Daniel's Forum Replies

With a current vote tally of YES 7 NO 2, I've decided to pass the second of the two submissions so the Post-Metal genre has now been added to "Mestarin kynsi". Thank you to everyone who contributed to the vote & allowed us to achieve a majority outcome.

Grouper - "A I A: Alien Observer" (2011)

Angelic female-fronted ambient from California, USA. It's a classy effort & I really dig it.

None this month thanks .

None this month thanks.

I believe that Dorsal Atlantica release is a re-recording of Dorsal Atlântica's 1986 debut album "Antes do fim" which I love. Corrosion of Conformity's "Animosity" is worth a listen if you don't mind a bit of early crossover thrash too.

Eyehategod - "Dopesick" (1996)

Every now & then I find a major gap in my knowledge of a fairly significant player in the global metal scene & that was certainly the case with New Orleans sludge metallers Eyehategod when I realised that I’d never actually heard one of their releases in full the other day. I did actually have a ticket to see them play live at one point but they ended up cancelling the show so it never actually eventuated. Anyway, I went about filling this glaring hole in my understanding of the more significant metal releases over the last couple of days & I’ve gotta say that I really enjoyed the experience.

The term “Sludge Metal” is often misused in my opinion. Some people seem to think that it’s required whenever a band opts for a particularly dirty (read: “sludgy”) guitar tone which was never the intent of the label. What it’s really referring to are bands that use the aesthetics of doom metal & stoner metal yet give the music the vocal delivery, aggression & general abrasiveness of hardcore punk & you’ll rarely find a better example of that than Eyehategod. Much like California’s Dystopia, this band have taken the crushingly heavy stoner doom model & combined it with a never-ending stream of drug-addicted depression & depravity to create what can only be described as one of the most hopeless & discouraging atmospheres you’re likely to find. Front man Mike IX Williams sounds like a man possessed with so much spite & resentment that he’s about to tear his own limbs off start attacking people with them as he spits his words out with an enormous amount of malicious intent.

Musically, Eyehategod’s sound tends to drift between slow & crushingly heavy doom riffs & groovier Black Sabbath style stoner metal riffs with the occasional up-tempo hardcore section tossed in for a bit of variety every now & then but never over-staying its welcome. I personally love the doomier parts but find the stoner sections to be noticeably less appealing which is very much a reflection of my taste profile more than it is anything to do with the quality of the music on offer. There’s not a single track of the twelve included that doesn’t offer some level of enjoyment but I don’t think there’s anything here that I’d claim to be a genuine classic. Even the best material includes some element that brings it back down from the upper heights of my affection with album highlight & closing track “Anxiety Hangover” being a prime example of that as it taints its wonderfully doomy first half with one of those groovy stoner riffs right in the middle of the song. It’s also worth noting that the production doesn’t offer any sort of brightness or light which is likely intentional but it does make for a record that sounds pretty samey. Thankfully I enjoy the depressive atmosphere enough to make the whole experience a very enjoyable one though.

There’s no doubt that “Dopesick” is a quality example of the sludge metal genre as it ticks all of the critical boxes. Is it the classic release that many make it out to be though? I’m not so sure about that. Perhaps if I had of come across it 25 years ago I might think so but right now it would seem more like a record that you’d cherry-pick for those occasions when you’ve simply had a gut-full & want to fuck shit up to the soundtrack for your own self-destruction.

For fans of Acid Bath, Iron Monkey & Grief.

4/5

Nice choice Ben. "Nighttime Birds" is an absolute classic in my opinion & sits amongst the top couple of gothic metal releases I've ever experienced.

Here's the schedule for the November feature release nominations:

THE FALLEN: Sonny, Ben, Daniel

THE GATEWAY: Saxy, Andi

THE GUARDIANS: Xephyr, Rexorcist

THE HORDE: Daniel, Vinny, Ben

THE INFINITE: Rexorcist, Andi, Xephyr, Saxy

THE NORTH: Xephyr, Daniel, Ben, Vinny

THE PIT: Ben, Vinny, Rexorcist, Daniel

THE REVOLUTION: Andi, Daniel

THE SPHERE: Daniel, Andi

Here's my submission for the November playlist Vinny:

Sepultura - "We Who Are Not As Others" (from "Chaos AD", 1993)

Here are my submissions for the November playlist Ben:

Gnaw Their Tongues - "Lick The Poison From The Cave Walls" (from "Abyss of Longing Throats", 2015)

Батюшка [Batushka] - "Ектения • VIII • Спасение" (from "Литоургиiа (Litourgiya)", 2015)

Nahvalr - "Swallower of Bile" (from "Nahvalr", 2008)

Here are my submissions for the November playlist:

Brutal Truth - "Stench of Prophet" (from "Extreme Conditions Demand Extreme Responses", 1992)

Dying Fetus - "Idealogical Subjugation" (from "Wrong One To Fuck With", 2017)

Nails - "No Surrender" (from "Abandon All Life", 2013)

Here's my submission for the November playlist Xephyr:

Cross Borns - "The Hill Of Destiny" (from "Tales of a Winter Night", 2000)

Here are my submissions for the November playlist Sonny:

Solitude Aeturnus - "Upon Within" (from "Alone", 2006)

Eyehategod - "Anxiety Hangover" (from "Dopesick", 1996)

