#anaalnathrakh — Public Fediverse posts

Thunder rattles the ducts as my minions trudge through heated aluminum and flimsy copper to clean out the detritus left by endless storms. Sometimes I wonder if I should invest in a “health plan” for them to offset the debilitating turnover resulting from various mortal injuries and gruesome deaths this work incurs. And then I think again, and realize that would be a waste of “profits.” There will always be more dummies willing to dive in with the promise of treasure sparkling in their eyes.

Aaaaannnnyyyyway, nobody lost limb or life in the Filter today, but we did manage a decent haul. BEHOLD!

Kenstrosity’s Burning Bastion

Forsmán // Brenndar rústir & fuðrandi fjörur [June 26th, 2026 – Vesperian]

Iceland is where all the cool black metal kids sit. Smeary corpse paint, cloaks, throaty roars, somehow simultaneously wet and dry snare tones, and hooky riffs surrounded in lower-pitched tremolos make the Icelandic scene almost instantly recognizable. Forsmán are no exception, the young foursome abiding by the genre blueprint—in a similar way to bands like Svartidauði and Helfró—on remarkably professional debut Brenndar rústir & fuðrandi fjörur. A deathly kink lightly twists blasty riff freakouts (“Drottinn fyrirgefur allt,” “Valdníðsla”), but when they land their impact cracks the earth underfoot. A dissonant drama further characterizes Forsmán’s black metal core to scaffold riff-driven measures and off-kilter rhythms, and yet everything remains accessible and easily digestible (“Svartir svanir,” “Andvana,” “Barmafylltar fjöldagrafir”). While Forsmán aren’t attempting to redefine the style with this debut, they do earn a spot alongside the genre’s best with tight performances, fiery riff-forward writing, and a writhing personality that is vicious as much as it is beautifully expressed (“Kynjamyndir”). In short, Brenndar rústir & fuðrandi fjörur should not be missed, as it represents with great merit the high quality I’ve come to expect from the modern Icelandic black metal scene.

Owlswald’s Sunlit Secret

Entropist // The Vision [June 26, 2026 – Self Released]

Denver progressive death metal quintet Entropist is the very definition of a Stuck in the Filter unearthing. Their debut album, The Vision, slipped through the cracks amid our June promo flood and resurfaced too late for a standard review. Time to make amends. Mixed and mastered by Jamie King (Between the Buried and Me, The Contortionist), The Vision showcases a group brimming with talent and ambition.1 Blending death with elements of progressive metal, psychedelic rock, metalcore, jazz, and classical, The Vision is a melting pot of influences that thrives on vivid atmospherics and an effective dual-vocal approach from Parker Kitching and guitarist Solomon Smith, creating a sound that is adventurous and rewarding. “Intense Warmth” opens with a bout of hypnotic throat singing that morphs into layered croons. “Desert of Limbo’s” crawling melodies evoke Haken. Elsewhere, “The Ritual’s” eerie atmosphere and its intense bridge throw serious Aeolian-era The Ocean vibes, while “Devour Us” delivers exotic acoustic guitar and violin passages before closing with a swaggering groove and a contorted solo. “Creation” proves what Entropist is capable of when all the pieces lock together. Packed with Exoplanet-like riffs, alternating growls and soaring vocals, and a heaving half-time groove, the track’s eclecticism and momentum never let up. Not every experiment lands—”Revelation” and the aptly named “Wandering” lose sight of their destination—but there’s too much talent and creativity here to ignore. The Vision may be far from flawless, but it’s without a doubt an impressive debut.

Spicie Forrest’s Mathy Morsel

eleventwelfth // 11 [June 26, 2026 – Angular//Momentum Records]

Do you remember when Sithu Aye released that Senpai series?2 Airy, engaging, and wildly emotive, I’ve been chasing that sound ever since. eleventwelfth’s newest LP, 11, scratches that itch as it hasn’t been scratched in years. Part one in a concept duology3 that will serve as the Jakarta, Indonesia-based foursome’s sophomore offering, 11 follows its protagonist as they reckon with the necessary sacrifices one must make in pursuit of a dream. Largely rooted in indie and math rock, 11 unfolds in three acts filtered through aviation metaphors. Hopeful and tender melodies dance on strings like the wind through tall grass (“far away from here,” “collision”), while vocals effortlessly swoop and soar like an albatross on ocean air currents. 7-minute closer “communicate” swells inexorably, wind gathering under its wings until, at the midpoint, it takes off in a beautiful moment of catharsis. Synths and electronic elements evoke Porter Robinson’s Nurture in their gentle and ineffably nostalgic movements (“navigate,” “to fathom the throes”). When eleventwelfth leans into their Reliant K’d rock side, as on “ascending faster than before,” “fear of what’s beyond,” or “last here all alone,” 11 moves as if in a flow state—somehow simultaneously approaching lightspeed and locked in a timeless moment. This certainly isn’t the heaviest thing you’ll hear this year—it might be the lightest—but for those who know what it means to risk it all on hopes and dreams, 11 is not to be missed.

ClarkKent’s Energetic Inputs

Finsmoonth // Chrysalis of Astral Tears [June 13th, 2026 – Disaster Records]

Indonesia’s Finsmoonth puts on a clinic of melancholic atmospheric black metal with some first-rate tremolos and affecting performances. They partake in an aggressive, melodic form of the genre that’s similar to Walg in its relentlessness. Icy cold blast beats pummel your ears while the melodic tremolos prove a soothing balm wrapped in melancholy. The two guitarists, Zulk Adhe and Irwin Ranto, are tremolo wizards, serving quality leads on each song. My favorite, “Embers at Ethereal Dawn,” displays Finsmoonth’s ability to build up to powerful emotional climaxes. Tino Guruh proves an effective and consistent vocalist. His blackened rasps form the emotional core, and on “Embers at Ethereal Dawn,” he breaks into agonized cries that are just heartbreaking. The passing of the band’s bassist, Maulana Fachrul, less than two months ahead of the release of Chrysalis of Astral Tears adds further to the poignancy. Fachrul puts on a first-rate performance, with some stellar lonesome instrumental stretches on “An Endless Depth,” as well as a bit of smooth jazz noodling towards the end of “Foliage of the Wings.” If Indonesian black metal reminds you of Pure Wrath, then it might not be a surprise to learn that Januaryo Hardy contributes the cleans/chants, and even his wife, Isa Bellum, has a couple of small parts. I don’t know what’s going on in Jakarta to make these artists so sad, but they’re writing some damn fine music.

Inherits the Void // The Silent Abscission [June 19th, 2026 – Avantgarde Music]

France’s Antoine Scholtès has been quite busy since forming his solo black metal project, Inherits the Void, in 2020. Thus Spoke had kind words for the previous two, 2023’s The Impending Fall of Stars and 2024’s Scars of Yesteryear, comparing the former to the atmospheric meloblack of Mare Cognitum. This time around, Scholtès brings along some friends, including Romain Negro (Apolaustic, ex-Stortregn) to helm the mic. Romain brings a much more aggressive blackened edge to the vocals, cracking with a relentless energy. Scholtès still contributes backing vocals, and a mysterious Nicolas S. sings cleans on a couple of tracks, including a great soaring bit on the finale, “Inherits the Void.” The Silent Abscission feels a touch more aggressive than what Inherits the Void generally plays. Between the blast beats, furious tremolos, and Romain’s blackened assault, there’s a sense of constant kinetic motion. It’s true that some of this stuff can blend together, but there’s plenty of great melodies to keep it enjoyable from start to finish. While Scholtès continues to use synths and arpeggios as brief reprieves from the blast beat attack, he also invites Kevon S. to play some sax (“Wrath of the Endless Sea,” “Inherits the Void”), bringing to mind Burial in the Sky or White Ward. The Silent Abscission is yet another impressive outing in Inherits the Void’s discography, with Scholtès showing that he’s willing to take some risks in order to make things more interesting.

Grin Reaper’s Nocturnal Nuggets

Hecate // Comment Est la Nuit? [June 12th, 2026 – Self Released]

Since forming in 2009, French ensemble Hecate has steadily released reliable and trve black metal. Fourth album Comment Est la Nuit?4 serves as my introduction to the act, and after visiting earlier albums I’m confident that their latest is their greatest (so far).5 Where debut Chronicles d’un Autre Temps sounds more modern (think 1349 or Watain), subsequent albums gravitate towards raw production that radiates early second-wave energy. Comment Est la Nuit? perpetuates this aesthetic, though Hecate adorns it with classical frills that I find irresistible, such as their seamless integration of piano, flute, and cello with gusts of piercing tremolos and grating rasps. Though Comment Est la Nuit? remains solidly rooted in black metal, the keys function as a core component like never before. Each time I listen, Hecate reveals new facets that only get better with familiarity. The intro to “Aubes aux pâles salives” begins with a beautiful piano refrain supported by clean guitars and a subtle bass thread before tumbling into distorted trems that bear the same melodic framework. Likewise, the range of “Hymne au clair de lune” batters listeners between scathing muscle and delicate respites. I don’t expect Comment Est la Nuit? to change opinions about black metal, but those who enjoy it will find Hecate has written an engrossing experience that wonderfully details the rhythms of the night.

Stormkeep // The Nocturnes of Iswylm [June 12th, 2026 – Vesperian]

Like many, I eagerly awaited a full-length follow-up to Stormkeep’s magnificent debut Tales of Othertime, uncertain if or when it would arrive. Because the band’s other projects consistently enrapture me (Wayfarer and Blood Incantation, in particular), I never worried whether the Denver, Colorado collective’s sophomore platter would satisfy the promises made by Othertime. And while I’m not convinced that The Nocturnes of Iswylm reaches the heights the debut, Stormkeep still unleashes goodies aplenty that litter Nocturnes three-quarters of an hour. Gone are the instrumentals from Tales of Othertime—instead, Stormkeep dials down the cinema in favor of more straightforward meloblack, although drama still seethes beneath the surface. String embellishments dot the arrangements (“The Taste of Immortal Blood,” “Imperious Sanguine Eroticism,” “Carnal Tapestries of Nailtorn Flesh”), imparting dramatic flair and a welcome dimension to Stormkeep’s fantastical atmosphere. And like the cover art, The Nocturnes of Iswylm embraces darker textures that wrestle in doleful gloom, engendering a subtler experience that took time to sink in and appreciate. While this approach doesn’t ply the same epic theatricality as the debut, The Nocturnes of Iswylm nonetheless worms its way into ears and hearts with nefarious glamours that crackle with danger.

Belarus Beaver // Grind af den Brune Bäfver [June 17th, 2026 – Self Released]

Sweden plays host to many metallic endeavors, and I often feel like I’m picking up secondhand geography lessons as a result of listening to its exports. Belarus Beaver, then, supplies a toofer, as they began their journey in melodeath mecca Gothenburg before settling down in Jönköping (also home to Hällas, Rexoria, and Narnia). Rather than progressive rock or power metal, though, Belarus Beaver obliterates listeners with a bucktoothed bombshell of devastating deathgrind that’s at once savagely br00tal and pure fun. Also, it’s all about beavers. On fourth album Grind af den Brune Bäfver, Belarus Beaver weaves together groove-laced blasts with industrial trimmings that recall a mixture of early Anaal Nathrakh (“I Want to Pet a Beaver”) and Exhumed (“Den Gnagande Plågan,” “Begravd i en Flod”). Occasionally, though, Grind af den Brune Bäfver reaches for a twist in their songwriting repertoire that uplifts the music, like the Eastern stringed instrument at the beginning of “Urbävern” or the unexpected melodic guitar support midway through “Mutated Beaver Moose.” These moments and others like them elevate Grind af den Brune Bäfver above sheer novelty, and if you’re not sold on Beaver fever, you’re missing out. So let your hair down and give yourself over to the Grind—it’s dam fun.

Creeping Ivy’s Classic Catch

Dead Kosmonaut // Retrospectre [June 26th, 2026 – Edged Circle Productions]

Dead Kosmonaut conceived a perfect title for their third album. Since 2014, this Swedish quintet has been molding traditional heavy metal hearkening to the late 70s and early 80s. This style—the first wave of metal itself—haunts any and every musician in the genre with aspirations of crafting something trve. With the specter of retro metal hanging over the band’s collective head, Retrospectre delivers 38 minutes of classic goodness, imbued with a somber longing. Dead Kosmonaut is a well-credentialed crew, starting with guitarists Fredrik Folkare (ex-Necrophobic) and Peter Hallgren (Sorcerer), who dole out irresistible guitarmonies and audacious solos in the spirit of Iron Maiden (“Out of the Shadow Rising”). The rhythm section, comprised of bassist Mattias Reinholdsson and drummer Henrik Johansson (both ex-Book of Hours), punches through the mix with power and a bit of grit (“Wake of Aquarius”). And of course, vocalist Per ‘Hellbutcher’ Gustavsson shines, trading his black metal bona fides for commanding cleans that drive some damn fine choruses (“View from the Future”). Lyrically, the album especially develops its theme of retrospection in the latter half, with songs about aging (“Eyes Grow Old”), defeat (“The Battle is Over”), and the inexorable march of time (“The Retrospectre”). Retrospectre will certainly scratch any itches for timeless, classic metal, but Dead Kosmonaut have enough talent, character, and craftmanship to make their third offering more than mere nostalgia.

