Post-Trash's Year In Review: The Best of 2022
Thou & Mizmor - "Myopia" | Album Review
Enjoying Thou is very easy—it sounds right, it feels right. Thou is an irrefutable blend of metal, noise, punk, blackness, rock, doom, and experimentation. The music can be violent, it can be meditative. It’s caustic, but it is somber. Myopia, the collaboration made in secret with Mizmor for Gilead Media, is all of the above.
Fuzzy Meadows: The Week's Best New Music (April 18th - April 24th)
Fuzzy Meadows: The Week's Best New Music (April 11th - April 17th)
Fuzzy Meadows: The Week's Best New Music (July 12th - July 18th)
Emma Ruth Rundle & Thou - "The Helm of Sorrow" | Album Review
The album that this EP accompanies was one of 2020’s most unexpected successes, a collaboration between differing shades of alternative metal that dovetailed excellently. The unique match-up between Rundle and Thou was so strong that the best compliment that could be paid to The Helm of Sorrow is that it’s able to stand on its own.
Fuzzy Meadows: The Week's Best New Music (November 30th - January 3rd)
Emma Ruth Rundle & Thou - "May Our Chambers Be Full" | Album Review
Emma Ruth Rundle’s music has always walked the edge of doom metal. Her dark lyrics and melancholic solo outputs have seemed likely to lead to an inclusion of doom metal. So it is no surprise that the folk singer has teamed up with Louisiana sludge/doom metal band Thou for the collaborative album May Our Chambers Be Full.
Fuzzy Meadows: The Week's Best New Music (September 21st - October 4th)
Fuzzy Meadows: The Week's Best New Music (August 17th - August 23rd)
Fuzzy Meadows: The Week's Best New Music (August 3rd - August 16th)
Fuzzy Meadows: The Week's Best New Music (May 26th - June 7th)
Fuzzy Meadows: The Week's Best New Music (April 27th - May 3rd)
Fuzzy Meadows: The Week's Best New Music (May 6th - May 19th)
Fuzzy Meadows: The Week's Best New Music (April 15th - April 21st)
Thou - "Magus" | Album Review
A finely chiseled sculpture this album is not. These songs avoid the metal-by-numbers feel of neatly-divided sections set off by telegraphed transitions. Rather, these songs move languidly from part to part via understated hinge points: a short lead riff ringing out once or twice; a change in the chugging rhythm and a slight decrease in tempo.
