ASTRONOID – Air (2016)


Astronoid is a 5-piece band from the USA and, as you can expect, they are not on Metal Archives because they are making the most ‘post’ of all ‘post black’ bands. In this, understand that this is not their first tryout and, yes, they are following the very easy chain of : happy melodies, harsh guitars, blast beats. Oh, that sounds like Violet Cold! But one BIG difference : there are no screams, and only singing, high-pitched only, harmonized 90% of the time.

That was the introduction I needed. So here we go deeper in the music.

Of course, it’s some kind of easy music, but man, I gotta tell you : it’s so, so nicely done. The sound is very modern (a bit too much for my old tastes), so it’s blamblam in your face, and the mix between harshness and the gooey cheese melodies is fantastic. But not only. The musicianship of those people is also pretty incredible : fast riffing, complex signatures, progressive drum patterns, … Some riffs could’ve been removed from Helloween’sJust a little sign” song (with a huge shower of reverb and post-things) so yes, those dudes are good at what they do.


The voices, as shockingly good as they are, are pretty annoying in the end. And of course this is very subjective, but I missed the violence of screams, or the perfect transitions done by one incredible scream (cf. Amesoeurs – Bonheur Amputé). Here, it’s just going down, easy, simple. The voices, nevertheless, are on tune, sharp, perfectly harmonized and all, but it seriously misses something : the small harshness, the variation, the aesthetics of screaming, or just by adding a small saturation, you know. It is definitely clear that this band are influenced by the greatest : Sigur Rós, Devin Townsend, Explosions in the Sky, Hammock, Deafheaven, Alcest, … and I can’t help myself to hear a pop side that Angels&Airwaves won’t deny (and this is a compliment), but this clean singing can really ruin a too long listening session. I got bored, and I quite despised myself for it.

Yet you can find ‘darker’ (relatively, heh) songs,like “Homesick” which is definitely showing that the band has a huge potential. Drowned in perfect keyboards, blast beats and black metal guitars choruses giving THE power you need : that’s what I’m talking about. And this overall pop-ish mood is also perfect. And also the solo, because they can, you know. And this is nice.

I could go track by track, but I think you should just go and listen. Seriously.

I cannot say that I love or don’t love this album. I think it’s just a question of personal tastes as well. I will the screams, damn it. But, yet. This is a nice, nice release. The fans will definitely appreciate. Simple and complex, if you will.

1. Incandescent
2. Up and Atom
3. Resin
4. Violence
5. Homesick
6. Tin Foil Hats
7. Air
8. Obsolete
9. Trail of Sulfur

Final note : 14/20

RÏCÏNN – Lïan (2016)


Rïcïnn. Already rumbling the mind of a lot of people because of her other apparitions in amazing bands, overlooked by Mr Igorrr (Oxxo Xoox, Corpomente), Laure Le Prunnenec is not your typical singer. Taking everything to another level, Laure is some kind of modern Diamanda Galas, from shrieks to incredible opera singing, screaming to theatrical performances, and beautiful as the Devil itself. Of course, some of you heard her in Igorrr with the incredible, soothing and depressing song “Tout Petit Moineau” or some other songs with him. But here, Laure has her own band. Rïcïnn, which will be called RCNN because umlauts are annoying for me, is magnificent.


This album, like whatever album from Aythis for example, is to be listened in one shot, not caring about which track is what, how it’s called, etc. Lïan is an album between Gothic, doom, ambient, neo-classical, baroque, the overall drowned in serene darkness. And of course, served by the most polyvalent female vocalist there is at this time, in ‘our’ scene. Do not expect screams or too much insane shit here, Laure keeps this personal and deep and every song is a story that she tells. You can go in space, back in time, in the future, in your present, every song is fantastic and is different. Not the kind of album to listen to once, and that’s it. As any music in this style, it needs to feed you memories, visions, stories. And this is the case. RCNN‘s music is mesmerizing, bewitching. It’s the Devil’s vocal strings.

Note : do not let yourself being disappointed by the first song “Uma” which is one of the most complex of the album. Listen to everything. There is no let down after that, I promise. Of course, the doomster won’t find all he likes, as well as the fan of Igorrr. But this is RCNN. And for a first album, it’s killer.

