#gatecreeper — Public Fediverse posts
Live and recent posts from across the Fediverse tagged #gatecreeper, aggregated by home.social.
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Gatecreeper enter the studio to record new material ahead of U.S. tour with Eternal & Dying Remains
Gatecreeper have teased that new music is on the way. The Arizona death metal band recently shared photos…
#NewsBeep #News #US #USA #UnitedStates #UnitedStatesOfAmerica #Music #Entertainment #Gatecreeper #hardcore #Lambgoat #Metal
https://www.newsbeep.com/us/566993/ -
Gatecreeper enter the studio to record new material ahead of U.S. tour with Eternal & Dying Remains
Gatecreeper have teased that new music is on the way. The Arizona death metal band recently shared photos…
#NewsBeep #News #US #USA #UnitedStates #UnitedStatesOfAmerica #Music #Entertainment #Gatecreeper #hardcore #Lambgoat #Metal
https://www.newsbeep.com/us/566993/ -
https://www.europesays.com/nl/47088/ Arch Enemy sluit een avond vol bijzondere bands af in AFAS Live #AfasLive #amorphis #Amsterdam #Amusement #ArchEnemy #Dutch #eluveitie #Entertainment #gatecreeper #Music #Muziek #Nederland #Nederlanden #Nederlands #Netherlands #NL #WilcoLamers
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https://www.europesays.com/es/211467/ Crónica y fotos de ARCH ENEMY + ELUVEITIE + AMORPHIS + GATECREEPER en Madrid – WWW.RAFABASA.COM #AMORPHIS #ARCHENEMY #eluveitie #Entertainment #Entretenimiento #ES #España #gatecreeper #Music #Música #Spain
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https://www.europesays.com/es/204616/ Crónica de Arch Enemy + Eluveitie + Amorphis + Gatecreeper en Madrid: Excelsa dinastía de lo extremo #AlissaWhiteGluz #AMORPHIS #ARCHENEMY #BloodDinasty #ChrigelGlanzmann #eluveitie #Entertainment #Entretenimiento #ES #España #FabienneErni #gatecreeper #MichaelAmott #MR2022 #Music #Música #Spain
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Konzert in Stuttgart: Der Kessel kocht: So war’s bei Amorphis und Arch Enemy in der Schleyer-Halle – Kultur
Die Metal-Giganten Arch Enemy, Amorphis und Eluveitie haben ihre europäische Blood-Dynasty-Tour gestartet. Bilder…
#Stuttgart #Deutschland #Deutsch #DE #Schlagzeilen #Headlines #Nachrichten #News #Europe #Europa #EU #amorphis #archenemy #Baden-Württemberg #Eluveitie #Gatecreeper #Germany #Hanns-Martin-Schleyer-Halle #HeavyMetal #Konzert #Kultur #Metal
https://www.europesays.com/de/489897/ -
Ba’al – The Fine Line between Heaven and Here Review
By Angry Metal Guy
By: Nameless_n00b_605
Post-anything is a tough genre to pin down. Does the music eschew genre trappings, rightfully identifying as post in the way it challenges previous norms? Or does it draw from the well that identifies as post, infusing itself with spacey tremolo riffs, heavy atmosphere, and lengthy, non-traditional tracks? If the Sheffield UK post-metallers Ba’al have anything to say, it is the latter. Ba’al showcases some real talent and variety with epic song structures and quality attempts at sampling numerous genres throughout this LP. But, with The Fine Line between Heaven and Here, I ask myself after each track, if variety is the spice of life, why does this album end up sounding so predictable?
Ba’al as a unit is impressive. Nick Gosling’s guitar work is superb, deftly switching genres on the fly, and there is skill to Ba’al’s ability to be a chameleon. Joe Stamp’s vocals are equally agile, as he seamlessly transitions from throat-searing black metal screeches to raspy death metal howls, all while infusing the more emotive elements of the album with heart. Each of these is served well by The Fine Line between Heaven and Here’s production, allowing the post-rock interludes to breathe while the massive riffs hit hard. My only real qualm is that the lovely bass that is present on their previous LP Ellipsism, is hiding away beside standout moments such as on “The Ocean That Fills a Wound.” While all the individual elements are strong and make for a cohesive track filled with variety, the band continuously returns to that same well across the album. Tracks begin to blend into one, amorphous serving of genre-blended pea soup. The first track feels the same as the last from an emotional perspective, leaving the album feeling one-note despite the variety on display.
Ba’al consistently combines black metal, post-rock, and death metal infused with hardcore (think Fuming Mouth, Gatecreeper, and Creeping Death, etc.), and even some indie rock musings across their second LP. The previously mentioned opening track, “Mother’s Concrete Womb,” encapsulates what Ba’al is doing and sets expectations for the rest of the album. Emotional piano and post-rock musings lead into more typical black metal sections that bring to mind blackgaze stalwarts Deafheaven. Ba’al surprises and delights with the sudden introduction of the aforementioned hardcore death elements. These moments are a highlight, and massive, chunky riffs make frequent appearances across the album.
The track “Well of Sorrows” is a perfect microcosm of how The Fine Line between Heaven and Here misses the mark. Eleven minutes long and sandwiched with interstitial post-rock that feels part Russian Circles and part God Is an Astronaut. No particular element hits as hard as its genre inspirations. The black metal sections are competent, the death metal riffs are groovy but lack memorable hooks, and to tie a neat bow on all of this, Ba’al consistently resorts to emotional clean singing and borderline spoken-word segments that made me think more of The National’s Alligator and Boxer era. The clean moments are effective in tracks like “Mother’s Concrete Womb,” “Wax Gorgon,” and “The Ocean That Fills a Wound,” but they can be grating and… very British (Joe Stamp’s accent comes through heavily here), for lack of a better word. This part of the album will be divisive, I imagine, and your mileage may vary.1
Ba’al is not without talent or promise; The Fine Line between Heaven and Here is a hair’s breadth away from greatness, a fact that only highlights where it falters. The Tracks “Legasov,” and “Waxwork Gorgon” are examples of tighter song structures that get right into the good stuff with memorable opening riffs and a lot of the fat trimmed from the post-rock and black metal elements. The album could cut at least fifteen minutes to give it more impact. Even the cleans should stay, but I would love to see them lean more into melody and less into spoken word or downright wailing like on “Well of Sorrows.” The intro of “The Ocean That Fills a Wound” starts in the right place with lulling, rhythmic vocals leading into a brutal explosion of blasting black metal.
