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Do I even have to write a review of this?  Now this album is listed as a metalcore and sludge release on various websites, and I'm a bit into both, not enough to join the clans, though.  I really liked the idea of sludge metalcore, and even use the tag "sludgecore" in my charts to describe the combo.  You'd think Xibalba would be a shoe-in for a favorite band, but I wouldn't know it from this debut.  The same overused guitar tone, the same decent level of heaviness, the same shouty vocals and the same type of songwriting take up the majority of this fairly boring self-released debut.  I found myself wondering why any of these songs even bothered to go into the five minute range.  I'm really not sure how this band got such good reviews with this debut, but I really believe that so much more could've been done with this album.  I would even go as far as to say I prefer the End So Far by Slipknot.

Another Dying Fetus record, another decent (if middling) score from me. I inevitably feel very much the same about all of the Maryland brutal death metal establishment's releases in that they all offer some level of appeal for me with their relentless brutality but lose points for their style-over-substance approach to song-writing. "Stop at Nothing" (Dying Fetus' fourth full-length album) isn't their one of their strongest records but it is another very consistent one with the quality levels tending to stay very stable throughout with only disappointing close "Vengeance Unleashed" seeing my enjoyment factor dipping a little. The production isn't amazing with the drum sound being noticeably clicky which doesn't do drummer Erik Sayenga any favours. The dual vocal attack is in full effect though & I'm glad that John Gallagher & co. don't allow the practice session-style technicalities to get out of hand as I've never thought that they added a lot to Dying Fetus' sound to be honest. As always with a Dying Fetus record, their signature mid-tempo, hardcore-inspired slam riffs are a highlight &, despite its flaws, I don't think "Stop at Nothing" will lose too many of the band's pre-existing audience even if it's certainly nothing particularly special.

For fans of Suffocation, Misery Index & Skinless.

Believe it or not, during my original Septicflesh marathon, I didn't get through this.  I was more interested in the directly symphonic stuff.  And even though Iv'e been trying to cut back on metal, this is one of those times where I just got impatient with putting this off and decided that one metal album wouldn't hurt my charts much.  Plus, if I'm a Septicflesh fan, I should've already heard this.

This is true to form Septicflesh in every possible way, and may be the single MOST Septicflesh album of the catalogue.  They were always a wild act, merging various styles together in a weird whole, until they focues almost strictly on symphonic death metal.  This album is a careful mesh of the symphonic stuff, the straightforward stuff, the gothic metal of the classic era and the melodic death.  The results are generally, if I may, "mystic."  There's a careful cinematic presence in their beautifully produced music that only Septicflesh can truly provide.  Some of these songs are just legendary, like the title track, Viruses of the Beast, etc.  It almost sounds like it came out of a Therion album sometimes, and at other times it reaches FSoL levels of surreality, especially in the closer.  But none of these aspects ever get in the way of each other.

A few songs, however, lose some of the melodic prowess that this experimentation demands.  Now songs like Magic Loves Infinity are just gorgeously put together, carefully treading a fine line between atmosphere and melody.  But a song like Dark River relies mostly on the backing effects to handle the magic of the album.  That's my only complaint.  Otherwise, this is absolutely georgeous death metal, four words that probably shouldn't go together.

It's about time I went back on those Morbid Angel albums and saw if my current rankings hold up.  For a very short period of time, Morbid Angel was my choice for best death metal band, right before my venture into Septicflesh.  Now this review is for the original audio rather than the Full Dynamic Range master.  Now it goes without saying that I prefer albums that bring out many noticeable variations between songs, and this is the kind of album that pulls out so many different time signatures every twenty seconds or so that it's no surprise that many of the songs have a few too many similarities.  But this remains an incredible album for two reasons: 1. some of the best production values of the 1980's, clear and crystalline without going into arena reverb, and 2. many of the best riffs you may ever hear in death metal.  Similarities aside, the compositions can oftentimes be absolutely stunning.  The intense power of the album's combination of production and composition can even shine through a set of bad headphones.  Morbid Angel made an instant name for themselves with this album.

97

The only experience I had with this female-fronted Arkansas alternative metal outfit was through their latest album "The Bitter Pill" which I reviewed when it was our feature releases back in 2021. Not only did I find that record to be seriously underrated but I also quite enjoyed the experience so I always intended on checking out some of their more popular work at some point, if only to satisfy the unrelenting completist in me. Well, 2003's "Fallen" sophomore album is clearly the Evanescence record of choice for most fans of the band & includes a number of big hits that most metal & rock fans would know very well, even if they've never actively gone out of their way to investigate the album they're taken from. After giving it a few spins this week I've come to the realisation that it's a hit & miss record in my opinion with a good 45% of the tracklisting offering me very little appeal. Thankfully though, the other 55% is very solid indeed which gives "Fallen" enough value to see me coming out of the experience feeling quite positive, if not quite as positive as I did with "The Bitter Pill".

Evanescence's signature sound was forged with this record which champions an alternative metal sound that also draws influence from nu metal, symphonic metal & gothic metal at times. The vocals of Amy Lee are obviously the main focal point as the instrumentation isn't anything terribly interesting or creative & I was happy to find that she's well up to the task too with her tone being both powerful & pure. The incredible adult contemporary number "My Immortal" is the clear highlight of the album but nu metal super-hit "Bring Me to Life", the ultra-catchy "Tourniquet" & the stripped-back piano ballad "Hello" are all very solid & professional inclusions too. The weaker moments are generally aligned with the weaker vocal hooks though which makes it even more apparent that Evanescence lives & dies by the skills of their front woman to control the narrative.

I'm not gonna say that "Fallen" is essential listening because its creative statement is not significant enough for that but it's certainly a bit of fun that most rock/metal fans with do well not to find some enjoyment in. It's interesting that "The Bitter Pill" has been so heavily slandered in comparison because I don't think that's warranted given that I actually prefer that record over this one. I think the fact that "Fallen" is a little more obvious & immediate is what gives it the edge for most listeners but I slightly prefer the added maturity & depth of Evanescence's latest work. Regardless, it's easy to simply allow both to pass you by under the premise that they're none of your business but if that's your position then you might just find yourself missing out on an attractive hook-laden three-quarters of an hour of alternative metal.

For fans of Within Temptation, Lacuna Coil & We Are the Fallen.

Consisting of three members, Kveldstimer contains Alex Poole (Krieg amongst a million others) on guitar, bass and synths, Rory Flay (former Ash Borer) doing vocals, guitar and synths and Seguigo just doing drums and keeping it simple. The first two list a multitude of other bands as active projects currently and clearly bring a wealth of experience to the set-up, as The Cursed Oak nods firmly back to the early days of Norwegian black metal. With Ildjarn and Sort Vokter influences clearly on display, the nine tracks on offer here possess a chilling vibrancy and an ambient allure for fans of atmospheric black metal. But fear not, ye blastbeat loving masses, for The Cursed Oak has a hefty old share of higher tempo stuff to please all of you.

What is immediately obvious upon starting to listen to the album is that the music is written by well established and highly skilled musicians. The instrumentation all fits together seamlessly for the main part. Tremolos are well picked and those insanely screech guitar melodies sit just the correct side of not grating territory. This component reminds me of Akhlys on opening track ‘Withering Storm’. Beyond mesmerising at this early point in the record, the guitars possess a real potency to them. The whole album seems to command an offensive position without ditching the ethereal and haunting atmospherics in the process. The drums are solid and consistent, unafraid to blast yet also I hear a couple of runs and fills here and there that fit the aesthetic of tracks well. Rory’s vocals are a vicious rasp for the most part, with there being one occasion on ‘Broken Limbs in the Frost’ where they take on a bellicose, folk element which if I am honest is an uncomfortable moment for me, even after hearing it multiple times.

The synths are deployed effectively on all the tracks here and the album would be at a loss without them for me. Providing a real supporting role as opposed to dominating proceedings, they swell tracks with a richness, and within the swirling chaos that they help develop, I sense them growing, filling all available space behind those prominent guitars. The soundtrack to my late summer evening listening playlist will have instrumental track ‘Solitude’s Garden’ in the mix. The cold resonance of the synths creates a cooling ambience in the harshest of temperatures for me. The track also provides a well-placed palate cleanser, positioned towards the middle of the record.

As with all atmospheric black metal releases, there are comparisons with BAN almost inevitably made and The Cursed Oak does not escape this either. There seems a little more of an acute intensity to Kveldstimer’s sound (just a touch mind). If you pay close enough attention though you will hear the great build that tracks possess. The early third of ‘Their Eyes I the Shadow of the Moon’ being a fine example of this, as the guitar makes a sound like a war horse about to charge into battle before unleashing the tremolo upon the track. Again, that Akhlys sound is on full display during the melodic riffing of this track, something which please me no end. It may have taken me a few listens to get there, but I have discovered a real gem in this one. Addiction levels are high currently.

Waidelotte... That's a name I haven't heard before, but then again, aren't there many other bands with unusual names? Apparently, this band is named after a Prussian priestess with duties of prayers, blessings and fortune. Anyone with historical knowledge would know that Prussia was a German state with a Baltic tribe until it was abolished as a result of World War II. It is not to be confused with Russia, the country currently at war with Ukraine.

Waidelotte was formed in Ukraine in 2023, when the war was (and still is) raging. Members of the band have come from more notable bands, with vocalist Andrii Pechatkin from White Ward and bassist Oleksii "Zlatoyar" Kobel from Soen. The only other member is guitarist Mykhailo Bogaichuk, so I'm guessing the drums are programmed. Conceptually, Celestial Shrine takes you through death and despair in inner struggles to battle. This album is described as melodic/pagan black metal, though I can also witness the melodeath/progressive metal of Obscura, maybe even Ne Obliviscaris. The vocals and bass give that away in the extreme instrumentation blended with folklore.

"Descending" is a soft folk-ish intro not too far off from Opeth's interludes. As for the first actual song, "The Era of Stagnant Gods", it's not often you hear flute after extreme fury, but it works out well. The slow ending sounds so atmospheric. Hurdy-gurdy comes up in "Todestrieb", which itself is a melodic pounder. The usage of folk instruments and occasional female singing give it a bit of an Eluveitie vibe.

"Opulent Mirage" is a more progressive highlight, mixing the mid-2000s eras of Enslaved, Leprous, and Opeth. "The Mortality Archway" basically takes the extreme side of Kayo Dot and adds in the thrashy complexity of Believer and some Eastern European instrumentation. "Ascending" is one more folk interlude with Neurosis-like ambience.

