#midnightodyssey — Public Fediverse posts

In case you’re unfamiliar, The Epic of Gilgamesh is an ancient Mesopotamian poetic narrative, whose first complete form is dated to approximately 1800 BCE. It follows a story of King Gilgamesh and his dealings with gods and other mythic monsters, culminating in a journey for the secret of immortality.1 What better way could there be to consume this rich, literary epic than have it interpreted by the collection of artists behind From the Waters of Death? Obscure black/doom duo Swords of Dis; death metal veteran and experimenter Serpent Ascending; Neptunian Maximalism’s darker, heavier incarnation Ôros Kaù; and ambient-black dreamer Midnight Odyssey. All are infamous—if you know who they are—for their strange, unconventional styles and love for long-form expression that borders on the self-indulgent, which may make them ideally suited to a Gilgamesh retelling. You may already be experiencing a sinking feeling of dread at those name-drops. But together these artists achieve something that exceeded my expectations even as it met them squarely.

While appearing to be a split, Waters is more of a collaboration as each individual contributes vocal or instrumental talents across multiple songs, including on those they wrote and take the lead in themselves. Spearheading the whole thing are Richard and Alice Corvinus of Swords of Dis, who have a hand in all lyrics and appear on every track. These lyrics, inspired by the words of the epic itself, consist of narration interspersed with dialogue between the various characters, and the five musicians rotate and share roles depending on who is involved in the corresponding part of the story. 2 This improves the album’s internal coherence—which might otherwise be hindered in a split format—whilst also allowing each movement to take on the personality of its lead artist. As a form of adaptation, the five tracks of reverb-filled, noisy, strange, melodramatically or demoniacally vocally-led, black-adjacent fringe metal lean into the grand, frightening side to the tale whose gravity us modern-age folk probably can’t appreciate properly. And it’s that excessive, almost absurd commitment to being different, which—and I can’t believe I’m saying this—actually works.

From The Waters Of Death by SWORDS OF DIS

Drama is at the heart of oral poetic tradition, and it’s Waters’ drama that similarly grounds its best aspects. Utmost credit goes to Alice Corvinus and her fierce (“From Egalmah They Rode…”3, operatic (“Araru Births the Lord of the Wilderness,” “From Egalmah…,” “Blood Stains The Altar…”4), sometimes eerie (“Into the Wailing Darkness”5) vocal performance. Her presence dominates as she provides some narration in addition to voicing every female character (and there are a lot of goddesses involved). Dark, minor tremolo refrains and Middle-Eastern-inspired melodies support her delivery, and the theatrical, flowing style Swords of Dis employ lends itself to this expression perfectly. In a different vein, the inhumanly gurgling snarls of Guillaume Cazalet (Ôros Kaù) make for a barbed contrast to otherwise vague, even beautiful, passages (“Blood…”), and can be genuinely frightening (“Into The Wailing Darkness”). All vocals—clean or harsh—are odd to a degree, sometimes even off-putting (“Araru…”). Yet most breaches of the cringe line are brief, and ameliorated by interesting instrumentation (“Blood…,” “From the Setting…”6). Those totally averse to what we anaemically refer to as ‘avant-garde’ in extreme metal can beg to differ, but the back and forth between dissonance and harmony (“Araru…,” “Blood…”), and between uncomfortable slowness and sudden speed (“From the Setting…”), is not only well-performed, it makes sense for the record’s narrative concept. A journey represented through a monotonous pattern (“From Egalmah…,” “From the Setting…”), the fury of a deity by means of an operatic surge (“From Egalmah…”).

Waters embodies the manner of epic poetry so well, however, that its digestibility is harmed as well as helped. Whether appropriate or not, its near-90-minute runtime makes engaging with its entirety a daunting prospect, and this is a record that fares best when you do give it the time and space to immerse you.7 The very aptness of the compositional style—long repetitive sections on the one hand, and frequent switches between tempo, melody, and vocalist on the other—which mimics recitation amongst orators, can prove taxing. It creates a dynamic of brilliant moments and stand-out performances, scattered unevenly inside overextended filling. It’s perhaps not a coincidence that the album’s midsection—the two tracks led by masterminds Swords of Dis—is by far the best and most even in quality, whereas its final act—Midnight Odyssey’s—is the least engaging and unable to support its length.8

Though Waters cannot escape the idiosyncrasies of the artists behind it—and so inherently restricts its audience—as an expression of this epic poem, these approaches to black metal are surprisingly apt. If you have the time to go on this adventure with Serpent Ascending, Ôros Kaù, Swords of Dis, and Midnight Odyssey, there’s plenty to enjoy. But if nothing else, let it be an excuse to learn about the original myth that inspires such weird, sometimes wonderful music.

