#aug24 — Public Fediverse posts

Grendel’s Sÿster – Katabasis into the Abaton [Things You Might Have Missed 2024]

By Angry Metal Guy

Grendel’s Sÿster’s Katabasis into the Abaton (out August 30th, 2024 from Sur Del Cruz Music [Bandcamp]) caught me off guard. Unlike other members of the Angry Metal Guy staff—such as the venerable, self-aware ape suit they call Druhm who’s just one death away from actually running this show if anything should happen to me—I am not a sucker for just anything that sounds old. Such things do not remind me of my wasted youth, and thus do not earn nostalgia points.1 I was, therefore, thoroughly surprised that, upon listening to Grendel’s Sÿster vicariously through an ill-fated n00b review, I fucking loved it. Billed as “epic metal”—a sound that ranges between “Man do we love Bathory” and, apparently, Grendel’s Sÿster—this German four-piece drops metal that reeks of patchouli and “Atomkraft? Nein, Danke!” to surprising effect. The core of Grendel’s Sÿster’s sound is the combination of fuzzy guitars, bubbly p-bass, and boxy drums into something that will undoubtedly call to mind the ’70s hard rock of your choice: Wishbone Ash, Jethro Tull, Thin Lizzy or nostalgia merchants like Gygax. You know the comps; blend guitar-driven rock with folksy vibes and you have Grendel’s Sÿster nailed down (pretty much).

What differentiates Grendel’s Sÿster from other nostalgiacore acts is twofold: first, unusually catchy hooks (“The Plight of the Sorcerer,” both the start-and-stop intro riff and the gorgeous outro or “Rose Arbor” in its classic gallop and simple melody), and second—and more importantly—is vocalist Caro’s unique voice and delivery. Rather than sounding like a classic metal vocalist, Caro’s approach feels like punk. This punky feel results from her unaffected—that is, forceful and clean with no vibrato—delivery, where she sometimes seems like she’s almost barking melodies in a clear Oxford-via-Stuttgart accent in English. Over catchy, short, and energetic songs, Caro gives Grendel’s Sÿster an edge that vocally evokes X-Ray Spex or Elastica and—when mixed with the folky tendencies in songs like the aforementioned “Rose Arbor”—Flogging Molly. Caro navigates folk (“Golden Key [Won’t Fit]”), metalesque vocal choirs (“Night Owl’s Beak”), and something more dour and ominous (“The Fire That Lights Itself”) with aplomb. But she is at her best when giving unexpected attitude over Grand Magus riffs (“Cosmogeny”).

Katabasis into the Abaton taken as a whole combines energetic performances with unique writing—and an old-school, live feel that works for some, but won’t work for others—but that got under my skin almost immediately. Crazily, I’ve been back to this album repeatedly and can’t seem to quit it. Check the Bandcamp and you’ll get both a German and English version. I can’t decide which I like better, but I do like this record a lot but can’t be trusted to write TYMHMs anymore. This is at least a very good record by my reckoning and should appeal to both folk metal dorks and classic rock/metal retrodorks.2 Give Grendel’s Sÿster its due, this is a damned fine debut album.

Tracks to Check Out: ”Cosmogeny,” “The Plight of the Sorcerer,” “The Fire That Lights Itself” – but really, there isn’t a weak track on here.

#2024 #Aug24 #CruzDelSurMusic #Elastica #FloggingMolly #GrandMagus #GrendelSSÿster #Gygax #HeavyMetal #JethroTull #KatabasisIntoTheAbaton #ThinLizzy #ThingsYouMightHaveMissed #ThingsYouMightHaveMissed2024 #TradMetal #WishboneAsh #XRaySpex

Grendel’s Sÿster – Katabasis into the Abaton [Things You Might Have Missed 2024]

By Angry Metal Guy

Grendel’s Sÿster’s Katabasis into the Abaton (out August 30th, 2024 from Sur Del Cruz Music [Bandcamp]) caught me off guard. Unlike other members of the Angry Metal Guy staff—such as the venerable, self-aware ape suit they call Druhm who’s just one death away from actually running this show if anything should happen to me—I am not a sucker for just anything that sounds old. Such things do not remind me of my wasted youth, and thus do not earn nostalgia points.1 I was, therefore, thoroughly surprised that, upon listening to Grendel’s Sÿster vicariously through an ill-fated n00b review, I fucking loved it. Billed as “epic metal”—a sound that ranges between “Man do we love Bathory” and, apparently, Grendel’s Sÿster—this German four-piece drops metal that reeks of patchouli and “Atomkraft? Nein, Danke!” to surprising effect. The core of Grendel’s Sÿster’s sound is the combination of fuzzy guitars, bubbly p-bass, and boxy drums into something that will undoubtedly call to mind the ’70s hard rock of your choice: Wishbone Ash, Jethro Tull, Thin Lizzy or nostalgia merchants like Gygax. You know the comps; blend guitar-driven rock with folksy vibes and you have Grendel’s Sÿster nailed down (pretty much).

What differentiates Grendel’s Sÿster from other nostalgiacore acts is twofold: first, unusually catchy hooks (“The Plight of the Sorcerer,” both the start-and-stop intro riff and the gorgeous outro or “Rose Arbor” in its classic gallop and simple melody), and second—and more importantly—is vocalist Caro’s unique voice and delivery. Rather than sounding like a classic metal vocalist, Caro’s approach feels like punk. This punky feel results from her unaffected—that is, forceful and clean with no vibrato—delivery, where she sometimes seems like she’s almost barking melodies in a clear Oxford-via-Stuttgart accent in English. Over catchy, short, and energetic songs, Caro gives Grendel’s Sÿster an edge that vocally evokes X-Ray Spex or Elastica and—when mixed with the folky tendencies in songs like the aforementioned “Rose Arbor”—Flogging Molly. Caro navigates folk (“Golden Key [Won’t Fit]”), metalesque vocal choirs (“Night Owl’s Beak”), and something more dour and ominous (“The Fire That Lights Itself”) with aplomb. But she is at her best when giving unexpected attitude over Grand Magus riffs (“Cosmogeny”).

Katabasis into the Abaton taken as a whole combines energetic performances with unique writing—and an old-school, live feel that works for some, but won’t work for others—but that got under my skin almost immediately. Crazily, I’ve been back to this album repeatedly and can’t seem to quit it. Check the Bandcamp and you’ll get both a German and English version. I can’t decide which I like better, but I do like this record a lot but can’t be trusted to write TYMHMs anymore. This is at least a very good record by my reckoning and should appeal to both folk metal dorks and classic rock/metal retrodorks.2 Give Grendel’s Sÿster its due, this is a damned fine debut album.

Tracks to Check Out: ”Cosmogeny,” “The Plight of the Sorcerer,” “The Fire That Lights Itself” – but really, there isn’t a weak track on here.

#2024 #Aug24 #CruzDelSurMusic #Elastica #FloggingMolly #GrandMagus #GrendelSSÿster #Gygax #HeavyMetal #JethroTull #KatabasisIntoTheAbaton #ThinLizzy #ThingsYouMightHaveMissed #ThingsYouMightHaveMissed2024 #TradMetal #WishboneAsh #XRaySpex

Grendel’s Sÿster – Katabasis into the Abaton [Things You Might Have Missed 2024]

By Angry Metal Guy

Grendel’s Sÿster’s Katabasis into the Abaton (out August 30th, 2024 from Sur Del Cruz Music [Bandcamp]) caught me off guard. Unlike other members of the Angry Metal Guy staff—such as the venerable, self-aware ape suit they call Druhm who’s just one death away from actually running this show if anything should happen to me—I am not a sucker for just anything that sounds old. Such things do not remind me of my wasted youth, and thus do not earn nostalgia points.1 I was, therefore, thoroughly surprised that, upon listening to Grendel’s Sÿster vicariously through an ill-fated n00b review, I fucking loved it. Billed as “epic metal”—a sound that ranges between “Man do we love Bathory” and, apparently, Grendel’s Sÿster—this German four-piece drops metal that reeks of patchouli and “Atomkraft? Nein, Danke!” to surprising effect. The core of Grendel’s Sÿster’s sound is the combination of fuzzy guitars, bubbly p-bass, and boxy drums into something that will undoubtedly call to mind the ’70s hard rock of your choice: Wishbone Ash, Jethro Tull, Thin Lizzy or nostalgia merchants like Gygax. You know the comps; blend guitar-driven rock with folksy vibes and you have Grendel’s Sÿster nailed down (pretty much).

What differentiates Grendel’s Sÿster from other nostalgiacore acts is twofold: first, unusually catchy hooks (“The Plight of the Sorcerer,” both the start-and-stop intro riff and the gorgeous outro or “Rose Arbor” in its classic gallop and simple melody), and second—and more importantly—is vocalist Caro’s unique voice and delivery. Rather than sounding like a classic metal vocalist, Caro’s approach feels like punk. This punky feel results from her unaffected—that is, forceful and clean with no vibrato—delivery, where she sometimes seems like she’s almost barking melodies in a clear Oxford-via-Stuttgart accent in English. Over catchy, short, and energetic songs, Caro gives Grendel’s Sÿster an edge that vocally evokes X-Ray Spex or Elastica and—when mixed with the folky tendencies in songs like the aforementioned “Rose Arbor”—Flogging Molly. Caro navigates folk (“Golden Key [Won’t Fit]”), metalesque vocal choirs (“Night Owl’s Beak”), and something more dour and ominous (“The Fire That Lights Itself”) with aplomb. But she is at her best when giving unexpected attitude over Grand Magus riffs (“Cosmogeny”).

Katabasis into the Abaton taken as a whole combines energetic performances with unique writing—and an old-school, live feel that works for some, but won’t work for others—but that got under my skin almost immediately. Crazily, I’ve been back to this album repeatedly and can’t seem to quit it. Check the Bandcamp and you’ll get both a German and English version. I can’t decide which I like better, but I do like this record a lot but can’t be trusted to write TYMHMs anymore. This is at least a very good record by my reckoning and should appeal to both folk metal dorks and classic rock/metal retrodorks.2 Give Grendel’s Sÿster its due, this is a damned fine debut album.

Tracks to Check Out: ”Cosmogeny,” “The Plight of the Sorcerer,” “The Fire That Lights Itself” – but really, there isn’t a weak track on here.

#2024 #Aug24 #CruzDelSurMusic #Elastica #FloggingMolly #GrandMagus #GrendelSSÿster #Gygax #HeavyMetal #JethroTull #KatabasisIntoTheAbaton #ThinLizzy #ThingsYouMightHaveMissed #ThingsYouMightHaveMissed2024 #TradMetal #WishboneAsh #XRaySpex

Stuck in the Filter: August and September 2024

By Kenstrosity

I am a stubborn bitch. I work my underlings hard, and I won’t let up until they dig up shiny goodies for me to share with the general public. Share might be a generous term. Foist upon is probably more accurate…

In any case, despite some pretty intense setbacks on my end, I still managed to collect enough material for a two-month spread. HUZZAH! REJOICE! Now get the hell away from me and listen to some of our very cool and good tunes.

Kenstrosity’s Turgid Truncheons

Tenue // Arcos, bóvedas, pórticos [August 1st, 2024 – Self-Release]

Spanish post-black/crust/screamo quartet Tenue earned my favor with their debut record, Anábasis, back in 2018. Equal parts vicious, introspective, and strangely uplifting, that record changed what I thought I could expect from anything bearing the screamo tag. By integrating ascendant black metal tremolos within post-punk structures and crusty attitude, Tenue established a sound that not only opened horizons for me taste-wise but also brought me a great deal of emotional catharsis on its own merit. Follow-up Arcos, bóvedas, pórticos deepens that relationship. Utilizing a wider atmospheric palette (“Distracción”), a shift towards epic song lengths (“Inquietude, and a greater variety of instrumentation (observe the beautiful horns on long-form opener “Inquietude”), and a bluesier swagger than previous material exhibited (“Letargo”), Tenue’s second salvo showcases a musical versatility I wasn’t expecting to complement the bleeding-heart emotional depth I knew would return. This expansion of scale and skillset sets the record apart from almost anything else I’ve heard this year. Even though one or two moments struggle to stick long-term (“Enfoque”), Arcos, bóvedas, pórticos represents an affecting, creative, and ridiculously engaging addition to my listening schedule. And for the low low price of NYP, it ought to be a part of yours as well.

Open Flesh Wound // Vile Putrefaction [August 28th, 2024 – Inherited Suffering Records]

Thicc, muggy slam with a million pick scrapes. Who could ask for anything more? Not I, and so it is with great pleasure that I introduce to my AMG fam Pennsylvania’s very own Open Flesh Wound and their debut LP Vile Putrefaction. Essentially the result of Analepsy’s and Devourment‘s carnal lovemaking, Vile Putrefaction is a nasty, slammy, brutal expulsion of chunky upchuck. Only those with the most caved-in craniums will appreciate the scraping swamp-ass riffs showcased on such slammers as “Smashed in Liquids” and “Cinder Block to the Forehead,” or the groove-laden thuggery of death-focused tracks like the title track, “Fermented Intestinal Blockage” and “Body Baggie.” Vile Putrefaction’s molasses-like production is an absolute boon to this sound as well, with just enough gloss to provide a deliciously moist texture which imparts an unlikely clarity to especially gruesome details in “Stoma Necrosis” and “Skin Like Jelly.” It’s dumb as hell, and isn’t doing anything new, but is an overdose of good, dirty fun. Simple as.

The Flaying // Ni dieu, ni ma​î​tre [September 5th, 2024 – Self Release]

I’ve been singing Canadian melodic death metal quartet The Flaying’s praises for almost six years now. And still to this day not enough people choose to sing with me. Why? Because they wouldn’t know sickeningly fun death metal if it hacked their faces right off. That’s okay, because The Flaying do hack faces right off regardless, and it feels so good to watch the faces of those who don’t heed my call get hacked right off. Third onslaught Ni dieu, ni ma​î​tre proves that once again, The Flaying are an unstoppable force of bass wizardry, riff mastery, and hook-laden songwriting. Opener “Le nécrologiste” perfectly encapsulates The Flaying’s particularly addicting brew of Cannibal Corpse, The Black Dahlia Murder, and De Profundis influences, shaken and stirred until the resulting cocktail blooms with a flavor all its own. Technical and brutally fast, follow-up track “L’enclave” continues the deadly rampage, featuring noodly bass lines guaranteed to elicit stank face in the even most prim and proper elite. A trim twenty nine minutes, spread over ten tightly trained tracks, Ni dieu, ni ma​î​tre boasts unbeatable replay value. Highlights “Ni dieu, ni ma​î​tre,” “Les Frondes” “La forge,” and “Noyau sombre” seal the deal by providing sharp hard points and memorable landmarks to which any listener would look forward. Simply put, this record rocks my socks and further proves that I am right about The Flaying, and those who ignore my recommendation are wrong.

Dolphin Whisperer’s All-Seeing Affirmations

Eye Eater // Alienate [August 1st, 2024 – Self Release]

In a post-Ulcerate world, the modern output of atmosphere-minded death metal has grown exponentially. With ringing dissonant chords and slow post-informed builds taking center stage, bands like New Zealand’s unheralded Eye Eater borrow plenty from the Destroyers of All sound. However, while many acts would be content to dial in the space or ramp up the dissonance to try and put their own twist on this growing post-death movement, Eye Eater looks to the laser-precise melodic tones of progressive, core-borrowing names like Fallujah and Vildhjarta to carve an identity into each of Alienate’s album eight sprawling tracks. Swinging sustained brightness in one hand about the grizzly chug-crush of the other, burly bangers like “Other Planets” and “Failure Artifacts” find churning, djentrified grooves that amplify the swell of the blaring melodies that swirl above the low-end clamor. And though the main refrains of “Alienate” and “Everything You Fear and Hope For” sound like loving odes to their Kiwi Forebears, the growth into sonorous and lush-chorded peaks lands much closer to the attraction of turn of the 10s progressive death/metalcore luminaries The Contortionist had they stayed closer to their heavy-toned, hefty-voiced roots. As an anonymous act with little social presence, it’s hard to say whether Eye Eater has more cooking for the future. With their ears tuned to the recent past for inspiration, it’s easy to see how a band with this kind of melodic immediacy—still wrapped in the weight of a brooding, death metal identity—could easily play for the tops of underground charts. To those who have been following the twists and turns of both underground and accessible over the past decade or so, Eye Eater may not sound entirely novel. But Alienate’s familiarity in presence against its quality of execution and fullness of sound makes it easy to ensnare all the same.

Dissolve // Polymorphic Ways of Unconsciousness [September 20th, 2024 – Self Release]

From the sand-blasted, monochrome human escaping the floor of Polymorphic Ways’ cover to the tags of technical, progressive, death that adorn the Bandcamp tags, it’s easy to put a band like Dissolve in a box, mentally. But with the first bent guitar run that sets off “Efficiency Defiled” in a run like Judas Priest more than Spawn of Possession, it’s clear that Dissolve plays by a different set of rules than your average chug and run tech death band. Yet true to their French nature, the riffs that litter Polymorphic Ways of Unconsciousness possess a tangible groove following the footsteps of lesser-known tricksters Trepalium and Olympic titans of metal Gojira (“The Great Pessimistic,”1 “Polymorphic Ways of Unconsciousness,” “Vultures”). And while too Dissolve finds a base in the low-end trem assault of Morbid Angel (“Ignorance Will Prevail”), there’s a thrash and bark energy at play that nets a rambunctious and experimental sound recalling the warped Hetfield-ian (Metallica) scrawl of Destroy Erase Improve Meshuggah, right down to the monstrous bass tone that defines Sonny Bellonie’s (Sanctuary, ODC) growling, extended range performance. As a trio it’d be easy for guitarist Briac Turquety (Smerter, ex-Sideburn) to rely on overdubs for saturation of sound and complexity of layers—and for solo cut-ins he definitely does—but equally as often his choice to let certain chords and notes escape a thrashy muting to ring in distorted harmony against snaking bass lines. And speaking of solos, Turquety’s prowess ranges from bluesy shred (“The Great Pessimistic,” “Ropes of Madness”) to noisy, jazzy explorations (“Polymorphic…,” “Shattered Minds of Evolution”) to Satriani on Slayer whammy abuse (“Bonfire of the Vanities”)—a true treat to lovers of tasteful shred. Turquety, Bellonie, and Quentin Feron (on drums, also of Smerter) sound as if they’ve been playing together for much longer than the year that Dissolve has existed. With a debut this polished, it’s anyone’s guess as to what kind of monster will emerge from the talent that appears so effortless in assembly.

Obsidian Mantra // As We All Will [September 27th, 2024 – Self Release]

Sometimes, a tangled and foreboding cover sits as the biggest draw amongst a crowd of death metal albums alight with splattered zombie remains, illegible logos, and alarm-colored palettes. And in the case of Obsidian Mantra, it doesn’t hurt that lead single “Cult of Depression” possesses a devastating, hypnotic groove that recalls the once captivating technical whiplash of an early Decapitated. However, rather than wrestle with tones that incite a pure and raw violence like that cornerstone act (or similar Poldeath that has followed in its legacy like Dormant Ordeal), Obsidian Mantra uses aggressive and bass-loaded rhythmic forms to erupt in spacious and glass-toned guitar chimes to create an engrossing neck-snapping (“Slave Without a Master,” “Condemned to Oppression”). Whether we call these downcast refrains a dissonant melody or slowly resolving phrase, they grow throughout each track in a manner that calls continual reinforcement from a rhythm section that can drop into hammering blasts at a dime and a vocal presence that oscillates between vicious snarl and reverberating howl. In its most accessible numbers (“Chaos Will Consume Us All,” “Weavers of Misery”), Obsidian Mantra finds an oppressive warmth that grows to border anthemic, much in the way like beloved blackened/progressive acts like Hath do with their biggest moments. As We All Will still never quite reaches that full mountainous peak, though, opting to pursue the continual call of the groove to keep the listener coming back. Having come a long way from the Meshuggah-centered roots where Obsidian Mantra first sowed their deathly seeds, As We All Will provides 30 minutes of modern, pulsating, and venomous kick-driven pieces that will flare easy motivation for either a brutalizing pit or a mightily-thrusted iron on leg day.

Thus Spoke’s Cursed Collection

Esoctrilihum // Döth-Derniàlh [September 20th, 2024 – I, Voidhanger Records]

We complete another orbit around the Sun, and Esoctrilihum completes another album; such are the inalterable laws governing each 365.25 Earth day period in our Solar System. Possessed by some mad, restless spirit, it seems they cannot be stopped. Ever the experimenter, sole member Asthâghul now picks up an acoustic guitar, a nickelharpa, and warms up his throat for more clean vocals to further bizarre-ify his avant-garde black metal. As we travel into the cosmos for Döth-Derniàlh, Esoctrilihumisms abound in the see-sawing strings and echoes of chanted singing and throaty snarls. The addition of more acoustic elements does bring some weird delicacy to moments here and there (“Zilthuryth (Void of Zeraphaël),” “Murzaithas (Celestial Voices)”), and it adds layers of beauty in addition to those already harmonious passages. it’s striking how well these new instruments blend with the overall sound: so well, in fact, that it almost feels like Esoctrilihum hasn’t evolved at all. This isn’t even a bad thing, because Döth-Derniàlh still feels like an improvement. Past albums have always had at least sections of perfection, where the scattered clouds of self-interfering chaos or repetition blow away and the brilliant light of the moon shines strongly. Döth-Derniàlh has more of these than ever, some extending to whole, 16-minute songs (“Dy’th Eternalhys (The Mortuary Renewal),”).2 If you have it in you to listen to one (more) album over an hour long, and you don’t already know you hate Esoctrilihum, sit down with a drink, and maybe a joint, and go where Döth-Derniàlh takes you.

#2024 #Alienate #AmericanMetal #ArcosBóvedasPórticos #AsWeAllWill #AtmosphericDeathMetal #Aug24 #AvantGarde #BlackMetal #BrutalDeathMetal #CanadianMetal #CannibalCorpse #DeProfundis #DeathMetal #Decapitated #Dissolve #DormantOrdeal #DöthDerniàlh #Esoctrilihum #EyeEater #Fallujah #FrenchMetal #Gojira #GrandMagus #GrendelSSÿster #Gygax #HarcorePunk #IVoidhangerRecords #InheritedSufferingRecords #JethroTull #JudasPriest #MelodicDeathMetal #Meshuggah #Metallica #MorbidAngel #NewZealandMetal #NiDieuNiMaîTre #ObsidianMantra #ODC #OpenFleshWound #PolishMetal #PolymorphicWaysOfUnconsciousness #PostDeathMetal #PostMetal #postPunk #ProgressiveDeathMetal #ProgressiveMetal #Punk #Sanctuary #Screamo #SelfRelease #Sep24 #Sideburn #Slam #Slayer #Smerter #SpanishMetal #SpawnOfPossession #StuckInTheFilter #StuckInTheFilter2024 #TechnicalDeathMetal #Tenue #TheBlackDahliaMurder #TheContortionist #TheFlaying #ThinLizzy #Trepalium #Vildhjarta #VilePutrefaction #WishboneAsh

Stuck in the Filter: August and September 2024

By Kenstrosity

I am a stubborn bitch. I work my underlings hard, and I won’t let up until they dig up shiny goodies for me to share with the general public. Share might be a generous term. Foist upon is probably more accurate…

In any case, despite some pretty intense setbacks on my end, I still managed to collect enough material for a two-month spread. HUZZAH! REJOICE! Now get the hell away from me and listen to some of our very cool and good tunes.

Kenstrosity’s Turgid Truncheons

Tenue // Arcos, bóvedas, pórticos [August 1st, 2024 – Self-Release]

Spanish post-black/crust/screamo quartet Tenue earned my favor with their debut record, Anábasis, back in 2018. Equal parts vicious, introspective, and strangely uplifting, that record changed what I thought I could expect from anything bearing the screamo tag. By integrating ascendant black metal tremolos within post-punk structures and crusty attitude, Tenue established a sound that not only opened horizons for me taste-wise but also brought me a great deal of emotional catharsis on its own merit. Follow-up Arcos, bóvedas, pórticos deepens that relationship. Utilizing a wider atmospheric palette (“Distracción”), a shift towards epic song lengths (“Inquietude, and a greater variety of instrumentation (observe the beautiful horns on long-form opener “Inquietude”), and a bluesier swagger than previous material exhibited (“Letargo”), Tenue’s second salvo showcases a musical versatility I wasn’t expecting to complement the bleeding-heart emotional depth I knew would return. This expansion of scale and skillset sets the record apart from almost anything else I’ve heard this year. Even though one or two moments struggle to stick long-term (“Enfoque”), Arcos, bóvedas, pórticos represents an affecting, creative, and ridiculously engaging addition to my listening schedule. And for the low low price of NYP, it ought to be a part of yours as well.

Open Flesh Wound // Vile Putrefaction [August 28th, 2024 – Inherited Suffering Records]

Thicc, muggy slam with a million pick scrapes. Who could ask for anything more? Not I, and so it is with great pleasure that I introduce to my AMG fam Pennsylvania’s very own Open Flesh Wound and their debut LP Vile Putrefaction. Essentially the result of Analepsy’s and Devourment‘s carnal lovemaking, Vile Putrefaction is a nasty, slammy, brutal expulsion of chunky upchuck. Only those with the most caved-in craniums will appreciate the scraping swamp-ass riffs showcased on such slammers as “Smashed in Liquids” and “Cinder Block to the Forehead,” or the groove-laden thuggery of death-focused tracks like the title track, “Fermented Intestinal Blockage” and “Body Baggie.” Vile Putrefaction’s molasses-like production is an absolute boon to this sound as well, with just enough gloss to provide a deliciously moist texture which imparts an unlikely clarity to especially gruesome details in “Stoma Necrosis” and “Skin Like Jelly.” It’s dumb as hell, and isn’t doing anything new, but is an overdose of good, dirty fun. Simple as.

The Flaying // Ni dieu, ni ma​î​tre [September 5th, 2024 – Self Release]

I’ve been singing Canadian melodic death metal quartet The Flaying’s praises for almost six years now. And still to this day not enough people choose to sing with me. Why? Because they wouldn’t know sickeningly fun death metal if it hacked their faces right off. That’s okay, because The Flaying do hack faces right off regardless, and it feels so good to watch the faces of those who don’t heed my call get hacked right off. Third onslaught Ni dieu, ni ma​î​tre proves that once again, The Flaying are an unstoppable force of bass wizardry, riff mastery, and hook-laden songwriting. Opener “Le nécrologiste” perfectly encapsulates The Flaying’s particularly addicting brew of Cannibal Corpse, The Black Dahlia Murder, and De Profundis influences, shaken and stirred until the resulting cocktail blooms with a flavor all its own. Technical and brutally fast, follow-up track “L’enclave” continues the deadly rampage, featuring noodly bass lines guaranteed to elicit stank face in the even most prim and proper elite. A trim twenty nine minutes, spread over ten tightly trained tracks, Ni dieu, ni ma​î​tre boasts unbeatable replay value. Highlights “Ni dieu, ni ma​î​tre,” “Les Frondes” “La forge,” and “Noyau sombre” seal the deal by providing sharp hard points and memorable landmarks to which any listener would look forward. Simply put, this record rocks my socks and further proves that I am right about The Flaying, and those who ignore my recommendation are wrong.

Dolphin Whisperer’s All-Seeing Affirmations

Eye Eater // Alienate [August 1st, 2024 – Self Release]

In a post-Ulcerate world, the modern output of atmosphere-minded death metal has grown exponentially. With ringing dissonant chords and slow post-informed builds taking center stage, bands like New Zealand’s unheralded Eye Eater borrow plenty from the Destroyers of All sound. However, while many acts would be content to dial in the space or ramp up the dissonance to try and put their own twist on this growing post-death movement, Eye Eater looks to the laser-precise melodic tones of progressive, core-borrowing names like Fallujah and Vildhjarta to carve an identity into each of Alienate’s album eight sprawling tracks. Swinging sustained brightness in one hand about the grizzly chug-crush of the other, burly bangers like “Other Planets” and “Failure Artifacts” find churning, djentrified grooves that amplify the swell of the blaring melodies that swirl above the low-end clamor. And though the main refrains of “Alienate” and “Everything You Fear and Hope For” sound like loving odes to their Kiwi Forebears, the growth into sonorous and lush-chorded peaks lands much closer to the attraction of turn of the 10s progressive death/metalcore luminaries The Contortionist had they stayed closer to their heavy-toned, hefty-voiced roots. As an anonymous act with little social presence, it’s hard to say whether Eye Eater has more cooking for the future. With their ears tuned to the recent past for inspiration, it’s easy to see how a band with this kind of melodic immediacy—still wrapped in the weight of a brooding, death metal identity—could easily play for the tops of underground charts. To those who have been following the twists and turns of both underground and accessible over the past decade or so, Eye Eater may not sound entirely novel. But Alienate’s familiarity in presence against its quality of execution and fullness of sound makes it easy to ensnare all the same.

Dissolve // Polymorphic Ways of Unconsciousness [September 20th, 2024 – Self Release]

From the sand-blasted, monochrome human escaping the floor of Polymorphic Ways’ cover to the tags of technical, progressive, death that adorn the Bandcamp tags, it’s easy to put a band like Dissolve in a box, mentally. But with the first bent guitar run that sets off “Efficiency Defiled” in a run like Judas Priest more than Spawn of Possession, it’s clear that Dissolve plays by a different set of rules than your average chug and run tech death band. Yet true to their French nature, the riffs that litter Polymorphic Ways of Unconsciousness possess a tangible groove following the footsteps of lesser-known tricksters Trepalium and Olympic titans of metal Gojira (“The Great Pessimistic,”1 “Polymorphic Ways of Unconsciousness,” “Vultures”). And while too Dissolve finds a base in the low-end trem assault of Morbid Angel (“Ignorance Will Prevail”), there’s a thrash and bark energy at play that nets a rambunctious and experimental sound recalling the warped Hetfield-ian (Metallica) scrawl of Destroy Erase Improve Meshuggah, right down to the monstrous bass tone that defines Sonny Bellonie’s (Sanctuary, ODC) growling, extended range performance. As a trio it’d be easy for guitarist Briac Turquety (Smerter, ex-Sideburn) to rely on overdubs for saturation of sound and complexity of layers—and for solo cut-ins he definitely does—but equally as often his choice to let certain chords and notes escape a thrashy muting to ring in distorted harmony against snaking bass lines. And speaking of solos, Turquety’s prowess ranges from bluesy shred (“The Great Pessimistic,” “Ropes of Madness”) to noisy, jazzy explorations (“Polymorphic…,” “Shattered Minds of Evolution”) to Satriani on Slayer whammy abuse (“Bonfire of the Vanities”)—a true treat to lovers of tasteful shred. Turquety, Bellonie, and Quentin Feron (on drums, also of Smerter) sound as if they’ve been playing together for much longer than the year that Dissolve has existed. With a debut this polished, it’s anyone’s guess as to what kind of monster will emerge from the talent that appears so effortless in assembly.

