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They hold on it for the first minute, before some shredded licks trickle over everything. The more conventional black metal sound gnashes it's teeth at the weirdness mocking it. Weirdness is not to suggest that that is something going on here that isn't metal. This album is very metal. The songs are not ten minutes, but very concise cramming many sounds and movements into compositions in the five minute range. It broods under the odd time signatures, hiding in the shadows as the demons whisper.

By the end of the song it begins to run together with some of the other songs sonically. They jerk you back and forth on the syncopation to certain sections of "Letter XIX", going into a blasty section around the four minute mark. At this point they are heading into crazy Sight territory and are now full blown prog metal. Then they blast off like most black metal bands would, six songs in shows admirable restraint. The song ends abruptly before going into " An Illness Call Imagination" finds the vocals going into a more tortured black metal scream and the drummer embracing his more black metal side while the guitar takes a more angular route to offset this.

The singing returns well. The growled vocals dip down lower for "An Acousmatic Guardian", that has more of a lumbering pound to it. The keyboardist is no joke , the song breaks down into a piano part which runs trills around the synth heavy build up. It ends with the shred fest "My Fate to Burn Forever".

On the song before The keyboardist show there chops and still served the song , here when it is shredding for the sake of masturbatory sacrament it can reach excess. It's hard to argue with results. They might have taken a different direction than where they were headed on the first album, but they are good at it so I will give this album a 9. I vividly remember my first encounter with black metal Burzum , a music so dissonant and evil-sounding that it left twelve-year-old me completely bewildered and flabbergasted.

The scene of a metalhead couple that was enjoying this wicked ruckus in the middle of the cafeteria of a family-friendly ferry burned an indelible pentagram in my innocent mind and I turned out great! In metal, it was rare and legendary extremes like Gorguts that came close. Picture a monstrous, formless shadow, an organic black hole arisen from Victorian filth, hovering, absorbing, and devouring materia while millions of smaller entities buzz and lurch within its improbable darkness. The incisive shrieks of K. Beneath it, seesawing guitars, schizophrenic drums, propulsive bass, and nuanced inhuman growls all mesh into an impossible concoction, playing discordantly and chaotically, yet creating layers that sound cunningly composed and executed.

It shifts, deforms, and carves them into something unique — a tremolo of atonal screeches. However you choose to interpret and experience this record, one thing is clear: While not wanting to sound dismissive and flippant, when a particular instrument plays such a big role in a recording, it should get a mention straight off the bat. Of course, there was a church organ featured on the first Lychgate album, but that was more of a supporting role, rather than a lead part.

Lychgate mainman Vortigern has constructed an album based metaphorically on British philosopher Jeremy Bentham, and his ideas of the Panopticon, an institutional building that allows a single watchman to observe all inmates without them being able to tell whether or not they are being watched.

A physical impossibility, but a method of behavioural control via uncertainty. The drumming is understated for the most part, but no less enthralling, and the guitars are not overly flashy, serving as an accompaniment to the majestic organ flurries. The whole album is unified by some atmospheric soundscapes that are capable of sending shivers down the spine, and adds to the drama and tension of this rather unique-sounding record.

Black metal can be an enigmatic beast; from it's Norwegian origins to USBM to anywhere else in the world, it varies from band to band and continent to continent. Organs are a major piece to this quintet's sound and they at times can sound like a more mysterious Mr. The overarching atmosphere is that of say playing some of the original Resident Evil games without a strategy guide; never knowing what lurks around the corner. Take for example the first track that showcases their style, 'Davamesque B2'; it swirls in and out of riffs and chords played through the organ as if it were a theme to a diabolical version of Clue.

The feeling of impending doom is omnipresent and can be made real as the harsh vocals of Greg Chandler combines with the clean vocals and organ skills of Vortigern to scare the hell out of listeners. The more ominous and chilling sections feel like the bridge in an Opeth song and can inspire many of the same emotional reactions.

Drum fills pepper 'Letter XIX' and add a solid groundwork for the rest of the band to work with. Who would have thought that a black metal song would be built off of organs and drums? More traditional black metal song structures exist on 'Deus te Videt' with the slow plod of guitars feeding into the chanted vocals and of course giving way to the aforementioned pipe organ.