The variety and talent end up being a double-edged sword for Ba’al, as what starts as impressive quickly grows predictable. If you like what Ba’al is serving up, you will have a nearly 63-minute slab of post-black metal to nourish you, but if the initial track isn’t for you, don’t expect the rest of the album to change your mind. Despite my negativity, it is from a place of love. Ba’al is an undoubtedly talented band on the cusp of true greatness. If they can edit their songs a little and lean into their best qualities, the next album may be a genre great.2
Rating: 3.0/5.0
DR: 7 | Format Reviewed: 320 kb/s mp3
Label: Road to Masochist
Websites: baalbanduk.bandcamp.com | facebook.com/baalbanduk | instagram.com/baalbanduk
Releases Worldwide: July 18th, 2025#2025 #30 #BaAl #BlackMetal #BritishMetal #CreepingDeath #Deafheaven #FumingMouth #Gatecreeper #GodIsAnAstronaut #Hardcore #Jul25 #Metalcore #PostMetal #Review #Reviews #RoadToMasochist #RussianCircles #TheFineLineBetweenHeavenAndHere #TheNational
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Ba’al – The Fine Line between Heaven and Here Review
By Angry Metal Guy
By: Nameless_n00b_605
Post-anything is a tough genre to pin down. Does the music eschew genre trappings, rightfully identifying as post in the way it challenges previous norms? Or does it draw from the well that identifies as post, infusing itself with spacey tremolo riffs, heavy atmosphere, and lengthy, non-traditional tracks? If the Sheffield UK post-metallers Ba’al have anything to say, it is the latter. Ba’al showcases some real talent and variety with epic song structures and quality attempts at sampling numerous genres throughout this LP. But, with The Fine Line between Heaven and Here, I ask myself after each track, if variety is the spice of life, why does this album end up sounding so predictable?
Ba’al as a unit is impressive. Nick Gosling’s guitar work is superb, deftly switching genres on the fly, and there is skill to Ba’al’s ability to be a chameleon. Joe Stamp’s vocals are equally agile, as he seamlessly transitions from throat-searing black metal screeches to raspy death metal howls, all while infusing the more emotive elements of the album with heart. Each of these is served well by The Fine Line between Heaven and Here’s production, allowing the post-rock interludes to breathe while the massive riffs hit hard. My only real qualm is that the lovely bass that is present on their previous LP Ellipsism, is hiding away beside standout moments such as on “The Ocean That Fills a Wound.” While all the individual elements are strong and make for a cohesive track filled with variety, the band continuously returns to that same well across the album. Tracks begin to blend into one, amorphous serving of genre-blended pea soup. The first track feels the same as the last from an emotional perspective, leaving the album feeling one-note despite the variety on display.
Ba’al consistently combines black metal, post-rock, and death metal infused with hardcore (think Fuming Mouth, Gatecreeper, and Creeping Death, etc.), and even some indie rock musings across their second LP. The previously mentioned opening track, “Mother’s Concrete Womb,” encapsulates what Ba’al is doing and sets expectations for the rest of the album. Emotional piano and post-rock musings lead into more typical black metal sections that bring to mind blackgaze stalwarts Deafheaven. Ba’al surprises and delights with the sudden introduction of the aforementioned hardcore death elements. These moments are a highlight, and massive, chunky riffs make frequent appearances across the album.
The track “Well of Sorrows” is a perfect microcosm of how The Fine Line between Heaven and Here misses the mark. Eleven minutes long and sandwiched with interstitial post-rock that feels part Russian Circles and part God Is an Astronaut. No particular element hits as hard as its genre inspirations. The black metal sections are competent, the death metal riffs are groovy but lack memorable hooks, and to tie a neat bow on all of this, Ba’al consistently resorts to emotional clean singing and borderline spoken-word segments that made me think more of The National’s Alligator and Boxer era. The clean moments are effective in tracks like “Mother’s Concrete Womb,” “Wax Gorgon,” and “The Ocean That Fills a Wound,” but they can be grating and… very British (Joe Stamp’s accent comes through heavily here), for lack of a better word. This part of the album will be divisive, I imagine, and your mileage may vary.1
Ba’al is not without talent or promise; The Fine Line between Heaven and Here is a hair’s breadth away from greatness, a fact that only highlights where it falters. The Tracks “Legasov,” and “Waxwork Gorgon” are examples of tighter song structures that get right into the good stuff with memorable opening riffs and a lot of the fat trimmed from the post-rock and black metal elements. The album could cut at least fifteen minutes to give it more impact. Even the cleans should stay, but I would love to see them lean more into melody and less into spoken word or downright wailing like on “Well of Sorrows.” The intro of “The Ocean That Fills a Wound” starts in the right place with lulling, rhythmic vocals leading into a brutal explosion of blasting black metal.
The variety and talent end up being a double-edged sword for Ba’al, as what starts as impressive quickly grows predictable. If you like what Ba’al is serving up, you will have a nearly 63-minute slab of post-black metal to nourish you, but if the initial track isn’t for you, don’t expect the rest of the album to change your mind. Despite my negativity, it is from a place of love. Ba’al is an undoubtedly talented band on the cusp of true greatness. If they can edit their songs a little and lean into their best qualities, the next album may be a genre great.2
Rating: 3.0/5.0
DR: 7 | Format Reviewed: 320 kb/s mp3
Label: Road to Masochist
Websites: baalbanduk.bandcamp.com | facebook.com/baalbanduk | instagram.com/baalbanduk
Releases Worldwide: July 18th, 2025#2025 #30 #BaAl #BlackMetal #BritishMetal #CreepingDeath #Deafheaven #FumingMouth #Gatecreeper #GodIsAnAstronaut #Hardcore #Jul25 #Metalcore #PostMetal #Review #Reviews #RoadToMasochist #RussianCircles #TheFineLineBetweenHeavenAndHere #TheNational
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Ba’al – The Fine Line between Heaven and Here Review
By Angry Metal Guy
By: Nameless_n00b_605
Post-anything is a tough genre to pin down. Does the music eschew genre trappings, rightfully identifying as post in the way it challenges previous norms? Or does it draw from the well that identifies as post, infusing itself with spacey tremolo riffs, heavy atmosphere, and lengthy, non-traditional tracks? If the Sheffield UK post-metallers Ba’al have anything to say, it is the latter. Ba’al showcases some real talent and variety with epic song structures and quality attempts at sampling numerous genres throughout this LP. But, with The Fine Line between Heaven and Here, I ask myself after each track, if variety is the spice of life, why does this album end up sounding so predictable?
Ba’al as a unit is impressive. Nick Gosling’s guitar work is superb, deftly switching genres on the fly, and there is skill to Ba’al’s ability to be a chameleon. Joe Stamp’s vocals are equally agile, as he seamlessly transitions from throat-searing black metal screeches to raspy death metal howls, all while infusing the more emotive elements of the album with heart. Each of these is served well by The Fine Line between Heaven and Here’s production, allowing the post-rock interludes to breathe while the massive riffs hit hard. My only real qualm is that the lovely bass that is present on their previous LP Ellipsism, is hiding away beside standout moments such as on “The Ocean That Fills a Wound.” While all the individual elements are strong and make for a cohesive track filled with variety, the band continuously returns to that same well across the album. Tracks begin to blend into one, amorphous serving of genre-blended pea soup. The first track feels the same as the last from an emotional perspective, leaving the album feeling one-note despite the variety on display.
Ba’al consistently combines black metal, post-rock, and death metal infused with hardcore (think Fuming Mouth, Gatecreeper, and Creeping Death, etc.), and even some indie rock musings across their second LP. The previously mentioned opening track, “Mother’s Concrete Womb,” encapsulates what Ba’al is doing and sets expectations for the rest of the album. Emotional piano and post-rock musings lead into more typical black metal sections that bring to mind blackgaze stalwarts Deafheaven. Ba’al surprises and delights with the sudden introduction of the aforementioned hardcore death elements. These moments are a highlight, and massive, chunky riffs make frequent appearances across the album.