October 2022

01. Bloodbath – “Zombie Inferno” (from “Survival of the Sickest”, 2022)

02. Soilwork – “Övergivenheten” (from “Övergivenheten”, 2022)

03. Revocation – “Diabolical Majesty” (from “Netherheaven”, 2022)

04. Xysma – “I Feel Like Lou Reed” (from “Deluxe”, 1994)

05. The Chasm – “Vault To The Voyage” (from “Farseeing The Paranormal Abysm”, 2009) [Submitted by Daniel]

06. In Flames – “Behind Space” (from “Lunar Strain”, 1994)

07. Gorguts – “Nostalgia” (from “Obscura”, 1998) [Submitted by Daniel]

08. Miasmatic Necrosis – “The Putridarium” (from “Apex Profane”, 2020)

09. Master – “Pledge of Allegiance” (from “Master”, 1990) [Submitted by Vinny]

10. Jungle Rot – “A Burning Cinder” (from “Jungle Rot”, 2018) [Submitted by Vinny]

11. Sedimentum – “Krypto chronique II” (from “Suppuration morphogénésiaque”, 2022)

12. Consumption – “Suffering Divine” (from “Necrotic Lust”, 2022) [Submitted by Vinny]

13. Portal – “Sunken” (from “Seepia”, 2002) [Submitted by Daniel]

14. Carnal Diafragma – “Human Monster” (from “Space Symphony Around Us”, 2006)

15. The Zenith Passage – “Deus Deceptor” (from “Solipsist”, 2016) [Submitted by Vinny]

16. Cephalic Carnage – “Hybrid” (from “Exploiting Dysfunction”, 2000)

17. Fallujah – “Embrace Oblivion” (from “Empyrean”, 2022)

18. Belphegor – “Blackest Sabbath 1997” (from “The Devils”, 2022)

19. Hissing – “Meltdown” (from “Hypervirulence Architecture”, 2022) [Submitted by Vinny]

20. Fleshgrind – “Burning Your World” (from “Destined For Defilement”, 1997)

21. ZOMBIESHARK! – “Keyboards For Insects” (from “I Will Destroy You, Myself, and Everything I've Ever Loved.”, 2020)

22. Exhumed – “Necromaniac” (from “Gore Metal”, 1998) [Submitted by Vinny]

23. Cryptopsy – “Emaciate” (from “Whisper Supremacy”, 1998) [Submitted by Daniel]

24. Amputated – “Slam Pig” (from “Wading Through Rancid Offal”, 2009)

25. Waking The Cadaver – “Beyond Cops” (from “Beyond Cops. Beyond God.”, 2010)

26. Aborted – “Drag Me To Hell” (from “ManiaCult”, 2021) [Submitted by Vinny]

27. Vermin Womb – “Rot In Hell” (from “Retaliation”, 2022)

28. Nails – “Friend To All” (from “You Will Never Be One Of Us”, 2016) [Submitted by Daniel]

29. Atka – “2xs{:777ll.}4xs{/:\}5xs{:j7::}4xs{ll}3xs{//}” (from “Untitled Album 1”, 2018) [Submitted by Daniel]

Sepultura - "Chaos AD" (1993)

I think it’s fair to say that Brazilian thrash metallers Sepultura were more of an obsession than a passion for me from the time I first discovered their classic third full-length album “Beneath The Remains” in late 1989 right up until the release of this divisive fifth full-length. The timing of their infamous breakout from the underground was perfectly aligned with my own period of extreme metal discovery so they represented somewhat of a cult figure in my formative years & if it would have been up to me then the world would have waited until their arrival as a premier thrash act before deriving any sort of Big Four of thrash metal. But………. this brings me to the “Chaos AD” album from 1993, a record that would see the band dramatically altering the course of their careers via a fresh & innovative new sound.

I can still remember excitedly rocking up at Sandy’s Records in the Northern Beaches of Sydney on the day of release, racing home to experience “Chaos AD” for the very first time & the feelings of confusion I battled with as a result. It wasn’t that I found the music I was hearing to be unpleasant in any way. It was that it was so clearly very different from what I was expecting after the thrash metal icon that was 1991’s “Arise” album. The production job on "Chaos AD" is very solid with the rhythm guitars offering a chunky, heavy-weight platform that enables the fairly simple & uncluttered song-writing to do its work in workman-like fashion. Igor’s drums possess an organic depth, particularly the toms which were clearly meant to be a highlight of the record thanks to the continued focus on tribal rhythms that had been experimented with on “Arise”. There isn’t the brightness & energy to the guitars that I was expecting to hear though which is in large part due to the band having experimented with down-tuning their instruments for the first time. That’s not to say that the experiment didn’t work though as these more rhythmic & groovy riffs certainly benefited from the approach. It’s just that they sounded a little foreign to my fanatical thrash-trained ears at the time. You see, unlike the Sepultura of old, this Sepultura was in no hurry whatsoever with the songs given plenty of space & sticking predominantly to mid-paced tempos, the result of which was a more accessible product that was capable of seeing Sepultura crossing over into an as yet untapped market. Despite my initial hesitation though, I couldn’t deny that they'd managed to achieve this without losing much of their creative street credibility because “Chaos AD” is a long way from a sell-out.