Traditional fans of black metal should flock to this album; why you may ask? Because it has all the hallmarks of being a black metal album musically and can be personified as a black metal Phantom of the Opera. This is by no means a traditional album, nor is it an easy listen; over time you pick up more and more pieces to this oh so intricate puzzle and it starts to take shape. Lychgate have promptly left you a piece of swirling evil that might make Portal or Mitochodrion blush remember I said might.

If you enjoy a bit of mystery and atmosphere to your metal listening look no further than An Antidote For The Glass Pill. Then, I lowered my head down in shame and I booed myself. Imagine living with it. Ladies and gentlemen, after one album in , we have a long titled album which is an absolute mess of grand art. And I can finally say it: An Antidote for the Glass Pill. And you got it. I would like to put French for this band: Not today like Arya.

Everything is absolutely fantastic. Incredible chaos, put in order. I like almost everything. This is hard, man. And those rosbeefs wanted me to make a video out of it. I could just make a seizure and start to convulse: An Antidote for the Glass Pill is significantly longer than its predecessor, coming in at close to 50 minutes in length.

Lychgate makes it clear from the very beginning that this record is going to head in drastically different directions while still maintaining that tense and otherworldly atmosphere they were able to create previously. The organ and keyboards are now front and center, driving the instrumentals forward on every single track, with the eerier melodies creating much fuller soundscapes that are as unsettling as they are theatrical in nature.

It can be a lot to take in right from the get-go, and while the prominence of the organ and keyboards makes each song on An Antidote for the Glass Pill fit together stylistically they all take a slightly different approach and have so much going on that it will likely take multiple listens to fully absorb. Greg Chandler once again delivers an intense performance, sticking towards the higher end of the spectrum with shrieks and screams that tower over the layered instrumentals.

An Antidote for the Glass Pill finds Lychgate shedding almost all of their traditional black metal elements in favor of something much more twisted and unpredictable. As a grey mist descends upon the grime-encrusted banks of the Thames, a lonely church bell tolls amongst the myriad alleyways of historical London; five figures appear out of the gloom and close in with nefarious intent.

On the surface, An Antidote for the Glass Pill—the sophomore album of London-based black metallers Lychgate—is a gothic Victorian horror show. Delve a little deeper into its wonderfully elaborate concept, invest a little time with its fifty minutes of resplendent chaos, and what begins to surface is an wholly different entity that all but shuns such banal indulgences.

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The first noticeable—and potentially unique—aspect of the album is the disorienting whirlwind emanating from the church organ, with renowned organist Kevin Bowyer on board to deliver his flawless and insatiable contributions that boost the band beyond the realms of their exceptionally well received self-titled debut. Initially assumed to be a mere adornment to the compositions as could be heard previously , it very soon becomes apparent that the bombastic, earthy timbre not only controls the music, but regularly takes precedence over the guitars to form the backbone of the album.

Despite the black metal element never truly diminishing, the album remains incredibly melodic throughout, and although bordering at times on the symphonic side of the genre, An Antidote for the Glass Pill finds itself on an entirely different level to what may be expected when using such adjectives. The meticulous detail and arrangement of the individual compositions is jaw-dropping, and coupled with the overall concept, it becomes startlingly clear that Lychgate have created something very special here.

At once esoteric and flamboyant, An Antidote for the Glass Pill rises far above far above mere gothic hedonism and theatrical pomp — it is a stunningly ambitious release from a group of musicians whose grandiose vision has been fully realised, never to waver from its singular path. Grand strokes of ominous tidings and foreboding madness, executed in highly original form, with impeccable musical prowess and vibes dark as night await the listener on AftGP. The first thing that creates the originality in the sound is the highly prominent church organ throughout the album.

The band creates a palpable mood — odd and frightening, Lovecraftian themes meeting a Sherlock Holmes thriller, under the spell of progressive black metal. The whole affair evokes the feeling of being spellbound in a church graveyard and bearing witness to something very sinister, elaborate, and hypnotically consuming. Twisted and jagged melodies laid out by guitars there are three of them in the band snake around diverse rhythms and furious vocals. Nifty fretboard play is on display as well, always remaining as a layer to help paint the picture, rather than a stand-alone solo display.

