#ExperimentalMetal

Angry Metal Guy<a href="https://www.angrymetalguy.com/bong-ra-black-noise-review/" rel="nofollow noopener" target="_blank">Bong-Ra – Black Noise Review</a>By Thus SpokeWhen I reviewed Bong-Ra’s last album, <a href="https://www.angrymetalguy.com/bong-ra-meditations-review/" rel="nofollow noopener" target="_blank">Meditations</a>, I commented on the about-turn the project made moving into doom. I should have known that the individual behind Bong-Ra, Jason Köhnen, likes to keep the listener guessing. So it is that Black Noise, their ninth official full-length, sees yet another mutation. In a whiplash change, Meditations’ successor is not dreamy, sax-infused, instrumental doom, but uncanny blackened, industrial, electronic metal; synthetic elements are used now to splice in unsettling samples and twist the guitar sound rather than dominate the melodies. The breakcore of yesteryears is back but bent to the whims of the metallic. If last time around, I intimated a desire to partake in whatever mind-altering substances Bong-Ra’s music lent itself to, this time, I’m not so sure. Not because Black Noise isn’t good, but because it is perturbing in the kind of way that doesn’t mix well with intoxication.Black Noise takes its name from the conceptual opposite of white noise.<a href="https://www.angrymetalguy.com/bong-ra-black-noise-review/#fn-212127-1" rel="nofollow noopener" target="_blank">1</a> That is, rather than an equal distribution of audible frequencies, a jarring disparity and unevenness in tone, pitch, and frequency. The music is not nearly as inaccessible as that implies. Though the sensibilities of extreme metal can be found in its densest polyrhythms (“Dystopic”) and heaviest guitar and harsh vocal assaults (“Black Rainbow”), Bong-Ra maintains at least the semblance of groove, and the heavily muted tone of the electronically distorted riffs keeps them from being the brutal battering rams they might be if employed under a less cloaked master (“Death #2,” “Nothing Virus,” “Ruins”). This being said, Black Noise’s idiosyncratic merging of real and synthetic instrumentation; of the straightforward aggression of the metal elements and the no less unfriendly electronic ones remains oblique and challenging to all but the .1% of the music-listening population that haunts these quiet corners of the internet. Imagine a snappier, heavier Perturbator in vibe, with a sprinkling of Dødheimsgard audacity, and deathened vocals whose referent is harder to place. It’s an effectively alien experience and a disturbing one to boot.The contents of Black Noise are about as weird and creepy as its cover art. Bong-Ra’s melodic themes are sparse and tend towards the dissonant and eerie, which maintains a constant unease. Köhnen affects a blunt annunciation that tends towards the callous when performing spoken word (“Death #2,” “Parasites”), and which remains just as articulate and dry as he slides into growls (“Dystopic,” “Nothing Virus”) giving the words a chilling inhumanity. The breakcore influence of clattering, tapping, metallic clanging, jangling, and whirring scattered across tracks makes everything that much more discomfiting (especially: “Dystopic,” “Useless Eaters,” “Bloodclot”). Samples—the most lengthy being that of Charles Manson defending his ‘philosophy’ which dominates “Useless Eaters”—bring the vague horror, and nihilistic mean-spiritedness haunting the compositions to the fore. And yet, Black Noise is surprisingly easy to listen to, in spite of its strangeness, in a strangely involuntary way. Bong-Ra execute polarised sides of the album’s sound with equal conviction and ease, and in all cases, perpetuate the same dark ambient aura. As a result, on paper odd inter-song neighbors, or intra-song bedmates convince the listener of their necessity without issue, and interplay becomes that much more compelling. A stomping industrial metal (“Death #2,” “Ruins”) or techno (“Useless Eaters”) groove; the warm buzzing of tremolos (“Dystopic,” “Blissful Ignorance”); the skittering and sharp breakcore (“Parasites”), and the complementarily soft blankets of noise (“Bloodclot”). The chaos of all the above just melts together into one self-consistent fever dream.Black Noise effectively communicates dysphoria and anxiety, and its hybrid electronica-metal is satisfyingly menacing, and at times, plain cool. But there’s the insidious sensation, dampened only slightly by this slickness, that it lacks some definitive quality that would make its communications legitimately confrontational. Some decisive pizzazz or inexorability which would silence the thought of “so what?” does appear in the face of Black Noise’s noisy articulations. Exacerbating this is the fact that the record also begins to peter out in its second half, the sinister instrumental “Bloodclot” representing the turning point. Only the novelty and decidedly dark aura of these compositions keep their listener hooked just enough to follow their trajectory.Once the surprise and intrigue of Bong-Ra’s new direction has settled, Black Noise has much to offer its acolytes. Though lacking the sticking power and ultimacy of the truly affecting, there is no denying its uniqueness and style. Reflecting sufficient existential affliction to get under your skin for at least a moment, and packing some stylish fusions of variously dense musical flavors, Black Noise is worth experiencing. Rating: Good DR: 4 | Format Reviewed: 320 kbps mp3 Label: <a href="https://www.debemur-morti.com/en/" rel="nofollow noopener" target="_blank">Debemur Morti Records</a> Websites: <a href="https://bong-ra.bandcamp.com/" rel="nofollow noopener" target="_blank">Bandcamp</a> Releases Worldwide: February 21st, 