In 2015, there have been a number of great progressive rock albums. Among these releases, none has been more remarkable than Chelsea Wolfe’s Abyss. Abyss, her fifth studio album, dropped in August on the Sargent House label. Abyss is her strongest body of work to date, blending elements of folk, doom metal and electronic music into divinely ethereal concoctions. In an era where irony and kitsch still reign supreme, Chelsea Wolfe offers material that is refreshingly sincere. The sound composures on Abyss range from being delicate to overwhelming. Chelsea Wolfe displays mastery of her craft as Abyss flows from the devastating and haunting to the lush and awe inspiring. Abyss is remarkable from start to finish.
folk metal
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 Recently, Scott Kelly fans have been abuzz with the announcement that his band Road Home has cemented a permanent lineup. Road Home was founded as a Neurosis side project (formerly Scott Kelly and the Road Home) but the addition of Neurosis band mate Noah Landis and Munly J. Munly (Slim Cessnas Auto Club) has signaled the beginning of a new era for the act. |
 Thus far, 2014 has been an outstanding year for fans of black metal. Starting back in January with Murmur’s stellar self-titled record, this year has seen excellent releases from both more established bands (Cormorant, Agalloch, Lantlos, Woods of Desolation, Krieg) and relative newcomers (Bastard Sapling, Barghest, Mutilation Rites, Barbeleth, Myopic, Torrid Husk, The Great Old Ones, Emptiness, Thantifaxath). Add to that list a pair of releases from September: Panopticon’s Roads to the North and the self-titled debut EP from Myrkur. |
 At this point, I don’t think anyone would fault Agalloch if they decided to simply rest on their laurels. After all, their discography has been so consistently excellent that if the band were to just phone one in and make Pale Folklore: Part II, few people would probably mind. This is a band with absolutely nothing left to prove, especially after 2010’s nearly universally lauded Marrow of the Spirit. |