And these guitars sound good, with rich, clean production values throughout the album. These songs are certainly not highly accessible to the casual listener, as repetition and catchiness of melody is not really in the cards. The songs progress like thematic movements, really with a cinematic feel. The album plays like a top-notch musical might if said musical were inspired by vintage horror, touches of early Mr. Bungle, and savage Norwegian black metal. Antidote for the Glass Pill is an experience and quite an achievement.

Gawd we really needed something new, something unique, something spectacularly bizarre. Open the curtains, lead us into a crypt musically, scribe before us with aural might a portrait of the macabre. We seek to be transported through dark corridors dripping in mildew, to smell the dried marrow of ages of death under our feet, oh lead us through melting cobwebs with the dusted shells of extinct insects, lead us farther, farther into the wastes below in the layers of filth.

Such things we desire, for we tread in cemeteries long forgotten, overgrown with roots and ivy, where scarcely a name can be deciphered and it seems but a field of lonely, symmetrically placed stones, like some sort of ancient, heathen ritual ground. What better genre for such an experience than black metal, which thrives on loathing? What better aesthetic than black metal, which covers itself in tones of shadow?

And what better country for such a performance than England, where centuries of history, spirits, and rain, have created the most fertile of ground, in the sense of vile? Well, Lychgate are the answer, there can be none other. First, let us say that Blood Music is quickly becoming one of the most diverse of labels, something truly difficult these days. With everything from cyber metal to dark snythwave, there seems no clear theme to any of it, yet it all fits together somehow. It confronts on so many levels the first listen is merely so you know something, in fact, does exist that can be called metal, in a sense.

The spectacular thing is that Lychgate have essentially, and actually, created a symphonic presentation best considered a legitimate combination of classical and black metal. Not that usual type; superficial, tedious, transposed from the theater to the club via guitar, nor with redundant keyboard strings. The musicianship here is absolutely marvelous, and the combination of such widely different musical aesthetics almost godly.

Breakdowns with organ and shrieking? Piano sweeps that somehow fit without sounding ridiculous? How is it possible? Suffice to say it has been done. The grand performance Lychgate provides is almost overwhelming, but there is one thing to say in terms of criticism. As such, it occasionally reaches the point of being difficult to take seriously, where the combination of vastly different genres ends up eliminating that which is critical to darker metal, specifically that enmity for humanity that bands with less style, and less production value, can pull off much easier.

Completely worth every second of your life, but after several listens the likely feeling most will find rising to the surface is something closer to melodrama. In , Lychgate dropped a stellar self-titled debut that stacked melodic funeral doom atop brooding avant-garde black metal. Considering that vocals were helmed by Greg Chandler from U. To get any idea of the weird and wild ride Antidote embarks on, one must keep that "avant-gard" tag in mind, because the amazing metamorphosis this band has undergone leaves them nearly unrecognizable - and damn near undefineable.

Collaborating with classically trained organist Kevin Bowyer, Lychgate actually craft their songs around the exalted wails and spiraling lines of a church organ, while guitars trail and shadow in plodding, sometimes jarring progressions. Notice how "riffs" were not mentioned there. That's because there really aren't any. The guitars have been regulated to another tool of atmosphere and, when needed, are brought in to bolster the batshit crazy fusion-rock drum rhythms. Chandler's apocalyptic howls imbibe paranoia and a wish for retaliation against the oppressor, but the shrieks are sometimes sprinkled with clean-singing passages that don't uplift so much as intensify the claustrophobic labyrinth.

A listener most likely will not walk away humming - or really even remembering - specific songs or phrases, but the all-consuming mood of existential angst will stay with you, encouraging repeat listens even if the amorphous and hugely ambitious tunes don't. Norint pasiekti didesnio originalumo skambesyje, pakviestas profesionalus vargonininkas Kevin Bowyer.

Nahradil jej novic A. Approaching six months now and this album still gets played a lot by yours truly. I could mention countless superlatives and I will later on but what it all comes down to is the wide-angle approach to their music, the playful creativity that propels this album towards upper echelons of art. The band is based in London and is the artistic outlet for the pseudonym Vortigern, a philosophical figure wielding dramatic musical creativity and dystopian lyrical concepts.

