#nov24 — Public Fediverse posts

Stuck in the Filter: November and December 2024’s Angry Misses

By Kenstrosity

Seeing as how it’s already almost February, you must be wondering why we’re still talking about shit from 2024. Not that I have to explain myself to you, but I didn’t give my minions grueling tasks just so that I could not take the glory for their labors. That wouldn’t embody this blog’s continual aspiration of being terrible capitalists! And so, we press on, searching and rescuing worthy—but not too worthy—pledges for the barbaric, Hunger Games-esque event that is Stuck in the Filter.

BEHOLD! Gaze upon these late-year candidates with the appropriate levels of awe, ye ov little consequence!

Kenstrosity’s Wintry Wonders

Caelestra // Bastion [December 13th, 2024 – Self Release]

Beauty is in the eye of the beholder. For this sponge, I know something is beautiful when it ensnares me into otherworldly environments unlike those which mirrors terrestrial mundanity. UK post-metal one-man act Caelestra specializes in such ethereal worlds, with debut record Black Widow Nebula catching my attention under its blazing miasma of Countless Skies lushness, Astronoidal optimism, and Dreadnought-esque compositional vibrancy. Follow-up Bastion treads much the same path, but with an added emphasis on cathartic spells of intensity reminiscent of current Irreversible Mechanism (“Finisterre”), Kardashev (“Soteria”), or Devin Townsend (“The Hollow Altar”). Balancing these potentially disparate references, mastermind Frank Harper’s compositions flow with an uncanny smoothness without falling into a pit of homogeny. Bastion thereby represents a varied and textured affair built upon compelling guitar leads, unexpected riffs, multifaceted vocal techniques, and athletic percussive movements (“Finisterre,” “Lightbringer,” “The Hollow Altar”). Choosing the long form as Caelestra’s primary vehicle for this musical journey only deepens the experience, as each act offers a wide spectrum of moods, a rich tapestry of characters, and a lush layering of story to enrich any listener’s journey through Bastion (“Lightbringer,” “Eos”). Yet, the whole coheres tightly into a memorable and accessible forty-eight-minute span, easily replayable and effortlessly enjoyable. That, more than anything, makes Bastion a neat little triumph worth checking out.

Earthbound // Chronos [November 26th, 2024 – Self Release]

I have the honor of claiming this find all to my own—something that hasn’t occurred as often this past year as it has in those preceding. Bristol’s Earthbound offer a particular brand of melodic death metal that I want to love more often than I actually do, but they checked all my boxes here. Occupying a space somewhere between Amorphis, Countless Skies, and Dark Tranquillity, Earthbound’s style is simultaneously effervescent, introspective, and crushing on debut record Chronos. Boasting chunky riffs, soaring leads, classic melodeath rhythms, and buttery-smooth baritone vocals, Chronos throws blow after blow for forty-nine minutes of high-engagement material. Looking at standout tracks “A Conversation with God,” “The Architect,” “Cloudburst,” “Aperture,” and “Transmission,” Earthbound’s compelling songwriting tactics and knack for a killer hook recall underappreciated gems by modern contemporaries Rifftera and Svavelvinter. Some of their most accessible moments almost, but not quite, veer into pop-levels of accessibility, further accentuating Earthbound’s infectious energy (“Change,” “Flight,” “Transmission,” “Chasing the Wind”). This works marvelously in Earthbound’s favor, not only making Chronos a joy to listen to in its own right but also impressing me with how polished and professional the band is with only one full-length under the belt. Don’t let this one fall through the cracks!

Flaahgra // Plant Based Anatomy [November 15th, 2024 – Self Release]

WWWWOOOOOORRRRRRMMMHHHHHHOOO… wait, what? Oh, no, this is Flaahgra. But, the riffs sound like my beloved Wormhole! What’s going on? Oh, well this explains it. Sanil Kumar of Wormhole fame is responsible for Plant Based Anatomy’s guitar work. Rounded out by Tim “Toothhead” Lodge (bass), Chris Kulak (drums), and Anthony Michelli (vocals), this Baltimore quartet concoct a fast-paced, riff-burdened blunderbuss of gurgling vegan slam meatier than the fattest flank this side of Texas. It may be based around plants (and Metroid), but there are enough muscular grooves, neat lead work, and boisterous percussive rhythms here to keep even the most ravenous death fiend stuffed to the stamen (“Blood Flower,” “Toxic Green Fluid,” “Solar Recharge,” “Plant Based Anatomy”). Oversaturated with killer hooks, Plant Based Anatomy feels every bit as headbangable as this group’s pedigree indicates, but their application is delightfully straightforward, allowing Sanil’s standard-setting slams to shine brightest (“Plant Based Anatomy,” “Garden Cascade,” “Venom Weed Atrocity”). At a lean twenty-five minutes, Plant Based Anatomy rips through my system as efficiently as any grease-laden, overstuffed fast-food chimichanga, leaving just as vivid an impression in its wake. If there was ever a quick and easily digestible example of what differentiates really good slam from two-buck upchuck, Plant Based Anatomy is it. FFFLLAAAAHHHHGGGRRRAAAA!