Things get more fun in "Lightkeeper". Then the title track tones down the fun for some melancholic sorrow. It makes great use of their native instruments like the bandura, performed by Vlad Vakolyuk. That aspect is in superb balance with heavy riffing. This should've been the end of this offering, but the band felt like adding a little something to make a full album... "Dissolving" is an 8-minute dark ambient track featuring Solar Kollapse. It's so odd and boring, and the album would've been perfect without it.

The half-hour of power that makes up the rest of Celestial Shrine is an effective album of Slavic-infused progressive melodic black/death. It's a unique combo that really hits it right. The horrors of this ongoing war didn't stop this Ukranian band from unleashing their creative talents. They should really be commended for their perseverance....

Favorites: "The Era of Stagnant Gods", "Opulent Mirage", "The Mortality Archway", "Celestial Shrine"

I have never been the biggest consumer of funeral doom metal. In the few ventures into this troubling subgenre, I’ve discovered that “creating good music” becomes a secondary feature and rather focuses on oppressive atmosphere. Sometimes that atmosphere can be enough to make serviceable, if not great, records. But often, they border on the line of stale drone that carries on far too long for their own sake.

I have made an attempt this year to become more cultured in subgenres (clans) of metal I normally would ignore or approach in bad faith. One such clan is The Fallen. And even though the music I’ve heard may be unremarkable (Deathwhite, Frayle, Decembre Noir and Hanging Garden), it still left me wanting more. I grow tired of the same death-doom/gothic sound and am desperate for a band to make me feel hopeless and abandoned like classic Ahab releases. (while still being pleasant to listen to of course!)

Well allow me to introduce Red Moon Architect. This band has been active for quite a while but never getting much in the way of recognition. Hailing from Finland, the instrumental backdrop of October Decay is heavily reminiscent of Swallow the Sun; heck, the album cover had me immediately thinking of The Morning Never Came. That presumption came crashing down in record time as the first isolating guitar riff began “Frozen Tomb” and the introduction of harsh death growls that are so distorted it starts to sound less like words and syllables and just becomes cries of agony. Now, if the whole album used these vocals, it’d probably be a hard sell, but complimenting it with wonderful female cleans was a breath of fresh air.

What October Decay does well is in the variety. The album starts off very melodic with lots of female vocals, occasional male harsh interjections, and (relatively speaking) busier guitar leads. That seems to change after “Decay of Emotions” and the run of “In Silence” until the album concludes with “First of October” is much heavier in the male vocals, guitar solos become sparser and use space to painstaking effect, and a heavier emphasis on string orchestration. Like an album such as The Call of the Wretched Sea, the change of pace, structure and instrumentation leave October Decay feeling like a sinking ship as the isolation of the guitar notes and percussion hits compresses you further and further towards the bottom.

Now I must admit that that Funeral Doom is not my thing, if that isn’t obvious by now. October Decay does not sound like an Esoteric or Bell Witch album. This is much closer to bands like Saturnus or Shape of Despair; still very much in the Death Doom category, but slower tempos, longer songs and dreary atmosphere bring it closer to the grave. Sinking to the bottom of the ocean have never felt so beautiful.

Best Songs: Frozen Tomb, Decay of Emotions, In Silence, First of October

The internet is losing its shit over the cover of a black metal record featuring an armour-clad male in corpse paint lay on a bed of red roses, gazing wistfully into the camera lens whilst his sword is casually placed front of shot. It is an unexpected cover shot in many ways, yet it is also in keeping with the contents of the record itself. Cruel World of Dreams and Fears possesses an innate poignancy within its sound of strained melodies and catchy percussion patterns. It is very much on the south side of gaze (which is a massive positive in my book) yet at the same time is not entirely conventional in the black metal sound. Just as the album photo suggests, there are some depths to the record. “Is it AI?”, cry the internet purists. Well, I don’t possess any such detection means, so I will have to go with my own instinct instead.

The artist himself has many other projects ranging from trap metal to shoegaze. In a recent interview he said "I don't believe in rigid identities or linear artistic paths. I see every project as a vector—a path of escape,”. As the die-hards don their 1,001 nail arm bands and grab pitchforks and torches before they off marching en masse to Warsaw to demand Draugveil bathe in a vat of make up remover to banish any vestige of black metal from their being, I prefer to take a listen and understand what I can find on the album of any interest.

Amidst the clatter and batter of the percussion and the jangle of the tremolo, there sits a droning, whining and at times outright wonky guitar or keyboard melody. It invokes gothic tropes, nearing an almost new romantic appearance at times. It is an album that is unafraid of ambience also. ‘Beneath the Armor I Rot’ bristles with ethereal sorrow, the piano keys pinpointing moments of sheer beauty in what at times can be a frantic paced record to absorb otherwise. Dungeon synth influences seep into the record as well, not overdone yet not hiding at the same time either. The various elements that get deployed all do have a sense of balance about them. Yes, there are constants in the performance, but they maintain a connection for me as a listener, no individual element manages to alienate at any stage.

90’s generic black metal? Well, yes, it is guilty of that to some degree. That most certainly does not qualify it as AI generated though. Cruel World of Dreams and Fears is a good description of the reaction to this record I feel. We live in age when familiarity genuinely does breed contempt as an auto-response. A not too distant second place goes to the poking of fun and aiming humour at something that in one breath is accused of being generic yet in the other ridiculed for straying down a path of being too camp for black metal. Draugveil finds himself in an isolationist position, whether he planned it or not. Which again, is another huge irony that for all the criticism of it, the record ends up in a very black metal place still.

I find it difficult to believe that Ufomammut isn't a much more well known sludge band, especially considering that they're absolutely perfect for the popular Fallen clan on Metal Academy.  Idolum was the first Ufomammut album I ever heard, if I recall correctly, and it's one of those few albums that sent my mental and metal spirits through a surprisingly comforting black hole of soul-destroying euphoria.  Everything is in total harmony, even the lenghty drone track at the end, which IMO succeeds in its attempts at bringing out atmosphere with length where the final track of Filosofem failed.  The best example of its incredible mind-warping powers is the gorgeous Ammonia, which reaches spiritual hieights of doom and psychedelia.  This Now the group was already as force to be reckoned with as early as the incredible Snailking, but this album ripped Snailking in half.  I'm glad this album at least made it to a Clan Challenge List.

Not content with just seven active projects, USBM misanthrope Drape (or E.X. to had slightly less mystery to him) first ventured into our ear space with three demos, a split, a single and an EP in what turned out to be a busy 2024 for him. This year sees the full length arrive, promising “six hymns filled with torment and regret”, and that we have “TRUE FUNERAL BLACK METAL” (the capitals are as the words are typed on their Bandcamp page). I am unsure if this is the announcement of a new sub-genre or not, but Beautiful Glorious Death Throes has a slower pace than most black metal releases for sure. It is suitably morose as well, with rasping vocals striking out from behind the din of guitars that swarm in front of them.

This duo (E.X. on guitars and vocals, Drugoth on drums) cast the grimmest of shadows over what is in fact just twenty-five minutes of low-fi black metal chaos. Whilst never straying into the frantic blastbeats of say Gorogorth, Drape still vary the pace from their funereal core nicely whilst never quite losing that lurching backdrop to the overall aesthetic. Clearly equipped with an understanding of the second wave, this is a pairing that soon convinced me of their kvlt credentials. That almost monotone, edge to the drumming made me think there was a drum machine deployed at first. With minimal bass presence, the sterile nature of the sound echoes in the vast cavern that it seems the album was recorded in.

Tracks such as ‘Lifeless and Corpsed’ are tormenting little numbers to contend with. The drums labour just enough to make you wonder if they are going to bother or not at times, whilst the guitar just continues to grind out that tremolo riff, occasionally allowing it to soar a shade higher to truly herald the growth of the track. But in the main, Beautiful Glorious Death Throes is a success largely because of its steadfastness. The album does exactly what it says on the tin. You can predict how the record is going to sound, just be looking at the necro cover, and if you love bm then you will not be disappointed in the no frills approach. This is a true celebration of darkness that is as consistent as the other EP and split that came out this year from these guys also.

I was recommended this by a friend on RYM earlier in the year and finally got round to giving it a spin. It appears that Destiny's End were a fairly short-lived USPM outfit that featured Helstar vocalist James Rivera. Forming in '97, they released a couple of albums before splitting in 2001, "Breath Deep the Dark" being the debut. If I do dip my toes into power metal, which I do like to do every now and then - I am nothing if not persistent - then it is to the US version that I turn. In truth this ain't sctually half bad and is a reasonable example of USPM, to my inexperienced ears at least. There is a whole heap of energy and enthusiasm on display here, along with reasonably impressive technical ability. There are a shed full of riffs and the soloing is energetic and frenetic without ever becoming too self-indulgent, with twin guitarists Dan DeLucie and Perry Grayson (who actually featured on the Isen Torr EP "Mighty and Superior" that I love) playing off each other to great effect. James Rivera's vocals are up front and in your face, which I guess is the norm for power metal and while he likes to exercise his range, he isn't much given to the vocal histrionics that ruin many a PM album for me.

All-in-all I would have to say that this was quite a nice surprise and I am a little flummoxed as to why Destiny's End are so obscure - their two albums are on here but have zero ratings so far. I have certainly heard worse USPM and I would definitely recommend this to anyone for who enjoys the genre. I am undecided whether it deserves a 4/5 just yet, so I have gone with a 3.5+!

It's tough when a promising band is marred with its founder's horrid allegations. But you know me as the kind of person who separate art from artist most of the time. If you enjoy something that's good or even awesome despite a problematic member, don't be shamed into not liking it. With that said, it's as good as The Breathing Process's debut but not as awesome as that band's next two albums. The symphonic blackened deathcore sound is combined with the tech-djent polyrhythms of Meshuggah.

Ovid's Withering also seems to have cranked up the keyboards in an attempt to sound epic. It's fine but a little too pompous, like slightly too reliant of the orchestration of Septicflesh. Still it's in good flow with the guitar harmonies, riffs, melodies, crushing breakdowns, and drumming machinery...

The dark djenty wonders commence in "Panikon Deima", in which the soloing appears to takes some hints from Periphery. Adding to the symphonic extreme-core is the guitar technicality and growled vocals, even power metal-esque fantasy lyrics. Next track "Oedipus Complex" has more of the symphonic black metal influences to remind some of Dimmu Borgir including some orchestration and higher shrieks. Final track "The Omen of Lycaon" is the most deathcore-fueled of all, particularly in the vocals.

I wouldn't say there's much originality in The Cloud Gatherer, but Ovid's Withering have made a well-produced EP. The aggression is never lowered by the keyboard atmosphere, though the latter could've been less overpowering. This, and those allegations, makes me hesitant to explore further. Nonetheless, enjoy these symphonies of aggression...