"In the Constellation of the Black Widow" es Anaal Nathrakh en su punto más quirúrgico. 34 minutos de caos industrial, blastbeats y melodía tóxica. Menos experimental que Hell Is Empty, más directo y venenoso. Temas como "More Of Fire Than Blood" y "The Lucifer Effect" condensan odio y belleza en dosis letales. Producción densa, sin aire. Un disco que muerde y no suelta.

#AnaalNathrakh #BlackMetal #IndustrialMetal

Die hatte ich früher schon mal auf meiner #playlist gehabt, aber irgendwann aus den Augen verloren. Aber jetzt wieder im #wacken #woa #woa26 #woa2026 stream entdeckt 🤘🇬🇧

"Anaal Nathrakh klingen wie der endgültige Zusammenbruch der Zivilisation, aufgenommen mit erstaunlich guter Produktion. Black Metal, Grindcore und Industrial rasen ineinander, während Dave Hunt zwischen infernalischem Kreischen und opernhafter Größe wechselt. In Wacken wird das keine gemütliche Unterhaltung, sondern akustischer Weltuntergang mit britischem Akzent." ❤️🥰😍

#anaalnathrakh #metal #blackmetal #grindcore #industrial

https://www.magentamusik.de/anaal-nathrakh-woa-2026-9208205928595568920

Spread the Disease – The Darkness. The Dread. The Suffering. Review

Once upon a time, Spread the Disease was a frenetic Canadian metalcore band playing a brand of skronk-…
#NewsBeep #News #US #USA #UnitedStates #UnitedStatesOfAmerica #Music #2.5 #2026 #AnaalNathrakh #AttheGates #BlackMetal #BlackenedMetalcore #CanadianMetal #Entertainment #hardcore #HypaethralRecords #Jul26 #Metalcore #review #reviews #SpreadTheDisease #TheDarkness.TheDread.TheSuffering. #Zao
https://www.newsbeep.com/us/757040/

Once upon a time, Spread the Disease was a frenetic Canadian metalcore band playing a brand of skronk-heavy, screamo-adjacent murder music laced with electronic and black metal influences. Their 1998 debut, We Bleed From Many Wounds, is something of a classic among chaotic metalcore devotees, while 1999 follow-up The Sheer Force of Inertia is respectable in its own right. Yet life has a habit of getting in the way of intense musical pursuits, and after those two albums, the band called it quits. Years later, Spread the Disease has reunited and returned with an intimidating slab of aural annihilation: the ominously titled The Darkness. The Dread. The Suffering., which purports to expand upon the black metal elements of their earlier work. Can this cohort of Canucks recapture the caustic vitriol of their youthful output?

The Darkness. The Dread. The Suffering. is less of a maximalist, mathy affair than Spread the Disease’s previous work. Instead, the band opts for a more straightforward merger of second-wave black metal frostbite and 2000s metalcore beef, a combination that works largely because everybody involved seems determined to play it as angrily as humanly possible. Opener “Light Opaque” establishes a formula much of the album follows, its five-plus minutes alternating between meaty tremolo passages and classic At the Gates “0-7-5” riffing over syncopated chugs. “Gods and Politics” weaves blackened leads and tried-and-true blast sections into classic hardcore moves, including a tom-led pullback and satisfying d-beats, while lead single “Indoctrinated” unleashes a blistering array of icy riffcraft that recalls Anaal Nathrakh with the occasional punky power-chord section. For the most part, this is plenty effective. The songs carry an exciting sense of momentum, the individual parts are competent if somewhat expected, and each transition feels natural. I only wish the longer runtimes yielded more genuinely standout moments.

Spread the Disease does make some considerations for album flow, placing short interludes between the main tracks and slightly shifting its blackened hardcore milieu on the B-side. “Intermezzo I” is a brief harsh noise piece that breaks up the onslaught of the opening tracks, while “Intermezzo II” takes a more ambient approach, propelled by chime-like clean guitar. “Outro,” meanwhile, closes the album with a somber sound collage. The final two “main” tracks also put a different spin on the band’s established formula. “Summer Wanes” leans into a more Zao-like, rollicking metalcore assault accented by bursts of blackened tremolo, while the seven-minute “The Blight in Their Eyes” opens up into a sludgy second half, transforming what could have been a typical breakdown into an effective, atmospheric conclusion.

There are a lot of impressive elements to The Darkness. The Dread. The Suffering., but for me, the pieces never quite coalesce into something greater than the sum of their parts. Spread the Disease knows how to pack these songs with well-constructed, pissed-off riffs that blur the line between metalcore and black metal, but despite the variety on display, some ideas linger just a tad too long. Certain riffs feel like boilerplate black metal or cliché metalcore, and their juxtaposition doesn’t necessarily elevate them. With each main song passing the five-minute mark, the propulsive energy that fuels the record can occasionally dwindle, especially when a repetitive tremolo riff overstays its welcome. On a brief, 30-minute album with only five non-interlude tracks, these moments stand out more than they otherwise might. Despite this issue, the individual performances are consistently strong, and tracks like “Summer Wanes” and “Gods and Politics” demonstrate a well-considered take on this particular sound.

With The Darkness. The Dread. The Suffering., Spread the Disease has delivered an intriguing piece of blackened hardcore. There are plenty of fun ideas throughout the record, and it certainly isn’t lacking in aggression, but it’s missing a certain oomph and the considered songwriting needed to tie everything together. Fans of the band’s early material curious to hear its black metal tendencies dragged further into the foreground, should not be dissuaded, and it is undeniably cool to hear Spread the Disease sounding this venomous after so many years. Yet, beneath the frost, blasts, and nonstop riffing lies a record that strikes me as merely average. A nasty reunion, certainly. Just not quite a triumphant one.

Rating: 2.5/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Hypaethral Records
Websites: spreadthedisease.bandcamp.com | instagram.com/spreadthedisease_official
Releases Worldwide: July 10th, 2026

Sicarius hit the ground raging in 2017 when the Californian black metal upstarts released their scathingly vicious debut album, Serenade of Slitting Throats, which captured the metal heart of AMG’s Diabolus in Muzaka, earning a coveted 4.0. Sicarius’s sophomore effort, 2020’s God of Dead Roots, didn’t fare as well; the band, adjusting to the departure of founding guitarist Argyris, ultimately turned in a less visceral, more workmanlike product. Then, when original drummer Brandon Zackay left to focus on his career in Whitechapel, and the other members exited, both voluntarily and not, Sicarius ostensibly died, leaving God of Dead Roots an unanticipated swan song. Fast forward to 2024, when Argyris reunited with original bassist Carnage and joined forces with new vocalist Akéfalos and session drummer Levi Xvl to begin recording a third album, Nex, which, after six long years, has arrived to reintroduce this risen phoenix iteration of Sicarius to the masses.

Sicarius the resurrected doesn’t sound much different than Sicarius the dead. Nex adheres to the same modern black metal formula as its predecessors, maintaining channels of influence drawn from Dissection, Dark Funeral, Urgehal, and, despite Mick Kenney’s departure from the booth, Anaal Nathrakh. In keeping with their monikers’ Latin translation, Sicarius brings an assassin’s cache of weaponry to bear. Argyris sounds rejuvenated and lethal, his armory of blistering riffage (“Cold Death,” “No Witnesses”), chaotically tremolodic leads (“Nex”), and nifty solo work (“Crashing Into the Abyss”) on full display.1 Newcomer Akéfalos adds a layer of frigidity to Nex’s surgical, cold-steel across a warm-throat sound, his icy, high-pitched screeches a mix of Abbath and Hat from early Gorgoroth, while his low-bellied growls are reminiscent of Rotting Christ. Nex has the sound of a band pissed, Sicarius attempting to bury the remnants of what was for something altogether more destructive.

Nex by Sicarius

There’s no doubt Sicarius is exceptionally capable of speed, but for my money, I connected most with Nex’s melodies and mixed paces. Beginning with a brooding, tremoloed guitar melody, “Opened Obsidian Gateways” uses Sargeistian levels of repetition to drive its earwormy chord progressions home, a variation employed during the verses and identically replicated during the bridge before sliding into a nice, mid-song chug section and then back again. Simple yet effective, the song’s a highlight as I found myself humming the melody randomly throughout the day. Also noteworthy are the slow-moving melodic chords of “Banshee,” which gave off Dissection vibes, and the mid-paced marcher “The Hunger We Cannot Sate,” as it gallops along in true Watain fashion, instigating black-n-roll levels of head bobbery over its 5:24 runtime. There’s a lot of musical nuance woven into the details of Nex; my many play-throughs tell me as much, which makes it all the more disappointing that it’s so hard to hear them.

“With a (t)reble yell she cried, NO more, more, more.” I’ve taken some slight liberties with Mr. Idol’s classic lyric to illustrate Nex’s most glaring flaw: a thin, imbalanced mix. Nex sounds much louder than its DR score might suggest. Serenade of Slitting Throats, for instance, with a DR lower than Nex’s, sounds light years warmer because Kenney was able to give Serenade’s lower tones some weight. Nex is nearly devoid of low end, completely negating anything Carnage is doing on bass and robbing much of Levi Xvl’s bass drum work of power, making for an extremely exhausting experience. I had to break my focused listening sessions up, in fact, because trying to listen through all 44:10 of Nex’s runtime left me so audially spent that I was reaching for aspirin. Whether this was a deliberate choice, I don’t know. It sure lends Sicarius an icier-than-thou edge, as much black metal of this ilk is known for, but it really robbed a large portion of my enjoyment, which sucks because, in bite-sized pieces, Nex is actually a pretty decent album.

Sicarius has returned with a vengeance and a we’re-not-fucking-around attitude, as evidenced in no small part by that brutally distinctive cover art. Alongside other bands like Impious Throne, Unholy Altar and Wuldorgast, Sicarius is bringing a sense of menace back to the US black metal scene. Nex is an album worth spinning, despite being hampered by a production that makes it too tiring to listen to in a single sitting, which left me to score it thusly. Still, I’ll be keeping my eyes and ears peeled for the next outing.

Rating: 2.5/5.0
DR: 6 | Format Reviewed: 320kbps mp3
Label: Adirondack Black Mass | Bandcamp (album)
Websites: Bandcamp | Instagram
Releases Worldwide: April 10th, 2026

https://www.europesays.com/uk/845092/ Via Doloris – Guerre et Paix Review #1349 #1914 #2026 #35 #AnaalNathrakh #AtmosphericBlackMetal #BlackMetal #BlutAusNord #Entertainment #Fluisteraars #GuerreEtPaix #Havukruunu #Mar26 #music #NorwegianMetal #PaganBlackMetal #Review #Reviews #Satyricon #SeasonOfMist #UK #UnitedKingdom #ViaDoloris

Sometimes a record practically introduces itself with a shrug. Take Via Doloris and their debut Guerre et Paix. The band name? A shortened nod to the Via Dolorosa. The death of Jesus and some “suffering-as-identity” vibes that we’ve seen a thousand times in black metal. The album title? Literally War and Peace in French. The cover art? You’ve seen it. You have seen it—some grayscale, vaguely haunted expanse that could just as easily front a dozen other releases clogging up the “give in to your anger” section. None of this is a crime on its own, but stack all these choices together, and they start pinging that lizard-brain reviewer alarm: this looks like a mid-tier black metal album before a single note even plays. Then there’s the promo copy, dutifully promising “a passage through pain in search of meaning, and the distant, flickering promise of rebirth.” Is this thing good, or is it just another entry in the ever-expanding catalog of metal-by-numbers?

Via Doloris is the solo project of guitarist Gildas le Pape, who spent several years performing live with Satyricon, and Guerre et Paix marks his debut under the moniker. The sound is a comfortable middle ground between more straightforward, blast-driven, 2nd-wave riffing and more expansive, atmospheric impulses, with le Pape’s melody-forward riffs driving the compositions. His guitar work never veers too far off the blackened path, but he imbues each riff with a sneaky melodicity and deploys a fair amount of variety in his 6-stringed attack. There are notes of Havukruunu-esque pagan black melodies (“Communion”), swirling Blut Aus Nord icy arpeggios (“Omniprésents”), and searing, Anaal Nathkrakh-flavored bouts of black metal destruction (“For The Glory”). Throughout it all, le Pape’s knack for catchy, multi-faceted blackened riff-craft shines through. The parts are at once hypnotic and aggressive, and often deepened through intricate guitar layers, allowing songs to flow seamlessly between movements. I’ve found the entrancing outro to “Ultime Tourment” or the Fluisteraars-like motif of “Visdommens Vei 1” stuck in my head for weeks during the review, a testament to the strength of the guitar parts on display and to their immersive effect.

The songs on Guerre et Paix largely sit in the 6–7 minute range, and while Via Doloris doesn’t always wring every possible peak out of that runtime, le Pape makes it feel purposeful more often than not. A track like “Un Franc Soleil” is built around an engaging central riff that subtly evolves as the song progresses, even if it stops just shy of a full-blown crescendo. This approach carries across the record: rather than leaning on dramatic shifts, le Pape favors gradual layering and textural changes, letting songs breathe and unfold at their own pace. The songwriting tends to stick to a core tempo and feel, with variation coming from added guitar layers, drum patterns, or ambient elements rather than structural overhauls. While this can create a meditative consistency that makes certain parts and songs blend together, it ultimately works in the album’s favor, giving Guerre et Paix a cohesive, immersive flow that reinforces the strength of its ideas over the course of a full listen.

