For Those That Wish To Exist
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Architects songs look at the state of the world and commiserate in the shit with the rest of us. A majority of their 2012 LP ‘
Daybreaker’ was them grimly wallowing under capitalism, materialism, societal rot, religion, and ideological differences, but then it concludes on ‘
Unbeliever,’ the most lovely, spiritually uplifting song they’ve ever made. This approach, this vibe, is something that ‘
For Those That Wish To Exist,’ recorded during England’s first lockdown, replicates. It’s an important sentiment: addressing the depressed mood of the world currently and its ordinary citizens, telling us to not fear death, to truly live in the now, to learn our lesson, and to make real changes on a personal level. To fight for our collective metaphorical and literal survival. Otherwise, you might as well stop existing. Because the band want the world to endure; they want to live; to move p
Kez Whelan
, February 17th, 2021 10:28
Drop out of life with mask and sanitiser in hand. Has the year-long drought of gigs got you down? Kez Whelan is here with the next best thing: nine new metal albums of chest caving intensity
Cara Neir
By this time next month, we’ll have gone a year without any gigs. A full
year – I’m sure I don’t need to reiterate to you, fellow riff addict, just how deeply spiritually damaging it has been to go cold turkey on live music for so long, but it definitely bears repeating that, now more than ever, venues need your help.
WOWOD had tapped that experiential vein and flushed it with new blood. Everything about the song sounded vibrant, alive, and utterly essential.
To that end, merely labelling this Russian quintet as a ‘blackened band’ is, in my humble opinion, a great disservice. While I can’t speak to the group’s origin or back catalogue, there’s certainly more going on under the hood of ‘
Yarost’ I Proshchenie.’ For one thing, there’s that title, which, loosely translated to English, reads as “Fury and Forgiveness.” Two concepts that don’t scream out at me as standard subject matter for a blackened hardcore outfit or a European black metal project at least not together, or as components of a holistic enterprise. The former is the product of anger and rage, a violent outward expression of hostility; the latter is a process of acceptance and reconciliation, the internal act of ‘letting go’. As it turns out, understanding the contrast between these concepts is the emotio