Obsidian Mantra // As We All Will [September 27th, 2024 – Self Release]

Sometimes, a tangled and foreboding cover sits as the biggest draw amongst a crowd of death metal albums alight with splattered zombie remains, illegible logos, and alarm-colored palettes. And in the case of Obsidian Mantra, it doesn’t hurt that lead single “Cult of Depression” possesses a devastating, hypnotic groove that recalls the once captivating technical whiplash of an early Decapitated. However, rather than wrestle with tones that incite a pure and raw violence like that cornerstone act (or similar Poldeath that has followed in its legacy like Dormant Ordeal), Obsidian Mantra uses aggressive and bass-loaded rhythmic forms to erupt in spacious and glass-toned guitar chimes to create an engrossing neck-snapping (“Slave Without a Master,” “Condemned to Oppression”). Whether we call these downcast refrains a dissonant melody or slowly resolving phrase, they grow throughout each track in a manner that calls continual reinforcement from a rhythm section that can drop into hammering blasts at a dime and a vocal presence that oscillates between vicious snarl and reverberating howl. In its most accessible numbers (“Chaos Will Consume Us All,” “Weavers of Misery”), Obsidian Mantra finds an oppressive warmth that grows to border anthemic, much in the way like beloved blackened/progressive acts like Hath do with their biggest moments. As We All Will still never quite reaches that full mountainous peak, though, opting to pursue the continual call of the groove to keep the listener coming back. Having come a long way from the Meshuggah-centered roots where Obsidian Mantra first sowed their deathly seeds, As We All Will provides 30 minutes of modern, pulsating, and venomous kick-driven pieces that will flare easy motivation for either a brutalizing pit or a mightily-thrusted iron on leg day.

Thus Spoke’s Cursed Collection

Esoctrilihum // Döth-Derniàlh [September 20th, 2024 – I, Voidhanger Records]

We complete another orbit around the Sun, and Esoctrilihum completes another album; such are the inalterable laws governing each 365.25 Earth day period in our Solar System. Possessed by some mad, restless spirit, it seems they cannot be stopped. Ever the experimenter, sole member Asthâghul now picks up an acoustic guitar, a nickelharpa, and warms up his throat for more clean vocals to further bizarre-ify his avant-garde black metal. As we travel into the cosmos for Döth-Derniàlh, Esoctrilihumisms abound in the see-sawing strings and echoes of chanted singing and throaty snarls. The addition of more acoustic elements does bring some weird delicacy to moments here and there (“Zilthuryth (Void of Zeraphaël),” “Murzaithas (Celestial Voices)”), and it adds layers of beauty in addition to those already harmonious passages. it’s striking how well these new instruments blend with the overall sound: so well, in fact, that it almost feels like Esoctrilihum hasn’t evolved at all. This isn’t even a bad thing, because Döth-Derniàlh still feels like an improvement. Past albums have always had at least sections of perfection, where the scattered clouds of self-interfering chaos or repetition blow away and the brilliant light of the moon shines strongly. Döth-Derniàlh has more of these than ever, some extending to whole, 16-minute songs (“Dy’th Eternalhys (The Mortuary Renewal),”).2 If you have it in you to listen to one (more) album over an hour long, and you don’t already know you hate Esoctrilihum, sit down with a drink, and maybe a joint, and go where Döth-Derniàlh takes you.

#2024 #Alienate #AmericanMetal #ArcosBóvedasPórticos #AsWeAllWill #AtmosphericDeathMetal #Aug24 #AvantGarde #BlackMetal #BrutalDeathMetal #CanadianMetal #CannibalCorpse #DeProfundis #DeathMetal #Decapitated #Dissolve #DormantOrdeal #DöthDerniàlh #Esoctrilihum #EyeEater #Fallujah #FrenchMetal #Gojira #GrandMagus #GrendelSSÿster #Gygax #HarcorePunk #IVoidhangerRecords #InheritedSufferingRecords #JethroTull #JudasPriest #MelodicDeathMetal #Meshuggah #Metallica #MorbidAngel #NewZealandMetal #NiDieuNiMaîTre #ObsidianMantra #ODC #OpenFleshWound #PolishMetal #PolymorphicWaysOfUnconsciousness #PostDeathMetal #PostMetal #postPunk #ProgressiveDeathMetal #ProgressiveMetal #Punk #Sanctuary #Screamo #SelfRelease #Sep24 #Sideburn #Slam #Slayer #Smerter #SpanishMetal #SpawnOfPossession #StuckInTheFilter #StuckInTheFilter2024 #TechnicalDeathMetal #Tenue #TheBlackDahliaMurder #TheContortionist #TheFlaying #ThinLizzy #Trepalium #Vildhjarta #VilePutrefaction #WishboneAsh

Stuck in the Filter: August and September 2024

By Kenstrosity

I am a stubborn bitch. I work my underlings hard, and I won’t let up until they dig up shiny goodies for me to share with the general public. Share might be a generous term. Foist upon is probably more accurate…

In any case, despite some pretty intense setbacks on my end, I still managed to collect enough material for a two-month spread. HUZZAH! REJOICE! Now get the hell away from me and listen to some of our very cool and good tunes.

Kenstrosity’s Turgid Truncheons

Tenue // Arcos, bóvedas, pórticos [August 1st, 2024 – Self-Release]

Spanish post-black/crust/screamo quartet Tenue earned my favor with their debut record, Anábasis, back in 2018. Equal parts vicious, introspective, and strangely uplifting, that record changed what I thought I could expect from anything bearing the screamo tag. By integrating ascendant black metal tremolos within post-punk structures and crusty attitude, Tenue established a sound that not only opened horizons for me taste-wise but also brought me a great deal of emotional catharsis on its own merit. Follow-up Arcos, bóvedas, pórticos deepens that relationship. Utilizing a wider atmospheric palette (“Distracción”), a shift towards epic song lengths (“Inquietude, and a greater variety of instrumentation (observe the beautiful horns on long-form opener “Inquietude”), and a bluesier swagger than previous material exhibited (“Letargo”), Tenue’s second salvo showcases a musical versatility I wasn’t expecting to complement the bleeding-heart emotional depth I knew would return. This expansion of scale and skillset sets the record apart from almost anything else I’ve heard this year. Even though one or two moments struggle to stick long-term (“Enfoque”), Arcos, bóvedas, pórticos represents an affecting, creative, and ridiculously engaging addition to my listening schedule. And for the low low price of NYP, it ought to be a part of yours as well.

Open Flesh Wound // Vile Putrefaction [August 28th, 2024 – Inherited Suffering Records]

Thicc, muggy slam with a million pick scrapes. Who could ask for anything more? Not I, and so it is with great pleasure that I introduce to my AMG fam Pennsylvania’s very own Open Flesh Wound and their debut LP Vile Putrefaction. Essentially the result of Analepsy’s and Devourment‘s carnal lovemaking, Vile Putrefaction is a nasty, slammy, brutal expulsion of chunky upchuck. Only those with the most caved-in craniums will appreciate the scraping swamp-ass riffs showcased on such slammers as “Smashed in Liquids” and “Cinder Block to the Forehead,” or the groove-laden thuggery of death-focused tracks like the title track, “Fermented Intestinal Blockage” and “Body Baggie.” Vile Putrefaction’s molasses-like production is an absolute boon to this sound as well, with just enough gloss to provide a deliciously moist texture which imparts an unlikely clarity to especially gruesome details in “Stoma Necrosis” and “Skin Like Jelly.” It’s dumb as hell, and isn’t doing anything new, but is an overdose of good, dirty fun. Simple as.

The Flaying // Ni dieu, ni ma​î​tre [September 5th, 2024 – Self Release]

I’ve been singing Canadian melodic death metal quartet The Flaying’s praises for almost six years now. And still to this day not enough people choose to sing with me. Why? Because they wouldn’t know sickeningly fun death metal if it hacked their faces right off. That’s okay, because The Flaying do hack faces right off regardless, and it feels so good to watch the faces of those who don’t heed my call get hacked right off. Third onslaught Ni dieu, ni ma​î​tre proves that once again, The Flaying are an unstoppable force of bass wizardry, riff mastery, and hook-laden songwriting. Opener “Le nécrologiste” perfectly encapsulates The Flaying’s particularly addicting brew of Cannibal Corpse, The Black Dahlia Murder, and De Profundis influences, shaken and stirred until the resulting cocktail blooms with a flavor all its own. Technical and brutally fast, follow-up track “L’enclave” continues the deadly rampage, featuring noodly bass lines guaranteed to elicit stank face in the even most prim and proper elite. A trim twenty nine minutes, spread over ten tightly trained tracks, Ni dieu, ni ma​î​tre boasts unbeatable replay value. Highlights “Ni dieu, ni ma​î​tre,” “Les Frondes” “La forge,” and “Noyau sombre” seal the deal by providing sharp hard points and memorable landmarks to which any listener would look forward. Simply put, this record rocks my socks and further proves that I am right about The Flaying, and those who ignore my recommendation are wrong.

Dolphin Whisperer’s All-Seeing Affirmations

Eye Eater // Alienate [August 1st, 2024 – Self Release]

In a post-Ulcerate world, the modern output of atmosphere-minded death metal has grown exponentially. With ringing dissonant chords and slow post-informed builds taking center stage, bands like New Zealand’s unheralded Eye Eater borrow plenty from the Destroyers of All sound. However, while many acts would be content to dial in the space or ramp up the dissonance to try and put their own twist on this growing post-death movement, Eye Eater looks to the laser-precise melodic tones of progressive, core-borrowing names like Fallujah and Vildhjarta to carve an identity into each of Alienate’s album eight sprawling tracks. Swinging sustained brightness in one hand about the grizzly chug-crush of the other, burly bangers like “Other Planets” and “Failure Artifacts” find churning, djentrified grooves that amplify the swell of the blaring melodies that swirl above the low-end clamor. And though the main refrains of “Alienate” and “Everything You Fear and Hope For” sound like loving odes to their Kiwi Forebears, the growth into sonorous and lush-chorded peaks lands much closer to the attraction of turn of the 10s progressive death/metalcore luminaries The Contortionist had they stayed closer to their heavy-toned, hefty-voiced roots. As an anonymous act with little social presence, it’s hard to say whether Eye Eater has more cooking for the future. With their ears tuned to the recent past for inspiration, it’s easy to see how a band with this kind of melodic immediacy—still wrapped in the weight of a brooding, death metal identity—could easily play for the tops of underground charts. To those who have been following the twists and turns of both underground and accessible over the past decade or so, Eye Eater may not sound entirely novel. But Alienate’s familiarity in presence against its quality of execution and fullness of sound makes it easy to ensnare all the same.

Dissolve // Polymorphic Ways of Unconsciousness [September 20th, 2024 – Self Release]

From the sand-blasted, monochrome human escaping the floor of Polymorphic Ways’ cover to the tags of technical, progressive, death that adorn the Bandcamp tags, it’s easy to put a band like Dissolve in a box, mentally. But with the first bent guitar run that sets off “Efficiency Defiled” in a run like Judas Priest more than Spawn of Possession, it’s clear that Dissolve plays by a different set of rules than your average chug and run tech death band. Yet true to their French nature, the riffs that litter Polymorphic Ways of Unconsciousness possess a tangible groove following the footsteps of lesser-known tricksters Trepalium and Olympic titans of metal Gojira (“The Great Pessimistic,”1 “Polymorphic Ways of Unconsciousness,” “Vultures”). And while too Dissolve finds a base in the low-end trem assault of Morbid Angel (“Ignorance Will Prevail”), there’s a thrash and bark energy at play that nets a rambunctious and experimental sound recalling the warped Hetfield-ian (Metallica) scrawl of Destroy Erase Improve Meshuggah, right down to the monstrous bass tone that defines Sonny Bellonie’s (Sanctuary, ODC) growling, extended range performance. As a trio it’d be easy for guitarist Briac Turquety (Smerter, ex-Sideburn) to rely on overdubs for saturation of sound and complexity of layers—and for solo cut-ins he definitely does—but equally as often his choice to let certain chords and notes escape a thrashy muting to ring in distorted harmony against snaking bass lines. And speaking of solos, Turquety’s prowess ranges from bluesy shred (“The Great Pessimistic,” “Ropes of Madness”) to noisy, jazzy explorations (“Polymorphic…,” “Shattered Minds of Evolution”) to Satriani on Slayer whammy abuse (“Bonfire of the Vanities”)—a true treat to lovers of tasteful shred. Turquety, Bellonie, and Quentin Feron (on drums, also of Smerter) sound as if they’ve been playing together for much longer than the year that Dissolve has existed. With a debut this polished, it’s anyone’s guess as to what kind of monster will emerge from the talent that appears so effortless in assembly.

Obsidian Mantra // As We All Will [September 27th, 2024 – Self Release]

Sometimes, a tangled and foreboding cover sits as the biggest draw amongst a crowd of death metal albums alight with splattered zombie remains, illegible logos, and alarm-colored palettes. And in the case of Obsidian Mantra, it doesn’t hurt that lead single “Cult of Depression” possesses a devastating, hypnotic groove that recalls the once captivating technical whiplash of an early Decapitated. However, rather than wrestle with tones that incite a pure and raw violence like that cornerstone act (or similar Poldeath that has followed in its legacy like Dormant Ordeal), Obsidian Mantra uses aggressive and bass-loaded rhythmic forms to erupt in spacious and glass-toned guitar chimes to create an engrossing neck-snapping (“Slave Without a Master,” “Condemned to Oppression”). Whether we call these downcast refrains a dissonant melody or slowly resolving phrase, they grow throughout each track in a manner that calls continual reinforcement from a rhythm section that can drop into hammering blasts at a dime and a vocal presence that oscillates between vicious snarl and reverberating howl. In its most accessible numbers (“Chaos Will Consume Us All,” “Weavers of Misery”), Obsidian Mantra finds an oppressive warmth that grows to border anthemic, much in the way like beloved blackened/progressive acts like Hath do with their biggest moments. As We All Will still never quite reaches that full mountainous peak, though, opting to pursue the continual call of the groove to keep the listener coming back. Having come a long way from the Meshuggah-centered roots where Obsidian Mantra first sowed their deathly seeds, As We All Will provides 30 minutes of modern, pulsating, and venomous kick-driven pieces that will flare easy motivation for either a brutalizing pit or a mightily-thrusted iron on leg day.

Thus Spoke’s Cursed Collection

Esoctrilihum // Döth-Derniàlh [September 20th, 2024 – I, Voidhanger Records]

We complete another orbit around the Sun, and Esoctrilihum completes another album; such are the inalterable laws governing each 365.25 Earth day period in our Solar System. Possessed by some mad, restless spirit, it seems they cannot be stopped. Ever the experimenter, sole member Asthâghul now picks up an acoustic guitar, a nickelharpa, and warms up his throat for more clean vocals to further bizarre-ify his avant-garde black metal. As we travel into the cosmos for Döth-Derniàlh, Esoctrilihumisms abound in the see-sawing strings and echoes of chanted singing and throaty snarls. The addition of more acoustic elements does bring some weird delicacy to moments here and there (“Zilthuryth (Void of Zeraphaël),” “Murzaithas (Celestial Voices)”), and it adds layers of beauty in addition to those already harmonious passages. it’s striking how well these new instruments blend with the overall sound: so well, in fact, that it almost feels like Esoctrilihum hasn’t evolved at all. This isn’t even a bad thing, because Döth-Derniàlh still feels like an improvement. Past albums have always had at least sections of perfection, where the scattered clouds of self-interfering chaos or repetition blow away and the brilliant light of the moon shines strongly. Döth-Derniàlh has more of these than ever, some extending to whole, 16-minute songs (“Dy’th Eternalhys (The Mortuary Renewal),”).2 If you have it in you to listen to one (more) album over an hour long, and you don’t already know you hate Esoctrilihum, sit down with a drink, and maybe a joint, and go where Döth-Derniàlh takes you.

#2024 #Alienate #AmericanMetal #ArcosBóvedasPórticos #AsWeAllWill #AtmosphericDeathMetal #Aug24 #AvantGarde #BlackMetal #BrutalDeathMetal #CanadianMetal #CannibalCorpse #DeProfundis #DeathMetal #Decapitated #Dissolve #DormantOrdeal #DöthDerniàlh #Esoctrilihum #EyeEater #Fallujah #FrenchMetal #Gojira #GrandMagus #GrendelSSÿster #Gygax #HarcorePunk #IVoidhangerRecords #InheritedSufferingRecords #JethroTull #JudasPriest #MelodicDeathMetal #Meshuggah #Metallica #MorbidAngel #NewZealandMetal #NiDieuNiMaîTre #ObsidianMantra #ODC #OpenFleshWound #PolishMetal #PolymorphicWaysOfUnconsciousness #PostDeathMetal #PostMetal #postPunk #ProgressiveDeathMetal #ProgressiveMetal #Punk #Sanctuary #Screamo #SelfRelease #Sep24 #Sideburn #Slam #Slayer #Smerter #SpanishMetal #SpawnOfPossession #StuckInTheFilter #StuckInTheFilter2024 #TechnicalDeathMetal #Tenue #TheBlackDahliaMurder #TheContortionist #TheFlaying #ThinLizzy #Trepalium #Vildhjarta #VilePutrefaction #WishboneAsh

Stuck in the Filter: August and September 2024

By Kenstrosity

I am a stubborn bitch. I work my underlings hard, and I won’t let up until they dig up shiny goodies for me to share with the general public. Share might be a generous term. Foist upon is probably more accurate…

In any case, despite some pretty intense setbacks on my end, I still managed to collect enough material for a two-month spread. HUZZAH! REJOICE! Now get the hell away from me and listen to some of our very cool and good tunes.

Kenstrosity’s Turgid Truncheons

Tenue // Arcos, bóvedas, pórticos [August 1st, 2024 – Self-Release]

Spanish post-black/crust/screamo quartet Tenue earned my favor with their debut record, Anábasis, back in 2018. Equal parts vicious, introspective, and strangely uplifting, that record changed what I thought I could expect from anything bearing the screamo tag. By integrating ascendant black metal tremolos within post-punk structures and crusty attitude, Tenue established a sound that not only opened horizons for me taste-wise but also brought me a great deal of emotional catharsis on its own merit. Follow-up Arcos, bóvedas, pórticos deepens that relationship. Utilizing a wider atmospheric palette (“Distracción”), a shift towards epic song lengths (“Inquietude, and a greater variety of instrumentation (observe the beautiful horns on long-form opener “Inquietude”), and a bluesier swagger than previous material exhibited (“Letargo”), Tenue’s second salvo showcases a musical versatility I wasn’t expecting to complement the bleeding-heart emotional depth I knew would return. This expansion of scale and skillset sets the record apart from almost anything else I’ve heard this year. Even though one or two moments struggle to stick long-term (“Enfoque”), Arcos, bóvedas, pórticos represents an affecting, creative, and ridiculously engaging addition to my listening schedule. And for the low low price of NYP, it ought to be a part of yours as well.

Open Flesh Wound // Vile Putrefaction [August 28th, 2024 – Inherited Suffering Records]

Thicc, muggy slam with a million pick scrapes. Who could ask for anything more? Not I, and so it is with great pleasure that I introduce to my AMG fam Pennsylvania’s very own Open Flesh Wound and their debut LP Vile Putrefaction. Essentially the result of Analepsy’s and Devourment‘s carnal lovemaking, Vile Putrefaction is a nasty, slammy, brutal expulsion of chunky upchuck. Only those with the most caved-in craniums will appreciate the scraping swamp-ass riffs showcased on such slammers as “Smashed in Liquids” and “Cinder Block to the Forehead,” or the groove-laden thuggery of death-focused tracks like the title track, “Fermented Intestinal Blockage” and “Body Baggie.” Vile Putrefaction’s molasses-like production is an absolute boon to this sound as well, with just enough gloss to provide a deliciously moist texture which imparts an unlikely clarity to especially gruesome details in “Stoma Necrosis” and “Skin Like Jelly.” It’s dumb as hell, and isn’t doing anything new, but is an overdose of good, dirty fun. Simple as.

The Flaying // Ni dieu, ni ma​î​tre [September 5th, 2024 – Self Release]

I’ve been singing Canadian melodic death metal quartet The Flaying’s praises for almost six years now. And still to this day not enough people choose to sing with me. Why? Because they wouldn’t know sickeningly fun death metal if it hacked their faces right off. That’s okay, because The Flaying do hack faces right off regardless, and it feels so good to watch the faces of those who don’t heed my call get hacked right off. Third onslaught Ni dieu, ni ma​î​tre proves that once again, The Flaying are an unstoppable force of bass wizardry, riff mastery, and hook-laden songwriting. Opener “Le nécrologiste” perfectly encapsulates The Flaying’s particularly addicting brew of Cannibal Corpse, The Black Dahlia Murder, and De Profundis influences, shaken and stirred until the resulting cocktail blooms with a flavor all its own. Technical and brutally fast, follow-up track “L’enclave” continues the deadly rampage, featuring noodly bass lines guaranteed to elicit stank face in the even most prim and proper elite. A trim twenty nine minutes, spread over ten tightly trained tracks, Ni dieu, ni ma​î​tre boasts unbeatable replay value. Highlights “Ni dieu, ni ma​î​tre,” “Les Frondes” “La forge,” and “Noyau sombre” seal the deal by providing sharp hard points and memorable landmarks to which any listener would look forward. Simply put, this record rocks my socks and further proves that I am right about The Flaying, and those who ignore my recommendation are wrong.

Dolphin Whisperer’s All-Seeing Affirmations

Eye Eater // Alienate [August 1st, 2024 – Self Release]

In a post-Ulcerate world, the modern output of atmosphere-minded death metal has grown exponentially. With ringing dissonant chords and slow post-informed builds taking center stage, bands like New Zealand’s unheralded Eye Eater borrow plenty from the Destroyers of All sound. However, while many acts would be content to dial in the space or ramp up the dissonance to try and put their own twist on this growing post-death movement, Eye Eater looks to the laser-precise melodic tones of progressive, core-borrowing names like Fallujah and Vildhjarta to carve an identity into each of Alienate’s album eight sprawling tracks. Swinging sustained brightness in one hand about the grizzly chug-crush of the other, burly bangers like “Other Planets” and “Failure Artifacts” find churning, djentrified grooves that amplify the swell of the blaring melodies that swirl above the low-end clamor. And though the main refrains of “Alienate” and “Everything You Fear and Hope For” sound like loving odes to their Kiwi Forebears, the growth into sonorous and lush-chorded peaks lands much closer to the attraction of turn of the 10s progressive death/metalcore luminaries The Contortionist had they stayed closer to their heavy-toned, hefty-voiced roots. As an anonymous act with little social presence, it’s hard to say whether Eye Eater has more cooking for the future. With their ears tuned to the recent past for inspiration, it’s easy to see how a band with this kind of melodic immediacy—still wrapped in the weight of a brooding, death metal identity—could easily play for the tops of underground charts. To those who have been following the twists and turns of both underground and accessible over the past decade or so, Eye Eater may not sound entirely novel. But Alienate’s familiarity in presence against its quality of execution and fullness of sound makes it easy to ensnare all the same.

Dissolve // Polymorphic Ways of Unconsciousness [September 20th, 2024 – Self Release]

From the sand-blasted, monochrome human escaping the floor of Polymorphic Ways’ cover to the tags of technical, progressive, death that adorn the Bandcamp tags, it’s easy to put a band like Dissolve in a box, mentally. But with the first bent guitar run that sets off “Efficiency Defiled” in a run like Judas Priest more than Spawn of Possession, it’s clear that Dissolve plays by a different set of rules than your average chug and run tech death band. Yet true to their French nature, the riffs that litter Polymorphic Ways of Unconsciousness possess a tangible groove following the footsteps of lesser-known tricksters Trepalium and Olympic titans of metal Gojira (“The Great Pessimistic,”1 “Polymorphic Ways of Unconsciousness,” “Vultures”). And while too Dissolve finds a base in the low-end trem assault of Morbid Angel (“Ignorance Will Prevail”), there’s a thrash and bark energy at play that nets a rambunctious and experimental sound recalling the warped Hetfield-ian (Metallica) scrawl of Destroy Erase Improve Meshuggah, right down to the monstrous bass tone that defines Sonny Bellonie’s (Sanctuary, ODC) growling, extended range performance. As a trio it’d be easy for guitarist Briac Turquety (Smerter, ex-Sideburn) to rely on overdubs for saturation of sound and complexity of layers—and for solo cut-ins he definitely does—but equally as often his choice to let certain chords and notes escape a thrashy muting to ring in distorted harmony against snaking bass lines. And speaking of solos, Turquety’s prowess ranges from bluesy shred (“The Great Pessimistic,” “Ropes of Madness”) to noisy, jazzy explorations (“Polymorphic…,” “Shattered Minds of Evolution”) to Satriani on Slayer whammy abuse (“Bonfire of the Vanities”)—a true treat to lovers of tasteful shred. Turquety, Bellonie, and Quentin Feron (on drums, also of Smerter) sound as if they’ve been playing together for much longer than the year that Dissolve has existed. With a debut this polished, it’s anyone’s guess as to what kind of monster will emerge from the talent that appears so effortless in assembly.

Obsidian Mantra // As We All Will [September 27th, 2024 – Self Release]

Sometimes, a tangled and foreboding cover sits as the biggest draw amongst a crowd of death metal albums alight with splattered zombie remains, illegible logos, and alarm-colored palettes. And in the case of Obsidian Mantra, it doesn’t hurt that lead single “Cult of Depression” possesses a devastating, hypnotic groove that recalls the once captivating technical whiplash of an early Decapitated. However, rather than wrestle with tones that incite a pure and raw violence like that cornerstone act (or similar Poldeath that has followed in its legacy like Dormant Ordeal), Obsidian Mantra uses aggressive and bass-loaded rhythmic forms to erupt in spacious and glass-toned guitar chimes to create an engrossing neck-snapping (“Slave Without a Master,” “Condemned to Oppression”). Whether we call these downcast refrains a dissonant melody or slowly resolving phrase, they grow throughout each track in a manner that calls continual reinforcement from a rhythm section that can drop into hammering blasts at a dime and a vocal presence that oscillates between vicious snarl and reverberating howl. In its most accessible numbers (“Chaos Will Consume Us All,” “Weavers of Misery”), Obsidian Mantra finds an oppressive warmth that grows to border anthemic, much in the way like beloved blackened/progressive acts like Hath do with their biggest moments. As We All Will still never quite reaches that full mountainous peak, though, opting to pursue the continual call of the groove to keep the listener coming back. Having come a long way from the Meshuggah-centered roots where Obsidian Mantra first sowed their deathly seeds, As We All Will provides 30 minutes of modern, pulsating, and venomous kick-driven pieces that will flare easy motivation for either a brutalizing pit or a mightily-thrusted iron on leg day.

Thus Spoke’s Cursed Collection

Esoctrilihum // Döth-Derniàlh [September 20th, 2024 – I, Voidhanger Records]

We complete another orbit around the Sun, and Esoctrilihum completes another album; such are the inalterable laws governing each 365.25 Earth day period in our Solar System. Possessed by some mad, restless spirit, it seems they cannot be stopped. Ever the experimenter, sole member Asthâghul now picks up an acoustic guitar, a nickelharpa, and warms up his throat for more clean vocals to further bizarre-ify his avant-garde black metal. As we travel into the cosmos for Döth-Derniàlh, Esoctrilihumisms abound in the see-sawing strings and echoes of chanted singing and throaty snarls. The addition of more acoustic elements does bring some weird delicacy to moments here and there (“Zilthuryth (Void of Zeraphaël),” “Murzaithas (Celestial Voices)”), and it adds layers of beauty in addition to those already harmonious passages. it’s striking how well these new instruments blend with the overall sound: so well, in fact, that it almost feels like Esoctrilihum hasn’t evolved at all. This isn’t even a bad thing, because Döth-Derniàlh still feels like an improvement. Past albums have always had at least sections of perfection, where the scattered clouds of self-interfering chaos or repetition blow away and the brilliant light of the moon shines strongly. Döth-Derniàlh has more of these than ever, some extending to whole, 16-minute songs (“Dy’th Eternalhys (The Mortuary Renewal),”).2 If you have it in you to listen to one (more) album over an hour long, and you don’t already know you hate Esoctrilihum, sit down with a drink, and maybe a joint, and go where Döth-Derniàlh takes you.

Show 2 footnotes

1. Remember, they’re French, not English majors. ↩
2. This sounds like a horrible backhanded compliment, but when you’re making music this esoteric and long-winded, it’s unironically impressive. ↩

#2024 #Alienate #AmericanMetal #ArcosBóvedasPórticos #AsWeAllWill #AtmosphericDeathMetal #Aug24 #AvantGarde #BlackMetal #BrutalDeathMetal #CanadianMetal #CannibalCorpse #DeProfundis #DeathMetal #Decapitated #Dissolve #DormantOrdeal #DöthDerniàlh #Esoctrilihum #EyeEater #Fallujah #FrenchMetal #Gojira #GrandMagus #GrendelSSÿster #Gygax #HarcorePunk #IVoidhangerRecords #InheritedSufferingRecords #JethroTull #JudasPriest #MelodicDeathMetal #Meshuggah #Metallica #MorbidAngel #NewZealandMetal #NiDieuNiMaîTre #ObsidianMantra #ODC #OpenFleshWound #PolishMetal #PolymorphicWaysOfUnconsciousness #PostDeathMetal #PostMetal #postPunk #ProgressiveDeathMetal #ProgressiveMetal #Punk #Sanctuary #Screamo #SelfRelease #Sep24 #Sideburn #Slam #Slayer #Smerter #SpanishMetal #SpawnOfPossession #StuckInTheFilter #StuckInTheFilter2024 #TechnicalDeathMetal #Tenue #TheBlackDahliaMurder #TheContortionist #TheFlaying #ThinLizzy #Trepalium #Vildhjarta #VilePutrefaction #WishboneAsh

Record(s) o’ the Month – August 2024

By Angry Metal Guy

August of 2024 was a pretty good month. First, it marked my return from the Injured Reserve, where I’d been nursing a high ego sprain and nagging executive dysfunction issues. These aren’t perfectly fixed, but being back on the field has shown beyond a doubt that I’m still a force to be reckoned with. Second, August of 2024 was a particularly fecund month for potential Records o’ the Month. This surprised me.