Pantera had changed the face of the global metal scene in the very early 1990’s with their groove metal sound seeing a trillion bands adopting a more rhythmic approach to metal guitar playing & we can definitely see that influence on “Chaos AD” as there’s really very little that you can call legitimate thrash metal on this album. There’s an obvious hardcore punk edge to a lot of the material with Andreas Kisser having now turned all of his attention to creating dissonant, textured interludes rather than flashy, melodic guitar solos. The lyrics are predominantly politically focused which suits the material very well too. Igor is certainly the star of the show as far as the performances go as the groove metal platform afforded him additional room to move given the more rhythmic nature of the riffs around him. I saw Sepultura play live on the tour in support of the album back in 1994 actually & it was no surprise to find that the new material came across brilliantly in a live environment. I’d been lucky enough to see them two years earlier on the tour for the “Arise” album & they were just as impressive the second time around to be honest.

It didn’t take me all that long to find a level of acceptance for “Chaos AD”. My major challenge was accepting that the Sepultura I’d loved & adored was now a thing of the past & to treat the new Sepultura as almost an entirely different band. Once I was able to do that I found that it’s actually a very consistent, well written & professionally produced metal record that achieved a feat that so many have failed at. It had created something fresh & different that could draw the attention of a wider audience but still appeal to a large percentage of their existing fans (at least those with an open mind). I have to say that the New Model Army cover version of “The Hunt” was a poor choice as it stands out very clearly in an otherwise quite cohesive artistic statement & there aren’t many genuine classics here either but the majority of the album is very strong nonetheless with “We Who Are Not As Others” (the least popular metal track on the album unsurprisingly) being my clear standout. There’s no doubt that “Chaos AD” was a step down from the two classics that preceded it but I actually think it sits very comfortably next to the Sepultura’s earlier material these days. In fact, I’d probably take it over “Bestial Devastation” & Morbid Visions” & don't place it too far behind “Schizophrenia” either. Fans of the band’s earlier work really should give “Chaos AD” a chance as you may just find yourself buying what it’s selling.

For fans of Soulfly, Cavalera Conspiracy & Machine Head.

4/5

Here's my updated Top Ten Groove Metal Releases Of All Time list after finding that "Chaos AD" doesn't quite appeal to me as much as Pantera's two classics these days:

01. Coroner – “Grin” (1993)

02. Grip Inc. – “Nemesis” (1997)

03. Exhorder – “The Law” (1992)

04. Pantera – “Vulgar Display Of Power” (1992)

05. Pantera – “Cowboys From Hell” (1990)

06. Sepultura – “Chaos A.D.” (1993)

07. Pantera – “Far Beyond Driven” (1994)

08. Anthrax – “Sound Of White Noise” (1993)

09. Trepalium – “XIII” (2009)

10. Pantera – “The Great Southern Trendkill” (1996)

https://metal.academy/lists/single/175

The revenue is now coming from streaming - a digital world that was nonexistent back in the day.

From everything I've read & heard, bands actually make bugger-all off streaming their music unless they're at the extreme top level. I have several friends that produce music that's sold on streaming platforms & they're always complaining that they make next to nothing from it. All but the absolute elite metal bands make most of their money from touring & merchandise sales these days. The importance of producing their own music is so that they can get people to book them for live shows.

claire rousay - "t4t" (2019)

I thought I'd give some Autonomous Sensory Meridian Response recordings (otherwise known as ASMR) a shot & see if they made my head tingle like they're supposed to. They certainly did at times. They can also be boring as shit to tell you the truth. I'm not sure the pay-off is strong enough to justify the effort involved unfortunately. Perhaps if I was lying still in a quiet room & trying to relax with headphones on it'd be more effective than cleaning up the kitchen & making dinner with it playing on a Bluetooth speaker? Yeah probably.

The Specials - "Specials" (1979)

A legendary 2 tone ska album from Coventry, England. It's a bit of fun but doesn't have much lasting appeal for me stylistically.

Veniamin D'rkin - "Крышкин дом" (2001)

Man-&-his-guitar style singer-songwriter Russian folk music. Didn't really dig it much but there are a couple of pretty cool stripped-back tracks in the back end.

Just waiting on your features now Rex. Can you please send them to me by private message ASAP?

Nine Inch Nails - "Still" (2002)

A deep, stripped back & introspective record from Trent Reznor that you need to be in the right mood for. You can expect some reworks of past works, some new material & also some more ambient stuff. It's pretty close to essential listening if you're a fan of the band & I found it pretty interesting.

I say that I feel metal is more popular now because it seems to be more in the public consciousness than it was before. Most people have heard of Metallica and Iron Maiden, sure, but also bands like Linkin Park and Slipknot who are forever on Kerrang!!'s TV channel or on Scuzz are also well known.

See I guess that's kinda my point really. Linkin Park & Slipknot's popularity peaked at around the turn of the century which is 20+ years ago now but where are the new mega-bands to replace them? I could be completely off the mark here but if people are still predominately associating metal with bands from multiple decades ago rather than the current crop of metal acts then I would have thought that would have been an indicator that the scene had retreated into the underground again. Who are we looking at from the 2010's & 2020's that can compete at that level?

I think that people's perceptions around metal's image are probably drawn from their own experiences. As someone that was raised in a middle-class family, was always provided for well & lived in one of the most attractive parts of the world, I can't say that I ever thought of metal as anything working class until I was playing in bands & saw the audience we would draw to shows. At that point it became very clear that metal was more attractive to a specific clientelle but I don't think that audience has changed much over time (at least it hasn't in Australia where metal music is probably less popular & has always remaining exclusively in the underground). Metal is clearly an escape & a way to get your aggression out for many people & it's possible that there's not as much of a requirement for that in the upper class. The Aussie metal scene was generally always quite inclusive & welcoming for those outsiders that struggled for acceptance elsewhere, again not something that the upper class have a problem with most of the time. You could be a part of something that felt like it was vital & important but also had an element of secrecy about it which gave it an added level of attraction for many people. Perhaps the internet has put an end to a lot of that feeling of being "in the know" as everything is so accessible now but I tend to think that metal is still very much an underground thing.