Rating: Good(!)
DR: 6 | Format Reviewed: 256 kbps mp3
Label: I, Voidhanger
Websites: Album BC | Serpent Ascending BC | Serpent Ascending FB | Ôros Kaù BC | Ôros Kaù FB | Swords of Dis BC | Swords of Dis FB | Midnight Odyssey BC | Midnight Odyssey FB
Releases Worldwide: February 13th, 2026

Stuck in the Filter: March 2024’s Angry Misses

By Kenstrosity

While it was cold and gloomy just a couple weeks before writing, now it’s blisteringly hot and humid. Such is the transition from February to April in the land of Ken. It’s May now, of course, so we are once again traveling back in time to when our Filter was brimming with scabs and scaled plucked from the Hides of March. As is my prerogative, I sent my minions, which are legion, into the thick of it to retrieve those lost gems which would otherwise be damned for musty eternity.

So, without further ado, my I interest you in our March Filter wares? The answer is always yes (or else)!

Kenstrosity’s Singular Stipend

Saturday Night Satan // All Things Black [March 15th, 2024 – Self-Released]

Obviously, I was bound to spin this record. A kitty on the cover? Sold. That’s literally all I needed to know I was gonna dig Greek occult heavy metal duo Saturday Night Satan. Lo and behold, their debut full-length All Things Black RAWKS. The first five songs, from rollicking opener “5 AM” to “Lurking in the Shadows,” constitute perhaps the best and most addicting introduction to a new band that I’ve heard in ages. Jim Kotsis’ (Black Soul Horde) swaggering riffs, buttery-smooth bass, and infectious rhythms consistently motivate this record through high-octane, bar-ready romps and doom-y crawls with equal liveliness, proving himself to be a versatile and exciting musician. Meanwhile, Kate Soulthorn croons and belts her way across this record with a venomous, but brassy and clear delivery oozing with charisma (“Rule With Fire,” “Lurking in the Shadows,” “Witches’ Dance”). While the record loses just a touch of momentum in the middle (“By the River, Crown of Arrogance”), there are no bad tracks to be found. Furthermore, repeat spins yield even greater enjoyment, as this record has only grown on me since my first spin and I don’t expect that trend to taper anytime soon.

Tales From the Garden

Molten // Malicide [March 6th, 2024 – Transylvanian Recordings]

Sometimes a band does one thing so well you don’t really need anything else to be great. Molten doesn’t stand out because of its vocals, a serviceable but somewhat limited growl. The drums are likewise decent, but nothing to cream your pants over. But the riffs! If that hurly burly bouncing up the stairs riff of “Pathogenesis” doesn’t put your facehole in a grin, it may be time to call it quits on death metal. Same for the insane, blistering solo that punctuates “Scorched” or the absolute neck-snapping title track. The latter is also the best place to spot the skillful bass parts that sneakily elevate the guitars to sound as good as they do. With a bunch of short ‘n snappy tracks showcasing Molten’s chops, a sudden 9-and-a-half-minute thrash epic sounds like a disaster in waiting, but the riffs, the solos and the serpentine bass are all high enough quality that I don’t want the San Fran boys to stop firing their big hooky shit at my face anyway. Malicide is a humble package, utterly crammed with infectious fun and riffy goodness, so get on that shit or get off the death metal pot.

Saunders’ Smoldering Cinders

BRAT // Social Grace [March 15th, 2024 – Prosthetic Records]

Look beyond their questionable moniker and self-proclaimed ‘Bimboviolence’ tag, and NOLA up-and-comers BRAT impresses on their debut LP, Social Grace. Listeners would be foolish to pass over this band as some sort of gimmicky modern metal act, the rugged, ugly musical form BRAT composes packs a serious punch. Social Grace present a thuggish, volatile concoction where the crossroads of grind, death and powerviolence meet. Factor in sludgy hues and seedy NOLA tones adding layers of extra grime and grit to short, sharp, stabbing cuts that pull no punches. The blasty, belligerent throes of old school grind meets sludge stomp of “Hesitation Wound” showcases BRAT’s deft ability to shift gears and compliment rabid blasting and grindy chaos, with infectious riffs and brawling grooves. Social Grace features similarly raw examples of gnarly, unbridled menace. Amped aggression, throaty vocals and speedy surges are complemented by fun, headbanging riffs and toughened grooves, lending the album a catchy edge and solid replay value reflected on gems such as the rifftastic title track, contrasting charms of “Truncheon,” and feedback-drenched grind-punk fury of “Human Offense.”