The track “Well of Sorrows” is a perfect microcosm of how The Fine Line between Heaven and Here misses the mark. Eleven minutes long and sandwiched with interstitial post-rock that feels part Russian Circles and part God Is an Astronaut. No particular element hits as hard as its genre inspirations. The black metal sections are competent, the death metal riffs are groovy but lack memorable hooks, and to tie a neat bow on all of this, Ba’al consistently resorts to emotional clean singing and borderline spoken-word segments that made me think more of The National’s Alligator and Boxer era. The clean moments are effective in tracks like “Mother’s Concrete Womb,” “Wax Gorgon,” and “The Ocean That Fills a Wound,” but they can be grating and… very British (Joe Stamp’s accent comes through heavily here), for lack of a better word. This part of the album will be divisive, I imagine, and your mileage may vary.1
Ba’al is not without talent or promise; The Fine Line between Heaven and Here is a hair’s breadth away from greatness, a fact that only highlights where it falters. The Tracks “Legasov,” and “Waxwork Gorgon” are examples of tighter song structures that get right into the good stuff with memorable opening riffs and a lot of the fat trimmed from the post-rock and black metal elements. The album could cut at least fifteen minutes to give it more impact. Even the cleans should stay, but I would love to see them lean more into melody and less into spoken word or downright wailing like on “Well of Sorrows.” The intro of “The Ocean That Fills a Wound” starts in the right place with lulling, rhythmic vocals leading into a brutal explosion of blasting black metal.
The variety and talent end up being a double-edged sword for Ba’al, as what starts as impressive quickly grows predictable. If you like what Ba’al is serving up, you will have a nearly 63-minute slab of post-black metal to nourish you, but if the initial track isn’t for you, don’t expect the rest of the album to change your mind. Despite my negativity, it is from a place of love. Ba’al is an undoubtedly talented band on the cusp of true greatness. If they can edit their songs a little and lean into their best qualities, the next album may be a genre great.2
Rating: 3.0/5.0
DR: 7 | Format Reviewed: 320 kb/s mp3
Label: Road to Masochist
Websites: baalbanduk.bandcamp.com | facebook.com/baalbanduk | instagram.com/baalbanduk
Releases Worldwide: July 18th, 2025#2025 #30 #BaAl #BlackMetal #BritishMetal #CreepingDeath #Deafheaven #FumingMouth #Gatecreeper #GodIsAnAstronaut #Hardcore #Jul25 #Metalcore #PostMetal #Review #Reviews #RoadToMasochist #RussianCircles #TheFineLineBetweenHeavenAndHere #TheNational
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Ba’al – The Fine Line between Heaven and Here Review
By Angry Metal Guy
By: Nameless_n00b_605
Post-anything is a tough genre to pin down. Does the music eschew genre trappings, rightfully identifying as post in the way it challenges previous norms? Or does it draw from the well that identifies as post, infusing itself with spacey tremolo riffs, heavy atmosphere, and lengthy, non-traditional tracks? If the Sheffield UK post-metallers Ba’al have anything to say, it is the latter. Ba’al showcases some real talent and variety with epic song structures and quality attempts at sampling numerous genres throughout this LP. But, with The Fine Line between Heaven and Here, I ask myself after each track, if variety is the spice of life, why does this album end up sounding so predictable?
Ba’al as a unit is impressive. Nick Gosling’s guitar work is superb, deftly switching genres on the fly, and there is skill to Ba’al’s ability to be a chameleon. Joe Stamp’s vocals are equally agile, as he seamlessly transitions from throat-searing black metal screeches to raspy death metal howls, all while infusing the more emotive elements of the album with heart. Each of these is served well by The Fine Line between Heaven and Here’s production, allowing the post-rock interludes to breathe while the massive riffs hit hard. My only real qualm is that the lovely bass that is present on their previous LP Ellipsism, is hiding away beside standout moments such as on “The Ocean That Fills a Wound.” While all the individual elements are strong and make for a cohesive track filled with variety, the band continuously returns to that same well across the album. Tracks begin to blend into one, amorphous serving of genre-blended pea soup. The first track feels the same as the last from an emotional perspective, leaving the album feeling one-note despite the variety on display.
Ba’al consistently combines black metal, post-rock, and death metal infused with hardcore (think Fuming Mouth, Gatecreeper, and Creeping Death, etc.), and even some indie rock musings across their second LP. The previously mentioned opening track, “Mother’s Concrete Womb,” encapsulates what Ba’al is doing and sets expectations for the rest of the album. Emotional piano and post-rock musings lead into more typical black metal sections that bring to mind blackgaze stalwarts Deafheaven. Ba’al surprises and delights with the sudden introduction of the aforementioned hardcore death elements. These moments are a highlight, and massive, chunky riffs make frequent appearances across the album.
The track “Well of Sorrows” is a perfect microcosm of how The Fine Line between Heaven and Here misses the mark. Eleven minutes long and sandwiched with interstitial post-rock that feels part Russian Circles and part God Is an Astronaut. No particular element hits as hard as its genre inspirations. The black metal sections are competent, the death metal riffs are groovy but lack memorable hooks, and to tie a neat bow on all of this, Ba’al consistently resorts to emotional clean singing and borderline spoken-word segments that made me think more of The National’s Alligator and Boxer era. The clean moments are effective in tracks like “Mother’s Concrete Womb,” “Wax Gorgon,” and “The Ocean That Fills a Wound,” but they can be grating and… very British (Joe Stamp’s accent comes through heavily here), for lack of a better word. This part of the album will be divisive, I imagine, and your mileage may vary.1
Ba’al is not without talent or promise; The Fine Line between Heaven and Here is a hair’s breadth away from greatness, a fact that only highlights where it falters. The Tracks “Legasov,” and “Waxwork Gorgon” are examples of tighter song structures that get right into the good stuff with memorable opening riffs and a lot of the fat trimmed from the post-rock and black metal elements. The album could cut at least fifteen minutes to give it more impact. Even the cleans should stay, but I would love to see them lean more into melody and less into spoken word or downright wailing like on “Well of Sorrows.” The intro of “The Ocean That Fills a Wound” starts in the right place with lulling, rhythmic vocals leading into a brutal explosion of blasting black metal.
The variety and talent end up being a double-edged sword for Ba’al, as what starts as impressive quickly grows predictable. If you like what Ba’al is serving up, you will have a nearly 63-minute slab of post-black metal to nourish you, but if the initial track isn’t for you, don’t expect the rest of the album to change your mind. Despite my negativity, it is from a place of love. Ba’al is an undoubtedly talented band on the cusp of true greatness. If they can edit their songs a little and lean into their best qualities, the next album may be a genre great.2
Rating: 3.0/5.0
DR: 7 | Format Reviewed: 320 kb/s mp3
Label: Road to Masochist
Websites: baalbanduk.bandcamp.com | facebook.com/baalbanduk | instagram.com/baalbanduk
Releases Worldwide: July 18th, 2025#2025 #30 #BaAl #BlackMetal #BritishMetal #CreepingDeath #Deafheaven #FumingMouth #Gatecreeper #GodIsAnAstronaut #Hardcore #Jul25 #Metalcore #PostMetal #Review #Reviews #RoadToMasochist #RussianCircles #TheFineLineBetweenHeavenAndHere #TheNational
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Ba’al – The Fine Line between Heaven and Here Review
By Lavender Larcenist
Post-anything is a tough genre to pin down. Does the music eschew genre trappings, rightfully identifying as post in the way it challenges previous norms? Or does it draw from the well that identifies as post, infusing itself with spacey tremolo riffs, heavy atmosphere, and lengthy, non-traditional tracks? If the Sheffield UK post-metallers Ba’al have anything to say, it is the latter. Ba’al showcases some real talent and variety with epic song structures and quality attempts at sampling numerous genres throughout this LP. But, with The Fine Line between Heaven and Here, I ask myself after each track, if variety is the spice of life, why does this album end up sounding so predictable?