I couldn’t remember August being a particularly productive month historically and as I went back through the archive, that seems sort of true. Between 2012—when the RotM was started—and 2023, the hit rate for August Record(s) o’ the Month landing on my Top 10(ish) list for the year is 73%. Only once has an August record reached the top spot—that would be Pale Communion—with Sophicide hitting #2 in 2012 and Lör’s In Forgotten Sleep getting a #3 spot in 2017. Turisas’ controversial Turisas2013 was a runner-up in August of 2013 and ended up at #5, while the actual winner—Witherscape’s excellent The Inheritance—took the #10 spot on that list. 2020 saw Havukruunu ending up at #7, and Crypta’s Shades of Sorrow took #9 last year. The rest is a sea of -ishes and honorable mentions: Cattle Decapitation (2015), Dialith and Eternal Storm (2019), and Pain of Salvation in 2020.

And in 2024? How many of these babies will follow me to the end of the year? I’ve got an inkling, but I’m curious to see what you think.1

Dawn Treader’s Bloom & Decay—out August 24th from Liminal Dread Productions [Bandcamp]—is one of the biggest surprises of 2024 so far. The ‘one-man black metal project’ is a minefield of absolutely terrible music that I tend to avoid at all costs. Yet the sophomore record from London’s Ross Connell is an album notable for its pathos, rich composition, and artistry. What makes Blood & Decay remarkable is how it draws inspiration from—and comparisons to—revered bands like Agalloch, Alcest, and Panopticon without falling into the common pitfalls. Typically, such comparisons raise concerns about excessive reverb, overly long songs, and toothless riffs. Yet Connell subverts these expectations by creating a dynamic, storytelling experience filled with emotional peaks and valleys, masterfully blending black metal’s rawness with atmospheric beauty. Connell’s addition of his own vocals for the first time elevates the project. His powerful delivery—and powerful use of samples—transforms each song into a vivid emotional journey. As Itchymenace gushed in his review: “Dawn Treader’s Bloom & Decay not only contains amazing songs that celebrate the highs and lows of the human experience, it also sounds great.” A surprisingly easy choice for Record o’ the Month.

Fleshgod Apocalypse // Opera [August 23rd, 2024 | Nuclear Blast Records | Bandcamp] — Fleshgod Apocalypse’s Opera, their first album since 2019’s Veleno, has marked a significant evolution for the band. Drawing from the Opéra Lyrique style, the album features soprano Veronica Bordacchini voicing characters like life, death, and hope, while her vocals have brought fresh dynamics to the band’s symphonic death metal sound. With a more streamlined, melodic approach, Opera leans into catchier, poppier elements without losing its technical edge. Songs like “I Can Never Die” and “Matricide 8.21” highlight this shift, adding emotional depth through Bordacchini’s diverse performances. Though some longtime fans may miss the more grand operatic and technical side—Opera is not King—the album is still a genuine triumph. Opera blends new ideas with the band’s established identity, creating a fresh, cohesive record that accomplishes both a stylistic shift and adds another great record to Fleshgod’s already well-respected oeuvre. As I vigorously exclaimed and defended in the comments, “Opera is simultaneously and undeniably fun, heady, and technically impressive.”

Amiensus // Reclamation Pt. II [August 30th, 2024 | M-Theory Audio | Bandcamp] — Amiensus’s Reclamation Pt. II, the companion to Pt. I released earlier this year, has marked a standout achievement in progressive melodic black metal. The album blends melancholic melodicism, blackened fury, and progressive elements to create a dynamic and cathartic experience. With tracks like “Sólfarið” and “Acquiescence,” Pt. II offers invigorating and emotionally charged compositions, Amiensus skillfully balances moments of atmospheric beauty with powerful black metal. While initially, Reclamation seemed disjointed in places, the album’s intricate songs and layered instrumentation grow with each listen, presenting some of the band’s most versatile material to date. Despite some production issues, the album features elite composition and great songs like “Orb of Vanishing Light.” Reclamation Pt. II stands as Amiensus’s current “magnum opus”—in tandem with its predecessor—and a highlight of the year’s metal releases. As Kenstrosity opined, “Reclamation Pt. II is a more energetic, smartly edited, and exquisitely arranged work that blooms brighter the longer I live with it.” That’s a fancy way of saying that it’s a grower.

#2024 #Amiensus #Aug24 #BlackMetal #Blog #BloomDecay #DawnTreader #DeathMetal #FleshgodApocalypse #LiminalDreadProductions #MTheoryAudio #NuclearBlast #Opera #ReclamationPtII #RecordOfTheMonth #RecordSOTheMonth #RotM #Veleno

Record(s) o’ the Month – August 2024

By Angry Metal Guy

August of 2024 was a pretty good month. First, it marked my return from the Injured Reserve, where I’d been nursing a high ego sprain and nagging executive dysfunction issues. These aren’t perfectly fixed, but being back on the field has shown beyond a doubt that I’m still a force to be reckoned with. Second, August of 2024 was a particularly fecund month for potential Records o’ the Month. This surprised me.

I couldn’t remember August being a particularly productive month historically and as I went back through the archive, that seems sort of true. Between 2012—when the RotM was started—and 2023, the hit rate for August Record(s) o’ the Month landing on my Top 10(ish) list for the year is 73%. Only once has an August record reached the top spot—that would be Pale Communion—with Sophicide hitting #2 in 2012 and Lör’s In Forgotten Sleep getting a #3 spot in 2017. Turisas’ controversial Turisas2013 was a runner-up in August of 2013 and ended up at #5, while the actual winner—Witherscape’s excellent The Inheritance—took the #10 spot on that list. 2020 saw Havukruunu ending up at #7, and Crypta’s Shades of Sorrow took #9 last year. The rest is a sea of -ishes and honorable mentions: Cattle Decapitation (2015), Dialith and Eternal Storm (2019), and Pain of Salvation in 2020.

And in 2024? How many of these babies will follow me to the end of the year? I’ve got an inkling, but I’m curious to see what you think.1

Dawn Treader’s Bloom & Decay—out August 24th from Liminal Dread Productions [Bandcamp]—is one of the biggest surprises of 2024 so far. The ‘one-man black metal project’ is a minefield of absolutely terrible music that I tend to avoid at all costs. Yet the sophomore record from London’s Ross Connell is an album notable for its pathos, rich composition, and artistry. What makes Blood & Decay remarkable is how it draws inspiration from—and comparisons to—revered bands like Agalloch, Alcest, and Panopticon without falling into the common pitfalls. Typically, such comparisons raise concerns about excessive reverb, overly long songs, and toothless riffs. Yet Connell subverts these expectations by creating a dynamic, storytelling experience filled with emotional peaks and valleys, masterfully blending black metal’s rawness with atmospheric beauty. Connell’s addition of his own vocals for the first time elevates the project. His powerful delivery—and powerful use of samples—transforms each song into a vivid emotional journey. As Itchymenace gushed in his review: “Dawn Treader’s Bloom & Decay not only contains amazing songs that celebrate the highs and lows of the human experience, it also sounds great.” A surprisingly easy choice for Record o’ the Month.

Fleshgod Apocalypse // Opera [August 23rd, 2024 | Nuclear Blast Records | Bandcamp] — Fleshgod Apocalypse’s Opera, their first album since 2019’s Veleno, has marked a significant evolution for the band. Drawing from the Opéra Lyrique style, the album features soprano Veronica Bordacchini voicing characters like life, death, and hope, while her vocals have brought fresh dynamics to the band’s symphonic death metal sound. With a more streamlined, melodic approach, Opera leans into catchier, poppier elements without losing its technical edge. Songs like “I Can Never Die” and “Matricide 8.21” highlight this shift, adding emotional depth through Bordacchini’s diverse performances. Though some longtime fans may miss the more grand operatic and technical side—Opera is not King—the album is still a genuine triumph. Opera blends new ideas with the band’s established identity, creating a fresh, cohesive record that accomplishes both a stylistic shift and adds another great record to Fleshgod’s already well-respected oeuvre. As I vigorously exclaimed and defended in the comments, “Opera is simultaneously and undeniably fun, heady, and technically impressive.”

Amiensus // Reclamation Pt. II [August 30th, 2024 | M-Theory Audio | Bandcamp] — Amiensus’s Reclamation Pt. II, the companion to Pt. I released earlier this year, has marked a standout achievement in progressive melodic black metal. The album blends melancholic melodicism, blackened fury, and progressive elements to create a dynamic and cathartic experience. With tracks like “Sólfarið” and “Acquiescence,” Pt. II offers invigorating and emotionally charged compositions, Amiensus skillfully balances moments of atmospheric beauty with powerful black metal. While initially, Reclamation seemed disjointed in places, the album’s intricate songs and layered instrumentation grow with each listen, presenting some of the band’s most versatile material to date. Despite some production issues, the album features elite composition and great songs like “Orb of Vanishing Light.” Reclamation Pt. II stands as Amiensus’s current “magnum opus”—in tandem with its predecessor—and a highlight of the year’s metal releases. As Kenstrosity opined, “Reclamation Pt. II is a more energetic, smartly edited, and exquisitely arranged work that blooms brighter the longer I live with it.” That’s a fancy way of saying that it’s a grower.

#2024 #Amiensus #Aug24 #BlackMetal #Blog #BloomDecay #DawnTreader #DeathMetal #FleshgodApocalypse #LiminalDreadProductions #MTheoryAudio #NuclearBlast #Opera #ReclamationPtII #RecordOfTheMonth #RecordSOTheMonth #RotM #Veleno

Record(s) o’ the Month – August 2024

By Angry Metal Guy

August of 2024 was a pretty good month. First, it marked my return from the Injured Reserve, where I’d been nursing a high ego sprain and nagging executive dysfunction issues. These aren’t perfectly fixed, but being back on the field has shown beyond a doubt that I’m still a force to be reckoned with. Second, August of 2024 was a particularly fecund month for potential Records o’ the Month. This surprised me.

I couldn’t remember August being a particularly productive month historically and as I went back through the archive, that seems sort of true. Between 2012—when the RotM was started—and 2023, the hit rate for August Record(s) o’ the Month landing on my Top 10(ish) list for the year is 73%. Only once has an August record reached the top spot—that would be Pale Communion—with Sophicide hitting #2 in 2012 and Lör’s In Forgotten Sleep getting a #3 spot in 2017. Turisas’ controversial Turisas2013 was a runner-up in August of 2013 and ended up at #5, while the actual winner—Witherscape’s excellent The Inheritance—took the #10 spot on that list. 2020 saw Havukruunu ending up at #7, and Crypta’s Shades of Sorrow took #9 last year. The rest is a sea of -ishes and honorable mentions: Cattle Decapitation (2015), Dialith and Eternal Storm (2019), and Pain of Salvation in 2020.

And in 2024? How many of these babies will follow me to the end of the year? I’ve got an inkling, but I’m curious to see what you think.1

Dawn Treader’s Bloom & Decay—out August 24th from Liminal Dread Productions [Bandcamp]—is one of the biggest surprises of 2024 so far. The ‘one-man black metal project’ is a minefield of absolutely terrible music that I tend to avoid at all costs. Yet the sophomore record from London’s Ross Connell is an album notable for its pathos, rich composition, and artistry. What makes Blood & Decay remarkable is how it draws inspiration from—and comparisons to—revered bands like Agalloch, Alcest, and Panopticon without falling into the common pitfalls. Typically, such comparisons raise concerns about excessive reverb, overly long songs, and toothless riffs. Yet Connell subverts these expectations by creating a dynamic, storytelling experience filled with emotional peaks and valleys, masterfully blending black metal’s rawness with atmospheric beauty. Connell’s addition of his own vocals for the first time elevates the project. His powerful delivery—and powerful use of samples—transforms each song into a vivid emotional journey. As Itchymenace gushed in his review: “Dawn Treader’s Bloom & Decay not only contains amazing songs that celebrate the highs and lows of the human experience, it also sounds great.” A surprisingly easy choice for Record o’ the Month.

Fleshgod Apocalypse // Opera [August 23rd, 2024 | Nuclear Blast Records | Bandcamp] — Fleshgod Apocalypse’s Opera, their first album since 2019’s Veleno, has marked a significant evolution for the band. Drawing from the Opéra Lyrique style, the album features soprano Veronica Bordacchini voicing characters like life, death, and hope, while her vocals have brought fresh dynamics to the band’s symphonic death metal sound. With a more streamlined, melodic approach, Opera leans into catchier, poppier elements without losing its technical edge. Songs like “I Can Never Die” and “Matricide 8.21” highlight this shift, adding emotional depth through Bordacchini’s diverse performances. Though some longtime fans may miss the more grand operatic and technical side—Opera is not King—the album is still a genuine triumph. Opera blends new ideas with the band’s established identity, creating a fresh, cohesive record that accomplishes both a stylistic shift and adds another great record to Fleshgod’s already well-respected oeuvre. As I vigorously exclaimed and defended in the comments, “Opera is simultaneously and undeniably fun, heady, and technically impressive.”

Amiensus // Reclamation Pt. II [August 30th, 2024 | M-Theory Audio | Bandcamp] — Amiensus’s Reclamation Pt. II, the companion to Pt. I released earlier this year, has marked a standout achievement in progressive melodic black metal. The album blends melancholic melodicism, blackened fury, and progressive elements to create a dynamic and cathartic experience. With tracks like “Sólfarið” and “Acquiescence,” Pt. II offers invigorating and emotionally charged compositions, Amiensus skillfully balances moments of atmospheric beauty with powerful black metal. While initially, Reclamation seemed disjointed in places, the album’s intricate songs and layered instrumentation grow with each listen, presenting some of the band’s most versatile material to date. Despite some production issues, the album features elite composition and great songs like “Orb of Vanishing Light.” Reclamation Pt. II stands as Amiensus’s current “magnum opus”—in tandem with its predecessor—and a highlight of the year’s metal releases. As Kenstrosity opined, “Reclamation Pt. II is a more energetic, smartly edited, and exquisitely arranged work that blooms brighter the longer I live with it.” That’s a fancy way of saying that it’s a grower.

#2024 #Amiensus #Aug24 #BlackMetal #Blog #BloomDecay #DawnTreader #DeathMetal #FleshgodApocalypse #LiminalDreadProductions #MTheoryAudio #NuclearBlast #Opera #ReclamationPtII #RecordOfTheMonth #RecordSOTheMonth #RotM #Veleno

Generation of Vipers – Guilt Shrine Review

By Dear Hollow

I’ve heard Generation of Vipers described as a Neurosis-meets-Amenra plus a substantial shot of aggression.1 With four full-lengths and a split with fellow Tennessee post-or-sludge-adjacent metallers under their belt, the act’s sound remains stalwart—or stagnant, depending on the listener. Thick and bottom-heavy riffs dominate, from staggered Isis-esque rhythms, and rolling punk-sludge beatdowns à la Black Tusk, to ominous plucking straight outta Abraham. Although a decade exists between the last full-length Coffin Wisdom and Guilt Shrine, it’s business as usual. Guilt Shrine will not change your mind about Generation of Vipers or post-metal in any way, but the aggression adds a jolt of intensity that rises above the muck.

Guilt Shrine’s tracklist tumbles across your ears like boulders in a landslide, Generation of Vipers chugging and barking their way through seven tracks and thirty-six minutes. While the balanced opener “Joyless Grails” and the southern-fried bruiser “Lux Inversion” deal with a sturdy balance of haunting melodies, highlights embrace the attack of cutthroat intentions. “In the Wilderness,” for instance, features a swarm of vicious riffs that hit you like the arsenal of post-metal Hammer Bro, balancing shredding palm-muting, punk chord progressions, and an unshakeable groove to get stuck in your head. “Elijah,” although not without its fair share of menacing placidity, utilizes these plucking movements and the empty silence to amplify the crushing weight that follows, concluding riffs pushed to a shuddering maximum. Generation of Vipers features a solid mix and production, guitars able to morph between galloping mammoth chugs and stinging melodies, while Joshua Holt’s vocals are sermonic and fiery, commanding the brig with charisma and fury, although the production has its issues.

Generation of Vipers adds a neat steel toe to the boot of post-metal. But the blueprint remains rooted in Through Silver in Blood and Panopticon, with touches of the Masses, and very little else sticks out beyond classic post-metal accomplished aggressively. This means that the crime that Generation of Vipers is guilty of is a lack of memorability resulting from the maximum safety and the seeming recognizability of the riffs and melodies. Their Amenra-isms are sparse, limited to albeit tasteful forays like “Elijah” and “Guilt Shrine,” or passages of “Lux Inversion,” but even the latter’s melodic template feels a tad like a weaker version. After the relatively pointless interlude “Doesn’t Mean Anything,” the most blatantly anticlimactic track here is easily “A Quiet Life,” no thanks to the production in which the ominous plucking quickly overpowers the riffs. It’s a problem that leaves a stain on “Guilt Shrine” as well—robbing the two tracks of their instrumental punch. As such, the album structure is a tad uneven, with the back half robbed of momentum.

Generation of Vipers isn’t interested in shaking up post-metal, and that’s fine. Guilt Shrine picks up exactly where Coffin Wisdom left off even after a decade, with sludgy riffs and an undeniable fire burning in the trio’s belly, with a touch of menace and darkness. However, although the production falters on the back end and there are weaker songs aboard, Guilt Shrine is a pleased-as-punch post-metal album that sounds a lot like Neurosis or Isis. I’m pleased to have found them, and I look forward to what they’ve got next.

Rating: 2.5/5.0
DR: 6 | Format Reviewed: 320 kb/s mp3
Label: Translation Loss Records
Website: facebook.com/generationofvipers | generationofvipers.bandcamp.com
Releases Worldwide: August 23rd, 2024

#25 #2024 #Abraham #Amenra #AmericanMetal #Aug24 #BlackTusk #GenerationOfVipers #GuiltShrine #Isis #Neurosis #PostMetal #Review #Reviews #SludgeMetal #TranslationLossRecords

Generation of Vipers – Guilt Shrine Review

By Dear Hollow

I’ve heard Generation of Vipers described as a Neurosis-meets-Amenra plus a substantial shot of aggression.1 With four full-lengths and a split with fellow Tennessee post-or-sludge-adjacent metallers under their belt, the act’s sound remains stalwart—or stagnant, depending on the listener. Thick and bottom-heavy riffs dominate, from staggered Isis-esque rhythms, and rolling punk-sludge beatdowns à la Black Tusk, to ominous plucking straight outta Abraham. Although a decade exists between the last full-length Coffin Wisdom and Guilt Shrine, it’s business as usual. Guilt Shrine will not change your mind about Generation of Vipers or post-metal in any way, but the aggression adds a jolt of intensity that rises above the muck.

Guilt Shrine’s tracklist tumbles across your ears like boulders in a landslide, Generation of Vipers chugging and barking their way through seven tracks and thirty-six minutes. While the balanced opener “Joyless Grails” and the southern-fried bruiser “Lux Inversion” deal with a sturdy balance of haunting melodies, highlights embrace the attack of cutthroat intentions. “In the Wilderness,” for instance, features a swarm of vicious riffs that hit you like the arsenal of post-metal Hammer Bro, balancing shredding palm-muting, punk chord progressions, and an unshakeable groove to get stuck in your head. “Elijah,” although not without its fair share of menacing placidity, utilizes these plucking movements and the empty silence to amplify the crushing weight that follows, concluding riffs pushed to a shuddering maximum. Generation of Vipers features a solid mix and production, guitars able to morph between galloping mammoth chugs and stinging melodies, while Joshua Holt’s vocals are sermonic and fiery, commanding the brig with charisma and fury, although the production has its issues.

Generation of Vipers adds a neat steel toe to the boot of post-metal. But the blueprint remains rooted in Through Silver in Blood and Panopticon, with touches of the Masses, and very little else sticks out beyond classic post-metal accomplished aggressively. This means that the crime that Generation of Vipers is guilty of is a lack of memorability resulting from the maximum safety and the seeming recognizability of the riffs and melodies. Their Amenra-isms are sparse, limited to albeit tasteful forays like “Elijah” and “Guilt Shrine,” or passages of “Lux Inversion,” but even the latter’s melodic template feels a tad like a weaker version. After the relatively pointless interlude “Doesn’t Mean Anything,” the most blatantly anticlimactic track here is easily “A Quiet Life,” no thanks to the production in which the ominous plucking quickly overpowers the riffs. It’s a problem that leaves a stain on “Guilt Shrine” as well—robbing the two tracks of their instrumental punch. As such, the album structure is a tad uneven, with the back half robbed of momentum.

Generation of Vipers isn’t interested in shaking up post-metal, and that’s fine. Guilt Shrine picks up exactly where Coffin Wisdom left off even after a decade, with sludgy riffs and an undeniable fire burning in the trio’s belly, with a touch of menace and darkness. However, although the production falters on the back end and there are weaker songs aboard, Guilt Shrine is a pleased-as-punch post-metal album that sounds a lot like Neurosis or Isis. I’m pleased to have found them, and I look forward to what they’ve got next.

Rating: 2.5/5.0
DR: 6 | Format Reviewed: 320 kb/s mp3
Label: Translation Loss Records
Website: facebook.com/generationofvipers | generationofvipers.bandcamp.com
Releases Worldwide: August 23rd, 2024

#25 #2024 #Abraham #Amenra #AmericanMetal #Aug24 #BlackTusk #GenerationOfVipers #GuiltShrine #Isis #Neurosis #PostMetal #Review #Reviews #SludgeMetal #TranslationLossRecords

Generation of Vipers – Guilt Shrine Review

By Dear Hollow

I’ve heard Generation of Vipers described as a Neurosis-meets-Amenra plus a substantial shot of aggression.1 With four full-lengths and a split with fellow Tennessee post-or-sludge-adjacent metallers under their belt, the act’s sound remains stalwart—or stagnant, depending on the listener. Thick and bottom-heavy riffs dominate, from staggered Isis-esque rhythms, and rolling punk-sludge beatdowns à la Black Tusk, to ominous plucking straight outta Abraham. Although a decade exists between the last full-length Coffin Wisdom and Guilt Shrine, it’s business as usual. Guilt Shrine will not change your mind about Generation of Vipers or post-metal in any way, but the aggression adds a jolt of intensity that rises above the muck.

Guilt Shrine’s tracklist tumbles across your ears like boulders in a landslide, Generation of Vipers chugging and barking their way through seven tracks and thirty-six minutes. While the balanced opener “Joyless Grails” and the southern-fried bruiser “Lux Inversion” deal with a sturdy balance of haunting melodies, highlights embrace the attack of cutthroat intentions. “In the Wilderness,” for instance, features a swarm of vicious riffs that hit you like the arsenal of post-metal Hammer Bro, balancing shredding palm-muting, punk chord progressions, and an unshakeable groove to get stuck in your head. “Elijah,” although not without its fair share of menacing placidity, utilizes these plucking movements and the empty silence to amplify the crushing weight that follows, concluding riffs pushed to a shuddering maximum. Generation of Vipers features a solid mix and production, guitars able to morph between galloping mammoth chugs and stinging melodies, while Joshua Holt’s vocals are sermonic and fiery, commanding the brig with charisma and fury, although the production has its issues.

Generation of Vipers adds a neat steel toe to the boot of post-metal. But the blueprint remains rooted in Through Silver in Blood and Panopticon, with touches of the Masses, and very little else sticks out beyond classic post-metal accomplished aggressively. This means that the crime that Generation of Vipers is guilty of is a lack of memorability resulting from the maximum safety and the seeming recognizability of the riffs and melodies. Their Amenra-isms are sparse, limited to albeit tasteful forays like “Elijah” and “Guilt Shrine,” or passages of “Lux Inversion,” but even the latter’s melodic template feels a tad like a weaker version. After the relatively pointless interlude “Doesn’t Mean Anything,” the most blatantly anticlimactic track here is easily “A Quiet Life,” no thanks to the production in which the ominous plucking quickly overpowers the riffs. It’s a problem that leaves a stain on “Guilt Shrine” as well—robbing the two tracks of their instrumental punch. As such, the album structure is a tad uneven, with the back half robbed of momentum.

Generation of Vipers isn’t interested in shaking up post-metal, and that’s fine. Guilt Shrine picks up exactly where Coffin Wisdom left off even after a decade, with sludgy riffs and an undeniable fire burning in the trio’s belly, with a touch of menace and darkness. However, although the production falters on the back end and there are weaker songs aboard, Guilt Shrine is a pleased-as-punch post-metal album that sounds a lot like Neurosis or Isis. I’m pleased to have found them, and I look forward to what they’ve got next.

Rating: 2.5/5.0
DR: 6 | Format Reviewed: 320 kb/s mp3
Label: Translation Loss Records
Website: facebook.com/generationofvipers | generationofvipers.bandcamp.com
Releases Worldwide: August 23rd, 2024

#25 #2024 #Abraham #Amenra #AmericanMetal #Aug24 #BlackTusk #GenerationOfVipers #GuiltShrine #Isis #Neurosis #PostMetal #Review #Reviews #SludgeMetal #TranslationLossRecords

Concrete Winds – Concrete Winds Review

By Maddog

I left my first splotch on this fair site with Concrete Winds in 2021. The regrettably-titled Nerve Butcherer was an archetypal 3.0. Concrete Winds’ brand of war metal was fierce, concise, and exciting, but I haven’t returned to it due to its shameless recycling of ideas. Their new self-titled record seems to promise a similar experience, even in its minutiae. Much like its predecessors, Concrete Winds sports amorphous cover art and unfolds over nine tracks with silly faux-death-metal two-word titles.1 I approached the album expecting Concrete Winds to deliver a satisfactory but indistinguishable rehash of their past assaults.

I was half right. Concrete Winds’ sound is instantly recognizable, but it isn’t a photocopy of Nerve Butcherer. As before, Concrete Winds’ blackened riffs sound razor-sharp despite their simplicity. The album unfolds at a frantic pace, spanning nine tracks that treat your ears like a relay race baton. While Concrete Winds’ single-minded barrage feels familiar, it comes with some tweaks. The rhythmic experimentation that both helped and hurt Nerve Butcherer takes a back seat, with occasional exceptions like “Demented Gospels.” If anything, Concrete Winds leans further into their grindcore influences, cutting even straighter to the point (“Daylight Amputations”). Conversely, shrill guitar leads expand the band’s style while fitting snugly within it, augmenting Concrete Winds’ air raid with a siren. Other digressions include industrial percussion (“Subterranean Persuasion”) and Sodom-esque first-wave black metal (“Pounding Devotion”). Concrete Winds steps out of their comfort zone on their self-titled, even if only by an inch.

Concrete Winds’ old habits and new flourishes merge into an explosive 25 minutes. Every riff shines through its uncontainable energy, making any ten-second snippet of the record a pleasure in its own right. Occasional forays into other styles add novelty without skimping on power, like the industrial segments and traditional death metal influences of “Subterranean Persuasion.” Concrete Winds hits hardest when these pieces come together. For instance, the aggression of highlight “Infernal Repeater” fits the band’s mold, while the track’s flailing guitar melodies both stand out and heighten its intensity. Consistently smooth transitions between different songs and styles help the album’s new experiments feel at home throughout. Concrete Winds continues to play to their strengths, maintaining their violence-first approach while taking new steps.

Still, Concrete Winds struggles to stay fresh as a complete record. Despite diverging from its predecessors, it wears out through repetition. Concrete Winds’ trademark lowbrow war metal is the album’s core, and variations like the air raid siren guitars show up so often that they become forgettable. Once you settle into Concrete Winds’ style, even its most extreme cuts feel cookie-cutter, especially after several listens (“Virulent Glow”). Luckily, the album doesn’t brazenly self-plagiarize riffs as Nerve Butcherer did, but both its shortest songs (“Permanent Dissonance”) and its longest (“Demented Gospels”) pull from the same bag of tricks. Every idea here works in isolation, but different sections step on each other’s toes, making the final product less exciting to revisit.

Concrete Winds hit me hard on my first spin, but it dulls as the weeks go by. A first glance reveals marked improvements over Nerve Butcherer and Primitive Force. Concrete Winds has added new tools to their arsenal and reduced their raw repetition of riffs, all while sounding just as sharp. But even over just half an hour, this abrasive brand of grindy blackened death loses its edge through overuse. Your mileage may vary. Devotees of bands like Angelcorpse should pay heed, and Dolph’s enthusiasm suggests that the album may be a hit with no-good cetaceans. While Concrete Winds won’t threaten my year-end list, it’s a thrilling listen with enough innovation to get me excited for its follow-up.

Rating: 3.0/5.0
DR: 6 | Format Reviewed: 320 kb/s mp3
Label: Sepulchral Voice Records
Websites: concretewinds.bandcamp.com | facebook.com/aggressivenoisetorment
Releases Worldwide: August 30th, 2024

#2024 #30 #Angelcorpse #Aug24 #BlackMetal #BlackenedDeathMetal #BlackenedGrind #ConcreteWinds #DeathMetal #FinnishMetal #Grindcore #Review #Reviews #SepulchralVoiceRecords #Sodom #WarMetal

Concrete Winds – Concrete Winds Review

By Maddog

I left my first splotch on this fair site with Concrete Winds in 2021. The regrettably-titled Nerve Butcherer was an archetypal 3.0. Concrete Winds’ brand of war metal was fierce, concise, and exciting, but I haven’t returned to it due to its shameless recycling of ideas. Their new self-titled record seems to promise a similar experience, even in its minutiae. Much like its predecessors, Concrete Winds sports amorphous cover art and unfolds over nine tracks with silly faux-death-metal two-word titles.1 I approached the album expecting Concrete Winds to deliver a satisfactory but indistinguishable rehash of their past assaults.

I was half right. Concrete Winds’ sound is instantly recognizable, but it isn’t a photocopy of Nerve Butcherer. As before, Concrete Winds’ blackened riffs sound razor-sharp despite their simplicity. The album unfolds at a frantic pace, spanning nine tracks that treat your ears like a relay race baton. While Concrete Winds’ single-minded barrage feels familiar, it comes with some tweaks. The rhythmic experimentation that both helped and hurt Nerve Butcherer takes a back seat, with occasional exceptions like “Demented Gospels.” If anything, Concrete Winds leans further into their grindcore influences, cutting even straighter to the point (“Daylight Amputations”). Conversely, shrill guitar leads expand the band’s style while fitting snugly within it, augmenting Concrete Winds’ air raid with a siren. Other digressions include industrial percussion (“Subterranean Persuasion”) and Sodom-esque first-wave black metal (“Pounding Devotion”). Concrete Winds steps out of their comfort zone on their self-titled, even if only by an inch.

