#veilofmaya — Public Fediverse posts
Live and recent posts from across the Fediverse tagged #veilofmaya, aggregated by home.social.
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This remembers the good #VeilOfMaya before they went too experimental.
https://album.link/i/6779018509
"Arriba la L" from #Ladrones is just good djent with good armonies to back up each song, and each one doesn't overstay their welcome.
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This remembers the good #VeilOfMaya before they went too experimental.
https://album.link/i/6779018509
"Arriba la L" from #Ladrones is just good djent with good armonies to back up each song, and each one doesn't overstay their welcome.
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This remembers the good #VeilOfMaya before they went too experimental.
https://album.link/i/6779018509
"Arriba la L" from #Ladrones is just good djent with good armonies to back up each song, and each one doesn't overstay their welcome.
-
This remembers the good #VeilOfMaya before they went too experimental.
https://album.link/i/6779018509
"Arriba la L" from #Ladrones is just good djent with good armonies to back up each song, and each one doesn't overstay their welcome.
-
This remembers the good #VeilOfMaya before they went too experimental.
https://album.link/i/6779018509
"Arriba la L" from #Ladrones is just good djent with good armonies to back up each song, and each one doesn't overstay their welcome.
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Lukas Magyar confirms exit from Veil Of Maya:
Link: https://metalinsider.net/news/lukas-magyar-confirms-exit-from-veil-of-maya
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Lukas Magyar confirms exit from Veil Of Maya:
Link: https://metalinsider.net/news/lukas-magyar-confirms-exit-from-veil-of-maya
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By Dear Hollow
I’m beginning to think Mire was a fluke. I’m not saying that as a bad thing, but I remember listening to Conjurer’s debut and thinking that it was a top post-metal album steeped in atmosphere and enigma, tied together with vicious vocals and vindictive weight.1 So then, I was immensely let down by follow-up Páthos because it seemed to shed substance for novelty: if I’m being honest, its stark dichotomy of heartwrenching melodies and kickass riffs felt inauthentic and shoehorned. Thus, I approached Unself carefully, hoping for something like Mire but tentatively expecting Páthos. What I got, however, was neither. You see, Mire was a fluke not in quality but in approach, because Unself proves that Conjurer prioritizes riff, weaponizing it for the very human tale of the deconstruction of self.
The title track enters with what I would expect from an early 2010s metalcore band intro,2 the Americana cover of 1919 gospel song “I Can’t Feel At Home in this World Anymore” morphing into a full-on dissodeath takedown via a barb of squealing dissonance. While this and the final song, “The World is Not My Home” seem to tie up the album into a thematic deconstruction of religion, Unself is a bit more complex than that. It reflects the journey of vocalist/guitarist Dani Nightingale through an autism diagnosis and discovery of them being non-binary. Similarly reflecting this complexity and remaining incredibly difficult to neatly categorize its sonic assault, Conjurer lays a foundation of post-metal’s meandering rhythmic hulk with death metal intensity, sludge tonal abuse, and a sleek modern production built atop, with – in Unself – hints of black metal. It’s not the second coming of Mire – it’s Unself and undeniably on-brand and completely authentic – and that’s perfectly okay for Conjurer.
Unself’s structure shows Conjurer’s devotion to natural growth, a welcome change from the shoehorned Páthos – largely because Nightingale’s sonic struggles with self-discovery undergird the movements. The two halves of the album are divided into three tracks, bookended by the Huntsmen-influenced thematic motif of the aforesaid “I Can’t Feel at Home in This World” morphed into ugly beatdowns and yearning sadness. The meat of the two suites fall into one of three categories: the relatively traditional post-metal waltzing of Amenra’s heavier moments in sprawling weight (“All Apart,” “Foreclosure”), the yearning chord progressions and melodies recalling Páthos’ emotive emphasis to a more effective degree (“There Is No Warmth,” “Let Us Live”), or the outright assaults of blackened sludge and -core breakdowns (“The Searing Glow,” “Hang Them in Your Head”). As the album progresses, so does the intensity. The latter, the most vicious of the bunch, feel like they nearly boil over, nearly forsaking the post-metal attack for an obscure death metal attack a la Convulsing or Adversarial – making interlude “A Plea” truly the eye of the storm in its minimalist approach, distant vocal samples, and acoustic strumming.
The balance between novelty and songwriting remains an issue for Conjurer. Because of the trichotomy of its sounds, Unself offers different levels of quality. At first, the more traditional post-metal cuts (“All Apart,” “Foreclosure”) feel like absolute bangers, touched with darkness and harmony – but then you hear the other two approaches and they suddenly feel overly long and uneventful in comparison. Likewise, there are several tracks that could stand a good trimming, simply because many feature a singular abrupt tonal shift from melodic to dissonant in its last respective third (“There is No Warmth,” “Let Us Live”). A more divisive take is that Conjurer’s production is very modern and sleek, the down-tuned leads more akin to 2010s metalcore acts like The Plot in You or The Sorrow, an accessibility largely contradicting post-metal’s historic opaqueness (Neurosis) and death metal’s hostility (Bolt Thrower), so while I liked its more “loud and ouchy” tones, others may not be so persuaded.
The novelty and the emotion are resolved in Unself, as Conjurer finally feels authentic and realized. No, Unself is not better than Mire, but it feels more genuine and human than Páthos, offering some of the act’s most intense material to date while chronicling the dismantling of the self into something more authentic. Not only does Dani Nightingale embark on a journey of self-discovery, but Conjurer does too. I’m just happy to be along for the ride.
Rating: 3.0/5.0
DR: 4 | Format Reviewed: 320 kb/s mp3
Label: Nuclear Blast Records
Websites: conjureruk.bandcamp.com | conjureruk.com | facebook.com/conjureruk
Releases Worldwide: October 24th, 2025#2025 #30 #Adversarial #Amenra #BlackMetal #BoltThrower #BritishMetal #Conjurer #Convulsing #DeathMetal #DissonantDeathMetal #Huntsmen #Neurosis #NuclearBlastRecords #Oct25 #PostMetal #Review #Reviews #SludgeMetal #TheOngoingConcept #ThePlotInYou #TheSorrow #Unself #VeilOfMaya
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By Dear Hollow
I’m beginning to think Mire was a fluke. I’m not saying that as a bad thing, but I remember listening to Conjurer’s debut and thinking that it was a top post-metal album steeped in atmosphere and enigma, tied together with vicious vocals and vindictive weight.1 So then, I was immensely let down by follow-up Páthos because it seemed to shed substance for novelty: if I’m being honest, its stark dichotomy of heartwrenching melodies and kickass riffs felt inauthentic and shoehorned. Thus, I approached Unself carefully, hoping for something like Mire but tentatively expecting Páthos. What I got, however, was neither. You see, Mire was a fluke not in quality but in approach, because Unself proves that Conjurer prioritizes riff, weaponizing it for the very human tale of the deconstruction of self.
The title track enters with what I would expect from an early 2010s metalcore band intro,2 the Americana cover of 1919 gospel song “I Can’t Feel At Home in this World Anymore” morphing into a full-on dissodeath takedown via a barb of squealing dissonance. While this and the final song, “The World is Not My Home” seem to tie up the album into a thematic deconstruction of religion, Unself is a bit more complex than that. It reflects the journey of vocalist/guitarist Dani Nightingale through an autism diagnosis and discovery of them being non-binary. Similarly reflecting this complexity and remaining incredibly difficult to neatly categorize its sonic assault, Conjurer lays a foundation of post-metal’s meandering rhythmic hulk with death metal intensity, sludge tonal abuse, and a sleek modern production built atop, with – in Unself – hints of black metal. It’s not the second coming of Mire – it’s Unself and undeniably on-brand and completely authentic – and that’s perfectly okay for Conjurer.
