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Angry Metal Guy @[email protected] · 2025-01-06 · 12:13 UTC

By Dolphin Whisperer

Tagging systems and organizational hierarchies tend to steer our ideas of genre classifications toward ins and outs, yeses and nos, boxes next to boxes, tags next to tags. In reality, though—and much in the way people go about describing things as being between x band and y band—genres do have their own spectrums. And in that spirit of living in an accumulation of converging aisles rather than following the merchandising plan, sole mind Steve Wiener (Negative Bliss, Ashenheart) debuts his Am I in Trouble? project as an homage to idiosyncratic acts of this splatter art nature. From his listening youth in the oddball ’00s black metal scene to his modern existence as an experienced, colorful auteur, will Wiener’s first outing as Am I in Trouble? earn him a spot at the top of the charts or in the time-out corner?

With one hand holding the play and whimsy of progressive music and the other gripping the flight of post-leaning drama, AIiT inserts various borrowed extreme elements as it sees fit across Spectrum’s prismatic run. At the cut of blackened melodies that sing with an Agallochified, sullen heart (“White,” “Black”) and the turn of spacey, eerie prog-Coded tails (“Pink,” “Blue”), AIiT finds many ways to show passion and reverence with a heart full of play. All too often, acts can get caught in their own lore, but as a project set out to recapture a remembered and studied sound, Spectrum swirls with its own shades in established, albeit eclectic, lines. In turn, Wiener possesses an equally shifting pipe set—never quite as goofy as early Arcturus bobblehead croons or as blood-freezing as searing Emperor cries—that remains unique enough to make the sound his own. And, with a few helping hands, cementing a more modern barked edge here and there keeps Spectrum from sounding dated in its tribute.

What continues to strike me most about Spectrum, though, is the sense of calm that persists around its extreme endeavors. Bookended by the acoustic and wistful melodies of “Yellow” and “Green,”1 AIiT manages to create a peaceful yet darting world with its jovial, marching open and lighthearted, whistling close. This sense of relaxing harmony pervades through fleeting melodies that warp into climbing yet restrained guitar leads (“White”) and heavily layered clean vocal layers that recall the buoyant nature of Lars Nedland at his cleanest (Age of Silence, White Void). Still, Wiener’s sense of stacking lines for atmosphere rather than anthemic impact allows his ventures into harsh switches to wedge a thicker slice of black metal fervor, both with guests2 and his own vicious shrieks (“Pink” and “Black” in particular).

This same floating character about the softer side of Spectrum’s compositions does cause a couple of hiccups along the way. It’s not that the ethereal nature of AIiT’s play with swelling, reverb-drenched chords (“Pink”) and shimmering patch swirls (“Black”) feel out of place in a black metal excursion of this nature—those elements stand as its highlights. With such careful focus on the expositional twinkle and conclusive prance, Spectrum can feel wanting and inhibited in explosive content. At just a touch over thirty minutes, its bursts feel like but splashes of color in the brilliance of cutting riffs and slithering screams. And with not a moment that needs removal—except for the break to silence in “Red” that bifurcates its movement a touch too long for my liking—Spectrum falls in the rare category of albums that could stand from an extra arrangement or two of AIiT’s broad, explorative palette.

Talent oozes through the meticulous web of studied, diverse black metal architecture that Am I in Trouble? possesses. And through Wiener’s variegated vision of what this style can be, Spectrum shows both its experimental roots and reverent presence. Atmosphere can be double-edged, though—both leaving me wanting more and allowing me to bend gracefully with its bows. I’m never sure whether one hit of Spectrum is enough. What I do know, though, is that I can feel the passion with which Wiener has embarked upon this journey, of one steady mind, and with help from friends, Spectrum makes me smile. I also know that with a debut of this fortitude, an installation of a grander, kaleidoscopic showing hangs in, hopefully, the not too distant future.