1. Uma
2. Onde
3. Orchid
4. Sïen Lïan
5. Little Bird
6. Orpheus
7. Drima
8. Lumna
9. Ohm
10. Laid in Earth (H. Purcell)

Final note : 17/20

LETHIAN DREAMS – Red Silence Lodge (2014)


Lethian Dreams are not only one of the best bands in Belgium, but as well one of the most touching one. Formed in 2002, with quite some change of music style and line up, the band always turns around the perfect duo of Matthieu (guitars) and Carline (guitars, bass, keys, voices), which you can find as well in the great band Remembrance. Still hailing a personal and deep form of atmospheric doom metal, LD released this new album just two years after their latest, ‘Season of Raven Words‘. Red Silence Lodge was out from Orcynia Records and, well, I was awaiting this album a lot, a damn lot. And I took two fucking years to make a review out of this. Two years.


Oh man, seriously. This album is not only one of the best offerings in atmospheric doom, but one of the most original as well. You will not find screams here, only clean voices and female ones, but let me reassure you : you will not find any of those horrible common, mainstream, copy of a copy of an imitations, flat voices like you can find in the ‘gothic metal nightwisymphonic power epica tempation’ scene. Think more like the eerie, beautiful voice of Neige from Alcest, and make it female. First good point.

Second point is the production. Weirdly enough, the sound is pretty rough (those drums!) but it is not a bad point, on the contrary. You feel definitely the best from the DSBM scene thanks to this amazing sound which is, like I said, rough but perfectly crafted. You don’t have those overproduced stuff, just perfect stuff. The drums, by the way, are handled by Belgian Livor Mortis member Pierre, who is doing a great job as usual. And a birdie told me he recorded everything in one day. Kudos my man, kudos.

Third point : the music. Between atmospheric doom metal and atmospheric black metal, LD are simply standing their ground in the music they do. Magnificent keyboards to amplify every mood, the fantastic voices of Carline, the amazing leads, the clean guitars, the overbig damn reverb which is fitting so damn much, those tempos changing, … Nothing is to be thrown.

This album is something to listen in one shot only, no stops, no favorite track, nothing. It’s just a deep voyage to the eerie world of a great band, which just killed me again.

This is a major release. Get it.


LETHIAN DREAMS – Red Silence Lodge

1. Red Silence Lodge 08:15
2. Shades 06:17
3. Dust 06:09
4. Midwinter 05:21
5. Leaving Light 06:57
6. Don’t Hold On to Me 07:16
7. Black Winds 06:19


Final note : 20/20

Interview with Daniel Neagoe (Eye of Solitude)

Daniel is my best friend, and it’s been like this for years and  interviewing him is a weird, yet funny exercise.  I have been a great fan of anything he’s been doing, especially the doom monster Eye of Solitude. So I decided to piss him off a bit. Fast is, there is so much I’d love to know but heh. Taking time is best, from time to time.



. Hello Daniel and thank you for answering those questions even tho you haven’t, since I’m just sending them (I’m so awesomely funny, don’t I?). This is useless and dumb. I want my lawyer now. Anyway. Let’s start easy : how are you?
D: I’m good thanks. Tired but good.

. You are a dad for quite a moment now, how does it feel? Did it change anything music wise?
D: It feels pretty damn awesome, it’s a feeling that I cannot really describe in words. Musically, yes, it did change a bit, I don’t have that much time to write or to play music as I used to before.

. You were also a smoker and you managed to stop (kudos!) but : what did you use to smoke and, if you’re on the e-cig, what do you have?
D: Oh yes I was a smoker for more than 15 years, I used to love smoking and from the moment I woke up until the moment I went to bed, and even over night I woke up to smoke..terrible.For 2 years now I’m off cigarettes and am a proud vaper, with just a decent mod and a sub tank.

. You are, despite your location in London, a close friend of the Romanian scene. We all know about the tragedy which happened recently in Bucharest and you managed to make a charity single with Eye of Solitude (you did that before, did you?) with a great track. Care to drop a small line about this event and the charity?
D: Yes, a couple of years ago we did a charity campaign for people with seeing disabilities, and now we’ve had a campaign to raise money and try to help the victims of the fire in the Colectiv club. It was an immense tragedy, no matter the reasons, no matter the after talk or any other bullshit seen on media. It’s not the reasons we’re looking for, but helping those who still have a chance for life and the families of those who have lost their lives in that horrid incident.