Unself’s structure shows Conjurer’s devotion to natural growth, a welcome change from the shoehorned Páthos – largely because Nightingale’s sonic struggles with self-discovery undergird the movements. The two halves of the album are divided into three tracks, bookended by the Huntsmen-influenced thematic motif of the aforesaid “I Can’t Feel at Home in This World” morphed into ugly beatdowns and yearning sadness. The meat of the two suites fall into one of three categories: the relatively traditional post-metal waltzing of Amenra’s heavier moments in sprawling weight (“All Apart,” “Foreclosure”), the yearning chord progressions and melodies recalling Páthos’ emotive emphasis to a more effective degree (“There Is No Warmth,” “Let Us Live”), or the outright assaults of blackened sludge and -core breakdowns (“The Searing Glow,” “Hang Them in Your Head”). As the album progresses, so does the intensity. The latter, the most vicious of the bunch, feel like they nearly boil over, nearly forsaking the post-metal attack for an obscure death metal attack a la Convulsing or Adversarial – making interlude “A Plea” truly the eye of the storm in its minimalist approach, distant vocal samples, and acoustic strumming.
The balance between novelty and songwriting remains an issue for Conjurer. Because of the trichotomy of its sounds, Unself offers different levels of quality. At first, the more traditional post-metal cuts (“All Apart,” “Foreclosure”) feel like absolute bangers, touched with darkness and harmony – but then you hear the other two approaches and they suddenly feel overly long and uneventful in comparison. Likewise, there are several tracks that could stand a good trimming, simply because many feature a singular abrupt tonal shift from melodic to dissonant in its last respective third (“There is No Warmth,” “Let Us Live”). A more divisive take is that Conjurer’s production is very modern and sleek, the down-tuned leads more akin to 2010s metalcore acts like The Plot in You or The Sorrow, an accessibility largely contradicting post-metal’s historic opaqueness (Neurosis) and death metal’s hostility (Bolt Thrower), so while I liked its more “loud and ouchy” tones, others may not be so persuaded.
The novelty and the emotion are resolved in Unself, as Conjurer finally feels authentic and realized. No, Unself is not better than Mire, but it feels more genuine and human than Páthos, offering some of the act’s most intense material to date while chronicling the dismantling of the self into something more authentic. Not only does Dani Nightingale embark on a journey of self-discovery, but Conjurer does too. I’m just happy to be along for the ride.
Rating: 3.0/5.0
DR: 4 | Format Reviewed: 320 kb/s mp3
Label: Nuclear Blast Records
Websites: conjureruk.bandcamp.com | conjureruk.com | facebook.com/conjureruk
Releases Worldwide: October 24th, 2025#2025 #30 #Adversarial #Amenra #BlackMetal #BoltThrower #BritishMetal #Conjurer #Convulsing #DeathMetal #DissonantDeathMetal #Huntsmen #Neurosis #NuclearBlastRecords #Oct25 #PostMetal #Review #Reviews #SludgeMetal #TheOngoingConcept #ThePlotInYou #TheSorrow #Unself #VeilOfMaya
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By Dear Hollow
I’m beginning to think Mire was a fluke. I’m not saying that as a bad thing, but I remember listening to Conjurer’s debut and thinking that it was a top post-metal album steeped in atmosphere and enigma, tied together with vicious vocals and vindictive weight.1 So then, I was immensely let down by follow-up Páthos because it seemed to shed substance for novelty: if I’m being honest, its stark dichotomy of heartwrenching melodies and kickass riffs felt inauthentic and shoehorned. Thus, I approached Unself carefully, hoping for something like Mire but tentatively expecting Páthos. What I got, however, was neither. You see, Mire was a fluke not in quality but in approach, because Unself proves that Conjurer prioritizes riff, weaponizing it for the very human tale of the deconstruction of self.
The title track enters with what I would expect from an early 2010s metalcore band intro,2 the Americana cover of 1919 gospel song “I Can’t Feel At Home in this World Anymore” morphing into a full-on dissodeath takedown via a barb of squealing dissonance. While this and the final song, “The World is Not My Home” seem to tie up the album into a thematic deconstruction of religion, Unself is a bit more complex than that. It reflects the journey of vocalist/guitarist Dani Nightingale through an autism diagnosis and discovery of them being non-binary. Similarly reflecting this complexity and remaining incredibly difficult to neatly categorize its sonic assault, Conjurer lays a foundation of post-metal’s meandering rhythmic hulk with death metal intensity, sludge tonal abuse, and a sleek modern production built atop, with – in Unself – hints of black metal. It’s not the second coming of Mire – it’s Unself and undeniably on-brand and completely authentic – and that’s perfectly okay for Conjurer.
Unself’s structure shows Conjurer’s devotion to natural growth, a welcome change from the shoehorned Páthos – largely because Nightingale’s sonic struggles with self-discovery undergird the movements. The two halves of the album are divided into three tracks, bookended by the Huntsmen-influenced thematic motif of the aforesaid “I Can’t Feel at Home in This World” morphed into ugly beatdowns and yearning sadness. The meat of the two suites fall into one of three categories: the relatively traditional post-metal waltzing of Amenra’s heavier moments in sprawling weight (“All Apart,” “Foreclosure”), the yearning chord progressions and melodies recalling Páthos’ emotive emphasis to a more effective degree (“There Is No Warmth,” “Let Us Live”), or the outright assaults of blackened sludge and -core breakdowns (“The Searing Glow,” “Hang Them in Your Head”). As the album progresses, so does the intensity. The latter, the most vicious of the bunch, feel like they nearly boil over, nearly forsaking the post-metal attack for an obscure death metal attack a la Convulsing or Adversarial – making interlude “A Plea” truly the eye of the storm in its minimalist approach, distant vocal samples, and acoustic strumming.
The balance between novelty and songwriting remains an issue for Conjurer. Because of the trichotomy of its sounds, Unself offers different levels of quality. At first, the more traditional post-metal cuts (“All Apart,” “Foreclosure”) feel like absolute bangers, touched with darkness and harmony – but then you hear the other two approaches and they suddenly feel overly long and uneventful in comparison. Likewise, there are several tracks that could stand a good trimming, simply because many feature a singular abrupt tonal shift from melodic to dissonant in its last respective third (“There is No Warmth,” “Let Us Live”). A more divisive take is that Conjurer’s production is very modern and sleek, the down-tuned leads more akin to 2010s metalcore acts like The Plot in You or The Sorrow, an accessibility largely contradicting post-metal’s historic opaqueness (Neurosis) and death metal’s hostility (Bolt Thrower), so while I liked its more “loud and ouchy” tones, others may not be so persuaded.
The novelty and the emotion are resolved in Unself, as Conjurer finally feels authentic and realized. No, Unself is not better than Mire, but it feels more genuine and human than Páthos, offering some of the act’s most intense material to date while chronicling the dismantling of the self into something more authentic. Not only does Dani Nightingale embark on a journey of self-discovery, but Conjurer does too. I’m just happy to be along for the ride.
Rating: 3.0/5.0
DR: 4 | Format Reviewed: 320 kb/s mp3
Label: Nuclear Blast Records
Websites: conjureruk.bandcamp.com | conjureruk.com | facebook.com/conjureruk
Releases Worldwide: October 24th, 2025#2025 #30 #Adversarial #Amenra #BlackMetal #BoltThrower #BritishMetal #Conjurer #Convulsing #DeathMetal #DissonantDeathMetal #Huntsmen #Neurosis #NuclearBlastRecords #Oct25 #PostMetal #Review #Reviews #SludgeMetal #TheOngoingConcept #ThePlotInYou #TheSorrow #Unself #VeilOfMaya
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By Dear Hollow
I’m beginning to think Mire was a fluke. I’m not saying that as a bad thing, but I remember listening to Conjurer’s debut and thinking that it was a top post-metal album steeped in atmosphere and enigma, tied together with vicious vocals and vindictive weight.1 So then, I was immensely let down by follow-up Páthos because it seemed to shed substance for novelty: if I’m being honest, its stark dichotomy of heartwrenching melodies and kickass riffs felt inauthentic and shoehorned. Thus, I approached Unself carefully, hoping for something like Mire but tentatively expecting Páthos. What I got, however, was neither. You see, Mire was a fluke not in quality but in approach, because Unself proves that Conjurer prioritizes riff, weaponizing it for the very human tale of the deconstruction of self.