Rating: 3.0/5.0
DR: 8 | Format Reviewed: PCM
Label: Self Release3
Websites: ampwall.com/a/amiintrouble4 | instagram.com/ami_in_trouble
Releases Worldwide: January 3rd, 2025

Show 4 footnotes

Guest flute work by Ember Belladonna, also on “White.” ↩
Jonathan Hernandez of Negative Bliss on “Red.” Alex Loach of Ashenheart on “Black.” ↩
Cassettes available through Negative Wingspan. Vinyl available approximately February 28th, 2025 through Bolverk Collective. ↩
Never heard of Ampwall? It’s a cool, new service created by Chris Grigg of Woe as an alternative e-commerce platform for musicians. While other platform expand, sell, and stagnate, Ampwall aims to maintain an artist-first development process. Check it out! ↩

#2025 #30 #Agalloch #AgeOfSilence #AmIInTrouble_ #Arcturus #Ashenheart #BlackMetal #Code #EmberBelladonna #Emperor #IndependentRelease #Jan25 #NegativeBliss #PostBlackMetal #PostMetal #ProgressiveBlackMetal #ProgressiveMetal #SelfRelease #Spectrum #WhiteVoid

#agalloch #ageofsilence #amiintrouble_ #arcturus #ashenheart #blackmetal

Angry Metal Guy @[email protected] · 2024-01-01 · 19:01 UTC

Dr. A.N. Grier’s Top Ten(ish) of 2023

By Dr. A.N. Grier

Another year, another top-ten list from ole Grier. Unfortunately, this was a difficult year to make my selections. Typically, I have to narrow my list from twenty to thirty albums, but this year pretty much narrowed down itself. But it wasn’t only because I was too goddamn busy to listen to music and write reviews, it also wasn’t the best year for metal. Of the hundreds of albums I forced myself to listen to this year, even my honorable mentions are pretty fucking slim. I know many will argue that this was a fantastic year for metal, but I don’t like prog or doom enough to enjoy the stupid number of releases in those genres. And you’re all terrible for encouraging this shit to happen. Hopefully, King Diamond and Mercyful Fate will release albums in 2024 so we can get some real music.

But for all the work that’s taken me away from writing reviews (which is pretty much the only thing I live for these days), it’s been a good year for insulting and making fun of everyone. If I can’t have droves of amazing records, at least I have a bunch of idiots with bad taste to rip on. The number of 4.5s that everyone whored out on this site is an abomination. And, again, this is all your fault for encouraging scores twice what they should be! Idiots. But, besides all the incorrect scores, this is a pretty good crew. While I can’t help but glare (my mom says that’s just how my face is), the Zoom calls are fun, the daily bickering is therapeutic, and the horrible Doom_et_Al hot takes make me feel better about myself. Without Steel, Madam X, and Sentynel, this place would never exist. No matter how much I try to derail it. While the mighty AMG is busy as fuck and isn’t always around, we also wouldn’t be here without him. I also have to give a shout-out to olde and new editors, like Holdeneye, Wvrm, Kenny, Dolph, and Maddog for all the hard work, bringing back old AMG specials, and helping the newbies onboard. It’s very much appreciated. As for the readers… you know what I’m going to say/call you.

Now for the best list of the bunch and pretty much the only one you should read. You’ll find many records you forgot about here, or you hated to begin with which makes you an idiot.

#ish. Blackbraid // Blackbraid II – I hate that I agree with Doom that an album is good. Honestly, it physically and emotionally hurts me. But there’s not much to be done about Blackbraid’s Blackbraid II because I haven’t been able to stop listening to it since it came out. I can’t say it’s my perfect style of black metal, but the emotion is there, and it’s quite convincing. In particular, “Sadness and the Passage of Time and Memory” is a heart-wrenching piece of staggering beauty. While many complain it’s far too long, it’s only because you expected the follow-up to Blackbraid I to be another measly thirty-five minutes. That isn’t Blackbraid II’s fault. That’s your fault. And please don’t get me started with your opinions on the man’s heritage and if he’s insulting rather than honoring that heritage. Instead, let the soothing acoustic interludes guide you to the engulfing nature of “The Spirit Returns” and “A Song of Death on Winds of Dawn” before “Twilight Hymn of Ancient Blood” tears you a new asshole with its crushing, trashing interlude. Blackbraid II is one of the better atmoblack releases of the year and you gotta get over it and accept it.