This is all buoyed by a seriously sharp production job. Guerre et Paix sounds immaculate. Produced by le Pape and mixed with Nicolai Codling, it opts for clarity over the genre’s usual haze with crystalline guitars front and center, cutting cleanly through even the densest passages. They’re icy but precise, with every layered phrase coming through intact instead of dissolving into mush. Frost (Satyricon, 1349) turns in a characteristically stellar session performance, and the mix gives him room to flex. The drums have a warm, natural quality to them that showcases a varied performance. It allows the more subdued sections to breathe while still filling the mix during more intense, blast-heavy moments. It all comes together to elevate the album’s most dynamic touches, letting details like the choral swell in “Omniprésents” or the melancholic closing progression of “Communion” land exactly as they should.

As it turns out, Guerre et Paix lands comfortably above the genre’s overcrowded middle tier. Via Doloris has delivered an immersive and nuanced atmospheric black metal record, carried by memorable, melodic guitar work that unfolds beautifully over contemplative songs. It sounds amazing and marks le Pape as a promising voice within the space. This is way better than the somewhat generic packaging would suggest.



Rating: 3.5/5.0
DR: 10 | Format Reviewed: 320 kbps mp3
Label: Season of Mist
Websites: viadoloris.bandcamp.com | instagram.com/via.doloris
Releases Worldwide: March 20th, 2026

Dusk have been at it for a while now, toiling in the shadows to scrape together an acid concoction of abrasive noise and screaming menace. But who hasn’t? Newcomers to the blog, or the metal scene in general, may not have enjoyed of the deep sadness of early-2010s underground metal, when the promo pit burst with bedroom black metal from a seemingly inexhaustible trove of men who owned a guitar and made up for their lack of talent, and bandmates, and vision by pure profligacy. Though we’re now blessed with far more in the way of interesting music, the Vardans of the world are still out there, now and again transformed by their toil into something worthy of remark. And the crisp mashup of industrial synthesizers and black metal intensity has been worth a listen for the last decade in which Dusk have operated. Now it’s worth a few more.

Bunker is the Costa Rican band’s seventh record, and sixth this decade, masterminded by the eponymous producer who has had the Dusk aesthetic down to a science; enveloping low-end rumbles, echoing synths, spares instructions for his attendant vocalist and string-slingers, and a grim sense of inevitability. With the sound palette sorted out, it’s up to Dusk’s compositional skill to make Bunker worthwhile. It’s all too easy for electronic music to lean heavily into repetition; the infinitely replicable nature of composition in the medium lends itself towards riding extended grooves while adding and subtracting new elements. While Dusk certainly use this to their advantage in the latter half of the album, Bunker is front-loaded with two exciting tracks that move much faster than their tonal palette would suggest. “BUNKER I” begins in noisy ambience before introducing an Author & Punisher beat as its other sounds warp and stutter. A sudden blast of tremolo picking by guitarist Implacable gives way to more complex industrial beats and a simple, martial guitar riff, and then it’s over, transitioning into the Anaal Nathrakh-meets-Bliss Signal “Bunker II,” which vacillates between electronic blasts and subdued keys, with a lonely sonar ping accompanying both. Neither element ever overstays its welcome, and just six minutes in to Bunker, I was hooked.

Dusk can pack detail into songs even when they’re allowed to stretch out, and Bunker succeeds on meticulous sound design. In the doomy, menacing “Bunker III,” Dusk re-uses beats and samples dozens of times, but never outright repeats the same combinations of elements, making full use of the tools available to them. Though the song is slow-moving, subtle crescendos, particular spacing of instruments across the sound stage, and slowly adjusting cutoffs that amplify the intensity of a clip of breaking glass combine to keep this reprieve interesting for as long as the first two tracks lasted.

At twenty-three minutes, Bunker is an exercise in restraint that pulls ahead of the band’s back catalog in part on the strength of its concision. These songs move through ideas quickly enough to never grow stale, but there’s also a nagging feeling that Dusk’s compositions are somewhat automatic; each new idea that the songs explore is a small one, introduced almost scientifically so as to see just what that little tweak will do in the context surrounding it. No bizarre riff, jarring melody, or impressive performance could maintain this paradigm. Bunker, like most records Dusk put out, is something of a mood piece, hewing closely to a particular exploration of what this industrial/black metal hybrid can be without producing standout songs that make the sound creatively compelling. I’m left wanting something a bit less well-considered, something vital that’s often difficult for me to find in electronic music.

Nevertheless, Bunker is a compelling introduction to Dusk for anyone who hasn’t encountered the group before, and it stands as a concise exploration of their sound. Its damp, brooding atmospheres contrast expertly with moments of screaming static, and it’s all bolstered by enveloping production. Among the band’s now lengthy back catalog, Bunker’s combination of concision and vision stands out, but it’s only the sum of its many intricate but unimpressive parts. For Dusk to break through, they’ll have to break their own carefully-constructed mold.



Rating: 3.0/5.0
DR: 5 | Format Reviewed: 320 kbps MP3
Label: Self-Released
Websites: duskvt.bandcamp.com
Releases Worldwide: February 20th, 2026

"It's fucking bullshit"

Well said!

🎵 Bellum Omnium Contra Omnes by Anaal Nathrakh
💿 Eschaton, 2006
▶️ https://song.link/y/9T6ILG3pr50

#TomsMusic #NowPlaying #AnaalNathrakh

Hang in there, baby

https://anaalnathrakh.bandcamp.com/track/create-art-though-the-world-may-perish

#AnaalNathrakh #BlackMetal

I am quite into the heavy stuff today.

🎵 Endarkenment by Anaal Nathrakh
💿 Endarkenment, 2020
▶️ https://song.link/y/lZ-53VGIYzU

#TomsMusic #NowPlaying #AnaalNathrakh

For @EisenTukan's #RipAndTear in Kitty's #TuneTuesday - music that lets loose our raging tempest inside:

#AnaalNathrakh: We Will Fucking Kill You

https://song.link/t/64063280

"As a species, we are capable of love, of wonder, of staggering feats of creativity and sensitivity. Yet at the highest, global level, these are not the sentiments which rule. Large scale human history can be seen, as much as anything else, as a series of titanic dramas with the single animating principle: we will fucking kill you."

Anaal Nathrakh might be the most intense/extreme music I can still enjoy.

🎵 Endarkenment by Anaal Nathrakh
💿 Endarkenment, 2020
▶️ https://song.link/y/lZ-53VGIYzU

#TomsMusic #NowPlaying #AnaalNathrakh

If you missed #stonehengefestival or want to relive the excitement of seeing #BurialRemains #BerzerkerLegion #Master #DisharmonicOrchestra #Macabre #Massacre #MalevolentCreation #AnaalNathrakh #NapalmDeath #Nile #Autopsy #Dismember check out this playlist: https://www.youtube.com/watch?v=I_PQT-nfE08&list=PLmn2ED1LqEvB3MvWzap6LdP0vWUJT9G0a

On the way back from #stonehengefestival This year’s edition was packed with quality #deathmetal including but not limited to #BurialRemains #BerzerkerLegion #Master #DisharmonicOrchestra #Macabre #Massacre #MalevolentCreation #AnaalNathrakh #NapalmDeath #Nile #Autopsy #Dismember

Blind Equation – A Funeral in Purgatory Review

By Kenstrosity

When I reach for something blindly, I hope for the best. As it pertains to the acquisition of promo, I calculate my chances of enjoying whatever I select as little as possible. Impulse reigns supreme, instinct takes precedence, gut feelings have the final say. This process ultimately led me to Chicago, Illinois’ Blind Equation. Originally launched as a chiptune-heavy cybergrind project, mastermind and main songwriter James McHenry steadily integrated other influences that distinguish this material from that of the greater subset. With A Funeral in Purgatory, written in the midst of great anguish and struggle on McHenry’s side, Blind Equation create their heaviest, most brutal, and yet most vulnerable and earnest work to date.

Resembling acts like DEATHTRIPPA, Blind Equation’s current iteration diversifies its palette with elements of goth and emo, death and doom, synthwave, and melodic black metal. To these ears, those attributes recall everything from AFI, Fires in the Distance, Silhouette, Gunship, and Labyrinthus Stellarum. Depressive tones and desperate wails reminiscent of Ghost Bath or Acathexis also meld beautifully with a hopeful atmospheric counterpoint—a reflection of McHenry’s use of songwriting as a mechanism for catharsis and healing during his darkest moments during A Funeral in Purgatory’s development. Brutal outbursts reminiscent of Anaal Nathrakh or Igorrr, and the occasional deathcore gravity blast, provide an additional dynamic that brings immense metallic heft to an affair that, to my knowledge, doesn’t utilize a single guitar. Unified, these myriad characteristics coalesce into something stylistically unique, instrumentally fascinating, and emotionally compelling.

More importantly, A Funeral in Purgatory is an absolute joy to experience. With contrasting numbers as divergent as my personal favorites, the blisteringly fast and exuberant “Flashback (ft. Strawberry Hospital)” and beautiful death doom closer “Incomplete,” you might expect A Funeral in Purgatory to be disjointed and haphazard. But the opposite is true. Blind Equation’s masterful, meticulous detailing brings unity and adhesion to the record, such that when I hear the eviscerating brutality of “… in Purgatory” juxtaposed against the vibrant gallop of “Flashback,” or the goth-soaked “Nothing” against the metalcore-breakcore mashup “it feels like the end (ft. JOHNNASCUS),” it feels natural and invigorating. An increased presence of slower, more dramatic passages in “A Funeral… ” and “Relinquished Dreams” allows Blind Equation’s heart-wrenching roars and introspective tones to shine through as the brilliant light of higher-pitched synths and chips fade, enhancing what are already compelling songs by creating deeper valleys and taller peaks. Ultimately, this approach to songwriting permitted me very little opportunity to correctly predict what happened next, while still capturing my attention so completely that with each new song I was ready, almost desperate, for the next twist to whip me into another dimension.

However, not all dimensions are created equal, and there are a couple here that don’t quite reach the same echelon as Blind Equation’s best. First and foremost are the interludes, “⁺‧₊˚ ཐི⋆✟⋆ཋྀ ˚₊‧⁺” and “still.” Musically, they are pretty and offer plenty of emotion, but don’t add enough to the storytelling to feel essential to the overall experience. I could argue the former brings novelty to the split title tracks “A Funeral… ” and “… in Purgatory,” but the requisite connective tissue is flimsy all the same. In a similar manner, “mourn” is somewhat lackluster compared to its album mates. This could be an unfortunate circumstance brought about by its barebones instrumentation, which is a stark departure from everything presented over the previous seven tracks. It could also be that its core ideas feel a touch underdeveloped by comparison. Either way, it represents one of A Funeral in Purgatory’s minor weak points. While in no way a detractor on their own merit, Blind Equation’s AFI-esque clean vocals, which only feature in the first three tracks, would bring even greater cohesion to the whole if they featured more consistently throughout.

It goes without saying that I didn’t expect what Blind Equation delivered, nor did I expect to like it this much. At the same time, I really shouldn’t be surprised at all, considering nearly all of my favorite records this year have been wild and unorthodox. A Funeral in Purgatory represents another entry in that varied category, of which there is no doubt. But it’s also one of the most fun and engaging electronic music releases I’ve encountered this year. So if you don’t mind your metal chipped to oblivion, laced with ecstasy, dressed in all black, with a raven perched on its shoulder, then A Funeral in Purgatory might just be your poison.

Rating: Very Good!
DR: 8 | Format Reviewed: 256 kbps mp3
Label: Prosthetic Records
Websites: blindequation.bandcamp.com/album | facebook.com/blindequation
Releases Worldwide: July 18th, 2025

#2025 #35 #AFuneralInPurgatory #AFI #AmericanMetal #AnaalNathrakh #BlindEquation #Breakcore #Chiptune #Cybergrind #DeathMetal #DEATHTRIPPA #DoomMetal #DrumAndBass #ElectronicMetal #FiresInTheDistance #GothicMetal #Grind #Grindcore #Gunship #Igorrr #JOHNNASCUS #Jul25 #LabyrinthusStellarum #MelodicBlackMetal #Metalcore #ProstheticRecords #Review #Reviews #Silhouette #StrawberryHospital

Chestcrush – ΨΥΧΟΒΓΑΛΤΗΣ Review

By Tyme

Chestcrush is what happens when you fuck around and find out. These three blackened death dealers from Edinburgh, Scotland, formed in 2020, released their independent debut album, Vthelygmia, in 2021. That’s when Chestcrush caught my ear for the first time, penning one of my favorite songs, “Different Shepherd, Same Sheep.” After swapping original vocalist Thomas Blanc for Topias Jokipii, who debuted his wares on 2022’s Apechtheia EP, Chestcrush is back with its sophomore prüno-piss and vinegar-filled platter, ΨΥΧΟΒΓΑΛΤΗΣ. Translated from Greek to mean ‘soul extractor,’ ΨΥΧΟΒΓΑΛΤΗΣ metaphorically describes an experience or person that is so incredibly tormenting to you that it feels like it’s pulling your very soul out through your mouth. Will I need my jaw re-aligned after listening to ΨΥΧΟΒΓΑΛΤΗΣ, or is this dog just a toothless barker?