. A more technical question : people know you for being a vocalist and a drummer and now that you’ve been enough with SoD, what’s the annoying bitch in playing drums? I’ve been told that playing with samples is a bitch, for example.
D: Playing with a click yes, is quite annoying; luckily I am used to the click and use it even when I’m recording vocals. Playing drums in general is a hard thing as it is with any instrument, it matters how much experience you have as a drummer, how natural it is for a drummer to play to a click at both high or low speeds.

. You have one of the most impressive, deep and dark growl the metal scene has ever witnessed. What’s your technique, or training, or else?
D: hahahahaha, you’re joking right? Cmon… Well…if people say it, then so be it… Right, technique, there have been plenty of them across the internet and especially Youtube. I would say that everyone has their own technique, I use a logopedic one which involves a combination of neck muscles in order to obtain certain sounds.



. We all know about Clouds, of course, and you played recently your first show in Romania for Dark Bombastic Evening. How was it – for you of course but as well for the experience itself for the band’s first live ?
D: it was just amazing. I honestly can’t describe it in words. Everything went brilliantly and everyone on stage (as far as I know) enjoyed it very much. That was an extremely important moment for me, mainly because of the personal reasons this project has been created for, and seeing it on stage and living it on stage was simply unbelievable. I still can’t believe it though, I can only thank my boys in the band and to Doru, the DBE organiser for this incredible moment.

. We also checked that you became, at that festival as well, the live drummer of Shape of Despair. How do you feel playing with such a cult, legendary band?
D: Well, one thing I’ll say it’s fucking awesome! Hahaha!! Shape Of Despair are one of my all time favourite bands and obviously it felt like I was on top of the world playing the songs which I was only able to listen to until then.

. You left Unfathomable Ruination as well, which imho is too bad since your growls are perfect on this brutal style. Do you have something more brutal coming, as a band or project or else?
D: not for the time being and sincerely not in the near future as my time is quite limited at this very moment. However I will always love death metal and yes, I miss it sometimes..

. You’re also in Vaer and Deos with that dude of ours, Déhà (THATS ME LOL). So Vaer is a complete band now, anything going on? As for Deos, the page posted “… to Depart” as for the next album title. So this is ready as well?
D: With Vaer we are preparing the second album. It goes slow but it goes surely. With Deos, yes, the second album is ready, just doing the fine tuning and it’s ready to go.

Note : ‘… To Depart’ has been released since.

. You are also active in God Eat God with one demo from 2 years ago. Is there something in the works?
D: currently everything is recorded for the first album and is in the mixing process. I have no more details as to when it’s going to be ready. But it’s a blast I’ll tell you


So. Eye of Solitude. ‘Dear Insanity’ was a very hard release since its one shot track of + 50 minutes. How do you feel about this EP? And how were the feedback on it?
D: I personally feel really good about it. Whoever doesn’t like, don’t listen to it. It’s that simple. Some compared it (or tried to compare it) with albums from Monolithe, elitists were really against that. I however consider it to be a good effort, it’s a long EP so don’t expect to headbang, for some reason some people do.

. When we make a retrospection of your discography, we can realize that you really added a lot of substyles in your doom : the symphonies on Sui Caedere, extreme metal on Canto III, dark ambient on “Dear Insanity”. What is your vision of funeral doom, for Eye of Solitude?
D: On the new album which is also close to being complete we’re reaching the peak of our funeral influence. It’s really slow, heavy, downtuned, with a negative and bleak atmosphere. Definitely the most funeral material I’ve ever written.

. If you could take one album of any band and re-make it with EoS, which one would it be?D : Burzum – Hvis Lysset Tar Oss

. It can be quite hard to perform slow doom in concerts, yet you’re one of the only bands which can make it, and good. What’s the ‘thing’ which EoS gives more in concert than on studio?
D: Well, thank you very much, happy to hear that. Live we will always have more feeling…there will always be that element which you cannot incorporate on the disc no matter how hard you try. There will always be the visuals, the scents, the atmosphere of playing that shit live.