Favorites: All 3, but my true favorite is "Panikon Deima"

Ripper are yet another of the superb thrash acts hailing from the Santiago / Valpairiso area of Chile, forming in 2007 and still going strong. That said, the lineup that recorded 2016's Experiment of Existence is very different to today's with only band founder, guitarist and vocalist, Patricio Spalinger, remaining. The entire album was written by bassist Pablo Cortés who departed in 2019 and is now to be found in death metal acts, Suppression and Ancient Crypts. As is fairly typical for the chilean thrash scene, Experiment of Existence is very tightly performed and especially aggressive deaththrash that captures the essence of something like Seven Churches, but with more ambitious songwriting and a greater emphasis on technical skill.

One thing you may have come to expect when you spin a chilean thrash album is that you are gonna get some killer thrash riffs along with electrifying soloing thrills and Experiment of Existence certainly doesn't disappoint with Ripper delivering in spades. One particular area where the chileans excel though is in the rhythm department and, again, Ripper tick that box too. Drummer Nicolás Villanueva, who was also sticksman for another favourite of mine, Parkcrest, is an excellent thrash drummer with a powerful and busy style that never misses a beat and his timekeeping drives the tracks at considerable velocity throughout. As I mentioned earlier, bassist Pablo Cortés wrote the album and this may be one of the reasons for the prominence of his driving and fairly complex basslines although, in truth, a prominent bass presence in the mix is yet another telltale sign of the modern chilean thrash scene. Patricio Spalinger's vocals are are of a vemomously ascerbic style that sounds like it takes a lot from Chuck Schuldiner's influence.

So, basically, Ripper have reached back to one of the most interesting times in metal's development as thrash was inexorably metamorphosing into death metal and given it a modern makeover with generally better production values and technical competence whilst never losing sight of what made those times so exciting in the first place. The tightness of the performance is a testament to the four guys' ability and you will be hard-pressed to find a metaphorical musical hair out of place here. Experiment of Existence is a triumph of high velocity, aggressive and muscular thrash metal that proves that thrash didn't die in the 90's - it just moved south!

This ongoing symphonic deathcore journey of mine has led me to many epic has led me to several masterpieces of epicness and brutality. The more I discover, the more I understand the style's greatness. The Breathing Process has a couple awesome releases that I wish I had discovered earlier instead of recently. They've gone through many changes in lineup and location since forming in the early 2000s. At the time of Samsara's release, they had 7 members including 3 guitarists. As with their previous album Odyssey (un)Dead, Samsara has their usual blend of symphonic deathcore and blackened melodeath. Two glorious releases separated long apart, like Romeo and Juliet!

After being signed by some record labels for their first couple albums, Samsara was released independently in 2018, on my country's independence day, August 31. Lots of independence! The album includes a limited edition digipak for digital purchase. For this album, the band didn't just record themselves performing, they've also done all the mixing and engineering. The end result is an epic organic experience.

Just like how their first two albums opened, "Et Hoc Est Infernum" is an ambient intro with sorrowful orchestration and piano. The actual opening song "The Traveler" is a long heavy start to this dark adventure. Blackened tremolos, deathly riffs, and rapid blasts assimilate into an extreme combo. You can also hear some smooth guitar melodies and keyboard atmosphere. More of those symphonics appear in "Into the Night", one of my favorite tracks here. The guitar melodies and breakdown brutality are so delightful. "Supervoid" is more brutal than anything they've done before, delivering the breakdowns and growls of deathcore faster than light or a black hole.

In contrast, another highlight "The Conscious Observer" starts off melodic. However, the guitars and growls are still around, perfectly balanced with the melody. I also love the midsection guitar soloing that's a nice pleasant break from the blackened chaos. "Servile" opens up a heavier dimension of deathcore, more in the brutal side as opposed to the symphonic blackened side. The latter sound continues to strike in "Dethroned".

"The Nothing" has more of the band's earlier symphonic black metal insanity, keeping you engaged all the way up to its outro. Next is the more mellow "Sungrazer", and even then, it still has merciless heaviness and speed. The blackened blasts sounds so kick-A, and if anyone has barely heard that in earlier albums beforehand, they would think the drummer is more machine than man. The bass grooves flow well with the riffing by the talented guitar trio. The astonishing heaviness and synergy is what any metalhead can wish for. "Absolute Truth" has more memorable progressive structure. If Make Them Suffer continued their earlier epic blackened deathcore phase, this is that!

With all this epic brutal fury at hand, Samsara is a 10-track beast that I'm glad to discover and add to my symphonic deathcore recommendations list. There are many melodic moments, as much as the brutal ones, creating something crushing and emotional. The Breathing Process have proven themselves to be a brilliant band that should be for anyone into both symphonic deathcore and melodeath. Don't sleep on it, spread the word!

Favorites: "The Traveler", "Into the Night", "The Conscious Observer", "Sungrazer", "Absolute Truth"

With their second album Odyssey (un)Dead, The Breathing Process add more complex talent to their anthems, with different tempo variations. And HOLY F***, what a memorable leap compared to their debut! There's more emotion without losing any brutality, the thing I once feared but enjoy a lot now.

No matter how beautiful Odyssey (un)Dead can be sometimes, The Breathing Process seems lost and almost unheard of in the metal world. It's sad because their technical madness is quite underrated. No metalhead should miss out on this symphonic deathcore/melodeath chaos of machine gun blast beats, ravaging rhythms, and even background symphonic keys to give the intensity some atmosphere. This album has all that and then some!

"Hours" is a prophetic intro, and I say that because of the spoken sample, "Me, I service the machinery of death so that people can eat. If that makes me evil, then so be it." Then the instrumentation rises into dark pounding fire. The band's original sound already reaches its height in the speedy "Grimoire". They unleash their complex skills in not just the guitars and vocals, but also the keys, bass, and drums, in a prime example of their sound. And there's more of this wild ride in the next track... "Leveler" has some of the best keys here, sounding epic and spacey. That kind of makes the monkey jungle outro a bit unfitting, though I digress. "Vultures" introduces a new aspect to their sound, female singing. Beauty within the heavy beast! Still there are different twists and turns as the song goes on, until the sweet chords and grooves fade into melancholic piano and bass. Epicness supreme! The intergalactic blaze of "Pantheon Unraveling" really burns up. Smooth bass grooves hit alongside raging blasts, guitars, and synths. This shows that something graceful can come out deadly as well.

One interlude to tone down the intense chaos is "Starless Eternal". This short track can have a bit of progressiveness and allow you to imagine a starless darkness conjured by the keys and drums, building things up before the next song... The title track has some d*mn brutal talent. The progressiveness shines within the blend of heaviness and emotion. Already sounding original in the brief mechanical intro, "Metamorphosis" is also filled with absolule g****mn fire. Anthemic rage pours from the chords, vocals, and icy keys, making perhaps the most powerful highlight of the album! "Hordes" has more complex brutality, especially in the chaotic final third.

"The Living Forest (Part I)" has searing blasts and haunting keys, closer to the earlier symphonic black metal darkness, though there's also a technical breakdown. "Wind Ritual" is the intermission before the second part, basically female clean-led blackened death-doom. "The Opaque Forest (Part II)" rips things apart while whispers, growls, and singing fills the vocal air. "Decaying (Form)" caps it all by summarizing everything in its first half, alternating between soft and blasting sections. And what a tearful outro!

The 6 members of The Breathing Process came together to work on this epic underrated creation. Odyssey (un)Dead might just be my favorite album for these earliest days of symphonic deathcore, and I would certainly be up for more of this band. If you wanna hear epic deathcore's true beginning besides Winds of Plague, let's f***ing go!

Favorites: "Grimoire", "Vultures", "Odyssey (un)Dead", "Metamorphosis", "The Living Forest (Part I)", "The Opaque Forest (Part II)", "Decaying (Form)"

My symphonic deathcore expedition has led me to what might just be the earliest band of that sound besides Winds of Plague, The Breathing Process. This American band from Connecticut has practically invented the idea of a symphonic deathcore/melodeath blend while also throwing in some Scandivanian-style melodic black metal. It's a mix of epic and extreme that barely any other band had attempted before...

Having just come across their debut In Waking Divinity, I have to admit, it's not as glorious as the later more popular bands of the league. However, it's slightly better than other humble beginning attempts at a niche subgenre. I also admit that the band name is a little goofy, but not bad enough to qualify for the "sh*ttiest band name" thread.

The album's intro "The Hunter" is an ambient yet heavy start with some samples. A bit pointless, yet I approve. The title track impresses me with heavy guitars, skilled drums, and killer vocals. While the symphonics are more oddly placed compared to the later bands of the league, I enjoy the more metallic headbanging sections. Great start, though keep that in mind before the remaining full songs of the album follow the same formula. "Lament Configuration" is a melancholic piano lament. "Blessed, Be Thine Martyr" basically continues the melodic deathcore sound of Bring Me the Horizon's debut Count Your Blessings and blends it with the symphonic black metal of Abigail Williams around that time. "Pandora's Rebirth" has more unique identity. I love the chorus in which the vocals appear over background synths, reminding me of Bleeding Through.

Not much happens in the 24 seconds that make up "Oceans". However, "The Harvesting" attacks like a symphonic Despised Icon. Melodic and technical riffing are more balanced in "Prey" which isn't amazing but I approve of this stylistic blend.

"Legion's Prayer" is one more piano interlude. The winning highlight has to be "Dear Antigone" with lots of vicious headbanging moments. "Somnium" has more interesting progressiveness. It starts doomy with spoken vocals, slowly building up before a final climax. A bonus track in some editions, "Inferno" is an earlier track from the I Am Legion demo, and I love the clean chorus here. If they had more of that in the actual album, I would rate it higher.

I think the title track and those 3 full songs at the end are what you need if you're checking out this band and album for the first time. While a couple tracks in the middle and the interludes are average, In Waking Divinity is still a good start to the then-unpopular symphonic deathcore trend. Not to be missed out, but it's fine if it is....

Favorites: "In Waking Divinity", "Pandora's Rebirth", "The Harvesting", "Dear Antigone", "Somnium", "Inferno"

If there's one thing that most of our regulars would know about me by now, it's that I call 'em purely as I see 'em & I don't give a fuck what the general consensus is. I like to make up my own mind about things & won't be swayed by what the cool crowd thinks. With that in mind, this week I decided that I really should have an informed opinion on one of the most successful yet heavily divisive metal acts on the global scene in Florida's Limp Bizkit. I'd never heard a full record by them before as I'd always assumed that they'd be none of my business up until now but, you know what, this shit ain't half bad. These dudes certainly know how to write a catchy hook, how to play their instruments & how to create a throbbing mosh pit anthem.