Chestcrush executes its misanthropic, anti-everything brand of nihilism by fusing blackened deathgrind with sludgy, doomy industrialism on ΨΥΧΟΒΓΑΛΤΗΣ. And even with the grindier bits dialed back, ΨΥΧΟΒΓΑΛΤΗΣA sounds like a bloodied blend of Anaal Nathrakh, Immolation, and Napalm Death sprinkled with an extra vitriolic dash o’ Nails. Evangelos Vasilakos crushes chests and eardrums with an onslaught of riffs full of brutish chugs, crusty sludge, and deathly density (“Existence is Punishment”). Drummer Robin Stone (Ashen Horde) brings the mutha-fuckin’ skulls to the yard with his rib-rattling, Anaal Nathrakhian double kick work, which often serves as a tempodic counterpoint to Evan’s wall of sound bass and guitar destruction (“We Shall Be Devoured by the Offspring of Our Own Flesh”). Topping off this sundae of fuck-off-fun-day decimation are the Mikael Åkerfeldtish vocals of Jokipii, whose roars and guttural growls bring an altogether beastlier edge to ΨΥΧΟΒΓΑΛΤΗΣ‘s throat work. Chestcrush will not make you feel good about yourself, nor will they have you looking hopefully into the future.

Speaking of hope, if not abandoned wholly before entering Chestcrush‘s world, it will be by the time “Every Single Word That Comes Out of Your Filthy Hole Is an Infectious Lie a Spreading Disease” invades your earholes. It is a punishing, anti-religious anthem full of chunky riffs, dissonant tremolos, Stone’s inhuman drumming, and Jokipii’s tortured growls and screams, prefaced by an ominous warning, ‘Until the last stone, from the last church, falls on the last priest.’ And as the screechy, staticky ending of “Hang Them! Torch Them!” gives way to the tolling bells of the sludgy behemoth and album closer, “As the Damned Writhe in Eternal Woe,” it is clear that Chestcrush hates us all. ΨΥΧΟΒΓΑΛΤΗΣ has no high points, no zenith; it is a cavalcade of sorrow, a series of nadirs plumbing depths subterranean of Dante’s seventh circle.

From the very Hellraiser-esque cover art courtesy of Vladimir Chebakov to the forty-minute runtime, Chestcrush‘s ΨΥΧΟΒΓΑΛΤΗΣ is infinitely more mature than its predecessor, Vthelygmia. I attribute this leap in maturation to two things. First, Chestcrush‘s songwriting has blossomed like a blackened rose, resulting in fully developed compositions that wend, wind, and weave within themselves, an ebb and flow of drama that casts a pall of abject hopelessness over the entire affair. Second, the addition of vocalist Topias Jokipii, whose beefier delivery and propensity to stay in his lower, more guttural register better fit Chestrcush‘s aural aesthetic. I have little in the way of criticism for ΨΥΧΟΒΓΑΛΤΗΣ, but there was something that stood out, which is a brief screech of feedback that rears its head throughout the album, mainly as an exclamation point. It works when employed to create an intersong dynamic (“Every Single Word…”), but it becomes grating when tacked on the end of nearly every track, sometimes twice (“We Shall Be Devoured…”).

Chestcrush has penned a dirge celebrating the death of humanity and is the human embodiment of existential hate. You’ll not be blasting ΨΥΧΟΒΓΑΛΤΗΣ poolside this summer, cracking beers and seltzers with your buddies and their wives, crisping flesh in the sun. Chestcrush is of darkness, despair, and destitution, and that is where ΨΥΧΟΒΓΑΛΤΗΣ will take you. I have committed several hours to ΨΥΧΟΒΓΑΛΤΗΣ in preparation for this review, and this time has left me spent, my jaw firmly wired shut, soul removed. I think I need to go and listen to some Fellowship now.

Rating: 3.5/5.0
DR: 7 | Format Reviewed: 320kbps mp3
Label: Self-Released
Websites: Bandcamp | Facebook
Releases Worldwide: April 4, 2025

#2025 #35 #AnaalNathrakh #Apr25 #BlackMetal #Chestcrush #DeathMetal #Immolation #Nails #NapalmDeath #Review #Reviews #ScottishMetal #Sludge #ΨΥΧΟΒΓΑΛΤΗΣ

Grindcore, el caos como consigna: 20 álbumes recomendados | vía #NaciónRock

https://www.nacionrock.com/grindcore-el-caos-como-consigna-20-albumes-recomendados/

#anaalnathrakh #assück #brutaltruth #carcass #cattledecapitation #cloudrat #discordanceaxis #escuelagrind #especiales #exhumed #fullofhell #genghistron #gridlink #grindcore #insectwarfare #magrudergrind #nails #napalmdeath #nasum #pigdestroyer #repulsion #terrorizer #wormrot

Marrowomb – Phisenomie Review

By Tyme

While you might not be familiar with the name Frank Lato, you may have heard some of the Chicagoan’s work. Contributing bass duties to the now defunct Polyptych in addition to the ongoing concern Headshrinker—the former was praised here in 2016 by Eldritch Elitist for Defying the Metastasis, while the latter’s Callous Indifference received a rare 4.0 from Steel in 2021—Mr. Lato has decided to slide out of the shadowy rhythm sections of his other projects to stand in the blazing light of judgment as a solo act with his new venture, Marrowomb. Alongside session drummer Kevin Paradis (ex-Benighted), who covers all the kit work, and a few friends contributing guest guitar solos, Marrowomb readies to independently release Phisenomie, a debut album nearly five years in the making. Reminiscing on many of the things I enjoyed from his previous contributions, Lato’s metal credentials excited me, but that doesn’t mean Marrowomb would get a pass. So I dove into Phisenomie with some reserved anticipation, ready to pounce if things went south.

If Benighted had gotten pregnant during some ancient Anaal Nathrakhian sex rite, the child of that ceremony would share audial DNA with Marrowomb. While at first blush this might sound intriguing, ultimately, Marrowomb lacks the histrionic technicality of Benighted and the all-out, brain-searing intensity of Anaal Nathrakh. Still, it’s blast furnace riffs scourged over machine gun blast beats (“Sickness unto Life,” “Black Gossamer”) that primarily serve as the sonic foundation for Phisenomie’s hierarchy of blackened death. Marrowomb‘s slight forays into bass-moody interludes (“Vicarious Visage”), experiments with tech-twitchy riff patterns (“Veil of Cold”) and full-on deep dives into doom pools (“Despairloom”) combine with sparse synth work to bring atmospheric variation but ultimately fall short, a result of Phisenomie‘s most significant flaws, which are its construction and the mix.

Like its digitally assembled cover art,1the music on Phisenomie sounds cut and pasted together. Dissonant leads come out of nowhere (“Phantasia Kataleptike”) as do awkwardly incorporated solos (“Black Gossamer,” “The Mirror”) like tin-eared tails mistakenly pinned to a riff donkey’s neck. This immature cohesion and lack of integrality enshrine Marrowomb‘s guitar performances as weak, a negative further spotlighted by the mix. Phisenomie is pretty loud, and as a result, much of the bass and guitar work is left muddied. Solo work at the beginning of “Despairloom” suffers most from this mud-bog mix as much of the interesting guitar runs garble as if played through a wet towel.

As a general liker of things,2 I’ve perhaps been overly harsh with Marrowomb, but not everything here is as dire as I’ve portrayed. A case in point is Lato’s vocal performance. I’m not sure if he ever contributed vocals on any of his other projects, but he’s got a decent ability to spit growls and rasps alike. I hear more of Dave V.I.T.R.I.O.L. Hunt’s grunts and shrieks in Lato’s delivery than I do the “Reee Reee” stylings of Julien Trouchan, but suffice to say, the man’s voice is compelling. Paradis’ kit performance, another highlight, is full of pummeling double bass bashing, frolicking fills, and enough snare abuse to remind you that, yeah, this guy played on Ekbom. These things give me hope that not everything about Marrowomb is lost.

Marrowomb‘s debut album, Phisenomie, is not what you’ve been waiting for. I enjoyed Polyptych‘s output and look forward to hearing the next Headshrinker for sure, but Marrowomb hasn’t done enough to sell me, and I can’t recommend this album as a result. I am, however, a fan of Frank Lato’s ability, which is inarguable, and I respect him for taking this project on and getting more of his work out there. With a more fleshed-out guitar vision and the chops to back it up, there could be a promising release in Marrowomb‘s future; Phisenomie just isn’t it.

Rating: 2.0/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Self-Released
Websites: Bandcamp | Facebook
Releases Worldwide: February 21, 2025

#20 #2025 #AmericanMetal #AnaalNathrakh #Benighted #BlackMetal #DeathMetal #Feb25 #Independent #Marrowomb #Phisenomie #Review #Reviews

#ThursdayFiveList this week is hosted by @aspeed with the theme #5under3, or five songs under three minutes.
Trying to avoid the obvious ones, here you are:

5. #AnaalNathrakh: Screaming of the Unborn - 2:46

https://song.link/i/1571185322

1/2 Day two of #EindhovenMetalMeeting is over. More great bands, more tough choices about what stage to go to. Our personal highlights include #Akhlys #TheVisionBleak (oh those violin solos) #anaalnathrakh …

Feind – Ambulante Hirnamputation Review

By Kenstrosity

Sometimes fate deals a winning hand. I’m just taking a little stroll around Bandcamp, browsing for new hotness but not expecting to find anything in particular. A sick piece of artwork catches mine eye. With no idea of what’s in store, I clock seventeen tracks before me. What? Oh, they’re all a minute or less; that makes more sense. Now I know that this has got to be grindy, and I’ve had a hankering for a sleazy bit of grind for my whole goddamn life, it feels like. I smash that heckin’ play button. Hair? Blown off the dome. Pants? Fully shitted. Spine? Oh, you mean that little pool of bone GoGurt that just exploded out of my butthole into my aforementioned pants? Yeah, that’s a lost cause. All thanks to German deathgrind anomaly Feind’s Ambulante Hirnamputation. I really should’ve sprung for the premium health plan…

A debut LP that defies every expectation for overall quality, Ambulante Hirnamputation manages to do something that grind hasn’t done since 2018: activate the patented Ken hype machine. The anonymous, extremely hard-to-find German trio launch an all-out assault on institutionalized religion, late-stage capitalism, Internet culture, and any number of other societal dysfunctions in a scant thirteen minutes, and yet each new assassination makes a memory. Wielding the sheer intensity of grind legends Napalm Death, the indelible wacky hooks of Anaal Nathrakh, the mad experimentation of Cripple Bastards, and the uncompromising technical heft of Aborted, Feind hammer every rusted spike into the coffin with a wildness that would make even those who eat nails for breakfast (without any milk) feel threatened. There’s just no stopping this monstrosity, and its destructive nature demands my full, undivided attention.

Knowing that only three songs on this rabid beast dare cross the minute line, picking out standouts and lowlights poses a distinct challenge, but the solution turned out to be simple. There are no lowlights. Ambulante Hirnamputation is a singular triumph of creative riffs, adventurous structures, and subversive whimsy. Take my favorite track, “Planet der Affen,” as an example. Fifty-six seconds of techy, almost melodic deathgrind about Jeff Bezos being a dick and doing ridiculous things with his vast fortune, “Planet der Affen” swaggers with a downright bluesy second half that wraps up with a silly, but immediately memorable chorus. “3DPD” makes light of gross misogynist men trolling on the internet immediately after the preceding title track closes with a cutesy anime sample that I don’t recognize. Earlier in the runtime, “Originale Nichtskönner” slams, jams and grinds with the best of them, all to desecrate the ground with a viscous loogie. Moments like these show how irreverent and cheeky Feind really are. Musically, Ambulante Hirnamputation stands up without any cheap gimmicks or frivolous frills. Killer hits like “Es ist Muttertag,” “Arbeistiere,” “Toxic Positivity,” “Christlich Demokratische Ulcera,” and “Natur pur erleben,” among many others, wipe the floor with lesser grindcore acts via devastatingly gnarled riffs, unbelievably versatile vocal performances, and a vast assortment of percussive patterns.

Finding points of improvement or opportunities for criticism with Ambulante Hirnamputation presents a herculean task for this reviewer. The record’s minuscule runtime and blistering pace are partly to blame, but neither is a bad thing. In fact, they’re yet another way that Ambulante Hirnamputation seals the deal. By structuring the record in such a perilous manner, Feind guarantee that I’m going back to spin it again. Some records of this kind don’t offer much to reward repeated spins, but this one peels back layer after layer after layer. Throughout those deceptively detailed layers, Ambulante Hirnamputation moves with an inhuman athleticism and flexibility, allowing the band to perform acrobatic feats of songwriting gymnastics worthy of Olympic accolades. And yet, I want more. What should absolutely be enough content to satisfy even the most ravenous grind craving falls just short of sating mine.

I never expected to come across this record. It wasn’t even a properly sourced promo. Even so, I wasn’t about to wait several months before I could hype it up in an official capacity. Ambulante Hirnamputation is an unqualified triumph of fun, brutal, cantankerous deathgrind. This review is just another excuse for you to check it out. Scratch that. It’s an order!

