Here I keep notes on 'all' the albums I listen, as a personal reference to remember me about all the awesome music out there. Most notes will be very positive, because I don't tend to listen to music I don't like.
This is also my online playground to play around with data-sets like these, tinckering with the design, database and code of the website, continually improving it. This means this site gets a facelift like every other day. And shit might not work, don't tell me, I probably already know.
The site is called 'De Maandagavond' (The Mondayevening) and is a remnant of old days of yore, when I would meet up with friends every monday evening to mostly discuss music. That hobby shortly evolved to a local and online radioshow on this domain, and after that crashed and burned, I kept it alive, still dedicated to the music.
Wovenhand is often a darkened, spiritual act and The Thresingfloor spices things up with a modest flair of Eastern elements and a thick production that shrouds the record in a sense of mystique. Add memorable hooks and melodies to the mix and the total package is a more than enjoyable ride.
A solid demo/EP of a promising band. Opening with a trashy riff that just before it get's old, shifts into new varieties of the melody, adding texture and layers to the song. Fluisteraar show they have the means to keep a monotone 16 minute song interesting after just a few minutes. Wholly promising
Their first step away from being a blues duo and slipping into greaser-rock territory. Quite a shock if you don't expect it, but all the tropes are there. We still hear sleazy blues guitars, but this time slided and amplified, a lo-fi weirdo track and of course a touchy-feely acoustic tearjearker.
While Pariah was a testament of pure hatred and fury, Harvest seems to be the following sadboy period. The tracks are less sharp, the vocals are less stingy, the whole album has a 'woe me' feel about it and it lacks the dangerous punch Pariah packed. The only track that shines is the titletrack.
A delightfully disturbing exercise in melodic mental-breakdowns and stream of consiousness. The RHCP guitarist freaks out over their commercial success by showing everyone that he is way to weird for that kind of thing. It sounds unhinged, loose and dangerous but actually makes so much sense.
The last release of sea-faring, folk-pop-bluesers Port O'Brien. Some of their best songwriting and by far cleanest production. The album has a concept and due consistency, and it really iterates on all the good stuff from earlier. Sadly though, no longer. At least they ended on a high note.
'Behold the end of the human era'. Roaring, spiteful and venomous blackend deathmetal. Prepare to get blasted with razorsharp songs filled with hate for entire mankind that are stangely melodic/catchy and fun to listen to!
With a warm, fuzzy sound and eerie dissonance Maggie Bjorklund takes you on a estranging journey of warm country tunes and ice cold psychedelic folk. A mixture that comes across as very, very effective. Each track stands out, but the total picture is what makes this record. Embrace the freaky.
There is something truly captivating to this record. It sounds so personal, so true and honest. If you let it, it will take you away to a cold, dim and desolate place on even the hottest day. Magnificent sludge/black that comes from the heart and speaks to yours.
Ah, it must be post-metal for that length of title. And it is, exquisite at that. Manatees play/are slow and heavy but with the right momentum to groove and blast when needed. The record stretches over five parts which all have their own feeling and still keep to an overall heavy and brutal sound.
Atmospheric black from South Africa. It checks all the boxes; winding and stretched mid-tempo walls of noise, contemplative acoustics interludes and harrowing screams. But that's just it; it just checks the boxes. It's good, but it lacks some identity sadly.
A very minimalistic, neo-classical soundtrack which is nothing but brooding and brooding, untill the sudden swell of the horns which die away as fast as they came. It's made of course for the suspense of the movie, but it holds up really well on it's own. And there are a few OST that can say that.
A mesmerizing though unsettling ambient record that really grips the listener. The soundscapes are much like the cover art; seemingly simple yet abstract, but take a closer look and you can see there is all kinds of stuff happening beyond first glance, or apprehension.