Tyme’s Time Turners

Solar Wimp // Trails of Light [November 15th, 2024 – Self Release]

The richly dense knowledge and tastes of the commentariat here at AMG are a marvel. And despite the long hours of hard work the staff put in writing and keeping Redis at bay, not to mention the gut-wrenching task of pumping the n00b sump pit every Friday1 we continue to scour tons of promo to bring you the best and the rest of all things metal(ish). Invariably, some things trickle up from our most precious readers that deserve more attention than a few rando comments and respects. Such is the case with L.A.’s Solar Wimp. It was during my most recent stint in2 continued n00bdom that I scoped one of our commenters pimping the Wimp‘s who released, sadly to me now, their last album, Trails of Light, in November. As my ears absorbed the immediately quirky dissonance of the opener, “Entwined with Glass,” I was reminded of how blown away I was upon hearing Jute Gyte for the first time, this more due to my un-expectations than anything else. What followed was a journey I happily embarked on through fields of saxophonic freedom (“Strand and Tether”) and forests of long-form avant-garde brilliance (“Shimmer”). The black(ish) metal vocals and tech-jazz guitar histrionics of Jeremy Kerner, combined with Justin Brown’s bassinations and Mark Kimbrell’s drums, imbue so much passion into the music on Trails of Light, it has me guessing Solar Wimp may have very well saved their best for last. While I’m sure you’re ready to move on from 2024, I’d encourage you to dip back into last year’s well for a bit and give Solar Wimp’s Trails of Light a listen or five.

Thus Spoke’s Fallen Fragments

Yoth Iria // Blazing Inferno [November 8th, 2024 – Edged Circle Productions]

Yoth Iria’s sophomore Blazing Inferno arrived with little fanfare, which is a shame because they’re very good at what they do. Their brand of Hellenic black metal even charmed a 3.5 out of GardensTale with their 2021 debut As the Flame Withers. The new album very much picks up where its predecessor left off, in musical content as well as the fact that Yoth Iria clearly have a thing for giant demonic figures dwarfing human civilization. In a refreshingly to-the-point format, the group3 serve up some solid, groovy Satanic triumphalism that belies the relatively diminutive breadth of the songs that contain it. With thundering drums (“In the Tongue of Birds,” “We Call Upon the Elements”), spirited guitar leads (“But Fear Not,” “Mornings of the One Thousand Golds”), and a collection of classic growls, ominous whispers, and cleans, Yoth Iria craft engaging and very enjoyable compositions. Tracks manage to hold atmosphere and presence without detracting from the dopamine-producing tremolo twists and wails of drawn-out melody (title track, “Rites of Blood and Ice,” “Mornings…”) that draw it all together. This is black metal that makes you feel good about allying with the light-bringer. Not in any highbrow way, of course, just with great riffs, the right amount of tension and nuance, and convincingly massive compositions that steer away from the overwrought and cringe-inducing. It’s just plain good.

Botanist // VII: Beast of Arpocalyx [December 6th, 2024 – Self-Release]

Though recorded all the way back in 2016, the music of Beast of Arpocalyx has not seen the light until now. The seventh installment in the esoteric, botanical saga, VII: Beast of Arpocalyx focuses on plants with mythological animal associations. In comparison to last May’s Paleobotany, this is the solo work of founder Otrebor yet the heart of Botanist’s music has never been compromised. The distinctive tones of hammered dulcimer, make the black metal ring—literally and metaphorically—with playful mysticism when they engage in chirruping and cheerful refrains (“Wolfsbane,” “The Barnacle Tree”) and a weird eeriness when they stray into the dissonant (“The Vegetable Lamb of Tartary,” “Floral Onyx Chiroptera”). Nothing is substantially different here, but Botanist’s style is an enjoyably quirky one that I, at least, am always happy to indulge in. In many ways, this is not far removed from raw black metal, with the prominent chimes of (not always tuneful) melodicism wrapping snarls and rasps in an iridescent veil that makes the psychedelic turns from whimsical peace to urgent and barbed blastbeat aggression (“The Vegetable Lamb of Tartary,” “The Paw of Anigozanthos”) very compelling, pleasant even. Yeah, it’s kind of weird to hear chorals or synths under blackened rasps and clanging drums, while a dulcimer warbles along. But when the weirdness nonetheless succeeds in developing an atmosphere and inducing a desire to garner a similarly obsessive knowledge of flora, I can’t really complain.

Killjoy’s Atmospheric Attractions

Nishaiar // Enat Meret [December 5, 2024 – Self-Release]

2024 may technically be over, but there were a few releases in December that keep dragging my attention back to last year. First up is Nishaiar from Gondar, Ethiopia, whose sound resides at the unlikely intersection of traditional Ethiopian music, post-black metal, and Enya-style New Age. Coming off an arduous release schedule that yielded an EP and 5 full-lengths in only 4 years, Nishaiar took some extra time to recharge since Nahaxar in 2021. The results are readily apparent–Enat Meret features some of the punchiest material the band has written to date. “Yemelek” combines folk instruments, vibrant male chanting, and rending screams. An important element that elevates Enat Meret is the addition of a full-time female vocalist, whose moniker also happens to be Enat Meret. Her voice ranges from ethereal (“Idil”) to wistful (“Enat Midir”) to commanding (“Beheke”). There is some bloat—intro track “Semayawi” repeats itself for too long and “Awedal” through “Alem” leans too hard into atmosphere to be suitable for active listening. Even so, this is an album unlike any other you’re likely to hear anytime soon.