Ba’al as a unit is impressive. Nick Gosling’s guitar work is superb, deftly switching genres on the fly, and there is skill to Ba’al’s ability to be a chameleon. Joe Stamp’s vocals are equally agile, as he seamlessly transitions from throat-searing black metal screeches to raspy death metal howls, all while infusing the more emotive elements of the album with heart. Each of these is served well by The Fine Line between Heaven and Here’s production, allowing the post-rock interludes to breathe while the massive riffs hit hard. My only real qualm is that the lovely bass that is present on their previous LP Ellipsism, is hiding away besides standout moments such as on “The Ocean That Fills a Wound.” While all the individual elements are strong and make for a cohesive track filled with variety, the band continuously returns to that same well across the album. Tracks begin to blend into one, amorphous serving of genre-blended pea soup. The first track feels the same as the last from an emotional perspective, leaving the album feeling one-note despite the variety on display.
Ba’al consistently combines black metal, post-rock, and death metal infused with hardcore (think Fuming Mouth, Gatecreeper, and Creeping Death, etc.), and even some indie rock musings across their second LP. The previously mentioned opening track, “Mother’s Concrete Womb,” encapsulates what Ba’al is doing and sets expectations for the rest of the album. Emotional piano and post-rock musings lead into more typical black metal sections that bring to mind blackgaze stalwarts Deafheaven. Ba’al surprises and delights with the sudden introduction of the aforementioned hardcore death elements. These moments are a highlight, and massive, chunky riffs make frequent appearances across the album.
The track “Well of Sorrows” is a perfect microcosm of how The Fine Line between Heaven and Here misses the mark. Eleven minutes long and sandwiched with interstitial post-rock that feels part Russian Circles and part God Is an Astronaut. No particular element hits as hard as its genre inspirations. The black metal sections are competent, the death metal riffs are groovy but lack memorable hooks, and to tie a neat bow on all of this, Ba’al consistently resorts to emotional clean singing and borderline spoken-word segments that made me think more of The National’s Alligator and Boxer era. The clean moments are effective in tracks like “Mother’s Concrete Womb,” “Wax Gorgon,” and “The Ocean That Fills a Wound,” but they can be grating and… very British (Joe Stamp’s accent comes through heavily here), for lack of a better word. This part of the album will be divisive, I imagine, and your mileage may vary.1
Ba’al is not without talent or promise; The Fine Line between Heaven and Here is a hair’s breadth away from greatness, a fact that only highlights where it falters. The Tracks “Legasov,” and “Waxwork Gorgon” are examples of tighter song structures that get right into the good stuff with memorable opening riffs and a lot of the fat trimmed from the post-rock and black metal elements. The album could cut at least fifteen minutes to give it more impact. Even the cleans should stay, but I would love to see them lean more into melody and less into spoken word or downright wailing like on “Well of Sorrows.” The intro of “The Ocean That Fills a Wound” starts in the right place with lulling, rhythmic vocals leading into a brutal explosion of blasting black metal.
The variety and talent end up being a double-edged sword for Ba’al, as what starts as impressive quickly grows predictable. If you like what Ba’al is serving up, you will have a nearly 63-minute slab of post-black metal to nourish you, but if the initial track isn’t for you, don’t expect the rest of the album to change your mind. Despite my negativity, it is from a place of love. Ba’al is an undoubtedly talented band on the cusp of true greatness. If they can edit their songs a little and lean into their best qualities, the next album may be a genre great.2
Rating: 3.0/5.0
DR: 7 | Format Reviewed: 320 kb/s mp3
Label: Road to Masochist
Websites: baalbanduk.bandcamp.com | facebook.com/baalbanduk | instagram.com/baalbanduk
Releases Worldwide: July 18th, 2025#2025 #30 #BaAl #BlackMetal #BritishMetal #CreepingDeath #Deafheaven #FumingMouth #Gatecreeper #GodIsAnAstronaut #Hardcore #Jul25 #Metalcore #PostMetal #Review #Reviews #RoadToMasochist #RussianCircles #TheFineLineBetweenHeavenAndHere #TheNational
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The Black Dahlia Murder reprograma show en Chile y suma banda invitada | vía #NaciónRock
https://www.nacionrock.com/the-black-dahlia-murder-reprograma-show-en-chile-y-suma-banda-invitada/
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The Black Dahlia Murder reprograma show en Chile y suma banda invitada | vía #NaciónRock
https://www.nacionrock.com/the-black-dahlia-murder-reprograma-show-en-chile-y-suma-banda-invitada/
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The Black Dahlia Murder posterga su concierto en Chile y suma a Gatecreeper como banda invitada | vía #SonidosOcultos
#chargolaproducciones #diciembre #gatecreeper #livechile #nuevafecha #t2025 #teatrocariola #theblackdahliamurder
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The Black Dahlia Murder posterga su concierto en Chile y suma a Gatecreeper como banda invitada | vía #SonidosOcultos
#chargolaproducciones #diciembre #gatecreeper #livechile #nuevafecha #t2025 #teatrocariola #theblackdahliamurder
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Phrenelith – Ashen Womb Review
By Alekhines Gun
In the early 2010’s, the world saw an explosion of the New-School-Old-School Revival of death metal. Spearheaded by outfits like Tomb Mold, Gatecreeper, Hyperdontia, and Undergang—to name but a few—this wave of bands represented taking the crust, filth, and savagery of your favorite genre founding fathers and launching them forth with wrath into of the modern era. Standing shoulder to shoulder near the front of this pack was Phrenelith, a Danish group whose debut Desolate Landscape made them scene darlings almost overnight. Unfortunately, sophomore release Chimaera opted for an increase in muck and atmospheric decor at the cost of some of their first album’s power, and was received somewhat divisively. Now, some four years later, Ashen Womb is prepared to drop like an anvil on their unsuspecting fanbase. Will they continue to dive into the murky wells, or has this womb been gestating a return to glorious, bone-powdering violence?
As it turns out, Phrenelith have opted for option C. The approach of Ashen Womb, in both music and sound, pitches for a merging of the melancholy of Chimaera with Desolate Landscape’s cement-shattering methodology to songwriting. The production sidesteps both previous releases, at once managing to be muddy in its tone with leads vibrant enough to cut through the mire. Making his LP debut, drummer Andreas Nordgreen quickly etches his identity into the band, flowing between creative drum fills from measure to measure, giving repeated refrains in “Chrysopoeia” and “Astral Larvae” an engaging quality. Much like the artwork adorning the cover, the more melodic tones are buried but bright, even as bassist Jakob plays in tandem with guitar leads rather than chords, laying riffcraft to savage the crust below. The atypically warm DR lets everything shine in this paradoxical sonic quagmire, creating the suffocating character Chimaera opted for without sacrificing the clarity of barbarity at work.