I was surprised at how many of the fifteen tracks I knew as there was clearly a whole slew of hits taken from this record but it wasn't always the well-known stuff that I found the most appeal in. Another thing that I perhaps wasn't prepared for was just how good a rhythm section Limp Bizkit had at the time, particularly the bass guitar which really drives a lot of this material. I don't think there's any doubt that front man Fred Durst's personality is what turns off most metalheads & I can see why as his message can often be summarized as meathead fodder but his macho posturizing can't disguise the obvious Eminem influence in his whiny rapping which I would suggest comes across as nothing more than tolerable. In fact, the rap component in Limp Bizkit's sound is really significant (perhaps more so than most nu metal bands) & that's usually the element of the subgenre that I struggle with the most but I've somehow managed to overlook it here, despite Durst being one of the more overt exponents of the craft. And once I managed to look past his immature personality to the groove-laden music behind him, I discovered that Limp Bizkit had more creativity in their kit bag than I'd ever given them credit for.

All of the hits are pretty enjoyable to tell you the truth with "My Way" being my pick of the bunch but it's the strength of some of the album tracks that surprised me the most with "The One", "Getcha Groove On", "Boiler" & particularly the outstanding album highlight "Hold On" really getting under my skin. Unfortunately, the album is book-ended by some much weaker material though with opener "Hot Dog" falling victim to Durst's idiocy, the Urban Assault Vehicle version of "Rollin'" being a total mess & the almost ten minute "Outro" track being absolutely pointless & a complete waste of your time. The remainder of "Chocolate Starfish & the Hot Dog Flavored Water" is well worth hearing though & provides further proof that you shouldn't believe everything you read. Perhaps I won't go running out to indulge in the remainder of Limp Bizkit's back catalogue any time soon but I can honestly say that this record isn't any worse than the majority of the subgenre, even if it doesn't compete with Linkin Park or Korn's best work.

For fans of Korn, System of a Down & P.O.D.

Norrhem’s fourth full length release has been bobbing around near the surface of my fathomless pool of new releases this year for months now. As soon as I get into it again, something else distracts me and then I go back see it marked as a “contender” on my list of new releases I am working through, and I remember to give it some more plays before I fallback into the whirlpool of new music that I cycle in nowadays. Nominating it for feature release in The North clan this month had a hidden purpose of giving its review an added dependency.

Now, I am not overly familiar with pagan black metal, however I do know a hint of Moonsorrow when I hear one and after multiple listens, I think that the reference is the nearest I can make to how I can define the sound here. The tracks for the most part have solid, driving rhythms, offset with acoustic, atmospheric passages that give time for reflection. Clearly Norrhem have a deep sense of pride in their Finnish heritage and this nationalism is strong in the sound of the music. Embracing the melodic aspects as they do on Aurinko ja teräs alongside the more choral/chanting effects makes for a good mix of foot stomping black metal that carries an almost hidden catchiness (in the sense that it takes a few listens to pick up on it – well at least I did). Unexpectedly, I find some of the tracks quite warming, despite the colder atmospheres associated in general with the music.

I did baulk at the symphonic comparisons I saw with other bands but, again, upon repeated listens I did start to increasingly notice this in the sound. Even when the band drifts a bit too far on the eerie ballad ‘Mullan marttyyrit’, they still manage to make it work well in the grander scheme of things as a (albeit slightly grandiose) intro to the title track. Despite this symphonic and pagan meleé the band can add a great selection of riffs into play also, ranging from the squally efforts on ‘Hävitetty maa’ through to the relentless chop of ‘Teräsmyrskyssä’ which is my album highlight here. Some of the keys remind me of 80’s pop whilst on other occasions they sound like chimes straight from a Burzum record.

Aurinko ja teräs has worked its way onto my rotation with an almost dogged determination. It is not my usual bag really but is hardly celebrating sub-genres that I go out of my way to avoid either. My overarching sense from multiple connections with it is that the record grows stronger as it goes on without quite reaching the imperious levels of pagan black metal that Havukruunu have achieved in recent years. It is unlikely to walk away with any massive accolades this year but it certainly deserves recognition.

Take the heavy guitar leads from modern Arch Enemy, combine it with some Arch Enemy style vocals, a percussion work that feels eerily similar to Arch Enemy and....wait.

It's hard to dunk on a band who are just trying to get their feet wet, but when that band in question has nothing unique to add to the table, it makes me lose focus in record time. Hiraes are a German melodic death metal band with Dormant as their second full length studio album. And as I alluded to from the start, Dormant doesn't really do anything to separate itself from its clear primary influence. What does one do to stand out in a landscape of second wave melodic death metal? You could go the Aephanemer approach and bring the symphonic embellishment to the forefront. Or you could try the progressive/folk approach like Eluveitie or Aeternam. Hiraes do have some symphonic development here, but it is all very conservative in its usage; no song on this record is either benefited or detracted by having a orchestra. It simply adds to the density of the recording, but without providing something of its own value.

Dormant is one of those albums that promises to be a heavier Arch Enemy...which it is. The guitars alternates back and forth between very standard melo-death leads, chugging riffs and the occasional tremolo picking sections. The percussion is a lot more engaged on Dormant than it has been on recent Arch Enemy projects like Deceivers and Blood Dynasty. But the whole project is brought down by the generic vocals. Britta Görtz has a strong presence behind the microphone and performs with great diction. But the delivery itself is monotonous. Britta's vocal range feels very limited on Dormant and the ramped up intensity that was promised at the start feels underutilized, since the rest of the music doesn't play into her strengths. Ironically, some of this albums better songs are the ones that stay at one intensity for their entire duration. Songs like "We Owe No One" and "Nightflight" benefit the underwhelming vocals, while the more "progressive" leaning tracks like "Red Soil" do absolutely nothing for me.

When I listen to Dormant by Hiraes, I hear a band that just wanted to make music together, but without any sense of direction as to what to do with it. This band is listed as having in formed in 2020 when the world was engulfed in an economic lockdown so finding something to do with friends was undoubtedly important so as to not go stir crazy. They are clearly in love with Arch Enemy, which is not a bad place to start if you are creating melodic death metal. But now, after the bands second studio album, they need to walk their own path and not lay Dormant to the changing tide of modern melodic death metal.

Best Songs: Chance to Fail, Nightflight

I am not super familiar with a lot of metalcore, outside of a few big names like Converge and Trivium and I have only very recently tried to explore it further. I find a lot of it to be very samey, with little to differentiate a lot of the bands, but Earth Crisis certainly are not one of them. Destroy the Machines sounds very much to me like a straight edge band that has discovered Sepultura's Chaos AD and thought "We'll have some of that". I like quite a few straight edge bands, even though they can be annoyingly preachy, and Chaos AD is a great record, so that combination works really well for me.

Vocals can often be a personal bugbear with metalcore acts, but Karl Buechner has a raggedness to his voice that makes it sound less shouty and forced than most and that is definitely a plus. A lot of more modern metalcore feels like it has moved away from the punk side of the equation, but Earth Crisis are most definitely authentic when it comes to their punk credentials, which gives the album a looseness that allows it to breathe rather than the constipated tightness of more recent metalcore orthodoxy. The riffs are great, even pretty groovy at times, yet still contain a lethal agressiveness that lets everyone know exactly just how pissed off these guys are. If more metalcore sounded like this then I would most definitely be a bigger fan.

The scathing attack of Demoniac is a welcome approach to how I like my thrash metal. With a frantic pace to proceedings, So It Goes stamps and stomps a mark in sheet steel when the band are in full flow. Those sneering vocals and razor-sharp riffs over a plodding bass and relentless drums makes for a great combo. As such, there are parts of the record that connect well with me. The Kreator and Sadus vibes are strong in this group. Heck, even the progressive wizardry of Vektor gets incorporated into the Chileans sound. At face value, this is exciting music for any fan of thrash or speed metal. As always though, there is a lot to be said for some adherence to some semblance of control and restraint.

Whilst it is not unheard of that I am alienated by a band’s sound or chosen style, sometimes even by an individual track even, I would not call it a regular occurrence by any means still. In those moments when I detect that sense of “WTF is this?”, then this usually does not bode well for the artist or release concerned. The clarinet is not an instrument many of us would associate with metal music. Its inclusion here on So It Goes is an absolute bolt out of the blue for me and no matter how hard I try to fathom the rationale behind its appearance, I cannot attribute any reasonable logic to it. It just seems like one of the band members plays the clarinet as well as guitar and so they have included it on the album. It holds no place on the record for me beyond setting some element of atmosphere. Its timbre is too bold and the texture it induces is too warm for the aesthetic of the music Demoniac play. What annoys me even more is that there is no need for the band to try and make themselves stand out by way of such a gimmick. Demoniac can play. Some of their lead work is mindboggling. Their vocals are perfect for blackened thrash and that drummer certainly knows his way around his kit too. Hell, even the bassist can make their presence known without taking over whole sections of tracks with progressive wankery.

I cannot say the clarinet rules my experience of the record, there’s far too much high level, well played, intense thrash metal being played here for that. However, it does ruin the album for me overall. It is just so unnecessary an addition and it retains an almost anarchical presence when considered with the rest of the record. So much potential here as well but this one is destined for the lower end of my ratings.  So it goes, indeed.

Belgium is at it again. That often-forgotten corner of the global black metal community that likes to give it large with the synths to really add some atmosphere whilst still retaining the requisite amounts of rawness to remind us that production values still don’t mean diddly-squat. Forbidden Temple has seven years of marauding, atmospheric bm under their bullet belts. Espousing witchcraft and good old-fashioned paganism as some of their key topics of lyrical discussion, this trio (don’t really know how fulltime the keyboard guy is) now have two albums to their name. You will have to scour YouTube to find them, as they are released on suitably obscure and shadowy labels only (no Spotify or Apple Music quick search items here thank you very much).

In the Rotting Grave certainly sounds like it has been recorded south of ground level. It is full of dank riffs and lumbering synths. Creating doom-like atmospheres seems to be an organic output to what Forbidden Temple do. The opening to ‘Mephistopheles Nightmare’ with its choral accompaniment sounds perfect before it gives way to some solid riffs and haunting keys, the drums all the while are bashing away like some dementor with two bits of wood and a stool and some pedals. The Norwegian influence is still very clear throughout the record, with early Darkthrone being a clear similarity from the off. However, there’s some Mortuary Drape and Samael kicking around on here too. FT are all about the late 80’s and early 90’s bm scene baby.

