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Antique Victorian silver plated 2 piece coffee set, creamer, flo


Antique Victorian silver plated 2 piece coffee set, creamer, flo


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Antique Victorian silver plated 2 piece coffee set, creamer, flo

Serpentent – Mother of Light Review

“If all you want is raw riffs, skull-crushing rhythms, or dissonant aggression, you’ve come to the wrong place. Serpentent’s debut full-length Mother of Light flirts casually with distorted guitars and heavier percussion, but there’s no metal to be found here. The brainchild of Seattle multi-instrumentalist Anne K. O’Neill, Serpentent plays minimalist dark folk music built around O’Neill’s emotive vocals and acoustic guitars. Spring 2022 has set a high bar for folky non-metal around these parts, with Urferd releasing an intricate slab of Nordic folk and Darkher continuing to set the standard for introspective doom. Mother of Light doesn’t quite reach those lofty heights, but it’s a pleasant surprise in a crowded genre.” Snake charming.

Lament Cityscape – A Darker Discharge Review

“Wyoming, famously, hosts some of the United States’ most beautiful nature preserves—also famously it lacks urban comforts and is one of the two rectangular states. This expansive, rural landscape shapes an existence and mindset that’s decidedly different from the metropolitan portrait of tap-to-pay cafes, melting pot crowds, and city-speed sprawl. For better or worse, Mike McClatchey has called Buffalo, Wyoming temporarily home—a home that has fueled his boiled-over frustrations into this more solo edition of Lament Cityscape, A Darker Discharge.” Rural rabies.

Come to Grief – When the World Dies Review

“Back in the early 90s, Louisiana wasn’t the only locale with conditions ripe for the development of sludge metal. Congealing in 1991, Boston, Massachusetts’ Grief were similarly influential in forging a template for how sludge, especially sludge doom, would develop in the subsequent decades. original Grief members Chuck Conlon (drums) and Terry Savastano (guitar) kept a candle burning for their former band until 2017 saw them resurrect the project, this time as Come to Grief. The timing couldn’t have been more perfect considering world events since then, and 2022 sees the full-length debut of their current iteration, the aptly named When the World Dies.” Come to silver, come to sludge.

Volturian – Red Dragon Review

“It blows my mind that only two years passed since the last Volturian album, which I gave a positive review. I stand by that rating, too. Crimson stands firm as a pleasant and fun, poppy and sweet, goth-tinged experience. Big choruses, a fair share of decent riffs, and crunchy downtuned tones which I’ve always loved in this format formed a dance-able volume that is extremely difficult to put down, even today. The pandemic, which hit just before Crimson dropped, stretched time to the point that now, it feels like I wrote that review all the way back in 2018 rather than 2020. Nonetheless, it’s 2022, and sophomore album Red Dragon prepares to swoop down and incinerate my credibility as a metal critic of taste once again.” DraGONES!

Assumption – Hadean Tides Review

“A band’s name can make or break them. Regardless if you’re a blues band reaching for ominously foreboding atmospheres, or a power metal band named after a cute, furry rodent who loves clay baths, whatever you name yourself lends as much, if not more, importance as your music. So when I happened across Hadean Tides, the second full-length from Italy’s Assumption, I assumed from their “death/doom” labeling and their band name that this was going to be some early My Dying Bride worship of the highest caliber, complete with weepy violins and flowers withering. But you know what your parents said about why you should never assume…” Speculation and doomination.

Enragement – Atrocities Review

“It’s slammin’ time! Yes, the often divisive brutal death variant can seem at times difficult to do exceptionally well. The quality versus quantity ratio does seem a tad out of whack, and while I prefer my slam with other intriguing stylistic or compositional elements, it certainly has a bludgeoning, base-level appeal when the mood strikes and the execution is on point. Unheralded Finnish act Enragement are hardly a household name, however, the quartet have been bouncing around the underground since forming in 2006 and have two LPs under their belt prior to dropping this third slab of chunkified slammy death, entitled Atrocities.” Rage intensifies…

Evergrey – A Heartless Portrait (The Orphean Testament) Review

“It is the circle of life. The Lord taketh and the Lord giveth back. Not seven weeks ago I was slated to review the new Satan album, when it was ripped from my hands by our Ungracious Leader. I bit my tongue as long as I could, waiting for the right moment for revenge, and that moment has come! For here I am, coming out of nowhere to steal this new Evergrey album from his hairy mitts.” Evergrabby.

Predatory Light – Death and the Twilight Hours Review

“Kyle Morgan gets around. The versatile guitar player features in Ash Borer, Superstition, Vanum and, most relevant here, Predatory Light. What stands out about each of the first three projects is the unique sound they bring to their respective sub-genres; whether the cavernous malevolence of The Irrespassable Gate, or the passionate intensity of Ageless Fire, there is a cutting edge to separate them from pretenders. So the somewhat milquetoast first album from Predatory Light, 2016’s Predatory Light, came as a bit of a surprise. Its somewhat formulaic combination of doom and black metal caught Mark Z. on a good day, but even he felt more innovation was required. Six years later, and Predatory Light are back with Death and the Twilight Hours.” Pale horse on the plague playground.

Luminous Vault – Animate the Emptiness Review

“Electronic elements and black metal is often met with disdain. Atonal EDM beats over blackened shenanigans make acts like Psyclon Nine and Mora Prokaza questionable, while the guitar-less synth overload of Golden Ashes and Wreche are often met with mixed reception. Perhaps more successfully, acts like Blut aus Nord and Dkharmakhaoz incorporate cold industrial flourishes to the raw guitar tone, creating an uncompromisingly obsidian sound. Electronic is divisive, but Luminous Vault does it right.” Electro-violence.