2024<a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/2025/" target="_blank">#2025</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/30/" target="_blank">#30</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/black-noise/" target="_blank">#BlackNoise</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/bong-ra/" target="_blank">#BongRa</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/breakcore/" target="_blank">#Breakcore</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/debemur-morti/" target="_blank">#DebemurMorti</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/dutch-metal/" target="_blank">#DutchMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/electronic-metal/" target="_blank">#ElectronicMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/experimental-metal/" target="_blank">#ExperimentalMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/feb25/" target="_blank">#Feb25</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/industrial/" target="_blank">#Industrial</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/industrial-metal/" target="_blank">#IndustrialMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/noise/" target="_blank">#Noise</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/perturbator/" target="_blank">#Perturbator</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/review/" target="_blank">#Review</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/reviews/" target="_blank">#Reviews</a>

Angry Metal Guy<a href="https://www.angrymetalguy.com/stuck-in-the-filter-october-2024s-angry-misses/" rel="nofollow noopener" target="_blank">Stuck in the Filter: October 2024’s Angry Misses</a>By KenstrosityNever fear, the blog’s penchant for <del>deep lateness</del> punctuality persists! It is likely the new year already by the time you see this post, but we’re taking a step back. Way back, into October. I was deep in the shit then, and therefore couldn’t do anything blog-related. And yet, my minions, those very laborers for whom I provide absolutely no compensation whatsoever, toiled dutifully in the metallic dinge that is our Filter. Unforgiving though those environs undoubtedly are, they scraped and scoured until, at long last, small shards of precious ore glimmered to the surface.These glimmers are the same which you witness before you. Some are big, some are small. Some are short, some are tall. But all are worthy. Behold! Kenstrosity’s Belated Bombardments <a href="https://www.facebook.com/Cosmic-Putrefaction-331030417723505/" rel="nofollow noopener" target="_blank">Cosmic Putrefaction</a> // Emerald Fires atop the Farewell Mountains [October 4th, 2024 – <a href="http://www.profoundlorerecords.com/" rel="nofollow noopener" target="_blank">Profound Lore Records</a>]I was originally slated to take over reviewing duties for Cosmic Putrefaction this year, as Thus Spoke had a prior commitment and needed a buddy to step in. Unfortunately, I was rendered useless by a force of nature for a while, so I had to let go of several items of interest. But I couldn’t let 2024 go by without saying something! Entitled Emeral Fires atop the Farewell Mountains, Cosmic Putrefaction’s fourth represents one of the smoothest, most ethereal interpretations of weird, dissonant death metal. The classic Cosmic Putrefaction riffsets under an auroric sky remain, as evidenced by ripping examples “[Entering the Vortex Temporum] – Pre-mortem Phosphenes” and “Swirling Madness, Supernal Ordeal,” but there lurks within a monstrous technical death metal creature who rabidly chases the atmospheric spirits of olde (“I Should Great the Inexorable Darkness,” “Eudaemonist Withdrawal”). While in lesser hands these distinct aesthetics would undoubtedly clash on a dissonant platform such as this, Cosmic Putrefaction’s particular application of sound and style coalesces in devastating beauty and relentless purpose (“Hallways Engraved in Aether,” “Emerald Fires atop the Farewell Mountains”). Were it not for some instances wherein, for the first time ever, Cosmic Putrefaction threatens to self-plagiarize their own material (“Eudaemonist Withdrawal”), I would likely consider Emerald Fires atop the Farewell Mountains for year-end list status.<a href="https://www.facebook.com/feralswe/" rel="nofollow noopener" target="_blank">Feral</a> // To Usurp the Thrones [October 18th, 2024 – <a href="https://tometal.com/" rel="nofollow noopener" target="_blank">Transcending Obscurity Records</a>]Another one of my charges that I unfortunately had to put down against my will, Swedish death metal fiends Feral’s fourth salvo To Usurp the Thrones deserves a spotlight here. Where <a href="https://www.angrymetalguy.com/feral-flesh-of-funerals-eternal-review/" rel="nofollow noopener" target="_blank">Flesh for Funerals Eternal</a> impressed me as my introduction to the band and, arguably, my introduction to modern buzzsaw Swedeath, To Usurp the Thrones impresses me as a singularly vicious record in the style. Faster, meaner, more varied, and longer than its predecessor, Thrones offers the punk-tinged, thrashy death riffs you know and love, with bluesy touches reminiscent of Entombed’s Wolverine Blues adding a bit of drunken swagger to the affair (“Vile Malediction,” “Phantoms of Iniquity,” “Into the Ashes of History”). Absolute rippers like “To Drain the World of Light,” “Deformed Mentality,” “Decimated,” and “Soaked in Blood” live up to the band’s moniker, rabid and relentless in their assault. In many ways, Thrones evokes the same bloodsoaked sense of fun that Helslave’s <a href="https://www.angrymetalguy.com/helslave-from-the-sulphur-depths-review/" rel="nofollow noopener" target="_blank">From the Sulphur Depths</a> conjured, but it’s angrier, more unhinged (“Spirits Without Rest,” “Stripped of Flesh”). Consequently, Thrones stands out as one of the more fun records of its ilk to come out this year. Don’t miss it!