Not much is known about the members of the band, yet it is clear where their hearts lie in terms of influence. Whilst the aesthetic is very DIY in terms of production the performances themselves have layers and textures. The result of this is that whilst In the Rotting Grave retains a distinctly murky and cold charm to it, utterly devoid of any grandiosity, at the same time it has a deep-rooted warmth to it that reminds me of Varathron also. This dynamic tends to hide in plain sight, adds to the constant sense of mystery and necrotic wonder of the album for me. I feel like I know exactly where I am going each time I listen to it, yet I hear something new each time I listen. Not that repeated listens uncovers new instrumentation or extrovert direction, more that subtle melody lurks in corners not fully explored the last time around.

So where does it sit in the year list? Well, it breaks into the top 20 without managing to challenge the higher scores, relying as it does on purely old school qualities to separate it from the pack to any degree. There is a lot to enjoy here however and I would suggest it will continue to be revisited for some months to come.

HOW?!? How did I not discover this awesome modern metal band earlier?! Remember what I thought of Becoming the Archetype's debut Terminate Damnation? Hope for the Dying's most recent album Legacy basically continues the progressive melodeath/metalcore sound of that album but with more symphonic/neo-classical elements. Many people who enjoy this band have started off with Dissimulation or Aletheia, but my first encounter with Legacy makes me wants to check them out for the first time soon.

While there are some similarities to Terminate Damnation in terms of the sound, flow, and track lengths, there's only one interlude that is the intro. That's OK, because the rest of the album stands out as is. Before we get to that, I'd just like to point out the album cover. It may not be by Dan Seagrave, but it still has that epic Game of Thrones vibe.

So "Aurora" is a nice orchestral intro that lasts for a minute. "Setting Sun" fits greatly with its title, setting the album's tone in stone. The haunting keys shine greatly alongside the heavy guitars. The best place for progressive diversity is "Flame Forged", one of my favorite tracks here. Then we have the relentless "Narcissus" that continues its blend of heaviness and melody from beginning to end.

However, its abrupt transition into "Nemesis" is a bit jarring. My perfect 5-star rating still stands as that next track brushes aside that misstep with heavy dissonance. Lyrics like "I was a slave to my own demons" and deathly growls by Becoming the Archetype frontman Jason Wisdom makes that track another standout. I also love the guest gutarwork by Elisha Mullins (The Burial, Miss May I, War of Ages) including the Van Halen-esque divebomb at the end. "Trenches" is another fantastic dish of heaviness and symphonics that stays speedy until its slower ending section. "Wretched Curse" lets you rest in a slower tempo for the first couple minutes then speeds back up again.

After the previous track's brief soft moment, "Wander No More" has searing guitars to rip you apart. My ultimate favorite track of the album is the 9-minute title epic that really packs some punches. A smooth two-minute bridge comes in midway through before some blazing soloing out of nowhere. Then it ends with soft strings. The last bit of triumph comes in "Adamantine" which is an excellent summary of this glorious literal hour. And finally some soft piano to end it all.

As brilliant as Terminate Damnation is, Legacy is another huge deal of modern epicness. Every layer is absorbed through your ears into the brain, and you'll be able to experience this unique creativity in no time. You can expect headbanging metal sections, soft orchestral bridges, and different time signature changes. Just like Terminate Damnation, this offering is a standout in the Christian metal scene that can please both Christians and non-Christians. If I thought Mechina's Progenitor was the best album of 2016, that award might just be passed over to this album. There's still hope for Hope for the Dying to come back with something fresh to maintain their legacy!

Favorites: "Flame Forged", "Nemesis", "Trenches", "Legacy", "Adamantine"

As my symphonic deathcore expedition continues, I've just encountered this band from metal's motherland Finland, Assemble the Chariots. With their storytelling symphonic melodic death metal/core sound, they're like a more conceptual Shadow of Intent and Lorna Shore. I think of all the releases of this genre I've explored so far, this might truly be the most saga-filled one yet!

Although their full-length debut Unyielding Night was released a year before this review, 2024, they've actually released a series of EPs dating back 15 years prior. With their sign-in to Seek & Strike records, it was time to unleash their epic storytelling deathcore to the world.

"Aquilegia in Peril" begins it all with that cinematic blend of symphonics and narration. Then "Departure" launches into metallic blasts that blend with the epic orchestration. The riffing and harsh vocals add to this intriguing mix. "Admorean Monolith" has some powerful bass groove alongside highly diverse metal aggression. "As Was Seen by Augurers" fires away with drumming impact. The screams and growls alternate with great unpredictability. "Shimmering, Pulsing Glow" is another string/narration interlude.

The ominous melancholy is decimated by the furious "Evermark". Absolutely brutal growls and intense riffing there! Introducing "Reavers March" is the usual savage battle between metal and orchestra. I love the impressive shredding! "Ephemeral Stream" is a different story, with soft piano and cleans by Milma Laitinen for something calm while still dark. "Emancipation" blasts forward again like a machine gun (no Kelly). As we have more of the demonic harsh vocals, we also have some operatic cleans by Nitte Valo (Dreamtale, ex-Battle Beast). "Keepers of the Stars" is a catchy headbanging highlight with kick-A drums and leads. "Empress" has more screaming chaos.

"Last Line of Defence" is one more interlude, to get you geared up for the final battle of this story. Warhorns begin the war in "Galactic Order", getting you excited with the theatrical orchestration, crushing metal, and charging vocals. "Equinox" is the grand ending epic where the ultimate climax occurs. The final bit of energy is used wisely, all the way up to the glorious end. That's the kind of closing epic that I enjoy!

Unyielding Night is probably the most ambitious and conceptual album in all of symphonic deathcore. Many different layers can be found in the deathly fury, the symphonic orchestra, and a voyage of a concept. You gotta appreciate the time it took for this to be made. The long wait was worth it. Here's to the next part of the Ephemeral Trilogy!

Favorites: "Departure", "Admorean Monolith", "Evermark", "Reavers March", "Emancipation", "Keepers of the Stars", "Equinox"

Themed around the Kubler-Ross model (the five stages of grief), Mares of Thrace fourth album is an uncomfortable listen for anyone who has endured any kind of loss. Be that the death of a loved one, the breakdown of a relationship or the end of a friendship, The Loss feels multi-faceted in its possible applications for its listeners. Playing as a multitude of elements, ranging from noise rock through to sludge and on into acoustic passages, MoT keep the attention with this array of seemingly transparent yet emotionally heavy collection of tracks.

Previously unknown to me until this past week, the duo of Thérèse Lanz and Casey Rogers have made an impact immediately in my world. Whilst the tracks are charges with a jarring and lumbering intensity, the riffs do not rely on simple heaviness for impact. They have an almost loose quality to them, played as if in organic creation in some jam session, their blend of dark rock ‘n roll adding an interesting edge to proceedings. Similarly, the drums follow an uncomplicated path. Sat just right in the mix, they undertake the perfect supporting role. Operating just under the fuzzy haze of the strings they are a solid foundation for the bashing bleakness of The Loss.

The star of the show though is most definitely the vocals. As you would expect from my description of the album thus far, the vocals of Thérèse are not pretty. They are incredibly versatile in the reactions they can invoke in the listener, however. For me they mirror frustration, desperation, unfathomable sorrow, scathing fury and stinging vitriol across the nine songs that make up the record. At times they do bring tears to my eyes, such is the level of pleading futility that is on display on some songs. It feels like they are on occasion, seeking refrain from the relentless cycle of grief that I so brilliantly exemplified by the music. I am no expert of the Kubler-Ross model, but it feels like the songs are well researched and as a result are performed in a legitimate and convincing way.

The album highlight for me is penultimate track, ‘The Fifth Stage: Depression’. Anyone with any experience I would imagine would find this track a valid exploration of the horrible affliction. Here, the desperation borders on being demented. The utter, all-consuming sense of being completely overwhelmed and rendered dysfunctional by the illness is exhibited in HD on this track. You can hear the vulnerability, the rawness of losing someone and the agonising disintegration of your reality at the same time.

MoT have the uncanny ability to make their songs sound as the track titles suggest they should. ‘Complicated Grief’ has an air of challenge to it, for example. Meanwhile, shock, anger, denial and even acceptance all get personified in the corresponding track performances. The Loss is (ironically) an album that gives me so much. Possibly an early contender for album of the year, it has connected with me so instantly and so effortlessly. It is one of those albums that I am beyond being merely entertained by, I am genuinely grateful to have heard it.

I had a quick look to see if I had encountered Structure's main man, Bram Bijlhout, before and the only time our paths have crossed was Officium Triste's 2013 album, Mors Viri, which I honestly can't remember listening to and which I rated a measly two-and-a-half stars, so not an auspicious start then. However, whether my long forgotten score is an accurate reflection of Mors Viri's quality or not, one of us has changed because I honestly cannot express how utterly affecting and emotional I found Heritage to be. This may sound a bit odd considering Pim Blankenstein uses the guttural growls of extreme metal and the ponderous riffs are huge, crushing affairs, but there is also a melancholy yearning oozing out from under that crushing weight which is often accentuated by lighter instrumental moments.

Heritage actually straddles the line between death doom and funeral doom, allowing for well-executed tempo variations that ensures the generally medium-length tracks don't succumb to saminess. The riffs are melodic and memorable in the main, and really do strike an impressive balance between musical and emotional weight, providing the discerning metalhead with more than enough heaviness to satisfy their craving whilst simultaneously tugging at their heartstrings. The lead work often soars above the miasma created by the riffs, rhythm section and guttural growling like a released spirit taking its leave of the soul-crushing grind of earthbound existence, shrieving itself of its earthly cares and reaching towards its personal nirvana.

I haven't sat down with a lyric sheet, so I don't know what the philosophy behind Heritage is, but for some reason I can't help but feel uplifted and hopeful both whilst and after listening to it, as if it is saying, no matter how hard and heavy things may be, ultimately everything will be OK. This may be fanciful on my part, and yes, it is steeped in melancholy and a gruelling weight, but there is a ray of something more at the heart of the album that genuinely makes me feel good and that is something that I have found in very short supply in recent times. I am exceedingly impressed and it will take a fucking great record to beat this to my AOTY for 2025.

Way back in 2007 or so (damn, that’s nearly 20 years ago), I was lurking on a doom metal forum associated with Southern Lord: mainly for discussions and announcements for new albums. There were a number of musicians on that site who discussed their new projects. One such person was Blake Green who announced his first release as a duo with Brittany McConnel under the name of Pussygutt – a doom-laden drone metal band. In 2010, the multi-instrumentalist duo changed their name to Wolvserpent, Perigaea Antahkarana is their second full-length album.

