As many of us know, the current decade of the 2020s is the ongoing pinnacle of symphonic deathcore with bands like Worm Shepherd and Lorna Shore enhancing it with their grand heavy gems. Meanwhile, two lesser-known bands Synestia and Disembodied Tyrant were putting their own spin to the genre with their collaboration EP The Poetic Edda, 4 tracks of excellent technical symphonic neoclassical deathcore!

Both two-man bands who had each previously made a couple EPs/albums have united for a blend like barely any other. Symphonics, neoclassical leads, and brutality all form a clever cauldron of epic deathcore in a more whimsical while still destructive way than any other band has done.

The beginning track "Death Empress" is total symphonic madness as neoclassical leads and launched forward alongside the deathcore technicality. Then it ends with one of the best, most pulverzing breakdowns I've heard in a long time. Also, while they utilize synthesized strings and choir, rather than a full orchestra, the symphonics sound much closer to film-score orchestra than in any other band of the genre possible. "I, The Devourer" continues taking on the brutal verses and symphonic sections. I love when the hardcore riffing clashes with the metal soloing for a fantastic result. The amount of technical riffs and leads add in some fun modern chaos not too far from Rings of Saturn.

The title track keeps up the sound we've been hearing so far, although this time, it has a couple slight flaws to prevent the album from reaching a perfect 5 stars. Don't get me wrong, everything is solid and deathly especially in the breakdowns. The small issues lie in how tiring they get, particularly in the guitars and strings that are still enjoyable. But it's made for by the guest vocals from Shadow of Intent's Ben Duerr. And eliminating all doubt even further is the grand finale, "Winter", a deathcore reconstruction of the Vivaldi classic, complete with the band's own lyrics. There's no way anyone can review this EP without mentioning this majestic glory. An overused classical composition is given a more brutal treatment filled with blasts and breakdowns. I hope people in the future will know this reimagining as much as the present world knows the original.

So the question is, would this EP be worth adding to The Guardians, given that it has a significant amount of upvotes for neoclassical metal in RYM? I'm gonna go with no. It sounds too brutal for the clan with the death growls, crushing riffing, and breakdowns, despite the symphonics and neoclassical leads are just yearning to allow it in the clan. Dragoncorpse, this is not. Anyway, let's hope for another collaboration EP like The Poetic Edda. Despite one track being a little iffy, this offering is too impressive to lose!

Favorites: "Death Empress", "Winter"

Despite my well-publicised obsession with chilean thrash metal and the fact that Mental Devastation have been around for well over a decade and a half, I haven't crossed swords with these guys before and so went into it with great anticipation. Now strictly technical thrash metal doesn't always appeal to me so much, as I like my thrash to have an inherent aggression and fire, that I think is often lost amongst excessive technicality. As is usually the case with chilean thrash, though, this certainly delivers on the passion and aggression front, whilst also displaying an impressive level of technical ability. The usual chilean hallmarks are all present, breakneck pacing, vicious vocals and pronounced basslines, all well-represented by a nice, clean production job.

Following a brief anticipatory intro the opener proper, "Symbiosis", tears out of the blocks with a riff that proceeds to tear any unprepared listener a new one. With exuberant, energetic guitar soloing and bassist Alejandro Lagos' aggressive vocal delivery this is proper celebratory and whiplash-inducing stuff. They are perfectly capable of dialling it back a little though with "Judge and Jury" initially hitting a more mid-paced tempo. It is at these lower speeds, however, that Lagos' limitations as a vocalist are exposed as he maintains the ragged delivery he uses on the blisteringly fast tracks, which doesn't really suit the mid-paced stuff at all well and feels a bit like a sonic splinter in the thumb of the album. They also attempt something a bit more progressive on "Pulsions" but the gentle opening section exposes the vocal shortcomings even more.

I don't think that the technical aspect of "The Delusional Mystery of the Self Part II" is especially pronounced, certainly as far as the songwriting goes as the riffs still rule the roost here. For my money, dual guitarists Matías Morales and Felipe Espinoza are the guys who provide the secret sauce. Their riffs are pretty good, but their soloing is the real draw for me, delivering a great line in short, sharp shocks without sapping the momentum from the tracks by becoming too self-indulgent, even during the track "Primitive Paths" where they really go to town. All-in-all this is a very enjoyable slab of chilean thrash with enough energy and aggression to keep pace with my favourites from that neck of the woods, but which is robbed of my highest marks by the vocal limitations which I occasionally found too jarring to excuse and the superfluous instrumental "Dõ" which, for me, had no place being here at all.