Suicidal Angels // Profane Prayer [March 1st, 2024 – Nuclear Blast]

Unsung Greek institution Suicidal Angels have pumped out material since the early aughts, crafting Euro-flavored thrash with a heavy dose of American influence, including Exodus and Slayer. Throw in an occasional atmospheric, melodeath twist, and you are left with a dependably solid batch of meat and potatoes goodness. Although rarely blowing minds, Suicidal Angels’ retro thrash platters, such as Dead Again and Bloodbath, represent potent examples of the band’s trusty formula. Following a five-year recording gap, Suicidal Angels return with their eighth LP, Profane Prayer. Profane Prayer follows a familiar trajectory, yet sounds fresh, full of energy and armed with fiery, aggressive riffage. These dudes are a tight unit, and the explosive speediness and exuberant performances shine alongside killer old school riffage, slashing solos, and technical embellishments. Ferociously infectious thrashers like “When the Lions Die,” “Purified by Fire,” “Crypts of Madness” and ‘Virtues of Destruction” sound more inspired than I’ve heard from the band in some time. Profane Prayer has moments of bloat, but the pros outweigh the cons, resulting in a largely enjoyable and explosive thrash platter. Props to the band for stretching their wings on the epic, progressively leaning journey of “Deathstalker,” and similarly adventurous closer “The Fire Paths of Fate,” showing Suicidal Angels still have some tricks up their sleeves.

Thus Spoke’s Forgotten Findings

Carrion Vael // Cannibals Anonymous [March 29th, 2024 – Unique Leader Records]

I was introduced to Carrion Vael by Dr. Grier’s review of their 2022 LP Abhorrent Obsessions where he deemed it “a beast of a record,” and I wholeheartedly concurred. Fortunately for all of us lovers of the Indiana melodeath/deathcore/generally heavy bunch, Cannibals Anonymous largely picks up where the previous one left off. It’s vicious, and satisfyingly slick, the rapidly descending/ascending scales, smooth, fast transitions between always-driving-forward tempos, and cutthroat snarls once again betraying a Black Dahlia Murder influence, but with a bit more of a deathcore angle. The riffy kind of deathcore. Because yeah, this thing has riffs (see especially ” “Love Zombie,” “Discount Meats,” and “Pins and Needles”)—as well as gore—spilling out of its every orifice, and they’re great. Also surprisingly fun are the further extended use of cleans now appearing on most of the album’s tracks, which only serve to make them more catchy, compelling, and fun, whether they’re shouty and atonal (“Discount Meats”), or genuinely mellifluous (“Savage Messiah,” “Pins and Needles,” “Augusta’s Dead”); and they’re more often the latter. Carrion Vael also lean a little further into the urgent-minor melodic refrain territory that made Abhorrent Obsessions so sticky, with “Savage Messiah,” “Pins and Needles,” and “Everything/Nothing” standing out. This isn’t changing the scene, but goddamn it if you won’t have a fucking fantastic time chucking some heavy weights around or generally vibing with a massive grin on your face whilst listening to it. Go on, you know you want to.

Dear Hollow’s Deafening Debris

Givre // Le Cloître [March 29th, 2024 – Eisenwald]

It’s not often that a black metal band willingly discusses Christianity in a somewhat endearing light, so the Quebecois Givre is a bit of a conundrum. However, in the most brutal fashion possible, this trio discusses examples of female saints and each respective trail of pain left behind in the pursuit of holiness. Given the subject matter, you can imagine the cross that is borne across its forty-two-minute runtime. Each track carries with it a mood and style of its own, united as a whole through the atoning power of agony, as all characters throughout have suffered greatly for the sake of Christ. That being said, this is regardless a hopeful album, and in many ways, La Cloître feels like a meditation, fluid movements whose organicity revolves around gentle plucking. While tracks like opener “Marthe Robin (1902-1981)” and “Sainte Thérèse d’Avila (1515-1582)” embrace this aesthetic of prayerful lamentation, it does not stop the winding riff punishment of “Louise du Néant (1639-1694)” from scorching the surrounding soil, or the mysterious, nearly Southern rock-oriented, “Sainte Hildegarde de Bingen (1098-1179)” and desperate start-stop riffs of “Sainte Marguerite de Cortone (1247-1297)” from commanding otherworldly planes. While the stylistic choices differ and may be jarring to listeners, it is cemented by its theme as it pursues God down lesser-trodden trails of atonement through flagellation.