Atra Vetosus // Undying Splendour [December 20, 2024 – Immortal Frost Productions]

Next up is Atra Vetosus, who came to me by way of rec-master TomazP. Undying Splendour is a captivating work of atmospheric black metal that tempers the wanderlust of Skyforest with the melodic trem-picked fury of Mare Cognitum. It’s stuffed with triumphant, uplifting guitar melodies that contrast compellingly with mournful, anguished shouts and screams. Like a flowing stream, the graceful orchestrations smooth out any rough edges in their path, pairing exceptionally well with the rhythm section in the intro of “Forsaking Dreaded Paths.” The brawny bass lines throughout the album add satisfying oomph and the drumming is constantly engaging with lots of fleeting tempo shifts (“This Fallow Heart”) and expansive tom rolls (“Elysian Echoes”). Atra Vetosus have perfected the difficult art of long-form atmoblack—all the proper songs on Undying Splendour are between 7 and 11 minutes long and, crucially, feel purposeful without meandering. Though atmoblack is often maligned, I’ll happily get behind Atra Vetosus as one of the new standard bearers of the genre at its very best.

Skagos // Chariot Sun Blazing [December 21, 2024 – Self-Release]

They say that good things come to those who wait. Skagos makes an excellent case for this expression with Chariot Sun Blazing, an appropriate title given the tremendous glow-up that the atmospheric black metal group underwent since releasing Anarchic in 2013. While their woodsy black metal has always maintained similarities with the likes of Wolves in the Throne Room (who are also based in Olympia, Washington), this time around the music is infused with a real live string quartet and a two-horn section4. The effects of this additional instrumentation run way more than skin deep; Chariot Sun Blazing feels and flows like an actual symphony. For instance, the combination of the Wagner tuba with guitar plucking in the beginning of “Which in Turn Meet the Sea” evoke a misty morning which gradually warms up with guitar and string crescendos to thaw the leftover frost. The compositions are introspective and intimate, which is refreshing when compared with the usual grandiosity and bombast of symphonic music (metal or otherwise). While there’s nothing wrong with the raspy vocals, this is a rare instance when I would be completely okay if this were an instrumental album. This is an experience absolutely not to be missed.

Dolphin Whisperer’s Late-Blooming Bustles

Alarum // Recontinue [November 8th, 2024 – Self Release]

So many bands in the progressive and technical lanes forget to have fun. Not long, unheralded Australian prog/thrash/jazz fusion-heads Alarum, though. Truth be told, I had forgotten this band existed sometime before their 2011 release Natural Causes all up until about September of 2024 when I caught wind of this new release, Recontinue. Their oddball, heavily Cynic-inspired 2004 opus Eventuality… had stood the test of time in my archives plenty for its wild fusion antics woven into a riff-tricky, bass-poppin’ technical platform. And here, twenty years later, little has changed at Alarum’s foundation. A few things have shifted for the better, though, namely Alarum finding a more balanced resonance in production brightness and clarity, which helps highlight the flirtatious bass play of tracks like “The Visitor” and “Footprints” come to life. Additionally, this crisp and cutting mix allows the joyous neoclassical shredding escapades to carve a blazing path toward textures and alien warbles with a Holdsworth-ian charm (“Zero Nine Thirty,” “Awaken by Fire”). But, most importantly, Alarum continues to bring an ever-shuffling thrash energy similar to early Martyr works (“Imperative,” “Unheard Words,” “Into Existing”) while continuing to remember to toss in off-the-wall detours, like the funk-wah intro of “A Lifelong Question” or the bossa nova outro of “The Visitor.” Recontinue, as a late-career release from a continual dark horse from the land down under remains a consistent joy for the ears. If you’ve never heard Alarum to this point, and you’ve always wished that a jazzy, Cynic-inspired band would come around with a more metal attitude than the current trajectory of their inspirations, get Recontinue in your ears as soon as possible. And if, like me, you’ve fallen of the righteous path, know that time can correct all sorts of silly mistakes.