The album has a continuous flow because of its conceptual nature. Due to the avant-garde techniques at work, it might sound disjointed at first but the more I listened to it, the more it all came together into a fantastic piece of visionary songwriting. The drumming needs to be highlighted, this guy is outrageous doing delicate jazzy fills, foreboding percussive arrangements a significant element to the album and of course the more familiar extreme blasts, an aspiring performance to say the least.

The pipe organs are another eccentric ingredient to this work. I think it goes without saying that it is difficult to remain completely impartial when something really exceptional makes a profound musical impact on you. Lychgate is a name that is relatively well known within the underground Metal community by now mostly due to the fact that Greg Chandler of Esoteric performs vocal duties here this how I came to know this enigmatic collective.

Sloughed from the shell of Archaicus, which was the obscure solo project of Vortigern, Lychgate quickly became a fully consistent band with a new and fresh direction. The self-titled debut album was a pleasant discovery. It was varied, dynamic, but not quite something that would stand out from the rest of the crowd very much. However, there were some elements that barely hinted the things to come, but few could have guessed that the following work would reach a completely different level and surpass its predecessor by an enormous measure.

The production perfectly complements the music and enthrals the listener with its heavy-gothic-cathedral like aura. The atmosphere is haunting, oppressive and disorienting. Dark in a genuine way though there is nothing occult or satanic about it which is a plausible move given current worn-out tendencies. It is intricate, demanding and seems a bit too challenging to approach at times, but truly rewarding for those seeking beyond easily accessible and safe music.

I honestly cannot pinpoint any negative or underdeveloped aspects here.

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It just shines with perfection and menace. Personally the most interesting and accomplished album of Laced with chilling organ flourishes that could score a silent film about Jack the Ripper, Lychgate pinball from blackened blast beats to serial killer symphonies within the space of a measure or two, stitching it all together with the howls of funeral doom figurehead and Esoteric frontman, Greg Chandler.

The songs are organ driven. Like, an actual organ, not a keyboard that sounds like an organ. There are guitars present, but it seems like the songs were all written with the organ as the primary instrument. I was blasting this album over headphones while I scrubbed a toilet, and there were sections of the music that made the hairs on the back of my neck stand up.

One of the most audible ways in which Lychgate stand out is their use of keys, especially the near-omnipresent Church Organ. The production lends further weight to this impression, the guitars taking on a cold, clipped feeling that times calls to mind old Castlevania soundtracks. Both of these things would be irrelevant, of course, without the song-writing to back them up, and Lychgate continue to buck both Black Metal and Doom orthodoxy with broken, nightmarish compositions that draw as much from Prog and psychedelia as from any Metal sub-genre.

Greg Chandler also of Esoteric uses his distinctively damaged-sounding vocals to lend further emotional weight to an alternately bombastic and ghostly selection of songs.

This is Black Metal for people who like the idea of Black Metal more than the reality. Doom for people who want to go beyond stolen Sabbath riffs and feedback. Simultaneously familiar and genuinely unusual, An Antidote For The Glass Pill Blood Music is likely to be one of the most interesting and distinctive releases in three over-saturated genres this year. Whether you have heard the name Lychgate or heard their solid self-titled debut before which is indeed very likely as it was the last album that I reviewed , I have no doubt that the coming months will see the extreme metal community gurgle with joy aplenty at the release of their second album, An Antidote for the Glass Pill.

This album is an unlikely masterpiece, and I might have to look as far back as last year for an album that has chilled, spooked, and otherwise frightened me as much as this one. That sense of confusion is the calling card of the avant-garde, and to meld that confusion with inherently dark styles like black or doom metal is to effectively weaponize it. Lychgate have crafted a completely immersive experience with their second album, boldly realizing the vision they set out for themselves, with the substance to temper its madness and no cheap tricks used to satisfy their ends.

Multi-instrumentalist Vortigern was joined by a host of well-travelled musicians, best known of all arguably being Greg Chandler, known for his resonant howls in the legendary Esoteric. An Antidote for the Glass Pill takes the unique threads that were hinted at on the debut and have realized them completely.