Bookended with nature recordings of wind, a fire crackling and cawing crows, this is no one-paced drone metal release. Yes, we have big repetitive droning guitar riffs, pounding drums and synth and droning violin layers. But we also have: massive doom/stoner riffs, post-rock style ethereal violin build ups akin to Godspeed You! Black Emperor leading into an atmospheric back metal sound; guttural funeral doom style vocals from Blake and ethereal dark folk style chanting from Brittany. Layers of sound that provide a truly immersive experience. I’m no musician, but I would imagine pulling together diverse influences into a truly cohesive work is no easy task, but the duo do this seamlessly.

I see lots of reviews describing the sound as dark and its association with winter, but to me this is both lush and bleak, light and dark, and this was the perfect album for this glorious summers day.

A drone metal album? I guess, but this contains a whole lot more. Wonderful

I was first introduced to the band God Forbid at Mayhem Festival 2009 when myself and some of my more metal friends took the trip across the border from Ontario to Michigan. We had been to Mayhem Festival the previous year when they visited closer to home, but this time we had to do some cross border shenanigans. They played the same stage as Trivium and All That Remains; both bands I was quite familiar with ahead of time. I thought "oh cool a new American metalcore band to dive into. Then I listened to the music and was immediately turned off.

Don't get me wrong, I do think that GF (God Forbid) had talent, but one listen to Gone Forever and you could tell that this band wasn't performing at full capacity. They could write solid hooks and the overall compositions were thoroughly constructed, but to expand these concepts beyond the initial honeymoon phase, God Forbid transforms into a painfully generic melocore band. Like those bands who played Mayhem Festival with GF in 2009, they would use decent song structures, breakdowns did not serve as interjections, and they could write an above average chorus. Unlike Trivium and All That Remains, this consistency does not pan out for an entire album. "Antihero" and "Force-Fed" start the album quite strong, but by the time we get to "Soul Engraved", "Judge the Blood" or even earlier songs like "Precious Life" you can see that the well runs dry fast.

And it isn't helped at all by the clean vocals. If they had ditched the clean vocals entirely, Gone Forever could have been an above average 2000s melocore record. But GF's clean vocals are so sheepish and non-committal. It's the kind of raspy singing you expect to hear out of Rob Flynn. Similar metalcore bands would have clean singing also, but those vocals were a clear counterpoint to the harsh screams; whether it be dual vocal acts like The Devil Wears Prada or Alexisonfire, or the rare vocalist that could do both by themselves (i.e. Howard Jones, Matt Heafy). On Gone Forever, GF are trying to cash in on a trend to get popular, but can't even do it correctly.

If Gone Forever sounded closer to an Unearth album like The Oncoming Storm or III: In The Eyes of Fire without any clean vocals, we might be telling a different tale. That still wouldn't change how this album loses momentum halfway through, but at least it would be slightly more tolerable to listen to. God Forbid fall into the singles band territory, where their best songs are the ones promoted by the record label and radio. After those however, you won't miss much.

Best Songs: Antihero, Washed Out World, Living Nightmare

Ex-Officium Triste guitarist, Bram Bijlhout raids his old band for assistance as he drafts in Pim Blankenstein to deliver vocals on his debut full length under his solo outfit, Structure. Not being familiar with Officium Triste at all, I cannot say how much similarity there is here between the two acts. Plus, I do not think it would be best use of the review either, especially given the obvious quality of Heritage. As a standalone, atmospheric doom/death metal act, Structure is a strong offering. How we got here is not necessarily as important as enjoying what we have got here. Heritage is a fine debut album, one that sounds like it has been put together by established artists with a strong ear for immersive compositions that the listener can absorb as opposed to just listen to.

In attempting to put some of the above into coherent reference to parts of the album, one’s attention is immediately drawn to the rich melodies of the guitar that soar alongside the intense weight of the riffs that you would expect to hear on any doom death release. Adopting an almost funeral doom depth at times, the guitars go for the very depths of the sound at times, yet they also create big sounding, almost rock-esque riffs on other occasions. ‘What We Have Lost’ showcases this perfectly. Unafraid to take off into more mid-paced territory, this track develops into much more than standard doom death fare would normally permit. This early, promising trend continues across all of Heritage I am pleased to report, resulting in a very fulfilling experience. Whilst it most certainly is doom death at its core, this is a record that holds no trepidation for expansive compositions.

Clearly well-produced, the sound on the album is big, surrounding the listener in all the glorious tropes of the instrumentation present here. Those keyboards are elevating and elegant, adding distinct majesty to the darkness, uniting with the melancholy of the guitar perfectly. Both elements do really work well in tandem with one another, the guitar comes out with the upper hand still though, maintaining prevalence throughout much of the album. As a reference point, I am reminded often of Shape of Despair when listening to Heritage, such are the acute levels of melancholy and the sense of the sheer distance that is created in the atmospherics. At times I would go further and say there’s a bit of Bell Witch present here also. The dramatic opening to album closer ‘Until the Last gasp’ lives up to this comparison for sure.

If I were being super-critical, I would be asking for a little more from the drums, which do sound a little timid at times. Just the slightest of an increase in space in the mix would have afforded them a greater presence. Whilst this measure of component parts does allow for the focus on the guitars and vocals, it does diminish some of the power behind tracks such as ‘The Sadness of Everyday Life’. There is almost too much of a distance between them and the rest of proceedings. It is a minor compliant however on an album that is a consistent, intriguing and above all else immersive experience end-to-end.

While Slayer decided that the speed and aggressive of Reign in Blood, other bands decided that this was too soft for them. Dark Angel is one of the bands most known for doing this.
I kind of disagree with this common view of the album. I'm sure on a BPM and note for note level, Darkness Descends is far more aggressive. But Reign in Blood has more factors contributing to it than pure aggression. Darkness Descends has a lot more warmer and less slick elements to it, having more amateurish production. In line more with NWOBHM albums and subsequent early thrash albums not feeling the need to come into a room and scream that they're thrash metal albums. And compared to some later albums in general, this can come off as downright quaint at times.
Which isn't a bad thing, one's creative nature dies when one tries to limit oneself to what "should" be in a genre. Something that bands after Dark Angel would surely fall into, because arguably these guys don't expand on the formula all that much. Which is fine, ceaseless brutality is often boring and renders itself lifeless. In this regard, Darkness Descends comes as a missing link between early thrash and what British thrash would end up sounding like, a balance of the extremes.
But this album does feel a bit style over substance, even for the early years of thrash. Riffs are often of little importance to aggression, which considering the aforementioned, leaves it feeling unmemorable. Despite listening to it a number of times I can barely recall anything beyond a fuzzy feeling once the album is over.
It's a pretty good album, but ultimately you can see the faults that would eventually result in the genre's death for a while.

Katatonia have a special place in my listening habits nowadays.  The album Fall of Hearts has been of recent importance as it guided me through some of the darker times of a relationship breakdown over the past year.  The Dance of December Souls is also one of my favourite records of the sub-genre of the time, and whilst I cannot pretend to be massively in love with everything the band releases, a new release from them will certainly wind up on my rotation list for a period.  With a couple of singles circulated ahead of the main album release, I was already prepared for more of the same from modern day Katatonia.  Progressive elements, fused onto a main hull of alt-metal seem once again to be the order of the day.  Pace and tempos do vary but there is still that lumbering undertone to their sound that scratches some of that Fallen clan itch for me.

My favourite element of the band’s sound, Jonas’ pained vocals, are in fine form here.  Never getting into the pleading territory, nor are they bleating about unfairness or uncertainty, they paint a melancholy picture without grating.  For their largely monotone presentation, this consistency could easily end up grating, yet they compliment the darkness inherent in Katatonia’s sound so perfectly.  The other element that stands out this time are the superb guitar leads that haunt the record at various intervals.  Just as harrowing as the vocals, they are the perfect accompaniment.  Also, there are some quality riffs happening here on Nightmares of the Waking State.  Add in the power of the drums and you soon find yourself in that strange atmosphere of a subdued, yet deep and thoroughly entertaining experience.

The infectious (yet somehow not catchy) chorus line of ‘Temporal’ is a genuine joy that sticks in my head for days afterwards.  ‘Efter Solen’ is a sullen and moody track with a sneaky build that grows subtly in the background of the dreamy vocals and keys, exhibiting a crawling ambience as it goes along. There is a variety to album number fourteen from the Swedes, that we all absolutely expect by now, but it is all so mature sounding, without being boring.  The predominant colour of Nightmares as Extensions of the Waking State in my mind after multiple plays is still grey.  That monotone is filled with bursts of white, some of them brighter than others, yet there is no real burst of vibrant yellows, oranges or even reds and that is absolutely fine for me.  Another chord struck with me here.

Campbell Kneale is a pivotal figure in the New Zealand drone/noise scene and has released numerous albums under the Birchville Cat Motel and Our Love Will Destroy the World monickers. Black Boned Angel is his drone metal trio. Verdun is the bands fourth full length album that takes on providing a soundtrack the longest and most devastating battle in World War 1.

Verdun is a single 50+ minute song split into 3 distinct parts (the 3 parts are available on the CD and digital release, the vinyl version contained the first and the third movement). Part 1 (Prayer Sodden Holes) has a sombre, ominous sound with repetitive riffs and drums underlayered with feedback that leads into a brief respite during the mellow(er) part 2 (Tears Strike the Mile High Gong) before the terrifying climax of looped choirs and a cacophony of noise, feedback and the sound of war of part 3 (Creeping Barrage). It’s the sound of desolation, hopelessness, anticipation, terror and fear.

Black Boned Angel are no more. In an interview on the inarguable, Kneale stated that “The grand-scale, crushing, sadness that is plastered all over those records was actually real for me and I can't live that way anymore.” And you can hear it all on Verdun – my favourite drone metal album.

From Seattle, Botch was known for contributing to their development of the noise-powered mathcore genre in the late 90s. The band would release two albums before splitting up in 2002, though they would reform two decades later for a new single and reunion tour. Botch shared their hybrid sound with fellow mathcore pioneers Converge and The Dillinger Escape Plan, and would plant the seed for later bands like Norma Jean and Every Time I Die. During Botch's 20-year split, the members would go on in different bands like Minus the Bear, These Arms are Snakes, Roy, Russian Circles, and Sumac.

This unique ambitious sound can take on a variety of different influences such as Helmet and Black Sabbath, putting them together into their own. You can hear it clearly in The Unifying Themes of Sex, Death and Religion, a compilation of demo EPs released before their two albums. It spawned an extended re-release in 2002, entitled Unifying Themes Redux, with more previously unreleased tracks. Whichever release you get, expect some complex high-energy hardcore chaos...