Profane Burial // My Plateau [March 1st, 2024 – Crime Records]

The Norwegian black metallers channel nearly everything they can get their grimy claws onto in My Plateau. Profane Burial professes to be “cinematic black metal,” and that is an accurate description in its boundary-pushing of atmospheric and symphonic texture: imagine if Midnight Odyssey and Septicflesh met at a midnight showing of The Exorcist. Besides its more contemplative moments, you’ll find that My Plateau is a deceptively mammoth listen, as chugging guitars and colossal drums collide with grim symphonics and haunting ambiance. The opening title track, “Fragments of Dirge,” and “Disambiguate Eradication” are aptly bombastic kabooms in mad waltzes of demonic proportions layered with rich symphonic textures, while the blasts colliding with chugs and piano trills in “Moribund” and “Righteous Indoctrination” add to the Wreche-on-crack vibe, while the triumphant battle cry in closer “Horror Code” is equal parts macabre and pummeling. For being inspired by horror scores, Profane Burial is scatterbrained and wonky, but it doesn’t stop My Plateau from embracing the bombast in a fun-as-hell symphonic black metal foray touched by madness.

#2024 #AllThingsBlack #AmericanMetal #AtmosphericBlackMetal #BlackMetal #BlackSoulHorde #BRAT #CanadianMetal #CannibalsAnonymous #CarrionVael #CrimeRecords #DeathMetal #Deathcore #Doom #Eisenwald #Exodus #Givre #GreekMetal #Grindcore #HeavyMetal #LeCloître #Malicide #Mar24 #MelodicDeathMetal #MidnightOdyssey #Molten #MyPlateau #NorwegianMetal #NuclearBlastRecords #OccultMetal #OccultRock #Powerviolence #ProfaneBurial #ProfanePrayer #ProstheticRecords #Review #Reviews #SaturdayNightSatan #SelfRelease #SepticFlesh #SepticFlesh #Slayer #SocialGrace #StuckInTheFilter #SuicidalAngels #SymphonicBlackMetal #TheBlackDahliaMurder #ThrashMetal #TransylvanianRecords #UniqueLeaderRecords #Wreche

Stuck in the Filter: March 2024’s Angry Misses

By Kenstrosity

While it was cold and gloomy just a couple weeks before writing, now it’s blisteringly hot and humid. Such is the transition from February to April in the land of Ken. It’s May now, of course, so we are once again traveling back in time to when our Filter was brimming with scabs and scaled plucked from the Hides of March. As is my prerogative, I sent my minions, which are legion, into the thick of it to retrieve those lost gems which would otherwise be damned for musty eternity.

So, without further ado, my I interest you in our March Filter wares? The answer is always yes (or else)!

Kenstrosity’s Singular Stipend

Saturday Night Satan // All Things Black [March 15th, 2024 – Self-Released]

Obviously, I was bound to spin this record. A kitty on the cover? Sold. That’s literally all I needed to know I was gonna dig Greek occult heavy metal duo Saturday Night Satan. Lo and behold, their debut full-length All Things Black RAWKS. The first five songs, from rollicking opener “5 AM” to “Lurking in the Shadows,” constitute perhaps the best and most addicting introduction to a new band that I’ve heard in ages. Jim Kotsis’ (Black Soul Horde) swaggering riffs, buttery-smooth bass, and infectious rhythms consistently motivate this record through high-octane, bar-ready romps and doom-y crawls with equal liveliness, proving himself to be a versatile and exciting musician. Meanwhile, Kate Soulthorn croons and belts her way across this record with a venomous, but brassy and clear delivery oozing with charisma (“Rule With Fire,” “Lurking in the Shadows,” “Witches’ Dance”). While the record loses just a touch of momentum in the middle (“By the River, Crown of Arrogance”), there are no bad tracks to be found. Furthermore, repeat spins yield even greater enjoyment, as this record has only grown on me since my first spin and I don’t expect that trend to taper anytime soon.