<a href="https://www.facebook.com/sunworshipband" rel="nofollow noopener" target="_blank">Sun Worship</a> // Upon the Hills of Divination [October 31st, 2024 – <a href="https://vendettarecs.wordpress.com/" rel="nofollow noopener" target="_blank">Vendetta Records</a>]Back in 2020, our dear Roquentin offered some damn fine words of praise for Germany’s Sun Worship and their third blackened blade, <a href="https://www.angrymetalguy.com/sun-worship-emanations-of-desolation-things-you-might-have-missed-2019/" rel="nofollow noopener" target="_blank">Emanations of Desolation</a>. It’s been six years since that record dropped, and Upon the Hills of Divination picks up right where Emanations left off. That is to say, absolutely slimy, post-metal-tinged riffs bolstered by dense layers of warm tremolos and mid-frequency roars. Opener “Within the Machine” offers a concrete encapsulation of what to expect: bits and pieces of <a href="https://www.angrymetalguy.com/hulder-verses-in-oath-review/" rel="nofollow noopener" target="_blank">Hulder</a>, <a href="https://www.angrymetalguy.com/gaerea-coma-review/" rel="nofollow noopener" target="_blank">Gaerea</a>, and <a href="https://www.angrymetalguy.com/vorga-beyond-the-palest-star-review/" rel="nofollow noopener" target="_blank">Vorga</a> melding together into a compelling concoction of hypnotic black metal. Using the long form to their utmost advantage, Sun Worship craft immersive soundscapes liable to scald the flesh just as quickly as they seduce the senses, leaving me as a brainwashed minion doing a twisted mystic’s bidding unconditionally (“Serpent Nebula,” “Covenant”). Yet, there roils a sense of urgency in these songs, despite many of them occupying a mid-paced cadence, which unveils a bleeding heart willingly wrenched from Sun Worship’s body (“Fractal Entity,” the title track, and “Stormbringer”). This is what sets it apart from its contemporaries, and what makes it worthy of mention. Why it’s gotten so little attention escapes me. It is with the intent of rectifying that condition that I pen this woefully insufficient segment. Dolphin Whisperer’s Duty Free Rifftrocity<a href="https://www.facebook.com/extortednz/" rel="nofollow noopener" target="_blank">Extorted</a> // <a href="https://extorted.bandcamp.com/album/cognitive-dissonance" rel="nofollow noopener" target="_blank">Cognitive Dissonance</a> [October 16th, 2024 – Self Release]You don’t need to read this review to know that the Kiwis of Extorted plays pit-whipping death/thrash. Though not adorned with other obvious symbols, like Vietnam War paraphernalia or crushed beer cans, the Ed Repka-penned brain-ripped head figure screams “no thoughts only riff” all the same. With snares set to pow and crashes set to kshhh, Cognitive Dissonance finds low resistance to accelerating early Death-indebted refrains. Vocalist Joel Clark even plays as a dead ringer for pre-Human Schuldiner or Van Drunen (<a href="https://www.angrymetalguy.com/asphyx-necroceros-review/" rel="nofollow noopener" target="_blank">Asphyx</a>, ex-<a href="https://www.angrymetalguy.com/pestilence-exitivm-review/" rel="nofollow noopener" target="_blank">Pestilence</a>) as the torture in many lines grows (on “Infected” and “Ghastly Creatures” in particular). And in a continued tour of Van Drunen-associated sounds, Extorted’s ability to find a push-and-pull cadence that twists the fury of thrash with the cutting drag of death hits that hard-to-nail early Pestilence pocket with studied flair (“Deception,” “Limits of Reality”). Though a considerable amount of the Extorted identity rests in ideas borrowed and reinterpreted, a modern tonal canvas gives Cognitive Dissonance’s rhythms a punchy and balanced low-end weight that doesn’t always present itself in the world of old. Couple that with hooks that reach far beyond the limits of pure homage (“Transformation of Dreams,” “Violence”), and it’s easy to plow through the thirty minutes of tasteful harmonies, bending solos, and spit-stained lamentations that Extorted offers with their powerful debut.<a href="https://brii.bandcamp.com/" rel="nofollow noopener" target="_blank">Bríi</a> // Camaradagem Póstuma [October 11th, 2024 – Self Release] With Camaradagem Póstuma we enter the hazy, folky world of Caio Lemos’ unique vision of what experimental electronic music can be colored by the underpinnings of atmospheric black metal and jazz fusion. Using terraced melodies like baroque music of old and distant breakbeats like the <a href="https://www.angrymetalguy.com/bong-ra-meditations-review/" rel="nofollow noopener" target="_blank">Bong-Ra</a> of recent yesteryears, Brazil’s Bríi represents one man’s highly specific melding that rarely occurs in this space. The guitar lines that do exist play out as textural, slow-developing passages. On tracks “Aparecidos” and “Baile Fantasma” this looping and hypnotic pattern shuffle resembles ambient Pat Metheny or <a href="https://www.angrymetalguy.com/yer-prog-is-olde-king-crimson-in-the-court-of-the-crimson-king/" rel="nofollow noopener" target="_blank">King Crimson</a> colors, the kind where finding the end of nylon pluck into a weaving, high-frequency synth patch feels not impossible but unnecessary. And on the more metallic side of things, Lemos cranks programmed blasts that carry his tortured, panning, and shrouded wails as a guide for the melodic evolution of each track, much in the same way a warping bass line would in a progressive house track. But maintaining the tempo of classic drum and bass, Camaradagem Póstuma wisps away in its atmosphere, coming back to a driving rhythm either via pummeling double kick or glitching break. Despite the hard, danceable pulse that tracks “Enlutados” and “Entre Mundos” boast, Bríi does not feel built for the kvlt klvbs of this world, leaning on a gated, lo-fi aesthetic that makes for an ideal drift away on closed cans, much like the equally idiosyncratic <a href="https://www.angrymetalguy.com/amgs-unsigned-band-rodeo-wist-strange-balance/" rel="nofollow noopener" target="_blank">Wist album</a> from earlier this year. And similarly, Camaradagem Póstuma sits in an outsider world of enjoyment. But if any of this sounds like your jam, prepare to get addicted to Bríi. Thus Spoke’s Rotten Remnants<a href="http://www.facebook.com/livloesband" rel="nofollow noopener" target="_blank">Livløs</a> // The Crescent King [October 4th, 2024 – Noctum Productions]Livløs are one of those bands that deserves far more recognition than they receive. With LP three, The Crescent King, they might