Concrete Winds’ old habits and new flourishes merge into an explosive 25 minutes. Every riff shines through its uncontainable energy, making any ten-second snippet of the record a pleasure in its own right. Occasional forays into other styles add novelty without skimping on power, like the industrial segments and traditional death metal influences of “Subterranean Persuasion.” Concrete Winds hits hardest when these pieces come together. For instance, the aggression of highlight “Infernal Repeater” fits the band’s mold, while the track’s flailing guitar melodies both stand out and heighten its intensity. Consistently smooth transitions between different songs and styles help the album’s new experiments feel at home throughout. Concrete Winds continues to play to their strengths, maintaining their violence-first approach while taking new steps.

Still, Concrete Winds struggles to stay fresh as a complete record. Despite diverging from its predecessors, it wears out through repetition. Concrete Winds’ trademark lowbrow war metal is the album’s core, and variations like the air raid siren guitars show up so often that they become forgettable. Once you settle into Concrete Winds’ style, even its most extreme cuts feel cookie-cutter, especially after several listens (“Virulent Glow”). Luckily, the album doesn’t brazenly self-plagiarize riffs as Nerve Butcherer did, but both its shortest songs (“Permanent Dissonance”) and its longest (“Demented Gospels”) pull from the same bag of tricks. Every idea here works in isolation, but different sections step on each other’s toes, making the final product less exciting to revisit.

Concrete Winds hit me hard on my first spin, but it dulls as the weeks go by. A first glance reveals marked improvements over Nerve Butcherer and Primitive Force. Concrete Winds has added new tools to their arsenal and reduced their raw repetition of riffs, all while sounding just as sharp. But even over just half an hour, this abrasive brand of grindy blackened death loses its edge through overuse. Your mileage may vary. Devotees of bands like Angelcorpse should pay heed, and Dolph’s enthusiasm suggests that the album may be a hit with no-good cetaceans. While Concrete Winds won’t threaten my year-end list, it’s a thrilling listen with enough innovation to get me excited for its follow-up.

Rating: 3.0/5.0
DR: 6 | Format Reviewed: 320 kb/s mp3
Label: Sepulchral Voice Records
Websites: concretewinds.bandcamp.com | facebook.com/aggressivenoisetorment
Releases Worldwide: August 30th, 2024

#2024 #30 #Angelcorpse #Aug24 #BlackMetal #BlackenedDeathMetal #BlackenedGrind #ConcreteWinds #DeathMetal #FinnishMetal #Grindcore #Review #Reviews #SepulchralVoiceRecords #Sodom #WarMetal

Concrete Winds – Concrete Winds Review

By Maddog

I left my first splotch on this fair site with Concrete Winds in 2021. The regrettably-titled Nerve Butcherer was an archetypal 3.0. Concrete Winds’ brand of war metal was fierce, concise, and exciting, but I haven’t returned to it due to its shameless recycling of ideas. Their new self-titled record seems to promise a similar experience, even in its minutiae. Much like its predecessors, Concrete Winds sports amorphous cover art and unfolds over nine tracks with silly faux-death-metal two-word titles.1 I approached the album expecting Concrete Winds to deliver a satisfactory but indistinguishable rehash of their past assaults.

I was half right. Concrete Winds’ sound is instantly recognizable, but it isn’t a photocopy of Nerve Butcherer. As before, Concrete Winds’ blackened riffs sound razor-sharp despite their simplicity. The album unfolds at a frantic pace, spanning nine tracks that treat your ears like a relay race baton. While Concrete Winds’ single-minded barrage feels familiar, it comes with some tweaks. The rhythmic experimentation that both helped and hurt Nerve Butcherer takes a back seat, with occasional exceptions like “Demented Gospels.” If anything, Concrete Winds leans further into their grindcore influences, cutting even straighter to the point (“Daylight Amputations”). Conversely, shrill guitar leads expand the band’s style while fitting snugly within it, augmenting Concrete Winds’ air raid with a siren. Other digressions include industrial percussion (“Subterranean Persuasion”) and Sodom-esque first-wave black metal (“Pounding Devotion”). Concrete Winds steps out of their comfort zone on their self-titled, even if only by an inch.

Concrete Winds’ old habits and new flourishes merge into an explosive 25 minutes. Every riff shines through its uncontainable energy, making any ten-second snippet of the record a pleasure in its own right. Occasional forays into other styles add novelty without skimping on power, like the industrial segments and traditional death metal influences of “Subterranean Persuasion.” Concrete Winds hits hardest when these pieces come together. For instance, the aggression of highlight “Infernal Repeater” fits the band’s mold, while the track’s flailing guitar melodies both stand out and heighten its intensity. Consistently smooth transitions between different songs and styles help the album’s new experiments feel at home throughout. Concrete Winds continues to play to their strengths, maintaining their violence-first approach while taking new steps.

Still, Concrete Winds struggles to stay fresh as a complete record. Despite diverging from its predecessors, it wears out through repetition. Concrete Winds’ trademark lowbrow war metal is the album’s core, and variations like the air raid siren guitars show up so often that they become forgettable. Once you settle into Concrete Winds’ style, even its most extreme cuts feel cookie-cutter, especially after several listens (“Virulent Glow”). Luckily, the album doesn’t brazenly self-plagiarize riffs as Nerve Butcherer did, but both its shortest songs (“Permanent Dissonance”) and its longest (“Demented Gospels”) pull from the same bag of tricks. Every idea here works in isolation, but different sections step on each other’s toes, making the final product less exciting to revisit.

Concrete Winds hit me hard on my first spin, but it dulls as the weeks go by. A first glance reveals marked improvements over Nerve Butcherer and Primitive Force. Concrete Winds has added new tools to their arsenal and reduced their raw repetition of riffs, all while sounding just as sharp. But even over just half an hour, this abrasive brand of grindy blackened death loses its edge through overuse. Your mileage may vary. Devotees of bands like Angelcorpse should pay heed, and Dolph’s enthusiasm suggests that the album may be a hit with no-good cetaceans. While Concrete Winds won’t threaten my year-end list, it’s a thrilling listen with enough innovation to get me excited for its follow-up.

Rating: 3.0/5.0
DR: 6 | Format Reviewed: 320 kb/s mp3
Label: Sepulchral Voice Records
Websites: concretewinds.bandcamp.com | facebook.com/aggressivenoisetorment
Releases Worldwide: August 30th, 2024

#2024 #30 #Angelcorpse #Aug24 #BlackMetal #BlackenedDeathMetal #BlackenedGrind #ConcreteWinds #DeathMetal #FinnishMetal #Grindcore #Review #Reviews #SepulchralVoiceRecords #Sodom #WarMetal

Monolith – Lord of the Insect Order Review

By Dear Hollow

Monolith is the herald of Earth’s new overlords: the insect swarm. Insects outnumber humans an estimated 1.8 billion to 1, so it was only a matter of time Once united by a hive mind, the planet doesn’t stand a chance. The twist though is that the master race, the Lord of the Insect Order, so to speak, is giant space caterpillars. While Monolith’s first 2024 release Hornets Nest focused on the general depravity of the human condition, Lord of the Insect Order brings the B-movies and pulp. It’s War of the Worlds but with bugs, and you should be afraid, very afraid. In a tidy thirty-two minutes, Monolith takes us on a journey into humanity’s insignificance at the hands of insectoid overlords.

Their 2020 sophomore effort No Saints No Solace was received poorly by the illustrious Saunders but things have changed: Monolith’s got range.1 2024’s Hornets Nest was a foray into untouched territory, as the typically deathcore quartet dove headlong into crusty blackened hardcore that felt like Black Breath, This Gift is a Curse, and Nails got together for a brunch of tar and rusty wrenches—in perhaps one of the most surprisingly solid forays into unfamiliar territory. Lord of the Insect Order is back to its deathcore roots, but experimentation is still a heavy emphasis for this English quartet (from Devon and Cornwall). The first half creates more doom-oriented menace, a bit of The Acacia Strain sans hardcore scrappiness, while the second dives back into the Boris the Blade and Aversions Crown breakdowns-and-blastbeats bread-and-butter you expect from deathcore. Ultimately, thanks to tasteful length, emphasis on relentless beatdown, and never taking itself too seriously, Monolith towers with its cosmic caterpillars.

Truthfully, I’m not sure why more deathcore doesn’t dive into death/doom, because as The Acacia Strain’s Failure Will Follow taught us, the knuckle-dragging crunch fits like a glove into slow-motion pummeling. As such, the first act’s offerings like “Swarm’s Offering” and “Progeny Feast” slow things down to a menacing crawl that doesn’t necessarily forsake its breakdowns and down-tuned noodling, but weaponizes them alongside absolutely vicious vocals and haunting synths. Atmosphere shines most prominently in this half, with the yearning instrumental title track and lamenting “Planetary Hardening” offering synth-infected dirges that reflect upon the ruined landscape and eradicated race. The second act, ripped into creation with “Eclosion; Rise of the Imago Predator,” attacks with relentless brutality that recalls tempo-abusing interpretations like Aversions Crown or Osiah. The common thread of the yearning atmosphere infects “Parasitic Accession” and “Lonomia Pestilence” like a last tragic gasp before being wholly consumed – by a cosmic caterpillar. Neatly, these two sounds do not contradict, as Monolith’s viciousness is only highlighted by its ambiance. It concludes with the most bombastic track, “Unfurling of the Cosmic Caterpillar,” which borrows slightly from the doom palette for a song as epic as it is punishing—a suitable ending to an insane album.

While the differences between the two acts lend themselves to inconsistency, Monolith’s seamlessness between them and the natural resulting crescendo works like the plotline of an engaging story benefited by the influence of B-movie schlock. That being said, for thirty-two minutes, there are a few filler moments. Album intro “IRAS; Larval Comet” and “Holometabolism” do a solid job adhering to the album’s killer cosmic caterpillar theme and establishing the atmosphere in ways that reflect Aegaeon or early Kardashev. However, with such a short runtime Monolith would do well to trim the excess; the first half in particular could do with some more fleshing and breadth, as the three 3-5 minute doom tracks leave me wanting more. The second half, in particular, will not sway deathcore naysayers, as its emphasis on excess and constant breakdowns is never subtle. While Monolith’s theme is lighthearted, recalling the antics of A Breath Before Surfacing, their skill and brutality are certainly forces to be reckoned with.

Monolith’s second 2024 full-length benefits from its frivolous B-movie influence and willingness to experiment. While I’d like to see more of the deathcore-gone-doom vibe, the second half is tight and uncompromising, the first is epic and formidable, and the atmosphere is a breath of fresh air amid the swarming instruments. Monolith’s range cannot be overstated, because Hornets Nest feels like a completely different beast but was equally formidable. Lord of the Insect Order flies by, will get your toe tapping and resurrect your fears of giant cosmic caterpillars overthrowing life as we know it.

Rating: 3.0/5.0
DR: 6 | Format Reviewed: 320 kb/s mp3
Label: Self-Released
Website: facebook.com/monolithuk | bandmonolith.bandcamp.com
Releases Worldwide: August 23rd, 2024

#2024 #30 #ABreathBeforeSurfacing #Aegaeon #AtmosphericDeathMetal #Aug24 #AversionsCrown #BlackBreath #BorisTheBlade #DeathMetal #DeathDoomMetal #Deathcore #DoomMetal #EnglishMetal #Kardashev #LordOfTheInsectOrder #Monolith #Nails #Osiah #Review #Reviews #SelfRelease #TheAcaciaStrain #ThisGiftIsACurse

Monolith – Lord of the Insect Order Review

By Dear Hollow

Monolith is the herald of Earth’s new overlords: the insect swarm. Insects outnumber humans an estimated 1.8 billion to 1, so it was only a matter of time Once united by a hive mind, the planet doesn’t stand a chance. The twist though is that the master race, the Lord of the Insect Order, so to speak, is giant space caterpillars. While Monolith’s first 2024 release Hornets Nest focused on the general depravity of the human condition, Lord of the Insect Order brings the B-movies and pulp. It’s War of the Worlds but with bugs, and you should be afraid, very afraid. In a tidy thirty-two minutes, Monolith takes us on a journey into humanity’s insignificance at the hands of insectoid overlords.

Their 2020 sophomore effort No Saints No Solace was received poorly by the illustrious Saunders but things have changed: Monolith’s got range.1 2024’s Hornets Nest was a foray into untouched territory, as the typically deathcore quartet dove headlong into crusty blackened hardcore that felt like Black Breath, This Gift is a Curse, and Nails got together for a brunch of tar and rusty wrenches—in perhaps one of the most surprisingly solid forays into unfamiliar territory. Lord of the Insect Order is back to its deathcore roots, but experimentation is still a heavy emphasis for this English quartet (from Devon and Cornwall). The first half creates more doom-oriented menace, a bit of The Acacia Strain sans hardcore scrappiness, while the second dives back into the Boris the Blade and Aversions Crown breakdowns-and-blastbeats bread-and-butter you expect from deathcore. Ultimately, thanks to tasteful length, emphasis on relentless beatdown, and never taking itself too seriously, Monolith towers with its cosmic caterpillars.

Truthfully, I’m not sure why more deathcore doesn’t dive into death/doom, because as The Acacia Strain’s Failure Will Follow taught us, the knuckle-dragging crunch fits like a glove into slow-motion pummeling. As such, the first act’s offerings like “Swarm’s Offering” and “Progeny Feast” slow things down to a menacing crawl that doesn’t necessarily forsake its breakdowns and down-tuned noodling, but weaponizes them alongside absolutely vicious vocals and haunting synths. Atmosphere shines most prominently in this half, with the yearning instrumental title track and lamenting “Planetary Hardening” offering synth-infected dirges that reflect upon the ruined landscape and eradicated race. The second act, ripped into creation with “Eclosion; Rise of the Imago Predator,” attacks with relentless brutality that recalls tempo-abusing interpretations like Aversions Crown or Osiah. The common thread of the yearning atmosphere infects “Parasitic Accession” and “Lonomia Pestilence” like a last tragic gasp before being wholly consumed – by a cosmic caterpillar. Neatly, these two sounds do not contradict, as Monolith’s viciousness is only highlighted by its ambiance. It concludes with the most bombastic track, “Unfurling of the Cosmic Caterpillar,” which borrows slightly from the doom palette for a song as epic as it is punishing—a suitable ending to an insane album.

While the differences between the two acts lend themselves to inconsistency, Monolith’s seamlessness between them and the natural resulting crescendo works like the plotline of an engaging story benefited by the influence of B-movie schlock. That being said, for thirty-two minutes, there are a few filler moments. Album intro “IRAS; Larval Comet” and “Holometabolism” do a solid job adhering to the album’s killer cosmic caterpillar theme and establishing the atmosphere in ways that reflect Aegaeon or early Kardashev. However, with such a short runtime Monolith would do well to trim the excess; the first half in particular could do with some more fleshing and breadth, as the three 3-5 minute doom tracks leave me wanting more. The second half, in particular, will not sway deathcore naysayers, as its emphasis on excess and constant breakdowns is never subtle. While Monolith’s theme is lighthearted, recalling the antics of A Breath Before Surfacing, their skill and brutality are certainly forces to be reckoned with.

Monolith’s second 2024 full-length benefits from its frivolous B-movie influence and willingness to experiment. While I’d like to see more of the deathcore-gone-doom vibe, the second half is tight and uncompromising, the first is epic and formidable, and the atmosphere is a breath of fresh air amid the swarming instruments. Monolith’s range cannot be overstated, because Hornets Nest feels like a completely different beast but was equally formidable. Lord of the Insect Order flies by, will get your toe tapping and resurrect your fears of giant cosmic caterpillars overthrowing life as we know it.

Rating: 3.0/5.0
DR: 6 | Format Reviewed: 320 kb/s mp3
Label: Self-Released
Website: facebook.com/monolithuk | bandmonolith.bandcamp.com
Releases Worldwide: August 23rd, 2024

#2024 #30 #ABreathBeforeSurfacing #Aegaeon #AtmosphericDeathMetal #Aug24 #AversionsCrown #BlackBreath #BorisTheBlade #DeathMetal #DeathDoomMetal #Deathcore #DoomMetal #EnglishMetal #Kardashev #LordOfTheInsectOrder #Monolith #Nails #Osiah #Review #Reviews #SelfRelease #TheAcaciaStrain #ThisGiftIsACurse

Monolith – Lord of the Insect Order Review

By Dear Hollow

Monolith is the herald of Earth’s new overlords: the insect swarm. Insects outnumber humans an estimated 1.8 billion to 1, so it was only a matter of time Once united by a hive mind, the planet doesn’t stand a chance. The twist though is that the master race, the Lord of the Insect Order, so to speak, is giant space caterpillars. While Monolith’s first 2024 release Hornets Nest focused on the general depravity of the human condition, Lord of the Insect Order brings the B-movies and pulp. It’s War of the Worlds but with bugs, and you should be afraid, very afraid. In a tidy thirty-two minutes, Monolith takes us on a journey into humanity’s insignificance at the hands of insectoid overlords.

Their 2020 sophomore effort No Saints No Solace was received poorly by the illustrious Saunders but things have changed: Monolith’s got range.1 2024’s Hornets Nest was a foray into untouched territory, as the typically deathcore quartet dove headlong into crusty blackened hardcore that felt like Black Breath, This Gift is a Curse, and Nails got together for a brunch of tar and rusty wrenches—in perhaps one of the most surprisingly solid forays into unfamiliar territory. Lord of the Insect Order is back to its deathcore roots, but experimentation is still a heavy emphasis for this English quartet (from Devon and Cornwall). The first half creates more doom-oriented menace, a bit of The Acacia Strain sans hardcore scrappiness, while the second dives back into the Boris the Blade and Aversions Crown breakdowns-and-blastbeats bread-and-butter you expect from deathcore. Ultimately, thanks to tasteful length, emphasis on relentless beatdown, and never taking itself too seriously, Monolith towers with its cosmic caterpillars.

Truthfully, I’m not sure why more deathcore doesn’t dive into death/doom, because as The Acacia Strain’s Failure Will Follow taught us, the knuckle-dragging crunch fits like a glove into slow-motion pummeling. As such, the first act’s offerings like “Swarm’s Offering” and “Progeny Feast” slow things down to a menacing crawl that doesn’t necessarily forsake its breakdowns and down-tuned noodling, but weaponizes them alongside absolutely vicious vocals and haunting synths. Atmosphere shines most prominently in this half, with the yearning instrumental title track and lamenting “Planetary Hardening” offering synth-infected dirges that reflect upon the ruined landscape and eradicated race. The second act, ripped into creation with “Eclosion; Rise of the Imago Predator,” attacks with relentless brutality that recalls tempo-abusing interpretations like Aversions Crown or Osiah. The common thread of the yearning atmosphere infects “Parasitic Accession” and “Lonomia Pestilence” like a last tragic gasp before being wholly consumed – by a cosmic caterpillar. Neatly, these two sounds do not contradict, as Monolith’s viciousness is only highlighted by its ambiance. It concludes with the most bombastic track, “Unfurling of the Cosmic Caterpillar,” which borrows slightly from the doom palette for a song as epic as it is punishing—a suitable ending to an insane album.

While the differences between the two acts lend themselves to inconsistency, Monolith’s seamlessness between them and the natural resulting crescendo works like the plotline of an engaging story benefited by the influence of B-movie schlock. That being said, for thirty-two minutes, there are a few filler moments. Album intro “IRAS; Larval Comet” and “Holometabolism” do a solid job adhering to the album’s killer cosmic caterpillar theme and establishing the atmosphere in ways that reflect Aegaeon or early Kardashev. However, with such a short runtime Monolith would do well to trim the excess; the first half in particular could do with some more fleshing and breadth, as the three 3-5 minute doom tracks leave me wanting more. The second half, in particular, will not sway deathcore naysayers, as its emphasis on excess and constant breakdowns is never subtle. While Monolith’s theme is lighthearted, recalling the antics of A Breath Before Surfacing, their skill and brutality are certainly forces to be reckoned with.

Monolith’s second 2024 full-length benefits from its frivolous B-movie influence and willingness to experiment. While I’d like to see more of the deathcore-gone-doom vibe, the second half is tight and uncompromising, the first is epic and formidable, and the atmosphere is a breath of fresh air amid the swarming instruments. Monolith’s range cannot be overstated, because Hornets Nest feels like a completely different beast but was equally formidable. Lord of the Insect Order flies by, will get your toe tapping and resurrect your fears of giant cosmic caterpillars overthrowing life as we know it.

Rating: 3.0/5.0
DR: 6 | Format Reviewed: 320 kb/s mp3
Label: Self-Released
Website: facebook.com/monolithuk | bandmonolith.bandcamp.com
Releases Worldwide: August 23rd, 2024

#2024 #30 #ABreathBeforeSurfacing #Aegaeon #AtmosphericDeathMetal #Aug24 #AversionsCrown #BlackBreath #BorisTheBlade #DeathMetal #DeathDoomMetal #Deathcore #DoomMetal #EnglishMetal #Kardashev #LordOfTheInsectOrder #Monolith #Nails #Osiah #Review #Reviews #SelfRelease #TheAcaciaStrain #ThisGiftIsACurse

Hatchend – Summer of ’69 Review

By Dolphin Whisperer

Nice.1 Or maybe you were thinking about the classic Bryan Adams song of the same name? Just what does a title like Summer of ’69 invoke? Maybe your mind raced to throwback stoner rock—nope, sorry. Perhaps the pop art cover took you to a bright, synth-coated land of big choruses and bigger hair? Still wrong, though. Hatchend instead circles about—cobbled of various Swedish extreme acts—waters of punk-loaded, gravel-voiced crossover thrash. And with a handful of riffs, one song structure, and an urge to throw arms, these crusty hooligans have birthed Summer of ’69. There was a pit at Woodstock, right?2

True to the classic ideals that the aged title represents, Hatchend delivers punky banger after punky banger with just about zero frills. In this lane of sonic fury, fueled by the likes of hardcore/crossover icons like Discharge and D.R.I., it can be hard to deliver a collection that iterates on the already basic structure that the style holds. Guitarist Elis Edin Markskog knows well from his main act, Birdflesh, that a little fluff and feather-ruffling can add a memorable edge to your act. Still, Hatchend seems to eschew most of that letting some mildly abrasive names apply surface wounds to the audience’s eyes (“Bloodthirsty Degenerate,” “A Fierce Scalpel Menace”). Other acts that find no charge in silly or serious messaging instead fly by the power of intensity of tone and delivery. And while Kalle Nimhagen’s (Deathening) death metal-leaning bark supplies a tactile mic spray, it also starts to beg the question of whether Hatchend really has more to offer than a tightly executed tune.

Hatchend kicks off every song of this eight-pack with all the right hooky hammers. When you’re a crossover act of the Municipal Waste variety, that first five to ten seconds of glory only have to hit hard enough to keep the fire burning. Hammering cymbal counts (“Shackled Humanity,” “Scape Goat”), full power riffage (“A Fierce Scalpel Menace,” “Feed This Emptiness”), and hyper-aggressive bass thumpage (“Who’s the Foe Today?”) all weight heavy in Summer’s arsenal of distorted charms. However, with each song being of a longer runtime, in the three to five-minute range, these mostly effective plays can’t carry enough energy into the verses and choruses and blast breaks that feel largely interchangeable between each track.

To make the menagerie of power chord shuffles even more of an indistinguishable hum, Hatchend heaves mix balance to the wayside in a bass-forward presentation that is beyond crusty. Despite the reputation that some of thrash metal’s bigger names may push, thick and leading bass rattling leads the charge in celebrated acts like Overkill or Nuclear Assault. And even in the hardcore lane that inspires this conversation more, Discharge and the like hold a respectable and flashy bass performance at the heart of their aggression—one that is heard and felt alongside all else. But Hatchend has chosen the path of the bulldozer with Dan Bengtsson’s (Pyramido, ex-Crowpath) volume-gorged bass running so wide it near negates the need for the rhythm guitar to even exist. Markskog is far from a slouch on the six, and with a real dialed ear, his riffs run bluesy, playful—and he gets a few moments to break through when there’s a little less on the board. But the choice to bury the guitars in a bassy grave robs Markskog’s performance of nuance.

Hatchend’s thirty-minute first impression struggles to break through the established lineage of thrashers, punks, and their predecessors. Overloud and under-expressed, the band’s sound lacks clarity. Summer of ’69 falls short of telling a compelling story, neither warm enough to be fanciful nor abrasive enough to embrace nihilism. It does, however, achieve the goal of being a burst of high-tempo mosh energy should you need it. With the pedigree of the manic minds who have brought forth plenty of extreme music before, I would expect no less. Unfortunately, I was also hopeful for more.

Rating: 2.0/5.0
DR: 5 | Format Reviewed: 320 kbps mp3
Label: Selfmadegod Records | Bandcamp
Website: facebook.com/hatchendofficial
Releases Worldwide: August 23rd, 2024

#20 #2024 #Aug24 #Birdflesh #CrossoverThrash #CrustPunk #DBeat #DRI_ #Discharge #Hardcore #Hatchend #MunicipalWaste #NuclearAssault #Overkill #Review #Reviews #SummerOf69 #SwedishMetal #ThrashMetal

Hatchend – Summer of ’69 Review

By Dolphin Whisperer

Nice.1 Or maybe you were thinking about the classic Bryan Adams song of the same name? Just what does a title like Summer of ’69 invoke? Maybe your mind raced to throwback stoner rock—nope, sorry. Perhaps the pop art cover took you to a bright, synth-coated land of big choruses and bigger hair? Still wrong, though. Hatchend instead circles about—cobbled of various Swedish extreme acts—waters of punk-loaded, gravel-voiced crossover thrash. And with a handful of riffs, one song structure, and an urge to throw arms, these crusty hooligans have birthed Summer of ’69. There was a pit at Woodstock, right?2

True to the classic ideals that the aged title represents, Hatchend delivers punky banger after punky banger with just about zero frills. In this lane of sonic fury, fueled by the likes of hardcore/crossover icons like Discharge and D.R.I., it can be hard to deliver a collection that iterates on the already basic structure that the style holds. Guitarist Elis Edin Markskog knows well from his main act, Birdflesh, that a little fluff and feather-ruffling can add a memorable edge to your act. Still, Hatchend seems to eschew most of that letting some mildly abrasive names apply surface wounds to the audience’s eyes (“Bloodthirsty Degenerate,” “A Fierce Scalpel Menace”). Other acts that find no charge in silly or serious messaging instead fly by the power of intensity of tone and delivery. And while Kalle Nimhagen’s (Deathening) death metal-leaning bark supplies a tactile mic spray, it also starts to beg the question of whether Hatchend really has more to offer than a tightly executed tune.

Hatchend kicks off every song of this eight-pack with all the right hooky hammers. When you’re a crossover act of the Municipal Waste variety, that first five to ten seconds of glory only have to hit hard enough to keep the fire burning. Hammering cymbal counts (“Shackled Humanity,” “Scape Goat”), full power riffage (“A Fierce Scalpel Menace,” “Feed This Emptiness”), and hyper-aggressive bass thumpage (“Who’s the Foe Today?”) all weight heavy in Summer’s arsenal of distorted charms. However, with each song being of a longer runtime, in the three to five-minute range, these mostly effective plays can’t carry enough energy into the verses and choruses and blast breaks that feel largely interchangeable between each track.

To make the menagerie of power chord shuffles even more of an indistinguishable hum, Hatchend heaves mix balance to the wayside in a bass-forward presentation that is beyond crusty. Despite the reputation that some of thrash metal’s bigger names may push, thick and leading bass rattling leads the charge in celebrated acts like Overkill or Nuclear Assault. And even in the hardcore lane that inspires this conversation more, Discharge and the like hold a respectable and flashy bass performance at the heart of their aggression—one that is heard and felt alongside all else. But Hatchend has chosen the path of the bulldozer with Dan Bengtsson’s (Pyramido, ex-Crowpath) volume-gorged bass running so wide it near negates the need for the rhythm guitar to even exist. Markskog is far from a slouch on the six, and with a real dialed ear, his riffs run bluesy, playful—and he gets a few moments to break through when there’s a little less on the board. But the choice to bury the guitars in a bassy grave robs Markskog’s performance of nuance.

Hatchend’s thirty-minute first impression struggles to break through the established lineage of thrashers, punks, and their predecessors. Overloud and under-expressed, the band’s sound lacks clarity. Summer of ’69 falls short of telling a compelling story, neither warm enough to be fanciful nor abrasive enough to embrace nihilism. It does, however, achieve the goal of being a burst of high-tempo mosh energy should you need it. With the pedigree of the manic minds who have brought forth plenty of extreme music before, I would expect no less. Unfortunately, I was also hopeful for more.

Rating: 2.0/5.0
DR: 5 | Format Reviewed: 320 kbps mp3
Label: Selfmadegod Records | Bandcamp
Website: facebook.com/hatchendofficial
Releases Worldwide: August 23rd, 2024

#20 #2024 #Aug24 #Birdflesh #CrossoverThrash #CrustPunk #DBeat #DRI_ #Discharge #Hardcore #Hatchend #MunicipalWaste #NuclearAssault #Overkill #Review #Reviews #SummerOf69 #SwedishMetal #ThrashMetal

Hatchend – Summer of ’69 Review

By Dolphin Whisperer

Nice.1 Or maybe you were thinking about the classic Bryan Adams song of the same name? Just what does a title like Summer of ’69 invoke? Maybe your mind raced to throwback stoner rock—nope, sorry. Perhaps the pop art cover took you to a bright, synth-coated land of big choruses and bigger hair? Still wrong, though. Hatchend instead circles about—cobbled of various Swedish extreme acts—waters of punk-loaded, gravel-voiced crossover thrash. And with a handful of riffs, one song structure, and an urge to throw arms, these crusty hooligans have birthed Summer of ’69. There was a pit at Woodstock, right?2

True to the classic ideals that the aged title represents, Hatchend delivers punky banger after punky banger with just about zero frills. In this lane of sonic fury, fueled by the likes of hardcore/crossover icons like Discharge and D.R.I., it can be hard to deliver a collection that iterates on the already basic structure that the style holds. Guitarist Elis Edin Markskog knows well from his main act, Birdflesh, that a little fluff and feather-ruffling can add a memorable edge to your act. Still, Hatchend seems to eschew most of that letting some mildly abrasive names apply surface wounds to the audience’s eyes (“Bloodthirsty Degenerate,” “A Fierce Scalpel Menace”). Other acts that find no charge in silly or serious messaging instead fly by the power of intensity of tone and delivery. And while Kalle Nimhagen’s (Deathening) death metal-leaning bark supplies a tactile mic spray, it also starts to beg the question of whether Hatchend really has more to offer than a tightly executed tune.