Tales From the Garden

Molten // Malicide [March 6th, 2024 – Transylvanian Recordings]

Sometimes a band does one thing so well you don’t really need anything else to be great. Molten doesn’t stand out because of its vocals, a serviceable but somewhat limited growl. The drums are likewise decent, but nothing to cream your pants over. But the riffs! If that hurly burly bouncing up the stairs riff of “Pathogenesis” doesn’t put your facehole in a grin, it may be time to call it quits on death metal. Same for the insane, blistering solo that punctuates “Scorched” or the absolute neck-snapping title track. The latter is also the best place to spot the skillful bass parts that sneakily elevate the guitars to sound as good as they do. With a bunch of short ‘n snappy tracks showcasing Molten’s chops, a sudden 9-and-a-half-minute thrash epic sounds like a disaster in waiting, but the riffs, the solos and the serpentine bass are all high enough quality that I don’t want the San Fran boys to stop firing their big hooky shit at my face anyway. Malicide is a humble package, utterly crammed with infectious fun and riffy goodness, so get on that shit or get off the death metal pot.

Saunders’ Smoldering Cinders

BRAT // Social Grace [March 15th, 2024 – Prosthetic Records]

Look beyond their questionable moniker and self-proclaimed ‘Bimboviolence’ tag, and NOLA up-and-comers BRAT impresses on their debut LP, Social Grace. Listeners would be foolish to pass over this band as some sort of gimmicky modern metal act, the rugged, ugly musical form BRAT composes packs a serious punch. Social Grace present a thuggish, volatile concoction where the crossroads of grind, death and powerviolence meet. Factor in sludgy hues and seedy NOLA tones adding layers of extra grime and grit to short, sharp, stabbing cuts that pull no punches. The blasty, belligerent throes of old school grind meets sludge stomp of “Hesitation Wound” showcases BRAT’s deft ability to shift gears and compliment rabid blasting and grindy chaos, with infectious riffs and brawling grooves. Social Grace features similarly raw examples of gnarly, unbridled menace. Amped aggression, throaty vocals and speedy surges are complemented by fun, headbanging riffs and toughened grooves, lending the album a catchy edge and solid replay value reflected on gems such as the rifftastic title track, contrasting charms of “Truncheon,” and feedback-drenched grind-punk fury of “Human Offense.”

Suicidal Angels // Profane Prayer [March 1st, 2024 – Nuclear Blast]

Unsung Greek institution Suicidal Angels have pumped out material since the early aughts, crafting Euro-flavored thrash with a heavy dose of American influence, including Exodus and Slayer. Throw in an occasional atmospheric, melodeath twist, and you are left with a dependably solid batch of meat and potatoes goodness. Although rarely blowing minds, Suicidal Angels’ retro thrash platters, such as Dead Again and Bloodbath, represent potent examples of the band’s trusty formula. Following a five-year recording gap, Suicidal Angels return with their eighth LP, Profane Prayer. Profane Prayer follows a familiar trajectory, yet sounds fresh, full of energy and armed with fiery, aggressive riffage. These dudes are a tight unit, and the explosive speediness and exuberant performances shine alongside killer old school riffage, slashing solos, and technical embellishments. Ferociously infectious thrashers like “When the Lions Die,” “Purified by Fire,” “Crypts of Madness” and ‘Virtues of Destruction” sound more inspired than I’ve heard from the band in some time. Profane Prayer has moments of bloat, but the pros outweigh the cons, resulting in a largely enjoyable and explosive thrash platter. Props to the band for stretching their wings on the epic, progressively leaning journey of “Deathstalker,” and similarly adventurous closer “The Fire Paths of Fate,” showing Suicidal Angels still have some tricks up their sleeves.

Thus Spoke’s Forgotten Findings

Carrion Vael // Cannibals Anonymous [March 29th, 2024 – Unique Leader Records]

I was introduced to Carrion Vael by Dr. Grier’s review of their 2022 LP Abhorrent Obsessions where he deemed it “a beast of a record,” and I wholeheartedly concurred. Fortunately for all of us lovers of the Indiana melodeath/deathcore/generally heavy bunch, Cannibals Anonymous largely picks up where the previous one left off. It’s vicious, and satisfyingly slick, the rapidly descending/ascending scales, smooth, fast transitions between always-driving-forward tempos, and cutthroat snarls once again betraying a Black Dahlia Murder influence, but with a bit more of a deathcore angle. The riffy kind of deathcore. Because yeah, this thing has riffs (see especially ” “Love Zombie,” “Discount Meats,” and “Pins and Needles”)—as well as gore—spilling out of its every orifice, and they’re great. Also surprisingly fun are the further extended use of cleans now appearing on most of the album’s tracks, which only serve to make them more catchy, compelling, and fun, whether they’re shouty and atonal (“Discount Meats”), or genuinely mellifluous (“Savage Messiah,” “Pins and Needles,” “Augusta’s Dead”); and they’re more often the latter. Carrion Vael also lean a little further into the urgent-minor melodic refrain territory that made Abhorrent Obsessions so sticky, with “Savage Messiah,” “Pins and Needles,” and “Everything/Nothing” standing out. This isn’t changing the scene, but goddamn it if you won’t have a fucking fantastic time chucking some heavy weights around or generally vibing with a massive grin on your face whilst listening to it. Go on, you know you want to.