Gorging Shade // Inversions [November 11th, 2024 – Self Release]

With a sound that is as otherwordly and looming as it is terrestrial and bass-loaded, Gorging Shade has taken a vigorous and shaking progressive death metal form. The proficiency with which every performer weaves disparate melodic lines through echoing, ghastly samples and chaotic, witchy background chatter does not come entirely as a surprise, as the entire roster consists of the members of instrumental progressive act Canvas Solaris. Mood, atmosphere and a bellowing howl, though, separate this incarnation of Georgia’s finest. But the eerie space that Inversions inhabits too has manifested as a collective of talents on display with another offshoot from this act, the dark industrial Plague Pslams (composed of bassist Gael Pirlot and drummer Hunter Ginn, who also currently plays with Agalloch). As an experience layered between the history of sounds these tech wizards have created, Inversions lands dense and challenging. At its core, a rhythmic stomp propels each of its tracks alongside percussive riffs that echo the constant motion of Cynic, the blackened scrawl of Emperor, and the melancholy triumph of Ulcerate swells. But in a package uniquely Gorging Shade, a world emerges from each carefully constructed narrative. Sometimes energy rushes forth (“Disease of Feeling, Germed”). At others, noises creaking and crawling lay teasing grounds for careful exploration (“Ordeal of the Bitter Water,” “A Concession of Our City to Modernity”). Whatever the mode of attack, Gorging Shade delivers in a classic and meticulous wall of sound—perhaps a touch too volume-loaded on occasion—that hits first in waves of melodic intrigue, second in aftershocks of plotted and studied efforts. Its later in the year released may have kept Inversions’ treasures more hidden than I would have liked. The beauty of music, of course, is that we may sit with it as little or as long as we wish to parse its tireless arrangement.

#2024 #Agalloch #Alarum #AmericanMetal #Amorphis #Astronoid #AtmosphericBlackMetal #AtraVetosus #AustralianMetal #AvantGardeMetal #BlackMetal #BlazingInferno #Botanist #Caelestra #CanvasSolaris #ChariotSunBlazing #Chronos #CountlessSkies #Cynic #DarkTranquility #DeathMetal #Dec24 #DevinTownsend #Dreadnought #Earthbound #EdgedCircleProductions #Emperor #EnatMeret #Enya #EthiopianMetal #Flaahgra #GorgingShade #GreekMetal #Holdsworth #ImmortalFrostProductions #Inversions #IrreversibleMechanism #JuteGyte #Kardashev #MareCognitum #martyr #MelodicDeathMetal #Nishaiar #Nov24 #PlaguePsalms #PostBlackMetal #PostMetal #ProgressiveDeathMetal #ProgressiveMetal #Recontinue #Review #Reviews #Rifftera #RottingChrist #SelfRelease #Skagos #Skyforest #Slam #SolarWimp #StuckInTheFilter #Svavelvinter #TechDeath #TechnicalDeathMetal #TrailsOfLight #UKMetal #Ulcerate #UndyingSplendour #VIIBeastOfArpocalyx #WolvesInTheThroneRoom #Wormhole #YothIria

Septaria – Astar Review

By Steel Druhm

Written By: Nameless_N00b_87

It’s hard to believe Gojira’s From Mars to Sirius will be celebrating its twenty-year anniversary next year. The now famous metal quartet from Bayonne, France has ascended the metal hierarchy since the release of their landmark record, culminating this year in a mainstage spot in the opening ceremonies of the 2024 Summer Olympics. But as a longtime fan, I feared that their performance, no matter how awe-inspiring, would add further fuel to an ever-growing wildfire of imitation by a legion of aspiring musicians seeking to emulate their captivating sound. Enter Septaria, one such young aspiring band from Southern France who are ready to unleash their debut album Astar.1 The foursome has garnered somewhat of a buzz with their existential blend of Gojira’s modern metal and Slowdive’s dreamy post- rock, resulting in the group becoming the latest signees to Guillaume Bernard’s2 Klonosphere label. Let’s find out if these young lads can escape the shadow of their Godzilla-like influences and carve out their own path.

Septaria wastes little time channeling Gojira’s signature sound. From the rhythmic staccatos and pummeling double-kicks of From Mars to Sirius, to the double octave pitch shifts highlighted on Magma‘s “Centaure,” to the harmonic tremolos and melodic tapping of L’Enfant Sauvage, the Gojira tropes dominate Astar’s drawn-out runtime with lackluster results. And to cover the vocal inconsistencies that shredders Hugo Thevenot and Maxime Ayasse produce, the duo run their ethereal cleans, guttural roars, and reverberating screams under thick layers of reverb and delay while toying about with periodic bouts of throat singing and ethnic chants. Drummer Hugo Leydet, who offers his best impersonation of Mario Duplantier’s heavy grooves in both performance and tone, teams up with the low rumble of Baptise Trébuchon’s bass to round out the quartet’s familiar backbone. Though clearly talented, Septaria fail to show much originality outside of a few strong swelling and groove-laden moments peppered throughout Astar that provide a glimpse of the ensemble’s artistic vision.

Septaria’s overindulgence and lack of originality make Astar’s excessive length unjustifiable, bloated, and monotonous. Clocking in at 68 minutes, Septaria’s twelve lengthy, Gojira-inspired tracks rely on post-rock’s epic builds stretched out beyond necessity, resulting in a listless and tedious listening experience. “Being,” for example, is an immense ten-minute track that takes forever to arrive at its apex before the energy dies against four minutes of atmospheric feedback and ominous bass tones. Elsewhere, the lifeforce of Ledet’s hypnotic drumming in “Skys Words” deflates in the song’s bloated second half, offering an uninspired, spacey, and drawn-out construction that clashes with its grandiose form. And the cacophony of whammy bar manipulations and screams of “Saggitarius” shatter all momentum after its midpoint. Meant to offer respite, Septaria attempts to combat Astar’s bloat through strategically positioned intermezzos (“Abyss,” “Persephone”) intended to break the record’s flow into more palatable portions. Instead, these diversions quickly devolve into filler, serving as stagnant pools of rogue riffs.