Rating: Excellent!
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Self Release
Website: feind.bandcamp.com
Releases Worldwide: August 5th, 20241

#2024 #45 #Aborted #AmbulanteHirnamputation #AnaalNathrakh #Aug24 #CrippleBastards #DeathMetal #Deathgrind #Feind #GermanMetal #Grind #Grindcore #NapalmDeath #Review #Reviews #SelfRelease

Werewolves – Die For Us Review

By Saunders

Barring a short sample, one of numerous scattered across the album, “Get fucked” is the first lyric spewed forth on fifth LP Die For Us from Australian extreme metal anarchists, Werewolves. It’s a fitting introduction to the vitriolic assault on the senses the Australian trio unleash on their latest opus of controlled chaos and destruction. Comprising a trio of accomplished underground musicians, sporting a combined resume that includes time spent in The Antichrist Imperium, The Amenta, Psycroptic, Ruins, King and Faustian among other recognizable names, Werewolves have carved a prolifically entertaining body of work since their formation a mere five years ago. The seasoned line-up and band chemistry bleeds from the ugly, hate-filled heart at the album’s blackened core. Prolific work rate aside, can Werewolves maintain their rage and bring the songwriting substance to back their vice-tight instrumental chops and unhinged brutality?

Listeners yet to catch hold of the band’s frenetic flurries of blast beats, riffs, rabid vocals, riffs and more riffs, will be greeted by a tightly coiled avalanche of modern death metal, generously spiced with a grindy edge and blackened afterburn. Speed reigns supreme, propelled by the outstanding percussion of legendary Psycroptic skinsman Dave Haley. The dizzying riffs and frantic fretwork keep pace with the album’s speedy core, as clever rhythmic twists and knuckle-dragging grooves lend the album welcome variety amidst the speed-driven assault. Snippets of the members’ various other acts occasionally seep into the pool of influences, and in terms of the grindy, punky crunch and sheer intensity of the material, common musical traits are shared with the likes of Anaal Nathrakh, Lock Up, and cult Aussie grinders The Kill.

Like previous albums, Die For Us deftly balances grindcore-like speed and white-knuckled intensity with dark humor and a vaguely accessible, fun edge. Werewolves specialize in tough-as-nails extreme metal party anthems, suitable for punching brews and lifting weights. “Die For Us” and “Beaten Back to Life” bring the speed, thunder, riffs and fuck society attitude in spades, creating an effectively sharp and rugged one-two punch to launch the album into action. “Spittle-Flecked Rant” is an especially enraged, thrash-laden deathgrind beast that would do Misery Index proud. Elsewhere, the doomy pacing and blackened moods of “Under the Urinal Moon” showcases a measured, sinister side of the band, with cool results. Overall, the material is all good, if not entirely essential, but it hits the spot and forms a well-executed beatdown. “My Hate Is Strong” delivers on its title, unleashing a dark, impressively intense experience, featuring a rapid-fire percussive assault and gnarly grooves. “We All Deserve to be Slaves” detonates whiplash speed, punk-thrash attitude, and techy flourishes to strong effect.

At a concise 35 minutes, time races by. Despite the relentless pedal-to-the-floor tempos, the charismatic vocals of Sam Bean, and deceptively dynamic writing, mostly staves off monotony and overkill. Song-to-song character lends the album a catchy edge, meanwhile the lyrical angle is crude, angry and a wee bit juvenile, a little clunky on occasion, but often wildly entertaining (especially as a resident Aussie). A minor frustrating point is for all its easily likable qualities, Die For Us still hovers around the good to very good songwriting range. Nothing misses the mark, but several songs are a bit by-the-numbers, while the sleek, punchy production is held back by a crushed mastering job. Concerns linger for the album’s longer-term staying power, however, in the moment this shit hits hard and is appealing on a base level.

Die For Us follows consistent trends from previous Werewolves albums; it’s a fun, raging slab of extreme metal goodness that pulls no punches and chews up and spits out silver bullets in all its feral, teeth-gnashing glory. It also signals the halfway point in the band’s ambitious plan to pump out ten albums in ten years. This also smacks of a great opportunity for us AMG staffers to mix up review duties in sync with the decade-long mission. The concern is with their steadfast formula and prolific turnover rate, do Werewolves have it in them to release a truly show-stopping album? Five albums deep, I’m not so sure. However, at the very least Werewolves remain an entertaining, consistently solid force to be reckoned with. Die For Us may not blow minds, but it will crack skulls and increase heart rates, so they are certainly doing something right.

Rating: 3.0/5.0
DR: 5 | Format Reviewed: 320 kbps mp3
Label: Independent Release
Websites: werewolvesdeathmetal.bandcamp.com | facebook.com/werewolvesinhell
Releases Worldwide: July 12th, 2024

#2024 #30 #AnaalNathrakh #AustralianMetal #DeathMetal #Deathgrind #DieForUs #Faustian #IndependentRelease #King #LockUp #Psycroptic #Review #Reviews #Ruins #TheAmenta #TheAntichristImperium #TheKill #Werewolves

Apes – Penitence Review

By Dear Hollow

In the preface of Herman Hesse’s Faust-inspired novel Steppenwolf, an unnamed narrator (simply called the Nephew) details a series of encounters with main character Harry Haller. Haller is described as extremely intellectual and arrogant, but ultimately alienated by and disillusioned with the bourgeois-dominated society of twentieth-century Germany. Hesse’s narrative culminates in a scene in which the narrator and Haller, now friends, attend a lecture from a philosopher, one of Europe’s brightest minds. Haller gives a fleeting glance at the narrator: his expression is described as cutting through the pomp and pretense of human society, a look that is described as melancholic, dismissing the words and their speaker. “It said: ‘See what monkeys we are! Look, such is man!’ and at once all renown, all intelligence, all the attainments of the spirit, all progress towards the sublime, the great and the enduring in man fell away and became a monkey’s trick!”

Apes is a six-piece from Montreal, having released one LP and a series of demos and EPs since its inception in 2012. 2017 debut full-length Lightless introduced the band’s now-signature sound, a blend that continues in its sophomore effort Penitence seven years later: a blend of black metal and grindcore. While easy comparisons would be the sinister cutthroat attack of older Anaal Nathrakh or the unhinged intensity of Siberian Hell Sounds, Apes resides in a blackened interpretation of Nails, Trap Them, or Mammoth Grinder. Crusty riffs and blazing blastbeats are the backbone of Penitence, atop which elements of atmospheric black metal, doom, and noise are introduced. An unbearably suffocating and filthy listen that hits hard, fast, and menacingly, Apes seamlessly offers riffs and grimness in equal measure through an animalistic intensity, its lyrics and atmosphere a constant hopeless reminder of humankind’s futility.

For all of twenty-five minutes, Apes does not waste a single second, thanks to its impressive contributors. Vocalist Alexandre Goulet offers a hardcore-inspired bark that collapses into a primitive howl, further emphasizing the themes present on Penitence, guiding a swarming triple-guitar beatdown that descends into blackened suffocation and climactic solos throughout that settles into a doom-inspired groove periodically, while blastbeats, powerful kicks, and tom-heavy buildups hit at just the right moments. Painted across the album at large is a tapestry of noise, adding a density and rockiness that feels like the suffocation of confession and shame – covered in the darkness of misanthropy. It lacks the clarity of Nails or Trap Them, but its suffocating aims are far better served in this palette.

“Coffin” is a good opener with its filthy crust, amplified by guest Madi Watkins from Year of the Knife, but the track almost serves as a misdirect in its upfront gooey slam-inspired breakdown and thunderous grooves: meatheadedness before the storm, if you will. While the riffs and chugs are present throughout Penitence, they serve as elements among many to Apes’ dynamics. The best examples of this are “Bottom Feeder,” “Shadow Walker,” and “Echoes,” through which moments of clarity offer relentless beatdown, but otherwise focus on down-tuned riffage and tremolo while atmosphere pervades. The title track is likewise a stellar offering because it features an unshakeable riff before slowing the tempo incrementally to a nearly death/doom Clinging to the Trees of a Forest Fire-esque crawl by its conclusion, achieving a nearly unbearable density in closer “Pillars” alongside a scathing melodic motif. “The Great Fire” and “Closure” are more forgettable pieces in comparison, but undeniably crucial to the soundscape that Penitence builds: less a scenic vista and more a path to get to the outlook.

Closer “Pillars” looks out upon the scorched earth of man’s futility with a punishing and animalistic grind-inspired, crusty, blackened, and riffy take on grind. Apes wears its theme firmly on its sleeve, as portrayed in the Werner Herzog sample at the end of “Closure” best summarized in this: “there is no harmony in the universe.” Penitence is a heavy album, balancing bouncy riffs, chugging guitars, and an evocative atmospheric prowess alongside its blackened tendencies – a slowly unfolding album with plenty of secrets to unveil in spite of its extremely brief runtime. While comparisons to Anaal Nathrakh, Nails, and Outergods are fair, they are ultimately incomplete, favoring riff or atmosphere. In this way, Apes soars in an album that’s unafraid to whisk you away to a place dark and unsettling only to kick you to the curb while laughing maniacally at mankind’s achievements. See what monkeys we are, truly.

Rating: 4.0/5.0
DR: 6 | Format Reviewed: 320 kb/s mp3
Label: Secret Swarm Records
Websites: apesqc.bandcamp.com | facebook.com/apesqc
Releases Worldwide: June 14th, 2024

#2024 #40 #AnaalNathrakh #Apes #AtmosphericBlackMetal #BlackMetal #BlackenedHardcore #CanadianMetal #ClingingToTheTreesOfAForestFire #CrustPunk #DeathDoomMetal #Grindcore #Jun24 #MammothGrinder #Nails #Noise #Outergods #Penitence #Review #Reviews #SecretSwarmRecords #SiberianHellSounds #Slam #TrapThem #YearOfTheKnife

I almost forgot how good this album is 🤘 :blobrainbow: 🤘

🎵 Libidinous (a Pig with Cocks in Its Eyes) by #AnaalNathrakh
https://song.link/y/UsNUQ7VmlLU

#TomsMusic

I am once again in dire need of a palate cleanser after listening to Sonata Arctica.

That'll do:

🎵 Endarkenment by Anaal Nathrakh
https://song.link/y/lZ-53VGIYzU

....aaaaah, so much better 🤗

#TomsMusic #AnaalNathrakh

AMG Turns 15: Middle Management Speaks

By Carcharodon

15 years ago, on May 19, 2009, Angry Metal Guy spoke. For the very first time as AMG. And he had opinions: Very Important Opinions™. The post attracted relatively little attention at the time, but times change and, over the decade and a half since then, AMG Industries has grown into the blog you know today. Now with a staff of around 25 overrating overwriters (and an entirely non-suspicious graveyard for writers on permanent, all-expenses-paid sabbaticals), we have written more than 9,100 posts, comprising over seven million words. Over the site’s lifetime, we’ve had more than 107 million visits and now achieve well over a million hits each and every month. Through this, we’ve built up a fantastic community of readers drawn from every corner of the globe, whom we have (mostly) loved getting to know in the more than 360,000 comments posted on the site.

We have done this under the careful (if sternly authoritarian) stewardship of our eponymous leader Angry Metal Guy and his iron enforcer, Steel Druhm, while adhering to strict editorial policies and principles. We have done this by simply offering honest (and occasionally brutal) takes, and without running a single advert or taking a single cent from anyone. Ever. Mistakes have undoubtedly been made and we may be a laughing stock in the eyes of music intellectuals, socialites and critics everywhere but we are incredibly proud of what AMG Industries represents. In fact, we believe it may be the best metal blog, with the best community of readers, on the internet.

Now join us as the people responsible for making AMG a reality reflect on what the site means to them and why they would willingly work for a blog that pays in the currency of deadlines, abuse, and hobo wine. Welcome to the 15th Birthdaynalia.

Thou Shalt Have No Other Blogs!

Carcharodon

AMG and me

I lurked quietly on AMG for about five years, reading daily, discovering great records, but never entering the fray. Not so much as a single comment. I didn’t feel qualified to get involved. Until that is, I inexplicably decided—I’m still not sure why—to answer the 2018 casting call. To my surprise, I got a shot and, under the threatening (but surprisingly fair) tutelage of Steel Druhm, I evolved from nameless_n00b_17 to become Carcharodon Sharkboi. I figured it would be a fun hobby for a year or two.

Coming up six years and more than 250 posts later, AMG Industries is so much more than a hobby. It’s become part of my daily life. And that is because of the people and the culture here, not just the staff, but also the regular readers and commenters. Although there’s a wry humor to nearly everything we do, and more in-jokes than even the seasoned staffers can keep up with, people actually care. They care. About the music. About our editorial standards. About the quality of our output. About each other. And, apparently, about Yer Mom. Caring and having standards are rare commodities on the internet, and it makes the AMG community a special place to be a part of. Are we perfect? No. Mistakes have been made. We Melvins that make up AMG are a dysfunctional family, but you love your family and you’re always a part of it. This adoptive family helped me get through some really tough times as a new(ish) dad during the COVID lockdowns and exposed me to some really impressive people, I would likely never have met otherwise. Thanks AMG for starting this place and, along with Steel, Grier and other key players, ensuring that it remains what it’s always been: a place for appreciating the music we love, free from adverts, clickbait, and dicks. I’m proud to have played my small part in it.

