Funereal doom and post metal, genres which often blend together in their search for bottomless melancholy expressed through slow yet abrasive music, are tempting genres for the uninitiated musician. They appear simple, composed of slow moving parts which should, in theory, be easy to manage. However, they (of course) hide within themselves a trap and, too often, musicians fall right into it, giving themselves over to repetitive music which has little merit beyond another iteration of old ideas. Cavernlight however manage to walk a very thin line between true-to-the-source homage and redundancy, making doom that’s so slow as to harbor on the funereal while managing to add enough flourishes from post metal in order to alleviate the weaknesses of their parent genre. As We Cup Our Hands and Drink From the Stream of Our Ache (hereby referred to as Cup) is not exactly a groundbreaking album but it certainly does what it sets out to do quite well.
As incredible as the tour was, the pairing of Coheed and Cambria and Between the Buried and Me in 2013 had caused a bit of head scratching. Certainly, the Vinn Diagram of audiences on that trek had quite a bit of overlap given both acts’ prog leanings and love of conceptual universes, but you could really feel the divide in the room between fans of either band.
Chances are, if you’re on this website in the first place, you’d likely find yourself in the center of that Vinn Diagram because you know that catchy post-hardcore and technically-minded prog metal compliment each other well. And if that is indeed the case, then you’re going to love Philadelphia’s In The Presence of Wolves.
I’m not sure if this disclaimer is even necessary anymore, but just in case: NYN, an excellent death metal project all on its own is also the brain child of Noyan Tokgözoğlu, one of our chief editors and a good friend of mine. Regardless, as with previous releases, I am recommending new music from NYN based on its merit; I truly believe that the project upcoming album, Entropy: Of Chaos and Salt, is huge step up in the project’s history and is an amazing album of technical music. Don’t believe me? What about if I told that none other than Tom Geldschläger (ex-Obscura, Fountainhead) not as an album contributor but as a full fledged member of the project? And what if I added Jimmy Pitts (Scholomance, Pitts Minnemann Project) on keyboards, lending the entire album a veneer of elegance and pomposity? I bet you’re interested now. Head on down below for even more details.
The title doesn’t do our guest justice! Doug Moore is the vocalist of Pyrrhon, but he also writes the excellent Black Market column at Stereogum. Eden chats with Doug about those two things, and more. The creative process, writing for a metal site, and more. Enjoy!