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.
I adore artist who actively pursue development and experiments. James Holden is one such artist. With his latest work he leaves the dancefloor behind for the mystical forests of electronic infused tribal trance with some jazzy tones. Sounds interesting? It's because it is. A damn good experiment!
Summoning made me fall in love with the whole dungeonsynth/blackmetal universe and this 'non-metal' EP serves as one of my favorite cheesy dungeonsynths ever. I wish it was longer than just these two tracks
Ellende sets forth what once bands as Empyrium set out to do; the feel of classical romanticism draped in anguish, woe and despair. Given a voice by tear jerking melodies, melancholic folk and mid-tempo screeching black metal. Just my cup of tea.
(Funeral) Doom isn't easy, and taking on a 80+ min track isn't always a good idea. Bell Witch however, were able to stretch the slow looming doom and made it so goddamn enjoyable to listen that I almost want it to be longer. Fleeting melodies, crushing guitars, contemplation and the real feels. Damn
Amenra tears us a new one, comforts us afterwards, before pouring salt in the wounds. Its though love, but by god is it intense love. Intense, true, real raging pain, anguish and spite. A mighty impressive record.
I've been looking forward to this one, and boy does it deliver on my expectancies. A grander blend of the mystic folk, soothing ambient and roaring cascadian blackmetal. Though a very pleasant listen, it is a fact that children of these torchbearer are more daring nowadays.
Glitched vocals are cut, repeated and looped. Set to an invigorating and fresh electronic sound with tribal beats, ambient noises, a flair of jazz and some trip-hop the result is mighty inspirational and catchy. Prepare these to get stuck in your head, even though you wont understand any of it.
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.