Kylesa have possibly spent the longest duration on my “to do” list in since its very inception. With the years that I spent meaning to check out more of what constitutes The Fallen clan but never quite getting around to the task, the Georgia natives sat out numerous long years waiting to get anywhere near the front of a queue that simply was not moving. As I approach my fiftieth year on the planet, I am just getting around to a record that came out when I was thirty-four years old and Kylesa were already four records to the good in what was fast coming up for a decade of existence for them. Following the much-praised Static Tensions album from the previous year, Spiral Shadow had much to live up to for the fans of its predecessor. I have the luxury of their 2010 release being my gateway album, having heard nothing from Kylesa prior to this. As such, I get to review it based on its merits as a standalone record.

I was surprised at the inclusion of two drummers in the band, in fact, I would never have even thought this could possibly work in any band, regardless of style, pacing or tempos. This was the first instrument that stood out to me on Spiral Shadow, not because the dual percussion offers such an overwhelming experience though. It was more how clever the interplay between them both was, managing to create innovation, complementary exchanges and adding weight to the sound without creating a wall of bashing noise. The tight drumming of ‘Drop Out’ with that military style salvo is a joy to behold, especially when the rest of the instrumentation rejoins proceedings and keeps time with it. Also on Spiral Shadow, the male and female vocals combination provide distance on some occasions but also a unified strength in others. The male vocal style reminds me of Kowloon Walled City a lot, which can only be a good thing in my book.

My quandary with this record is mainly down to perhaps the best-known track on here, ‘Don’t Look Back’. Each time I approach it in the track listing, I get the urge to skip it. Then it starts and I think it is not so bad and allow it to play. I am not sure quite where my issue with it comes from in all honesty. I certainly pick up on the similar sounding structure on other tracks on the record though which makes me wonder if it is some fluke regurgitation of an idea that ended up paying maximum dividends. It is not a bad track, far from it in fact. However, I can’t shake the sense of laziness that seems to fit its build and structure, even if performance wise I cannot fault it. That having been said, there is still plenty else to enjoy on Spiral Shadow and so I cannot let this one track pull down the overall rating of the record.

Fun, unhinged and very, very satanic death metal. I like it, and it's clearly ahead of it's time, as this a very early example of the kind of fast-as-hell tremolo based death metal that would be done ad nauseum in the next years. Lyrics wise it is surprisingly creative for a record that is basically about the same thing all the time (it's all Satan! and I'm not complaining!) and the delivery is awesome, both in terms of rhythm and timbre. Drumming is also great, and the drum mix is fine. Talking about the mix, this is what kind of ruins it for me, the production here is pretty ass, specially the strings. Essentially no bass and the guitars are very thin and small for the level of brutality they were going for. Had this a production like Death's Leprosy or even Morbid Angel's Altars (which is not a favorite production wise), this would be pretty much perfect.

Listening through Death's discography, I finally come to an album that is very much regarded as one of the band's best but that I never gave too much attention. After many, many spins this has come to be my favorite Death album. The perfect point in the progression of their sound, the very transition between the brutality of Leprosy and the progressiveness of Sound, here everything is in perfect balance. Coupled with stunning musicianship, amazing compositions and a very solid production, Human takes Death far ahead of the competition with a record that shows how much art can really be in death metal. I feel like this is a specially somber album in the band's discography, with some of their most aggressive (Suicide Machine comes to mind) and sinister (Lack of Comprehension) songs, and also the first to go deep into philosophical and existential lyrical topics, something that would become a staple in Chuck's later work. Honestly, there is an argument to be made for every song here as a standout, because every single track has something interesting and new to offer. Every instrument is also played flawlessly. Here the band starts to use very creative and distinct drumming, with quick metallic cymbal grooves that would also become a trademark of the later Death sound, and also veers toward a more technical and out there string instrumentation, specially in bass fills and dare I say "jazzy" solos (like the second one on Flattening of Emotions).

Well, to summarize, this pretty much scores perfectly in every way and the only reason I don't give it all stars is that I reserve this rating for albums that really touch me in a different way. It can't get much better than Human.

Disarmonia Mundi are members of the quarter-century-club and at this point, it's safe to say that they will never learn how to produce an album properly. 

This was a struggle to listen to. Not because The Dormant Stranger is a poorly written album, but because the production is complete ass. The loudness war has taken full effect here and has been a staple of Disarmonia Mundi's music for a while now. So tracks that may have had potential like "Outcast" and "8th Circle" lose all of their grandeur by having brick wall soundscape. Nothing is allowed to breathe as the guitars just power away the entire time. The vocals are compressed to hell and only really ascend above the instrumental when the harmonies and vocal layering takes over. This would all be an issue on any record released in 2025, but could be forgiven if the mood was right, say for example this was a hardcore punk or metalcore record. The Dormant Stranger is not only neither of those things, but this record goes on for almost an hour! By the time I hit "8th Circle" at nearly seven minutes long, I was nearing the end of my rope. This band needs to streamline their albums OR write shorter songs more consistently. As it stands, it's an album that starts off underwhelming only becomes progressively worse the longer it goes on.

Best Songs: Illusion of Control, Crossroads to Eternity, The Dormant Stranger

Invictus are a death metal three-piece who formed in 2015 in Nagano in Japan. They play in an old-school style that plays very much to my death metal preferences, so it is unfortunate that I haven't come across these guys until now. They don't appear to rush their releases, with this being only their second full-length, following 2020's debut, "The Catacombs of Fear", and it shows because this sounds like well-written and well-rehearsed material that the individual musicians are apparently exceedingly comfortable with.

Musically there is a reach back through time to the late Eighties and early Nineties scene with influences from the likes of Bolt Thrower, Asphyx, Autopsy and early Death all shining through. The riffing is fluent and hard-hitting with some vestigial thrash metal elements underpinning the album's potency and inexorably driving the tracks forward. Like all the best old-school protagonists Invictus are also unafraid to drop the tempo into a doomier territory from time to time. The production is very dense, feeling like it is smothering and squeezing the listener and which possibly helps to make the album sound even more brutal than it really is. I say this because although it does sound damn brutal, it is actually also quite melodic (for want of a better word) and has some killer hooks in its riffs. However the foetid production always seems to subvert those hooks and presents such an atmosphere of filth and violence that this melodicism goes to work on a much more subliminal level, so you suddenly find yourself tapping your toes and nodding your head almost unwittingly.

This is quite a short album, by modern standards, with eight tracks and a brief intro clocking in at a touch over 35 minutes. With the final track taking up 8 of those minutes, the others are mainly in the sub-4 minute region, yet seem to have far more going on in them than such brief run times would suggest, a testament to the three guys songwriting prowess. The riffs are obviously the big draw here and there aren't many guitar solos but when there are they are pretty manic - check out guitarist and vocalist Takehitopsy Seki's frenzied shredding towards the end of "Altar of Devoted Slaughter" for proof. The rhythm section of bassist Toshihiro Seki and drummer Haruki Tokutake are both impressive here and their work is the foundation of all the brutality and filthiness that bursts out of the speakers and these two guys are definitely more than just supporting players to Takehitopsy's six-string antics.

I enjoyed this one immensely as it plays to all that I have grown to love about old-school death metal, the stampeding riffs, the foetid atmospherics, the chunky bottom end dynamics and the grizzled growls of subterranean demon vocals. One of my favourite OSDM albums of recent times that I will definitely return to time and again.