The title track enters with what I would expect from an early 2010s metalcore band intro,2 the Americana cover of 1919 gospel song “I Can’t Feel At Home in this World Anymore” morphing into a full-on dissodeath takedown via a barb of squealing dissonance. While this and the final song, “The World is Not My Home” seem to tie up the album into a thematic deconstruction of religion, Unself is a bit more complex than that. It reflects the journey of vocalist/guitarist Dani Nightingale through an autism diagnosis and discovery of them being non-binary. Similarly reflecting this complexity and remaining incredibly difficult to neatly categorize its sonic assault, Conjurer lays a foundation of post-metal’s meandering rhythmic hulk with death metal intensity, sludge tonal abuse, and a sleek modern production built atop, with – in Unself – hints of black metal. It’s not the second coming of Mire – it’s Unself and undeniably on-brand and completely authentic – and that’s perfectly okay for Conjurer.
Unself’s structure shows Conjurer’s devotion to natural growth, a welcome change from the shoehorned Páthos – largely because Nightingale’s sonic struggles with self-discovery undergird the movements. The two halves of the album are divided into three tracks, bookended by the Huntsmen-influenced thematic motif of the aforesaid “I Can’t Feel at Home in This World” morphed into ugly beatdowns and yearning sadness. The meat of the two suites fall into one of three categories: the relatively traditional post-metal waltzing of Amenra’s heavier moments in sprawling weight (“All Apart,” “Foreclosure”), the yearning chord progressions and melodies recalling Páthos’ emotive emphasis to a more effective degree (“There Is No Warmth,” “Let Us Live”), or the outright assaults of blackened sludge and -core breakdowns (“The Searing Glow,” “Hang Them in Your Head”). As the album progresses, so does the intensity. The latter, the most vicious of the bunch, feel like they nearly boil over, nearly forsaking the post-metal attack for an obscure death metal attack a la Convulsing or Adversarial – making interlude “A Plea” truly the eye of the storm in its minimalist approach, distant vocal samples, and acoustic strumming.
The balance between novelty and songwriting remains an issue for Conjurer. Because of the trichotomy of its sounds, Unself offers different levels of quality. At first, the more traditional post-metal cuts (“All Apart,” “Foreclosure”) feel like absolute bangers, touched with darkness and harmony – but then you hear the other two approaches and they suddenly feel overly long and uneventful in comparison. Likewise, there are several tracks that could stand a good trimming, simply because many feature a singular abrupt tonal shift from melodic to dissonant in its last respective third (“There is No Warmth,” “Let Us Live”). A more divisive take is that Conjurer’s production is very modern and sleek, the down-tuned leads more akin to 2010s metalcore acts like The Plot in You or The Sorrow, an accessibility largely contradicting post-metal’s historic opaqueness (Neurosis) and death metal’s hostility (Bolt Thrower), so while I liked its more “loud and ouchy” tones, others may not be so persuaded.
The novelty and the emotion are resolved in Unself, as Conjurer finally feels authentic and realized. No, Unself is not better than Mire, but it feels more genuine and human than Páthos, offering some of the act’s most intense material to date while chronicling the dismantling of the self into something more authentic. Not only does Dani Nightingale embark on a journey of self-discovery, but Conjurer does too. I’m just happy to be along for the ride.
Rating: 3.0/5.0
DR: 4 | Format Reviewed: 320 kb/s mp3
Label: Nuclear Blast Records
Websites: conjureruk.bandcamp.com | conjureruk.com | facebook.com/conjureruk
Releases Worldwide: October 24th, 2025#2025 #30 #Adversarial #Amenra #BlackMetal #BoltThrower #BritishMetal #Conjurer #Convulsing #DeathMetal #DissonantDeathMetal #Huntsmen #Neurosis #NuclearBlastRecords #Oct25 #PostMetal #Review #Reviews #SludgeMetal #TheOngoingConcept #ThePlotInYou #TheSorrow #Unself #VeilOfMaya
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By Dear Hollow
I’m beginning to think Mire was a fluke. I’m not saying that as a bad thing, but I remember listening to Conjurer’s debut and thinking that it was a top post-metal album steeped in atmosphere and enigma, tied together with vicious vocals and vindictive weight.1 So then, I was immensely let down by follow-up Páthos because it seemed to shed substance for novelty: if I’m being honest, its stark dichotomy of heartwrenching melodies and kickass riffs felt inauthentic and shoehorned. Thus, I approached Unself carefully, hoping for something like Mire but tentatively expecting Páthos. What I got, however, was neither. You see, Mire was a fluke not in quality but in approach, because Unself proves that Conjurer prioritizes riff, weaponizing it for the very human tale of the deconstruction of self.
The title track enters with what I would expect from an early 2010s metalcore band intro,2 the Americana cover of 1919 gospel song “I Can’t Feel At Home in this World Anymore” morphing into a full-on dissodeath takedown via a barb of squealing dissonance. While this and the final song, “The World is Not My Home” seem to tie up the album into a thematic deconstruction of religion, Unself is a bit more complex than that. It reflects the journey of vocalist/guitarist Dani Nightingale through an autism diagnosis and discovery of them being non-binary. Similarly reflecting this complexity and remaining incredibly difficult to neatly categorize its sonic assault, Conjurer lays a foundation of post-metal’s meandering rhythmic hulk with death metal intensity, sludge tonal abuse, and a sleek modern production built atop, with – in Unself – hints of black metal. It’s not the second coming of Mire – it’s Unself and undeniably on-brand and completely authentic – and that’s perfectly okay for Conjurer.
Unself’s structure shows Conjurer’s devotion to natural growth, a welcome change from the shoehorned Páthos – largely because Nightingale’s sonic struggles with self-discovery undergird the movements. The two halves of the album are divided into three tracks, bookended by the Huntsmen-influenced thematic motif of the aforesaid “I Can’t Feel at Home in This World” morphed into ugly beatdowns and yearning sadness. The meat of the two suites fall into one of three categories: the relatively traditional post-metal waltzing of Amenra’s heavier moments in sprawling weight (“All Apart,” “Foreclosure”), the yearning chord progressions and melodies recalling Páthos’ emotive emphasis to a more effective degree (“There Is No Warmth,” “Let Us Live”), or the outright assaults of blackened sludge and -core breakdowns (“The Searing Glow,” “Hang Them in Your Head”). As the album progresses, so does the intensity. The latter, the most vicious of the bunch, feel like they nearly boil over, nearly forsaking the post-metal attack for an obscure death metal attack a la Convulsing or Adversarial – making interlude “A Plea” truly the eye of the storm in its minimalist approach, distant vocal samples, and acoustic strumming.
The balance between novelty and songwriting remains an issue for Conjurer. Because of the trichotomy of its sounds, Unself offers different levels of quality. At first, the more traditional post-metal cuts (“All Apart,” “Foreclosure”) feel like absolute bangers, touched with darkness and harmony – but then you hear the other two approaches and they suddenly feel overly long and uneventful in comparison. Likewise, there are several tracks that could stand a good trimming, simply because many feature a singular abrupt tonal shift from melodic to dissonant in its last respective third (“There is No Warmth,” “Let Us Live”). A more divisive take is that Conjurer’s production is very modern and sleek, the down-tuned leads more akin to 2010s metalcore acts like The Plot in You or The Sorrow, an accessibility largely contradicting post-metal’s historic opaqueness (Neurosis) and death metal’s hostility (Bolt Thrower), so while I liked its more “loud and ouchy” tones, others may not be so persuaded.
The novelty and the emotion are resolved in Unself, as Conjurer finally feels authentic and realized. No, Unself is not better than Mire, but it feels more genuine and human than Páthos, offering some of the act’s most intense material to date while chronicling the dismantling of the self into something more authentic. Not only does Dani Nightingale embark on a journey of self-discovery, but Conjurer does too. I’m just happy to be along for the ride.