Dear Hollow’s Deafening Debris

Givre // Le Cloître [March 29th, 2024 – Eisenwald]

It’s not often that a black metal band willingly discusses Christianity in a somewhat endearing light, so the Quebecois Givre is a bit of a conundrum. However, in the most brutal fashion possible, this trio discusses examples of female saints and each respective trail of pain left behind in the pursuit of holiness. Given the subject matter, you can imagine the cross that is borne across its forty-two-minute runtime. Each track carries with it a mood and style of its own, united as a whole through the atoning power of agony, as all characters throughout have suffered greatly for the sake of Christ. That being said, this is regardless a hopeful album, and in many ways, La Cloître feels like a meditation, fluid movements whose organicity revolves around gentle plucking. While tracks like opener “Marthe Robin (1902-1981)” and “Sainte Thérèse d’Avila (1515-1582)” embrace this aesthetic of prayerful lamentation, it does not stop the winding riff punishment of “Louise du Néant (1639-1694)” from scorching the surrounding soil, or the mysterious, nearly Southern rock-oriented, “Sainte Hildegarde de Bingen (1098-1179)” and desperate start-stop riffs of “Sainte Marguerite de Cortone (1247-1297)” from commanding otherworldly planes. While the stylistic choices differ and may be jarring to listeners, it is cemented by its theme as it pursues God down lesser-trodden trails of atonement through flagellation.

Profane Burial // My Plateau [March 1st, 2024 – Crime Records]

The Norwegian black metallers channel nearly everything they can get their grimy claws onto in My Plateau. Profane Burial professes to be “cinematic black metal,” and that is an accurate description in its boundary-pushing of atmospheric and symphonic texture: imagine if Midnight Odyssey and Septicflesh met at a midnight showing of The Exorcist. Besides its more contemplative moments, you’ll find that My Plateau is a deceptively mammoth listen, as chugging guitars and colossal drums collide with grim symphonics and haunting ambiance. The opening title track, “Fragments of Dirge,” and “Disambiguate Eradication” are aptly bombastic kabooms in mad waltzes of demonic proportions layered with rich symphonic textures, while the blasts colliding with chugs and piano trills in “Moribund” and “Righteous Indoctrination” add to the Wreche-on-crack vibe, while the triumphant battle cry in closer “Horror Code” is equal parts macabre and pummeling. For being inspired by horror scores, Profane Burial is scatterbrained and wonky, but it doesn’t stop My Plateau from embracing the bombast in a fun-as-hell symphonic black metal foray touched by madness.

#2024 #AllThingsBlack #AmericanMetal #AtmosphericBlackMetal #BlackMetal #BlackSoulHorde #BRAT #CanadianMetal #CannibalsAnonymous #CarrionVael #CrimeRecords #DeathMetal #Deathcore #Doom #Eisenwald #Exodus #Givre #GreekMetal #Grindcore #HeavyMetal #LeCloître #Malicide #Mar24 #MelodicDeathMetal #MidnightOdyssey #Molten #MyPlateau #NorwegianMetal #NuclearBlastRecords #OccultMetal #OccultRock #Powerviolence #ProfaneBurial #ProfanePrayer #ProstheticRecords #Review #Reviews #SaturdayNightSatan #SelfRelease #SepticFlesh #SepticFlesh #Slayer #SocialGrace #StuckInTheFilter #SuicidalAngels #SymphonicBlackMetal #TheBlackDahliaMurder #ThrashMetal #TransylvanianRecords #UniqueLeaderRecords #Wreche

Stuck in the Filter: March 2024’s Angry Misses

By Kenstrosity

While it was cold and gloomy just a couple weeks before writing, now it’s blisteringly hot and humid. Such is the transition from February to April in the land of Ken. It’s May now, of course, so we are once again traveling back in time to when our Filter was brimming with scabs and scaled plucked from the Hides of March. As is my prerogative, I sent my minions, which are legion, into the thick of it to retrieve those lost gems which would otherwise be damned for musty eternity.

So, without further ado, my I interest you in our March Filter wares? The answer is always yes (or else)!