finally see it. Their punchy intriguing infusion of Swedish and US melodic death metal—though the band themselves hail from Denmark—has a pleasing melancholia and satisfying bite. Here in particular, there’s more than a passing resemblance to <a href="https://www.angrymetalguy.com/hath-all-that-was-promised-review/" rel="nofollow noopener" target="_blank">Hath</a>, to <a href="https://www.angrymetalguy.com/cognizance-malignant-dominion-review/" rel="nofollow noopener" target="_blank">Cognizance</a>, and to <a href="https://www.angrymetalguy.com/in-mourning-the-bleeding-veil-review/" rel="nofollow noopener" target="_blank">In Mourning</a>. Stomping grooves (“Maelstrom,” “Usurpers”) slide in between blitzes of tripping gallops, and electrifying fretwork (“Orbit Weaver,” “Scourge of the Stars”). Mournful, compelling melodies woven into this technical tapestry—some highlights being the title track, “Harvest,” and “Endless Majesty”—turn already good melodeath into great melodeath; melodeath that’s majestic and powerful, without ever feeling overblown. With its relentless, groovy dynamism, the crisp, spacious production seals the deal for total immersion. If this is your first time hearing about Livløs, you’re in for a treat.<a href="https://www.facebook.com/sordideband" rel="nofollow noopener" target="_blank">Sordide</a> // Ainsi finit le jour [October 25th, 2024 – <a href="https://lesacteursdelombre.net/" rel="nofollow noopener" target="_blank">Les Acteurs de l’Ombre Productions</a>]And So Ends the Day, whilst another begins where I rediscover Sordide. I know not how I forgot their existence despite the impression that 2021’s Les Idées Blanches made upon me, yet all I could recall was the disturbingly simple, <a href="https://sordide.bandcamp.com/album/les-id-es-blanches-2" rel="nofollow noopener" target="_blank">melty art.</a><a href="https://www.angrymetalguy.com/stuck-in-the-filter-october-2024s-angry-misses/#fn-207332-1" rel="nofollow noopener" target="_blank">1</a> Ainsi Finit le Jour arrives with a hefty dose (53 minutes no less) of punky, dissonant black metal that’s even rawer and more pissed-off than their usual fare. “Des feux plus forts,” “La poesie du caniveau,” and the title track stand out as the most vicious, near-first-wave cuts the trio have ever laid down, with manic, group wails, and chaotic, jangling percussion. But as is so often the case with Sordide, perhaps the truest brutality comes in the slower discordant crawls of “Sous Vivre,” “Tout est a la mort,” and the particularly unsettling “La beauté du desastre,” whose creeping, half-tuneful teasing and turns to eerie spaciousness get right under your skin. It is arguably a little too long for its own good, given its intensity, but its impressiveness does mean that, this time, Sordide won’t be forgotten. Dear Hollow’s Droll Hashals <a href="https://www.facebook.com/annihilistmetal/" rel="nofollow noopener" target="_blank">Annihilist </a>// Reform [October 18th, 2024 – Self Release]What Melbourne’s Annihilist does with flamboyant flare and reckless abandon is blur the lines of its core stylistic choices. One moment it’s chugging away like a deathcore band, the next it’s dripping away with a groove metal swagger, ope, now it’s on its way to Hot Topic. All we know is that all its members attack with a chameleonic intensity and otherworldly technicality that’s hard to pin down. An insane level of technicality is the thread that courses throughout the entirety of this debut, recalling Within the Ruins or <a href="https://www.angrymetalguy.com/the-human-abstract-digital-veil-review/" rel="nofollow noopener" target="_blank">The Human Abstract</a> in its stuttering rhythms and flailing arpeggios. From catchy leads and punishing rhythms (“The Upsend,” “Guillotine”), bouncy breakdowns, clean choruses, and wild gang vocals (“Blood”), djenty guitar seizures (“Virus,” “Better Off”) to full-on groove (“N.M.E.,” “The Host”), the likes of <a href="https://www.angrymetalguy.com/lamb-of-god-lamb-of-god-review/" rel="nofollow noopener" target="_blank">Lamb of God</a>, early <a href="https://www.angrymetalguy.com/architects-the-here-and-now-review/" rel="nofollow noopener" target="_blank">Architects</a>, Born of Osiris, and <a href="https://www.angrymetalguy.com/children-of-bodom-hexed-review/" rel="nofollow noopener" target="_blank">Children of Bodom </a>are conjured. Lyrics of hardcore punk’s signature anarchy and societal distrust collide with an instrumental palette of melodeath and the more technical kin of metalcore and deathcore, groove metal, and hardcore. As such, the album is complicated, episodic, and unpredictable, with only its wild technicality connecting its fragmented bits – keeping Reform from achieving the greatness that the band is so capable of. As it stands, though, Annihilist offers an insanely fun, everchanging, and unhinged roller coaster of -core proportions – a roller -corester, if you will. Under Alekhines Gun<a href="https://www.facebook.com/TheurgyBDM/" rel="nofollow noopener" target="_blank">Theurgy</a> // Emanations of Unconscious Luminescence [October 17th, 2024 – <a href="https://newstandardelite.bandcamp.com/" rel="nofollow noopener" target="_blank">New Standard Elite</a>]In a year where slam and brutal death have already had an atypically high-quality output, international outfit Theurgy have come with an RKO out of nowhere to shatter whatever remains of your cerebral cortex. Channeling the flamboyancy of old Analepsy with the snare abuse and neanderthalic glee of Epicardiectomy, Emanations of Unconscious Luminescence wastes no time severing vertebrae and reducing eardrums to paste. Don’t mistake this for a brainless, caveman assault, however. Peppered between the hammiest of hammers are tech flourishes pulled straight from Dingir era <a href="https://www.angrymetalguy.com/rings-saturn-lugal-ki-en-review/" rel="nofollow noopener" target="_blank">Rings of Saturn</a>, adding an unexpected technical edge to the blunt force trauma. The production manages to pair these two disparaging