Rating: 3.0/5.0
DR: 4 | Format Reviewed: 320 kb/s mp3
Label: Nuclear Blast Records
Websites: conjureruk.bandcamp.com | conjureruk.com | facebook.com/conjureruk
Releases Worldwide: October 24th, 2025#2025 #30 #Adversarial #Amenra #BlackMetal #BoltThrower #BritishMetal #Conjurer #Convulsing #DeathMetal #DissonantDeathMetal #Huntsmen #Neurosis #NuclearBlastRecords #Oct25 #PostMetal #Review #Reviews #SludgeMetal #TheOngoingConcept #ThePlotInYou #TheSorrow #Unself #VeilOfMaya
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The Comeback Wave 2025: The Sword, letlive., and Veil of Maya:
#TheSword #letlive #VeilofMaya #Bandsreturning
Link: https://metalinsider.net/touring/the-comeback-wave-2025-the-sword-letlive-and-veil-of-maya
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The Comeback Wave 2025: The Sword, letlive., and Veil of Maya:
#TheSword #letlive #VeilofMaya #Bandsreturning
Link: https://metalinsider.net/touring/the-comeback-wave-2025-the-sword-letlive-and-veil-of-maya
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Gift Giver – Daddy Issues
#Metal #buryyourdead #deathcore #emmure #hardcore #limpbizkit #metalcore #progressive #structures #theacaciastrain #veilofmaya #AnnArbor
CC BY-NC (#CreativeCommons Attribution Non Commercial) #ccmusic
https://giftgivermusic.bandcamp.com/album/daddy-issues -
Gift Giver – Daddy Issues
#Metal #buryyourdead #deathcore #emmure #hardcore #limpbizkit #metalcore #progressive #structures #theacaciastrain #veilofmaya #AnnArbor
CC BY-NC (#CreativeCommons Attribution Non Commercial) #ccmusic
https://giftgivermusic.bandcamp.com/album/daddy-issues -
Gift Giver – Daddy Issues
#Metal #buryyourdead #deathcore #emmure #hardcore #limpbizkit #metalcore #progressive #structures #theacaciastrain #veilofmaya #AnnArbor
CC BY-NC (#CreativeCommons Attribution Non Commercial) #ccmusic
https://giftgivermusic.bandcamp.com/album/daddy-issues -
#TheMetalDogArticleList
#MetalInjection
VEIL OF MAYA Cancels All Live Shows, Goes On Hiatushttps://metalinjection.net/news/breakups/veil-of-maya-cancels-all-live-shows-goes-on-hiatus
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#TheMetalDogArticleList
#MetalInjection
VEIL OF MAYA Cancels All Live Shows, Goes On Hiatushttps://metalinjection.net/news/breakups/veil-of-maya-cancels-all-live-shows-goes-on-hiatus
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#TheMetalDogArticleList
#MetalInjection
VEIL OF MAYA Cancels All Live Shows, Goes On Hiatushttps://metalinjection.net/news/breakups/veil-of-maya-cancels-all-live-shows-goes-on-hiatus
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#TheMetalDogArticleList
#MetalInjection
VEIL OF MAYA Cancels All Live Shows, Goes On Hiatushttps://metalinjection.net/news/breakups/veil-of-maya-cancels-all-live-shows-goes-on-hiatus
-
#TheMetalDogArticleList
#MetalInjection
VEIL OF MAYA Cancels All Live Shows, Goes On Hiatushttps://metalinjection.net/news/breakups/veil-of-maya-cancels-all-live-shows-goes-on-hiatus
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Concert Calendar (6/28-7/13): Summer’s Lethal Strike. Lez Zeppelin, Fallujah, & more:
#ConcertCalendar #LezZeppelin #Fallujah #Anvil #VeilofMaya #Tours #Summershows
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Concert Calendar (6/28-7/13): Summer’s Lethal Strike. Lez Zeppelin, Fallujah, & more:
#ConcertCalendar #LezZeppelin #Fallujah #Anvil #VeilofMaya #Tours #Summershows
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Replacire – The Center That Cannot Hold Review
By Dolphin Whisperer
No matter how much money and success that an Angry Metal Guy review can help bestow upon a band, sales play only part of the hard-to-achieve role of financial forwarding in a band’s life. Back in 2017, the esteemed Kronos demanded not once but twice that you turn to Massachusetts-born death troupe Replacire with open minds and wallets to find a fruitful footing. But the journey from then to today has been hard for many. Just as Replacire seemed to be taking hold of the road and recording future, a tour-less 2020 emerged and heavily stalled the album they have finally delivered here, The Center That Cannot Hold. Born of that strife, setback, and the persistence of Replacire’s heart, guitarist Eric Alper,1 this follow-up from its extended incubation oozes with an extra layer of sophistication.
Replacire has always held a tactical yet jaw-dropping array of tricks, though, as Alper himself formed the act pulling from his Berklee College of Music companions. And while none remain from the initial line-up, that educational connection has gifted most of the current cast, who—lead guitarist Poh Hock aside (ex-Native Construct)—also forms the majority of Black Crown Initiate’s performing pieces.2 Notably, at the mic, James Dorton (Black Crown Initiate) displays a visceral and frothing growl-bark on tracks that would leave a lesser vocalist gasping (“The Center That Cannot Hold,” “Inglorious Impurity”), amongst it all breaking into dreamy and forlorn clean passages that give this loaded landscape some breathing room (“Drag Yourself Along the Earth,” “Hoard the Trauma Like Wealth,” “Uncontrolled and Unfulfilled”). Together, each member breathes in crooked time with the other as if they’ve been doing it all for years—in truth they have, at this point. For as dizzying as The Center is, its twists present addictive challenges.
This trained and talented cast leans toward technicality often, as any follower of Replacire would expect, but few are the moments throughout that lead without a firm and fervent rhythmic center. Whether this album comes from a different blend of influences than 2017’s Do Not Deviate, The Center leans on the kind of aggressive groove you would hear poppin’ off in an early Decapitated plug (“Living Hell,” “Inglorious Impurity”) or Terra Incognita-era Gojira chug (“Transfixed on the Work”). Don’t get me wrong, that math-y, tempo-jostled tug-and-shove riffcraft still presents itself aplenty—have fun counting the teeth-shattering blast that whips “Bloody-Tongued and Screaming” macerates your meatuses. But, as that tumble too shifts, moments of neck-challenging riffs bleed into mathematically sensible passages for the yin to the yang that so often overloads the spirit of this strain of death metal. The title track even flirts about a simple yet devious breakbeat before settling and hammering in a frantic, grind-minded, out-of-breath riff-sprint.
However, holding true to the tenets set forth by the genre’s forefathers of excess and execution, The Center remains dense enough to both create its own gravitational pull and potential collapse. At the surface, Replacire has pulled back on certain types of experimentation—piano backings and the like—but both Alper’s percussive playfulness and Hock’s virtuosic whimsy ensure that each cut comes loaded with enough guitar sounds to load replays with pauses, squinting ears, and wonder. Particularly after “Drag Yourself…” Hock’s quantity of snappy, melodic fills and Greg Howe-flavored, never over-placed solos increases at a breezy and bewildering pace, allowing the back half of The Center to grip in a different manner. In an album this packed, a couple of the lesser tracks drift into the background as each new flurry of alien notes and terrestrial chord stabs blinds the senses—but one slammer’s lull may be another’s fixation.
As a labor of years delayed through a time period that felt like decades, The Center That Cannot Hold unravels as a smorgasbord of rifftacular, heartily-stewed ideas. The creative process can be such that fusing grand Opeth-ian ideas into the jagged and tight structure of a Veil of Maya (“Living Hell,” “Hoard…”) groove yields both heavy hits and deep confusion. But Replacire lives for the climb, and famously slick engineer Jens Bogren has bestowed an extra meaty sheen to this overstuffed platter. Those who fiend for the chomp at a polyrhythmic puzzle that’s equally mosh-ready as it is quiz-ready will find deathly flesh and noodly marrow aplenty. Don’t forget to chew, though.
Rating: 3.5/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Season of Mist | Bandcamp
Website: replacire.bandcamp.com | facebook.com/replacire
Releases Worldwide: June 21st, 2024#2024 #35 #AmericanMetal #BlackCrownInitiate #DeathMetal #Decapitated #Gojira #GregHowe #Jun24 #Opeth #ProgressiveDeathMetal #Replacire #Review #Reviews #SeasonOfMist #TechnicalDeathMetal #TheCenterThatCannotHold #VeilOfMaya
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Replacire – The Center That Cannot Hold Review
By Dolphin Whisperer
No matter how much money and success that an Angry Metal Guy review can help bestow upon a band, sales play only part of the hard-to-achieve role of financial forwarding in a band’s life. Back in 2017, the esteemed Kronos demanded not once but twice that you turn to Massachusetts-born death troupe Replacire with open minds and wallets to find a fruitful footing. But the journey from then to today has been hard for many. Just as Replacire seemed to be taking hold of the road and recording future, a tour-less 2020 emerged and heavily stalled the album they have finally delivered here, The Center That Cannot Hold. Born of that strife, setback, and the persistence of Replacire’s heart, guitarist Eric Alper,1 this follow-up from its extended incubation oozes with an extra layer of sophistication.