Astar’s stronger moments appear when Septaria rely on their post-rock and groove-laden core to drive creativity. The dreamlike and celestial bridge that triggers the ending in opener “Moment Présent” signals that these Frenchmen have the capacity to write catchy, somber, and atmospheric grooves with emotional impact. Astar’s best moment arrives with the closing of “Embers” where Ledet’s back-beat shuffle coalesces with Thevenot’s and Ayasse’s harmonic tapping and ominous low tremolos to create a head-bobbing groove. Despite these highlights, however, Septaria’s hesitancy to escape the comfort of their predecessors’ shadow stifles their creativity, leading them to eventually revert to a predictable, borrowed riff.

Septaria is a young band that possesses loads of talent and ambition. However, Astar falls victim to Septaria’s overindulgence and lack of originality. This reliance on a well-established formula, coupled with the inability to craft compelling and concise compositions, results in tedious and underwhelming listen. Astar is a testament to Septaria‘s potential, but it is potential that remains largely untapped. I’m left disappointed with what could have been with Astar, and hope Septaria strives to step outside of the confines of imitation with their next steps.

Rating: 2.0/5.0
DR: 7 | Format Reviewed: 192 kbps mp3
Label: Klonosphere Records
Websites: septariaofficial.bandcamp.com | facebook.com/septaria.band
Releases Worldwide: November 15, 2024

Show 2 footnotes

1. Stylized as A*. Seriously… – Dolph ↩
2. The guitarist and founding member of art rock band Klone. ↩

#20 #2024 #Astar #FrenchMetal #Gojira #KlonosphereRecords #Nov24 #PostRock #PostMetal #ProgressiveMetal #Review #Reviews #Septaria #Slowdive

Grylle – Egrotants, Souffreteux, Cacochymes, Covidards Review

By Twelve

I like Antiq Records. Generally, their albums tread the line between different, powerful, and weird very nicely, so it’s always a treat when one of their new releases happens by the Angry Metal Offices. It should come as no surprise that I’m a fan of Hyvermor. He’s the co-owner of the label and has been a part of several projects that I love—Hanternoz, Véhémence, and Grylle, to name a few. Grylle is perhaps the least “metal” of the three1, and also the folkiest, leaning fully into the medieval themes that serve Hyvermor and Antiq Records so well. Boasting an impressive lineup of guest musicians on all kinds of fun instruments, Egrotants, Souffreteux, Cacochymes, Covidards is the third full-length release from Gylle, and is, as per usual, a treat to explore.

Now, when I say an impressive lineup of guest musicians on all kinds of fun instruments, I mean it. Apart from bass and drums by KK and Cadavre respectively, there are no fewer than seven guest musicians on Egrotants, Souffreteux, Cacochymes, Covidards, whose contributions include a small horn section, citole, bagpipes, flutes, a hurdy gurdy, and something called a mandocello. As a result, Grylle’s music feels more multifaceted than it ever has before. More than previous records, Egrotants, Souffreteux, Cacochymes, Covidards is a black metal album firmly entrenched in medieval and folk themes, with one major difference—nearly all of the leads are performed by what I believe is the mandocello. Nearly all of the tremolo leads are acoustic, and even the distorted guitars are medieval instruments, though those are distorted enough to resemble the electric instruments of today. The result is what I imagine October Falls would sound like if you made them play the metal and acoustic bits at the same time; the riffs have that slick-yet-dark edge to them, while the acoustic sections enliven and enhance.

Of course, that’s not a perfect comparison, because Egrotants, Souffreteux, Cacochymes, Covidards is unquestionably a folk metal album. The gorgeous brass and trumpets (Lazareth) on”Mauvais Sang” work with mandocello and (I think) psaltery to add a shining, hopeful dimension to the song, while the hurdy gurdy (Sparda, Hanternoz, and Créatures) makes “Réservement de Confortale Présence” a uniquely mournful march, evoking Apocalypse Orchestra. Hearing acoustic and stringed instruments race to keep up with a full metal outfit on “Moribond Flétri d’Orgueil” is a fascinating experience, and it makes for an entertaining and strangely uplifting tune. Throughout it all, Hyvermor’s vocals (joined occasionally by La Griesche (Tour d’Ivoire) and Sparda, chant, rasp, and shout out stories for the ages, binding together the eclectic sound in a firmly metal base.

I’m not sure if Grylle has a particular weakness, but there are a number of small things about Egrotants, Souffreteux, Cacochymes, Covidards that keep me from being fully drawn in. “Grande Marche des Covidards” and “Réservement de Confortale Présence” both have nice moments musically, but give the impression of being half-finished, or containing ideas that never made it to full songs. As intro and interlude tracks, they’re easily forgettable, but without them, the album is only about half an hour. With only so much in the way of metal music, every moment has to count, and while most songs are very good—”Le Tropique du Cancer” in particular is exceptional—there are a few less exciting tracks, such as closer “La Triomphe de la Mort.” Hyvermor’s vocals are also an acquired taste; his delivery is expressive and strong but sits in an odd realm of being too strong for medieval folk and not quite dark enough for black metal. I wouldn’t say it doesn’t work, but there are moments here and there where you can imagine an alternate delivery or style suiting the song better. With that said, it is hard to blame Grylle for chasing an authentic sound, and most of the time, it works well.

