Illudium – Septem

In the struggle to describe music and its culture, the writer grasps for many words. That’s why many reviews might appear to be long-winded; it’s not only that writers usually have an ego problem which leads their tongue to wag on end. Rather, the frustration derived from the basic action of trying to put music into words fuels a constant hunt for better words. That hunt is, of course, futile. There will never be words eloquent enough to capture music within their syllables. However, that doesn’t stop the writer from trying; his brow furrows as he searches mind-caverns for shining gems that might help him along the way: soaring, dulcet, ponderous, sonorous. Terroir. Now there’s a word. It means the set of all factors affecting an environment, a feeling for a certain landscape or area. It comes to us from the vineyards, where it is used to describe the soil which feeds the crops.

When in the hell does this all have do with Illudium? Perhaps nothing; perhaps this writer has finally gone crazy, his mind-lantern lying smashed on the floor of the cave. Or, perhaps, he senses that the only way to review Septem is to locate it within its own terroir, to feel out the discrete soil-types which gave it birth. Under this assumption, the album would unveil a certain sensation, a bouquet of sounds and ideas. Septem would be, under the dubious wishes of the author to see it that way, rich soil where stoner, sludge and blues elements all mix to create juicy, sumptuous fruit. Entertain the notion for a moment as we entertain the author in his pretension.

Hey, That Sounds Familiar!

I’m sure we’ve all had it, that moment when you’re listening to a song and you think “Geez, I’m sure I’ve heard this somewhere before!”. Well, I get that a lot and sometimes, it turns out I have heard that before, from another band! So I thought it would be…

Tom “Fountainhead” Geldschlager’s Statement On Obscura Dispute

In case you haven’t been following the podcast or other news, you might have missed the dispute between German technical death metal band Obscura and former guitarist Tom “Fountainhead” Geldschlager. We’ve covered parts of this situation, however the short version is that Tom was let go from Obscura in a fashion where he felt was unjust. There has been an ongoing back-and-forth between the two sides, which has resulted in Tom’s social media accounts being blocked due to copyright claims from the band. The band have released a statement, however Tom is unable to respond due to not having a platform, which is also hurting the release of his upcoming album. Tom has contacted us with his statement, and we are airing it below, after the quote from the band that sparked this response.