. What are your future plans apart from this album? Concerts? EP? Festival?
D: We will have a few gigs here and there next year, nothing special yet. Working on a few other gigs but we’ll just have to wait and see what comes up. Material wise, just the new album for now.


. Aight so : which great album you’ve been listening to lately?
D: Funeral – Vagrant God

. Name the greatest moment you’ve lived in a concert
D: Playing with Shape Of Despair/ Clouds for the first time

. Name the best beer you ever tasted
D: Undoubtedly, irrevocably and unequivocally: BarBar

. If you could be ONE song, which one would it be?
D: REM – Losing My Religion

. Say the 5 first words coming into your mind
D: Boobs, food, sleep, boobs, boobs. And on top of it all. Boobs!

. And I would stop annoying you. Please, the last words are for you.
D: Thank you for allowing me to say Boobs.


EYE OF SOLITUDE official homepage
EYE OF SOLITUDE – Official Facebook page

BEST OF 2015 + no work for 2 months or so


No time between actual day job and the rest (music production, bands, personal music & bands) I had no time to actually do something here and this is bad, very bad, because I do miss it. I will try to get more time, but it’s more unlikely. Who knows, héh.

So I decided to make a quick best of 2015. Like that, yes.

Honorable mentions

OTARGOS – Xeno Chaos
– Incredibly crafted extreme and dark metal.

THE NEGATION – Memento Mori
– Brutal black metal at an apogee

AHAB – The Boats of Glen Carrig
– Nautic doomsters putting more prog in their music is NICE

MGŁA – Exercises in Futility
– You know what I mean.

– Post Hardblack at its best

VI – De Preastigiis Angelorum
– French Black Metal is bleak & black and does it well

VOID PARADIGM – Earth’s Disease
– Black sick jazz, anyone?



5. WHEELFALL – Glasrew Point
Incredible mixture of sludge, doom, ambient, heavyness, … Those French dudes really destroyed the scene with this double album, and it is known that it’s not a common nor easy exercise. Wheelfall just got themselves, just in 2 albums, a masterpiece.

I cannot separate them two bands and Darkspace is definitely a must. Spacy, dark and cold black metal from the cosmic masters of the style, the originators. The typical sequel of ‘III’, yet different and as good as.

4. DEHUMAN – Graveyards of Eden
For sure : if Chuck (from Death) would be alive, he’ll want Dehuman to be part of his tour. The best Death Metal release this year, nothing more. Oldschool and the tiniest technical to make you cringe. The best. Srsly.

3. KAUAN – Sorni Nai
Incredibly crafted doom, post rock, ambient, shoegaze and whatever you want. Russian’s finest Finnish band comes back and releases a masterpiece of easy listening music, despite the complexity of it. Bam, top 3.

Yes, the review is yet to be uploaded. This album is ‘the’ surprise of December 2015 with an album almost stripped of all black metal influences, to leave space to ambient, ‘post’ something, emotions and perfect songwriting. Listening to this album 5 times a day since it’s out.

  1. SHAPE OF DESPAIR – Monotony Fields
    The album of the y ear goes to Finnish doomsters SoD because it’s just the best release this year. I could stop there. The best funeral doom masters come back with an album as heavy as it could be, as emotional as they can do, with ten years in the making and you understand why. This masterpiece makes the band the Legend it was already in the mind of a lot of people. For others, it’s just a stomp on your face.SOD2

NAR MATTARU – Ancient Atomic Warfare (2015)

Nar Mattaru is Sumerian for “chasm, abyss” and is aswell an old-school Death Metal band from Chile. They existed during two years from 1997 until 1999, didn’t release shit, reformed in 2008, put out a demo, an album in 2011 and now this one. I knew not about this band before I received the promo and that was a shame. Seriously a shame. Based on Sumerian topics, it normal and easy to notice that the band is really into dark and occult themes, the kind of stuff normally for black metal. Yet, they don’t give much of a damn and released what I call a solid death metal release. Here’s why.

The album, topping 45 minutes, is not only super dark and super heavy, it contains everything you need to make it more than just your primal death metal album. We’re far away from the leaders like Obituary or Deicide, we are here in a world of dark death metal with not only inspiration and great musicians, but more than this. The production is absolutely perfect, very heavy, not over produced, simple and efficient, while being minimalist. So flawless there, because it brings up this mood even more on top of everything. The band made it in a complete ‘old’ way, and I can hear it : fuck tempo and click, fuck beat detector, let us humans be imperfect and bring you sick shit, really played. And for that : bigass kudos, because when you feel the drummer accelerating or slowing down, it all comes to a point when it means something, it gives more to the aura surrounding this music.