Hatchend kicks off every song of this eight-pack with all the right hooky hammers. When you’re a crossover act of the Municipal Waste variety, that first five to ten seconds of glory only have to hit hard enough to keep the fire burning. Hammering cymbal counts (“Shackled Humanity,” “Scape Goat”), full power riffage (“A Fierce Scalpel Menace,” “Feed This Emptiness”), and hyper-aggressive bass thumpage (“Who’s the Foe Today?”) all weight heavy in Summer’s arsenal of distorted charms. However, with each song being of a longer runtime, in the three to five-minute range, these mostly effective plays can’t carry enough energy into the verses and choruses and blast breaks that feel largely interchangeable between each track.

To make the menagerie of power chord shuffles even more of an indistinguishable hum, Hatchend heaves mix balance to the wayside in a bass-forward presentation that is beyond crusty. Despite the reputation that some of thrash metal’s bigger names may push, thick and leading bass rattling leads the charge in celebrated acts like Overkill or Nuclear Assault. And even in the hardcore lane that inspires this conversation more, Discharge and the like hold a respectable and flashy bass performance at the heart of their aggression—one that is heard and felt alongside all else. But Hatchend has chosen the path of the bulldozer with Dan Bengtsson’s (Pyramido, ex-Crowpath) volume-gorged bass running so wide it near negates the need for the rhythm guitar to even exist. Markskog is far from a slouch on the six, and with a real dialed ear, his riffs run bluesy, playful—and he gets a few moments to break through when there’s a little less on the board. But the choice to bury the guitars in a bassy grave robs Markskog’s performance of nuance.

Hatchend’s thirty-minute first impression struggles to break through the established lineage of thrashers, punks, and their predecessors. Overloud and under-expressed, the band’s sound lacks clarity. Summer of ’69 falls short of telling a compelling story, neither warm enough to be fanciful nor abrasive enough to embrace nihilism. It does, however, achieve the goal of being a burst of high-tempo mosh energy should you need it. With the pedigree of the manic minds who have brought forth plenty of extreme music before, I would expect no less. Unfortunately, I was also hopeful for more.

Rating: 2.0/5.0
DR: 5 | Format Reviewed: 320 kbps mp3
Label: Selfmadegod Records | Bandcamp
Website: facebook.com/hatchendofficial
Releases Worldwide: August 23rd, 2024

#20 #2024 #Aug24 #Birdflesh #CrossoverThrash #CrustPunk #DBeat #DRI_ #Discharge #Hardcore #Hatchend #MunicipalWaste #NuclearAssault #Overkill #Review #Reviews #SummerOf69 #SwedishMetal #ThrashMetal

Phenocryst – Cremation Pyre Review

By Steel Druhm

Written by: Nameless_N00b_89

From the land that birthed such metal heavies as Gaerea and Analepsy, death/doom newcomers Phenocryst erupted across the burgeoning Portuguese metal scene with 2021’s Explosions EP. And now they prepare to unleash their debut full-length Cremation Pyre on mankind. Sporting a sufficiently oozy band logo, a now revamped line-up, and a unique concept mainly dealing with themes of volcanology, Phenocryst further distance themselves from the maddening meat ‘n’ taters crowd by incorporating psychedelic elements into their sound. My cursory research revealed that phenocryst is a volcanological term representing a large crystal formation often found in magmatic rocks. The more I researched, the more I bought into the concept, agreeing that volcanoes rock. The question I have about Phenocryst is, do they? Erupticus, Deathicus, Doomicus.

Let me clarify: this is not melodic death metal. This is death metal with psychedelic, nay, I say melodic elements sprinkled throughout like so much Lawry’s® Seasoned Salt. If it’s warp speeds, blast beats, and tech guitar virtuosity you’re looking for, look elsewhere. Trading tank treads and battle swords for ‘a‘ā1 lava flows and pyroclastic snows, Phenocryst channels 90’s era Bolt Thrower (“Pinnacle of Death” and “Pyres of the Altar”) with devastating effect. Guitarists D.S. and Santana (no, not that one) converge to riff a path over igneous environs with cudgel-like brutality (“Astonishing Devastation”) and doomy, sludge-filled slides (“Embers of an Ancient Fire”) that wouldn’t sound out of place on a Crowbar platter. Phenocryst had me banging my head and breaking out my best stank face. They aren’t here to make friends. They’re here to liquefy humanity under a sulfurous, rock-filled river of molten death metal lava.

The skeletal frame to which all this guitar muscle clings is the fundamental backbone and source of Phenocryst’s power. Drummer Artur, who joined Santana in 2022, and bassist V.M. expertly anchor all the performances on Cremation Pyre with ferocity and brute strength. V.M.’s bass work, distinctly audible throughout, plucks and plops (“Pinnacle of Death”) and gurgles and glops (“Astonishing Devastation” and “Pyres of the Altar”) like magma pooling under the earth’s surface. I imagine Jo Bench sitting in some English pub right now, smiling. Artur’s massive yet workmanlike performance behind the kit never once risks letting things get out of control, balancing perfectly between power and restraint. D.S., who handles all vocals, must have graduated magna cum laude from Death Vox University, with a major in Karl Willets growls (“Pinnacle of Death” and “Volcanic Winter”), and a minor in Martin Van Drunen’s rasps (“Astonishing Devastation”). His ferocity, though unvaried, ties the entire package together, placing Phenocryst firmly on Portugal’s metal map.

With Cremation Pyre, Phenocryst has improved in almost every category from Explosions. Even the album cover, a beautifully rendered oil painting by James Campbell is more engaging than the monochrome cover of the EP. Fernando Matias’ work from the booth propels the band to achieve its gargantuan sound. Where Explosions was claustrophobic, muddy, and cavernous sounding, Cremation Pyre’s dynamic master allows each instrument to occupy its own space while simultaneously combining to form a vibrant, warm-sounding whole. Small as it may be, the album is not without faults. At 39 minutes, Cremation Pyre suffers not from bloat but misplaced interludes. The awkward addition of the outro on “Astonishing Devastation” confuses and confirms the bit would have been better excised. More egregiously, the album might have ended spectacularly with the rumbling, eruptive outro of “Fogo Nas Entranhas.”2 But, the two-minute atmospheric “Burial Swamps” fades in and then out again, negating what could have been Cremation Pyre’s triumphant conclusion.

My n00b crown weighs heavy as I wrestle with scoring Cremation Pyre. Preparing this first foray into the fray, I realized at one point I’d stopped listening to form a critique and started listening from enjoyment.3 I’d hoped my first assignment would be something I could comfortably pan, but Cremation Pyre is not that, and it’s hard for me to attach too many demerits to its few missteps. It’s a powerfully heavy debut that demands serious attention, and I urge you to check it out. One day, if I somehow survive the gauntlet and ascend to the rank of staff, I’ll reflect on this review and decide if I am right.

Rating: 3.5/5.0
DR: 8 | Format Reviewed: 320 kb/s mp3
Label: Blood Harvest Records | Bandcamp
Websites: phenocryst.bandcamp.com | facebook.com/phenocryst
Releases Worldwide: August 30th, 2024

#2024 #35 #Analepsy #Aug24 #BloodHarvestRecords #BoltThrower #CremationPyre #Crowbar #DeathMetal #Gaera #Phenocryst #PortugueseMetal #Review #Reviews

Phenocryst – Cremation Pyre Review

By Steel Druhm

Written by: Nameless_N00b_89

From the land that birthed such metal heavies as Gaerea and Analepsy, death/doom newcomers Phenocryst erupted across the burgeoning Portuguese metal scene with 2021’s Explosions EP. And now they prepare to unleash their debut full-length Cremation Pyre on mankind. Sporting a sufficiently oozy band logo, a now revamped line-up, and a unique concept mainly dealing with themes of volcanology, Phenocryst further distance themselves from the maddening meat ‘n’ taters crowd by incorporating psychedelic elements into their sound. My cursory research revealed that phenocryst is a volcanological term representing a large crystal formation often found in magmatic rocks. The more I researched, the more I bought into the concept, agreeing that volcanoes rock. The question I have about Phenocryst is, do they? Erupticus, Deathicus, Doomicus.

Let me clarify: this is not melodic death metal. This is death metal with psychedelic, nay, I say melodic elements sprinkled throughout like so much Lawry’s® Seasoned Salt. If it’s warp speeds, blast beats, and tech guitar virtuosity you’re looking for, look elsewhere. Trading tank treads and battle swords for ‘a‘ā1 lava flows and pyroclastic snows, Phenocryst channels 90’s era Bolt Thrower (“Pinnacle of Death” and “Pyres of the Altar”) with devastating effect. Guitarists D.S. and Santana (no, not that one) converge to riff a path over igneous environs with cudgel-like brutality (“Astonishing Devastation”) and doomy, sludge-filled slides (“Embers of an Ancient Fire”) that wouldn’t sound out of place on a Crowbar platter. Phenocryst had me banging my head and breaking out my best stank face. They aren’t here to make friends. They’re here to liquefy humanity under a sulfurous, rock-filled river of molten death metal lava.

The skeletal frame to which all this guitar muscle clings is the fundamental backbone and source of Phenocryst’s power. Drummer Artur, who joined Santana in 2022, and bassist V.M. expertly anchor all the performances on Cremation Pyre with ferocity and brute strength. V.M.’s bass work, distinctly audible throughout, plucks and plops (“Pinnacle of Death”) and gurgles and glops (“Astonishing Devastation” and “Pyres of the Altar”) like magma pooling under the earth’s surface. I imagine Jo Bench sitting in some English pub right now, smiling. Artur’s massive yet workmanlike performance behind the kit never once risks letting things get out of control, balancing perfectly between power and restraint. D.S., who handles all vocals, must have graduated magna cum laude from Death Vox University, with a major in Karl Willets growls (“Pinnacle of Death” and “Volcanic Winter”), and a minor in Martin Van Drunen’s rasps (“Astonishing Devastation”). His ferocity, though unvaried, ties the entire package together, placing Phenocryst firmly on Portugal’s metal map.

With Cremation Pyre, Phenocryst has improved in almost every category from Explosions. Even the album cover, a beautifully rendered oil painting by James Campbell is more engaging than the monochrome cover of the EP. Fernando Matias’ work from the booth propels the band to achieve its gargantuan sound. Where Explosions was claustrophobic, muddy, and cavernous sounding, Cremation Pyre’s dynamic master allows each instrument to occupy its own space while simultaneously combining to form a vibrant, warm-sounding whole. Small as it may be, the album is not without faults. At 39 minutes, Cremation Pyre suffers not from bloat but misplaced interludes. The awkward addition of the outro on “Astonishing Devastation” confuses and confirms the bit would have been better excised. More egregiously, the album might have ended spectacularly with the rumbling, eruptive outro of “Fogo Nas Entranhas.”2 But, the two-minute atmospheric “Burial Swamps” fades in and then out again, negating what could have been Cremation Pyre’s triumphant conclusion.

My n00b crown weighs heavy as I wrestle with scoring Cremation Pyre. Preparing this first foray into the fray, I realized at one point I’d stopped listening to form a critique and started listening from enjoyment.3 I’d hoped my first assignment would be something I could comfortably pan, but Cremation Pyre is not that, and it’s hard for me to attach too many demerits to its few missteps. It’s a powerfully heavy debut that demands serious attention, and I urge you to check it out. One day, if I somehow survive the gauntlet and ascend to the rank of staff, I’ll reflect on this review and decide if I am right.

Rating: 3.5/5.0
DR: 8 | Format Reviewed: 320 kb/s mp3
Label: Blood Harvest Records | Bandcamp
Websites: phenocryst.bandcamp.com | facebook.com/phenocryst
Releases Worldwide: August 30th, 2024

#2024 #35 #Analepsy #Aug24 #BloodHarvestRecords #BoltThrower #CremationPyre #Crowbar #DeathMetal #Gaera #Phenocryst #PortugueseMetal #Review #Reviews

Phenocryst – Cremation Pyre Review

By Steel Druhm

Written by: Nameless_N00b_89

From the land that birthed such metal heavies as Gaerea and Analepsy, death/doom newcomers Phenocryst erupted across the burgeoning Portuguese metal scene with 2021’s Explosions EP. And now they prepare to unleash their debut full-length Cremation Pyre on mankind. Sporting a sufficiently oozy band logo, a now revamped line-up, and a unique concept mainly dealing with themes of volcanology, Phenocryst further distance themselves from the maddening meat ‘n’ taters crowd by incorporating psychedelic elements into their sound. My cursory research revealed that phenocryst is a volcanological term representing a large crystal formation often found in magmatic rocks. The more I researched, the more I bought into the concept, agreeing that volcanoes rock. The question I have about Phenocryst is, do they? Erupticus, Deathicus, Doomicus.

Let me clarify: this is not melodic death metal. This is death metal with psychedelic, nay, I say melodic elements sprinkled throughout like so much Lawry’s® Seasoned Salt. If it’s warp speeds, blast beats, and tech guitar virtuosity you’re looking for, look elsewhere. Trading tank treads and battle swords for ‘a‘ā1 lava flows and pyroclastic snows, Phenocryst channels 90’s era Bolt Thrower (“Pinnacle of Death” and “Pyres of the Altar”) with devastating effect. Guitarists D.S. and Santana (no, not that one) converge to riff a path over igneous environs with cudgel-like brutality (“Astonishing Devastation”) and doomy, sludge-filled slides (“Embers of an Ancient Fire”) that wouldn’t sound out of place on a Crowbar platter. Phenocryst had me banging my head and breaking out my best stank face. They aren’t here to make friends. They’re here to liquefy humanity under a sulfurous, rock-filled river of molten death metal lava.

The skeletal frame to which all this guitar muscle clings is the fundamental backbone and source of Phenocryst’s power. Drummer Artur, who joined Santana in 2022, and bassist V.M. expertly anchor all the performances on Cremation Pyre with ferocity and brute strength. V.M.’s bass work, distinctly audible throughout, plucks and plops (“Pinnacle of Death”) and gurgles and glops (“Astonishing Devastation” and “Pyres of the Altar”) like magma pooling under the earth’s surface. I imagine Jo Bench sitting in some English pub right now, smiling. Artur’s massive yet workmanlike performance behind the kit never once risks letting things get out of control, balancing perfectly between power and restraint. D.S., who handles all vocals, must have graduated magna cum laude from Death Vox University, with a major in Karl Willets growls (“Pinnacle of Death” and “Volcanic Winter”), and a minor in Martin Van Drunen’s rasps (“Astonishing Devastation”). His ferocity, though unvaried, ties the entire package together, placing Phenocryst firmly on Portugal’s metal map.

With Cremation Pyre, Phenocryst has improved in almost every category from Explosions. Even the album cover, a beautifully rendered oil painting by James Campbell is more engaging than the monochrome cover of the EP. Fernando Matias’ work from the booth propels the band to achieve its gargantuan sound. Where Explosions was claustrophobic, muddy, and cavernous sounding, Cremation Pyre’s dynamic master allows each instrument to occupy its own space while simultaneously combining to form a vibrant, warm-sounding whole. Small as it may be, the album is not without faults. At 39 minutes, Cremation Pyre suffers not from bloat but misplaced interludes. The awkward addition of the outro on “Astonishing Devastation” confuses and confirms the bit would have been better excised. More egregiously, the album might have ended spectacularly with the rumbling, eruptive outro of “Fogo Nas Entranhas.”2 But, the two-minute atmospheric “Burial Swamps” fades in and then out again, negating what could have been Cremation Pyre’s triumphant conclusion.

My n00b crown weighs heavy as I wrestle with scoring Cremation Pyre. Preparing this first foray into the fray, I realized at one point I’d stopped listening to form a critique and started listening from enjoyment.3 I’d hoped my first assignment would be something I could comfortably pan, but Cremation Pyre is not that, and it’s hard for me to attach too many demerits to its few missteps. It’s a powerfully heavy debut that demands serious attention, and I urge you to check it out. One day, if I somehow survive the gauntlet and ascend to the rank of staff, I’ll reflect on this review and decide if I am right.

Rating: 3.5/5.0
DR: 8 | Format Reviewed: 320 kb/s mp3
Label: Blood Harvest Records | Bandcamp
Websites: phenocryst.bandcamp.com | facebook.com/phenocryst
Releases Worldwide: August 30th, 2024

#2024 #35 #Analepsy #Aug24 #BloodHarvestRecords #BoltThrower #CremationPyre #Crowbar #DeathMetal #Gaera #Phenocryst #PortugueseMetal #Review #Reviews

Executioner’s Mask – Almost There Review

By Dear Hollow

As a child of the ’90s, I was not around to understand the nuances of every synth-driven art rock movement that arose in the decades preceding. While the inimitable Cherd of Doom, the illustrious Kenstrocity and the sometimes-imitable Dolphin Whisperer explained to me the differences between post-punk, shoegaze, and goth rock, tossing out names like My Bloody Valentine, The Sisters of Mercy, and Wire, Executioner’s Mask gives no shits – they’re just out here just doing their thing. The quartet’s bio reads “aggressive shoegaze? bleak post punk? goth grunge? whatever” and that’s good enough for me. It better be bleak, artsy, and drowned in fucking noise, and make me wonder how the Cold War is going to end. Third full-length Almost There is, as the name suggests, a progression – an album about “drinking, longing, and surviving.”

I was first attracted to Philly’s Executioner’s Mask because of 2021’s Winterlong, a synth-heavy album that seemed to me like Joy Division covering minor renditions of The Neverending Story soundtrack. While maintaining Jay Gambit’s tastefully droning baritone drawl, Almost There is a far noisier affair, mid-tempo drums faced with a seamless pendulum of harmony and dissonance, bathed in swaths of distortion, reverb, and noise – taking more influence from My Bloody Valentine’s classic Loveless. It’s a simple but effective formula, with tracks ranging from yearning to liturgical to eerie, Executioner’s Mask reflecting the decades of their influence. Ultimately, it’s easy to get lost in the drunken brutalist movements of Almost There, even if it will do nothing to change your mind about whatever genre they conjure.

The shoegaze trademark saturation of sound is very firmly intact, and fills every crevice that Executioner’s Mask opens up. Built upon this foundation are the dueling guitars of Daniel Gaona and Craig Mickle, whose sustained overlays add a ghostly haze to the proceedings, with only bassist Anthony Charletta and drummer Melissa Lonchambon providing the only tethers to sanity, while Gambit preaches with monotonous urgency like a deranged priest. Tracks like “Sunset in the Valley,” “Lovers in Hell,” and “On Park Row” are nearly hyper-melodic, layered sustaining guitar shining like the morning sun through the dark drunk world that the band populates. However, like the pitch of a drunken tune, sounds are warped and warbling. “Losing a Fixed Game,” “Mezcal Perfume,” and “Failed Dreams II” rely on warbling guitar riffs atop the noisy psychedelia that can’t help but descend into dissonance, effectively searing the melodies into your brain. The darker and more menacing tracks, opener “Devoured” and “A Modest Proposal,” feel nearly liturgical, letting Lonchambon guide the plodding rhythms with nearly ritualistic fervor, while vocals sprawl across with a wicked grin. Gambit’s snarl is a surprisingly formidable instrument, bursting forth with an energetic yell and injecting a jolt of surprise to tracks like “Losing a Fixed Game” and “Sunset in the Valley.” Executioner’s Mask enacts its blend of relentlessly dark, noisy art rock with a hungover groan, its thread of noise coursing through every movement, and you’d be hard-pressed to not get sucked into it.

The most glaring issue with Executioner’s Mask is part of why they are so great: they give no fucks. Much of their stylings can be seen as borrowed from across its counterparts. Gambit’s drawling baritone borrows from Swans’ Michael Gira and The Sisters of Mercy’s Andrew Eldritch, the dueling guitar slurs remind of The Jesus and Mary Chain or The Clash, and the filthy distortion and driving rhythms vibe with the grunge of The Cranberries. This is neither here nor there, as Almost There doesn’t purport to be anything more than who they are. While each track that Executioner’s Mask offers has its own identity and slew of highlights, the album flow does not shine favorably upon all of them. In particular, while the warbling menace of “A Modest Proposal” is its own force to be reckoned with, it sticks out like a sore thumb after the crystalline beauty of “Sunset in the Valley.” Similarly, closer “On Park Row” takes the tragic aura of “Lovers in Hell” in an epic closer that concludes Almost There far too abruptly.

Executioner’s Mask is a slow burn, and downright infectious when its spines sink themselves into your brain. The noise becomes all-enveloping, the vocals sermonic, and the rhythms hypnotizing. Capturing myriad moods and emotions through its complex compositions of harmony, discordance, and distortion atop deceptively simple post-punk dirges, the quintet is more content haunting you with drunken slurs and yearning ambivalence. And I am here for it.

Rating: 3.5/5.0
DR: 8 | Format Reviewed: 320 kbps mp3
Label: Seeing Red Records
Websites: executionersmask.bandcamp.com | facebook.com/executionersmask
Releases Worldwide: August 30th, 2024

#2024 #35 #AlmostThere #AmericanMetal #Aug24 #ExecutionerSMask #GothicRock #Grunge #JoyDivision #MyBloodyValentine #postPunk #Review #Reviews #SeeingRedRecords #Shoegaze #Swans #TheClash #TheCranberries #TheJesusAndMaryChain #TheSistersOfMercy #Wire

Executioner’s Mask – Almost There Review

By Dear Hollow

As a child of the ’90s, I was not around to understand the nuances of every synth-driven art rock movement that arose in the decades preceding. While the inimitable Cherd of Doom, the illustrious Kenstrocity and the sometimes-imitable Dolphin Whisperer explained to me the differences between post-punk, shoegaze, and goth rock, tossing out names like My Bloody Valentine, The Sisters of Mercy, and Wire, Executioner’s Mask gives no shits – they’re just out here just doing their thing. The quartet’s bio reads “aggressive shoegaze? bleak post punk? goth grunge? whatever” and that’s good enough for me. It better be bleak, artsy, and drowned in fucking noise, and make me wonder how the Cold War is going to end. Third full-length Almost There is, as the name suggests, a progression – an album about “drinking, longing, and surviving.”

I was first attracted to Philly’s Executioner’s Mask because of 2021’s Winterlong, a synth-heavy album that seemed to me like Joy Division covering minor renditions of The Neverending Story soundtrack. While maintaining Jay Gambit’s tastefully droning baritone drawl, Almost There is a far noisier affair, mid-tempo drums faced with a seamless pendulum of harmony and dissonance, bathed in swaths of distortion, reverb, and noise – taking more influence from My Bloody Valentine’s classic Loveless. It’s a simple but effective formula, with tracks ranging from yearning to liturgical to eerie, Executioner’s Mask reflecting the decades of their influence. Ultimately, it’s easy to get lost in the drunken brutalist movements of Almost There, even if it will do nothing to change your mind about whatever genre they conjure.

The shoegaze trademark saturation of sound is very firmly intact, and fills every crevice that Executioner’s Mask opens up. Built upon this foundation are the dueling guitars of Daniel Gaona and Craig Mickle, whose sustained overlays add a ghostly haze to the proceedings, with only bassist Anthony Charletta and drummer Melissa Lonchambon providing the only tethers to sanity, while Gambit preaches with monotonous urgency like a deranged priest. Tracks like “Sunset in the Valley,” “Lovers in Hell,” and “On Park Row” are nearly hyper-melodic, layered sustaining guitar shining like the morning sun through the dark drunk world that the band populates. However, like the pitch of a drunken tune, sounds are warped and warbling. “Losing a Fixed Game,” “Mezcal Perfume,” and “Failed Dreams II” rely on warbling guitar riffs atop the noisy psychedelia that can’t help but descend into dissonance, effectively searing the melodies into your brain. The darker and more menacing tracks, opener “Devoured” and “A Modest Proposal,” feel nearly liturgical, letting Lonchambon guide the plodding rhythms with nearly ritualistic fervor, while vocals sprawl across with a wicked grin. Gambit’s snarl is a surprisingly formidable instrument, bursting forth with an energetic yell and injecting a jolt of surprise to tracks like “Losing a Fixed Game” and “Sunset in the Valley.” Executioner’s Mask enacts its blend of relentlessly dark, noisy art rock with a hungover groan, its thread of noise coursing through every movement, and you’d be hard-pressed to not get sucked into it.

The most glaring issue with Executioner’s Mask is part of why they are so great: they give no fucks. Much of their stylings can be seen as borrowed from across its counterparts. Gambit’s drawling baritone borrows from Swans’ Michael Gira and The Sisters of Mercy’s Andrew Eldritch, the dueling guitar slurs remind of The Jesus and Mary Chain or The Clash, and the filthy distortion and driving rhythms vibe with the grunge of The Cranberries. This is neither here nor there, as Almost There doesn’t purport to be anything more than who they are. While each track that Executioner’s Mask offers has its own identity and slew of highlights, the album flow does not shine favorably upon all of them. In particular, while the warbling menace of “A Modest Proposal” is its own force to be reckoned with, it sticks out like a sore thumb after the crystalline beauty of “Sunset in the Valley.” Similarly, closer “On Park Row” takes the tragic aura of “Lovers in Hell” in an epic closer that concludes Almost There far too abruptly.

Executioner’s Mask is a slow burn, and downright infectious when its spines sink themselves into your brain. The noise becomes all-enveloping, the vocals sermonic, and the rhythms hypnotizing. Capturing myriad moods and emotions through its complex compositions of harmony, discordance, and distortion atop deceptively simple post-punk dirges, the quintet is more content haunting you with drunken slurs and yearning ambivalence. And I am here for it.

Rating: 3.5/5.0
DR: 8 | Format Reviewed: 320 kbps mp3
Label: Seeing Red Records
Websites: executionersmask.bandcamp.com | facebook.com/executionersmask
Releases Worldwide: August 30th, 2024

#2024 #35 #AlmostThere #AmericanMetal #Aug24 #ExecutionerSMask #GothicRock #Grunge #JoyDivision #MyBloodyValentine #postPunk #Review #Reviews #SeeingRedRecords #Shoegaze #Swans #TheClash #TheCranberries #TheJesusAndMaryChain #TheSistersOfMercy #Wire

Executioner’s Mask – Almost There Review

By Dear Hollow

As a child of the ’90s, I was not around to understand the nuances of every synth-driven art rock movement that arose in the decades preceding. While the inimitable Cherd of Doom, the illustrious Kenstrocity and the sometimes-imitable Dolphin Whisperer explained to me the differences between post-punk, shoegaze, and goth rock, tossing out names like My Bloody Valentine, The Sisters of Mercy, and Wire, Executioner’s Mask gives no shits – they’re just out here just doing their thing. The quartet’s bio reads “aggressive shoegaze? bleak post punk? goth grunge? whatever” and that’s good enough for me. It better be bleak, artsy, and drowned in fucking noise, and make me wonder how the Cold War is going to end. Third full-length Almost There is, as the name suggests, a progression – an album about “drinking, longing, and surviving.”

I was first attracted to Philly’s Executioner’s Mask because of 2021’s Winterlong, a synth-heavy album that seemed to me like Joy Division covering minor renditions of The Neverending Story soundtrack. While maintaining Jay Gambit’s tastefully droning baritone drawl, Almost There is a far noisier affair, mid-tempo drums faced with a seamless pendulum of harmony and dissonance, bathed in swaths of distortion, reverb, and noise – taking more influence from My Bloody Valentine’s classic Loveless. It’s a simple but effective formula, with tracks ranging from yearning to liturgical to eerie, Executioner’s Mask reflecting the decades of their influence. Ultimately, it’s easy to get lost in the drunken brutalist movements of Almost There, even if it will do nothing to change your mind about whatever genre they conjure.

The shoegaze trademark saturation of sound is very firmly intact, and fills every crevice that Executioner’s Mask opens up. Built upon this foundation are the dueling guitars of Daniel Gaona and Craig Mickle, whose sustained overlays add a ghostly haze to the proceedings, with only bassist Anthony Charletta and drummer Melissa Lonchambon providing the only tethers to sanity, while Gambit preaches with monotonous urgency like a deranged priest. Tracks like “Sunset in the Valley,” “Lovers in Hell,” and “On Park Row” are nearly hyper-melodic, layered sustaining guitar shining like the morning sun through the dark drunk world that the band populates. However, like the pitch of a drunken tune, sounds are warped and warbling. “Losing a Fixed Game,” “Mezcal Perfume,” and “Failed Dreams II” rely on warbling guitar riffs atop the noisy psychedelia that can’t help but descend into dissonance, effectively searing the melodies into your brain. The darker and more menacing tracks, opener “Devoured” and “A Modest Proposal,” feel nearly liturgical, letting Lonchambon guide the plodding rhythms with nearly ritualistic fervor, while vocals sprawl across with a wicked grin. Gambit’s snarl is a surprisingly formidable instrument, bursting forth with an energetic yell and injecting a jolt of surprise to tracks like “Losing a Fixed Game” and “Sunset in the Valley.” Executioner’s Mask enacts its blend of relentlessly dark, noisy art rock with a hungover groan, its thread of noise coursing through every movement, and you’d be hard-pressed to not get sucked into it.

The most glaring issue with Executioner’s Mask is part of why they are so great: they give no fucks. Much of their stylings can be seen as borrowed from across its counterparts. Gambit’s drawling baritone borrows from Swans’ Michael Gira and The Sisters of Mercy’s Andrew Eldritch, the dueling guitar slurs remind of The Jesus and Mary Chain or The Clash, and the filthy distortion and driving rhythms vibe with the grunge of The Cranberries. This is neither here nor there, as Almost There doesn’t purport to be anything more than who they are. While each track that Executioner’s Mask offers has its own identity and slew of highlights, the album flow does not shine favorably upon all of them. In particular, while the warbling menace of “A Modest Proposal” is its own force to be reckoned with, it sticks out like a sore thumb after the crystalline beauty of “Sunset in the Valley.” Similarly, closer “On Park Row” takes the tragic aura of “Lovers in Hell” in an epic closer that concludes Almost There far too abruptly.

Executioner’s Mask is a slow burn, and downright infectious when its spines sink themselves into your brain. The noise becomes all-enveloping, the vocals sermonic, and the rhythms hypnotizing. Capturing myriad moods and emotions through its complex compositions of harmony, discordance, and distortion atop deceptively simple post-punk dirges, the quintet is more content haunting you with drunken slurs and yearning ambivalence. And I am here for it.