elements with lethal efficiency. Is it the techiest slam album, or the wettest, greasiest tech album? Did I mention there’s a super moldy cover of <a href="https://www.angrymetalguy.com/devourment-obscene-majesty-review/" rel="nofollow noopener" target="_blank">Devourment</a>‘s “Molesting the Decapitated”? It slots right into the albums flow without feeling like a tacked-on bonus track, highlighting Theurgy’s commitment to the homicidal odes of brutality. Throw in a vocal performance that makes Angel Ochoa (Abominable Putridity) sound like Anders Fridén (<a href="https://www.angrymetalguy.com/in-flames-foregone-review/" rel="nofollow noopener" target="_blank">In </a><a href="https://www.angrymetalguy.com/in-flames-foregone-review/" rel="nofollow noopener" target="_blank">Flames</a>), and you’re left with one last lethal assault to round out the year. Dive in and give your luminescence something to cry about. GardensTale’s Great Glacier<a href="https://www.facebook.com/GhostsofGlaciers/" rel="nofollow noopener" target="_blank">Ghosts of Glaciers</a> // Eternal [October 25th, 2024 – <a href="https://translationloss.com/" rel="nofollow noopener" target="_blank">Translation Loss Records</a>]Ghosts of Glaciers’s last release, The Greatest Burden, was a masterclass of post-metal flow and has become a mainstay in my instrumental metal collection since <a href="https://www.angrymetalguy.com/ghosts-of-glaciers-the-greatest-burden-review/" rel="nofollow noopener" target="_blank">my review</a> in 2019. Dropping in tandem with several other high-profile releases, though, I could not give its follow-up the kind of attention it deserves. And make no mistake, it absolutely deserves that attention. The opening duo, “The Vast Expanse” and “Sunken Chamber,” measure up fully to The Greatest Burden, though it takes a few spins for that to become clear. Both use repetitive patterns more than before, but closer listens reveal how subtle variations and evolution of each cycle build gradual tension, so the release becomes all the more satisfying. I’m a little more ambivalent on the back half of Eternal, though. “Leviathan” packs a bigger punch than more of the band’s material, it lacks the swirling and sweeping currents that pull me under and demand full and uninterrupted plays every time. Closer “Regeneratio Aeterna” is a pretty but rather demure piece that lasts a bit longer than it should have. But despite these reservations, the great material outstrips the merely good, and Eternal is a worthwhile addition to any instrumental metal collection.<a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/abominable-putridity/" target="_blank">#AbominablePutridity</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/ainsi-finit-le-jour/" target="_blank">#AinsiFinitLeJour</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/american-metal/" target="_blank">#AmericanMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/analepsy/" target="_blank">#Analepsy</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/annihilist/" target="_blank">#Annihilist</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" 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Angry Metal Guy<a href="https://www.angrymetalguy.com/cave-sermon-divine-laughter-things-you-might-have-missed-2024/" rel="nofollow noopener" target="_blank">Cave Sermon – Divine Laughter [Things You Might Have Missed 2024]</a>By Thus SpokeWhen I finally heard Divine Laughter, it was closer to January 2025 than it was January this year, when Cave Sermon released it. This temporal technicality turned out to be trivial because its brilliance was immediately obvious. Divine Laughter traverses death, black, sludge, post, ambient, and more, exploring further, and committing harder to mania—as I later discovered—than debut Memory Spear, which I also devoured eagerly. There is primarily just one person behind Cave Sermon, Aussie musician Charlie Park, and until now, the project was instrumental. Miguel Méndez’ vocals—with an impressively versatile, unhinged, and savage performance—are a perfect accompaniment to what appears to be Cave Sermon’s signature abstract and interpretive compositional style, channeling a kind of musical stream of consciousness that must be experienced to be understood.To say that Divine Laughter is affecting would be criminal understatement. The lyrics alone are touching in a sense totally devoid of sentimentality, reflecting a singularly modern capitalist loneliness, a hatred of human apathy, and a guilt in one’s complicity. But it is the truly magnificent way in which Parks tells (and Méndez narrates) this story musically which makes it so arresting. It feels, at its core, refreshingly and exhilaratingly organic; vibrant and smart and true. Reprises feel like the returning edges of a persistent thought, percussion is as often a tech-death texture as a sludgy battering ram (“Crystallised”), or a vague tap in a noisy void (“Birds and Machines in Brunswick,” “Divine Laughter”); barks pitch upwards into howls in sudden gasps of the realization of some depressing, mundane, and fearful reality (“Liquid Gold”). Quieter moments of almost folky naïveté brush up against acerbic sludginess, alien synth, and the pseudo-chaotically mixed nuts and bolts of razor-sharp death and black metal with a facile deftness I’ve not heard outside of Vicotnik’s work.