I'm interested to know why you think metal has grown in popularity since the early 2000's Sonny as that's certainly not the case over here in Oz. It's never been more uncool to be an Aussie metalhead as far as I can tell. The only bands anyone outside of the scene is aware of are the classic bands from the 1980's & early 1990's which was when metal was at its peak here.

Boris - "Heavy Rocks" (2002)

Tokyo’s Boris are an interesting artist in a creative sense as they’ve never felt confined to any one sound or scene &, as a result, people really struggle to pigeon-hole them under an easily understood subgenre tag. I’m not sure whether that’s been an advantage or a hindrance for them over the years in all honesty as they seem to have developed a huge cult following & always seem to draw positive acclaim from critics but have probably never managed to truly break into the sort of fanatical support that they so clearly deserve. Us metalheads seem to want to make sure they stay tightly wrapped within the banner of the underground metal scene however they’ve never really sat all that comfortably there & Boris' seminal 2002 fourth full-length album “Heavy Rocks” is a prime example of that.

The first three Boris albums were heavily directed towards a drone inspired sound & saw the band really building a niche for themselves through highly regarded records like 1998’s “Amplifier Worship” & 2000’s “Flood” but with “Heavy Rocks” we see Boris moving into new territory with a fresh sound that’s much more focused on traditional rock music than their previous records were. In doing so though, Boris lost none of their street appeal as they very quickly proved themselves to have a deep understanding of what it is that makes heavy rock music so exciting. There’s a danger in these sounds that we find so rarely in modern rock music & it takes me back to a time when rock represented an exciting escape for me as a youngster with the experience of the live performance taking on an almost transcendent stature in an artist’s creative image. You see, as with most of Boris’ lengthy back catalogue, “Heavy Rocks” really does sound like a recording of a live band with very few of the rough edges having been buffed out. You can feel the amplifier’s buzzing & almost see the kids leaping from the stage & thrashing themselves about in glee & that’s what makes a band like Boris so appealing.

Musically speaking, I have to admit that “Heavy Rocks” doesn’t sit as close to my musical comfort zone as Boris’ drone metal works though. Most people seem to want to lump it in with Stoner Metal which isn’t entirely accurate. There’s far too much of a late 60's blues rock influence in this material for it to sit primarily in the metal space. In fact, I really struggle to see why "Heavy Rocks is not unanimously tagged as Stoner Rock because it fits the description of that genre to a tee in my opinion. The loose vocal delivery is miles away from anything a metal front man might attempt while the overall feel of the instrumentation generally possesses a much noisier & bluesier outlook too. The psychedelic guitar excursions are brilliantly executed & are a real highlight for me personally, particularly album high point “Soft Edge” which is nothing short of spectacular (&, as is so often the case with me, is also the least popular track on the album). Boris simply seem to “get it” if you know what I mean & the fact that front man Takeshi doesn’t even try to stay in tune is completely overlooked in the interest of the elusive quest for heavy rock supremacy. There’s a deep-seated authenticity to this material that makes it inherently relatable but gives it some added x-factor as well. To put it bluntly, it's simply a way cooler record than the vast majority of the competition could ever hope to muster up.

In saying that, I do think that “Heavy Rocks” is a fairly top-heavy release. Despite not possessing anything that comes close to being a weak track, I have to admit that all of the best material sits on the A side with the flip side seeming to be a little bit lacking in comparison. Perhaps it’s simply a matter of taste as I would suggest that I was always going to be more drawn to the crushingly heavy stoner metal of opener “Heavy Friends”, the stripped-back psychedelia of “Soft Edge” & the more aggressive & dangerous rock outings like “Korosu” & “Dyna-Soar”. Boris would perhaps execute this stoner rock sound with slightly more consistency on 2003’s “Akuma no uta” album too but one can’t be too critical of a rock record with this level of potency. It’s all too rare that you encounter music that encapsulates what it means to be “rock” in such a clear & concise fashion these days so “Heavy Rocks” should be celebrated for what it represents as much as what it’s achieved.

For fans of Melvins, King Gizzard & the Lizard Wizard & Church of Misery.

4/5

Here's my revised list:

1970: Black Sabbath – “Paranoid”

1971: Black Sabbath – “Master Of Reality”

1972: Black Sabbath – “Vol 4”

1973: Black Sabbath – “Sabbath Bloody Sabbath”

1974: Budgie – “In For The Kill”

1975: Black Sabbath – “Sabotage”

1976: Judas Priest - "Sad Wings Of Destiny"

1977: Quartz – “Quartz”

1978: Judas Priest – “Killing Machine”

1979: Judas Priest – “Unleashed In The East”

1980: Diamond Head – “Lightning To The Nations”

1981: Motorhead – “No Sleep Till Hammersmith”

1982: Ozzy Osbourne – “Speak Of The Devil”

1983: Slayer – “Show No Mercy”

1984: Metallica – “Ride The Lightning”

1985: Exodus – “Bonded By Blood”

1986: Slayer – “Reign In Blood”

1987: Bathory – “Under The Sign Of The Black Mark”

1988: Metallica – “…And Justice For All”

1989: Morbid Angel – “Altars Of Madness”

1990: Slayer - "Seasons In The Abyss"

1991: Death – “Human”

1992: Alice In Chains – “Dirt”

1993: diSEMBOWELMENT – “Transcendence Into The Peripheral”

1994: Darkthrone – “Transilvanian Hunger”

1995: Suffocation – “Pierced From Within”

1996: Burzum – “Filosofem”

1997: The Gathering - "Nighttime Birds"

1998: ISIS – “The Mosquito Control” E.P.