Egrotants, Souffreteux, Cacochymes, Covidards is a fun album and Grylle is a project to keep an eye on. This is a style of music that is familiar and new, an approach to something established that I’ve never heard before. Grylle has written and performed it extremely well. As ever, I am eager to see where medieval metal goes from here—based on Egrotants, Souffreteux, Cacochymes, Covidards, the possibilities seem endless.

Rating: 3.0/5.0
DR: 8 | Format Reviewed: 320 kb/s mp3
Label: Antiq Records
Websites: grylle.bandcamp.com | facebook.com/grylleofficiel
Releases Worldwide: November 10th, 2024

#2024 #30 #AntiqRecords #ApocalypseOrchestra #BlackMetal #Créatures #EgrotantsSouffreteuxCacochymesCovidards #FolkMetal #FrenchMetal #Grylle #Hanternoz #Nov24 #OctoberFalls #Review #Reviews #TourDIvoire #Vehemence

Grylle – Egrotants, Souffreteux, Cacochymes, Covidards Review

By Twelve

I like Antiq Records. Generally, their albums tread the line between different, powerful, and weird very nicely, so it’s always a treat when one of their new releases happens by the Angry Metal Offices. It should come as no surprise that I’m a fan of Hyvermor. He’s the co-owner of the label and has been a part of several projects that I love—Hanternoz, Véhémence, and Grylle, to name a few. Grylle is perhaps the least “metal” of the three1, and also the folkiest, leaning fully into the medieval themes that serve Hyvermor and Antiq Records so well. Boasting an impressive lineup of guest musicians on all kinds of fun instruments, Egrotants, Souffreteux, Cacochymes, Covidards is the third full-length release from Gylle, and is, as per usual, a treat to explore.

Now, when I say an impressive lineup of guest musicians on all kinds of fun instruments, I mean it. Apart from bass and drums by KK and Cadavre respectively, there are no fewer than seven guest musicians on Egrotants, Souffreteux, Cacochymes, Covidards, whose contributions include a small horn section, citole, bagpipes, flutes, a hurdy gurdy, and something called a mandocello. As a result, Grylle’s music feels more multifaceted than it ever has before. More than previous records, Egrotants, Souffreteux, Cacochymes, Covidards is a black metal album firmly entrenched in medieval and folk themes, with one major difference—nearly all of the leads are performed by what I believe is the mandocello. Nearly all of the tremolo leads are acoustic, and even the distorted guitars are medieval instruments, though those are distorted enough to resemble the electric instruments of today. The result is what I imagine October Falls would sound like if you made them play the metal and acoustic bits at the same time; the riffs have that slick-yet-dark edge to them, while the acoustic sections enliven and enhance.

Of course, that’s not a perfect comparison, because Egrotants, Souffreteux, Cacochymes, Covidards is unquestionably a folk metal album. The gorgeous brass and trumpets (Lazareth) on”Mauvais Sang” work with mandocello and (I think) psaltery to add a shining, hopeful dimension to the song, while the hurdy gurdy (Sparda, Hanternoz, and Créatures) makes “Réservement de Confortale Présence” a uniquely mournful march, evoking Apocalypse Orchestra. Hearing acoustic and stringed instruments race to keep up with a full metal outfit on “Moribond Flétri d’Orgueil” is a fascinating experience, and it makes for an entertaining and strangely uplifting tune. Throughout it all, Hyvermor’s vocals (joined occasionally by La Griesche (Tour d’Ivoire) and Sparda, chant, rasp, and shout out stories for the ages, binding together the eclectic sound in a firmly metal base.

I’m not sure if Grylle has a particular weakness, but there are a number of small things about Egrotants, Souffreteux, Cacochymes, Covidards that keep me from being fully drawn in. “Grande Marche des Covidards” and “Réservement de Confortale Présence” both have nice moments musically, but give the impression of being half-finished, or containing ideas that never made it to full songs. As intro and interlude tracks, they’re easily forgettable, but without them, the album is only about half an hour. With only so much in the way of metal music, every moment has to count, and while most songs are very good—”Le Tropique du Cancer” in particular is exceptional—there are a few less exciting tracks, such as closer “La Triomphe de la Mort.” Hyvermor’s vocals are also an acquired taste; his delivery is expressive and strong but sits in an odd realm of being too strong for medieval folk and not quite dark enough for black metal. I wouldn’t say it doesn’t work, but there are moments here and there where you can imagine an alternate delivery or style suiting the song better. With that said, it is hard to blame Grylle for chasing an authentic sound, and most of the time, it works well.

