Listening Notes: Playlist Clearance Vol. 4

Fourth playlist-clearance session has arrived. Anything interesting this time? Let’s take a look.

Chained – I Tried Catching You But You Fell Through Me (2022)

78%

Well, after running into Sunnata with its spiritualistic world wrapped in psychedelic-muted riffs, Chained to the Bottom of the Ocean entertained me with abrasive, emotionally screamed sludge/doom metal right from the start of this EP. Even though the tempo stays mostly mid-paced, I couldn’t help but follow the swing of “Decadence in the House of Rats.” Unfortunately, the euphoria fades quickly once the other two tracks roll in, even if there are moments with rapid drum barrages.

Still, the EP leaves a lingering taste, and I think “Decadence in the House of Rats” deserves a spot on the favorite playlist.

Immortal Slave – Cantilena (2002)

73%

Basically, gothic metal has roots in gothic/post-punk, so what Immortal Slave presented back in 2002 feels like a faster melodic variant—especially on “Last Dance II.” Vardaman’s vocals can be compared to a Type O Negative-style approach. Emotional passages appear throughout the “Cantilena I–V” series, making me imagine how it might sound if turned into gothic/doom metal. The closing track leans into a beauty-and-the-beast style and becomes quite terrifying toward the end with anguished female screams.

So yeah—even though I’m not planning to pick a definitive best track—this South African band might appeal to fans of Type O Negative, Theatre of Tragedy, and similar acts.

Lord Symphony – The Lord’s Wisdom (2016)

77%

The second album from Indonesian power metal band Lord Symphony carries slightly less energy than Bharatayudha Pt. 1, with the Javanese/gamelan flavor lingering only on “Magic Knight’s Destiny” and "Down to Holyland" which is a bit unfortunate. Eight of the tracks are essentially reworked versions from their 2007 demo, leaning toward a European style reminiscent of Blind Guardian and Celesty—though overall heavier than I expected.

Even now, I’m still unsure about naming a definitive standout. Despite some solid punches, this one still needs deeper consideration.

Lowsunday – Low Sunday Ghost Machine (Remastered) (2025)

71%

Back to post-punk territory—this time with veteran Pennsylvania band Lowsunday.

I’m still not sure what to say exactly, but the snare hits really stand out in this genre—sometimes even overshadowing Shane’s vocals, especially on “So Far Away.” After several listens, “For a Moment” remains the most memorable; the rest still refuses to click. I’ve always found myself drifting away from post-punk since it lacks the emotional impact I get from post-rock—maybe the vocal factor plays a part too.

So yeah, Lowsunday will probably fit fans of The Chameleons, ACTORS, or The Cure better.

Odradek Room – Bardo. Relative Reality (2012)

75%

Near the end of the session comes Ukrainian melodic death/doom outfit Odradek Room, which could have replaced some earlier releases here. However, the progressive touches sometimes prevent the music from fully sinking in—like on “A Painting (Digging into the Canvas with Oil),” “Faded Reality,” and “Cold Light.” There’s also a clapping section in “Theatre of Forms” that works well as an album-opening performance moment.

After a brief revisit, the tracks that feel playlist-worthy are “Inflorescence of Silence,” “Suffering,” and the atmospheric “River.”

Sondrous – Something Like Serenity (2018)

70%

Closing the session is the debut album from ambient/post-rock project Sondrous, which disappeared for years before resurfacing—apparently around August 2022. Before it vanished from the digital world like Nachtsang, Tisza Kara, The Hashida Theory, and others, I wanted to carve its name here.

What I always loved was the cover art—but sadly, the music inside isn’t as engaging. The ambient textures rarely feel soft, except for the opener “Adrift,” which includes vocals and leans more toward ambient/atmospheric rock rather than post-rock, making it less emotional. Still, it works fine as background for films or advertisements—like “With You in Time” and “The Wildering Stones.”

In the end, no tracks truly grabbed my heart—just a project preserved in memory. At least the nostalgia is fulfilled through this writing, and maybe someday I’ll immortalize more vanished names in the same kind of notes.