#10. Mutoid Man // Mutants – Oh, Mutoid Man, you shifty, unpredictable bastard. How you managed to suck me into War Moans is beyond me because, to be frank, this is not typically the type of metal I like. I mean, not that Mutoid Man has ever solidified themselves into a genre. More like ten of them. But the chaos of the songwriting is typically too much for me. However, these purveyors of the perverse can somehow keep the craziness at bay and wrangle everything into a memorable song. That said, Mutants is rather different than its predecessor. While the insanity and wackiness remain, Mutants shortens the leash and keeps them from roaming too far into the street. The result is something a touch more melodic and less thrashy. That said, there are some fucking heavy songs on this record, like “Broken Glass Ceiling” and “Unborn.” But, in the end, this new release is full of feel-good energy that has you smiling far more than pit stomping. Again, something I’d never see myself enjoying but it’s too much fun to ignore. Each spin reveals even more in its construction, inevitably sucking me further into the silly minds of its creators. I do wish for a better master, but it doesn’t stop me from returning again and again.

#9. Omnicidal // The Omnicidalist – Guitarist/vocalist Sebastian Svedlund is one hell of a talented dude. Not only has he been fronting and playing guitar for the stellar Rimfrost, but he’s now formed a new group that is every bit as exceptional as his black metal counterpart. The main difference is that Svedlund flexes his death and thrash metal chops with Omnicidal’s debut record, The Omnicidalist. In a mere forty-one minutes, The Omnicidalist is an entertaining beast of a record. Right out of the gates, “My Knife” cuts you to ribbons and slowly, yet methodically pulls your large intestine from your body. But what makes The Omnicidalist work are the melodic flavorings spattered between their death-thrash attitude. But even that can’t describe the diversity of the record when you run headfirst into the Amon Amarth, melodeath character of “The Passenger” and old-school, Swethrash of the At the Gates-ish “Cemetery Scream.” And like Rimfrost, Omnicidal chose to produce a warm, open, well-rounded master that lets you enjoy every nook and cranny of the band’s performances.

#8. The Night Eternal // Fatale – How Steel caught this at the end of the year before it slipped by, I’ll never know. But, goddamn, am I glad he did. Sending me a private message of its existence, we spent the next 15 minutes in a Mercyful Fate organism. Which is a lot, considering that’s the longest I’ve been able to hold my load. Though not exactly a Mercyful Fate copycat, there are plenty of references that can be made to Fatale. In reality, The Night Eternal reminds me of those recent explorers of the sound created by King Diamond and co. Bands like Attic and In Solitude come to mind as those bands, as well as this one, take the foundation and build their own house on top of it. Steel described Fatale best when he stated that with each new track, you’re pulled deeper and deeper into the album. The two that got me on the first listen were the back-to-back “Prince of Darkness” and “We Praise Death.” With other great songs coming down the line, like “Run with the Wolves” and “Between the Worlds,” my love for the songwriting only strengthened. And it’s been strengthening ever since with each subsequent listen. Let the “Old Man Metal” moniker be damned. This is way better than all your fucking deathgrind cock-core.

#7. Ars Moriendi // Lorsque Les Coeurs S’assèchent – As I write this blurb, I realize my lists are starting to become predictable. Most Grier lists seem to include Second to Sun, Malokarpatan, and Ars Moriendi. But that isn’t my fault. All are prolific and consistent, releasing, if not their best album with each new release, something pretty damn close. Each is also unique in its brand of black metal. The one-person French outfit, Ars Moriendi, is one whose albums are albums in the truest sense. Never have I ever skipped a song or listened to a track without all the others. Like I said in the review for Lorsque Les Coeurs S’assèchent, it’s a journey. Clocking in at fifty-five minutes, these six songs are overlapping nightmares of ambient, progressive black metal. Never settling too long on one idea, each song is packed to the brim with riffs, orchestral atmospheres, organ interludes, and mind-fucking musical landscapes. Still not as popular as they should be, the songwriting coming out of this guy’s fingers, voice, and drumsticks is mind-boggling and surprisingly beautiful. Like previous years, Lorsque Les Coeurs S’assèchent has secured a safe place on Doktor Grier‘s EOY list.