Rating: 3.5/5.0
DR: 8 | Format Reviewed: 320 kbps mp3
Label: Seeing Red Records
Websites: executionersmask.bandcamp.com | facebook.com/executionersmask
Releases Worldwide: August 30th, 2024

#2024 #35 #AlmostThere #AmericanMetal #Aug24 #ExecutionerSMask #GothicRock #Grunge #JoyDivision #MyBloodyValentine #postPunk #Review #Reviews #SeeingRedRecords #Shoegaze #Swans #TheClash #TheCranberries #TheJesusAndMaryChain #TheSistersOfMercy #Wire

Modern Rites – Endless Review

By Thus Spoke

A misleading genre tag can be a blessing or a curse for a humble reviewer such as myself. To go in expecting one thing, but receive quite another throws one for a loop either way. But in the case of Modern Rites, and their sophomore Endless, the surprise was definitely a nice one. Marked as ‘industrial’ in the pit, what lies within is in fact a modern, delicately atmospheric strain of meloblack; one that audibly carries the influence of their guitarist’s other project, Aara. But rather than mimicry and filler, Modern Rites are in fact demonstrating their ability to evolve into something deeper, and far more interesting than where they started. Endless sounds almost nothing like predecessor Katalyst, to such an extent that if you didn’t know they were the same band already, you’d never guess. In less than three-quarters of an hour, the duo reinvent and reinvigorate their sound, and the result isn’t far short of spellbinding.

Like much good atmo-black, Endless’ impact is one that gradually intensifies as you repeatedly experience it, its immediacy striking in individual moments that seem to become less and less disparate on each listen. Then, suddenly the gaps close, and the coherence between movements is blatant, the whole thing made beautiful by the overt beauty of what first stood out. The clues for this metamorphosis are the ways Modern Rites covertly weave themes that play off one another through both callbacks and premonition. Opener “Prelude” prefigures a tingling, melancholic atmosphere with delicate plucks incredibly reminiscent of Aara’s own instrumentalisms. The following title track may literally take the refrain and run it through the transformative potency of swooping tremolos, but it’s the later references to this melancholia and ambience that solidify the overall character, and draw its yearning, contemplative pulchritude together into one.

Thus, a major strength of Endless is its ability to communicate pathos through its developing, reinterpreted and recurring musical themes. The melodic vessels ebb and flow in power, ending on the proverbial and literal high note of closer “Philosophenweg,” whose lead refrain is the kind of throat-catching opaline litany that induces eye-closing, blissful investment—from me anyway. Before this point, Modern Rites draw back the curtain of ferocity to reveal trembling fragility—precipitously gorgeous, resonant stillness (“Lost Lineage,” “Veil of Opulence”)—and elsewhere drive waves of emotion through pulsing surges of piteous agony, carried from swelling black metal to stripped-back anticipation (title track, “Becoming”) in a way that strongly recalls Gaerea. And not just the melodies, but the rhythms too are affective. Circling (“Autonomy,” “Philosophenweg”), furious (“Lost Lineage,” “Becoming”) percussion pulls swaying introspection over the listener in waves, cascading rollovers turning charges (“Veil of Opulence”) and breathy stillness (“Lost Lineage”) alike into one flowing, shifting stream of feeling.

Compositional coherence is strong overall, but this doesn’t mean songs don’t individualise themselves from the whole. While the record remains—almost exclusively—meloblack, there are little nods towards the elusive “industrial” tag, such as the first act of “Becoming,” and its pulsing, synth-led beat. “Veil of Opulence,” which comes storming in on a tide of energetic tremolos, stands out against most of its peers’ more gradual entries. But its passages of sinister, humming ambience mirror that of its industrial neighbour, “Becoming,” and the whispering atmospheres of the title track, just as its blistering black metal is of one spirit with that which rips across, for instance, “Lost Lineage,” “For Nothing,” and “Autonomy” . Wrapped up in a clear and resonant master, it all comes together into one engrossing world, as atmo-black should.

With every song calling to and referencing one another in brilliant thematic consonance, and these themes themselves being beautiful, it’s hard not to see Endless as the archetype for a great modern atmospheric melodic black metal album. Ambushed and overcome by grace, intensity, and emotionality at every turn, listeners with any sympathies for the genre will be continually rewarded. Modern Rites have created something special, and have triumphantly, and decisively made themselves known.

Rating: Great
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Debemur Morti
Websites: Bandcamp | Facebook
Releases Worldwide: August 30th, 2024

#2024 #40 #Aara #AmericanMetal #AtmosphericBlackMetal #Aug24 #BlackMetal #DebemurMorti #Endless #Gaerea #MelodicBlackMetal #ModernRites #Review #Reviews #SwissMetal

Modern Rites – Endless Review

By Thus Spoke

A misleading genre tag can be a blessing or a curse for a humble reviewer such as myself. To go in expecting one thing, but receive quite another throws one for a loop either way. But in the case of Modern Rites, and their sophomore Endless, the surprise was definitely a nice one. Marked as ‘industrial’ in the pit, what lies within is in fact a modern, delicately atmospheric strain of meloblack; one that audibly carries the influence of their guitarist’s other project, Aara. But rather than mimicry and filler, Modern Rites are in fact demonstrating their ability to evolve into something deeper, and far more interesting than where they started. Endless sounds almost nothing like predecessor Katalyst, to such an extent that if you didn’t know they were the same band already, you’d never guess. In less than three-quarters of an hour, the duo reinvent and reinvigorate their sound, and the result isn’t far short of spellbinding.

Like much good atmo-black, Endless’ impact is one that gradually intensifies as you repeatedly experience it, its immediacy striking in individual moments that seem to become less and less disparate on each listen. Then, suddenly the gaps close, and the coherence between movements is blatant, the whole thing made beautiful by the overt beauty of what first stood out. The clues for this metamorphosis are the ways Modern Rites covertly weave themes that play off one another through both callbacks and premonition. Opener “Prelude” prefigures a tingling, melancholic atmosphere with delicate plucks incredibly reminiscent of Aara’s own instrumentalisms. The following title track may literally take the refrain and run it through the transformative potency of swooping tremolos, but it’s the later references to this melancholia and ambience that solidify the overall character, and draw its yearning, contemplative pulchritude together into one.

Thus, a major strength of Endless is its ability to communicate pathos through its developing, reinterpreted and recurring musical themes. The melodic vessels ebb and flow in power, ending on the proverbial and literal high note of closer “Philosophenweg,” whose lead refrain is the kind of throat-catching opaline litany that induces eye-closing, blissful investment—from me anyway. Before this point, Modern Rites draw back the curtain of ferocity to reveal trembling fragility—precipitously gorgeous, resonant stillness (“Lost Lineage,” “Veil of Opulence”)—and elsewhere drive waves of emotion through pulsing surges of piteous agony, carried from swelling black metal to stripped-back anticipation (title track, “Becoming”) in a way that strongly recalls Gaerea. And not just the melodies, but the rhythms too are affective. Circling (“Autonomy,” “Philosophenweg”), furious (“Lost Lineage,” “Becoming”) percussion pulls swaying introspection over the listener in waves, cascading rollovers turning charges (“Veil of Opulence”) and breathy stillness (“Lost Lineage”) alike into one flowing, shifting stream of feeling.

Compositional coherence is strong overall, but this doesn’t mean songs don’t individualise themselves from the whole. While the record remains—almost exclusively—meloblack, there are little nods towards the elusive “industrial” tag, such as the first act of “Becoming,” and its pulsing, synth-led beat. “Veil of Opulence,” which comes storming in on a tide of energetic tremolos, stands out against most of its peers’ more gradual entries. But its passages of sinister, humming ambience mirror that of its industrial neighbour, “Becoming,” and the whispering atmospheres of the title track, just as its blistering black metal is of one spirit with that which rips across, for instance, “Lost Lineage,” “For Nothing,” and “Autonomy” . Wrapped up in a clear and resonant master, it all comes together into one engrossing world, as atmo-black should.

With every song calling to and referencing one another in brilliant thematic consonance, and these themes themselves being beautiful, it’s hard not to see Endless as the archetype for a great modern atmospheric melodic black metal album. Ambushed and overcome by grace, intensity, and emotionality at every turn, listeners with any sympathies for the genre will be continually rewarded. Modern Rites have created something special, and have triumphantly, and decisively made themselves known.

Rating: Great
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Debemur Morti
Websites: Bandcamp | Facebook
Releases Worldwide: August 30th, 2024

#2024 #40 #Aara #AmericanMetal #AtmosphericBlackMetal #Aug24 #BlackMetal #DebemurMorti #Endless #Gaerea #MelodicBlackMetal #ModernRites #Review #Reviews #SwissMetal

Modern Rites – Endless Review

By Thus Spoke

A misleading genre tag can be a blessing or a curse for a humble reviewer such as myself. To go in expecting one thing, but receive quite another throws one for a loop either way. But in the case of Modern Rites, and their sophomore Endless, the surprise was definitely a nice one. Marked as ‘industrial’ in the pit, what lies within is in fact a modern, delicately atmospheric strain of meloblack; one that audibly carries the influence of their guitarist’s other project, Aara. But rather than mimicry and filler, Modern Rites are in fact demonstrating their ability to evolve into something deeper, and far more interesting than where they started. Endless sounds almost nothing like predecessor Katalyst, to such an extent that if you didn’t know they were the same band already, you’d never guess. In less than three-quarters of an hour, the duo reinvent and reinvigorate their sound, and the result isn’t far short of spellbinding.

Like much good atmo-black, Endless’ impact is one that gradually intensifies as you repeatedly experience it, its immediacy striking in individual moments that seem to become less and less disparate on each listen. Then, suddenly the gaps close, and the coherence between movements is blatant, the whole thing made beautiful by the overt beauty of what first stood out. The clues for this metamorphosis are the ways Modern Rites covertly weave themes that play off one another through both callbacks and premonition. Opener “Prelude” prefigures a tingling, melancholic atmosphere with delicate plucks incredibly reminiscent of Aara’s own instrumentalisms. The following title track may literally take the refrain and run it through the transformative potency of swooping tremolos, but it’s the later references to this melancholia and ambience that solidify the overall character, and draw its yearning, contemplative pulchritude together into one.

Thus, a major strength of Endless is its ability to communicate pathos through its developing, reinterpreted and recurring musical themes. The melodic vessels ebb and flow in power, ending on the proverbial and literal high note of closer “Philosophenweg,” whose lead refrain is the kind of throat-catching opaline litany that induces eye-closing, blissful investment—from me anyway. Before this point, Modern Rites draw back the curtain of ferocity to reveal trembling fragility—precipitously gorgeous, resonant stillness (“Lost Lineage,” “Veil of Opulence”)—and elsewhere drive waves of emotion through pulsing surges of piteous agony, carried from swelling black metal to stripped-back anticipation (title track, “Becoming”) in a way that strongly recalls Gaerea. And not just the melodies, but the rhythms too are affective. Circling (“Autonomy,” “Philosophenweg”), furious (“Lost Lineage,” “Becoming”) percussion pulls swaying introspection over the listener in waves, cascading rollovers turning charges (“Veil of Opulence”) and breathy stillness (“Lost Lineage”) alike into one flowing, shifting stream of feeling.

Compositional coherence is strong overall, but this doesn’t mean songs don’t individualise themselves from the whole. While the record remains—almost exclusively—meloblack, there are little nods towards the elusive “industrial” tag, such as the first act of “Becoming,” and its pulsing, synth-led beat. “Veil of Opulence,” which comes storming in on a tide of energetic tremolos, stands out against most of its peers’ more gradual entries. But its passages of sinister, humming ambience mirror that of its industrial neighbour, “Becoming,” and the whispering atmospheres of the title track, just as its blistering black metal is of one spirit with that which rips across, for instance, “Lost Lineage,” “For Nothing,” and “Autonomy” . Wrapped up in a clear and resonant master, it all comes together into one engrossing world, as atmo-black should.

With every song calling to and referencing one another in brilliant thematic consonance, and these themes themselves being beautiful, it’s hard not to see Endless as the archetype for a great modern atmospheric melodic black metal album. Ambushed and overcome by grace, intensity, and emotionality at every turn, listeners with any sympathies for the genre will be continually rewarded. Modern Rites have created something special, and have triumphantly, and decisively made themselves known.

Rating: Great
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Debemur Morti
Websites: Bandcamp | Facebook
Releases Worldwide: August 30th, 2024

#2024 #40 #Aara #AmericanMetal #AtmosphericBlackMetal #Aug24 #BlackMetal #DebemurMorti #Endless #Gaerea #MelodicBlackMetal #ModernRites #Review #Reviews #SwissMetal

Pneuma Hagion – From Beyond Review

By Holdeneye

Before I started driving fire engines, I drove garbage trucks. I was the relief driver for a small refuse company, so I had to know all the different routes pretty well. I spent many days riding along with my coworkers in order to get familiarized, and, let me tell you, being trapped inside a cab with someone for eight to ten hours can lead to some interesting experiences. Some days were filled with awkward silence, others with a non-stop verbal assault, and every day was scented with the intermingling of individualized fart gasses. I vividly remember a day where one trainer unleashed an 8-hour dissertation on theology. You might think I’m exaggerating, but I’m positive this guy had the knowledge base to teach in seminary. While my eyes glazed over for much of his spiel, I will never forget him explaining the Hebrew concept of God’s kevod. Kevod is translated ‘glory,’ but it also carries the notion of ‘weight’ or ‘heaviness.’ As he explained this, my ears perked up, and I thought to myself that Kevod would be a fucking sick band name. Well, if Kevod ever exists as a metal band, I think it should sound exactly like Texas’ Pneuma Hagion.

Taking their name from the Greek form of ‘holy spirit,’ Pneuma Hagion bestows unto us an offering of no-frills death metal. It feels like these guys took Morbid Angel’s Gateways to Annihilation and simmered it over low heat for hours, reducing it down to leave a delicious sauce of pure, unadulterated groove. But where Morbid Angel embellished Gateways with blistering guitar pyrotechnics, Pneuma Hagion has sold their soul for more bottom end. Gaze upon the intro of the embedded single and album opener “Harbinger of Dissolution,” but take care lest you be caught in the swirling, malevolent arrogance of the narrator. A huge breakdown just past the midpoint arrives to grind your bones to dust in time for a reprisal of the furious intro to blow through and scatter your remains across the stars.

That combination of simple, well-executed death metal with the self-aggrandizing ravings of a demiurgical entity is what makes From Beyond such a success. Pneuma Hagion has been known to dabble in both Lovecraftian and Gnostic themes in their past works, and that trend continues here. As a recovering Christian fundamentalist, the highly scriptural nature of the lyrics adds a satisfying layer of terror that, in my opinion, takes Lovecraftian horror to another level. This album is a psychically delivered hate letter from some mysterious being adrift somewhere in space and time, and the music is the perfect medium for such a message.

If I haven’t spent very much time describing said music, it’s because this is a very simple album for people of very simple tastes. At nine tracks and 24 minutes, From Beyond is a concise treatise on heaviness. Both members play the hell out of their parts; Shane Elwell must blow through drum kits by the sound of the beating he gives his here, and Ryan Wilson’s guitar, bass, and vocal performances are simply thunderous. I saw an interview where Wilson stated, ‘We really try to make the music palpable, like a physical presence with a weight that you can actually feel. I think this new album has gotten closer to our ideal levels.’ I think so too, buddy. I do wish that there was another song or two on the level of the two singles, “Harbinger of Dissolution” and “The Temple Fires,” but the album ends up being a journeyman effort in focused brutality.

While Lovecraft-themed metal albums are a dime a dozen, the way that Pneuma Hagion adorns their particular brand of eldritch horror with theological trappings makes for something gloriously heavy. From Beyond is a simple, concise record, but don’t let that fool you into thinking it isn’t lethally effective. Put this on in the gym, and I guarantee your gainz with be otherworldly.1

Rating: 3.5/5.0
DR: 6 | Format Reviewed: 320 kb/s mp3
Label: Everlasting Spew Records
Websites: pneumahagion.bandcamp.com | facebook.com/pneumahagion218
Releases Worldwide: August 30th, 2024

#2024 #35 #AmericanMetal #Aug24 #DeathMetal #EverlastingSpewRecords #FromBeyond #MorbidAngel #PneumaHagion #Review #Reviews

Pneuma Hagion – From Beyond Review

By Holdeneye

Before I started driving fire engines, I drove garbage trucks. I was the relief driver for a small refuse company, so I had to know all the different routes pretty well. I spent many days riding along with my coworkers in order to get familiarized, and, let me tell you, being trapped inside a cab with someone for eight to ten hours can lead to some interesting experiences. Some days were filled with awkward silence, others with a non-stop verbal assault, and every day was scented with the intermingling of individualized fart gasses. I vividly remember a day where one trainer unleashed an 8-hour dissertation on theology. You might think I’m exaggerating, but I’m positive this guy had the knowledge base to teach in seminary. While my eyes glazed over for much of his spiel, I will never forget him explaining the Hebrew concept of God’s kevod. Kevod is translated ‘glory,’ but it also carries the notion of ‘weight’ or ‘heaviness.’ As he explained this, my ears perked up, and I thought to myself that Kevod would be a fucking sick band name. Well, if Kevod ever exists as a metal band, I think it should sound exactly like Texas’ Pneuma Hagion.

Taking their name from the Greek form of ‘holy spirit,’ Pneuma Hagion bestows unto us an offering of no-frills death metal. It feels like these guys took Morbid Angel’s Gateways to Annihilation and simmered it over low heat for hours, reducing it down to leave a delicious sauce of pure, unadulterated groove. But where Morbid Angel embellished Gateways with blistering guitar pyrotechnics, Pneuma Hagion has sold their soul for more bottom end. Gaze upon the intro of the embedded single and album opener “Harbinger of Dissolution,” but take care lest you be caught in the swirling, malevolent arrogance of the narrator. A huge breakdown just past the midpoint arrives to grind your bones to dust in time for a reprisal of the furious intro to blow through and scatter your remains across the stars.

That combination of simple, well-executed death metal with the self-aggrandizing ravings of a demiurgical entity is what makes From Beyond such a success. Pneuma Hagion has been known to dabble in both Lovecraftian and Gnostic themes in their past works, and that trend continues here. As a recovering Christian fundamentalist, the highly scriptural nature of the lyrics adds a satisfying layer of terror that, in my opinion, takes Lovecraftian horror to another level. This album is a psychically delivered hate letter from some mysterious being adrift somewhere in space and time, and the music is the perfect medium for such a message.

If I haven’t spent very much time describing said music, it’s because this is a very simple album for people of very simple tastes. At nine tracks and 24 minutes, From Beyond is a concise treatise on heaviness. Both members play the hell out of their parts; Shane Elwell must blow through drum kits by the sound of the beating he gives his here, and Ryan Wilson’s guitar, bass, and vocal performances are simply thunderous. I saw an interview where Wilson stated, ‘We really try to make the music palpable, like a physical presence with a weight that you can actually feel. I think this new album has gotten closer to our ideal levels.’ I think so too, buddy. I do wish that there was another song or two on the level of the two singles, “Harbinger of Dissolution” and “The Temple Fires,” but the album ends up being a journeyman effort in focused brutality.

While Lovecraft-themed metal albums are a dime a dozen, the way that Pneuma Hagion adorns their particular brand of eldritch horror with theological trappings makes for something gloriously heavy. From Beyond is a simple, concise record, but don’t let that fool you into thinking it isn’t lethally effective. Put this on in the gym, and I guarantee your gainz with be otherworldly.1

Rating: 3.5/5.0
DR: 6 | Format Reviewed: 320 kb/s mp3
Label: Everlasting Spew Records
Websites: pneumahagion.bandcamp.com | facebook.com/pneumahagion218
Releases Worldwide: August 30th, 2024

#2024 #35 #AmericanMetal #Aug24 #DeathMetal #EverlastingSpewRecords #FromBeyond #MorbidAngel #PneumaHagion #Review #Reviews

Pneuma Hagion – From Beyond Review

By Holdeneye

Before I started driving fire engines, I drove garbage trucks. I was the relief driver for a small refuse company, so I had to know all the different routes pretty well. I spent many days riding along with my coworkers in order to get familiarized, and, let me tell you, being trapped inside a cab with someone for eight to ten hours can lead to some interesting experiences. Some days were filled with awkward silence, others with a non-stop verbal assault, and every day was scented with the intermingling of individualized fart gasses. I vividly remember a day where one trainer unleashed an 8-hour dissertation on theology. You might think I’m exaggerating, but I’m positive this guy had the knowledge base to teach in seminary. While my eyes glazed over for much of his spiel, I will never forget him explaining the Hebrew concept of God’s kevod. Kevod is translated ‘glory,’ but it also carries the notion of ‘weight’ or ‘heaviness.’ As he explained this, my ears perked up, and I thought to myself that Kevod would be a fucking sick band name. Well, if Kevod ever exists as a metal band, I think it should sound exactly like Texas’ Pneuma Hagion.

Taking their name from the Greek form of ‘holy spirit,’ Pneuma Hagion bestows unto us an offering of no-frills death metal. It feels like these guys took Morbid Angel’s Gateways to Annihilation and simmered it over low heat for hours, reducing it down to leave a delicious sauce of pure, unadulterated groove. But where Morbid Angel embellished Gateways with blistering guitar pyrotechnics, Pneuma Hagion has sold their soul for more bottom end. Gaze upon the intro of the embedded single and album opener “Harbinger of Dissolution,” but take care lest you be caught in the swirling, malevolent arrogance of the narrator. A huge breakdown just past the midpoint arrives to grind your bones to dust in time for a reprisal of the furious intro to blow through and scatter your remains across the stars.

That combination of simple, well-executed death metal with the self-aggrandizing ravings of a demiurgical entity is what makes From Beyond such a success. Pneuma Hagion has been known to dabble in both Lovecraftian and Gnostic themes in their past works, and that trend continues here. As a recovering Christian fundamentalist, the highly scriptural nature of the lyrics adds a satisfying layer of terror that, in my opinion, takes Lovecraftian horror to another level. This album is a psychically delivered hate letter from some mysterious being adrift somewhere in space and time, and the music is the perfect medium for such a message.

If I haven’t spent very much time describing said music, it’s because this is a very simple album for people of very simple tastes. At nine tracks and 24 minutes, From Beyond is a concise treatise on heaviness. Both members play the hell out of their parts; Shane Elwell must blow through drum kits by the sound of the beating he gives his here, and Ryan Wilson’s guitar, bass, and vocal performances are simply thunderous. I saw an interview where Wilson stated, ‘We really try to make the music palpable, like a physical presence with a weight that you can actually feel. I think this new album has gotten closer to our ideal levels.’ I think so too, buddy. I do wish that there was another song or two on the level of the two singles, “Harbinger of Dissolution” and “The Temple Fires,” but the album ends up being a journeyman effort in focused brutality.

While Lovecraft-themed metal albums are a dime a dozen, the way that Pneuma Hagion adorns their particular brand of eldritch horror with theological trappings makes for something gloriously heavy. From Beyond is a simple, concise record, but don’t let that fool you into thinking it isn’t lethally effective. Put this on in the gym, and I guarantee your gainz with be otherworldly.1

Rating: 3.5/5.0
DR: 6 | Format Reviewed: 320 kb/s mp3
Label: Everlasting Spew Records
Websites: pneumahagion.bandcamp.com | facebook.com/pneumahagion218
Releases Worldwide: August 30th, 2024

#2024 #35 #AmericanMetal #Aug24 #DeathMetal #EverlastingSpewRecords #FromBeyond #MorbidAngel #PneumaHagion #Review #Reviews

Amiensus – Reclamation Pt. II Review

By Kenstrosity

In the grand tradition of doing things late and in the wrong order, this review for interstate progressive melodic black metal outfit Amiensus‘ fifth album, Reclamation Pt. II, comes before any AMG coverage of its companion predecessor, Pt. I, released just this past April. How does something like this happen? It’s easy. We missed it.1 Life gets in the way, or promo came too late or not at all. Any number of scenarios lead to this result, but it is rare that we encounter such situations over the course of a single year. With so little time between releases, I ask myself what kind of album Reclamation Pt. II could be, and what kind of quality should I expect?

To put it in simple terms, Amiensus’ sound is equal parts compelling and immersive. A wondrous foundation of In Mourning sadboi melodicism coalesces fluidly with vicious White Ward-ian black metal and a touch of progressive proclivities to form a dramatic, dynamic, and tightly written conclusion(?) to the Reclamation suite. Where Reclamation Pt. I offered a more introspective quality to its storytelling, Reclamation Pt. II is more cathartic. Shifting sands of airy cleans often telegraph the impending, swirling storms of blackened fury just over the horizon, only to settle once again into that mournful pall that ensconces me so completely I feel as one with it. Exploring varying song structures and durations, Reclamation Pt. II ebbs and flows between its movements with a rare grace I generally don’t associate with progressive metal or black metal. Yet, here we are.

As if to pick up directly where Reclamation Pt. I left off, Reclamation Pt. II opens with Amiensus’ most invigorating material. Between the stomping black n’ roll of “Sólfarið” and the shredding flesh-rend of “Acquiescence,” Reclamation Pt. II wastes no time and takes no prisoners. However, these pieces aren’t relentless, mindless attacks. Moments of peaceful atmosphere, particularly effective in SotY contender “Acquiescence,” conjure a thematic tether to Reclamation Pt. I with beautifully plucked melodies and wonderfully layered vocal lines. Miraculously, not even a hint of mimicry or self-plagiarism exists during these dalliances with the light. Weeping strings then enhance the emotional topology of Reclamation Pt. II’s compositions in instrumental interlude “Disconsolate,” only to release beastly progressive black metal triumphs “Decaying God Child,” “The Distance,” and regal closer “Orb of Vanishing Light” unto a world lulled by a false sense of security. These numbers constitute some of Amiensus’ most versatile material yet. Utilizing riffs that express the better traits of melodic black and death metal; post-metal leads and atmosphere reminiscent of Latitudes’ introspective style; shifting rhythmic structures commonly pursued in the progressive metal scene; then pairing them with transcendent solo work and multifaceted vocal performances, these tracks stand out vividly without sacrificing cohesion to the whole.

The sheer quality of Amiensus’ music here makes it increasingly difficult to pinpoint weak spots, especially as the album grows with time. At first, the aforementioned interlude seemed overlong at just under three minutes. Additionally, “Leprosarium” initially felt somewhat out of place with its Carnosus-like riffset and aggressive swagger. As I lived with Reclamation Pt. II, however, these former detractors started to coalesce with the greater picture the record paints for me. Just like that, my complaints melted away. Of course, that doesn’t mean other listeners won’t align more closely with my initial reactions even after investing time here. Aside from those compositional quibbles, my biggest nitpick is one of production. Boasting a rather flat and compressed mix and master, Reclamation Pt. II deserved more room for its beautiful layering to make a greater impact—and give their bass guitar bigger presence. Especially evident on the magnificent final moments of “Orb of Vanishing Light,” which evokes …and Oceans’ wondrous combination of ethereal atmospherics and rippling black metal riffs, Reclamation Pt. II’s production leaves some to be desired.

Nonetheless, Amiensus’ songwriting throughout the Reclamation suite represents their current magnum opus. Not only do both records showcase the band’s best material to date, but they also represent a standout work of art in this year’s catalog of metal releases. Of the two installments, I prefer Pt. II, as it’s the more energetic, smartly edited, and exquisitely arranged of the two. As a bonus, it only blooms brighter the longer I live with it. With that I say go forth, invest some quality time with Reclamation Pt. II, and rejoice!

Rating: Great!
DR: 62 | Format Reviewed: 320 kb/s mp3
Label: M-Theory Audio
Websites: amiensus.bandcamp.com | facebook.com/Amiensus
Releases Worldwide: August 30th, 2024

#AndOceans #2024 #40 #AmericanMetal #Amiensus #Aug24 #BlackMetal #Carnosus #InMourning #Latitudes #MTheoryAudio #MelodicBlackMetal #PostBlackMetal #ProgressiveMetal #ReclamationPtII #Review #Reviews #WhiteWard

Amiensus – Reclamation Pt. II Review

By Kenstrosity

In the grand tradition of doing things late and in the wrong order, this review for interstate progressive melodic black metal outfit Amiensus‘ fifth album, Reclamation Pt. II, comes before any AMG coverage of its companion predecessor, Pt. I, released just this past April. How does something like this happen? It’s easy. We missed it.1 Life gets in the way, or promo came too late or not at all. Any number of scenarios lead to this result, but it is rare that we encounter such situations over the course of a single year. With so little time between releases, I ask myself what kind of album Reclamation Pt. II could be, and what kind of quality should I expect?

To put it in simple terms, Amiensus’ sound is equal parts compelling and immersive. A wondrous foundation of In Mourning sadboi melodicism coalesces fluidly with vicious White Ward-ian black metal and a touch of progressive proclivities to form a dramatic, dynamic, and tightly written conclusion(?) to the Reclamation suite. Where Reclamation Pt. I offered a more introspective quality to its storytelling, Reclamation Pt. II is more cathartic. Shifting sands of airy cleans often telegraph the impending, swirling storms of blackened fury just over the horizon, only to settle once again into that mournful pall that ensconces me so completely I feel as one with it. Exploring varying song structures and durations, Reclamation Pt. II ebbs and flows between its movements with a rare grace I generally don’t associate with progressive metal or black metal. Yet, here we are.

As if to pick up directly where Reclamation Pt. I left off, Reclamation Pt. II opens with Amiensus’ most invigorating material. Between the stomping black n’ roll of “Sólfarið” and the shredding flesh-rend of “Acquiescence,” Reclamation Pt. II wastes no time and takes no prisoners. However, these pieces aren’t relentless, mindless attacks. Moments of peaceful atmosphere, particularly effective in SotY contender “Acquiescence,” conjure a thematic tether to Reclamation Pt. I with beautifully plucked melodies and wonderfully layered vocal lines. Miraculously, not even a hint of mimicry or self-plagiarism exists during these dalliances with the light. Weeping strings then enhance the emotional topology of Reclamation Pt. II’s compositions in instrumental interlude “Disconsolate,” only to release beastly progressive black metal triumphs “Decaying God Child,” “The Distance,” and regal closer “Orb of Vanishing Light” unto a world lulled by a false sense of security. These numbers constitute some of Amiensus’ most versatile material yet. Utilizing riffs that express the better traits of melodic black and death metal; post-metal leads and atmosphere reminiscent of Latitudes’ introspective style; shifting rhythmic structures commonly pursued in the progressive metal scene; then pairing them with transcendent solo work and multifaceted vocal performances, these tracks stand out vividly without sacrificing cohesion to the whole.

The sheer quality of Amiensus’ music here makes it increasingly difficult to pinpoint weak spots, especially as the album grows with time. At first, the aforementioned interlude seemed overlong at just under three minutes. Additionally, “Leprosarium” initially felt somewhat out of place with its Carnosus-like riffset and aggressive swagger. As I lived with Reclamation Pt. II, however, these former detractors started to coalesce with the greater picture the record paints for me. Just like that, my complaints melted away. Of course, that doesn’t mean other listeners won’t align more closely with my initial reactions even after investing time here. Aside from those compositional quibbles, my biggest nitpick is one of production. Boasting a rather flat and compressed mix and master, Reclamation Pt. II deserved more room for its beautiful layering to make a greater impact—and give their bass guitar bigger presence. Especially evident on the magnificent final moments of “Orb of Vanishing Light,” which evokes …and Oceans’ wondrous combination of ethereal atmospherics and rippling black metal riffs, Reclamation Pt. II’s production leaves some to be desired.