AMG gave to me …

Gorguts // Colored Sands – I couldn’t tell you exactly when I started perusing AMG but I remember this being one of the first reviews I stumbled across. Today, it’s not a record I reach for often but it completely changed my perception of death metal. Until I heard Colored Sands, death metal to me fell into either the Cannibal Corpse school, or the progressive Opeth and late-era Death camp. The former wasn’t for me, the latter very much was. Gorguts ripped my preconceptions apart. The band was completely unknown to me but the technical precision and dissonance they channeled into this record blew me away. And having heard it, it’s impossible not to hear Gorguts’ influence on dozens of other bands. As Noctus opined, the “riffs are absorbing, dizzying and uncompromisingly heavy … [while the] mix is dynamic, well-balanced and above all, crushing.” But it’s more than that. It’s such a complete package and, together, all the elements are simply transcendent.

Mistur // In Memoriam – It pains me to say it but Grier was right. Okay, so it was once, about eight years ago but he was still right: Mistur’s In Memoriam is an absolute banger. It does deserve a 4.5. And I did miss it. And it’s absolutely in my top-5 black metal records of the 2010s. Would I have found it without him? Perhaps. Perhaps not. After all, I didn’t know their 2009 debut, Attende. But I didn’t need to do the work because Grier did it for me. He was also right to say that In Memoriam is packed full of highlights but that the “record is impossible to appreciate unless listened to from beginning to end.” It’s a perfectly crafted piece of Windir-inspired melodic black metal, with absolutely no fat on its “magnificently structured” carcass. Every track is excellent in its own way (the duo of “Matriarch’s Lament” and “The Sight” being my personal highlights), but the album is undoubtedly greater than the sum of its parts. As a general rule of thumb, do not trust Grier but he was right on the money about Mistur.

Gazpacho // Demon – Demon is in my top ten records of all time. From the yawing note, fragile vocal line, and keys that open the record on “I’ve Been Walking, Pt. 1a” to the final notes of “Death Room”, it gives me chills every time. I’m not someone who has overly emotional reactions to music, as a rule. But I love Demon. There is something about this record’s dark vulnerability that haunts me. And given the band’s shitty name, I probably wouldn’t have bothered with it were it not for the review here. Sitting right on the intersection of alt-rock and prog, with a few heavier riffs, I could say that it has all the progressive chops of Radiohead’s OK Computer and that there’s something of Thom Yorke in Gazpacho frontman Jan-Henrik Ohm’s quiet, emotive power. I could point to the excellent use of violin (the polka that closes “The Wizard of Altai Mountains” is just fun). I could, as AMG did in the review that hooked me in, praise the fantastic production. He also, rightly, said that “[e]very listen to brings forth new experiences, new ideas, new emotions”. But it’s more than that. Demon just has that undefinable something. It’s heart-wrenching, somber and I never tire of it.

I wish I had written …

Grymm Comments: On Mental Health Awareness and Our Favorite Music. Okay, I don’t actually wish I had written this. Nor should I have been allowed to. However, I am extremely glad that Grymm, Kenstrosity and The Artist Formerly Known As Muppet took on this project. In any space, it’s an incredibly important subject but mental health struggles seem to have an outsize impact on people in our (still relatively niche) scene, as the engagement with this piece showed. The number of incredibly personal and moving stories people felt able to share in response to Grymm‘s post made me very proud to be part of this place and I like to think that, perhaps, it helped a few people, who felt they had nowhere else to turn, feel a little less alone. Chapeau gentlemen.

I wish I could do over …

Kanonenfieber – Menschenmühle [Things You Might Have Missed 2021]. In the write-up of my favorite record of 2021, I opened with a disclaimer, setting out what this record categorically was not. It was an effort to head off what I predicted would inevitably become an issue for a German band, writing and singing about war in German … you figure it out. To be fair, when I interviewed its creator, Noise, a couple of years later, it seems I was right. Still, I don’t think my efforts helped. If anything, they sparked a pointless debate in the comments (of which I was part). I should have left well alone and just focused on this outstanding record.

I wish more people had read …

The Art of Labelling – Part I and Part II. All the way back in early 2020, while locked up in my house, I penned a two-part feature looking at three great, independent record labels—Hypnotic Dirge, Naturmacht and Transcending Obscurity. I wanted to understand the challenges, and opportunities, facing them and their founders. I found these fascinating to write and I learned a lot. Part I did ok numbers, not great but ok; Part II … less so. Given the huge amounts of time Nic, Robert and Kunal gave up to help me with these pieces, I had hoped to get more exposure for these excellent labels.

GardensTale

AMG and me

It’s hard to overstate the impact AMG has had on my life. When I found the site, checking out reviews for Book of Souls, I wasn’t listening to that much metal anymore. The quality of the writing drew me in, I got caught up on recent big releases, and the writing bug sank its teeth in me. Soon, metal had become a big part of my life again. Not long after, my partner expressed an interest as well and I introduced her to the various types and subgenres of metal, and we started going to more concerts and festivals, which is our favorite shared experience to this day. We started going to Roadburn, met and befriended several bands. We made friends from Wales at Graspop. During the pandemic, the staff started doing Zoom calls,1 and I got to know many of my fellow writers. After the pandemic, we made more friends through Roadburn and Angry Metal Days. We’ve been to Brutal Assault, with people we met at other festivals. One even moved to our city and has become a close companion since then. How much smaller would our world be without these friendships and experiences! This one shared interest—the love of music—is a wonderful, ongoing journey, that has enriched our lives in ways I can scarcely describe, and the match that set the fire was a click on a link while I was bored at work. AMG has brought my partner and me incalculable joy. Here’s to 15 more years!

AMG gave to me …

King Goat // Conduit – Conduit is important to me for several reasons. It was my first Album of the Year at AMG, with the title track a well-deserved Song of the Year. But it was also the album that showed me how wrong I was about doom metal. I had this notion that Swallow the Sun levels of drudgery were the standard for the genre, something I could (at the time) only tolerate in small amounts. Having just begun my AMG career in August that year, I was keen to unearth as much as I could from 2016, and King Goat blew my mind wide open, an obliteration of preconceptions that has served me well since. Despite the cataclysmic recalibration, I have not yet discovered a doom album to top Conduit. The mighty vocals, the colossal riffs, the cosmic scale of it all … it is a truly monumental album. Just thinking of the anthemic duet of the title track’s bridge still sends chills down my spine.

Disillusion // The Liberation – If you didn’t see this coming, welcome to AMG! I have made no secret of how much I love The Liberation.2 It is, quite literally, my all-time favorite album. The first time I heard it, it was overwhelming. The second time, “Time To Let Go” got its powerful hooks into me. Third time round, the sheer scope of “Wintertide” began to land. Every time I span it, I discovered more depth, more hooks, more intricate details, which connected all the tracks like a perfect web. It’s a bold treatise on dying and letting go, emotionally charged not just through the vocals but with every chord. I love progressive music principally for its storytelling ability, as the freedom from structure allows the music to emulate the endless ways to build a narrative arc. It’s why I love Pink Floyd and, more recently, Major Parkinson so much, and it’s the reason Edge of Sanity’s Crimson is one of the only albums I’ve done a YMIO for. But none do it better than Disillusion, and they’ve never done it better than on this album.

Madder Mortem // Red in Tooth and Claw – I’d heard Madder Mortem before, back in their Desiderata days. Although I enjoyed that album, it hadn’t stuck with me somehow. Red in Tooth and Claw brought me back into the fold in a big way, and Madder Mortem’s become one of my favorite bands since, owing to its unique sound and peerless emotional acuity. This album’s closer, “Underdogs,” remains one of the most effective and affecting tracks in the stellar discography of Norway’s best-kept secret. A disastrously scheduled and attended gig during the Marrow tour allowed my partner and me hours of drinks and conversations with the band, especially with vocalist extraordinaire Agnete Kirkevaag, and it remains the best and most personal experience I’ve had with any band. Madder Mortem will always hold a special place in my heart, and I would likely never have gone back to them if I hadn’t read Jean-Luc Ricard‘s review and decided to give a long-forgotten band another shot.

I wish I had written …

Alcest – Kodama Review. We have some mighty fine writers here at AMG, each with their own style and voice. But few could match the poetry of Roquentin. Starting out here, this was the review that made me sigh dreamily and wish for the ability to write such extraordinary prose. When you’ve been writing reviews for a while, you often find yourself trying new ways to phrase the same things; this is good, that is bad, etcetera. The Kodama piece is a masterclass in melding these points into a beautifully phrased flow, which never feels repetitive or perfunctory. Roquentin, you are missed.

I wish I could do over …

Hemina – Venus Review. I’m only human, and humans make mistakes. My biggest mistake, though, was the framing of Hemina’s Venus. A lengthy, winding progressive metal album from my early AMG career, I found the love-themed concept album trite and too cheesy. And though I may have been able to defend that musically, I was completely wrong about the concept, which dealt with the happiness love brings, as well as the drama and destruction. And the band called me out on it in the comments, in the worst way: with polite kindness. One more memory for the ‘lie awake at night’ bank, I suppose.

I wish more people had read …

Wills Dissolve – Echoes Review and Album Premiere. We don’t do a lot of premieres around here, so when we run one, it’s a special event. Hypnotic Dirge is not an unknown label, Wills Dissolve had a very good album with a great Burke cover. All the ducks in a line, right? Crickets. 3 comments, 2 of which talked about the lack of comments. Just a strange fluke, it seems, but certainly one of my bigger AMG disappointments.

Kenstrosity

AMG and me

When I first applied to write for AMG, I felt terribly unconfident that I would get anywhere with it. A certain commenter’s (Septic, you scoundrel, you) and my meatspace friends’ constant, and sometimes irritating, encouragement and support conspired to keep me from chickening out. Lo and behold, I jammed my foot into the Hall door. Just. Brutal though that training was, now that I’m here and somewhat seasoned, I can say that this gig represents one of the most rewarding and meaningful hobbies in my life. I’ve learned a ridiculous amount, both about metal at large and about writing—and made an unprecedented number of great friends along the way—in the last six years (this November), and I wouldn’t trade that for anything. I’m not the same person I was when I applied, of that there’s no doubt. But, I like to think that, with the support of the staff, the commentariat, the silly goofy Discordians, and all of the readers that keep this place vibrant and burgeoning with views, I’m better for it. I owe this place and the people in it a huge debt, one I can never repay. Thank you everyone, for everything!

AMG gave to me …

Sulphur Aeon // Gateway to the Antisphere – Up until discovering this review, back when I first encountered AMG in 2017, I listened almost exclusively to metalcore, Evanescence, and operatic symphocheese. Then I hit play on this incredible record, and my life forever changed. I’d heard snippets of death metal and other extreme fare before, but it never clicked. Sulphur Aeon, on the other hand, had me swooning within seconds, initiating what was, effectively, the musical equivalent of the Big Bang in my brain. A whole universe of metal, extreme and otherwise, expanded exponentially before me in an instant. Those cosmic wonders revealed to me in the process, provided endless hours of joy, excitement, and vigor, the likes of which I could never anticipate. With time, I only grew fonder of Gateway to the Antisphere, until it eventually became a Ken icon, the standard by which I judge all other records of its ilk, even today.

Slugdge // Esoteric Malacology – If you asked me to curate a Top 10 metal records of the 2010s, Esoteric Malacology easily hits my Top 3. If you asked me to curate a Top 10 metal records of all time, Esoteric Malacology easily hits my Top 5.[Um … what?! – Carcharodon] Much like Gateway to the Antisphere before it, Slugdge’s fourth LP clicked immediately and, all these years later, shines just as bright, if not brighter. Rarely does a week go by without me picking this back up for some quirky, proggy death metal fun. Esoteric Malacology even transcends the trend of clumsy lyrics endemic to metal writ large, instead showcasing devilishly clever prose and subversive messaging that conveys meaningful themes, and compelling emotional depth. Then you have the stellar performances of this dynamic duo (now trio), perhaps most effectively portrayed in Song o’ the Decade contender “Putrid Fairytale,” which remains to this day my favorite piece of progressive death metal of the modern era. Needless to say, I love this record. HAIL MOLLUSCA!!!

Unfathomable Ruination // Finitude – Brutal tech death doesn’t get better than this. Easily my most cherished Kronos find, Unfathomable Ruination’s unbelievable triumph of crushing artistry left me speechless when I first span it. Considering this was my first foray into the dense, challenging extremities of more technical music, I expected Finitude to fly way over my head. I found myself bewildered that its impenetrable density and ridiculously high level of detail were so effortless for me to access. Blame that on the record’s immense groove and flawlessly structured writing. With enough time to acclimate to the intense environment conjured by Unfathomable Ruination, I found greater appreciation for its nuanced detailing and deeply satisfying tones. Hell, that perfect snare alone brings enough aural pleasure to overwhelm even the coldest spirit. At the end of the day, you should just go read Kronos‘ review of this beast, as it explains, more eloquently than I ever could, why this should be on everyone’s essential listening schedule.