<a href="https://www.angrymetalguy.com/cave-sermon-divine-laughter-things-you-might-have-missed-2024/#fn-208435-1" rel="nofollow noopener" target="_blank">1</a>With so few words, how can I convey Divine Laughter’s mania? Comparisons feel stale. The through lines, like paint in abstract art,<a href="https://www.angrymetalguy.com/cave-sermon-divine-laughter-things-you-might-have-missed-2024/#fn-208435-2" rel="nofollow noopener" target="_blank">2</a> play with and subvert the expected course of a given genre’s template. Energetic black(ened death)<a href="https://www.angrymetalguy.com/cave-sermon-divine-laughter-things-you-might-have-missed-2024/#fn-208435-3" rel="nofollow noopener" target="_blank">3</a> (“Beyond Recognition,” “The Paint of An Invader”) comes as a thrillingly uneven rain of vitriol. Angular, dissonant extremity tumbles into echoing industrialism, or dizzy ambience (“Beyond Recognition,” “Divine Laughter”); sludgy death remains off-kilter and wild, while charging prog-death rhythms stumble suddenly, (“Crystallised”) and spiraling solos precipitate turns to gazey post (“Liquid Gold”), and every other influence on display. Though there’s a rawness and frightfulness about the relentless transformations of guitar, vocals, and tempo, the use of synths and atmosphere, they remain surprisingly alluring thanks to the powerful emotions bubbling up in subtle resurgences of themes. A lot of this has to do with Méndez’ incredible vocal performance, another lot are these tangled, gorgeous compositions. There are so many of these beautiful, cathartic rises of yearning, urgent melody, and many of them come with the unforeseen force of involuntary emotional reaction (“Beyond Recognition,” “Liquid Gold,” “The Paint of An Invader”), though multiple listens show their edges were presaged.The only potential stumbling block for Divine Laughter I can concede, is the noisy, sample-spliced “Birds and Machines in Brunswick.” Transitioning into the rather terrifying opening to “Divine Laughter” with its almost Portal-esque bellows, its five minutes stick out perhaps a little too much from the rest. It’s clear that this is an experiment, taking place in a transition period for Cave Sermon. Given the excellence of everything else about Divine Laughter, it is very easy to forgive this trifle. I can truly say that no album—at least in recent years—has so instantaneously affected me, smashing down the doors of my musical perception, and settling deep in my soul. Cave Sermon may have received shockingly little recognition so far,<a href="https://www.angrymetalguy.com/cave-sermon-divine-laughter-things-you-might-have-missed-2024/#fn-208435-4" rel="nofollow noopener" target="_blank">4</a> but they will no doubt soon be a name on the lips of many in whatever strange sphere of metal we find ourselves in.Tracks to Check Out: Every one except “Birds and Machines in Brunswick” is mandatory listening.<a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/2024/" target="_blank">#2024</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/australian-metal/" target="_blank">#AustralianMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/black-metal/" target="_blank">#BlackMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/blackened-death/" target="_blank">#BlackenedDeath</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/cave-sermon/" target="_blank">#CaveSermon</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/death-metal/" target="_blank">#DeathMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/divine-laughter/" target="_blank">#DivineLaughter</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/experimental-metal/" target="_blank">#ExperimentalMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/post-metal/" target="_blank">#PostMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/self-releases/" target="_blank">#SelfReleases</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/sludge/" target="_blank">#Sludge</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/things-you-might-have-missed/" target="_blank">#ThingsYouMightHaveMissed</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/things-you-might-have-missed-2024/" target="_blank">#ThingsYouMightHaveMissed2024</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/tymhm/" target="_blank">#TYMHM</a>

pephorror<a href="https://metalhead.club/tags/MusicWomenWednesday" class="mention hashtag" rel="nofollow noopener" target="_blank">#MusicWomenWednesday</a> <a href="https://metalhead.club/tags/nowplaying" class="mention hashtag" rel="nofollow noopener" target="_blank">#nowplaying</a> Ridiculous And Full Of Blood by Julie Christmas, really interesting and nice to listen to record.<a href="https://metalhead.club/tags/experimentalmetal" class="mention hashtag" rel="nofollow noopener" target="_blank">#experimentalmetal</a> <a href="https://metalhead.club/tags/progrock" class="mention hashtag" rel="nofollow noopener" target="_blank">#progrock</a> <a href="https://metalhead.club/tags/alternativemetal" class="mention hashtag" rel="nofollow noopener" target="_blank">#alternativemetal</a> <a href="https://metalhead.club/tags/Brooklyn" class="mention hashtag" rel="nofollow noopener" target="_blank">#Brooklyn</a><a href="https://juliechristmas.bandcamp.com/album/ridiculous-and-full-of-blood" rel="nofollow noopener" translate="no" target="_blank">https://juliechristmas.bandcamp.com/album/ridiculous-and-full-of-blood</a>

Angry Metal Guy<a href="https://www.angrymetalguy.com/melted-bodies-the-inevitable-fork-review/" rel="nofollow noopener" target="_blank">Melted Bodies – The Inevitable Fork Review</a>By GardensTaleI am more of an album guy than an EP guy. This makes the trend of releasing several EPs and combining them into a full album a bit frustrating. Thankfully, I glommed onto Melted Bodies’ plan to do the same with The Inevitable Fork. After reviewing the first EP in the 2022 roundup, I decided to leave the remainder be for the inevitable<a href="https://www.angrymetalguy.com/melted-bodies-the-inevitable-fork-review/#fn-205036-1" rel="nofollow noopener" target="_blank">1</a> album review, which is now upon us in tandem with the third EP. But don’t worry, in addition to the 13 tracks that are part of the piecemeal release, there’s a bunch of extra cuts and intermissions meant to glue together the shuffled and re-arranged combinatorial tracklist. Still following along?If not, good. Bewilderment and anxiety are the correct mindsets for Melted Bodies. Straight from the gate with 2020’s debut <a href="https://www.angrymetalguy.com/melted-bodies-enjoy-yourself-things-you-might-have-missed-2020/" rel="nofollow noopener" target="_blank">Enjoy Yourself</a>, the LA quartet has carved its own path, one