1999: Botch - "We Are The Romans"

2000: Immolation – “Close To A World Below”

2001: Tool - "Lateralus"

2002: ISIS – “Oceanic”

2003: Boris – “Boris At Last -Feedbacker-“

2004: ISIS – “Panopticon”

2005: Deathspell Omega – “Kenose” E.P.

2006: Celtic Frost – “Monotheist”

2007: Ufomammut/Lento - "Supernaturals - Record One"

2008: Pig Destroyer - "Natasha" E.P.

2009: Dragged Into Sunlight - "Hatred For Mankind"

2010: Hate - "Erebos"

2011: Inside The Beehive - "Drink Bleach; Live Forever" E.P.

2012: 7 Horns 7 Eyes - "Throes Of Absolution"

2013: The Amenta - "Flesh Is Heir"

2014: Dead Congregation - "Promulgation Of The Fall"

2015: Akhlys - "The Dreaming I"

2016: Mick Gordon - "Doom (Original Game Soundtrack)"

2017: The Ruins Of Beverast - "Exuvia"

2018: Infernal Coil - "Within A World Forgotten"

2019: Altesia - "Paragon Circus"

2020: Oranssi Pazuzu - "Mestarin kynsi"

2021: Fange - "Pantocrator"

2022: Scarcity - "Aveilut"

Batushka - "Litourgiya" (2015)

I've really enjoyed this week's revisit to one of the more popular black metal releases of the 2010's. "Litourgiya" is essentially made up of some fairly traditional & simply structured but very well executed Polish black metal with the ground-breaking addition of some church-style chanted male vocals as a clear point of differentiation. This certainly making for an interesting combination but if I'm honest I'd have to suggest that it's not that component of Batushka's sound that I find most appealing. In fact, the weakest moments on the album generally match up with the less inspired chant sections. The best elements at play here are the searing black metal screams & the incredibly precise blast beats. For the record, I actually had to check I wasn't listening to programmed drums when I first encountered this album, such was the sheer confidence & control on display. The riffs aren't anything all that different to what you would usually expect however the guitars appear to be down-tuned which gives Batushka a slightly different tone to most of the competition. Closer "Ектения • VIII • Спасение" is the only track that I find to be a genuine classic but there are no weak tracks included which makes "Litourgiya" a very professional & high quality release with enough accessibility to appeal to broad cross-section of extreme metal fans.

For fans of Cult of Fire, Mgła & early Uada.

4/5

Trhä - "Nvenlanëg" (2020)

I first came across Mexican one-man black metal artist Trhä shortly after the release of this debut album & generally liked what I heard so I always intended on returning to it for a more comprehensive analysis at some point. However I must admit that my poor experiences while reviewing Trhä’s follow-up release (the “Novej kalhnjënno” E.P. from later the same year) saw me delaying things a bit longer while I built up the courage. Thankfully “Nvenlanëg” is a much more enticing prospect than it’s younger sibling though & has left me feeling generally positive about its merits.

“Nvenlanëg” is comprised of three lengthy tracks that amount to a total duration of 55 minutes with the main component being a lo-fi atmospheric black metal sound similar to Swiss act Paysage d’Hiver. Despite a strong focus on frost-bitten winters though, this record isn’t half as cold as Paysage d’Hiver’s classic releases. There’s a dreamy positivity to a lot of the melodies with the synthesizers being the protagonists more often than not. At times you’ll actually find a similar atmosphere to a blackgaze artist like Sadness only Trhä never veers too far from the path of blasphemy, his vocals opting for the trademark tortured route of so many of his atmospheric black metal counterparts. The regular use of winter synth style ambience breaks the album up nicely & is quite effective in its enhancement of the themes.

I can’t say that “Nvenlanëg” hits my black metal comfort zone particularly. It’s a little too light-weight for that but I do find more than enough depth in its atmospherics to keep me interested. The epic 23 minute opener “Lhelhën Majlan” summarizes the album’s content well while 18 minute closer “Alandlhan ëlh Nítak” is probably the most fully realised example of the Trhä sound. The track in the middle “Nëlhlica” doesn’t appeal to me much though to be honest. It’s simply too melodic for my taste & seems like a step down from the other two tracks.

I can’t say that I feel the fanfare around “Nvenlanëg” is warranted but it’s not a bad record nonetheless. It’s certainly a good three levels up from the awful “Novej kalhnjënno” E.P. & hits the wintery atmosphere it was aiming for pretty well, despite not gathering the darkness & evil around it in the process.

For fans of Paysage d’Hiver, Bekëth Nexëhmü & Evilfeast.

3.5/5

For some reason the notes on this submission didn't match up exactly with what was originally asked for in this thread & it sounded a bit misleading so I've deleted it & recreated the entry. I also found that the album wasn't in The Revolution in the first place but should definitely have qualified for it so I've added it under Melodic Metalcore.

Andi, you might want to submit your vote again.