The frantic "God vs. Science" showcases the metallic chords of guitarist Dave Knudson. "Third Part in a Tragedy" has some of those hardcore jumps that Norma Jean would later have. Then slowly they turn, step by step, "Inch by Inch"... Some slight industrial from Nine Inch Nails is added to the metallic hardcore that can be heard in Eighteen Visions. They've actually covered "O Fortuna" by Carl Orff, turning an opera song into a mathcore track. A little too much of a joke, but I can accept it. Then we slam into "Closure", which is from a various artists compilation. A true trail of noise and destruction!

"Contraction" adds a little more melody to the hardcore, though not as much as The Plot in You would in the 2010s. Then on "Ebb", Knudson paints his guitar notes on the bass grooves of Brian Cook and the screamed vocals of Dave Verellen. "Stupid Me" is kinda stupid in the cliche chanting. The drama is lost by sounding laughable. "In Spite of This" is the 5-minute epic with killer riffing. They never need to go Meshuggah levels of djenty to sound this heavy.

I suppose I can one day check out the extended Unifying Themes Redux, but as much fun as I had with the original, hearing a lot of this for 70 minutes might be wearying. Still you can witness how well Botch can do their music, giving you a great complex time....

Favorites: "God vs. Science", "Third Part in a Tragedy", "Closure", "Ebb", "In Spite of This"

Eiger is in reference to a specific mountain found in the Bernese Alps. Aara are using this mountain as the basis for their album since it is one of the most treacherous inclines on the planet. At least 64 climbers have attempted to climb to its peak, and have been unable to return to tell the tale; the perfect backdrop for a Nordic atmospheric black metal project!

Aara have been producing records on an annual basis since 2019 (which is very impressive) and Eiger is kind of a change of pace for them. Aara's previous releases have told recollections of gothic literature, so this move towards real life events might be strange. And that can be heard in the vocal presentation. I do know a little German from my second language course in University, however I haven't used that language in quite some time, so the finer details in the words were a little hard to dissect. But in general, the vocals of this album are pretty barebones. Not that I expect a life changing storytelling experience out of a black metal album, but they do feel rather dry.

But when the vocals are so inconsequential to the performance, it allows for those gorgeous instrumentals to take center stage. When those blast beats and thundering guitars enter the mix you can feel the weight of two avalanches suppressing you. While the guitar leads lead you on an almost ethereal journey. The key to making Eiger so good is the songwriting. When the album is ferocious, it's as pulverizing as any modern black metal record. But when then album brings in those acoustic guitars for outros, intros and bridges, they bring another layer to this already cold tale. Something about their unaccompanied texture is just so isolating and awesome and give the listener a moment of respite before the inevitable return of the black metal textures of before. They almost remind me a little bit of Saor's Forgotten Paths from 2019 and that's high praise.

Unfortunately for Aara, they don't really seem to be doing much else with the atmospheric black metal sound on Eiger. Yeah it's a fantastic albums filled with highs and lows, some of the prettiest sounding melodies in black metal since Sunbather, and a solid backdrop for a concept album. But they don't reinvent the wheel. Perhaps Aara does not need to reinvent the wheel, since they are too busy releasing a new album on an annual basis. And when you release an album that is as top quality as this, why would they need to? 

Best Songs: Die das wilde Wetter fängt, Senkrechte Welten, Todesbiwak, Zurück zur roten Fluh, Alptraum

From surreal performance art YouTuber to experimental popstar to metal screamer, Poppy, born Moriah Rose Pereira, has revolutionized both the internet and music scene. However, I've barely encountered any of her work, only knowing her collaborations with her highly acclaimed collaborations with Bad Omens and Knocked Loose. So now it's time for me to dive into her diverse world...

Her 3rd album I Disagree marked her transition from electropop into experimental alt-metal. The album's themes are empowerment and destroying the destroyer. It's clear that a lesson to learn is to disagree with life's conventionalities that can drag you down.

"Concrete" shows Poppy reinventing the pop metal wheel, by combining anime-style electropop with metal shredding. Two different worlds collide as catchy hooks battle against brutal breakdowns. At one point, an audience chants her name which then leads to a pop rock bridge and the last of the metal shredding. Truly an energetic banger! Then the title track shows more of her creativity. The chorus is quite playful as Poppy sings like an angel, telling us to "let it all burn down, burn it to the ground". After which, her devil side strikes back against her manipulative ex-collaborator Titanic Sinclair, "I disagree with the way you continue to pressure me". She can burn away her abusive past and walk away without batting an eye. "Bloodmoney" takes on some electro-industrial, leaning into a bit of hardcore dubstep.

The electronic side continues on in "Anything Like Me", which also drifts into cacophonic metal and continues the directly empowering lyrics, "sorry for what I’ve become, because I'm becoming someone." Then "Fill the Crown" encourages liberty for all, "you can be anyone you want to be, you can be free". The edition of this album I'm reviewing includes a bonus cover of "All the Things She Said" by t.A.T.u., and interestingly enough, this is one of my favorite tracks here, fitting in the "metalizing covers" category by adding in dark alt-/industrial metal drama while staying true to the original. If that isn't Poppy's most emotional moment, I don't know what is! After that, "Nothing is Need" dives into dreamy soft pop, like something Ariana Grande would make. There's not much metal there, unless you count some lead guitar melodies. As a heavier listener, I find that one bland, though not a total disaster.

Poppy can let her ideas run loose in "Sit/Stay" with lyrics against having to obey like an animal. She wants to show that she is an independent individual and motivates us to have that same feeling of freedom. Then we have the explosive "Bite Your Teeth" with its straight-on metallic energy. "Sick of the Sun" is one of the more ethereal tracks here. 6-minute closing epic "Don't Go Outside" has a soft acoustic intro, and... I know this album fits well as an alt-metal release, but this track is the closest to that genre, maybe even the post-grunge style my brother likes. The music and lyrics revisit many of the earlier tracks, most notably the title track, "Let it all burn down, we'll be safe and sound".

I Disagree is a fine example of the experimental creativity Poppy has, expanding the boundaries of modern music. Although it's too poppy (no pun intended, maybe) for me to listen to on a regular basis, she deserves some great appreciation from fans. And we will disagree with the haters....

Favorites: "Concrete", "I Disagree", "Anything Like Me", "All the Things She Said", "Bite Your Teeth", "Don't Go Outside"

Stenched is a death metal solo project of Adrain Thule from Mexico who also plays grindcore as Impending Rot. Stenched, as you can perhaps deduce from the name, plays a style of cavernous death metal that is very much a throwback to the old-school. The gurgling vocals are pitched so low as to be almost inaudible, and are very laid back, being almost spoken rather than sung so lethargically are they delivered, reminding me a bit of the vocal approach on Demilich's "Nespithe".

The riffs are generally restricted to medium-paced chugs with the occasional quicker burst or slower crawl and the guitar sound involves a fair bit of distortion. There is little by way of soloing as such, but Thule's leadwork contains a certain degree of dissonance, without really committing fully to that direction of travel, so works more to add a layer of unease to the overall vibe. The drumming is perfectly fine and he shows himself to be more than capable behind the kit, with an efficient and unshowy style, handling sudden tempo changes just fine.

The production is probably a bit clearer than you might expect for this style of material, which feels like it would be happiest with a filthy and cavernous production job. But, to be fair, Thule seems content to allow sufficient clarity that he can't hide behind muddy production and so is willing to be judged on his ability to musically create that old-school atmosphere so beloved of many a death metal fan (like myself). To this end he does a commendable job and does serve up a filthy-sounding album, based on the foetid vocals and hulking, mouldering riffs rather than studio knob-twiddling and effects.

Another 2010s metalcore band that I have no remembrance of during my metal purge of the decade, and another who started out as deathcore before transitioning to a lighter shade of hardcore. Bands like Wage War and Make Them Suffer are near the bottom of the barrel in this regard and left me with a poor first impression entering Shrine. But what I was given was actually a really solid piece of 2nd wave melocore. This album is groovy; it has some really good riffs, the percussion is decent and not overwhelming in the overall mix, and while the vocals can be hit-or-miss, I really enjoyed the harsh vocal delivery of Scott Kennedy. Songwriting is closer to groove metal/melodic death metal most of the time, but Shrine employs breakdowns in a classic 1st wave melocore fashion; where the breakdown is a key component to the song and in most cases, is the foundation behind either the main chorus or a bridge. Texture wise, as mentioned before, the groove/melodic death metal palette means that Bleed From Within sound closer to a band like Orbit Culture as opposed to The Devil Wears Prada. But without the inclusion of those migraine inducing Inception sound effects as Orbit Culture did on Descent, that makes Shrine the superior album by a long shot!

After a while, the album does get rather tedious and starts to become more bland as Bleed From Within start to run out of unique ideas for this particular brand of melocore. But I do really enjoy the intensity of the album; a decent balance of aggression and melodic presence, which is seldom seen in mainstream metalcore these days...even more so if the band is one of those "deathcore turned metalcore" bands like Bleed From Within have become. So I do like this. It won't be a mainstay in my listening rotation, but I'll keep it around as a heavier change of pace, while also being a solid melodically driven record.

Best Songs: Sovereign, Flesh and Stone, Stand Down, I Am Damnation

The NWOBHM was a great time to be a heavy metal fan here in England but, in truth, many of the young bands doing the rounds had trouble translating their energetic live performances into recorded format. This meant that, outside of the obvious candidates like Iron Maiden, Saxon and a handful of others, there were very few really dynamic albums released in those years. This is not true of Satan however. Their 1983 debut had a heady velocity to it and their version of heavy metal, whether by accident or design I cannot say, leaned a lot more towards speed metal, occasionally even sounding a bit thrashy.

The production isn't exactly stellar, a trait that also hampered a lot of the NWOBHM, and the guitars for certain could have done with a bit more oomph and depth, sounding a little bit thin. This is a great shame because these riffs are actually pretty great, but even they are cast into the shade by the two gutarists' incendiary soloing. The vocals also suffer from production weakness and have something of a distant reverb-y tone. Top and bottom of it is that Court in the Act is an album of energetic and generally high tempo tracks with awesome guitar work and with a much better production job it would rightly be considered a NWOBHM classic alongside Lightning to the Nations, Wheels of Steel and Number of the Beast. Still, despite these issues it is still fairly obvious that this is an exciting and vibrant act going about their business of slaying audiences and listeners with their salvos of infectious, hi-octane heavy metal.