that’s difficult to map on musical charts. If you prompt a maladaptive AI to blend System of a Down, Mr. Bungle, harsh noise rock, a bit of mathcore, and a slew of mental illnesses brought on by modern society, it might vomit out something akin to this. And it’s kind of fascinating how easily Melted Bodies molds such a specific concept into different sounds, because The Inevitable Fork is nothing if not diverse. There are intense bursts of frustrated energy squeezed into a series of barbed hooks (“Bloodlines,” “Liars”). Other tracks consist entirely of one long runaway violent tangent, like the title track and the incessant “Splitting.” There are talkative songs (“Relax You Are Lazy” and “The Avalanche”) and harsh grindy tracks (“Wrath of the Flies”). And on one occasion, The Inevitable Fork even gets tender and heartfelt with the subdued “Talk Some More About It.”But why is there so much of it? This album really should not be well over an hour. Melted Bodies doesn’t do long-form compositions. Prog or doom are not in their vocabulary. Rather, it attempts to establish a kind of flow by using interludes (most of them featuring Angela Seo of Xiu Xiu) that touch on the overarching themes of life choices and their consequences. But they fail to glue the rather disparate tracklist together, and instead, they add to the bloat. The actual music suffers from the same. None of the material is downright weak, but it’s not consistently great either. The tracks are such self-contained entities, a cross-album thread fails to develop, and the band’s efforts toward the opposite serve to highlight rather than solve this issue. The Inevitable Fork is an overlong playlist album cosplaying as a cohesive journey.Playlist albums need tight curation, and in light of the bloat, the weight of the lesser cuts is magnified. “Relax You Are Lazy” and “The Avalanche” are both uneven in their use of spoken word, which is unfortunate given they’re separated only by another interlude, and closer “Something is Wrong” is the most forgettable song of the lot, especially when the rest of The Inevitable Fork has inevitably exhausted me. But the good tracks still far outweigh the mediocre. “Talk Some More About It” is beautiful and poignant, and would have worked well as an end to the album were it not followed by three more songs and two interludes. In this tail we also find “Therapy,” an excellent, wry, and upbeat track I loved on the first EP as well, but it would have worked better earlier in the running time. It does go to show Melted Bodies does best when they keep the energy high and the tone sarcastic, as opener “Bloodlines” and highlight “Liars” do.The Inevitable Fork is a somewhat frustrating album. There is more good than bad; most of the music falls on a scale of ‘great’ to ‘okay,’ rarely below it. Melted Bodies is a highly talented group that managed to find a strong sound early on and have no qualms testing its limits in all directions. The production has plenty of punch and grit without sacrificing fidelity. At the same time, it’s easy to see how it could have been quite a bit better. A bit more selectivity on what tracks from the EPs to include on the full album, less bloat from interludes, and a little shuffling of the tracklist could have made The Inevitable Fork a truly worthy follow-up to Enjoy Yourself. Instead, with the saving grace of a strong songcraft, it’s the albumcraft where Melted Bodies sees its ambition flounder. Rating: 3.0/5.0 DR: 8 | Format Reviewed: 320 kb/s mp3 Label: Self-release Websites: <a href="http://meltedbodies.bandcamp.com" rel="nofollow noopener" target="_blank">meltedbodies.bandcamp.com</a> | <a href="http://meltedbodies.com" rel="nofollow noopener" target="_blank">meltedbodies.com</a> | <a href="http://facebook.com/MeltedBodies" rel="nofollow noopener" target="_blank">facebook.com/MeltedBodies</a> Releases Worldwide: October 18th, 2024<a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/2024/" target="_blank">#2024</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/30/" target="_blank">#30</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/alternative-metal/" target="_blank">#AlternativeMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/american-metal/" target="_blank">#AmericanMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/experimental-metal/" target="_blank">#ExperimentalMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/melted-bodies/" target="_blank">#MeltedBodies</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/mr-bungle/" target="_blank">#MrBungle</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/noise/" target="_blank">#Noise</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/oct24/" target="_blank">#Oct24</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/review/" target="_blank">#Review</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/reviews/" target="_blank">#Reviews</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/self-release/" target="_blank">#SelfRelease</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/system-of-a-down/" target="_blank">#SystemOfADown</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/the-inevitable-fork/" target="_blank">#TheInevitableFork</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/xiu-xiu/" target="_blank">#XiuXiu</a>