I wish I had written …

In This Moment – A Star-Crossed Wasteland Review. Boy was I mad when I found this piece for one of my favorite metalcore albums. While my confounding taste is the butt of many a joke for my colleagues and our readers alike, seeing a 1.0 for this record truly hurt my soft baby heart at the time. Given the chance, my assessment would’ve likely precluded me from being hired by AMG Inc in the first place, but nothing could change how dear this record is to me. Even now, over a decade since its release, I still regularly reach for these romantic, adventurous, and theatrical tunes.

I wish I could do over …

Ascend the Hollow – Echoes of Existence Review. I’ll be frank, this review is bad. Like, really bad. Partly due to the last minute nature of the piece and partly due to my unbridled enthusiasm for the record itself, I unleashed a tidal wave of unhinged band comparisons, more than half of which don’t make any sense in retrospect. An insane density of passive voice further plagues this write-up. It’s actually kind of embarrassing. The only things that wouldn’t change much are the overall score and some of the hard points of my analysis. Otherwise, this post desperately needs an overhaul.

I wish more people had read …

Into the Obscure: Straight Line Stitch – When Skies Wash Ashore. While I’m over the moon that one of the band members unexpectedly dropped by in the comments to offer kind words for my coverage of Straight Line Stitch’s excellent When Skies Wash Ashore, I do wish more readers had given this album a chance. Many didn’t bother to even read this article because of the tags, unwilling to spend even five minutes of their time. For an album personally significant to me, that felt pretty lame.

Holdeneye

AMG and me

What does Angry Metal Guy mean to me? Honestly, this is a question that I’m constantly trying to answer. As life goes on, and my kids enter their busy teen years, my hunger to listen to, and write about, new music has definitely waned. But there was a time when this music blog was exactly what I needed in my life. I’ve never felt totally fulfilled by my job as a firefighter, and I went through a period where I questioned whether it was actually the career for me. I considered going back to school or switching professions in order to be able to better use some of my seemingly untapped skills. I’d been reading AMG off and on for years at that point and had already fantasized about joining the roster of talented writers when a casting call came about. I answered the call, forever marring the Angry Metal archives with my questionable taste and questionable humor—and forever changing my life. Put simply, Angry Metal Guy is where I found my voice; it’s where I realized that no matter what it is that I want to say, I have a natural ability to say it in a way that seems to resonate with people. I may have dreams of writing something a little more meaningful than a heavy metal review filled with potty humor, but if that dream should one day come to fruition, all those poop, fart, and penis jokes will have been instrumental in bringing it about.

AMG gave to me …

Anaal Nathrakh // The Whole of the Law – When I first heard this record, it was unlike anything I’d ever heard. Grymm‘s review and the album’s subsequent success during List Season 2016 convinced me to give this thing a whirl, despite it lying way outside my wheelhouse. Sure, I’d enjoyed some extreme metal before, but Anaal Nathrakh was in a whole different league for me. Until The Whole of the Law, I never dreamed I could actually like something so insanely … well … insane. The project’s brand of philosophical violence hit me at a time when I was struggling to reshape my worldview after deconstructing my inherited Christian faith, and just about everything about the album’s aesthetic clicked with me. This record has fueled many a sweaty therapy session in Holdeneye‘s Iron Dungeon of Pain and Enlight(dark)enment™, and it opened me up to a whole new world of musical brutality.

Sabaton // Carolus Rex – This one will probably shock a lot of people. I was a late adopter when it came to Sabaton, and I never really gave their early records a shot because I felt the whole history-metal thing was too gimmicky. But when Angry Metal Guy and Steel Druhm gave Carolus Rex the old tag-team tongue bathing, I took notice. I think the conceptual nature of the album really helped the band’s schtick resonate with me. It was the first time an album had me running to Wikipedia to learn more about the events described in the music, and this combination of learning history and enjoying heavy metal has become the best part of every new Sabaton release since. It’s no exaggeration to say that Sabaton has become one of my favorite bands of all time, and I’ll always be grateful to this site’s malevolent dictators for showing me the way.

Candlemass // Epicus Doomicus Metallicus – If I had to choose a feature that solidified Angry Metal Guy as my go-to metal blog, it would have to be when Angry Metal Guy and Steel Druhm each curated their personal top 50 heavy metal songs of all time back in 2011.3 These features reveal a lot of each of their personalities and their tastes in music, and I found a lot in common with both lists. I used them as tools for broadening my musical horizons, but no other new-to-me album hit me as hard as Candlemass’ EDM. Steel recommended “A Sorcerer’s Pledge” as a ‘doom odyssey akin to Rainbow’s “Stargazer,”‘ and that was all the nudge I needed to give the full album a try. As far as I know, EDM was the first full-fledged doom album I ever loved, and it has grown into a personal desert-island record. Thanks, Boss!

I regret nothing! But I wish I could do over …

Scardust – Strangers Review. While I don’t actually wish I could do this one over, I wish I would have done it harder. Strangers is a world-class album, and it’s only gotten better in the years since its release. This should have been a 4.5, minimum, and it should have been my Album o’ the Year for 2020. I took so much delight in how divisive the album was for our beautiful commenters, and I can only imagine how much more fun it would have been to watch you guys lose it over an even higher score. Scardust is a uniquely talented band, and I really wish I could have helped insert that glowing eggplant into even more earholes.

Sentynel

AMG and me

AMG landed in my life at a pivotal time for my music taste. I stumbled into 70s classic rock and prog in my early teens, and on to Nightwish, Blind Guardian then Isis by my late teens. Searching for more, I found the Skyforger review here and, unwittingly, an endless deluge of new music. I am terribly novelty-seeking, and AMG has kept me interested in music – not for me the endless adulthood of listening to one’s teenage favorites. I’ve picked three highlights I haven’t already written anything about anywhere below, but choosing was a brutal process and I had over a dozen Desert Island Discs-worthy choices shortlisted. But the music is only part of it. Ten years of running the servers here has taught me a lot, and it’s also a source of pride how stable it’s been over that time.4 Eventually, I was talked into trying my hand at reviewing. It’s been rewarding and great for my writing more generally, even if I don’t have time to write as much as I’d like. Huge, huge thanks to Dr. Wvrm‘s editorial help and support. Finally: there’s a weird, worldwide crew of friends behind this site, and I’m proud to be a part of it.

AMG gave to me …

The Ocean // Pelagial – This is the obvious choice for this spot; my favorite record of the 2010s and possibly ever. I never tire of listening to Pelagial, over a decade later. From the opening piano to the last guitar line fading into electrical noise I am transfixed. Sitting on the boundary between prog and post-metal, it’s rich, melodic, even catchy at times, crushing at others. Each of its moods and styles hits perfectly, while the narrative and thematic arc of a descent into the deep gives it an enduring coherence. It’s taken me a few attempts to actually write this piece because I keep getting distracted just listening to it. I’ll never stop seeking out new music, but contenders to Pelagial’s throne are few and far between.

Esben and the Witch // Older Terrors – Perhaps the record I reference the most while trying to explain my specific music taste. This is an incredibly me album. Sparse, hypnotic, atmospheric, Older Terrors does an awful lot with very little. The balance here is incredibly delicate. Getting music this minimalist to have real impact is hard, and the albums where it works are some of my all-time favorites. Here, the folk stylings—the sense of forests, rituals and magic—are key to its success. I associate this album with its cover art much more viscerally than anything else I listen to. It’s genuinely transportive; pressing play feels like stepping into that starlit forest.

Vienna Teng // Aims – Ah, how can I pass up an opportunity to write about an album that only tangentially qualifies for this section on a bunch of axes? I mentioned my love of Teng’s work in my 2023 AotY list, but I think Aims is particularly special. It’s at once incredibly catchy and poppy, yet also very experimental, and really shows off her lyrical and thematic flair. “The Hymn of Acxiom” casts an internet marketing database as a choral hymn, more relevant now than ever; “Landsailor” is a love duet between humanity and capitalism.5 These songs sit alongside more traditional themes of love and loss. They’re heavy subjects handled in a way that’s sensitive and moving. None feel out of place, and I still get them stuck in my head out of the blue regularly. Metal isn’t completely devoid of meaningful lyrics—last year’s Wayfarer did a good job here, for example—but it’s rare that I would describe anything as poetic, or that it makes me think to this degree.

I wish I could do over …

Mitochondrial Sun – Mitochondrial Sun Review. When I penned this review, I was very new to actually writing here, and hadn’t quite figured out my voice or a writing process that really worked for me. I don’t think I did a terrible job by any means, and this isn’t the only thing I’ve underrated here either (looking at you, Musk Ox), but this record is really something special and deserved both a better review and more attention generally.

Huck N Roll

AMG and me

I am olde, and I am stuck in my ways. I only ever read reviews at two sites, and the first of those was AMG. When I applied to write here, I knew for sure I would not get the gig. But by some stroke of luck, AMG Himself missed my application and Steel—perhaps just wanting an equally olde curmudgeon on staff—brought me in. I loved every minute of it. Hopefully, I became a better writer, thanks to all the talented miscreants I was with. What a great group of people – the writers and the regular (and irregular) commenters. It’s certainly a regret of mine that life got in the way and I had to leave the team.

It was the actual reviews on AMG that got me hooked. They were irreverent, entertaining, and always, always brutally honest. Hands down AMG could (and still can, even with 4.0ldeneye)6 be counted on more than any other site for the TRVE review. No 5.0-pandering to labels and bands: if it sucked, it sucked, and if it was good, well, it sucked less.

You might also be surprised to learn what great people these AMG writers are because, once you get behind the review curtain, they are a bunch of sweethearts. I miss them all!7

AMG gave to me

Darkher // Realms – The year I started with AMG, I was a deer in the headlights. Thankfully, I didn’t have to do a full year-end list, just a quick Top Ten(ish). And tops for me was Realms, from Darkher. Thanks to my good friend Grymm’s amazing writeup, I jumped on this album and never jumped off. This album got me more into doom than I’d ever been, and it’s a genre I still go to quite often (although more in the dark of winter than other times). I still spin the vinyl quite a bit. Thanks Grymm!

The Night Flight Orchestra // Amber Galactic – Another of my albums of the year that I discovered thanks to the undying admiration of my (still) good friend Dr. Fisting. Such fun. And when the guy from Bear Mace says he loves it, well, you take him seriously folks! I always read all the reviews here (still do!) and sample anything highly-rated. Amber Galactic is a big reason why.

A whole bunch of super friends // Whether they know it or not – Yes, even you, Grier!8

I wish I had written …

More YMIO features on Kiss. I did manage one for Love Gun but still, the site is sorely lacking in Kiss material.9 There should be two dozen YMIO features now.10 There should be an album ranking.11 There should be … well, maybe that’s enough.

But seriously, I wish I had written a lot more than I did in my final days. Having to cut down to two reviews a month sucked. I love finding new bands (Sermon) and writing about them, and doing it half as much, meant I was also way less engaged with the rest of the staff. So it was a double whammy. Less new music, and less camaraderie.

I wish I could do over …

Raven – Metal City. If I had known the olde feller from Raven was going to pounce on the comments because I said his album was a 2.5, I would have gone lower just to get him going even more. Nothing in my AMG days made me prouder than “Off you fuck, chief” becoming the catchphrase of the year. And Steel, I never bothered listening to All Hell’s Breaking Loose but I know for a fact you overrated it!12

#2024 #Alcest #AMGTurns15 #AnaalNathrakh #AscendTheHollow #BlogPost #BlogPosts #Candlemass #Darkher #Disillusion #EsbenAndTheWitch #Gazpacho #Gorguts #GrymmCommentsOn #Hemina #HypnoticDirgeRecords #InThisMoment #Kanonenfieber #KingGoat #Kiss #MadderMortem #MentalHealthAwareness #Mistur #MitochondrialSun #NaturmachtProductions #Raven #Sabaton #Scardust #Slugdge #StraightLineStitch #SulphurAeon #TheNightFlightOrchestra #TheOcean #TranscendingObscurity #UnfathomableRuination #ViennaTeng #WillsDissolve

First and last full lenght album done on my #Kanonenfieber #MicroMetaljourney

"Menschenmühle" is remarkable. Lyricwise it is very heavy stuff, but that's to be expected on an album about the WW1.

Musicwise it sounds amazing. #BlackMetal is dominant, but as I've written before, it also has its #DeathMetal elements. It is very melodic and even epic I'd say. Sometimes I got strong #AnaalNathrakh vibes.

4/5 Kanonenkugeln, great album!

I'll continue with their EPs now.

#TomsMusic #Metaljourney

Benighted – Ekbom Review

By Saunders

Springing to life some twenty-five years ago, France’s Benighted have carved a legacy of quality output. From rougher beginnings, the deathgrind powerhouse developed and honed their potently addictive formula to a fine point, throwing down technically proficient, slammy deathgrind fireballs with plenty of gusto, a deliciously unhinged bent, and a pig squealing, asylum rioting sense of fun. In a richly competitive modern extreme metal and deathgrind field, Benighted stood out as a personal favorite and remarkably consistent act, remaining an underrated force that don’t get the credit they deserve. Tenth LP Ekbom arrives following a couple of high-quality back-to-back bangers that didn’t quite reach the peak levels of outstanding albums such as 2006’s bludgeoning Identisick, or 2011’s masterwork Asylum Cave, yet were stellar albums, nonetheless.