Nails - "Abandon All Life" (2013)

I have to say that after revisiting all three of Californian grindcore legends Nails’ full-length albums over the last few months I’ve come to the conclusion that they’re really out there on their own as far as the leading grindcore exponents go. No one can touch them in this space as they simply possess another gear to even the most highly regarded of opposition & this sophomore album may just be the high point of the entire movement. Once again we have an extremely short run time at just over seventeen minutes in duration but one that’s dominated by the inclusion of two lengthier sludge metal pieces that take up just under half the run time. Both of these tracks are utterly superb & you get the feeling that Nails might have been one of the greats of the sludge scene if they’d chosen their niche a little differently as they have serious talent in the elusive & highly desirable art of riff creation. The rest of the album is made up of the most extreme grindcore violence you’ve ever heard in your life, only with ultra-clinical performances & a wonderfully powerful production job from Converge guitarist Kurt Ballou. The drum sound & guitar & bass tones are all spectacular & go about tearing your face off in the most efficient manner imaginable. The performance of drummer Taylor Young should be highlighted in particular as the guy is an absolute beast. His blast beats are as pummeling as any in extreme metal & he’s a major contributor to making “Abandon All Life” sound so fucking tight. The only negative I can find here is that I’m not sure I dig the slight change in vocal delivery from front man Todd Jones as much as his other efforts but that’s a small price to pay for what has essentially now become my favourite grindcore release of all time from my favourite grindcore band of all time.

For fans of Full Of Hell, Dead In The Dirt & Trap Them.

4.5/5

Here's my revised Top Ten Grindcore Releases of All Time list for those that are interested:

01. Nails - "Abandon All Life" (2013)

02. Nails - "You Will Never Be One Of Us" (2016)

03. Discordance Axis – “The Inalienable Dreamless” (2000)

04. Pig Destroyer – “Prowler In The Yard” (2001)

05. Pig Destroyer – “Terrifyer” (2004)

06. Nasum - "Helvete" (2003)

07. Atka - "Untitled Album 1" (2018)

08. Terrorizer - "World Downfall" (1989)

09. Repulsion – “Horrified” (1989)

10. Unseen Terror – “The Peel Sessions” (1989)

https://metal.academy/lists/single/149

This submission has now been posted in the Hall of Judgement.

With a result of Yes 7 No 1, I've today decided to uphold this Hall of Judgement entry & add "Värähtelijä" to The Infinite clan as well as the the Post-Metal genre.

Also what the sh*t is this?! I checked on the release page for the Leave Everything Behind EP, and The Sphere clan appeared as part of the release's clan lineup! I enjoy The Sphere, but there's no way Amaranthe can be part of that clan...unless they can be considered cyber metal, but even that's way too far-fetched.

Well spotted Andi. I'd suggest that was simply a data-entry error from Ben. I've corrected that in the database now.

Also, I'm going to add an additional Hall entry to have "Leave Everything Behind" removed from Trance Metal as I don't think there's enough Trance there to justify it.

There is absolutely zero death metal on this release. You couldn't find anything further away from death metal in my opinion. What in the actual fuck are people thinking?? It's a categorical YES vote from me Andi. I'd also question the Trance Metal tag on this release too because I never feel like what I'm hearing is a strong Trance influence. What are your thoughts on that Andi? To my ears this is a very poppy version of Melodic Metalcore with a whole bunch of influences ranging from Power Metal to Progressive Metal to Djent to Linkin Park-ish Alternative Metal.

Dying Fetus - "Wrong One To Fuck With" (2017)

The most recent full-length from Maryland death metallers Dying Fetus has seen me drawing very much the same conclusion as I have with the vast majority of their previous releases. While I certainly find “Wrong One To Fuck With” to be a more than decent brutal/technical death metal album, it’s pretty much exactly what you’d expect from them with very little variation on past themes. The production is very clean (almost as clean as the pristine performances from the trio who can no doubt play the living shit out of their instruments) while the band’s trademark hardcore grooves are still very much in effect along with the thrashier sections that remind me a lot of Slayer. Then toss in the consistent use of blast beats & slam riffs as well as those intentionally technical & often sweep-picked wanky parts that server very little purpose other than to show off the band members techniques & you get a Dying Fetus album…. any Dying Fetus album really.

Now that’s not such a big deal in theory as I generally love my brutal death metal & it doesn’t always need to be anything too original to get my juices flowing but the thing with Dying Fetus is that they seem to lack a bit in the way of soul. Everything sounds so intentional, calculated & precise but the song-writing is often where the band’s attention could have been better spent. Many of the transitions sound jerky & pieced-together while the groove sections are often a bit too basic. In direct contrast though, those technical parts I mentioned earlier are far too obvious & (as with every other Dying Fetus record) sound much more like practice exercises than they do actual music. Even the vocal phrasing is lacking in ambition as it often simply follows the rhythm of the riffs & lacks a bit of sophistication. Dying Fetus are definitely at their best when they’re simply blasting away with reckless abandon though & there’s enough of that to justify your interest if you’re a fan of the more brutal end of death metal.

Overall, I’d suggest that “Wrong One To Fuck With” is another decent but fairly uneventful Dying Fetus record that’s fun while you’re listening to it but doesn’t command much in the way of repeat listens. That’s very much par for the course in how I’ve felt about their albums since day one however I’d suggest that earlier releases like “Reign Supreme” & “Destroy The Opposition” still have a slight edge over this one. There’s an undeniable consistency of quality across the ten tracks included (eleven if you’re listening to a version with the bonus track “Induce Terror”) but sadly there are no genuine highlights here & the tracklisting does tend to sound a little samey as a result. Every track has great parts mixed in with flatter parts with the good clearly out-weighing the bad but never by an emphatic margin.