Older fans will be stoked to hear the return to immediate violence in the compositions. Lead single “Stagnated Blood” toys with a repeated riff at alternating octaves, stringing together hooks and character into a ruthless scorched earth assault. “A Husk Wrung Dry” rocks an infected 7/4 riff replete with whammy abuse and staccato-laced chords which slide from bouncy to bludgeoning. Guitarists David and Simon Daniel toy with bends, modulation, and sustained tapping sections recalling the more crystalline moments of Innumerable Forms, with Simon’s vocals a belligerent, reverb-soaked guttural soup. The vocals in particular are masterfully placed—both within the mix and the music—lyrical arrangement flawlessly adding titanic force to ruthless riffing while knowing when to be silent and let the music speak for itself.
Nonetheless, the specter of Chimaera looms betwixt the heavier moments, filling the negative spaces with gloom and somberness. Title track “Ashen Womb” and “Nebulae” end on repeated, haunting melodies, drawn out to a protracted conclusion. “Sphageion” serves as one of the better interludes I’ve heard, with tension-building distortion and Andreas breaking into a free-form drum solo which would go over swell in a live setting. Even the instrumental opener “Noemata” manages to carve an identity as a curtain-lifter rather than a pointless buildup, rendering Ashen Womb a journey rather than a mere collection of tracks. True, the atmospherics are sometimes heavy-handed; there’s no need to bookend songs with a cumulative couple minutes of Paysage d’Hiver-esque wind and sounds, and a minute could be trimmed off of both emotive fade-outs. Despite this, the mastery of seamless transitioning, rather than sandwiching of the disparaging elements gives Ashen Womb its own flavor in the Phrenelith landscape.
Few bands can manage to make each album its own time capsule of sound and style, but Ashen Womb accomplishes that and more, cementing Phrenelith as a band with chapters. Some may cling to the idea that Desolate Landscape is a collection of better songs, but Ashen Womb is a better album; a journey with highs, lows, and tension-building. By managing to merge the melodicism and mood with the brutality, rather than sacrificing one for the other, these Danes have continued to evolve their sound in an admirable direction. Who can say where the fourth release will take us? One thing’s for sure: it won’t be what any of us expect, other than a commitment to high quality, lethal weapons grade, unadulterated death.
Rating: 3.5/5.0
DR: 8 | Format Reviewed: 320 kbps mp3
Label: Dark Descent Records
Websites: https://darkdescentrecords.bandcamp.com/album/ashen-womb | https://www.facebook.com/phrenelith/
Releases Worldwide: February 7, 2025#2025 #35 #AshenWomb #DanishMetal #DarkDescentRecords #DeathMetal #Feb25 #Gatecreeper #Hyperdontia #InnumerableForms #PaysageDHiver #Phrenelith #Review #Reviews #TombMold #Undergang
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Phrenelith – Ashen Womb Review
By Alekhines Gun
In the early 2010’s, the world saw an explosion of the New-School-Old-School Revival of death metal. Spearheaded by outfits like Tomb Mold, Gatecreeper, Hyperdontia, and Undergang—to name but a few—this wave of bands represented taking the crust, filth, and savagery of your favorite genre founding fathers and launching them forth with wrath into of the modern era. Standing shoulder to shoulder near the front of this pack was Phrenelith, a Danish group whose debut Desolate Landscape made them scene darlings almost overnight. Unfortunately, sophomore release Chimaera opted for an increase in muck and atmospheric decor at the cost of some of their first album’s power, and was received somewhat divisively. Now, some four years later, Ashen Womb is prepared to drop like an anvil on their unsuspecting fanbase. Will they continue to dive into the murky wells, or has this womb been gestating a return to glorious, bone-powdering violence?
As it turns out, Phrenelith have opted for option C. The approach of Ashen Womb, in both music and sound, pitches for a merging of the melancholy of Chimaera with Desolate Landscape’s cement-shattering methodology to songwriting. The production sidesteps both previous releases, at once managing to be muddy in its tone with leads vibrant enough to cut through the mire. Making his LP debut, drummer Andreas Nordgreen quickly etches his identity into the band, flowing between creative drum fills from measure to measure, giving repeated refrains in “Chrysopoeia” and “Astral Larvae” an engaging quality. Much like the artwork adorning the cover, the more melodic tones are buried but bright, even as bassist Jakob plays in tandem with guitar leads rather than chords, laying riffcraft to savage the crust below. The atypically warm DR lets everything shine in this paradoxical sonic quagmire, creating the suffocating character Chimaera opted for without sacrificing the clarity of barbarity at work.
Older fans will be stoked to hear the return to immediate violence in the compositions. Lead single “Stagnated Blood” toys with a repeated riff at alternating octaves, stringing together hooks and character into a ruthless scorched earth assault. “A Husk Wrung Dry” rocks an infected 7/4 riff replete with whammy abuse and staccato-laced chords which slide from bouncy to bludgeoning. Guitarists David and Simon Daniel toy with bends, modulation, and sustained tapping sections recalling the more crystalline moments of Innumerable Forms, with Simon’s vocals a belligerent, reverb-soaked guttural soup. The vocals in particular are masterfully placed—both within the mix and the music—lyrical arrangement flawlessly adding titanic force to ruthless riffing while knowing when to be silent and let the music speak for itself.
Nonetheless, the specter of Chimaera looms betwixt the heavier moments, filling the negative spaces with gloom and somberness. Title track “Ashen Womb” and “Nebulae” end on repeated, haunting melodies, drawn out to a protracted conclusion. “Sphageion” serves as one of the better interludes I’ve heard, with tension-building distortion and Andreas breaking into a free-form drum solo which would go over swell in a live setting. Even the instrumental opener “Noemata” manages to carve an identity as a curtain-lifter rather than a pointless buildup, rendering Ashen Womb a journey rather than a mere collection of tracks. True, the atmospherics are sometimes heavy-handed; there’s no need to bookend songs with a cumulative couple minutes of Paysage d’Hiver-esque wind and sounds, and a minute could be trimmed off of both emotive fade-outs. Despite this, the mastery of seamless transitioning, rather than sandwiching of the disparaging elements gives Ashen Womb its own flavor in the Phrenelith landscape.
Few bands can manage to make each album its own time capsule of sound and style, but Ashen Womb accomplishes that and more, cementing Phrenelith as a band with chapters. Some may cling to the idea that Desolate Landscape is a collection of better songs, but Ashen Womb is a better album; a journey with highs, lows, and tension-building. By managing to merge the melodicism and mood with the brutality, rather than sacrificing one for the other, these Danes have continued to evolve their sound in an admirable direction. Who can say where the fourth release will take us? One thing’s for sure: it won’t be what any of us expect, other than a commitment to high quality, lethal weapons grade, unadulterated death.
