Mrs. Frighthouse – Solitude Over Control Review
“How much noise is too much? I used to believe you could never have too much noise, with bands like Theatruum and La Torture des Ténèbres weaponizing it for respectively vicious and otherworldly approaches. Then bands like Ulveblod and the infamous Ordeal & Triumph collaboration happened – and I lost my naivety. Ultimately, as we will see with duo Mrs. Frighthouse, diving into the noise genre offers a low ceiling and an equally low floor.” Extreme noise terror.
Old Year – No Dissent Review
“Old Year’s droning form of doom metal is big, and No Dissent leaves little room to argue the point. Rezendes’ massive, tectonic bass lines shift under Roark’s squealy guitar feedback, distortedly sustained chords, and morosely haunting leads, conjuring an atmosphere that fans of Khanate, Evoken or Hell might appreciate.” Old year, new dooms?
Author & Punisher – Nocturnal Birding Review
“Contrary to the plethora of one-man metal projects out there, Author & Punisher’s mastermind Tristan Shone, has always stayed on this side of innovative, consistently riding the line between apocalyptic/dystopian atmospheres and the heaviest electronics since Godflesh. Much like Igorrr’s Gautiere Serre, Shone’s genius has been just as much in song construction as instrument construction, having put his experience as a mechanical engineer to the configuration of his “drone machines” and “dub machines.” This skill has allowed Shone a flexibility in his compositions, with albums like Ursus Americanus and Beastland boasting formidable anthemic brutality, while the more subdued Melk en Honig and Krüller rely on sprawling atmospheres that feel as fiery as they are dense. Nocturnal Birding takes a unique concept and spins it for a trip down Riff Lane.” Punishment diaries.
Stuck in the Filter: July 2025’s Angry Misses
July Filters get sticky from the heat. It takes time to cool em down and unstickify those rascals. We did it though, for YOU.
Heathe – Control Your Soul’s Desire For Freedom Review
“As I prowled the depths of the promo bin, preparing for my next review, a peculiar glint caught my eye. The label read, “RADIOACTIVE: FOR N00B ABUSE ONLY,” and below it, in what must have been an act of genre-tag terrorism, sat the words: nü metal/gospel/jazz. I briefly considered calling the authorities, but morbid curiosity won out. What kind of unholy chimera lurks inside something with that particular trifecta? I dusted off the cover like a bomb disposal tech, hoping the wires are color-coded. The culprit is Control Your Soul’s Desire For Freedom, the sophomore album from Danish group Heathe.” Tripping over trip wires.
Stuck in the Filter: June 2025’s Angry Misses
Filters are hard to keep clean because of all this filth. Don’t make it worse!
Völur & Cares – Breathless Spirit Review
“”Avant-garde doom metal from Canada. Do I really need to say more to pique your interest?” So said I a little under five years ago, closing out my Things You Might Have Missed feature for Völur’s Death Cult. The Toronto-based project launched itself to the top of my end-of-year list in 2020, owing to their expert fusion of an impressive blend of sounds and genres primarily rooted in doom metal. Wielding the violin like a sledgehammer, Death Cult featured intelligent, clever compositions that really impressed me in 2020. Now, at last, they’re back for their fourth full-length, Breathless Spirit, with one key change: a collaboration with Cares—UK/Canadian producer James Beardmore.” Caring a lot.
Mizmor & Hell – Alluvion Review
“A.L.N. (a.k.a. Mizmor) and M.S.W. (Hell) inhabit similar territories: geographically, the Pacific Northwest; sonically, abrasive, droning, blackened doom; and, perhaps critically, emotionally, all claustrophobic, tortured heft. Although they’ve collaborated live before, Alluvion, which refers to the sedimentary deposits left by a body of flowing water, is their first studio outing together. Billed as a map to aid the listener in navigating through bouts of psychic distress, the prone form on the cover could easily be me by the time I’m finished with this review, crushed beneath the weight of Mizmor & Hell.’s compositions, corpse abandoned on that mountainside rising from the promo sump.” A hill to die on.
Fós – Níl mo chroí in aon rud Review
“When I reviewed Irish duo Fós’ last outing, Rinne mé iarraidh (which translates as “I Tried”), back in 2020, I wanted to be spellbound. And I was, in parts. Combining traditional Irish folk sean-nós singing (courtesy of Orla Cadden Patel) with the drone, electronica and the vaguely post-metal stylings of multi-instrumentalist and main songwriter Fionn Murray, it had a deeply emotional core. It was also rare in offering something genuinely unique. At the same time, the duo were finding their voice on that record, and it showed. Cadden Patel’s voice was stunning but, at times, rather than coalescing with the music, the two felt discordant and disjointed, while the music itself was rarely memorable. Four years later, with a record deal and a new singer—Susan ní Cholmáin—Fós are back with Níl mo chroí in aon rud.” Folking about.








