For fans of Suffocation, Nile & Cryptopsy.

3.5/5

Somi - "Zenzile: The Reimagination of Miriam Makeba" (2022)

Vocal jazz with genuine soul & emotion. I believe she resides in the USA but a lot of this is heavily influenced by traditional African music. It's made for a more than decent background accompaniment over the last few days when I've wanted to wind down a bit.

Two big records for me are hitting major milestones today with German thrashers Protector's 1987 debut E.P. "Misanthropy" reaching 35 years of age & French atmospheric black metal masters Blut aus Nord's 2012 "777 - Cosmosophy" album turning 10. The Protector E.P. is one of the earliest genuine death metal records in my opinion & is also one of the best releases to come from the genre in the 1980's too (4/5). I love the sheer balls that Blut aus Nord displayed during their early 2010's 777 trilogy with "777 - Cosmosophy" being perhaps the best of the three releases (4.5/5).

So this brings me to the end of my Black Noise deep dive with the outcome being as follows:

Is Black Noise really a defined sound? YES it is but it's often misused to describe your noisier conventional Black Metal or noisy music that really doesn't have much to do with metal.

Is it worth differentiating from other forms of Black Metal? YES because I think it'll only have a very niche audience with many Black Metal fans wanting to steer away from it.

Does it belong in The North? YES very clearly.

Should it be added to the Metal Academy database? YES I think it should.

Затухание - "Затухание" E.P. (2012)

A short eleven minute ride through a very faithful six tracks of Black Noise with half of the the tracklisting taking a pure Noise direction & the other half sounding like traditional Black Metal with the levels heavily overdriven to give it that white noise aesthetic. I do find a bit of enjoyment in the raucous Black Metal material which should appeal to those that like to blow off some steam with their mates after a few drinks but the pure Noise stuff is pretty redundant & is the very definition of filler in my opinion. It's a shame this release isn't on Spotify as the ideal outcome would be to add the couple of decent tracks to your playlist & turf the rest.

For fans of Wold, Mnima & Enbililugugal.

3/5

Saxy & Rex, just a reminder that you have some feature releases to nominate for October:

THE FALLEN: Daniel, Sonny, Ben

THE GATEWAY: Andi, Saxy

THE GUARDIANS: Rexorcist, Xephyr

THE HORDE: Ben, Daniel, Vinny

THE INFINITE: Saxy, Rexorcist, Andi, Xephyr

THE NORTH: Vinny, Xephyr, Daniel, Ben

THE PIT: Rexorcist, Ben, Daniel, Vinny

THE REVOLUTION: Daniel, Andi

THE SPHERE: Andi, Daniel

Ben, please add the self-titled Nahvalr album & place it under Black Metal for the moment.

Enbilulugugal - "Noizemongers for GoatSerpent" (2004)

I'm not usually one for completely crucifying metal releases for the sake of melodrama however this 40 minutes of agonizing pain is something a little bit special. It essentially sounds like a bunch of extreme metal fans got together for drinks & things got WWAAYYY out of hand with the results being documented for all eternity. The song-writing is non-existent, the musicianship is completely absent & the production is a dog's breakfast. Essentially this is a bunch of sloppily performed black metal played with complete disregard for traditional musical values & produced in as noisy a fashion as possible with a dude screaming his guts out randomly over the top without any semblance of a lyric. I have no doubt that there will be those that think this is musical genius (Beherit fans, I'm looking at you) but for me it's a waste of time & effort from everyone involved. In the context of my Black Noise experiment, I'd suggest that it sits in between Black Metal & Black Noise with traditional Noise being a secondary influence.

For fans of Abruptum, Gonkulator & Beherit.

1.5/5

Elvis Presley - "From Elvis in Memphis" (1969)

My father-in-law was over on Monday so out came the old Elvis records. This one saw Elvis taking on soul & country music. Jeez, he sounds a lot like Cher at times here. She must have been seriously influenced by him. I can also hear a fair few similarities to Tom Jones on this album in particular. It's not my bag by any means but the old man seemed to dig it. It does include the classic "In the Ghetto" to close out the album though of course.

Gnaw Their Tongues - "Abyss of Longing Throats" (2015)

The Surinamese Black Noise champion produces another release that's blown me away with his twelve full-length offering a sound that sits right in between Black Noise, Black Metal & Industrial Metal. It's certainly the most Black Metal oriented record I've heard from him this month while the Industrial component gives the album its own identity, despite still possessing Maurice de Jong's trademark sound i.e. darkness, torture & general extremity. I can't tell you how much I've connected with Gnaw Their Tongues over the last week or so. It's like he can read my mind with the horrifying atmospheres he creates, the flourishes of ambient beauty, the clinical production, the complete focus on global nihilism in it's most confronting form. I don't think anyone sounds quite like him to be honest & this is another horribly underrated record in my opinion.

For fans of Abruptum, An Axis of Perdition & Vessel of Iniquity.

4.5/5

Nahvalr - "Nahvalr" (2008)

This sole full-length album from US duo Nahvalr is essentially a collage of sounds put together from snippets sent in to the producers by fans of their main band i.e. post-punk legends Have A Nice Life. This release has a bit of a unique sound in that it combines the Black Noise sound with Post-Metal to great effect & I'd actually be inclined to go with a dual primary tag here. There's also enough Industrial Metal on offer to command a secondary tag. The consistency of the tracklisting is excellent with no individual track falling below a very solid & professional level. The way the boys have used the lo-fi aesthetic to create atmosphere is very impressive & I actually found that the record got better as it progressed with the last two tracks being the best of the lot. This is definitely one of the better releases I've come across since I began the deep dive.

