Vaura – Sables

Of all the musical periods that have risen back into prominence, the ’80s have arguably enjoyed the most success back in the spotlight. Sure, we’re also seeing an influx of influence from ’60s/’70s singer-songwriters in modern folk, pop and rock, as well as some echoes of grunge resurfacing from the…

Share
  • spread the world
1233 views

Mamaleek – Out of Time

Anonymity in black metal has always been a double-edged sword. While it’s refreshing to see artists solely focused on their music and presentation rather than themselves as artists, it can also be frustrating to be unable to spotlight bands that truly excel at their craft. This latter point certainly applies…

Imperial Triumphant – Vile Luxury

The fact we’re amid a death metal renaissance has been widely covered over the last several years, and particularly the last few months. Along with our usual monthly praises in Death’s Door, sites like Bandcamp and Toilet ov Hell have recently published odes to the modern crop of death metal ingenuity.…

Thy Catafalque – Geometria

There are a few bands in the extreme music universe that are particularly difficult to draw comparison to. Thy Catafalque is certainly one of them. With a back catalog spanning nearly two decades, Tamas Katai has developed a musical vocabulary all his own. Merging the sounds of electronic music, Hungarian…

Chaos Echœs – Mouvement

First impressions have always been a powerful force when it comes to music consumption. Whether due to a lack of time and/or money, listeners have limited resources to dedicate to the ceaseless torrent of new music and the seemingly bottomless pool of vintage releases. And as superficial as it may…

Ehnahre – The Marrow

Literature has been one of the foremost sources of inspiration for metal lyricism and composition alike, regardless of subgenre. The list of examples is significant—Ernest Hemingway and Cobalt, Georges Bataille and Deathspell Omega, H. P. Lovecraft and seemingly everyone, and so on. Drawing inspiration from a novel is a challenging but relatively structured undertaking; a plot can be interpreted into numerous sonic and lyrical directions but will always follow the same trajectory of its narrative. Poetry contrasts this process by its very nature, as its natural code of symbolic meaning and suggestive prose necessitates musical decoding drawn from a strictly thematic place. Even poems with a decipherable narrative are often told in a verbose, indirect manner that challenges metal lyricists and composers to write with a liberated hand, looking beyond the words on the page to a deeper understanding of the poem’s true meaning and mood. Agalloch’s interpretation of W. B. Yeats is a stellar example of this process being executed beautifully, as is the latest offering from Ehnahre, a Boston-based avant-garde metal collective who count Kay Dot alumni among their ranks. Their incredible four-part song cycle on The Marrow captures the essence of Theodore Roethke’s eponymous poem* through consuming landscapes of avant-garde death-doom that are as ridden with despair as the poet’s initial musing on whether or not life is worthwhile.