Much like Esoteric, they convey the unmistakable atmosphere of funeral doom at a variety of tempos. On its own, it is possibly the most imposing instrument in the Western musical arsenal, and Lychgate make full use of this potential. The guitar riffs are equal parts playful and disquieting, and the way that they constantly tempt abstraction compliments the historic familiarity of the organs. One of the weirdest, most potentially divisive things about the album is actually the tone of the guitars.

This MIDI sound, paired with the unsettling horror-inspired atmosphere, actually had me thinking of classic 8-bit video game soundtracks more than once, namely the spooky sounds of Castlevania. Whether this was an intentional association or not, it adds even greater alien novelty to their sound, and Lychgate seem to enjoy the compositional chops that will allow that novelty to last for a long time. The way Blut Aus Nord took the drum machine from a budgetary setback to an integral artistic statement, I believe Lychgate have done the same for this weird guitar tone.

Clean vocals also make an appearance here, albeit occasionally, and sound reminiscent of other avant-metal like Age of Silence and Solefald. These lyrics are filled with expressionist imagery and mentions of obscure apocrypha. Whether there is a clear meaning to be taken from all of it is beside the point; most of the time, it reads like the chattering of a bona fide madman, caught in thought loops without resolution or development.

Is there sense to be made of it? The folly of insanity is that whatever revelations that are gleaned from such an uncommon frame of mind are made intangible through their lack of clarity. Lychgate have crafted a work of expressionist horror in the fleeting space where matters of genre become clouded and irrelevant. If they started out as a promising black metal band. Having only officially come into life in , Lychgate are fast making a name for themselves as one of the most cerebral bands to emerge from the avant garde arm of the extreme metal scene.

The band — which features a host of well-travelled veterans from acts such as Esoteric, The One, Macabre Omen, Luna Aurora, and Omega Centauri — distil a diverse range of styles and influences into a richly layered assault of decadence and malevolence. Melodic elements reminiscent of the likes of Dissection intersperse a primarily gothic-tinged black metal framework that draws on the likes of Emperor and Abigor while the dense dark atmosphere of funeral doom acts like Esoteric create a thick shroud around it.

The album ties each track together with the grandiose use of the pipe organ. Now this is something that can set alarm bells off due to the fact that there have been many acts that have used it poorly and relegated it to the cheesy gothic end of the spectrum. However, in the hands of Lychgate it takes on its full glory and is a perfect addition to the band's rich sound.

The song writing is complex and intelligent, and the execution of each song is carried off with ease and grace. In terms of the production, it is true that the album is dense, multi-layered, and full of little flourishes and embellishments. And while in the hands of less experienced musicians, the album would run the risk of sounding like a thick slab, Lychgate have instead kept the sense of space and distance between all the elements in the mix that are required to give it that cathedral like presence.

The album is a wonderfully thick and atmospheric, while at the same time unrelentingly brutal. Lychgate are definitely a name to watch if they can keep on creating masterpieces like this. This is a true turning point in new extreme music. Greg Chandler Esoteric au chant et aux guitares, Alan K. Webb Ancient Ascendant , Tom J. La production tient bien la route.

It was a wild and fully-realized platter of dissonant weirdness that loved its keyboards and organs, but never to the extent that they got in the way of the heavily funeralized black metal. Even with some rather obvious connections — Negative Plane, certain forms of Blut Aus Nord — it was still fairly unique. It felt like being suddenly transported into an empty, dimly lit gothic cathedral, the music dominating all sounds, but not to the extent that your own fear was silenced.

From the very get-go, Lychgate knew how to craft a vibe. But if the expansion of their sound on An Antidote for the Glass Pill is any indication, sitting still was not an option. They knew their rabbit hole went far deeper, and that reaching the bottom required unchaining themselves from any remaining constraints. It was time to really get weird. And weird they get. By increasing the use of the organ, going with less conventional song structures, upping the prog factor of the riffs, and pounding the album with all sorts of extra ingredients tympani, chamber piano, chants , Lychgate has almost completely exited the realm of the ordinary.

To put it simply, An Antidote for the Glass Pill is utterly confounding, but to the right ears, it is just as thrilling. It is an album for which it is difficult to think of a true stylistic parallel, both in terms of philosophy and execution, despite many of the individual elements existing for centuries. The pipe organ has existed in some form or another since Ancient Greece, evolving into instruments so gargantuan that they were the perfect backdrops for the megalomaniacal medieval church.