Egrotants, Souffreteux, Cacochymes, Covidards is a fun album and Grylle is a project to keep an eye on. This is a style of music that is familiar and new, an approach to something established that I’ve never heard before. Grylle has written and performed it extremely well. As ever, I am eager to see where medieval metal goes from here—based on Egrotants, Souffreteux, Cacochymes, Covidards, the possibilities seem endless.

Rating: 3.0/5.0
DR: 8 | Format Reviewed: 320 kb/s mp3
Label: Antiq Records
Websites: grylle.bandcamp.com | facebook.com/grylleofficiel
Releases Worldwide: November 10th, 2024

#2024 #30 #AntiqRecords #ApocalypseOrchestra #BlackMetal #Créatures #EgrotantsSouffreteuxCacochymesCovidards #FolkMetal #FrenchMetal #Grylle #Hanternoz #Nov24 #OctoberFalls #Review #Reviews #TourDIvoire #Vehemence

Grylle – Egrotants, Souffreteux, Cacochymes, Covidards Review

By Twelve

I like Antiq Records. Generally, their albums tread the line between different, powerful, and weird very nicely, so it’s always a treat when one of their new releases happens by the Angry Metal Offices. It should come as no surprise that I’m a fan of Hyvermor. He’s the co-owner of the label and has been a part of several projects that I love—Hanternoz, Véhémence, and Grylle, to name a few. Grylle is perhaps the least “metal” of the three1, and also the folkiest, leaning fully into the medieval themes that serve Hyvermor and Antiq Records so well. Boasting an impressive lineup of guest musicians on all kinds of fun instruments, Egrotants, Souffreteux, Cacochymes, Covidards is the third full-length release from Gylle, and is, as per usual, a treat to explore.

Now, when I say an impressive lineup of guest musicians on all kinds of fun instruments, I mean it. Apart from bass and drums by KK and Cadavre respectively, there are no fewer than seven guest musicians on Egrotants, Souffreteux, Cacochymes, Covidards, whose contributions include a small horn section, citole, bagpipes, flutes, a hurdy gurdy, and something called a mandocello. As a result, Grylle’s music feels more multifaceted than it ever has before. More than previous records, Egrotants, Souffreteux, Cacochymes, Covidards is a black metal album firmly entrenched in medieval and folk themes, with one major difference—nearly all of the leads are performed by what I believe is the mandocello. Nearly all of the tremolo leads are acoustic, and even the distorted guitars are medieval instruments, though those are distorted enough to resemble the electric instruments of today. The result is what I imagine October Falls would sound like if you made them play the metal and acoustic bits at the same time; the riffs have that slick-yet-dark edge to them, while the acoustic sections enliven and enhance.

Of course, that’s not a perfect comparison, because Egrotants, Souffreteux, Cacochymes, Covidards is unquestionably a folk metal album. The gorgeous brass and trumpets (Lazareth) on”Mauvais Sang” work with mandocello and (I think) psaltery to add a shining, hopeful dimension to the song, while the hurdy gurdy (Sparda, Hanternoz, and Créatures) makes “Réservement de Confortale Présence” a uniquely mournful march, evoking Apocalypse Orchestra. Hearing acoustic and stringed instruments race to keep up with a full metal outfit on “Moribond Flétri d’Orgueil” is a fascinating experience, and it makes for an entertaining and strangely uplifting tune. Throughout it all, Hyvermor’s vocals (joined occasionally by La Griesche (Tour d’Ivoire) and Sparda, chant, rasp, and shout out stories for the ages, binding together the eclectic sound in a firmly metal base.

I’m not sure if Grylle has a particular weakness, but there are a number of small things about Egrotants, Souffreteux, Cacochymes, Covidards that keep me from being fully drawn in. “Grande Marche des Covidards” and “Réservement de Confortale Présence” both have nice moments musically, but give the impression of being half-finished, or containing ideas that never made it to full songs. As intro and interlude tracks, they’re easily forgettable, but without them, the album is only about half an hour. With only so much in the way of metal music, every moment has to count, and while most songs are very good—”Le Tropique du Cancer” in particular is exceptional—there are a few less exciting tracks, such as closer “La Triomphe de la Mort.” Hyvermor’s vocals are also an acquired taste; his delivery is expressive and strong but sits in an odd realm of being too strong for medieval folk and not quite dark enough for black metal. I wouldn’t say it doesn’t work, but there are moments here and there where you can imagine an alternate delivery or style suiting the song better. With that said, it is hard to blame Grylle for chasing an authentic sound, and most of the time, it works well.

Egrotants, Souffreteux, Cacochymes, Covidards is a fun album and Grylle is a project to keep an eye on. This is a style of music that is familiar and new, an approach to something established that I’ve never heard before. Grylle has written and performed it extremely well. As ever, I am eager to see where medieval metal goes from here—based on Egrotants, Souffreteux, Cacochymes, Covidards, the possibilities seem endless.