Kenstrosity’s Singular Stipend

Saturday Night Satan // All Things Black [March 15th, 2024 – Self-Released]

Obviously, I was bound to spin this record. A kitty on the cover? Sold. That’s literally all I needed to know I was gonna dig Greek occult heavy metal duo Saturday Night Satan. Lo and behold, their debut full-length All Things Black RAWKS. The first five songs, from rollicking opener “5 AM” to “Lurking in the Shadows,” constitute perhaps the best and most addicting introduction to a new band that I’ve heard in ages. Jim Kotsis’ (Black Soul Horde) swaggering riffs, buttery-smooth bass, and infectious rhythms consistently motivate this record through high-octane, bar-ready romps and doom-y crawls with equal liveliness, proving himself to be a versatile and exciting musician. Meanwhile, Kate Soulthorn croons and belts her way across this record with a venomous, but brassy and clear delivery oozing with charisma (“Rule With Fire,” “Lurking in the Shadows,” “Witches’ Dance”). While the record loses just a touch of momentum in the middle (“By the River, Crown of Arrogance”), there are no bad tracks to be found. Furthermore, repeat spins yield even greater enjoyment, as this record has only grown on me since my first spin and I don’t expect that trend to taper anytime soon.

Tales From the Garden

Molten // Malicide [March 6th, 2024 – Transylvanian Recordings]

Sometimes a band does one thing so well you don’t really need anything else to be great. Molten doesn’t stand out because of its vocals, a serviceable but somewhat limited growl. The drums are likewise decent, but nothing to cream your pants over. But the riffs! If that hurly burly bouncing up the stairs riff of “Pathogenesis” doesn’t put your facehole in a grin, it may be time to call it quits on death metal. Same for the insane, blistering solo that punctuates “Scorched” or the absolute neck-snapping title track. The latter is also the best place to spot the skillful bass parts that sneakily elevate the guitars to sound as good as they do. With a bunch of short ‘n snappy tracks showcasing Molten’s chops, a sudden 9-and-a-half-minute thrash epic sounds like a disaster in waiting, but the riffs, the solos and the serpentine bass are all high enough quality that I don’t want the San Fran boys to stop firing their big hooky shit at my face anyway. Malicide is a humble package, utterly crammed with infectious fun and riffy goodness, so get on that shit or get off the death metal pot.

Saunders’ Smoldering Cinders

BRAT // Social Grace [March 15th, 2024 – Prosthetic Records]

Look beyond their questionable moniker and self-proclaimed ‘Bimboviolence’ tag, and NOLA up-and-comers BRAT impresses on their debut LP, Social Grace. Listeners would be foolish to pass over this band as some sort of gimmicky modern metal act, the rugged, ugly musical form BRAT composes packs a serious punch. Social Grace present a thuggish, volatile concoction where the crossroads of grind, death and powerviolence meet. Factor in sludgy hues and seedy NOLA tones adding layers of extra grime and grit to short, sharp, stabbing cuts that pull no punches. The blasty, belligerent throes of old school grind meets sludge stomp of “Hesitation Wound” showcases BRAT’s deft ability to shift gears and compliment rabid blasting and grindy chaos, with infectious riffs and brawling grooves. Social Grace features similarly raw examples of gnarly, unbridled menace. Amped aggression, throaty vocals and speedy surges are complemented by fun, headbanging riffs and toughened grooves, lending the album a catchy edge and solid replay value reflected on gems such as the rifftastic title track, contrasting charms of “Truncheon,” and feedback-drenched grind-punk fury of “Human Offense.”

Suicidal Angels // Profane Prayer [March 1st, 2024 – Nuclear Blast]

Unsung Greek institution Suicidal Angels have pumped out material since the early aughts, crafting Euro-flavored thrash with a heavy dose of American influence, including Exodus and Slayer. Throw in an occasional atmospheric, melodeath twist, and you are left with a dependably solid batch of meat and potatoes goodness. Although rarely blowing minds, Suicidal Angels’ retro thrash platters, such as Dead Again and Bloodbath, represent potent examples of the band’s trusty formula. Following a five-year recording gap, Suicidal Angels return with their eighth LP, Profane Prayer. Profane Prayer follows a familiar trajectory, yet sounds fresh, full of energy and armed with fiery, aggressive riffage. These dudes are a tight unit, and the explosive speediness and exuberant performances shine alongside killer old school riffage, slashing solos, and technical embellishments. Ferociously infectious thrashers like “When the Lions Die,” “Purified by Fire,” “Crypts of Madness” and ‘Virtues of Destruction” sound more inspired than I’ve heard from the band in some time. Profane Prayer has moments of bloat, but the pros outweigh the cons, resulting in a largely enjoyable and explosive thrash platter. Props to the band for stretching their wings on the epic, progressively leaning journey of “Deathstalker,” and similarly adventurous closer “The Fire Paths of Fate,” showing Suicidal Angels still have some tricks up their sleeves.

