Metal albums
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The struggle is never ending," writes MSW in the liner notes. These songs were written over a course of five years or so. and his struggle with addiction and how it has affected the rest of our family for over a decade now. "This album is dedicated to my brother R.A.W.
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There's no lack of harsh shrieks and extreme, abrasive parts, but there's also a lot of beauty and melancholy on the album. MSW already makes raw blackened doom as Hell and ambient piano music as Cloud, and for his first album under his own name, Obliviosus, he pulls from both of those worlds and beyond. Liturgy's vision is clearer than ever, and this album feels like a culmination of everything they've been working towards, with orchestral arrangements, trap beats, avant-garde pieces and more all worked into the unmistakable brand of black metal that Liturgy have been perfecting since day one. in 2019, and in hindsight, those albums feel like stepping stones for Origin of the Alimonies. Liturgy nearly left black metal behind on 2015's art rock-leaning The Ark Work, before returning with the whiplash-inducing H.A.Q.Q. Her uncompromising vision and outspokenness is what turned a lot of black metal purists against Liturgy, but it's also what made them awesome, and what made them continue to stand out amongst a sea of tremolo-picking Darkthrone worshippers. Liturgy always approached black metal on their own terms, embracing many of its traditions wholeheartedly but also reshaping those traditions into something the band's mastermind Hunter Hunt-Hendrix could call her own. Liturgy's most honest, sincere album yet is also quite possibly their best. You can tell listening to Four Dimensional Flesh that Afterbirth wanted to make a set of songs where neither the neanderthal brutality or the PhD-level avant-riffing felt like the main course they are synchronous halves of a broader whole. These songs are tightly composed prog death, packing tons of twists and turns and plenty of shocking, delightfully strange dissonant chord choices and swirling proggy melodies - these in turn make those deep, intense slam passages feel deeply earned. Afterbirth, as a band, are smarter than that. For me, a song predominantly focused around building up its breakdown and predominantly focusing on making that breakdown simply atom-bomb heavy doesn't quite work for me it can feel, after a while, like the rest of the song is dead air, a waste of time, something to space out the slams and mosh riffs rather than something designed to be an equal-footed element of the song. Langdon Hickman wrote: Normally, my issue with slam is largely one built around songwriting.