Few members of the music scene are as prolific as Justin Broadrick. Since the first Jesu release in 2004, he has had more than twenty releases through that project, including a number of studio albums, EPs, splits, and collaborative albums.
Of those albums, I fell deeply in love with 2007’s Conqueror several years ago, but haven’t found anything else in his extensive catalogue that has captured me quite as tightly.
That is, until last year’s Terminus, which showcases his brand of sparkling bedroom doomgaze in an understated yet compelling way.
As a white Christian kid growing up in the suburbs, I was raised without much appreciation for mainstream hip hop. Sure, I would karaoke “Rapper’s Delight” as a joke and would stan some other old-school hip hop, but by and large, any time someone like Jay-Z came on MTV, I would flip the channel, turned off by the prevalence of profanity and barely-dressed backup dancers.
Country music gets a bad rap. Admittedly, much of the vitriol is deserved, especially in the sanitized, cookie-cutter blandification of the Nashville-churned pop country that has come to dominate the genre.
Last summer, in the midst of global pandemic, some friends and I started a remote band called 
Even legends have to start somewhere. Through years of bouncing around the European black metal scene, Neige was dissatisfied with the ability of the kvlt to properly express what he had to say. Between other projects, he spent his time crafting otherworldly overtures that transcended the narrow confines of traditional black metal. In 2005, he released a 