The sound is unmistakable: Perhaps only Bach could have ever imagined that the instrument of his most famous work would be warped into something as unworldly as An Antidote for the Glass Pill. And more than any other of the numerous elements employed by Lychgate on the album, it is the pipe organ that dominates center stage, wrapping the album in a Baroque blanket. Without it, the drifting, maniacal song structures would seem needlessly random, while the moments of rather rocking guitar work would seem just that — rocking — as opposed being brief flashes of normality desperately calling out of the madness.

Still, the sounds and vibe are the same, thankfully. Throughout all 50 minutes, these various dualities are at work, with each spin peeling away more of the countless layers. This is a band that understands how to be outlandish by their very nature, and how to wield self-indulgence as a musical instrument. These moments are not so much respites from the maniacal bombardment as they are the band chewing on the suspense, and knowing the listener is held captive.

And deep down, when you are done dissecting all of the great riffs, surprise shred moments, deftly dancing instrumental interplay and great, varied vocals, something else kicks in: Not obnoxious, try-hard nostalgia, but a more indirect, likely even unintentional form. The tones and vibes throughout An Antidote for the Glass Pill will inevitably tickle the memories of certain listeners. The pipe organ is, after all, rather connected to the past in many ways.

Regardless, for many a listener, that extra layer will be quite active. Nor do they ensure that you will like this bizarre, amorphous thing. That dichotomy might be what most defines the album: And yet, the whole thing is insanely satisfying, which is almost a mystery in and of itself. Confounding in every possible way, Lychgate is not satisfied with merely finding the bottom of the rabbit hole.

They came equipped with shovels. If you're feeling churchy, the album is streaming in full at Decibel. Bacha, Liszta, ale i skladatele Actually, I think I just mean that we all walk around with spy devices that can be used to track us and mark our every move you know, our phones.

It seemed kind of obvious these things are going on. Vallely Macabre Omen ; guitarist S. Webb; piano player F. Young; and organist K. Bowyer, who has a massive role on this record. The song is spooky and echoey at the start, turning into gurgly growling and sweeping playing, cinematic stretches that feel morbid, and finally ending in a bed a gigantic organs that make it seem like the beginning of a funeral mass. The melodies swagger as the song winds down, with charnel bells once again striking and bringing a pall to the atmosphere. The track is a wild menagerie of dark organs, journeys into proggy waters, and eventually a heavily hammering assault that aims to destroy.

This song is huge enough to be presented on a major theater stage, with every member playing their part to weave the dark plotline. The melodies pulsate and get in your bloodstream, while the band paints the corners with goth-bloodied brush strokes. The song plods along, taking its time to spill its guts, and right after keys sweep in and soak the ground, the track rips open and gives one more tough beating. The track is allowed to boil lightly, with anguished screams disrupting and pastoral organs slamming closed the door.

Lychgate have created one of the boldest, most riveting metal albums of the year from a content standpoint, and the music sounds unlike anything else out there right now. Having formed in as Archaicus, it wasn't until their self-titled debut as Lychgate in that they became a name to contend with. Founded by one Vortigern, Lychgate's music trawls through operatic highs, industrial lows and chasms filled with darkness. Taking time off from Esoteric, vocalist Greg Chandler brings surges of misanthropic bile to An Antidote For The Glass Pill while the band creates waves of deconstructed horror behind the hatred.

It's huge, with Davamesque B2 rolling with deep, unholy terror and passages of uncomfortable quiet that build and twist into images of dystopian terror. I Am Contempt is forced through dissonant curves of guitar and bombastic organs are incorporated as an integral portion of the landscapes of sound. An Antidote is an otherworldly, intriguing release that isn't afraid to push the boundaries and embrace the apocalyptic terror found beyond. Formed in the U. Valleley drums , both men who have plied their trade in such acts as Orpheus, Spearhead, and Macabre Omen. Webb Ancient Ascendant on bass guitar, as well as a contribution from S.