Thus Spoke’s Forgotten Findings

Carrion Vael // Cannibals Anonymous [March 29th, 2024 – Unique Leader Records]

I was introduced to Carrion Vael by Dr. Grier’s review of their 2022 LP Abhorrent Obsessions where he deemed it “a beast of a record,” and I wholeheartedly concurred. Fortunately for all of us lovers of the Indiana melodeath/deathcore/generally heavy bunch, Cannibals Anonymous largely picks up where the previous one left off. It’s vicious, and satisfyingly slick, the rapidly descending/ascending scales, smooth, fast transitions between always-driving-forward tempos, and cutthroat snarls once again betraying a Black Dahlia Murder influence, but with a bit more of a deathcore angle. The riffy kind of deathcore. Because yeah, this thing has riffs (see especially ” “Love Zombie,” “Discount Meats,” and “Pins and Needles”)—as well as gore—spilling out of its every orifice, and they’re great. Also surprisingly fun are the further extended use of cleans now appearing on most of the album’s tracks, which only serve to make them more catchy, compelling, and fun, whether they’re shouty and atonal (“Discount Meats”), or genuinely mellifluous (“Savage Messiah,” “Pins and Needles,” “Augusta’s Dead”); and they’re more often the latter. Carrion Vael also lean a little further into the urgent-minor melodic refrain territory that made Abhorrent Obsessions so sticky, with “Savage Messiah,” “Pins and Needles,” and “Everything/Nothing” standing out. This isn’t changing the scene, but goddamn it if you won’t have a fucking fantastic time chucking some heavy weights around or generally vibing with a massive grin on your face whilst listening to it. Go on, you know you want to.

Dear Hollow’s Deafening Debris

Givre // Le Cloître [March 29th, 2024 – Eisenwald]

It’s not often that a black metal band willingly discusses Christianity in a somewhat endearing light, so the Quebecois Givre is a bit of a conundrum. However, in the most brutal fashion possible, this trio discusses examples of female saints and each respective trail of pain left behind in the pursuit of holiness. Given the subject matter, you can imagine the cross that is borne across its forty-two-minute runtime. Each track carries with it a mood and style of its own, united as a whole through the atoning power of agony, as all characters throughout have suffered greatly for the sake of Christ. That being said, this is regardless a hopeful album, and in many ways, La Cloître feels like a meditation, fluid movements whose organicity revolves around gentle plucking. While tracks like opener “Marthe Robin (1902-1981)” and “Sainte Thérèse d’Avila (1515-1582)” embrace this aesthetic of prayerful lamentation, it does not stop the winding riff punishment of “Louise du Néant (1639-1694)” from scorching the surrounding soil, or the mysterious, nearly Southern rock-oriented, “Sainte Hildegarde de Bingen (1098-1179)” and desperate start-stop riffs of “Sainte Marguerite de Cortone (1247-1297)” from commanding otherworldly planes. While the stylistic choices differ and may be jarring to listeners, it is cemented by its theme as it pursues God down lesser-trodden trails of atonement through flagellation.

Profane Burial // My Plateau [March 1st, 2024 – Crime Records]

The Norwegian black metallers channel nearly everything they can get their grimy claws onto in My Plateau. Profane Burial professes to be “cinematic black metal,” and that is an accurate description in its boundary-pushing of atmospheric and symphonic texture: imagine if Midnight Odyssey and Septicflesh met at a midnight showing of The Exorcist. Besides its more contemplative moments, you’ll find that My Plateau is a deceptively mammoth listen, as chugging guitars and colossal drums collide with grim symphonics and haunting ambiance. The opening title track, “Fragments of Dirge,” and “Disambiguate Eradication” are aptly bombastic kabooms in mad waltzes of demonic proportions layered with rich symphonic textures, while the blasts colliding with chugs and piano trills in “Moribund” and “Righteous Indoctrination” add to the Wreche-on-crack vibe, while the triumphant battle cry in closer “Horror Code” is equal parts macabre and pummeling. For being inspired by horror scores, Profane Burial is scatterbrained and wonky, but it doesn’t stop My Plateau from embracing the bombast in a fun-as-hell symphonic black metal foray touched by madness.

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