Rating: 3.5/5.0
DR: 8 | Format Reviewed: 320 kbps mp3
Label: Dark Descent Records
Websites: https://darkdescentrecords.bandcamp.com/album/ashen-womb | https://www.facebook.com/phrenelith/
Releases Worldwide: February 7, 2025#2025 #35 #AshenWomb #DanishMetal #DarkDescentRecords #DeathMetal #Feb25 #Gatecreeper #Hyperdontia #InnumerableForms #PaysageDHiver #Phrenelith #Review #Reviews #TombMold #Undergang
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Phrenelith – Ashen Womb Review
By Alekhines Gun
In the early 2010’s, the world saw an explosion of the New-School-Old-School Revival of death metal. Spearheaded by outfits like Tomb Mold, Gatecreeper, Hyperdontia, and Undergang—to name but a few—this wave of bands represented taking the crust, filth, and savagery of your favorite genre founding fathers and launching them forth with wrath into of the modern era. Standing shoulder to shoulder near the front of this pack was Phrenelith, a Danish group whose debut Desolate Landscape made them scene darlings almost overnight. Unfortunately, sophomore release Chimaera opted for an increase in muck and atmospheric decor at the cost of some of their first album’s power, and was received somewhat divisively. Now, some four years later, Ashen Womb is prepared to drop like an anvil on their unsuspecting fanbase. Will they continue to dive into the murky wells, or has this womb been gestating a return to glorious, bone-powdering violence?
As it turns out, Phrenelith have opted for option C. The approach of Ashen Womb, in both music and sound, pitches for a merging of the melancholy of Chimaera with Desolate Landscape’s cement-shattering methodology to songwriting. The production sidesteps both previous releases, at once managing to be muddy in its tone with leads vibrant enough to cut through the mire. Making his LP debut, drummer Andreas Nordgreen quickly etches his identity into the band, flowing between creative drum fills from measure to measure, giving repeated refrains in “Chrysopoeia” and “Astral Larvae” an engaging quality. Much like the artwork adorning the cover, the more melodic tones are buried but bright, even as bassist Jakob plays in tandem with guitar leads rather than chords, laying riffcraft to savage the crust below. The atypically warm DR lets everything shine in this paradoxical sonic quagmire, creating the suffocating character Chimaera opted for without sacrificing the clarity of barbarity at work.
Older fans will be stoked to hear the return to immediate violence in the compositions. Lead single “Stagnated Blood” toys with a repeated riff at alternating octaves, stringing together hooks and character into a ruthless scorched earth assault. “A Husk Wrung Dry” rocks an infected 7/4 riff replete with whammy abuse and staccato-laced chords which slide from bouncy to bludgeoning. Guitarists David and Simon Daniel toy with bends, modulation, and sustained tapping sections recalling the more crystalline moments of Innumerable Forms, with Simon’s vocals a belligerent, reverb-soaked guttural soup. The vocals in particular are masterfully placed—both within the mix and the music—lyrical arrangement flawlessly adding titanic force to ruthless riffing while knowing when to be silent and let the music speak for itself.
Nonetheless, the specter of Chimaera looms betwixt the heavier moments, filling the negative spaces with gloom and somberness. Title track “Ashen Womb” and “Nebulae” end on repeated, haunting melodies, drawn out to a protracted conclusion. “Sphageion” serves as one of the better interludes I’ve heard, with tension-building distortion and Andreas breaking into a free-form drum solo which would go over swell in a live setting. Even the instrumental opener “Noemata” manages to carve an identity as a curtain-lifter rather than a pointless buildup, rendering Ashen Womb a journey rather than a mere collection of tracks. True, the atmospherics are sometimes heavy-handed; there’s no need to bookend songs with a cumulative couple minutes of Paysage d’Hiver-esque wind and sounds, and a minute could be trimmed off of both emotive fade-outs. Despite this, the mastery of seamless transitioning, rather than sandwiching of the disparaging elements gives Ashen Womb its own flavor in the Phrenelith landscape.
Few bands can manage to make each album its own time capsule of sound and style, but Ashen Womb accomplishes that and more, cementing Phrenelith as a band with chapters. Some may cling to the idea that Desolate Landscape is a collection of better songs, but Ashen Womb is a better album; a journey with highs, lows, and tension-building. By managing to merge the melodicism and mood with the brutality, rather than sacrificing one for the other, these Danes have continued to evolve their sound in an admirable direction. Who can say where the fourth release will take us? One thing’s for sure: it won’t be what any of us expect, other than a commitment to high quality, lethal weapons grade, unadulterated death.
Rating: 3.5/5.0
DR: 8 | Format Reviewed: 320 kbps mp3
Label: Dark Descent Records
Websites: https://darkdescentrecords.bandcamp.com/album/ashen-womb | https://www.facebook.com/phrenelith/
Releases Worldwide: February 7, 2025#2025 #35 #AshenWomb #DanishMetal #DarkDescentRecords #DeathMetal #Feb25 #Gatecreeper #Hyperdontia #InnumerableForms #PaysageDHiver #Phrenelith #Review #Reviews #TombMold #Undergang
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metalhead fam and beyond, do you know about the #thrash band Dead Heat? Just came across their EP Endless Torment and it is banging :blobrainbow:
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metalhead fam and beyond, do you know about the #thrash band Dead Heat? Just came across their EP Endless Torment and it is banging :blobrainbow:
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metalhead fam and beyond, do you know about the #thrash band Dead Heat? Just came across their EP Endless Torment and it is banging :blobrainbow:
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metalhead fam and beyond, do you know about the #thrash band Dead Heat? Just came across their EP Endless Torment and it is banging :blobrainbow:
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Ian’s Eleven Favorite Heffy Metal Albums of 2024:
#TopAlbums2024 #MetalAlbumsof2024 @Brat #Striker #Gatecreeper
https://metalinsider.net/lists/ians-eleven-favorite-heffy-metal-albums-of-2024
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Ian’s Eleven Favorite Heffy Metal Albums of 2024:
#TopAlbums2024 #MetalAlbumsof2024 @Brat #Striker #Gatecreeper
https://metalinsider.net/lists/ians-eleven-favorite-heffy-metal-albums-of-2024
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My records of 2024 (FWIW!)
#3 Gatecreeper - "Dark Superstition"
Non-stop metal groove, and I love the bass on this record. Proper. Top quality, and the tracks flow tremendously. Oof!
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My records of 2024 (FWIW!)
#3 Gatecreeper - "Dark Superstition"
Non-stop metal groove, and I love the bass on this record. Proper. Top quality, and the tracks flow tremendously. Oof!
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My records of 2024 (FWIW!)
#3 Gatecreeper - "Dark Superstition"
Non-stop metal groove, and I love the bass on this record. Proper. Top quality, and the tracks flow tremendously. Oof!
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Alter! Noch so ne fette Scheibe, in deren Genuss ich viel zu spät mit einsteige. Gatecreeper 🚀🔥 #Gatecreeper #NowPlaying️
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Alter! Noch so ne fette Scheibe, in deren Genuss ich viel zu spät mit einsteige. Gatecreeper 🚀🔥 #Gatecreeper #NowPlaying️
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Arch Enemy announce three dates “down south” as part of HUGE Euro-tour
Swedish metal legends Arch Enemy confirm they're set to ignite stages across Europe on their new “Blood Dynasty” headline tour in autumn/winter 2025.
Joining them on their unrelenting metal crusade are the mighty Amorphis and Eluv
#ToursLiveDates #Amorphis #ArchEnemy #Eluveitie #Gatecreeper
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Arch Enemy announce three dates “down south” as part of HUGE Euro-tour
Swedish metal legends Arch Enemy confirm they're set to ignite stages across Europe on their new “Blood Dynasty” headline tour in autumn/winter 2025.