Replacire has always held a tactical yet jaw-dropping array of tricks, though, as Alper himself formed the act pulling from his Berklee College of Music companions. And while none remain from the initial line-up, that educational connection has gifted most of the current cast, who—lead guitarist Poh Hock aside (ex-Native Construct)—also forms the majority of Black Crown Initiate’s performing pieces.2 Notably, at the mic, James Dorton (Black Crown Initiate) displays a visceral and frothing growl-bark on tracks that would leave a lesser vocalist gasping (“The Center That Cannot Hold,” “Inglorious Impurity”), amongst it all breaking into dreamy and forlorn clean passages that give this loaded landscape some breathing room (“Drag Yourself Along the Earth,” “Hoard the Trauma Like Wealth,” “Uncontrolled and Unfulfilled”). Together, each member breathes in crooked time with the other as if they’ve been doing it all for years—in truth they have, at this point. For as dizzying as The Center is, its twists present addictive challenges.
This trained and talented cast leans toward technicality often, as any follower of Replacire would expect, but few are the moments throughout that lead without a firm and fervent rhythmic center. Whether this album comes from a different blend of influences than 2017’s Do Not Deviate, The Center leans on the kind of aggressive groove you would hear poppin’ off in an early Decapitated plug (“Living Hell,” “Inglorious Impurity”) or Terra Incognita-era Gojira chug (“Transfixed on the Work”). Don’t get me wrong, that math-y, tempo-jostled tug-and-shove riffcraft still presents itself aplenty—have fun counting the teeth-shattering blast that whips “Bloody-Tongued and Screaming” macerates your meatuses. But, as that tumble too shifts, moments of neck-challenging riffs bleed into mathematically sensible passages for the yin to the yang that so often overloads the spirit of this strain of death metal. The title track even flirts about a simple yet devious breakbeat before settling and hammering in a frantic, grind-minded, out-of-breath riff-sprint.
However, holding true to the tenets set forth by the genre’s forefathers of excess and execution, The Center remains dense enough to both create its own gravitational pull and potential collapse. At the surface, Replacire has pulled back on certain types of experimentation—piano backings and the like—but both Alper’s percussive playfulness and Hock’s virtuosic whimsy ensure that each cut comes loaded with enough guitar sounds to load replays with pauses, squinting ears, and wonder. Particularly after “Drag Yourself…” Hock’s quantity of snappy, melodic fills and Greg Howe-flavored, never over-placed solos increases at a breezy and bewildering pace, allowing the back half of The Center to grip in a different manner. In an album this packed, a couple of the lesser tracks drift into the background as each new flurry of alien notes and terrestrial chord stabs blinds the senses—but one slammer’s lull may be another’s fixation.
As a labor of years delayed through a time period that felt like decades, The Center That Cannot Hold unravels as a smorgasbord of rifftacular, heartily-stewed ideas. The creative process can be such that fusing grand Opeth-ian ideas into the jagged and tight structure of a Veil of Maya (“Living Hell,” “Hoard…”) groove yields both heavy hits and deep confusion. But Replacire lives for the climb, and famously slick engineer Jens Bogren has bestowed an extra meaty sheen to this overstuffed platter. Those who fiend for the chomp at a polyrhythmic puzzle that’s equally mosh-ready as it is quiz-ready will find deathly flesh and noodly marrow aplenty. Don’t forget to chew, though.
Rating: 3.5/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Season of Mist | Bandcamp
Website: replacire.bandcamp.com | facebook.com/replacire
Releases Worldwide: June 21st, 2024#2024 #35 #AmericanMetal #BlackCrownInitiate #DeathMetal #Decapitated #Gojira #GregHowe #Jun24 #Opeth #ProgressiveDeathMetal #Replacire #Review #Reviews #SeasonOfMist #TechnicalDeathMetal #TheCenterThatCannotHold #VeilOfMaya
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Summer Slaughter Tour 2024: returns with co-headliners Veil of Maya & Brand of Sacrifice:
#SummerSlaughterTour #SummerSlaughterTourReturns #VeilofMaya #BrandofSacrifice #TourAlert
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Summer Slaughter Tour 2024: returns with co-headliners Veil of Maya & Brand of Sacrifice:
#SummerSlaughterTour #SummerSlaughterTourReturns #VeilofMaya #BrandofSacrifice #TourAlert
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Stuck in the Filter – October’s Angry Misses
By Kenstrosity
Frens, frenemies, poseurs, all. It’s been one helluva year, hasn’t it? Not only has the year of our Jørn 2023 played host to an unseemly number of metal releases, but an unusual quantity of those releases were good enough to earn their place in these hallowed Filters. Now, the end of the year looms, and we’ve got one more collection of filthy chunks to share.
I would like to thank all of the many contributors who have supplied material for this feature, helping it thrive these last couple of years. And of course, I’d like to extend my thanks to Steel Druhm and AMG Himself for entrusting me to manage this segment, and for further supporting and upgrading this feature so that it might gain an even greater presence for our readers in coming years. Without further ado, and in the spirit of Listurnalia, we welcome you to the final Stuck in the Filter piece of 2023. HUZZAH!
Kenstrosity’s Mildewed Masses
Akouphenom // Death·Chaos·Void [October 13th, 2023 – Avantgarde Music]
Spanish blackened death metal band Akouphenom sprung out of absolute nowhere for spongekind. Encountered during a biweekly listening session I attend with some Discord frens, debut record Death·Chaos·Void represents one twisted, barbed tome of scorched extreme metal. From the onset of opener proper “Devour,” I revel in the dark incantations of infernal horror which takes the form of vile riffs, phlegmy rasps, and rabid blasts. Reminiscent of Belphegor, Ars Magna Umbrae, and Veilburner, Death·Chaos·Void demands my soul as the price for engaging with its devilish charms, charms which allow its long-form constructs to fly by in the blink of an eye. You wouldn’t expect tracks like the twelve-minute “Upper Cycle of Infinite Tails” to shred time into ribbons, but its vicious and memorable songwriting enlivens each and every second such that it feels lithe and agile rather than bloated and clumsy (“Flesh Sublimation,” “Death·Chaos·Void”). An excellent production job further solidifies Death·Chaos·Void’s merit, especially considering this is Akouphenom’s first full length. With no weak songs to be had and very little to criticize, you may wonder why this record doesn’t earn a full Things You Might Have Missed article from yours truly. The answer? Neglect. I simply didn’t listen to this album in full until very recently. Don’t make the same mistake I did. Get in on this before the year’s out!
Eye of Horus // Noxium [October 14th, 2023 – Self Release]
Like it or not, The Black Dahlia Murder’s influence on the metalsphere cannot be denied. Imitators everywhere crib their material and try to grasp the glory that the legendary melodic death metal band secured for themselves over their storied career. While none of the bands strongly inspired by TBDM share the same success, many still put out worthy material. One such band is Eye of Horus, an unheralded Canadian melodic death metal quintet whose sophomore record Noxium represents one of the better slabs of TBDM worship I’ve heard. At a tight thirty-six minutes, Noxium brims with top-of-the-line hooks and compelling songwriting. Opener “Modern Meat Grinder” is proof positive of that end, with its infectious gang shout chorus of “FEED YOUR NEIGHBOR TO THE MEAT GRINDER!!!” Couple that with excellent riffcraft, meaty roars, and acrobatic drumming, and you’ve got yourself a top-notch start to a criminally fun record. To my great joy, many subsequent cuts live up to the initial quality established early on. “Patriarch,” “Hellbound,” “Phantom Sepulchre,” “Gripped by the Grave,” and closer “Beyond the Mortal Veil” all offer plenty of metallic goodness and exciting songwriting to push it above the pack. While they still lack a unique identity, Eye of Horus show ample potential to grow into their own voice down the line. Keep your eye on them!