Angry Metal Guy<a href="https://www.angrymetalguy.com/moiii-moiii-review/" rel="nofollow noopener" target="_blank">Moiii – Moiii Review</a>By Thus SpokeTrue genius, especially in art, is often not recognized when it first emerges. Van Gogh barely made a penny and garnered little acclaim for paintings that people now travel the world to see. Art may be subjective, but an entirely new world of debate arises when something comes along for which there are very few, if any, analogues. With this in mind, let us turn to Moiii, and their self-titled debut. It’s the fusion of musical minds hardcore and rock-centric—Scott Shellhamer (American Heritage, Ghosts and Vodka)—and electronica, pop, and folk-inclined—Jason Butler<a href="https://www.angrymetalguy.com/moiii-moiii-review/#fn-200862-1" rel="nofollow noopener" target="_blank">1</a> (Thee Conductor)—plus an additional healthy helping of aggressive noise rock—Thor Harris (Swans) performs percussion. On paper, there’s nothing spectacularly strange about combining the above genres; plenty of electronic music is somewhat dissonant, noisy, and dense, whilst also being kind of danceable, and catchy. But whatever you’re imagining, it almost certainly doesn’t come close to Moiii.Moiii is quite simply baffling. You don’t know whether to reserve judgment until you feel like you understand it—perhaps accepting you never will—or heap scorn over its fickle irreverence and jarring bizarreness. Each track feels like an experiment, almost a jam apart from the fact it’s been well-mixed and mastered. Common quirks shared between them—flickering, bassy static (“Turtle Legs,” “Scarab of Ra”), pervasive waves of noise (“Tangled Chords,” “Motion Picture”), and a penchant for dissonant combinations of all kinds of sound, as well as generally slow-to-medium tempos—help provide some coherence, but that’s where it ends. Don’t expect closure, catharsis, or completeness in these compositions. Moiii are intent on subverting your expectations in this respect—or at least, they seem to be—as they use individual pieces as microcosms for genre subversion, maintaining their states without evolution, abandoning them, or perhaps even following them through in an expected fashion, just as a little surprise.As strange as it is, Moiii can be quite charming. I didn’t know I wanted to hear xylophonic chords being played alongside foghorns and sludgy riffs (“Tangled Chords”), but it was great. I also didn’t know how brilliant a groove could be achieved through intense, rhythmic breathing and steel drumming so sharp and tinny it sounds like it’s being played on a set of saucepans (“You Won’t Be Alive To Feel It”). Nor did I expect to be so viscerally affected by the humming, clicking, stalking, and whatever else is going on in “Motion Picture.” Though generally averse to utilizing the pretty side of electronica, in favor of that which makes you feel slightly ill in its constantly crescendoing, dissonant lurchiness (“Turtle Legs,” “Motion Picture”), Moiii make another play out of left field with the suddenly pleasant “Shhhhhhhhhhhhh”<a href="https://www.angrymetalguy.com/moiii-moiii-review/#fn-200862-2" rel="nofollow noopener" target="_blank">2</a> which begins in something akin to synthy shoegaze, played drunk, and eventually transforms into more-or-less straightforward sludge. Moiii create some surprisingly cool sequences with interspersions of bass feedback, guitar, and bubbly, fluttering synths (“Turtle Legs,” “Scarab of Ra”), and injections of wonky rhythm (“Tangled Chords,” “You Won’t Be Alive To Feel It”). And with a runtime that barely scrapes past half an hour, the record works a fun little mini-trip, the perfect length of time needed to indulge your weird side before returning to back-to-back replays of Ulcerate (or whatever else you people are listening to).And yet, Moiii leaves me very conflicted. While there’s plenty to enjoy, at least in snippets, it’s hard not to see the offerings as unfinished drafts, as though each was a idea sketched out but never filled in. With the exception of “You Wont Be Alive To Feel It,” songs barely maintain enough momentum, enough dynamism to keep you truly invested, which is a shame considering the obvious talent and genuinely interesting fusions on display. “Motion Picture” has bags of potential hidden in its near-cinematic crescendoes of synth and spine-tingling ascending plucks, but Moiii refuse to develop it, and its eight-and-a-half-minutes begin to drag. Overall, the character of the album leaves it in the awkward position of being too odd and too jarring to comfortably act as background music, but not compelling enough to adequately occupy your attention all the way through.But is Moiii perhaps a genius I fail to recognize? While it’s impossible to say, my gut tells me no. It’s clever when it needs to be, but possibly too clever for its own good, sacrificing substance for an over-commitment to kooky style. If Moiii make more music in future, it’ll be worth checking out, but for now, judge for yourself how far your curiosity can take your taste. You may even find you love it.Rating: Mixed DR: 7 | Format Reviewed: 320 kbps mp3 Label: <a href="https://someoddpilotrecords.com/" rel="nofollow noopener" target="_blank">Someoddpilot Records</a> Websites: <a href="https://moiii.bandcamp.com/album/moiii-2" rel="nofollow noopener" target="_blank">Bandcamp</a> | <a href="https://www.facebook.com/moiiiband/" rel="nofollow noopener" target="_blank">Facebook</a> Releases Worldwide: August 2nd, 2024<a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/2-5/" target="_blank">#25</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/2024/" target="_blank">#2024</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/american-metal/" target="_blank">#AmericanMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/aug24/" target="_blank">#Aug24</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/electronic-metal/" target="_blank">#ElectronicMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/electronica/" target="_blank">#Electronica</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/experimental-metal/" target="_blank">#ExperimentalMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/industrial/" target="_blank">#Industrial</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/moiii/" target="_blank">#Moiii</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/noise/" target="_blank">#Noise</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/review/" target="_blank">#Review</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/reviews/" target="_blank">#Reviews</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/someoddpilot-records/" target="_blank">#SomeoddpilotRecords</a>

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