The vocalist has one of the sickest voice ever. Very low and thick (think Henri of Shape of Despair doing sexual stuff with Daniel from Eye of Solitude for several moments), it is just ‘the’ fitting voice. The drums are fantastic and varied as hell, the guitar riffs are just impressive and killers, every time. I can’t say nothing bad about this album. Seriously. They even put several epic melodies, like on “The Great Serpent of Knowledge” and it’s just fucking awesome.

This, ladies and gentlemen of death, is directly in my top 3 death metal releases on this year. Containing the sick, darker moods of black/death releases while being still brutal, Nar Mattaru just came out of nowhere for me and baffled me. Of course, several moments aren’t the best ever, like the solo on “Declaration of Supremacy” which sounded weird the first time, but after a couple of listens, you don’t give a shit, and headbang on Aleister Crowley speeches while putting this music to the maximum. Long songs (6 songs for 45 minutes, hé) but so well composed and structured. Chile always contained gems in the metal scene, and this is a darkly shining one (darkly shining, yes).

NAR MATTARU – Ancient Atomic Warfare

1. Funeral in Absu 05:51
2. The End of the Beginning 08:22
3. The Great Serpent of Knowledge 06:42
4. Declaration of Supremacy 08:04
5. Ancient Atomic Warfare 07:44
6. Tribulations of the Gods 08:54

Final note : 17/20



Collaborations. I always loved them because it’s a thousand times better than another band which, most of the time is a superband and doesn’t bring me joy or else, more like disappointment all the time (cf. Ov Hell, for example) so, first good point. Second good point, the bands : Dragged into Sunlight is a weird and unique band from the UK with a Blackened Doom vibe, while Gnaw Their Tongues is the master of horror black noise from Netherlands. I’ve been a great fan of the latter, whatever Mories does is always fantastic. So… hearing about this collaboration which is some kind of an hymn to Godflesh‘s first release, Streetcleaner (main stone of industrial metal, and I mean the real industrial metal, this shit is from 1989), knowing how much this release is dark as fuck, I was stunned and really worried. So when I finally got my hands and ears on this “NV” release, I just couldn’t stop listening to it. Because this is a must to any fan of dark, complex music from doom to noise to industrial to black metal. Everything you know about those two bands is making unsweet love with Godflesh and this release is a blast.

As Justin Broadrick worship, this is low, heavy as fuck. Yet the music itself is more black metal than the doom / mid tempo you’d expect. Insane harsh screams on fucking fatty low-tuned black metal riffs while noises are caressing the void in your head. Varied and sick, with arpeggios or amazing dissonant riffs, this (too short) album gets it done. “Visceral Repulsion” starts with someone telling how it feels to strangle someone, while noise and tribal drums set the horrible mood. Then the shit starts and you know what it’s going to be. Complex, of course, but efficient and crazy enough to work on the first minutes. What we can hear is that one of the impressive thing the bands managed to do is simply that they transformed ‘Streetcleaner‘ into a dirtier release. Completely different, yet so close, the electronic drums are impressively done (surely played) and during every single moment they are focusing on harsh blast beats, it’s fantastic. Avant-garde maybe? Not really. But unique? Damn right.

Absolver” changes directly the mood for something more brutal from the beginning. Directly drown into a chaotic industrial black metal world, it’s a world of post apocalyptic visions which even Deathspell Omega didn’t manage to do. The red line of this albums are those speeches which are absolutely fitting by the way, and we have a small break with them before going back to sick mid tempo black doom shit. Oh man this is awesome. “Strangled with the Cord” gets the doom even lower, slower, served by the delightful voices of (surely?) Mories, the speech coming back, the mood getting harsher in the slowness and bam, blast and insane screams. This is where it’s interesting to see the use of those fantastic drums. Insane, inhuman, perfect here. More dissonance for the heart in trance. “Omniscienza“, as well, starts with fast shit and bring us so down until the long rings of the guitars with the fantastic blast beats gets into a specific mood quite reminiscent of “Paracletus” for just a small moment. And yet,  it’s just the beginning. The darkest death metal appears, giving you a sensation of ‘Ulcerate‘ but even darker. Until there is a fantastically done gravity blast. The kind you’d put on brutal death, not black metal. And how great, how fantastic it is and sounds. One step higher.