Crystal Coffin // The Curse of Immortality [October 31st, 2023 – Self Release]
Doom_et_Al should’ve covered this record months ago. He knew it was coming. I am convinced of it. Don’t believe his denials! Thankfully, I am here to pick up the ball. Hailing from Vancouver, Crystal Coffin dropped their third LP The Curse of Immortality back on Halloween. While I agree with Doom‘s assessment of predecessor The Starway Eternal, something about Crystal Coffin’s latest effort feels elevated, refined, and matured. Lushly layered melodies, groovy drumming, and invigorated songwriting characterize The Curse of Immortality in a way we’ve not heard from this group before. Coupled with their already well-established knack for interesting storytelling and novel subject matter, the pieces come together to create an album greater than the sum of its parts. Opener “Shadows Never Cast” offers a great encapsulation of what to expect, replete with ripping tremolos, infectious energy, and fun electronic effects. Black-n-roll bangers like “The Undead,” “The Vortex of Earth and Death,” “Final Breaths,” and “Leviathans Encased” showcase Crystal Coffin’s versatility in fine fashion too. Juggling swaggering riffs with delicate piano, crooning cleans, and whimsical synthwork, these songs evoke an eerie, sci-fi atmosphere that deviates from the popular application of such aesthetics in black metal. In short, if you’re looking for quality black metal of a niche mold, give Crystal Coffin’s The Curse of Immortality a go.
Dolphin Whisperer’s Nonpareil Nuggets
Comaniac // All for None [October 13th, 2023 – Metalworld]
With a name oddly ripped from a classic Artillery song, banger titles like “Desolation Manifest” and “Breakdown Rite,” and an atemporal, battle-ready cover All for None screams with the rustic abandon of rowdy, shreddy thrash. Comaniac hail from the mountainous scape of Switzerland, a land that once hosted the neoclassically inclined, rapid-fire riffage of the legendary Coroner. Following in similar footsteps, ripping trash break after ripping thrash break litters this sweeping outing. And much like their countrymen in Stortregn, or a whimsical, aged act like Forbidden, guitarists Jonas Schmid and Valentin Mössinger—the latter of whom also provides a spacious and sparkling mix/master job—kill the electrics to up the drama with serenading nylon passages (“Eye to Eye,” “Life Long Doll,” “Self Sacrifice”). But this dash of progressive attitude doesn’t get in the way too often, though it can push Schmid’s already unadvisable, rabid bark into an accented croon that’s not particularly polished (“Life Long Doll,” “Self Sacrifice”). The strength of the shred-forward, throat-abusing cuts land powerfully enough make up the difference though (“Desolation Manifest,” “Breakdown Rite,” “Between the Stars”), with plenty of rapid tempo shifts and pull-off runs to dizzy an already spinning crowd. A techy thrash band this exciting hasn’t come around for me in a long time, and if I were a smarter man I’d probably have caught them sooner then this—All for None is their fourth album after all. But I don’t being late to the party when ass-kickin’ thrash is on the menu.
Novere // Nothing Stays Hidden in Daylight [October 1st, 2023 – Trepanation Recordings]
Founded by Dawnwalker guitarist Matteo Bianciotto, Thai-born now UK-based vocalist/bassist Top Tarasin,1, and a couple of other friends from the UK scene, Novere has been stewing their cinematic, heavy-hitting post-metal sound for a few years leading to this stunning full-length debut. Pulling from the hazy domain of alt-legends Tool and the ritualistic roar-to-altar of Amenra, Novere fills a wide scope with delicately recorded clean passages only to tear them away layer by layer with full volume crashes (“Hydra,” “Aphelion”). “Danse Macabre” may land as the most challenging of the bunch for those who crave the harsh release those first two numbers promise, its beautiful and folky expression leaning firmly in a glistening, textural post-rock world, dreamy croons included. But at four tracks, thirty-five minutes, and the haunting, ISIS-imbued speaker-rattling close of “Cromlech,” Nothing Stays Hidden in Daylight escapes the trapping trope of “never-ending whoosh” that the genre of post-metal so often harbors. With lush production handled by none other than postmaster himself Magnus Lindberg (Cult of Luna), each careful listen of delicate string touches, wobbling bass lurches, splashing cymbal arrays, resonates more deeply than the last—truly ear candy. Once you’ve fallen prey to this as many times as I have in my short time with it, you’ll be hoping too for a quick turn around on a follow-up.
Dear Hollow’s Gutter Garbage
The Voynich Code // Insomnia [October 13th, 2023 – Unique Leader Records]
Look, deathcore can be cool again, although I’m not sure if it ever was. Aspiring deathcore shenaniganizers just need to play like Portugal’s The Voynich Code. Sounding like a deft combination of Born of Osiris and Shadow of Intent, with just hints of old Veil of Maya and Lorna Shore, there’s a lot going on with the four-piece’s second full-length. Following the milquetoast Aqua Vitae in 2017, I was resigned that perhaps The Voynich Code had better short-form pieces, as their debut 2015 EP Ignotum offered potential galore while 2021’s Post Mortem offered a punchy batch of solid tunes with tasteful brevity. Offering an absolute mammoth deathcore sound with hints of blackened and djent flavors, they more than make up for their poor stylistic choices with a penchant for shredding and tasteful technicality. “Homecoming,” “A Dying Age,” and “Hell’s Black Heart” offer blades of shredding riffs and wildly technical leads, while the blackened symphonic Dimmu Borgir flavors of “Insomnia” and “A Flicker of Life” offer a gravity of dread that adds an unmistakably horror-based experience. Ultimately, does The Voynich Code do anything earthshaking? No. The vocalist could stand to expand his range, the songs start to bleed together by a certain point, and there is a lot going on. But there’s also shredding technicality, dizzying intensity, full-throttle brutality, and a whole lotta fun to get your head bobbing.
End // The Sin of Human Frailty [October 27th, 2023 – Closed Casket Activities]
Excuse me while I add another soundtrack for my sellout. For the uninitiated, End is a supergroup from New Jersey, featuring heavy hitter veterans from household bands like Counterparts, Fit for an Autopsy, Shai Hulud, and The Acacia Strain. While the tag “metalcore” is present here, you’ll find more Full of Hell or Cult Leader in this caustic concoction rather than any of the August Burns Reds of the world. Brendan Murphy has never sounded so commanding, while the buzzsaw Nails-esque riffs of Will Putney and Gregory Thomas gash with furious intensity, undergirded by the abusive rhythm section of Jay Pepito and Matt Guglielmo. Bordering on powerviolence and grind at sporadic intervals in tracks like “Gaping Wounds of Earth” and “Twice Devoured Kill” (featuring Pig Destroyer’s J.R. Hayes) End features an expertly honed balance between bludgeoning weight and skronky technicality. While “Thaw” is a strangely EDM, industrial, and experimental inclusion (also featuring the croons of Heriot’s Debbie Gough), The Sin of Human Frailty sees End laying it on with a grind intensity, deathcore weight, and hardcore attitude – a punch in the face you’ll come back for again and again.
#2023 #Akouphenom #AllForNone #Amenra #AmericanMetal #ArsMagnaUmbrae #Artillery #AugustBurnsRed #AvantgardeMusic #Belphegor #BlackMetal #BlackNRoll #BlackenedDeathMetal #BornOfOsiris #CanadianMetal #ClosedCasketActivities #Comaniac #Coroner #Counterparts #CrystalCoffin #CultLeader #CultOfLuna #Dawnwalker #DeathMetal #DeathChaosVoid #Deathcore #DimmuBorgir #End #EyeOfHorus #FitForAnAutopsy #Forbidden #FullOfHell #Grind #Hardcore #Insomnia #Isis #LornaShore #MelodicBlackMetal #MelodicDeathMetal #Metalcore #Metalworld #Nails #NothingStaysHiddenInDaylight #Novere #Noxium #Oct23 #PigDestroyer #PortugueseMetal #PostMetal #ProgressiveMetal #Review #Reviews #SelfRelease #SelfReleased #ShadowOfIntent #ShaiHulud #Sludge #Stortregn #StuckInTheFilter #SwissMetal #SymphonicMetal #TechnicalDeathMetal #TheAcaciaStrain #TheBlackDahliaMurder #TheCurseOfImmortality #TheSinOfHumanFrailty #TheVoynichCode #ThrashMetal #Tool #TrepanationRecordings #UKMetal #UniqueLeaderRecords #VeilOfMaya #Veilburner
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Stuck in the Filter – October’s Angry Misses
By Kenstrosity
Frens, frenemies, poseurs, all. It’s been one helluva year, hasn’t it? Not only has the year of our Jørn 2023 played host to an unseemly number of metal releases, but an unusual quantity of those releases were good enough to earn their place in these hallowed Filters. Now, the end of the year looms, and we’ve got one more collection of filthy chunks to share.
