All posts by Zach Duvall

Last Rites Co-Owner; Senior Editor; Obnoxious overuser of baseball metaphors.

Torche – Songs For Singles Review

Not long ago I found myself in the gorgeous Outer Banks region of North Carolina, a trip that rejuvenated my unending love affair with Mother Ocean. It was mid-September, but summer lived on, and the

Allegaeon – Fragments Of Form And Function Review

Ah, the time-honored tradition of mimicry. Countless bands forge a decent career despite much of their sound being a carbon copy of former heroes. Pencil in Allegaeon as a possible addition to this list. Their

Enslaved – Axioma Ethica Odini Review

“Witness: march of the giants.” Few bands or artists of any media forge a legacy in which their fans can be one hundred and ten percent confident that new work will give them the thrills

Crowned In Earth – Visions Of The Haunted Review

Tally another under the win column for Shadow Kingdom Records. Their latest discovery is UK doom unit Crowned In Earth, the vision of vocal-guitar-bass-organ specialist Kevin Lawry. After bringing in drummer Darin McCloskey (Pale Divine,

Boris & Ian Astbury – BXI Review

When two recognizable names show up under the artist column with an ampersand wedged uncomfortably in between them, it means it’s time for a good ol’ collaborative effort. Japanese stoner-post-drone-all-over-the-place masters Boris are no strangers

Blut Aus Nord – What Once Was…Liber I Review

Funny story about a guy who writes without all the evidence…. What you’re reading now was posted about a day after what you are about to read. From the moment the upload of What Once

Devils of Belgrade – Đavolja Varoš Review

The term “instrumental act” is anything but a universal label. More often than not it refers to songs of typical structure that lack vocals but are overflowing with solos or riffs. However, some bands write

Hammers Of Misfortune – Fields/Church Of Broken Glass Review

For myself and many others, there are very few bands quite like John Cobbet’s Hammers of Misfortune. Their unique theatrical qualities, mixed with the fact that they largely forego instrumental self-indulgence, gives the band their