For fans of Abruptum, Gnaw Their Tongues & La Torture des ténèbres.

4/5

We've gotten through the harmony test & the twelve week scan unscathed sao it seems that it's gonna happen. We're having a third daughter in March!

The Flaming Lips - "The Soft Bulletin" (1999)

Some poppy neo-psychedelia to keep me interested while I play with the kids & do some housework on my Sunday morning. It's not really my thing as it's a little too quirky & happy for my taste & is more of a pleasant background distraction than being genuinely engaging but fans of this sort of thing will no doubt love the shit out of it.

For fans of MGMT, Dorgas & Animal Collective.

Given the lop-sided tally to date I've decided to pass this Hall nomination at YES 7 NO 1. As a result the Speed Metal genre has been added to the release on top of its existing Thrash Metal one. Thanks to everyone that contributed to this vote. 

Elvis Costello with Burt Bacharach - "Painted From Memory" (1998)

Some really smooth adult contemporary pop music that's gone down very well for a cool Saturday morning house cleaning session.

Emit - "The Dark Bleeding" demo (2003)

This seminal underground demo tape seems to receive a lot more attention that it deserves as it's unfocused concoction of textural noise & silly black metal shrieks doesn't really work as a piece of art. As with the debut album from Sweden's Abruptum, it sounds very much improvised a lot of the time with most of the release spent mucking around on a guitar making as repulsive a sound collage as possible by utilizing far too many effects. The vocals & the reliance on guitars as the principle creative outlets keep "The Dark Bleeding" in Black Noise territory but it certainly leans further over towards the Noise side more than it does the metal one. The two lengthier tracks "Dead Before Death" & "Unknown I (Greets Me Again)" really are fucking awful & it's only the very solid traditional Noise piece "Communications with Shadows" that sees this demo veering away from a truly embarrassing rating (not that it should be too proud of the one it's received mind you). Anyone claiming this demo to be a work of genius is simply trying way too hard. It's an intentionally weird mish-mash of abrasive sounds that make very little sense from a musical point of view.

 For fans of Rev. Kriss Hades, Abruptum & Nahvalr.

2/5

Gnawing Their Tongues - "Reeking Pained & Shuddering" (2007)

I think it’s fair to say that many outsiders can’t comprehend why fans of extreme metal spend their time searching for releases that essentially take them further & further into the depths of Hell. There are those release that do it in a subtle way by masking some of the intent through the use of melody & more accessible song structures of course. But then there are those that bask in & celebrate to sheer darkness & evil by steering as far away from anything your average music fan could understand as possible & in doing so ensure that they remain as underground as possible. Well, with his third full-length album Surinamese producer Gnaw Their Tongues didn’t only ensure that he’ll stay well within the unholy confines of the underground but he created an entire new level of musical horror. In fact, “Reeking Pained & Shuddering” may just be the perfect musical representation of Hell itself as I think it may just be the most evil piece of musical art I’ve ever encountered.

In my recent review of Gnaw Their Tongues’ 2018 album “Genocidal Majesty” I questioned the validity of it’s links to metal, despite the inherent darkness & power it possesses within it’s inhuman Power Electronics sound. I won’t be doing the same with “Reeking Pained & Shuddering” however as the glory of extreme metal runs thick in its veins & is the very core of its atmosphere. It certainly fits the criteria for Black Noise qualification as it harnesses both genres equally but also draws upon Drone Metal & Black Ambient to give it a more rounded position with which to spread its message of violence & torture. The riffs here are doomy as fuck while Maurice de Jong’s screaming vocals are as over the top & psychotic as you’ll ever find, even within the realms of black metal. Both represent sensational additions to the Black Noise sound & give the album additional layers. So too do the beautiful gothic ambient accompaniments which further compliment the horrors the listener is witnessing by adding a cinematic quality.

The black metal component is strongest on the record’s most popular song “Nihilisim; Tied Up & Burning” but I tend to find that track to be the least impressive of the six included with its programmed blast beats & more traditional black metal guitar work sounding a little too run of the mill to make the same impact as the other material. The wonderfully titled opener “Blood Spills Out Of Everything I Touch” kicks things off in transcendent fashion & is followed by the very solid & equally well named “Utter Futility of Creation” but it’s the second half of the album that sees Gnawing Their Tongues truly reaching the peak of his blasphemic powers. In fact, I’d suggest that I’ve never heard a more perfect side of metal in my life with the deep dark ambient of “The Evening Wolves” creating an imposing atmosphere for black noise masterpiece “Destroying Is Creating” & the ten minute album highlight “Transition” to capitalize on in the most emphatic fashion.

“Reeking Pained & Shuddering” is a visceral & cerebral experience to say the least & is certainly not for the faint-hearted. It’s audience will be limited even within the extreme metal scene as it simply doesn’t allow for any form of hope or light at the end of the tunnel. It presents the world as the most harsh, barren & generally disgusting place & utilizes the most sickening serial killer associated vocal samples on Earth to drive its point home. There will certainly be times when I won’t feel up to listening to a record like this as it’s simply that depressive. But when I feel the urge to get into nastier territory I’m not sure I’ll find a more blatant example of hatred in music.

For fans of Abruptum, La Torture des ténèbres & Nahvalr.

4.5/5