I would like to thank all of the many contributors who have supplied material for this feature, helping it thrive these last couple of years. And of course, I’d like to extend my thanks to Steel Druhm and AMG Himself for entrusting me to manage this segment, and for further supporting and upgrading this feature so that it might gain an even greater presence for our readers in coming years. Without further ado, and in the spirit of Listurnalia, we welcome you to the final Stuck in the Filter piece of 2023. HUZZAH!
Kenstrosity’s Mildewed Masses
Akouphenom // Death·Chaos·Void [October 13th, 2023 – Avantgarde Music]
Spanish blackened death metal band Akouphenom sprung out of absolute nowhere for spongekind. Encountered during a biweekly listening session I attend with some Discord frens, debut record Death·Chaos·Void represents one twisted, barbed tome of scorched extreme metal. From the onset of opener proper “Devour,” I revel in the dark incantations of infernal horror which takes the form of vile riffs, phlegmy rasps, and rabid blasts. Reminiscent of Belphegor, Ars Magna Umbrae, and Veilburner, Death·Chaos·Void demands my soul as the price for engaging with its devilish charms, charms which allow its long-form constructs to fly by in the blink of an eye. You wouldn’t expect tracks like the twelve-minute “Upper Cycle of Infinite Tails” to shred time into ribbons, but its vicious and memorable songwriting enlivens each and every second such that it feels lithe and agile rather than bloated and clumsy (“Flesh Sublimation,” “Death·Chaos·Void”). An excellent production job further solidifies Death·Chaos·Void’s merit, especially considering this is Akouphenom’s first full length. With no weak songs to be had and very little to criticize, you may wonder why this record doesn’t earn a full Things You Might Have Missed article from yours truly. The answer? Neglect. I simply didn’t listen to this album in full until very recently. Don’t make the same mistake I did. Get in on this before the year’s out!
Eye of Horus // Noxium [October 14th, 2023 – Self Release]
Like it or not, The Black Dahlia Murder’s influence on the metalsphere cannot be denied. Imitators everywhere crib their material and try to grasp the glory that the legendary melodic death metal band secured for themselves over their storied career. While none of the bands strongly inspired by TBDM share the same success, many still put out worthy material. One such band is Eye of Horus, an unheralded Canadian melodic death metal quintet whose sophomore record Noxium represents one of the better slabs of TBDM worship I’ve heard. At a tight thirty-six minutes, Noxium brims with top-of-the-line hooks and compelling songwriting. Opener “Modern Meat Grinder” is proof positive of that end, with its infectious gang shout chorus of “FEED YOUR NEIGHBOR TO THE MEAT GRINDER!!!” Couple that with excellent riffcraft, meaty roars, and acrobatic drumming, and you’ve got yourself a top-notch start to a criminally fun record. To my great joy, many subsequent cuts live up to the initial quality established early on. “Patriarch,” “Hellbound,” “Phantom Sepulchre,” “Gripped by the Grave,” and closer “Beyond the Mortal Veil” all offer plenty of metallic goodness and exciting songwriting to push it above the pack. While they still lack a unique identity, Eye of Horus show ample potential to grow into their own voice down the line. Keep your eye on them!
Crystal Coffin // The Curse of Immortality [October 31st, 2023 – Self Release]
Doom_et_Al should’ve covered this record months ago. He knew it was coming. I am convinced of it. Don’t believe his denials! Thankfully, I am here to pick up the ball. Hailing from Vancouver, Crystal Coffin dropped their third LP The Curse of Immortality back on Halloween. While I agree with Doom‘s assessment of predecessor The Starway Eternal, something about Crystal Coffin’s latest effort feels elevated, refined, and matured. Lushly layered melodies, groovy drumming, and invigorated songwriting characterize The Curse of Immortality in a way we’ve not heard from this group before. Coupled with their already well-established knack for interesting storytelling and novel subject matter, the pieces come together to create an album greater than the sum of its parts. Opener “Shadows Never Cast” offers a great encapsulation of what to expect, replete with ripping tremolos, infectious energy, and fun electronic effects. Black-n-roll bangers like “The Undead,” “The Vortex of Earth and Death,” “Final Breaths,” and “Leviathans Encased” showcase Crystal Coffin’s versatility in fine fashion too. Juggling swaggering riffs with delicate piano, crooning cleans, and whimsical synthwork, these songs evoke an eerie, sci-fi atmosphere that deviates from the popular application of such aesthetics in black metal. In short, if you’re looking for quality black metal of a niche mold, give Crystal Coffin’s The Curse of Immortality a go.
Dolphin Whisperer’s Nonpareil Nuggets
Comaniac // All for None [October 13th, 2023 – Metalworld]
With a name oddly ripped from a classic Artillery song, banger titles like “Desolation Manifest” and “Breakdown Rite,” and an atemporal, battle-ready cover All for None screams with the rustic abandon of rowdy, shreddy thrash. Comaniac hail from the mountainous scape of Switzerland, a land that once hosted the neoclassically inclined, rapid-fire riffage of the legendary Coroner. Following in similar footsteps, ripping trash break after ripping thrash break litters this sweeping outing. And much like their countrymen in Stortregn, or a whimsical, aged act like Forbidden, guitarists Jonas Schmid and Valentin Mössinger—the latter of whom also provides a spacious and sparkling mix/master job—kill the electrics to up the drama with serenading nylon passages (“Eye to Eye,” “Life Long Doll,” “Self Sacrifice”). But this dash of progressive attitude doesn’t get in the way too often, though it can push Schmid’s already unadvisable, rabid bark into an accented croon that’s not particularly polished (“Life Long Doll,” “Self Sacrifice”). The strength of the shred-forward, throat-abusing cuts land powerfully enough make up the difference though (“Desolation Manifest,” “Breakdown Rite,” “Between the Stars”), with plenty of rapid tempo shifts and pull-off runs to dizzy an already spinning crowd. A techy thrash band this exciting hasn’t come around for me in a long time, and if I were a smarter man I’d probably have caught them sooner then this—All for None is their fourth album after all. But I don’t being late to the party when ass-kickin’ thrash is on the menu.
Novere // Nothing Stays Hidden in Daylight [October 1st, 2023 – Trepanation Recordings]
Founded by Dawnwalker guitarist Matteo Bianciotto, Thai-born now UK-based vocalist/bassist Top Tarasin,1, and a couple of other friends from the UK scene, Novere has been stewing their cinematic, heavy-hitting post-metal sound for a few years leading to this stunning full-length debut. Pulling from the hazy domain of alt-legends Tool and the ritualistic roar-to-altar of Amenra, Novere fills a wide scope with delicately recorded clean passages only to tear them away layer by layer with full volume crashes (“Hydra,” “Aphelion”). “Danse Macabre” may land as the most challenging of the bunch for those who crave the harsh release those first two numbers promise, its beautiful and folky expression leaning firmly in a glistening, textural post-rock world, dreamy croons included. But at four tracks, thirty-five minutes, and the haunting, ISIS-imbued speaker-rattling close of “Cromlech,” Nothing Stays Hidden in Daylight escapes the trapping trope of “never-ending whoosh” that the genre of post-metal so often harbors. With lush production handled by none other than postmaster himself Magnus Lindberg (Cult of Luna), each careful listen of delicate string touches, wobbling bass lurches, splashing cymbal arrays, resonates more deeply than the last—truly ear candy. Once you’ve fallen prey to this as many times as I have in my short time with it, you’ll be hoping too for a quick turn around on a follow-up.
