The first full-length album from COUTOUX (pronounced “KOO – too”) comes to us care of KILL ALL MUSIC, a self-described “anti-label,” which is fitting because to nail down exactly what COUTOUX should be labeled as would be akin to correctly identifying the true origins of some mutated abomination as it sludges it’s way through the irradiated wastelands in a post-apocalyptic Earth. You may very well call it industrial metal, due to it’s at times heavy hitting and seemingly unrelenting assault, but at other times it does relent a bit and eases quite quickly into an unnerving sound of atmospheric electronic doom metal by way of experimental dark synth. Perhaps we need to step back a bit and look at the prior analogy to some Godforsaken hellspawn and how it moves about because, in such a way, COUTOUX feels like it’s own beast which can only be described as “sludge synth.”
Belgium’s Amenra are one of those bands that consistently produces quality material for a comparatively modest but incredibly devoted following. Having been around since 1999, collaborated and toured with a wide array of other acts, and even started their own artistic collective with Oathbreaker, Black Heart Rebellion and others called Church of Ra, Amenra are nothing if not dedicated to their craft. All the better that said craft happens to be a mesmerizing mix of doom, post-metal and hardcore.
There’s an undeniable joy in watching something that has been preparing to pounce for so long finally take the leap. Where there was once stillness in the air, there is now a sense of urgency and the feeling of excitement. We as listeners should be thankful that we are not the ones on the receiving end of this violent lunge. The hunter in this case is singer-songwriter Chelsea Wolfe, while the prey is the art she presents to the world. With her newest work, Hiss Spun, we not only see Chelsea in the moment of her victorious pounce, but we also have the great fortune of consuming her kill.
Doom metal, in its purest form, is Sisyphian, forever attempting to move its great weight over a seemingly unreachable peak. That that mythical figure was, well, doomed to his task for cheating death is an apt metaphor for the bleak artistry of this genre of metal. In attempting to establish where this particular scene lies in the greater schema of music right now we can look to this ancient myth as an apt metaphor. Taking into account the plethora of new releases, new Sisyphuses, pushing their own respective boulder-esque projects it’s easy to see that doom is in a bit of a renaissance, currently, as crucial (relatively) new bands such as Elder, Pallbearer, Dreadnought, and SubRosa have raised the bar for longtime practitioners.