As much Liszt as Limbonic Art, Lychgate combine the avant-garde leanings of unconventional time signatures, classical music, but build each level onto a harsh black metal foundation. For this second album, the U. What results is an eldritch, surrealistic listening experience which also pays great heed to the cinematic. Moods upon the album vary from the cerebral to the positively uncomfortable, forcing the listener to hold on tight and plunge wherever its authors have decided to take them. For black metal of the more straight ahead variety, look no further than the blistering 'I Am Contempt,' which goes for the throat, but never fails to lose a sort of manic classical flavoring, as the song is peppered underneath with pipe organ and keyboards aplenty.

Never at the expense of the growling guitar and the percussive accompaniment, the unusual arrangements are instead perfectly synthesized. Lychgate may just be the most 'weird' heavy band to incite a circle pit you might ever hear. Webb's bass guitar performance reminds one of the arrangements in Dream Theater, yet the black metal parts are so much heavier than say, what we may find in Arcturus or Solefald. Both of those acts are amazing and unique, but in an effort to form a label for Lychgate, fans will be inclined to group them with that left of center ilk of brilliant bands who followed in the steps of Ved Buens Ende and filled the blackness of the genre with their own spectrum, their own slant.

With An Antidote For The Glass Pill, Lychgate gathers up the strange in an embrace of furious black metal, never truly letting go despite the classical influence and less conventional arrangements. On "A Principle of Seclusion," the organ acts as the skeleton of the song in a rousing, building swirl of classical music gone metal, until around 1: Not a rip off whatsoever, but the blackened storm and dungeon vocals bring to mind such cavernous abyssal moans as can be found on the darkest of black metal albums leeching their way into the world. Lychgate keep it their own by slowing down and taking unexpected turns down the labyrinthine tunnels of their own imaginations.

They allow the blast to get under the listener's skin, but before anyone gets comfortable they are spinning out their own web of entangled yet natural sounds. Your head will spin, but you will enjoy the ride. As is the habit of a few of their compositions, Lychgate allows the song to fade into quiet interludes of ticking, dripping repetitions and faraway voices.

This fires the imagination of the listener, truly placing them into Lychgate's ensorcelled world. A musician's special, it nevertheless will make even an unschooled listener feel like they're lost in a carnival of distorted mirrors, whispers of nightmares haunting their steps while phantoms enshroud their sight. Bizarre, creative, and yet replete with a menace that is not at all contrived.

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Some clean vocals revolve us closer to the world that Arcturus and Ulver helped construct. Here Lychgate show a massive understanding of dynamics and songwriting. Yet the brash virtuoso playing remains. One has to believe that Wagner would love this, were he alive to hear it today. An Antidote For The Glass Pill, all in all, is an extremely rewarding listen, rich and with depth of feeling. Strong throughout, it is perhaps the back half of the album which truly stuns, as "An Acousmatic Guardian" with its haunting piano midsection, and "My Fate To Burn Forever" with still more black metal meets classical adroitness, undoubtedly prove.

Ending on a similar three minute outro similar to the intro which begins it, the listener will want to roll that giant rock up to the summit of the hill again and again. Los 4 Fantasticos Reinado Oscuro: Ojo de Halcon Reinado Oscuro: Spiderman Oscuro Reinado Oscuro: El Hombre de Acero Superman: La Era de Apocalipsis X-Men: Cherry High School Yaxin. El Fauno Gabriel Yeah! Aside from Steve Ditko and John Romita, he is arguably the storyteller most associated with the webslinger.

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Akon - Sexy Chick. Estelle - One Love. Carl Fanini Ryan Riback Remix. Barbara Tucker - One Original Mix. Shugga - Tick Tock 2 D Beat. Swedish House Mafia - Miami 2 Ibiza 2o1o.

Artist's Edition

David Guetta - Dirty talk. Gustavo Lima - Balada boa Tche tche rere. Global Deejays - Hardcore Vibes. Lucenzo - Bring Me Coconut. Sia - Titanium Original Mix. Kate Elsworth - Alive Original Mix. Sia - Wild Ones Extended mix. Nicco - Party Shaker Extended Mix. Calvin Harris - We Found Love. Knife Party - Antidote Original Mix. In The Name Of Lo. Cochise Sinsemilia the reggae history.

Ponte Pa' La Cosa. Traditional - Ponte Pa' La Cosa.