Alchemy in the Subyear” finishes this heavy, heavy album and I can now understand why this album is ‘only’ 32 minutes. This is an experience, a one shot in your face you might not want to live again. But as a masochist, it’s just been 32 times I am listening to this (I counted). Incredible music for the sick mind and another level, on top of everything which was done on this style. Noise, dark ambient and drone fits so well with extreme metal and those guys understood it. Just get this song in your head for its incredible mood and break, hear the background music, notes. It’s not meant to be relieving. And this is why this release is fantastic. And the typical metal part with the solo comes just after a break which could be on a brutal death metal release. Seriously this is awefuckingsome. And nothing to be said on the production, as I am sure you understood : this is just perfect. I’d be just myself and say that yes, I want more, I wanted 70 minutes of this shit, at least. But hey.

Impressive. I hope it’s not the last collaboration between those two bands.


1. Visceral Repulsion 05:50
2. Absolver 07:54
3. Strangled with the Cord 05:16
4. Omniscienza 06:40
5. Alchemy in the Subyear 06:41

Final note : 18/20

TSVET REPTILIA – Nomen Mihi Legio Est, Quia Multi Sumus (2015)


Tsvet Reptilia is a brand new black/death metal band from the Emirates. Hmhm, I shit you not : United Arab Emirates. And since the quality most of the time coming from that place in metal, this made me happy. Of course, don’t expect me to be like “Oh I know the members, they play there and there and-” No man. I ain’t knowin nuthin about them. Except that it’s annoying for me to type the name of this EP. Meh.µ


Nomen Mihi Legio Est, Quia Multi Sumus“, which means “My name is the Law, for we are Legions” (yes, I know, I’m good) is a 15 minute EP of black/death metal done the right way. Dark, violent, varied, and an outstandingly good production, which is not that awesome but I’ll say that later. Definitely of a more Death Metal obedience, TR are mixing black metal elements, and of course, everything is done the modern way, so you can easily find some stuff you’d find in Deathcore (the good one, hé), but no stupid moshpart and breakdowns like it’s Emmure or shit.

Diseased Messiah opens the EP in a typical way : noises, ambiances and a fade in of music. And when it starts, you feel it : the voice is a bit too much overmixed, in the front if you will. Also, you’ll recognized a pretty well done programmed drums, but my brothers : think like a drummer, not like a machine when you compose your drums. This is well done, I’d be a bit more bitching about the ‘triggered’ sound, but at least this is not the guitar pro drum set, héh. So. Okay, mixing problems. But how’s the music?

Well, it’s GOOD. Varied, and definitely more Death than Black like I said. This same track has a fantastic break before it goes nuts and blasting and it’s fucking nice. Seriously. “Bleeding the Saint” goes next, and the mid tempo death is here. Who cares if Swedish of American, the metal of death stinks, and it does here as well : a slight more technical, yet it’s dripping death. Death. I say Death a lot. Joke : “Hey! Are you Death? / What did you say?”. Now laugh. Pls.

So without being too original, the music kicks ass nonetheless. The growl of the singer is pretty impressive. And when we end up with this ‘half melo death’ riff with the ‘high pitched death’ scream, that’s where I heard deathcore. Death death death death deaaaaath. “Epidemic Perversion” starts and is quite the mixture between the first song’s brutality and  the second’s variations. Simple and effective. This is mainly on this song that you can hate the over triggered drums. Especially on that blast. But oh well, I’m being a bitch, héh.

Revel in Oblivion” finishes the EP with something a bit more ”’melodic”’ if I may. Nicely done, we finish humming this melody. And of course, the very evil breakdown & mid tempo makes people headbang in simplicity. Maybe that’s the problem : a bit too simple, too efficient. Maybe. I said maybe. But I have to say that I’d like to see this band live. This should be a damn bulldozer. A damn one.