Keeping trend with recent releases, Ekbom offers few surprises while the brutality, intensity and top-shelf musicianship burn as brightly as ever. Benighted couple brutal death and slam with a lethal, punk-infused dose of deathgrind, further excelling in their ability to instill creepy atmosphere and disturbed lyrical themes/imagery into uncompromisingly heavy yet infectious tunes that still know how to have a good time. Transcending the dumb fun label they’re often saddled with, Benighted’s watertight formula features more than enough technical fireworks, clever dynamic twists, and variables to completely fall into boneheaded realms. Benighted have remained a model of consistency for the best part of their career, with nothing ever feeling forced or phoned in. Ekbom is no exception.

“Scars” unloads explosive bursts of trademark modern Benighted tropes, leaning into tech-ier territory and sliding from intense, charred black atmospheres that would do Anaal Nathrakh proud, to pulse-pounding speed, as sick, gurgling grooves set in. Hooks are scattered plentifully amidst the chaos, as the ludicrously fast rhythms and neck-snapping grooves of “Nothing Left to Fear” attests, featuring an inspired vocal appearance from motor mouthed Archspire frontman Oliver Rae Aleron, a perfect foil to the mangled and versatile vocal chops of Julien Truchan. Ekbom is a precise, bone-jarringly heavy affair, leveraging Benighted’s extreme inclinations and relentless speed with cranium-crushing beatdowns and subtle shreds of melody and technical nuance. The tight runtime makes repeat listens a must and the largely filler-free album refuses to let up. “Le Vice des Entrailles” harnesses Benighted’s most vicious traits into a ripping blackened deathgrind construction, with brutality cranked for maximum impact. Elsewhere, “A Reason for Treason” leans into their punky, grind side with head-stomping bouts of slam and the album’s most bludgeoning grooves. “Scapegoat” hooks, stabs, and pummels in equal measure, while the machine-gunning speed and tech flourishes of “Flesh Against Flesh” are skillfully offset with fun moments of slam-infested deathgrind mayhem.

Despite only the versatile, twisted pipes of Truchan remaining from the original line-up, the current incarnation of Benighted remains solid and performances are on point. Kevin Paradis is an exceptional drummer, propelling their speed-laced, groove-heavy assault with lightning footwork and effortless shifts in rhythm and tempo, amidst creative drum patterns. A phenomenal beast of a vocalist, Truchan’s impressive range stretches across the extreme metal spectrum. Sure, the pig squeals will no doubt rub some people the wrong way, though they aren’t over-used. However, it’s his array of guttural growls, gurgles, rotten eruptions, and glass-shattering shrieks that steal the show and create a formidable stream of extreme vocal flair and variety. Meanwhile, Emmanuel Dalle’s axework stays true to Benighted’s deathgrind roots, infusing infectious riffcraft and technical prowess with punk, black, and brutal death embellishments.

As usual, Benighted’s sonic profile is of the clean and polished variety, almost to a fault on Ekbom, while the throwaway intro track and slow-to-get-going closer mark the only songs that don’t quite hit the mark. Meanwhile, Benighted’s over-the-top brutality and occasional BREEEE BREEEE vocals will remain divisive. Nevertheless, Ekbom marks another quality addition to an entertaining and consistent all-round discography. Benighted remain stubbornly persistent within their chosen craft and mode of gleeful destruction. Ekbom may fall marginally short of the high standards of their past few albums, though it hardly rates as a disappointment due to the band’s lovable x-factor and consistently brutal, engaging songwriting. While long-standing contemporaries and deathgrind veterans Aborted may get more accolades, I encourage the uninitiated to dive headlong into Ekbom and Benighted’s stellar catalog for a primo, chunkified dose of deathgrind supremacy.

Rating: 3.5/5.0
DR: 6 | Format Reviewed: 320kbps mp3
Label: Season of Mist
Websites: benighted.bandcamp.com | facebook.com/brutalbenighted
Releases Worldwide: April 12th, 2024

#2024 #35 #Aborted #AnaalNathrakh #Apr24 #Archspire #Benighted #BrutalDeathMetal #Deathgrind #Ekbom #FrenchMetal #Review #Reviews #SeasonOfMist #Slam

Vitriol – Suffer & Become Review

By Holdeneye

When our resident death metal professor, Ferrous Beuller, covered To Bathe from the Throat of Cowardice, the debut full-length from Portland’s Vitriol, he was struck by the sheer heaviness that dominated the record. And while he noted the enormous potential displayed by the band, he bemoaned the lack of balancing contrast, a lack that prevented the monstrous material from making the intended impact. Now, I like To Bathe… a lot more than Ferrous did, but as a fellow contrast-lover, I have to agree with his general assessment. And so, apparently, does the band. In the promo materials for follow-up Suffer & Become, vocalist and guitarist Kyle Rasmussen states ‘I wanted to have an album that had a stark duality to it. Very high highs and very low lows. I wanted the album to convey a sense of optimism that probably gets lost in the black maelstrom that is the first album.’ With this in mind, I pressed play on Suffer & Become, wondering if this new approach would still live up to the band’s name.

Boy, does it ever. Suffer & Become takes just about everything about To Bathe… and improves upon it ten-fold. Vitriol still carries a base sound defined by the Floridian über-heaviness of Hate Eternal, with bits of the bombastic blackened brutality of Behemoth, the crippling clinicality of Cryptopsy, and the acidic, anguished absurdity of Anaal Nathrakh, but this time around, the compositions (and production) allow for a bit more breathing room—and the album benefits greatly because of it. Embedded single “Weaponized Loss” is perhaps the best example of what Vitriol is offering this time around, with all of the aforementioned influences swirling together in the event horizon of the band’s immense heaviness.

From the opening notes of first track “Shame and Its Afterbirth,” it’s clear that Vitriol have embraced the need for a more varied approach for their auditory assault. A creepy, downcast intro paves the way, allowing the following onslaught to hit that much harder. Most of the rest of the track is relentlessly fast, but it contains a surprising amount of melody with some incredible guitar work. Next comes “The Flowers of Sadism,” a tune that begins with a much slower, groovier approach by employing some touches of the band’s deathcore roots. But the mid-track instrumental “Survival’s Careening Inertia” provides the most exquisite use of contrast on the record. The song begins beautiful and clean, and even when it ups the pace, there’s a triumphant tone to the music. But all of that changes around the two-minute mark when things take a turn for the darker, ending in a symphonic bludgeoning that would make Fleshgod Apocalypse jealous. New drummer Matt Kilner (Nithing) puts on an absolute clinic on the track, and it highlights just how much he brings to the table.

Suffer & Become is one of those rare records that works just as well when taken in as a surface-level cacophony as it does when judiciously consumed with attention to detail. Vitriol’s sound is overwhelming in the best way imaginable, and it’s incredibly satisfying to just lay back and absorb the beatdown. But if you want to put your headphones on and mine the nooks and crannies of these songs, you could probably listen to the album once a day for the next several months and still walk away with appreciation for some newly discovered lick, fill, vocal, or songwriting element. Co-vocalists Rasmussen and Adam Roethlisberger (who also gives an incredible performance on bass) are absolute monsters, and the virtuosity displayed by the band, not to mention the sonic palette, reminds me of another technically proficient Pacific Northwest band that I know and love: Aethereus. I’d list standout tracks for you, but quite honestly, each and every track here has something that makes it a highlight, and the whole package will yield far greater enjoyment when taken in as whole.

Rasmussen describes Suffer & Become as a ‘Jungian Dante’s Inferno,’ the product of a period of intense personal introspection for him—and the integration that occurred as a result. As such, the record shows that Vitriol, the band, has undergone the same transformation; the pure rage, born of suffering, expressed on the band’s debut has been metabolized, emerging with a healthy dose of perspective and nuance. And thanks to this contrast, Vitriol’s sound has become something altogether more powerful—and heavy—in the process.

Rating: 4.0/5.0
DR: 5 | Format Reviewed: 128 kbps mp3
Label: Century Media Records
Websites: vitriolwarfare.bandcamp.com | facebook.com/vitriolwarfare
Releases Worldwide: January 26th, 2024

#2024 #40 #Aethereus #AmericanMetal #AnaalNathrakh #Behemoth #BlackenedDeathMetal #CenturyMediaRecords #Cryptopsy #DeathMetal #FleshgodApocalypse #HateEternal #Jan24 #Nithing #Review #Reviews #SufferBecome #TechnicalDeathMetal #Vitriol

Death Killer – Total Destruction of the Entire Universe Review

By Dolphin Whisperer

What better way to ring in the new year than an album that describes exactly what feels right? Don’t get me wrong, life has its perks, but every now and again Total Destruction of the Entire Universe runs through my head as a solution. But a day job where you have to make call after call to reach a human to help you schedule a delivery appointment but that inevitably goes to a voicemail box that cuts you off before you can leave your info so then you call again and it goes to voicemail and cuts you off so then you call again and it goes to voicemail and cuts you off so you call again and choose the intentionally wrong directory to speak to a human who can transfer you to a voicemail box that isn’t full but then they never call you back… ah shit where was I. Oh yeah, Death Killer, Total Destruction of the Entire Universe—this little debut speaks to me.

Death Killer may not speak to you, though, if you don’t already dig throbbing industrial music in some way. And I don’t mean old-timey industrial thrashings like the out-played lamentations of 00s Ministry work—though tonally, Total Destruction bears some resemblance. But in its drop-tuned chugging and wildly spiraling beats, the most aggressive elements of Total Destruction resemble classic Slipknot works—Iowa in particular1—backed by a drum machine that has no regard for the kind of rhythms that a human could conjure. In that sense, a thuggish nu element pervades through the kind of groove that Death Killer conjures, but luckily for whiny clean sensitive folks, every vocal line here lives by the industrial manta “distort everything”—nu in spirit but often truly sinister in execution.

As such, Total Destruction hits hardest when it lives by its mission statement in an attempt to be a ruthless, experimental, and punishing industrial album. On high tempo numbers, Death Killer approximates the crazy kick violence of Anaal Nathrakh through an (ironically) traditional heavy metal and black metal lens, providing hooks aplenty against its mechanically-traced rhythms (“You Know Nothing About Metal,” “Nobody Survives (Prophecy)”). Whiffs of its modern attitude run through the pummeling angst of wild industrial pioneers Strapping Young Lad present in the grind to near slam of “I Hate People” and the trap (hip-hop) segue that breaks the martial argument of “Retro = Shit.” And, of course, there’s “SNAKES,” which is an incessantly chuggy and rattling number whose lyrics comprise mostly of the word “SNAKES”—it’s great and everyone needs more snakes in their lives.

But after all of the success that comes at the hands of broken guitar tones and vocals stripped of humanity, Death Killer stumbles over its own lesser industrial leanings along the way. I appreciate that the mind behind this project pulls from the sound of scuzzy electronic albums—think grimy Bong-Ra releases or other break-leaning Köhnen projects like Servants of the Apocalyptic Goat Rave—to let bass patches scrape and rumble against a myriad of weird sampled sounds (“Goodbye, Wilhem,” “Dentist”). These vocal-less tracks have a purpose in their own right, with the steady thump of 70 or so BPM providing the right slower grip for many different gym activities. However, in the context of the shreddier flow that everything else sets up, they take me away from the onslaught of heavy hitting drills and inspired tone metal (“You Know Nothing…,” “I Hate People”). And on a similar note, the dark ambience of the creeping closer “Emotional Life” doesn’t tie off the album in any meaningful way.

Nevertheless, the unique soundscape that Death Killer serves enough with its brief debut to make an impact. Moreso than many other metal niches, the industrial platform doesn’t have many modern torchbearers outside of the then-futuristic, now-dated names of the past. And though Total Destruction of the Entire Universe may not be rewriting the book as controversially as promo speak would imply—including the claim that the crushed yet still spacious DR5 would be the “loudest master of the year”2—Death Killer lays a powerful and rebellious attack that feels honest and, well, groovy. Come for the end of world, stay for snakes.

Rating: 3.0/5.0
DR: 5 | Format Reviewed: WAV3
Label: Last Day of the North
Website: deathkiller.bandcamp.com
Releases Worldwide: January 19th, 2024

#2024 #30 #AnaalNathrakh #BongRa #DeathKiller #FinnishMetal #Industrial #IndustrialMetal #Jan24 #LastDayOfTheNorth #Ministry #Review #ServantsOfTheApocalypticGoatRave #Slipknot #StrappingYoungLad #TotalDestructionOfTheEntireUniverse

#TomsRiffHunt continues, so far, I didn't find the riff.

But how awsome ist this tune? 👇

Anaal Nathrakh - Endarkenment

#TomsNowPlaying #NowPlaying #AnaalNathrakh #Endarkenment

#7BandsToKnowMe

#AnaalNathrakh - really crazy guys
#TheProjectHateMCMXCIX - the average track length is around 10 minutes and you will find here everything
#ArchEnemy - really melodic death
#FleshgodApocalypse - death metal from last censures
#Kreator - not yet another trash band
#VultureIndustries - you will not like then from the first time, give them a chance! :)
#Motörhead - Iconic Rock&Roll

#youtubemusic #recap
Yeh, top 2% of #alestorm listeners - done!
#anaalnathrakh - top!
#metalheadclub #youtubemusicrecap