#6. Bizzarekult // Den Tapte Krigen – Bizzarekult is one of the greatest treasures to ever grace us with its presence. Not only is this brand of black metal my thing, but the man behind it is a better AMG commenter than you. Be less you. Be more Bizarre. After the wonderfully moosey Vi overlevde, Den Tapte Krigen bugs out in a serious way. Everything you ever hoped for on this record is there, and more. This time, the progressive elements have greater direction, the riffs hit harder, and the vocal diversity is far superior to the debut album. For example, consider the gorgeous, Green Carnation-like clean vocals of “Du Lovet Meg.” Or, the crushing Carpathian Forest-esque character of “Midt i Stormen.” Not to mention the six-and-a-half-minute closer, “Himmelen er Utilgjengelig,” is one of the band’s most epic pieces. It ebbs and flows through magnificent Enslaved-esque progressiveness, encapsulating every facet of Den Tapte Krigen. But it also hints at more to come. If there’s anything for sure about the band’s wild songwriting approach is that we haven’t heard it all. With each new release, the bizarre factor increases while maintaining a balance of fantastic songs.

#5. Onheil // In Black Ashes – No band this year has incorporated as many influences into their music (and made it work) as this Dutch quintet. Onheil has been absent for nearly a decade, quietly crafting a new record that explores all they’ve done before and pushes further than ever before. Ditching some of the predictable catchiness of 2014’s Storm Is Coming, In Black Ashes shows the band improving their technicality. The performances are a good two rungs higher on the Onheil ladder than the previous record, from the guitars to the bass to the drums. While much of the Amon Amarthian sound of previous releases is gone, they haven’t abandoned those melodeath vibes. Instead, using their Iron Maiden-meets-black/death approach, the result comes out much in the same vein as Mors Principium Est. Vicious, technical, and with headbangable frenzy, In Black Ashes is the band’s clear statement that they aren’t afraid to step out of their comfort zone and try something new. And why not? Onheil is one of the few bands that can produce music of this caliber without it becoming a wank fest or—even worse—a jumbled mess of influences that cripples each song and implodes an album. I just hope we hear from them again sooner rather than later.

#4. Malokarpatan // Vertumnus Caesar – Here’s another staple to my (and the legendary Dr. Fisting‘s) year-end lists. Black metal with hellashes character and a shit ton of impressive guitar work. Giving absolutely no fucks about the rules of the genre, this Slovakian outfit tinkers with cathedral harpsichords, unsetting praying and chanting, and mixing the songwriting styles of Mercyful Fate and Iron Maiden. The result is a wild mishmash of styles that, somehow, avoid being a dumpster fire of influences and conclude as meaningful, complete songs. Honestly, Vertumnus Caesar should only exist in a strange, metal, bizarro world. But, this isn’t the first time they’ve been successful in spitting our weird-ass shit and making it work. They always make it work. And this new release is no different. However, it’s difficult to compare their catalog and determine if Vertumnus Caesar is better than previous releases. Mostly because they continue to tinker with their style on each release. While similarities exist, each album is completely different from the other. Malokarpatan is a breath of fresh air in the black metal genre, with characteristics (if not style) that enforce the no-fucks attitude.

#3. Vulture Industries // Ghosts from the Past – Coming off the heels of 2017’s Stranger Times, Vulture Industries’ newest opus has a lot to prove if it hopes to uproot its predecessor. While never quite ripping up that final root, Ghosts from the Past is every bit as good as Stranger Times. But it does it without sounding like a copycat. It’s drastically different in pace—driving along without exceeding the speed limit, Ghosts from the Past alternates between foot-tappin’ grooves and mighty builds. The opener, “New Lords of Light,” combines both elements, cruising you along the highway before ascending the hill to come face-to-face with a monstrous chorus. Its bookend, the nine-minute “Tyrants Weep Alone,” provides one of the best vocal performances on the album as it builds and builds to a gorgeous passage that leaves my knees weak. But it’s the Song o’ the Year, “Right Here in the Dark,” that encapsulates everything that makes up Vulture Industries in a fun, yet crushing way. Ghosts from the Past’s accessible, Arcturusian style makes it the most fun I’ve had all year.