Dear Hollow’s Gutter Garbage
The Voynich Code // Insomnia [October 13th, 2023 – Unique Leader Records]
Look, deathcore can be cool again, although I’m not sure if it ever was. Aspiring deathcore shenaniganizers just need to play like Portugal’s The Voynich Code. Sounding like a deft combination of Born of Osiris and Shadow of Intent, with just hints of old Veil of Maya and Lorna Shore, there’s a lot going on with the four-piece’s second full-length. Following the milquetoast Aqua Vitae in 2017, I was resigned that perhaps The Voynich Code had better short-form pieces, as their debut 2015 EP Ignotum offered potential galore while 2021’s Post Mortem offered a punchy batch of solid tunes with tasteful brevity. Offering an absolute mammoth deathcore sound with hints of blackened and djent flavors, they more than make up for their poor stylistic choices with a penchant for shredding and tasteful technicality. “Homecoming,” “A Dying Age,” and “Hell’s Black Heart” offer blades of shredding riffs and wildly technical leads, while the blackened symphonic Dimmu Borgir flavors of “Insomnia” and “A Flicker of Life” offer a gravity of dread that adds an unmistakably horror-based experience. Ultimately, does The Voynich Code do anything earthshaking? No. The vocalist could stand to expand his range, the songs start to bleed together by a certain point, and there is a lot going on. But there’s also shredding technicality, dizzying intensity, full-throttle brutality, and a whole lotta fun to get your head bobbing.
End // The Sin of Human Frailty [October 27th, 2023 – Closed Casket Activities]
Excuse me while I add another soundtrack for my sellout. For the uninitiated, End is a supergroup from New Jersey, featuring heavy hitter veterans from household bands like Counterparts, Fit for an Autopsy, Shai Hulud, and The Acacia Strain. While the tag “metalcore” is present here, you’ll find more Full of Hell or Cult Leader in this caustic concoction rather than any of the August Burns Reds of the world. Brendan Murphy has never sounded so commanding, while the buzzsaw Nails-esque riffs of Will Putney and Gregory Thomas gash with furious intensity, undergirded by the abusive rhythm section of Jay Pepito and Matt Guglielmo. Bordering on powerviolence and grind at sporadic intervals in tracks like “Gaping Wounds of Earth” and “Twice Devoured Kill” (featuring Pig Destroyer’s J.R. Hayes) End features an expertly honed balance between bludgeoning weight and skronky technicality. While “Thaw” is a strangely EDM, industrial, and experimental inclusion (also featuring the croons of Heriot’s Debbie Gough), The Sin of Human Frailty sees End laying it on with a grind intensity, deathcore weight, and hardcore attitude – a punch in the face you’ll come back for again and again.
#2023 #Akouphenom #AllForNone #Amenra #AmericanMetal #ArsMagnaUmbrae #Artillery #AugustBurnsRed #AvantgardeMusic #Belphegor #BlackMetal #BlackNRoll #BlackenedDeathMetal #BornOfOsiris #CanadianMetal #ClosedCasketActivities #Comaniac #Coroner #Counterparts #CrystalCoffin #CultLeader #CultOfLuna #Dawnwalker #DeathMetal #DeathChaosVoid #Deathcore #DimmuBorgir #End #EyeOfHorus #FitForAnAutopsy #Forbidden #FullOfHell #Grind #Hardcore #Insomnia #Isis #LornaShore #MelodicBlackMetal #MelodicDeathMetal #Metalcore #Metalworld #Nails #NothingStaysHiddenInDaylight #Novere #Noxium #Oct23 #PigDestroyer #PortugueseMetal #PostMetal #ProgressiveMetal #Review #Reviews #SelfRelease #SelfReleased #ShadowOfIntent #ShaiHulud #Sludge #Stortregn #StuckInTheFilter #SwissMetal #SymphonicMetal #TechnicalDeathMetal #TheAcaciaStrain #TheBlackDahliaMurder #TheCurseOfImmortality #TheSinOfHumanFrailty #TheVoynichCode #ThrashMetal #Tool #TrepanationRecordings #UKMetal #UniqueLeaderRecords #VeilOfMaya #Veilburner
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#MusicMonday! What have YOU been listening to? :)
Finally found time to give the new #VeilOfMaya album the attention it deserves. Meaning I've played way too much #HallsOfTorment – and this album has an almost ideal length for a run. 😂
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#MusicMonday! What have YOU been listening to? :)
Finally found time to give the new #VeilOfMaya album the attention it deserves. Meaning I've played way too much #HallsOfTorment – and this album has an almost ideal length for a run. 😂
-
#MusicMonday! What have YOU been listening to? :)
Finally found time to give the new #VeilOfMaya album the attention it deserves. Meaning I've played way too much #HallsOfTorment – and this album has an almost ideal length for a run. 😂
-
#MusicMonday! What have YOU been listening to? :)
Finally found time to give the new #VeilOfMaya album the attention it deserves. Meaning I've played way too much #HallsOfTorment – and this album has an almost ideal length for a run. 😂
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#NowPlaying
#DunkleIsNowPlaying 🎶Mother Pt. 4
by Veil of Maya#VeilOfMaya
#MOther
#Deathcore
#musicListen here: https://song.link/https://music.apple.com/us/album/mother-pt-4/1668933391?i=1668933721&uo=4&app=music
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#NowPlaying
#DunkleIsNowPlaying 🎶Mother Pt. 4
by Veil of Maya#VeilOfMaya
#MOther
#Deathcore
#musicListen here: https://song.link/https://music.apple.com/us/album/mother-pt-4/1668933391?i=1668933721&uo=4&app=music
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#TheMetalDogArticleList
#MetalInjection
DEVILDRIVER, FIT FOR AN AUTOPSY, VEIL OF MAYA & More Among Metal Injection's Top Tracks Of The Week
Check out our top 20 songs of the week!#DevilDriver
#FitForAnAutopsy
#VeilOfMaya
#MetalInjection
#RockMusic
#HeavyMetal
#NewTracks
#WeeklyPlaylist
#ListenNow -
#TheMetalDogArticleList
#MetalInjection
DEVILDRIVER, FIT FOR AN AUTOPSY, VEIL OF MAYA & More Among Metal Injection's Top Tracks Of The Week
Check out our top 20 songs of the week!#DevilDriver
#FitForAnAutopsy
#VeilOfMaya
#MetalInjection
#RockMusic
#HeavyMetal
#NewTracks
#WeeklyPlaylist
#ListenNow -
#TheMetalDogArticleList
#MetalInjection
DEVILDRIVER, FIT FOR AN AUTOPSY, VEIL OF MAYA & More Among Metal Injection's Top Tracks Of The Week
Check out our top 20 songs of the week!#DevilDriver
#FitForAnAutopsy
#VeilOfMaya
#MetalInjection
#RockMusic
#HeavyMetal
#NewTracks
#WeeklyPlaylist
#ListenNow -
#TheMetalDogArticleList
#MetalInjection
DEVILDRIVER, FIT FOR AN AUTOPSY, VEIL OF MAYA & More Among Metal Injection's Top Tracks Of The Week
Check out our top 20 songs of the week!#DevilDriver
#FitForAnAutopsy
#VeilOfMaya
#MetalInjection
#RockMusic
#HeavyMetal
#NewTracks
#WeeklyPlaylist
#ListenNow -
#TheMetalDogArticleList
#MetalInjection
#AVATAR, #VEILOFMAYA & #ORBITCULTURE Announce US Tour
Coming this April.https://metalinjection.net/tour-dates/avatar-veil-of-maya-orbit-culture-announce-us-tour
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#TheMetalDogArticleList
#MetalInjection
#AVATAR, #VEILOFMAYA & #ORBITCULTURE Announce US Tour
Coming this April.https://metalinjection.net/tour-dates/avatar-veil-of-maya-orbit-culture-announce-us-tour
-
#TheMetalDogArticleList
#MetalInjection
#AVATAR, #VEILOFMAYA & #ORBITCULTURE Announce US Tour
Coming this April.https://metalinjection.net/tour-dates/avatar-veil-of-maya-orbit-culture-announce-us-tour
-
#TheMetalDogArticleList
#MetalInjection
#AVATAR, #VEILOFMAYA & #ORBITCULTURE Announce US Tour
Coming this April.https://metalinjection.net/tour-dates/avatar-veil-of-maya-orbit-culture-announce-us-tour
-
#TheMetalDogArticleList
#MetalInjection
#AVATAR, #VEILOFMAYA & #ORBITCULTURE Announce US Tour
Coming this April.https://metalinjection.net/tour-dates/avatar-veil-of-maya-orbit-culture-announce-us-tour