Joining them on their unrelenting metal crusade are the mighty Amorphis and Eluv
#ToursLiveDates #Amorphis #ArchEnemy #Eluveitie #Gatecreeper
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Arch Enemy announce three dates “down south” as part of HUGE Euro-tour
Swedish metal legends Arch Enemy confirm they're set to ignite stages across Europe on their new “Blood Dynasty” headline tour in autumn/winter 2025.
Joining them on their unrelenting metal crusade are the mighty Amorphis and Eluv
#ToursLiveDates #Amorphis #ArchEnemy #Eluveitie #Gatecreeper
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By Alekhines Gun
During one of my first escorted walks as a n00b through these great halls, I attempted (through the coarse burlap sack tied over my head) to convey my excitement for the new Feral release. A particularly seductive, Dolphin–sounding voice dismissed my joy, describing the album as “just more Swedeath.” At the time, I was shocked and appalled. Sure, Swedish death metal is the chicken wing of the metal soundscape, with a narrow definition and specific ingredients, but that’s part of the appeal. How would anyone dare reduce one of the basic deathly food groups in such a way? Well, as if an answer to a prayer nobody made, Ukraine’s Dying Grotesque have arrived with their sophomore album Celestial, and don’t let the Ukrainian tag fool you. This album is as Swedish as they come.
If you’re addicted to the Swedeath sound, Celestial’s production will have you smitten out the gate. From the tank-tread weight of “Nuclear Meadows” doomy intro to the tension-building leads of “Purification,” Dying Grotesque puts the chainsaw in the Swedish Chainsaw tone. Sounding grand and intimidating, the riffs slot right in next to the blood and thunder of Lik and the arena-ready feel of Gatecreeper in heft and power. It will surprise no one to learn Dying Grotesque do their best to Dismember their own Grave, though their start-stop styling flows less Like an Everflowing Stream, preferring to walk Where Ironcrosses Grow.1 At first blush, all is familiar, pleasing to the ear, and goes down easily, just like a well-prepared plate of wings ought to.
To their credit, Dying Grotesque knows that sauces and spices are the difference between great and not-so-great wings. Unfortunately, their sonic culinary skills lead to questionable results. Opener “Mortality”2 features a bizarre, inexplicable “maniacal clown” laugh which doesn’t fit the album as a whole or the song in particular. More frustratingly, the song ends with some light atmospherics and gentle trebley plucking which sounds like a lead into some genuinely interesting material, only for the song to suddenly end. This trick happens elsewhere, with “Nuclear Meadows” and “Point of View” experimenting with dynamics and tension building, only to collapse into expected, standard Swedish riffs. Individually some riffs come with real hair on their chest (seriously, at least listen to “Nuclear Meadows”). Still, the power of the moment never transpires into a memorable song as a whole. “Pneumonia” suffers from a glut of riffs strung together, gleefully shifting from one to another in the hopes of producing anything that doesn’t fade from memory as soon as the song is over. The result of this is an album less than the sum of its parts, despite the competence of individual snippets.
Performances in Celestial are well-executed if a little bog standard. Guitarist/Vocalist Vadym Tsambaliuk has a solid growl, despite a range of precisely one note across the entire album. Solos are sparse, and engaging when presented, though none are world-changing. Drummer Andriy Butok seems to suffer the most from the constriction and rigidity of song styles. During the more frenzied riffs, he relies heavily on the snare ‘n’ bass staple but gets to show off his skill set during slower moments where the sustained chords give him room to breathe and get creative in the pocket. More of his technical chops on display during the faster, intense moments would go far in pushing the sound Dying Grotesque has to offer.
In the end, it seems I had one final n00b lesson to learn: there really is such a thing as “just more Swedeath.” Dying Grotesque is a capable band, and Celestial is an okay album. It has the sound, the style, and the approach. It just needs the songwriting. I can’t knock Celestial for a lack of raw originality, but in a world with new Feral reminding us of the potent power the style can offer, the lack of lethal riffs simply won’t cut it. If you haven’t had your fill of chicken wings yet, give this a listen for some tasty empty calories, but Dying Grotesque will need to switch up their sauces in the future to make a meal truly satisfying.
Rating: 2.5/5.0
DR: 5 | Format reviewed: 320 kbps mp3
Label: Archivist Records
Websites: dyinggrotesque.bandcamp.com
Releases Worldwide: November 29th, 2024#25 #2024 #ArchivistRecords #Celestial #DeathMetal #Dismember #DyingGrotesque #Feral #Gatecreeper #Grave #LIK #Nov24 #Review #Reviews #SwedishDeathMetal #UkrainianDeathMetal
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By Alekhines Gun
During one of my first escorted walks as a n00b through these great halls, I attempted (through the coarse burlap sack tied over my head) to convey my excitement for the new Feral release. A particularly seductive, Dolphin–sounding voice dismissed my joy, describing the album as “just more Swedeath.” At the time, I was shocked and appalled. Sure, Swedish death metal is the chicken wing of the metal soundscape, with a narrow definition and specific ingredients, but that’s part of the appeal. How would anyone dare reduce one of the basic deathly food groups in such a way? Well, as if an answer to a prayer nobody made, Ukraine’s Dying Grotesque have arrived with their sophomore album Celestial, and don’t let the Ukrainian tag fool you. This album is as Swedish as they come.
If you’re addicted to the Swedeath sound, Celestial’s production will have you smitten out the gate. From the tank-tread weight of “Nuclear Meadows” doomy intro to the tension-building leads of “Purification,” Dying Grotesque puts the chainsaw in the Swedish Chainsaw tone. Sounding grand and intimidating, the riffs slot right in next to the blood and thunder of Lik and the arena-ready feel of Gatecreeper in heft and power. It will surprise no one to learn Dying Grotesque do their best to Dismember their own Grave, though their start-stop styling flows less Like an Everflowing Stream, preferring to walk Where Ironcrosses Grow.1 At first blush, all is familiar, pleasing to the ear, and goes down easily, just like a well-prepared plate of wings ought to.
To their credit, Dying Grotesque knows that sauces and spices are the difference between great and not-so-great wings. Unfortunately, their sonic culinary skills lead to questionable results. Opener “Mortality”2 features a bizarre, inexplicable “maniacal clown” laugh which doesn’t fit the album as a whole or the song in particular. More frustratingly, the song ends with some light atmospherics and gentle trebley plucking which sounds like a lead into some genuinely interesting material, only for the song to suddenly end. This trick happens elsewhere, with “Nuclear Meadows” and “Point of View” experimenting with dynamics and tension building, only to collapse into expected, standard Swedish riffs. Individually some riffs come with real hair on their chest (seriously, at least listen to “Nuclear Meadows”). Still, the power of the moment never transpires into a memorable song as a whole. “Pneumonia” suffers from a glut of riffs strung together, gleefully shifting from one to another in the hopes of producing anything that doesn’t fade from memory as soon as the song is over. The result of this is an album less than the sum of its parts, despite the competence of individual snippets.
Performances in Celestial are well-executed if a little bog standard. Guitarist/Vocalist Vadym Tsambaliuk has a solid growl, despite a range of precisely one note across the entire album. Solos are sparse, and engaging when presented, though none are world-changing. Drummer Andriy Butok seems to suffer the most from the constriction and rigidity of song styles. During the more frenzied riffs, he relies heavily on the snare ‘n’ bass staple but gets to show off his skill set during slower moments where the sustained chords give him room to breathe and get creative in the pocket. More of his technical chops on display during the faster, intense moments would go far in pushing the sound Dying Grotesque has to offer.