Nonetheless, Amiensus’ songwriting throughout the Reclamation suite represents their current magnum opus. Not only do both records showcase the band’s best material to date, but they also represent a standout work of art in this year’s catalog of metal releases. Of the two installments, I prefer Pt. II, as it’s the more energetic, smartly edited, and exquisitely arranged of the two. As a bonus, it only blooms brighter the longer I live with it. With that I say go forth, invest some quality time with Reclamation Pt. II, and rejoice!

Rating: Great!
DR: 62 | Format Reviewed: 320 kb/s mp3
Label: M-Theory Audio
Websites: amiensus.bandcamp.com | facebook.com/Amiensus
Releases Worldwide: August 30th, 2024

#AndOceans #2024 #40 #AmericanMetal #Amiensus #Aug24 #BlackMetal #Carnosus #InMourning #Latitudes #MTheoryAudio #MelodicBlackMetal #PostBlackMetal #ProgressiveMetal #ReclamationPtII #Review #Reviews #WhiteWard

Amiensus – Reclamation Pt. II Review

By Kenstrosity

In the grand tradition of doing things late and in the wrong order, this review for interstate progressive melodic black metal outfit Amiensus‘ fifth album, Reclamation Pt. II, comes before any AMG coverage of its companion predecessor, Pt. I, released just this past April. How does something like this happen? It’s easy. We missed it.1 Life gets in the way, or promo came too late or not at all. Any number of scenarios lead to this result, but it is rare that we encounter such situations over the course of a single year. With so little time between releases, I ask myself what kind of album Reclamation Pt. II could be, and what kind of quality should I expect?

To put it in simple terms, Amiensus’ sound is equal parts compelling and immersive. A wondrous foundation of In Mourning sadboi melodicism coalesces fluidly with vicious White Ward-ian black metal and a touch of progressive proclivities to form a dramatic, dynamic, and tightly written conclusion(?) to the Reclamation suite. Where Reclamation Pt. I offered a more introspective quality to its storytelling, Reclamation Pt. II is more cathartic. Shifting sands of airy cleans often telegraph the impending, swirling storms of blackened fury just over the horizon, only to settle once again into that mournful pall that ensconces me so completely I feel as one with it. Exploring varying song structures and durations, Reclamation Pt. II ebbs and flows between its movements with a rare grace I generally don’t associate with progressive metal or black metal. Yet, here we are.

As if to pick up directly where Reclamation Pt. I left off, Reclamation Pt. II opens with Amiensus’ most invigorating material. Between the stomping black n’ roll of “Sólfarið” and the shredding flesh-rend of “Acquiescence,” Reclamation Pt. II wastes no time and takes no prisoners. However, these pieces aren’t relentless, mindless attacks. Moments of peaceful atmosphere, particularly effective in SotY contender “Acquiescence,” conjure a thematic tether to Reclamation Pt. I with beautifully plucked melodies and wonderfully layered vocal lines. Miraculously, not even a hint of mimicry or self-plagiarism exists during these dalliances with the light. Weeping strings then enhance the emotional topology of Reclamation Pt. II’s compositions in instrumental interlude “Disconsolate,” only to release beastly progressive black metal triumphs “Decaying God Child,” “The Distance,” and regal closer “Orb of Vanishing Light” unto a world lulled by a false sense of security. These numbers constitute some of Amiensus’ most versatile material yet. Utilizing riffs that express the better traits of melodic black and death metal; post-metal leads and atmosphere reminiscent of Latitudes’ introspective style; shifting rhythmic structures commonly pursued in the progressive metal scene; then pairing them with transcendent solo work and multifaceted vocal performances, these tracks stand out vividly without sacrificing cohesion to the whole.

The sheer quality of Amiensus’ music here makes it increasingly difficult to pinpoint weak spots, especially as the album grows with time. At first, the aforementioned interlude seemed overlong at just under three minutes. Additionally, “Leprosarium” initially felt somewhat out of place with its Carnosus-like riffset and aggressive swagger. As I lived with Reclamation Pt. II, however, these former detractors started to coalesce with the greater picture the record paints for me. Just like that, my complaints melted away. Of course, that doesn’t mean other listeners won’t align more closely with my initial reactions even after investing time here. Aside from those compositional quibbles, my biggest nitpick is one of production. Boasting a rather flat and compressed mix and master, Reclamation Pt. II deserved more room for its beautiful layering to make a greater impact—and give their bass guitar bigger presence. Especially evident on the magnificent final moments of “Orb of Vanishing Light,” which evokes …and Oceans’ wondrous combination of ethereal atmospherics and rippling black metal riffs, Reclamation Pt. II’s production leaves some to be desired.

Nonetheless, Amiensus’ songwriting throughout the Reclamation suite represents their current magnum opus. Not only do both records showcase the band’s best material to date, but they also represent a standout work of art in this year’s catalog of metal releases. Of the two installments, I prefer Pt. II, as it’s the more energetic, smartly edited, and exquisitely arranged of the two. As a bonus, it only blooms brighter the longer I live with it. With that I say go forth, invest some quality time with Reclamation Pt. II, and rejoice!

Rating: Great!
DR: 62 | Format Reviewed: 320 kb/s mp3
Label: M-Theory Audio
Websites: amiensus.bandcamp.com | facebook.com/Amiensus
Releases Worldwide: August 30th, 2024

#AndOceans #2024 #40 #AmericanMetal #Amiensus #Aug24 #BlackMetal #Carnosus #InMourning #Latitudes #MTheoryAudio #MelodicBlackMetal #PostBlackMetal #ProgressiveMetal #ReclamationPtII #Review #Reviews #WhiteWard

Demiser – Slave to the Scythe Review

By Cherd

I generally avoid metal music videos. Way too often they’re overly self-serious retreads of the same spooky/angry/edgy schtick and ultimately just serve to remind you that metal bands don’t have the budget for music videos. Lyric videos are even worse, as they expose metal’s unfortunate dearth of skilled lyricists. So I was surprised when, after watching the lead video single from Demiser’s sophomore full-length Slave to the Scythe, I was left thinking “Damn. There’s a band who know who they are.” South Carolina’s leading researchers of all things infernal, Demiser present the findings of their scholarly research into the contents of Hades with the peer-reviewed case study “Hell is Full of Fire.” Like the song title and self-same chorus, the accompanying video is charmingly direct. Here’s the band playing in a garage or small club setting. Here they are drinking in a cemetery at night. Back to the band playing. Back to the cemetery, where they’ve somehow lit a grave on fire. Band playing. Someone brought a scythe to the cemetery and it’s on fire. Ope, hard to play that guitar when it’s on fire. The whole thing is lit low but warm and looks well shot for what it is.

Demiser are a metal throwback in spirit: hard drinking, fast playing, “Fuck yeah/you!” attitude. They’re a throwback in sound too, in that way only newer bands blend a bunch of throwback sounds into a sticky paste of pastiche. This is blackened thrash with a deep vein of NWOBHM combining the likes of Overkill, Motörhead, and Gorgoroth. “Feast” kicks things off with a very “Painkiller”-esque drum intro followed by sinister riffage and lightning-fast fret-work. It sets a blazing pace that rarely lets up over the next 40 minutes of vicious axe-wielding (Gravepisser, Phallomancer, and Defiler) and machine gun time-keeping (Infestor) while Demiser the Demiser holds court with his blackened shouts. Lyrical themes are mostly of the blasphemous variety, with memorable declarations of damned-ness in “Feast” (“All! Hell! Now! Opens wide!”), “Hell is Full of Fire,” and “In Nomine Baphomet,” but they do take a break from hailing Satan to talk about driving motorcycles real fast in the delightful “Carbureted Speed.”

All this results in a comfort food metal album that’s more fun than a Hell themed roller coaster with dangerously loose safety bars. I defy any metalhead, regardless of sub-genre preference, to keep their figurative pants on when the guitar solos hit in “Feast” or to keep their invisible fruit in their pockets when Demiser the Demiser declares “Hell! Is Full! Of Fire!” Slave to the Scythe is best when it keeps the gas pushed all the way to road pavement, which it does a lot, but the addition of a foot-stomping bop and some surprising melodicism elevates “Phallomancer the Phallomancer” to the position of album highlight. After the debut included the memorable “Demiser the Demiser,” the next record better give Gravepisser and Defiler their own eponymous ditties or else feelings are going to get hurt.

My issues with Slave to the Scythe are all relatively minor. When played front to back, the title track falls a little flat compared to the two rip snorters that sandwich it. As for the acoustic interlude, it’s nice enough and it adds to the 80s thrash vibe, but I quickly began skipping it after the second spin or so. The record is in no way overstuffed at a blazing 40 minutes, but final track “In Nomine Baphomet” stands out for being 8 minutes long, and it does go a bit mushy in the middle of that run time. Thankfully, these moments do little to detract from a record where even second-tier tracks like “Total Demise” or “Infernal Bust” have stank-face riffs and drive-it-like-it’s-stolen energy.

Demiser are a band who know who they are. They aren’t reinventing the wheel, but they are putting it on the front of a motorcycle and driving it recklessly. If you were a fan of their rollicking debut Through the Gate Eternal, you’ll get more of the same breakneck goodness on Slave to the Scythe. Given the talent involved here, I expect they’ll just keep churning out albums of sack-whipping blackened thrash for years to come.

Rating: 3.5/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Metal Blade Records
Websites: demiser.bandcamp.com | facebook.com/demiserofficial
Releases Worldwide: August 23rd, 2024

#2024 #35 #AmericanMetal #Aug24 #BlackMetal #BlackenedThrash #Demiser #Gorgoroth #HeavyMetal #MetalBladeRecords #Motörhead #Review #Reviews #SlaveToTheScythe #ThrashMetal

Demiser – Slave to the Scythe Review

By Cherd

I generally avoid metal music videos. Way too often they’re overly self-serious retreads of the same spooky/angry/edgy schtick and ultimately just serve to remind you that metal bands don’t have the budget for music videos. Lyric videos are even worse, as they expose metal’s unfortunate dearth of skilled lyricists. So I was surprised when, after watching the lead video single from Demiser’s sophomore full-length Slave to the Scythe, I was left thinking “Damn. There’s a band who know who they are.” South Carolina’s leading researchers of all things infernal, Demiser present the findings of their scholarly research into the contents of Hades with the peer-reviewed case study “Hell is Full of Fire.” Like the song title and self-same chorus, the accompanying video is charmingly direct. Here’s the band playing in a garage or small club setting. Here they are drinking in a cemetery at night. Back to the band playing. Back to the cemetery, where they’ve somehow lit a grave on fire. Band playing. Someone brought a scythe to the cemetery and it’s on fire. Ope, hard to play that guitar when it’s on fire. The whole thing is lit low but warm and looks well shot for what it is.

Demiser are a metal throwback in spirit: hard drinking, fast playing, “Fuck yeah/you!” attitude. They’re a throwback in sound too, in that way only newer bands blend a bunch of throwback sounds into a sticky paste of pastiche. This is blackened thrash with a deep vein of NWOBHM combining the likes of Overkill, Motörhead, and Gorgoroth. “Feast” kicks things off with a very “Painkiller”-esque drum intro followed by sinister riffage and lightning-fast fret-work. It sets a blazing pace that rarely lets up over the next 40 minutes of vicious axe-wielding (Gravepisser, Phallomancer, and Defiler) and machine gun time-keeping (Infestor) while Demiser the Demiser holds court with his blackened shouts. Lyrical themes are mostly of the blasphemous variety, with memorable declarations of damned-ness in “Feast” (“All! Hell! Now! Opens wide!”), “Hell is Full of Fire,” and “In Nomine Baphomet,” but they do take a break from hailing Satan to talk about driving motorcycles real fast in the delightful “Carbureted Speed.”

All this results in a comfort food metal album that’s more fun than a Hell themed roller coaster with dangerously loose safety bars. I defy any metalhead, regardless of sub-genre preference, to keep their figurative pants on when the guitar solos hit in “Feast” or to keep their invisible fruit in their pockets when Demiser the Demiser declares “Hell! Is Full! Of Fire!” Slave to the Scythe is best when it keeps the gas pushed all the way to road pavement, which it does a lot, but the addition of a foot-stomping bop and some surprising melodicism elevates “Phallomancer the Phallomancer” to the position of album highlight. After the debut included the memorable “Demiser the Demiser,” the next record better give Gravepisser and Defiler their own eponymous ditties or else feelings are going to get hurt.

My issues with Slave to the Scythe are all relatively minor. When played front to back, the title track falls a little flat compared to the two rip snorters that sandwich it. As for the acoustic interlude, it’s nice enough and it adds to the 80s thrash vibe, but I quickly began skipping it after the second spin or so. The record is in no way overstuffed at a blazing 40 minutes, but final track “In Nomine Baphomet” stands out for being 8 minutes long, and it does go a bit mushy in the middle of that run time. Thankfully, these moments do little to detract from a record where even second-tier tracks like “Total Demise” or “Infernal Bust” have stank-face riffs and drive-it-like-it’s-stolen energy.

Demiser are a band who know who they are. They aren’t reinventing the wheel, but they are putting it on the front of a motorcycle and driving it recklessly. If you were a fan of their rollicking debut Through the Gate Eternal, you’ll get more of the same breakneck goodness on Slave to the Scythe. Given the talent involved here, I expect they’ll just keep churning out albums of sack-whipping blackened thrash for years to come.

Rating: 3.5/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Metal Blade Records
Websites: demiser.bandcamp.com | facebook.com/demiserofficial
Releases Worldwide: August 23rd, 2024

#2024 #35 #AmericanMetal #Aug24 #BlackMetal #BlackenedThrash #Demiser #Gorgoroth #HeavyMetal #MetalBladeRecords #Motörhead #Review #Reviews #SlaveToTheScythe #ThrashMetal

Demiser – Slave to the Scythe Review

By Cherd

I generally avoid metal music videos. Way too often they’re overly self-serious retreads of the same spooky/angry/edgy schtick and ultimately just serve to remind you that metal bands don’t have the budget for music videos. Lyric videos are even worse, as they expose metal’s unfortunate dearth of skilled lyricists. So I was surprised when, after watching the lead video single from Demiser’s sophomore full-length Slave to the Scythe, I was left thinking “Damn. There’s a band who know who they are.” South Carolina’s leading researchers of all things infernal, Demiser present the findings of their scholarly research into the contents of Hades with the peer-reviewed case study “Hell is Full of Fire.” Like the song title and self-same chorus, the accompanying video is charmingly direct. Here’s the band playing in a garage or small club setting. Here they are drinking in a cemetery at night. Back to the band playing. Back to the cemetery, where they’ve somehow lit a grave on fire. Band playing. Someone brought a scythe to the cemetery and it’s on fire. Ope, hard to play that guitar when it’s on fire. The whole thing is lit low but warm and looks well shot for what it is.

Demiser are a metal throwback in spirit: hard drinking, fast playing, “Fuck yeah/you!” attitude. They’re a throwback in sound too, in that way only newer bands blend a bunch of throwback sounds into a sticky paste of pastiche. This is blackened thrash with a deep vein of NWOBHM combining the likes of Overkill, Motörhead, and Gorgoroth. “Feast” kicks things off with a very “Painkiller”-esque drum intro followed by sinister riffage and lightning-fast fret-work. It sets a blazing pace that rarely lets up over the next 40 minutes of vicious axe-wielding (Gravepisser, Phallomancer, and Defiler) and machine gun time-keeping (Infestor) while Demiser the Demiser holds court with his blackened shouts. Lyrical themes are mostly of the blasphemous variety, with memorable declarations of damned-ness in “Feast” (“All! Hell! Now! Opens wide!”), “Hell is Full of Fire,” and “In Nomine Baphomet,” but they do take a break from hailing Satan to talk about driving motorcycles real fast in the delightful “Carbureted Speed.”

All this results in a comfort food metal album that’s more fun than a Hell themed roller coaster with dangerously loose safety bars. I defy any metalhead, regardless of sub-genre preference, to keep their figurative pants on when the guitar solos hit in “Feast” or to keep their invisible fruit in their pockets when Demiser the Demiser declares “Hell! Is Full! Of Fire!” Slave to the Scythe is best when it keeps the gas pushed all the way to road pavement, which it does a lot, but the addition of a foot-stomping bop and some surprising melodicism elevates “Phallomancer the Phallomancer” to the position of album highlight. After the debut included the memorable “Demiser the Demiser,” the next record better give Gravepisser and Defiler their own eponymous ditties or else feelings are going to get hurt.

My issues with Slave to the Scythe are all relatively minor. When played front to back, the title track falls a little flat compared to the two rip snorters that sandwich it. As for the acoustic interlude, it’s nice enough and it adds to the 80s thrash vibe, but I quickly began skipping it after the second spin or so. The record is in no way overstuffed at a blazing 40 minutes, but final track “In Nomine Baphomet” stands out for being 8 minutes long, and it does go a bit mushy in the middle of that run time. Thankfully, these moments do little to detract from a record where even second-tier tracks like “Total Demise” or “Infernal Bust” have stank-face riffs and drive-it-like-it’s-stolen energy.

Demiser are a band who know who they are. They aren’t reinventing the wheel, but they are putting it on the front of a motorcycle and driving it recklessly. If you were a fan of their rollicking debut Through the Gate Eternal, you’ll get more of the same breakneck goodness on Slave to the Scythe. Given the talent involved here, I expect they’ll just keep churning out albums of sack-whipping blackened thrash for years to come.

Rating: 3.5/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Metal Blade Records
Websites: demiser.bandcamp.com | facebook.com/demiserofficial
Releases Worldwide: August 23rd, 2024

#2024 #35 #AmericanMetal #Aug24 #BlackMetal #BlackenedThrash #Demiser #Gorgoroth #HeavyMetal #MetalBladeRecords #Motörhead #Review #Reviews #SlaveToTheScythe #ThrashMetal

Deceased – Children of the Morgue Review

By Steel Druhm

Virginia’s Deceased are about as cult as a metal band gets and over their 37 year career of evil they’ve harvested the best bits of traditional, thrash and death metal and stitched them together into shambling monstrosities. Evolving from death into grind and then death-thrash with ever-increasing melodic sensibilities, Deceased have always been a feral, shaggy beast unfit for polite company. Albums like Fearless Undead Machines and Surreal Overdose are stone-cold classics overlooked by far too many, and any Deceased album is guaranteed to be a mangy ball of undisciplined hyperactivity thanks to founder and brain trust King Fowley. This man lives, breathes and bleeds metal and he’s the reason Deceased are such an enduring and charming freakshow. With no new material since 2018s Ghostly White, King made fans wait patiently for new product, and 2024 finally sees eighth album Children of the Mogue splattered on the wall like a shit-guts souffle. Are you ready to savor the flavor?

I’m happy to report that the unhinged, foaming-at-the-mouth sound of classic Deceased is still present. The title track proves it as their classic blend of OSDM, thrash and classic metal runs apeshit amok over your face and chesticles before leaving you in a greasy dumpster behind an organ donation clinic. It’s exactly what you want from Deceased with King Fowley’s over-the-top death roars as good as ever, accented by riffs that leap from 80s thrash, to 90s caveman death and NWoBHM without warning. At various points you’ll hear bits of Slayer, Rigor Mortis, Autopsy and even Voivod, and with nearly 8 minutes to work with, the band has plenty of time to saw your ears off. Is it massively bloated? Fuck yes it is, but it’s a wild ride full of hobo wine and lead pipe beatings and it’s crazy entertaining. After a short doomy interlude, the band jumps over to an upbeat, punky style not far from Unto Others (Untoothers) on “Terronaut,” but this quickly gives way to spoken word terror tales and death-thrash hooliganism with catchy guitar bits. The 8-plus minutes of “The Gravedigger” are a bloody sled ride through an active abattoir and you’ll get kill-bolted in the cranium multiple times along the way as the band chugs, grooves, dooms, and deaths every which way they can. It’s a big ole can of corpse paste and alley cat piss, but you get accustomed to the lumpy consistency.

The urge to cram more and MOAR into nearly every track has long been a Deceased handicap and it is here too. “The Gravedigger” is way long, as is “Fed to Mother Earth,” and restraint goes right out the fucking window on 8-plus minute closer “Farewell (Taken to Forever)”. But where Metallica bugs the shit out of me when they elongate songs 3-5 minutes past the logical stopping point, it’s way more tolerable when these guys do it because they stuff so much berserk filling in the coffin crust. The madcap commitment to excess is endearing, but the album plays out like a hot oil wrestling match against a bunch of zaftig competitors — it’s slippery fun but they wear you down before the end. That said, cuts like “Eerie Wavelengths” and “Brooding Lament” hit hard because they’re shorter and laser-focused on curb-stomping your poser ass. At 55 minutes, Children of the Morgue requires effort to absorb in one sitting, and slicing off the FOUR interludes might have helped lessen the cadaver load. Still, there’s a cosmic ass-ton of fun to be had along the way.

King Fowley is a metal legend and should be given a lifetime achievement award. He handles drums, bass and vocals here and though he’s a multi-talented chap, it’s his insane blathering that keeps the lights on at Deceased Manor. He’s one of the most over-the-top frontmen in metal, genuinely going all in all the time with shouts, death roars, blackened cackles and everything else he can think of. He’s a big reason the band’s chaos soup style works and he’s nothing if not charismatic. Guitarist Mike Smith has been integral to their sound since 1995, throwing off vibrant trad, thrash, and death riffs in rapid succession while also venturing into Goth rock and punk. With long-time murder accomplice Shane Fuegal along for the ride, the guitar work is deranged, unpredictable and spicy, borrowing from everyone from Iron Maiden to Autopsy to Tribulation.

As with nearly every Deceased album, there are hits and some lesser moments, but nothing here is bad. The bloat is the main obstacle, but even on the longest cuts, the band delivers so much belligerent energy, that you may not care about the added baggage. Children of the Morgue is a fun, frantic outing with the classic Deceased sound and that’s all that matters. Pad the walls and strap yourself in, because this shit has big nuts in it.

Rating: 3.0/5.0
DR: 8 | Format Reviewed: 320 kbps mp3
Label: Hells Headbangers
Websites: facebook.com/deceasedofficial | instagram.com/deceasedupthetombstones
Releases Worldwide: August 30th, 2024

#2024 #30 #AmericanMetal #Aug24 #ChildrenOfTheMorgue #DeathMetal #Deceased #FearlessUndeadMachines #GhostlyWhite #HeavyMetal #HellsHeadbangersRecords #Review #Reviews #ThrashMetal

Deceased – Children of the Morgue Review

By Steel Druhm

Virginia’s Deceased are about as cult as a metal band gets and over their 37 year career of evil they’ve harvested the best bits of traditional, thrash and death metal and stitched them together into shambling monstrosities. Evolving from death into grind and then death-thrash with ever-increasing melodic sensibilities, Deceased have always been a feral, shaggy beast unfit for polite company. Albums like Fearless Undead Machines and Surreal Overdose are stone-cold classics overlooked by far too many, and any Deceased album is guaranteed to be a mangy ball of undisciplined hyperactivity thanks to founder and brain trust King Fowley. This man lives, breathes and bleeds metal and he’s the reason Deceased are such an enduring and charming freakshow. With no new material since 2018s Ghostly White, King made fans wait patiently for new product, and 2024 finally sees eighth album Children of the Mogue splattered on the wall like a shit-guts souffle. Are you ready to savor the flavor?

I’m happy to report that the unhinged, foaming-at-the-mouth sound of classic Deceased is still present. The title track proves it as their classic blend of OSDM, thrash and classic metal runs apeshit amok over your face and chesticles before leaving you in a greasy dumpster behind an organ donation clinic. It’s exactly what you want from Deceased with King Fowley’s over-the-top death roars as good as ever, accented by riffs that leap from 80s thrash, to 90s caveman death and NWoBHM without warning. At various points you’ll hear bits of Slayer, Rigor Mortis, Autopsy and even Voivod, and with nearly 8 minutes to work with, the band has plenty of time to saw your ears off. Is it massively bloated? Fuck yes it is, but it’s a wild ride full of hobo wine and lead pipe beatings and it’s crazy entertaining. After a short doomy interlude, the band jumps over to an upbeat, punky style not far from Unto Others (Untoothers) on “Terronaut,” but this quickly gives way to spoken word terror tales and death-thrash hooliganism with catchy guitar bits. The 8-plus minutes of “The Gravedigger” are a bloody sled ride through an active abattoir and you’ll get kill-bolted in the cranium multiple times along the way as the band chugs, grooves, dooms, and deaths every which way they can. It’s a big ole can of corpse paste and alley cat piss, but you get accustomed to the lumpy consistency.

The urge to cram more and MOAR into nearly every track has long been a Deceased handicap and it is here too. “The Gravedigger” is way long, as is “Fed to Mother Earth,” and restraint goes right out the fucking window on 8-plus minute closer “Farewell (Taken to Forever)”. But where Metallica bugs the shit out of me when they elongate songs 3-5 minutes past the logical stopping point, it’s way more tolerable when these guys do it because they stuff so much berserk filling in the coffin crust. The madcap commitment to excess is endearing, but the album plays out like a hot oil wrestling match against a bunch of zaftig competitors — it’s slippery fun but they wear you down before the end. That said, cuts like “Eerie Wavelengths” and “Brooding Lament” hit hard because they’re shorter and laser-focused on curb-stomping your poser ass. At 55 minutes, Children of the Morgue requires effort to absorb in one sitting, and slicing off the FOUR interludes might have helped lessen the cadaver load. Still, there’s a cosmic ass-ton of fun to be had along the way.

King Fowley is a metal legend and should be given a lifetime achievement award. He handles drums, bass and vocals here and though he’s a multi-talented chap, it’s his insane blathering that keeps the lights on at Deceased Manor. He’s one of the most over-the-top frontmen in metal, genuinely going all in all the time with shouts, death roars, blackened cackles and everything else he can think of. He’s a big reason the band’s chaos soup style works and he’s nothing if not charismatic. Guitarist Mike Smith has been integral to their sound since 1995, throwing off vibrant trad, thrash, and death riffs in rapid succession while also venturing into Goth rock and punk. With long-time murder accomplice Shane Fuegal along for the ride, the guitar work is deranged, unpredictable and spicy, borrowing from everyone from Iron Maiden to Autopsy to Tribulation.

As with nearly every Deceased album, there are hits and some lesser moments, but nothing here is bad. The bloat is the main obstacle, but even on the longest cuts, the band delivers so much belligerent energy, that you may not care about the added baggage. Children of the Morgue is a fun, frantic outing with the classic Deceased sound and that’s all that matters. Pad the walls and strap yourself in, because this shit has big nuts in it.

Rating: 3.0/5.0
DR: 8 | Format Reviewed: 320 kbps mp3
Label: Hells Headbangers
Websites: facebook.com/deceasedofficial | instagram.com/deceasedupthetombstones
Releases Worldwide: August 30th, 2024

#2024 #30 #AmericanMetal #Aug24 #ChildrenOfTheMorgue #DeathMetal #Deceased #FearlessUndeadMachines #GhostlyWhite #HeavyMetal #HellsHeadbangersRecords #Review #Reviews #ThrashMetal

Deceased – Children of the Morgue Review

By Steel Druhm

Virginia’s Deceased are about as cult as a metal band gets and over their 37 year career of evil they’ve harvested the best bits of traditional, thrash and death metal and stitched them together into shambling monstrosities. Evolving from death into grind and then death-thrash with ever-increasing melodic sensibilities, Deceased have always been a feral, shaggy beast unfit for polite company. Albums like Fearless Undead Machines and Surreal Overdose are stone-cold classics overlooked by far too many, and any Deceased album is guaranteed to be a mangy ball of undisciplined hyperactivity thanks to founder and brain trust King Fowley. This man lives, breathes and bleeds metal and he’s the reason Deceased are such an enduring and charming freakshow. With no new material since 2018s Ghostly White, King made fans wait patiently for new product, and 2024 finally sees eighth album Children of the Mogue splattered on the wall like a shit-guts souffle. Are you ready to savor the flavor?

I’m happy to report that the unhinged, foaming-at-the-mouth sound of classic Deceased is still present. The title track proves it as their classic blend of OSDM, thrash and classic metal runs apeshit amok over your face and chesticles before leaving you in a greasy dumpster behind an organ donation clinic. It’s exactly what you want from Deceased with King Fowley’s over-the-top death roars as good as ever, accented by riffs that leap from 80s thrash, to 90s caveman death and NWoBHM without warning. At various points you’ll hear bits of Slayer, Rigor Mortis, Autopsy and even Voivod, and with nearly 8 minutes to work with, the band has plenty of time to saw your ears off. Is it massively bloated? Fuck yes it is, but it’s a wild ride full of hobo wine and lead pipe beatings and it’s crazy entertaining. After a short doomy interlude, the band jumps over to an upbeat, punky style not far from Unto Others (Untoothers) on “Terronaut,” but this quickly gives way to spoken word terror tales and death-thrash hooliganism with catchy guitar bits. The 8-plus minutes of “The Gravedigger” are a bloody sled ride through an active abattoir and you’ll get kill-bolted in the cranium multiple times along the way as the band chugs, grooves, dooms, and deaths every which way they can. It’s a big ole can of corpse paste and alley cat piss, but you get accustomed to the lumpy consistency.

The urge to cram more and MOAR into nearly every track has long been a Deceased handicap and it is here too. “The Gravedigger” is way long, as is “Fed to Mother Earth,” and restraint goes right out the fucking window on 8-plus minute closer “Farewell (Taken to Forever)”. But where Metallica bugs the shit out of me when they elongate songs 3-5 minutes past the logical stopping point, it’s way more tolerable when these guys do it because they stuff so much berserk filling in the coffin crust. The madcap commitment to excess is endearing, but the album plays out like a hot oil wrestling match against a bunch of zaftig competitors — it’s slippery fun but they wear you down before the end. That said, cuts like “Eerie Wavelengths” and “Brooding Lament” hit hard because they’re shorter and laser-focused on curb-stomping your poser ass. At 55 minutes, Children of the Morgue requires effort to absorb in one sitting, and slicing off the FOUR interludes might have helped lessen the cadaver load. Still, there’s a cosmic ass-ton of fun to be had along the way.