I read somewhere recently that Jacob Bannon did not necessarily think that the world needed a new Converge record, but that the band themselves did. There was a time, not too long ago when I would have probably deemed that I never needed a Converge record at all, but that has been well documented on Metal Academy already. The tides have turned and I find myself on much less turbulent terms with some of the content of The Revolution clan, to the point where I can enjoy the harder sounding metalcore releases. As it turns out then, Love Is Not Enough is right up my street.

It sounds like a lot more of a riffy affair than I remember from previous outings with the band’s releases. The start of 'Bad Faith' shows this particular trait well I find. Likewise, the grinding sensibilities of 'Distract and Divide' is an absolute treasure. These short bursts of fury that cover the first four tracks of the album create a real sense of momentum early in the listening experience. As a result, the instrumental 'Beyond Repair' almost sucks some life from proceedings, However, I find it is a very clever little track. Its broken percussion befits the track title superbly when you take time to listen under a more critical mindset.

That raging aggression is soon back alongside those big riffs for the remainder of Love Is Not Enough. It is an accomplishment to cram such a rewarding listening experience into a little over half an hour. I find it has appeal for its scathing honesty and the bluntness of its messaging also. Love Is Not Enough as an album title tells you all you need to know really. This is a record with a lot of bitterness that is borne out of suffering, told by souls who no longer wish to stay silent on the matter. Probably the best metalcore album I have ever experienced.

As I listen to Gravity, I sense that there is a history of music represented here that I am not all that close too. The heavy-psych elements to Saturnalia Temple’s sound suggest to me at least one foot in the heady days of the 70’s and beyond, but at the same time I get a lot of modern Darkthrone in the sound as well. Add to this, aesthetic the creeping darkness of black metal that seeps into the occasional track and before I knew it, I was completely in love with this month’s feature release for The Fallen clan. In my weed smoking days (long, long since done with), I would have enjoyed Gravity on a whole different level, I am sure. It feels like a record that can, with the right tools deployed, unlock outer dimensions of the listener’s inner consciousness, if you know what I mean.

This transcendental potential is by no means wasted when listened to in an entirely clean and sober headspace mind. Using simple repetition and atmospheres, alongside a near-constant menacing rumble of bottom-end loaded bass, Saturnalia Temple make for an otherworldly experience without the need for chemical assistance. The whole album sounds a bit clunky to me, but this is part of its natural charm and is what helps keep it in the higher echelons of the appeal stakes. I can listen to the damaged soundtrack to a thousand sci-fi horror movies that is Elyzian Fields all day long, and the droning indulgence of Between the Worlds right after it help make the mid-point of the record particularly strong for me.

Although Gravity has many recognisable traits to it, I cannot help but feel that the album feels like an introduction to something new. Even though many if not all its roots are found in the past, somehow there is still an element of there being an aberration present in many regards. As the tracks pass by, they carve sigil like etchings into my brain, meaning the memorability factor is high. High enough in fact for me to be able to enjoy the record as both background music as well as a more critical listening session. Great find.

When I check out the RYM charts, it's generally pretty clear that older releases receive much higher ratings than modern ones. The reasons why that occurs is a discussion for another time, but it might help explain why I get pretty excited when I see a recently released album moving right up the charts. Vothana's Action Now, Assured Future was sitting at number 50 on the all time black metal release chart when I stumbled across it, holding a position just below Wolves in the Throne Room's Two Hunters and just above Darkspace's Dark Space III. Anything sitting amongst that sort of company must be pretty special....right?

Having listened to this release a bunch of times over the past couple of weeks, I can only express my utter bewilderment. I'll give the album credit for sounding unlike anything I've heard before, but I think there's a good reason for that. If a controversy-seeking history teacher convinced the high school band to perform an 80 minute National Socialist black metal opus in Vietnamese, I can only imagine that it might sound something like this. The vocals are loud yet repetitively indistinct, the drums switch between typical black metal battery and a completely un-black metal marching band oompa skip, and while a decent black metal riff occasionally pops up, the vast majority appear to replicate the sort of rousing, pompous propaganda music you might hear at a old school pro-war march. If that somehow sounds interesting to you, then go for you life, but I have much better ways to spend 80 minutes of my time.