In the end, it seems I had one final n00b lesson to learn: there really is such a thing as “just more Swedeath.” Dying Grotesque is a capable band, and Celestial is an okay album. It has the sound, the style, and the approach. It just needs the songwriting. I can’t knock Celestial for a lack of raw originality, but in a world with new Feral reminding us of the potent power the style can offer, the lack of lethal riffs simply won’t cut it. If you haven’t had your fill of chicken wings yet, give this a listen for some tasty empty calories, but Dying Grotesque will need to switch up their sauces in the future to make a meal truly satisfying.
Rating: 2.5/5.0
DR: 5 | Format reviewed: 320 kbps mp3
Label: Archivist Records
Websites: dyinggrotesque.bandcamp.com
Releases Worldwide: November 29th, 2024#25 #2024 #ArchivistRecords #Celestial #DeathMetal #Dismember #DyingGrotesque #Feral #Gatecreeper #Grave #LIK #Nov24 #Review #Reviews #SwedishDeathMetal #UkrainianDeathMetal
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By Alekhines Gun
During one of my first escorted walks as a n00b through these great halls, I attempted (through the coarse burlap sack tied over my head) to convey my excitement for the new Feral release. A particularly seductive, Dolphin–sounding voice dismissed my joy, describing the album as “just more Swedeath.” At the time, I was shocked and appalled. Sure, Swedish death metal is the chicken wing of the metal soundscape, with a narrow definition and specific ingredients, but that’s part of the appeal. How would anyone dare reduce one of the basic deathly food groups in such a way? Well, as if an answer to a prayer nobody made, Ukraine’s Dying Grotesque have arrived with their sophomore album Celestial, and don’t let the Ukrainian tag fool you. This album is as Swedish as they come.
If you’re addicted to the Swedeath sound, Celestial’s production will have you smitten out the gate. From the tank-tread weight of “Nuclear Meadows” doomy intro to the tension-building leads of “Purification,” Dying Grotesque puts the chainsaw in the Swedish Chainsaw tone. Sounding grand and intimidating, the riffs slot right in next to the blood and thunder of Lik and the arena-ready feel of Gatecreeper in heft and power. It will surprise no one to learn Dying Grotesque do their best to Dismember their own Grave, though their start-stop styling flows less Like an Everflowing Stream, preferring to walk Where Ironcrosses Grow.1 At first blush, all is familiar, pleasing to the ear, and goes down easily, just like a well-prepared plate of wings ought to.
To their credit, Dying Grotesque knows that sauces and spices are the difference between great and not-so-great wings. Unfortunately, their sonic culinary skills lead to questionable results. Opener “Mortality”2 features a bizarre, inexplicable “maniacal clown” laugh which doesn’t fit the album as a whole or the song in particular. More frustratingly, the song ends with some light atmospherics and gentle trebley plucking which sounds like a lead into some genuinely interesting material, only for the song to suddenly end. This trick happens elsewhere, with “Nuclear Meadows” and “Point of View” experimenting with dynamics and tension building, only to collapse into expected, standard Swedish riffs. Individually some riffs come with real hair on their chest (seriously, at least listen to “Nuclear Meadows”). Still, the power of the moment never transpires into a memorable song as a whole. “Pneumonia” suffers from a glut of riffs strung together, gleefully shifting from one to another in the hopes of producing anything that doesn’t fade from memory as soon as the song is over. The result of this is an album less than the sum of its parts, despite the competence of individual snippets.
Performances in Celestial are well-executed if a little bog standard. Guitarist/Vocalist Vadym Tsambaliuk has a solid growl, despite a range of precisely one note across the entire album. Solos are sparse, and engaging when presented, though none are world-changing. Drummer Andriy Butok seems to suffer the most from the constriction and rigidity of song styles. During the more frenzied riffs, he relies heavily on the snare ‘n’ bass staple but gets to show off his skill set during slower moments where the sustained chords give him room to breathe and get creative in the pocket. More of his technical chops on display during the faster, intense moments would go far in pushing the sound Dying Grotesque has to offer.
In the end, it seems I had one final n00b lesson to learn: there really is such a thing as “just more Swedeath.” Dying Grotesque is a capable band, and Celestial is an okay album. It has the sound, the style, and the approach. It just needs the songwriting. I can’t knock Celestial for a lack of raw originality, but in a world with new Feral reminding us of the potent power the style can offer, the lack of lethal riffs simply won’t cut it. If you haven’t had your fill of chicken wings yet, give this a listen for some tasty empty calories, but Dying Grotesque will need to switch up their sauces in the future to make a meal truly satisfying.
Rating: 2.5/5.0
DR: 5 | Format reviewed: 320 kbps mp3
Label: Archivist Records
Websites: dyinggrotesque.bandcamp.com
Releases Worldwide: November 29th, 2024#25 #2024 #ArchivistRecords #Celestial #DeathMetal #Dismember #DyingGrotesque #Feral #Gatecreeper #Grave #LIK #Nov24 #Review #Reviews #SwedishDeathMetal #UkrainianDeathMetal
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Third time photographing #GATECREEPER *📷!
I am absolutely not a videographer, but here's a little impression* : )(Mostly filmed with a phone from the audience)
Check my page for all the photos from #Gatecreeperband their set 🔥
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.
.
* Video posted with permission!
#sethpicturesmusic #sethabrikoos #metalband #metalhead #metalmusic #metalguitar #metalguitarist #metalbands #concertphotography #concertphotographer #festivalphotographer #festivalphotography #fotograaf🤘✌️
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Third time photographing #GATECREEPER *📷!
I am absolutely not a videographer, but here's a little impression* : )(Mostly filmed with a phone from the audience)
Check my page for all the photos from #Gatecreeperband their set 🔥
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.
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* Video posted with permission!
#sethpicturesmusic #sethabrikoos #metalband #metalhead #metalmusic #metalguitar #metalguitarist #metalbands #concertphotography #concertphotographer #festivalphotographer #festivalphotography #fotograaf🤘✌️
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Third time photographing #GATECREEPER *📷!
I am absolutely not a videographer, but here's a little impression* : )(Mostly filmed with a phone from the audience)
Check my page for all the photos from #Gatecreeperband their set 🔥
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* Video posted with permission!
#sethpicturesmusic #sethabrikoos #metalband #metalhead #metalmusic #metalguitar #metalguitarist #metalbands #concertphotography #concertphotographer #festivalphotographer #festivalphotography #fotograaf🤘✌️
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Third time photographing #GATECREEPER *📷!
I am absolutely not a videographer, but here's a little impression* : )(Mostly filmed with a phone from the audience)
Check my page for all the photos from #Gatecreeperband their set 🔥
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* Video posted with permission!
#sethpicturesmusic #sethabrikoos #metalband #metalhead #metalmusic #metalguitar #metalguitarist #metalbands #concertphotography #concertphotographer #festivalphotographer #festivalphotography #fotograaf🤘✌️
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Another pic that I took at #DynamoMetalfest made it into a profile pic! #Gatecreeper
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Another pic that I took at #DynamoMetalfest made it into a profile pic! #Gatecreeper
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Another pic that I took at #DynamoMetalfest made it into a profile pic! #Gatecreeper