#2. Sodomisery // Mezzaroth – You knew this was coming. Dr. Sodomisery would not let this list go by without repping these mighty Swedes. After 2020’s mediocre The Great Demise, I didn’t lose faith. I knew there was something to the band’s songwriting approach that would bubble to the top. With Mezzaroth came a new approach, emphasizing the black, death, and melodeath with massive orchestration atmospheres. What makes Mezzaroth work so well is that these atmospherics range across many influences. These include the Dimmu Borgir bigness of “Rebuilding,” the Hypocrisy-esque vocal and guitar work of “Demon in Heaven,” and the Mistur somberness of “Delusion.” While each song stands alone, the depressing theme of mental health pulls them together. And, in the time it takes a high schooler to shower, you’ve already experienced this fantastic album twice in full. It’s a ridiculously tight album for all its content, making it one of my most frequented albums of 2023. Not to mention, the master is slick and dynamic, letting you absorb it through your pores. So, do yourself a favor and get over the band name so you can experience one of the best records of the year.

#1. Mephorash // Krystl-Ah – This one surprised me more than anyone. As I stated in the review of the mighty Krystl-Ah, never in my wildest dreams did I expect Mephorash to top 2019’s Shem Ha Mephorash. But, by god, they did. Krystl-Ah contains all the elements that make Shem Ha Mephorash such a great meloblack record. Huge builds and atmospheres, passionate songwriting, and powerful lyrics and vocal performances. But, Krystl-Ah is a more complete album, transitioning seamlessly from song to song as if it were a single track. Using an approach of long runtimes, the band is completely dependent on pulling off that final climax in each song. But, somehow, they’ve pulled it off even better than they ever have before. Songs like “I Am” and “Mephoriam” add a new dimension that doesn’t so much add layers to the builds, but more like they’re adding band on top of band. There’s no other way to describe the passion and pure massiveness of these songs. Round it out with a dynamic master and Krystl-Ah is the most emotionally demanding record I’ve heard all year.

Honorable Mentions

The Gauntlet // Dark Steel and Fire – No matter how I try, I can not put this little beauty to bed. Combining thrash with Bathorycore, Dark Steel and Fire hits me below the belt and it has never felt so good to have bruised balls.
Tsjuder // Helvegr – It would be silly not to include Helvegr on my list. For the style, Tsjuder is one of the best out there. And, amazingly, they can continue to release quality black metal with the same aggression as they had back in 2000.
Electrocutioner // False Idols – For a rando, False Idols was a fun surprise. Playing rather traditional thrash metal, Electrocutioner delivered an album that acts like a live setlist at your favorite dive bar. In a mere thirty-four minutes, you’ll still be plenty drunk and ordering an Uber to haul your ass home.
Children of the Reptile // Heavy Is the Head – Not only did Children of the Reptile win the award for best band photo, but Heavy Is the Head’s weird mix of heavy metal and thrash was a hell of a good time. Toss in some ridiculous lyrics and you’ll be slapping pig butt all the way to the fair.

Disappointments o’ the Year

Metallica // 72 Seasons – That’s too many seasons. Way too many seasons. I enjoyed St. Anger more.
Immortal // War Against All – Last year it was Abbath’s Dread Reaver. Now this? What the fuck?

Songs o’ the Year

Vulture Industries – “This Hell Is Mine”

This is pretty much how I feel in the AMG office.

Vulture Industries – “Right Here in the Dark”

Easily one of the best songs of the year. Hooking as a motherfucker and so much fun to put on repeat.

Sodomisery – “Delusion”

Lots of Mors Principium Est melodeath thrashiness to make my olde noggin bob.

Mephorash – “I Am”

Like Shem Ha Mephorash’s “Sanguinem,” “I Am” is a quintessential listen for all Mephorash fans.

Mephorash – “Mephoriam”

Easily the most devastating song I’ve heard all year. While it’s incredible, it fucking cripples me.

#2023 #AmonAmarth #Arcturus #ArsMoriendi #AtTheGates #Attic #Bathory #Bizzarekult #Blackbraid #BlogPosts #CarpathianForest #ChildrenOfTheReptile #DimmuBorgir #DrANGrierSTopTenIshOf2023 #Electrocutioner #Eleine #Enslaved #GreenCarnation #Hypocrisy #InSolitude #IronMaiden #KingDiamond #Lists #Listurnalia #Malokarpatan #Mephorash #MercyfulFate #Metallica #Mistur #MorsPrincipiumEst #MutoidMan #Omnicidal #Onheil #Rimfrost #SecondToSun #Sodomisery #TheGuantlet #TheNightEternal #Tsjuder #VultureIndustries

#amonamarth #arcturus #arsmoriendi #atthegates #attic #bathory