Rating: 3.0/5.0
DR: 8 | Format Reviewed: 320 kb/s mp3
Label: Antiq Records
Websites: grylle.bandcamp.com | facebook.com/grylleofficiel
Releases Worldwide: November 10th, 2024

#2024 #30 #AntiqRecords #ApocalypseOrchestra #BlackMetal #Créatures #EgrotantsSouffreteuxCacochymesCovidards #FolkMetal #FrenchMetal #Grylle #Hanternoz #Nov24 #OctoberFalls #Review #Reviews #TourDIvoire #Vehemence

Bombus – Your Blood Review

By Dr. A.N. Grier

After a much-needed vacation,1 and being sick as fuck for weeks, ole Grier is back with something you might not want in your life but you need it. In 2016, AMG Himself reviewed the third record from Bombus, a little-known Swedish outfit. Like AMG, I was surprised that something so simple could plant a seed in my ear and keep me returning for more. But, I suppose it’s no surprise when surrounded by endless extreme metal that a palate cleanser like Repeat Until Death would find a home in my regular rotation. The band basically plays metalized rock with predictable song structures and hooking choruses, where nothing overstays its welcome. Three years later, we appeared to have missed the release of Vulture Culture. But maybe that was for the best considering it only contained a handful of new ideas and struggled to come together as a complete album. I was hesitant when I saw this year’s Your Blood in the bin. Though one spin in, I knew something magical was happening to Bombus and Your Blood turned out to be their most ambitious record to date.

After spending years with Century Media Records, Bombus has penned a new deal with Black Lodge Records. Not only that but co-founding vocalist and guitarist Matte Säker left the band. In his stead, not only was another vocalist/guitarist recruited (they have two), but a third guitarist was added to the mix to bring the band from a four-piece to a five-piece. With these newfound axes, the band traveled a new road that brought soaring solos, intricate leads, and harmonizing soundscapes. Your Blood also offers the most melodic collection of pieces the band has ever accumulated. The result is far less predictable than previous albums, introducing new twists that’ll pull at your heartstrings, bob your head, and raise an eyebrow (or two). If you know the band’s previous output, nothing will prepare you for what’s to come.

While one of the more straightforward ditties on the record, “Killer” does a decent job introducing you to the new Bombus direction. After opening with all three guitars lending their strings to soaring leads, the song settles into a melodic groove. As the song builds, the passion and sadness of the track intensifies, sucking you into its mere three-and-a-half-minute runtime. With an accessible piece setting the mood, things get real weird, real fast. The follow-up track, “The One,” zaps you into a time warp that introduces a slow-moving vocal style akin to Nick Cave and a poppy drum beat that could have come from The White Stripes. I know, it’s a couple of odd descriptors, but the song is absolutely hypnotizing as it weaves in and out of intense moments and drum-led spoken-word interludes. But, the weirdest track of them all is the title track. Like so many other bands these days, Bombus reaches into Spaghetti-Western influences. With cawing crows and more sinister Ghoultown vibes, this track slithers around like a sidewinder, erupting into the catchy chorus while passing through cold, dark desert nights.

Between these oddities, Hellhammer-esque nastiness, Motörhead beauty, speed metal licks, Pain-like psychedelics, and Volbeaty clapping segments,2 a couple tracks truly crawl to the top. “Carmina” is one of the most interesting tracks on the album, showing how much time the band spent to improve and diversify their sound. Probably one of the heavier tracks on the album, much like their style of old, this track uses a combination of hammering vocals, bass, and drums to set up the chorus. The chorus is interesting because it passes through two phases: first, punching Rob Zombie-ish shouts, and then low, overlapping vocals. After passing the midway point, the band settles into Chug Land, pounding away on a riff as the guitar leads swirl around the background chants. The best song on the album immediately triggered me in the strangest way possible. The simple riff of “Take Your Down” is almost identical to the soundtrack of one of my favorite revenge scenes in television history: when Frank Castle finally gets his hands on William Rawlins. It’s a powerful song with a fantastic chorus that punches on those revenge qualities and puts goosebumps on my arms.

Outside of the weirdly cool (but also still weird), synthy guitar work of “No Rules” and the howling wolf at the beginning of “The Beast,” which had me spitting out my coffee in laughter, Your Blood is a great new direction for Bombus. The songs are painstakingly structured for a style like this, the choruses are some of the best they’ve ever written, and the diversity makes it exciting on repeat listens. The album flow is also well done vocally. As the album plays out, the vocals get nastier and more pained. After introducing some cleans toward the beginning of the album, the back half finds them more and more raucous, concluding the record with the most desperate performance. Your Blood might not be the vicious metal record you want, but if you take a minute to explore the band’s discog, you’ll be surprised by the results of this new record. Everywhere I look on the interwebz, people ask, “Why are these guys not more popular.” And you know what? I have no idea.

Rating: 3.5/5.0
DR: 6 | Format Reviewed: 267 kb/s mp3
Label: Black Lodge Records
Websites: bombusmusic.com | facebook.com/bombusmusic
Releases Worldwide: November 1st, 2024

Show 2 footnotes

1. A real one. Not just a vacation from all you fuckheads. ↩
2. Yeah, this album is wild. ↩

#2024 #35 #BlackLodgeRecords #Bombus #Ghoultown #HardRock #HeavyMetal #Hellhammer #Motörhead #NickCave #Nov24 #Pain #Review #Reviews #RobZombie #SwedishMetal #TheWhiteStripes #Volbeat #YourBlood