King Fowley is a metal legend and should be given a lifetime achievement award. He handles drums, bass and vocals here and though he’s a multi-talented chap, it’s his insane blathering that keeps the lights on at Deceased Manor. He’s one of the most over-the-top frontmen in metal, genuinely going all in all the time with shouts, death roars, blackened cackles and everything else he can think of. He’s a big reason the band’s chaos soup style works and he’s nothing if not charismatic. Guitarist Mike Smith has been integral to their sound since 1995, throwing off vibrant trad, thrash, and death riffs in rapid succession while also venturing into Goth rock and punk. With long-time murder accomplice Shane Fuegal along for the ride, the guitar work is deranged, unpredictable and spicy, borrowing from everyone from Iron Maiden to Autopsy to Tribulation.

As with nearly every Deceased album, there are hits and some lesser moments, but nothing here is bad. The bloat is the main obstacle, but even on the longest cuts, the band delivers so much belligerent energy, that you may not care about the added baggage. Children of the Morgue is a fun, frantic outing with the classic Deceased sound and that’s all that matters. Pad the walls and strap yourself in, because this shit has big nuts in it.

Rating: 3.0/5.0
DR: 8 | Format Reviewed: 320 kbps mp3
Label: Hells Headbangers
Websites: facebook.com/deceasedofficial | instagram.com/deceasedupthetombstones
Releases Worldwide: August 30th, 2024

#2024 #30 #AmericanMetal #Aug24 #ChildrenOfTheMorgue #DeathMetal #Deceased #FearlessUndeadMachines #GhostlyWhite #HeavyMetal #HellsHeadbangersRecords #Review #Reviews #ThrashMetal

All for Metal – Gods of Metal (Year of the Dragon) Review

By Holdeneye

Damn, I love watching the Olympics. As a former high school and collegiate shot putter, I am captivated mostly by the track, field, and weightlifting events, but my interest goes beyond that into watching the incredible performances in volleyball, rugby, and gymnastics as well. Many of my favorite events are judged by very objective standards like distance thrown, time run, points scored, or weight lifted, but while watching gymnastics, I realized that calculating a score comprised of subjective ‘difficulty’ and ‘execution’ ratings is not unlike what your favorite Angry Metal reviewers do when scoring albums. Yeah, that new avant-garde, technical, progressive disso-grind album may have an insane difficulty rating, but the chances of the band sticking the dismount is next-to-none, in my humble opinion. I believe every reviewer falls somewhere along a spectrum between valuing difficulty over execution, and vice versa. I am firmly in the ‘execution’ camp. I really don’t care if a band is doing something new with their sound; all I care about is: ‘did they nail it?’

When All for Metal released their debut album, Legends, just barely over one year ago, my relationship with metal and metal writing was in a dark place. After I saw/heard the singles for that debut, I initially waved these guys off as just another Sabaton, Brothers of Metal, and/or Manowar rip-off (albeit with a side of Disturbed), so it came as a total shock when the album’s cheesy anthems finally clicked, reigniting the dying embers trapped within my downtrodden heart of steel. Having said that, Legends’ success did little to assuage my fears that following up that record after so short a time might be biting off more than All for Metal could chew, but I’m happy to report that these lads and lasses are more than up to the task on Gods of Metal (Year of the Dragon).

While All for Metal’s songwriting style tends towards the generic, the execution is impressive. I had a tough time choosing a single to embed since they all highlight some aspect of the band’s strengths, but I ultimately went for “Path of the Brave,” a ballad that properly shows off All for Metal’s secret weapon: singer Antonio Calanna. This guy could sing the phonebook and I’d probably give it a 3.0. He takes good songs like the title track, “The Way of the Samurai,” and “Valkyries in the Sky” and elevates them to greatness. After the band’s resident mountain of power, Tetzel (also of Asenblut), begins “Who Wants to Live Forever” with his Arnold Schwarzenegger-on-even-moar-steroids singing voice, Calanna gives a heartfelt performance that ends the album on a surprisingly powerful, somber note.

There are a couple of things I’d change about Gods of Metal, but they are relatively minor. “Like Loki and Thor” feels like a 0.3-point deduction as it falls into good-but-nearly-filler territory; it’s just a little too campy and fails to induce the same level of excitement as its neighbors. I don’t mind the guest singing of Burning Witches’ Laura Guldemond on “Valkeries in the Sky,” but I’d honestly rather Calanna had sung the whole thing because he’s just much, much better. While Calanna gets MVP honors again, I’d be remiss if I didn’t mention All or Metal’s guitar duo, Ursula Zanichelli and Jasmin Pabst. These ladies are able to take a very modern, crunchy approach to the guitar and make it feel right at home amongst the traditional ethos of these metal anthems. The songs may be straightforward, but there are enough licks and leads thrown in to make them feel molten and vibrant.

All for Metal’s approach does not come with a high difficulty rating, so their execution is of the utmost importance. They absolutely delivered on debut Legends, and while I doubted they could repeat after so short a time, Gods of Metal (Year of the Dragon) gets high marks as well. These guys seem to have garnered quite the following in a very short amount of time, and it’s easy to see why: they’ve made metal fun again. Cheers to these brothers and sisters of metal, and may the blood on their katanas never dry!

Rating: 3.0/5.0
DR: 5 | Format Reviewed: 320 kb/s mp3
Label: Reigning Phoenix Music
Websites: allformetal.com | facebook.com/allformetalofficial
Releases Worldwide: August 23rd, 2024

#2024 #30 #AllForMetal #Asenblut #Aug24 #BrothersOfMetal #Disturbed #GodsOfMetal #HeavyMetal #InternationalMetal #Manowar #PowerMetal #ReigningPhoenixMusic #Review #Reviews #Sabaton

All for Metal – Gods of Metal (Year of the Dragon) Review

By Holdeneye

Damn, I love watching the Olympics. As a former high school and collegiate shot putter, I am captivated mostly by the track, field, and weightlifting events, but my interest goes beyond that into watching the incredible performances in volleyball, rugby, and gymnastics as well. Many of my favorite events are judged by very objective standards like distance thrown, time run, points scored, or weight lifted, but while watching gymnastics, I realized that calculating a score comprised of subjective ‘difficulty’ and ‘execution’ ratings is not unlike what your favorite Angry Metal reviewers do when scoring albums. Yeah, that new avant-garde, technical, progressive disso-grind album may have an insane difficulty rating, but the chances of the band sticking the dismount is next-to-none, in my humble opinion. I believe every reviewer falls somewhere along a spectrum between valuing difficulty over execution, and vice versa. I am firmly in the ‘execution’ camp. I really don’t care if a band is doing something new with their sound; all I care about is: ‘did they nail it?’

When All for Metal released their debut album, Legends, just barely over one year ago, my relationship with metal and metal writing was in a dark place. After I saw/heard the singles for that debut, I initially waved these guys off as just another Sabaton, Brothers of Metal, and/or Manowar rip-off (albeit with a side of Disturbed), so it came as a total shock when the album’s cheesy anthems finally clicked, reigniting the dying embers trapped within my downtrodden heart of steel. Having said that, Legends’ success did little to assuage my fears that following up that record after so short a time might be biting off more than All for Metal could chew, but I’m happy to report that these lads and lasses are more than up to the task on Gods of Metal (Year of the Dragon).

While All for Metal’s songwriting style tends towards the generic, the execution is impressive. I had a tough time choosing a single to embed since they all highlight some aspect of the band’s strengths, but I ultimately went for “Path of the Brave,” a ballad that properly shows off All for Metal’s secret weapon: singer Antonio Calanna. This guy could sing the phonebook and I’d probably give it a 3.0. He takes good songs like the title track, “The Way of the Samurai,” and “Valkyries in the Sky” and elevates them to greatness. After the band’s resident mountain of power, Tetzel (also of Asenblut), begins “Who Wants to Live Forever” with his Arnold Schwarzenegger-on-even-moar-steroids singing voice, Calanna gives a heartfelt performance that ends the album on a surprisingly powerful, somber note.

There are a couple of things I’d change about Gods of Metal, but they are relatively minor. “Like Loki and Thor” feels like a 0.3-point deduction as it falls into good-but-nearly-filler territory; it’s just a little too campy and fails to induce the same level of excitement as its neighbors. I don’t mind the guest singing of Burning Witches’ Laura Guldemond on “Valkeries in the Sky,” but I’d honestly rather Calanna had sung the whole thing because he’s just much, much better. While Calanna gets MVP honors again, I’d be remiss if I didn’t mention All or Metal’s guitar duo, Ursula Zanichelli and Jasmin Pabst. These ladies are able to take a very modern, crunchy approach to the guitar and make it feel right at home amongst the traditional ethos of these metal anthems. The songs may be straightforward, but there are enough licks and leads thrown in to make them feel molten and vibrant.

All for Metal’s approach does not come with a high difficulty rating, so their execution is of the utmost importance. They absolutely delivered on debut Legends, and while I doubted they could repeat after so short a time, Gods of Metal (Year of the Dragon) gets high marks as well. These guys seem to have garnered quite the following in a very short amount of time, and it’s easy to see why: they’ve made metal fun again. Cheers to these brothers and sisters of metal, and may the blood on their katanas never dry!

Rating: 3.0/5.0
DR: 5 | Format Reviewed: 320 kb/s mp3
Label: Reigning Phoenix Music
Websites: allformetal.com | facebook.com/allformetalofficial
Releases Worldwide: August 23rd, 2024

#2024 #30 #AllForMetal #Asenblut #Aug24 #BrothersOfMetal #Disturbed #GodsOfMetal #HeavyMetal #InternationalMetal #Manowar #PowerMetal #ReigningPhoenixMusic #Review #Reviews #Sabaton

All for Metal – Gods of Metal (Year of the Dragon) Review

By Holdeneye

Damn, I love watching the Olympics. As a former high school and collegiate shot putter, I am captivated mostly by the track, field, and weightlifting events, but my interest goes beyond that into watching the incredible performances in volleyball, rugby, and gymnastics as well. Many of my favorite events are judged by very objective standards like distance thrown, time run, points scored, or weight lifted, but while watching gymnastics, I realized that calculating a score comprised of subjective ‘difficulty’ and ‘execution’ ratings is not unlike what your favorite Angry Metal reviewers do when scoring albums. Yeah, that new avant-garde, technical, progressive disso-grind album may have an insane difficulty rating, but the chances of the band sticking the dismount is next-to-none, in my humble opinion. I believe every reviewer falls somewhere along a spectrum between valuing difficulty over execution, and vice versa. I am firmly in the ‘execution’ camp. I really don’t care if a band is doing something new with their sound; all I care about is: ‘did they nail it?’

When All for Metal released their debut album, Legends, just barely over one year ago, my relationship with metal and metal writing was in a dark place. After I saw/heard the singles for that debut, I initially waved these guys off as just another Sabaton, Brothers of Metal, and/or Manowar rip-off (albeit with a side of Disturbed), so it came as a total shock when the album’s cheesy anthems finally clicked, reigniting the dying embers trapped within my downtrodden heart of steel. Having said that, Legends’ success did little to assuage my fears that following up that record after so short a time might be biting off more than All for Metal could chew, but I’m happy to report that these lads and lasses are more than up to the task on Gods of Metal (Year of the Dragon).

While All for Metal’s songwriting style tends towards the generic, the execution is impressive. I had a tough time choosing a single to embed since they all highlight some aspect of the band’s strengths, but I ultimately went for “Path of the Brave,” a ballad that properly shows off All for Metal’s secret weapon: singer Antonio Calanna. This guy could sing the phonebook and I’d probably give it a 3.0. He takes good songs like the title track, “The Way of the Samurai,” and “Valkyries in the Sky” and elevates them to greatness. After the band’s resident mountain of power, Tetzel (also of Asenblut), begins “Who Wants to Live Forever” with his Arnold Schwarzenegger-on-even-moar-steroids singing voice, Calanna gives a heartfelt performance that ends the album on a surprisingly powerful, somber note.

There are a couple of things I’d change about Gods of Metal, but they are relatively minor. “Like Loki and Thor” feels like a 0.3-point deduction as it falls into good-but-nearly-filler territory; it’s just a little too campy and fails to induce the same level of excitement as its neighbors. I don’t mind the guest singing of Burning Witches’ Laura Guldemond on “Valkeries in the Sky,” but I’d honestly rather Calanna had sung the whole thing because he’s just much, much better. While Calanna gets MVP honors again, I’d be remiss if I didn’t mention All or Metal’s guitar duo, Ursula Zanichelli and Jasmin Pabst. These ladies are able to take a very modern, crunchy approach to the guitar and make it feel right at home amongst the traditional ethos of these metal anthems. The songs may be straightforward, but there are enough licks and leads thrown in to make them feel molten and vibrant.

All for Metal’s approach does not come with a high difficulty rating, so their execution is of the utmost importance. They absolutely delivered on debut Legends, and while I doubted they could repeat after so short a time, Gods of Metal (Year of the Dragon) gets high marks as well. These guys seem to have garnered quite the following in a very short amount of time, and it’s easy to see why: they’ve made metal fun again. Cheers to these brothers and sisters of metal, and may the blood on their katanas never dry!

Rating: 3.0/5.0
DR: 5 | Format Reviewed: 320 kb/s mp3
Label: Reigning Phoenix Music
Websites: allformetal.com | facebook.com/allformetalofficial
Releases Worldwide: August 23rd, 2024

#2024 #30 #AllForMetal #Asenblut #Aug24 #BrothersOfMetal #Disturbed #GodsOfMetal #HeavyMetal #InternationalMetal #Manowar #PowerMetal #ReigningPhoenixMusic #Review #Reviews #Sabaton

Vomitrot – Emetic Imprecations Review

By Mark Z.

Somewhere along the way I got pegged as this website’s “vomit” guy, and I can’t say I’m bothered by that. Seeing the word “vomit” in a band name tells you absolutely nothing about whether the music will be good or bad, but it does tell you that what you’re about to hear will probably be fukkin nasty. And that’s exactly the way I like my music. Thus, when I learned a band called Vomitrot had an album in our promo bin, I couldn’t wait to get my grubby little paws on it. Formed in 2019 by members with experience in the funeral doom band Gravkväde, this Swedish trio first spewed their filth upon the world with a 2020 demo before retching up their debut album, 2022’s Rotten Vomit. Somehow my trusty vomit detector didn’t pick up on that record, but with song titles like “Apex Vomit,” “Upheaval of Vomit,” “Rotten Vomit,” and “Bludgeoned by Puke,” you can bet your ass I enjoyed that album. With second album Emetic Imprecations, the band have apparently cut down on their dinner portions, as this puke pile consists of a mere six tracks in just under twenty-six minutes. But is this foul expulsion still worth your bile?

With a bludgeoning approach and a dense amalgamation of surprisingly varied riffs, Emetic Imprecations treads an interesting line between war metal and death metal. The group roughly sound like they were crafted in the same factory as Antichrist Siege Machine, only before they reached the end of the assembly line, some poor underpaid worker lost his lunch all over the components. Unsurprisingly, the result is dirty, disgusting, and utterly unconcerned with whether you enjoy it or not. Opener “Envomited” fittingly begins with a sample of someone puking before erupting into a shitstorm of hammering blast beats, belligerent riffs, lurching chugs, garbled growls, and even a brief bout of squawking notes that recalls Concrete Winds. It all sounds like a vat of vomit churning itself into sentience, and things only get better from here.

Imprecations works because it knows how to keep things engaging. The songs frequently shift between ideas but rarely feel overstuffed, and while the music is relentlessly heavy, the use of different tempos and riffing styles results in plenty of notable moments. Second track “Emtophilic Cro-Magnon” employs rushing black metal riffs as a counterpoint to the more visceral assault of its predecessor, while “Odious Fetid Aberrations” invokes its inner Incantation with tremolo riffs that alternately swirl and strain for the heavens. “Heinous Sulphuric Phlegm” opts for a more punishing approach, beating the listener into submission with bouts of fast lockstep chugs before collapsing into a segment that could pass for slam. Both guitarist “Rotted Vomitor” and bassist “Vomitroth” contribute vocals, and the two ensure everything remains suitably vile and barbaric with their gurgling rasps and monstrous growls. Combined with the hostile and pounding drums, the overall effect is like being caught in the middle of an epic war between rival Neanderthal clans.

My biggest complaints about Imprecations are essentially quibbles. The aforementioned opener “Envomited” feels like it crams a few too many ideas into its three-minute runtime, and the album slows down a bit too much in its back half. In particular, closer “Vomitous Execrations” feels like it needs a few more blast beats to give the record the explosive ending it needs, even if its sharp recurring motif works well overall. Fortunately, the production is great, with a thick cavernous sound that retains more than enough dynamic range to let the riffs breathe.

Emetic Imprecations is a real treat. On paper, this album seems like it should have the IQ of a caveman; in actuality, the record’s primitive pummeling comes via some unexpectedly complex compositions. The result is an album that gets in, hurls all over you, and leaves you dripping in disgust as you sort through all the various bits and pieces that have just been coughed up. Fans of Infernal Coil and Of Feather and Bone will likely eat this up, as will those who like war metal that oozes with the primal aggression of bands like Caveman Cult. Vomitrot is a young group, but with Imprecations, they’ve easily joined the hallowed ranks of artists like Vomitor, Slutvomit, Witch Vomit, Anal Vomit, Death Vomit, Funeral Vomit, and Vomitheist. Get ready to retch, and hail the fukkin vomit!

Rating: 4.0/5.0
DR: 10 | Format Reviewed: 320 kbps mp3
Label: Personal Records
Websites: vomitrot.bandcamp.com | facebook.com/vomitrot
Releases Worldwide: August 24th, 2024

#2024 #40 #AnalVomit #AntichristSiegeMachine #Aug24 #BlackMetal #CavemanCult #ConcreteWinds #DeathMetal #DeathVomit #EmeticImprecations #FuneralVomit #Gravkväde #Incantation #InfernalCoil #OfFeatherAndBone #PersonalRecords #Review #Reviews #Slutvomit #SwedishMetal #Vomitheist #Vomitor #Vomitrot #WitchVomit

Vomitrot – Emetic Imprecations Review

By Mark Z.

Somewhere along the way I got pegged as this website’s “vomit” guy, and I can’t say I’m bothered by that. Seeing the word “vomit” in a band name tells you absolutely nothing about whether the music will be good or bad, but it does tell you that what you’re about to hear will probably be fukkin nasty. And that’s exactly the way I like my music. Thus, when I learned a band called Vomitrot had an album in our promo bin, I couldn’t wait to get my grubby little paws on it. Formed in 2019 by members with experience in the funeral doom band Gravkväde, this Swedish trio first spewed their filth upon the world with a 2020 demo before retching up their debut album, 2022’s Rotten Vomit. Somehow my trusty vomit detector didn’t pick up on that record, but with song titles like “Apex Vomit,” “Upheaval of Vomit,” “Rotten Vomit,” and “Bludgeoned by Puke,” you can bet your ass I enjoyed that album. With second album Emetic Imprecations, the band have apparently cut down on their dinner portions, as this puke pile consists of a mere six tracks in just under twenty-six minutes. But is this foul expulsion still worth your bile?

With a bludgeoning approach and a dense amalgamation of surprisingly varied riffs, Emetic Imprecations treads an interesting line between war metal and death metal. The group roughly sound like they were crafted in the same factory as Antichrist Siege Machine, only before they reached the end of the assembly line, some poor underpaid worker lost his lunch all over the components. Unsurprisingly, the result is dirty, disgusting, and utterly unconcerned with whether you enjoy it or not. Opener “Envomited” fittingly begins with a sample of someone puking before erupting into a shitstorm of hammering blast beats, belligerent riffs, lurching chugs, garbled growls, and even a brief bout of squawking notes that recalls Concrete Winds. It all sounds like a vat of vomit churning itself into sentience, and things only get better from here.

Imprecations works because it knows how to keep things engaging. The songs frequently shift between ideas but rarely feel overstuffed, and while the music is relentlessly heavy, the use of different tempos and riffing styles results in plenty of notable moments. Second track “Emtophilic Cro-Magnon” employs rushing black metal riffs as a counterpoint to the more visceral assault of its predecessor, while “Odious Fetid Aberrations” invokes its inner Incantation with tremolo riffs that alternately swirl and strain for the heavens. “Heinous Sulphuric Phlegm” opts for a more punishing approach, beating the listener into submission with bouts of fast lockstep chugs before collapsing into a segment that could pass for slam. Both guitarist “Rotted Vomitor” and bassist “Vomitroth” contribute vocals, and the two ensure everything remains suitably vile and barbaric with their gurgling rasps and monstrous growls. Combined with the hostile and pounding drums, the overall effect is like being caught in the middle of an epic war between rival Neanderthal clans.

My biggest complaints about Imprecations are essentially quibbles. The aforementioned opener “Envomited” feels like it crams a few too many ideas into its three-minute runtime, and the album slows down a bit too much in its back half. In particular, closer “Vomitous Execrations” feels like it needs a few more blast beats to give the record the explosive ending it needs, even if its sharp recurring motif works well overall. Fortunately, the production is great, with a thick cavernous sound that retains more than enough dynamic range to let the riffs breathe.

Emetic Imprecations is a real treat. On paper, this album seems like it should have the IQ of a caveman; in actuality, the record’s primitive pummeling comes via some unexpectedly complex compositions. The result is an album that gets in, hurls all over you, and leaves you dripping in disgust as you sort through all the various bits and pieces that have just been coughed up. Fans of Infernal Coil and Of Feather and Bone will likely eat this up, as will those who like war metal that oozes with the primal aggression of bands like Caveman Cult. Vomitrot is a young group, but with Imprecations, they’ve easily joined the hallowed ranks of artists like Vomitor, Slutvomit, Witch Vomit, Anal Vomit, Death Vomit, Funeral Vomit, and Vomitheist. Get ready to retch, and hail the fukkin vomit!

Rating: 4.0/5.0
DR: 10 | Format Reviewed: 320 kbps mp3
Label: Personal Records
Websites: vomitrot.bandcamp.com | facebook.com/vomitrot
Releases Worldwide: August 24th, 2024

#2024 #40 #AnalVomit #AntichristSiegeMachine #Aug24 #BlackMetal #CavemanCult #ConcreteWinds #DeathMetal #DeathVomit #EmeticImprecations #FuneralVomit #Gravkväde #Incantation #InfernalCoil #OfFeatherAndBone #PersonalRecords #Review #Reviews #Slutvomit #SwedishMetal #Vomitheist #Vomitor #Vomitrot #WitchVomit

Vomitrot – Emetic Imprecations Review

By Mark Z.

Somewhere along the way I got pegged as this website’s “vomit” guy, and I can’t say I’m bothered by that. Seeing the word “vomit” in a band name tells you absolutely nothing about whether the music will be good or bad, but it does tell you that what you’re about to hear will probably be fukkin nasty. And that’s exactly the way I like my music. Thus, when I learned a band called Vomitrot had an album in our promo bin, I couldn’t wait to get my grubby little paws on it. Formed in 2019 by members with experience in the funeral doom band Gravkväde, this Swedish trio first spewed their filth upon the world with a 2020 demo before retching up their debut album, 2022’s Rotten Vomit. Somehow my trusty vomit detector didn’t pick up on that record, but with song titles like “Apex Vomit,” “Upheaval of Vomit,” “Rotten Vomit,” and “Bludgeoned by Puke,” you can bet your ass I enjoyed that album. With second album Emetic Imprecations, the band have apparently cut down on their dinner portions, as this puke pile consists of a mere six tracks in just under twenty-six minutes. But is this foul expulsion still worth your bile?

With a bludgeoning approach and a dense amalgamation of surprisingly varied riffs, Emetic Imprecations treads an interesting line between war metal and death metal. The group roughly sound like they were crafted in the same factory as Antichrist Siege Machine, only before they reached the end of the assembly line, some poor underpaid worker lost his lunch all over the components. Unsurprisingly, the result is dirty, disgusting, and utterly unconcerned with whether you enjoy it or not. Opener “Envomited” fittingly begins with a sample of someone puking before erupting into a shitstorm of hammering blast beats, belligerent riffs, lurching chugs, garbled growls, and even a brief bout of squawking notes that recalls Concrete Winds. It all sounds like a vat of vomit churning itself into sentience, and things only get better from here.

Imprecations works because it knows how to keep things engaging. The songs frequently shift between ideas but rarely feel overstuffed, and while the music is relentlessly heavy, the use of different tempos and riffing styles results in plenty of notable moments. Second track “Emtophilic Cro-Magnon” employs rushing black metal riffs as a counterpoint to the more visceral assault of its predecessor, while “Odious Fetid Aberrations” invokes its inner Incantation with tremolo riffs that alternately swirl and strain for the heavens. “Heinous Sulphuric Phlegm” opts for a more punishing approach, beating the listener into submission with bouts of fast lockstep chugs before collapsing into a segment that could pass for slam. Both guitarist “Rotted Vomitor” and bassist “Vomitroth” contribute vocals, and the two ensure everything remains suitably vile and barbaric with their gurgling rasps and monstrous growls. Combined with the hostile and pounding drums, the overall effect is like being caught in the middle of an epic war between rival Neanderthal clans.

My biggest complaints about Imprecations are essentially quibbles. The aforementioned opener “Envomited” feels like it crams a few too many ideas into its three-minute runtime, and the album slows down a bit too much in its back half. In particular, closer “Vomitous Execrations” feels like it needs a few more blast beats to give the record the explosive ending it needs, even if its sharp recurring motif works well overall. Fortunately, the production is great, with a thick cavernous sound that retains more than enough dynamic range to let the riffs breathe.

Emetic Imprecations is a real treat. On paper, this album seems like it should have the IQ of a caveman; in actuality, the record’s primitive pummeling comes via some unexpectedly complex compositions. The result is an album that gets in, hurls all over you, and leaves you dripping in disgust as you sort through all the various bits and pieces that have just been coughed up. Fans of Infernal Coil and Of Feather and Bone will likely eat this up, as will those who like war metal that oozes with the primal aggression of bands like Caveman Cult. Vomitrot is a young group, but with Imprecations, they’ve easily joined the hallowed ranks of artists like Vomitor, Slutvomit, Witch Vomit, Anal Vomit, Death Vomit, Funeral Vomit, and Vomitheist. Get ready to retch, and hail the fukkin vomit!

Rating: 4.0/5.0
DR: 10 | Format Reviewed: 320 kbps mp3
Label: Personal Records
Websites: vomitrot.bandcamp.com | facebook.com/vomitrot
Releases Worldwide: August 24th, 2024

#2024 #40 #AnalVomit #AntichristSiegeMachine #Aug24 #BlackMetal #CavemanCult #ConcreteWinds #DeathMetal #DeathVomit #EmeticImprecations #FuneralVomit #Gravkväde #Incantation #InfernalCoil #OfFeatherAndBone #PersonalRecords #Review #Reviews #Slutvomit #SwedishMetal #Vomitheist #Vomitor #Vomitrot #WitchVomit

Dawn Treader – Bloom & Decay Review

By Itchymenace

I love black metal—especially when it’s drenched in an atmosphere that soars between heroic highs and guttural lows. But, finding quality records with dynamic songs that resonate with me on an emotional level can be harder than finding a needle in a Norwegian blizzard. Jorn knows I’ve dipped my scabbed hands into the sump numerous times only to pull out some third or fourth-generation Emperor copy put together by a couple of kids who are in 300 other bands that I’ve also never heard of. Patiently, I’ve waited for a band that has the hood-covered chops to stand shoulder-to-shoulder with the great atmo-black bands I adore like Agalloch, Alcest, Panopticon and, dare I say, Deafheaven.1 So, it was as if Odin himself answered my prayers when Dawn Treader steered its mighty Saxon hull into my harbor with an album that’s as fierce, beautiful, stirring, and memorable as anything I’ve heard in the past several years. What makes this album such a gem? Direct your black gaze forward.

Dawn Treader is a “solo, anti-fascist black metal project” from London native, Ross Connell. Bloom & Decay is the project’s second release and the first to include vocals from Mr. Connell, who proves himself a formidable and impassioned vocalist. He balances urgency and angst with an emotional nuance that elevates the songs above most of his contemporaries. His opening shriek on “Idolator” is blood-curdling in the best sense, but he channels that rage into the verse with a near-melodic delivery that will put your heart in your throat. On his previous release, 2021’s The Burial of the Dead, any vocalizations came in the form of soundbites from poems, namely T.S. Elliot’s “Wasteland.” Bloom & Decay still benefits from plenty of carefully curated samples, but the vocals add a much-welcome dimension to the landscape.

The majority of Bloom & Decay is instrumental, but you hardly notice because the music has such a storytelling quality to it. To paraphrase the release notes, it takes you through the “cycles of life and death, grief and glory, hope and melancholy.” And while most black metal bands promise some form of this, Dawn Treader delivers in spades. The opening minutes of “Sunchaser” offer a prelude of everything to come with delicate melodies that intensify into heroic tremolos that feel victorious one moment and mournful the next. The track segues perfectly into “Idolator,” which somehow combines compelling black metal riffs with a crushing, metalcore-style breakdown and a finger-tapping guitar solo. It works, check it out! Listening to Bloom & Decay, you can’t help but feel that it is building up to something. That something is the title track and one of the most uplifting and inspiring songs I’ve ever heard. It’s a monster album closer that soars through some of the best, most melodic blackened guitar work you’ll hear. But, the coup de grace is the masterfully placed sample of Charles Bukowski’s “The Laughing Heart” as read by Tom Waits. The poem, which emphasizes how life’s soul-crushing lows can be offset by glimmering moments of light, perfectly delivers an emotional climax that makes you want to wipe your brow, catch your breath, flip the record and start over.

A big part of me wanted to give this record a 5.0 but the objective voice inside my head (and the thought of Steel’s boot on my neck) persuaded me to step back and reconsider. As good as the good stuff is, there are areas that could be trimmed. Curiously, the first single “Sky Burial,” resonates with me the least. “Iron Price,” with its heavily political and meandering “fuck you” speech may turn off some listeners, but the ferocity of the second half delivers serious chills reminiscent of Panopticon. While I love “The Oxbow Incident,” the Henry Fonda speech included before the final track delays rather than builds my excitement. Still, at 53 minutes, Bloom & Decay is right in the pocket for this sort of epic black metal.

Bloom & Decay not only contains amazing songs that celebrate the highs and lows of the human experience, but it also sounds great. It has a bright and punchy production that submerges you just beneath every cascading note and crashing tidal wave blast. For fans of black metal and certainly post-black metal, black gaze and atmo black (and whatever other hip genre you want to add) Dawn Treader have released a must-have record. Prepare to set sail for greatness!

Rating: 4.0/5.0
DR: 6 | Format Reviewed: 2116 kbps
Label: liminaldreadproductions.com
Website: dawntreaderuk.bandcamp.com
Releases Worldwide: August 23rd, 2024

#40 #AtmophericBlackMetal #Aug24 #BlackMetal #Blackgaze #BloomDecay #DawnTreader #EnglishMetal #Review #Reviews #UKMetal