The Diss(o) You Miss(o)

503
0
Share:

As in any year, there inevitably exists several releases that are discovered past their initial drop and are overlooked or merely ignored. There simply is too much music and not ample time to delve into every new band that comes across your constant feed of recommendations. Here, I will highlight a few newish albums that were likely not on your radar, and if they were, too bad. We are doing this anyway because I said so. [Y…yes, Daddy Disso, whatever you say! ~Roldy]


LVME – Of Sinful Nature (February 16)

We start off with the mysterious outfit LVME and all their anonymity. No listed band members, no country of origin, and no artist information for that eye-catching cover, though it appears based off of Cornelis van Haarlem’s Two Followers of Cadmus Devoured by a Dragon. Of Sinful Nature delivers on the promise of the album art by displaying a mastery of Icelandic-type drudgery in the likes of Sinmara and Svartidauði. Appearing straightforward at first glance, the real engrossing components here lie within the little flourishes that are sprinkled in to never allow you too much time being berated by a singular idea. It took me multiple playthroughs to truly capture the nuances that are laid out everywhere, most likely due to my children constantly yelling at me for attention (neglect leads to strength, spawns!).

Can a piece of musical art be described vulgarly as a grower and not a shower? I think so, since Of Sinful Nature is one best reserved for those ready for such an undertaking. If someone is not a fan of mid-paced dissonant black metal, then this is not the album to change their mind. However, for those who are devout in their auditory faith of the uncomfortable, LVME has delivered a sermon of welcoming. Take track two, “Strix R​ê​verie” for example, where at the 4:20 mark we are treated to an almost improvised drum pattern paired with the off-putting riffage. This then transitions into a, dare I say beautiful, guitar lead that breaks through the muck at 4:40. Other haunting yet catchy aspects appear throughout the entire runtime, so make sure your attention span is prepared.


Ὁπλίτης –Π​α​ρ​α​μ​α​ι​ν​ο​μ​έ​ν​η (January 12)

 

Ὁπλίτης, or Hoplites if your Greek isn’t great, is an interesting one. This one-man black metal project based out of China, but using only Greek for their albums, is something to behold in terms of output and quality. The man behind the music is named Liu Zhenyang, but prefers the simple moniker of J.L. and he has quickly become a force in the dissonant black metal underground.  After releasing 3 full length albums last year, not including a 4th release under his other band Vitriolic Sage, J.L. could have easily rested on his laurels for a spell. However, and thankfully, he appears to be an individual who is not comfortable taking a little R&R between killer albums. With Π​α​ρ​α​μ​α​ι​ν​ο​μ​έ​ν​η, we are presented the most punishing, experimental, and engaging ideas so far.

If you harken for the glory days of the now defunct Serpent Column or are enraptured by its follow-up project Theophonos, then you are in for a treat. Metallic, angular black metal that constantly plays with polyrhythms and meter, J.L. never allows you to get used to a section for too long before throwing you a lifeline in terms of musical variation to keep you engaged. What truly separates this new album from the previous works is the introduction of more experimentation, including the heavy usage of saxophone (blasphemy of the trve). Track 5, entitled “Συμμιαινόμεναι Διονύσῳ Ἐλευθέριῳ”, in particular, is a great snapshot of everything great about this banger of a record. The 2:09 mark shows us a groovy riff that evolves constantly into a more chaotic build until the sweet sax comes in at 2:58 to throw your brainwaves into overdrive. Then a sharp left turn occurs at 4:48 with the introduction of a synth line guaranteed to get your booty moving. This really is an experience from beginning to end that will leave you both confused and intrigued to constantly return.


Resin Tomb – Cerebral Purgatory (January 19)

As Black Dynamite once stated, “This is some heavy shit.” Hailing from Australia, Resin Tomb have released their debut LP and have come out swinging like a crowd killer on an unsuspecting teenaged girl. Unhinged death metal sprinkled with some sludge and grind, with a bass tone designed to raise your blood pressure a few points, Cerebral Purgatory shows no concern for your wellbeing. Bouncy yet pummeling, these tracks are exactly what your primary care physician would recommend to those needing to kick your fatigue-riddled synapses. This 5-piece also know exactly the best way this type of filth is administered by having short, punchy song lengths with the 4 longest tracks coming in each at 4:20, which simply cannot be a coincidence. Even the song titles themselves are a good indicator of the grime awaiting the listener with titles such as “Human Confetti”, “Flesh Brick”, and “Purge Fluid”.

This is one release that flies by every listen with its crisp 30 minute run-time.  Get in, fuck shit up, and get out. Just put on “Concrete Crypt” and prepare for the inevitable CTE to happen when the slow opening portion quickly shifts at the 0:21 mark. Just like the majority of my fellow toileteers, I am far past my moshing days, but if I were to ever attend a live set from these gents, I might have to bust out the Bengay and knee pads. Simple in its approach and execution, Resin Tomb aren’t treading any new ground, they are simply running over those already there.

Did you dig this? Take a second to support Toilet ov Hell on Patreon!
Become a patron at Patreon!