So in the end : Very nice death metal with black shit inside. The production is a bit too proper to make me moist, the drums are too triggered, the voice is too much on front. But the rest is absolutely promising, and it’s not something I’d say often. So, keep up the good works! And get a real drummer, dammit.


1. Diseased Messiah 03:53
2. Bleeding the Saint 03:09
3. Epidemic Perversion 04:09
4. Revel in Oblivion 04:32

Final note : 7/10

LYCHGATE – An Antidote for the Glass Pill (2015)


Lychgate. First time I heard the name I was like “Ah, don’t tell me they made a metal band with World of Warcraft shit inside, héh?” and then, ONLY THEN, I realized I was thinking about the ‘Lich King‘. Then, I lowered my head down in shame and I booed myself. That’s how I work. Nice éh? Imagine living with it.

Anyway. When I looked a bit more, I realized that members of Esoteric, Sanctus Nex and fucking Omega Centauri are there. I read “black metal”, but I understood something completely different. Ladies and gentlemen, after one album in 2013, we have a long titled album which is an absolute mess of grand art. I mean it. I am honest, that’s my problem, and I’ve been working on this review for MONTHS now. And I can finally say it : this is a masterpiece of foken weir’ shi’ (that’s a British accent. Seriously brov’)


An Antidote for the Glass Pill. I don’t even know what it means but I don’t care much. What I can say is that, if you want a résumé of how I could describe this… this musical thing, it would be something like this :
‘On a nice day, several British musicians were bored. They decided to take a doom trip in Finland where they saw  Skepticism. They were all like “oh mate that’s dope! Let’s make a band with organs n shit!” and some other stuff. Yet, Greg Chandler was like “Ah man, I don’t wanna make doom, I already have the best avantgarde funeral doom band ever. Let’s make some black metal” and they started, slowly, to think about something BUT they eventually ended up in making avant garde extreme metal with organs all the way!’

And you got it. This album is a great, great, GRAND album. Mixing jazz elements, a fucking bigass organ, extreme metal mainly with a sick mood which sometimes reminds you of Spaulding‘s smile if you know who I’m talking about. I would like to put French for this band : “La Grandeur et la Folie“. Google it. Impressive.

I can’t say I like this track more than this one. I’ve been, on those past 3 days, listening only to this 50 min album and I don’t care about the titles. Not today (like Arya). Everything is absolutely fantastic. Incredible magick mood with some of the most elegant Gothic ones, EVEN SYMPHONIC ELEMENTS YOU KNOW but as well as some sick crazy dissonant moments and NO, NO I’M NOT GOING TO TALK ABOUT DEFSPELOMEGAH BECAUSE THIS HAS NOTHING TO DO WITH IT. LYCHGATE PREVAILS, FOFOKSEK!

This is chaos. Incredible chaos, put in order. You don’t know, nothing is dark, nothing is joyful, it’s all weird, all the way. But you always fall down on your feet and manage to be like “Blimey!” and voilà. Add some of the best clean voices which are giving a weirder mood, like “HEY WE’RE ALL GONNA DIE OF HORRIBLE SUFFERINGS BUT LET’S SING FIRST”. Sick. It’s sick. Seriously. I want more.

So yes. No. Okay. I like almost everything. I’d miss a bit more of the savagery, well dispersed on this album, maybe too much. Also sometimes I feel a sentiment of a lack of power, I don’t know if it’s the mix or maybe the habit of listening to this. But we cannot say anything against the musicians who are, let’s say it, absolute nutters. And it’s a pleasure, a grand pleasure, to hear Monsieur Chandler singing in harsh black metal. A very weird album which could be a mixture between Tim Burton‘s twisted mind, Resident Evil zombies, Spartan choirs, and the best from Dimmu Borgir. This is hard, man. And those rosbeefs wanted me to make a video out of it. I could just make a seizure and start to convulse : that would be even more helpful. Téh.

Fo’ing Bri’ishs.


1. Unto My Tempest 03:13
2. Davamesque B2 07:10
3. I Am Contempt 04:55
4. A Principle on Seclusion 05:04
5. Letter XIX 06:38
6. Deus te Videt 04:06
7. The Illness Named Imagination 04:47
8. An Acousmatic Guardian 04:45
9. My Fate to Burn Forever 06:12
10. The Pinnacle Known to Sisyphus 02:59

Final note : 17/20