There is sometimes a danger that progressive metal becomes a bit too full of itself, tending towards the bloated and overblown, in a similar way that prog rock did in the 1970s. However, when it comes to producing an album with an overarching concept that requires a complex narrative arc, then the versatility of progressive metal is profoundly suited to achieving the aim. Where it works particularly well for me is when it is utilised as a storytelling tool by bands from the more extreme metal genres. Enslaved and Opeth are two particularly brilliant examples of this and more recently the like of Blood Incantation and Monolithe have taken that route with some pretty far-out sci-fi themes.

Now I only relatively recently came across Crimson, but it is an album that can confidently stand shoulder-to-shoulder with any of those previously mentioned. Taking a really solid grounding in swedish melo-death with some terrifically memorable riffs and a chunky guitar sound, then drawing on more diverse progressive elements, both instrumentally and songwriting-wise, there is a genuine feeling of a story unfolding and of the listener taking a journey with the band throughout the tale. As a single, forty-minute track, there is always a danger of either being too monolithic or too complicated, but repeating motifs ensure the listener remains connected and the track has a feeling of consistency, whilst still driving itself forward. The actual concept itself is a pretty bonkers sci-fi story, but that isn't really the point.

In truth Crimson isn't overly proggy and this is still, at its heart, a melodic death metal album, but the gentle, reflective moments, complete with those impressively recognisable Mikael Akerfeldt clean vocals and the gothic interjections that sound like Andrew Eldritch is guesting, provide a satisfying contrast to the death metal riffs. Technically the performances are great, and the songwriting is not a sterile exercise in tech-death precision, but is warm, human and relatable. This is one of the most enjoyable progressive metal albums I have heard, with enough hooks to make even a forty-minute track memorable, enough riffs to satisfy that underlying death metal craving and contrasting tonal shifts via the use of disparate elements from outside of metal to make it a more emotionally engaging listen.

NOLA Sludge Masters Crowbar play down-tuned crushing riffs and sing about the lows of life. They are incredibly consistent in terms of sound and theme, so if you've heard Crowbar this is more of the same. This album contains a truckload of great songs, with "High Rate Extinction", "All I Had (I Gave)", "Will that Never Dies", a cover of Led Zepplin's "No Quarter", "Existence is Punishment", and "I Have Failed" standing slightly above the other very good tracks.

Crowbar is what I would describe as "Survivor" music-often times the lyrics are discussing the internal thoughts of person battling some kind of immense personal obstacle, be that depression, addiction, anxiety, self-doubt, etc. What makes it special is that while the lyrics are often downer in nature, the music symbolizes the strength to survive these situations. I use the word survive rather than overcome because it's an important distinction, whereas another band or artist would make the song about overcoming a hardship, or defeating a problem, Crowbar acknowledge that sometimes you don't overcome, sometimes you just deal, and sometimes you even fail-but this does not make a weak man, and it's in that message that Crowbar becomes something much more real, and therefore much more inspirational than the fairy-tale another artist might present. You put Crowbar on when you're going through hell. Crowbar is strength in sonic form.

Released in 2017, ‘Bloodlust’ is the sixth studio album by rap metal band Body Count, the metal project formed by hip hop legend Ice-T. After an eight year hiatus, the band struck back with 2014’s ‘Manslaughter’, an album that was arguably the heaviest thing they’d ever put out, and instantly helped the band gain momentum with their return. This brings us to ‘Bloodlust’, which follows on exactly where its predecessor left off.

Once more pushing the boundaries with how heavy they can get, ‘Bloodlust’ is a non-stop assault of absolutely massive guitar riffs, rapid-fire lyrics spewing pure vitriol and frustration, all packed into 41 minutes of anger, aggression and political statements. 59 year-old Ice-T hasn’t mellowed with age, in fact, he sounds more pissed off than ever, rapping about crime, violence, corruption, and all the usual subjects that he’s been rapping about since the late 80’s, yet sadly, are still as relevant today as they ever were.

It’s insane how monstrously heavy this thing is. Having ramped up their sound and production to fit perfectly with the modern metal landscape, songs like ‘The Ski Mask Way’, ‘Civil War’, ‘All Hope is Lost’, ‘Black Hoodie’ and the title track itself, show a band who are pulling no punches and taking no prisoners. Particular highlight, ‘No Lives Matter’, is probably one of the best songs Body Count has ever written, probably one of their most relevant too. And along with guest appearances by the likes of Dave Mustaine and Max Cavalera, and a cover of the Slayer classic, ‘Raining Blood’, it’s clear that ‘Bloodlust’ is not for the faint of heart.

While there may be a couple of tracks I find fairly passable, overall, this is a very solid album from start to finish. Ice-T and co. have proven that they’re here to stay, and showing with ‘Bloodlust’ that 25 years since their debut, and getting heavier with each release, they still have plenty to say, and are just getting warmed up.

If you want the fastest, most technical, and most brutal death metal available, and with songs that somehow still have hooks-this is it. In a word this album is EXCITING, there is never a dull moment. The needle drops and it just kicks your ass from start to finish. It also holds up to this day-this album doesn't sound dated, it still sounds like something from the future. Stand Out Tracks "Phobophile", and "Slit Your Guts". As viscous as it is, it also possesses the ability to convert the "I don't like death metal" naysayers. It's a masterpiece. 

If you've heard Crowbar before, then you know what you are getting here, it's NOLA sludge metal, and I would echo what I wrote in my review of Symmetry in Black. Crowbar write slow impossibly hefty riffs and sing about dealing with lows in life. The formula is incredibly consistent, and it's sublime music for weight lifting. This album is notable for containing "Planets Collide" which is considered by many to be the bands best song to date. However, for me it's all about "To Carry the Load". "...And Suffer as One", "It's all in the Gravity", and "New Man Born" are also bangers, but every track is great. Put this on when you need to get through some hard times, or just simply beat your current bench press max!

Chuck Schuldiner
Andy LaRoque
Steve DiGiorgio
Gene Hoglan

If you're a seasoned metalhead, I really need not say more, as this is arguably the most talented line up on a metal recording. I'd also add that Steve and Gene tour today in a tribute called "Death to All" along with Bobby Koelble and Max Phelps-go see this if you are able.

As for this album, put simply, it is a loaded roster playing a loaded setlist. Every second of this album is incredible and really needs to be heard to do it justice. Seriously, it's perfect music; Death metal with progressive elements, but never sacrificing a good song for technical display. It's great musicians working together to craft great music. This is how it should be done, and you absolutely need to get this into your ears if you haven't already.

I suppose this one may be a bit of a surprise to anyone familiar with my aversion to european power metal, but I have always had a soft spot for this album. I still have my original vinyl copy I bought shortly after release and although I can't truthfully claim it has been out of its sleeve for a few years, I wouldn't ever part with it. The reason I bought it is that it isn't all soaring vocals, multi-layered keyboards and out of control guitar posturing that has become the standard for EUPM. No, this actually has some killer riffs and these are the backbone of the album upon which everything else is hung. Even the vocals aren't especially OTT, not being much more effusive than Bruce Dickenson and there is a welcome absence of synths. Side one is pretty good, but the one-two salvo of "Future World" and the epic "Halloween" which comprise most of side B are where things take off for me. "Future World" is catchy and anthemic, a real fist-pumper and then the discordant intro to "Halloween" introduces my favourite power metal song, bar none, with its thrashy riff and epic narrative style standing out from the crowd. I guess, at the end of the day, I am just as fond of a big old slab of cheese as much as the next guy!

Fimbulwinter were a very short-lived early norwegian black metal band who split-up after releasing this, their sole official release. They were a trio that included bassist Skoll and drummer/guitarist Shagrath who went on to become long-term members of Arcturus and Dimmu Borgir respectively. This is some pretty raw early norwegian shit, with demo-level, lo-fi production values and some pretty basic songwriting. Yet, as is often the case with early black metal, it is also exhilharating and exciting as hell with a completely necro feel that just serves to increase the iciness of the material. Vocalist Necronos has a great line in demented screams and screeches that make it strange that he never showed up anywhere else when Fimbulwinter split. If you have a love for lo-fi early second wave black metal then this is a must hear.

This was a pretty big thing when it came out twenty-odd years ago and Mastodon were touted all over the metal mags as the next big thing, except that, unlike most of the early 2000s metal press darlings, their music didn't suck. They took the abrasive anger and aggression of sludge metal and steerred it in a progressive direction, which gave it a much more technical edge. At this stage, this isn't fully blown progressive metal, it is still identifiably sludge metal with a guitar sound well familiar to fans of bands like Crowbar and the angry, shouted, hardcore-derived vocals we are used to. Yet, I am fairly sure, that sludge metal concept albums were fairly rare, unless they were about the misery and desperation of a life of drug addiction and poverty, certainly I can't recall any that were based on classic literature such as Herman Melville's Moby Dick, which is exactly what Leviathan is. Sum total is an intelligent, technically proficient, muscular and aggressive-sounding, remarkably ambitiously-written entry into sludge metal history that ultimately heralded in a new era for the genre, but which has rarely been bettered.

Megadeth produced one of the great albums of the initial thrash metal wave in Peace Sells, but the follow-up was a bit patchy (although I probably like it a lot more than most 'deth heads) so Dave Mustaine was under a bit of pressure to deliver with Rust in Peace. That he managed to do in spades and in so doing delivered one of the most highly acclaimed albums in thrash metal. There are some of the most exciting, hi-octane thrash metal anthems ever written on here. "Holy Wars", "Hangar 18", "Tornado of Souls" and "Rust in Peace... Polaris" must be the envy of almost every thrash metal songwriter.

He is a mercurial character, Dave Mustaine, but when he is on fire then there are very few who can match him and on Rust in Peace he showed exactly what he was capable of and that is producing some of the best riffs and guitar solos in the whole of metal. I must confess Peace Sells is still the Megadeth album that means the most to me and is my go-to 'deth album, but Rust in Peace is nothing short of a phenomenon.

Cape Fear North Carolina's Weedeater, are one of my favorite bands, because they tap into a sort of rural anger that no other band captures quite the same way. This is not polished refined music, or high art of any kind. This taps into something more visceral. I'm a 36 year old man at the time of this writing, soon to be 37, and mostly happy with where I'm at in life, but there was once an extremely angry young man on a Nebraska Cattle farm who saw a lot of things, and had some feelings about it. Weedeater is the band to speak to that young man-again they simply understand rural frustration, and it comes through as the secret sauce to their formula. The formula is to take a given southern rock song, strip away anything finesse, technical, or pretty about it, distilling the raw essence of the almighty riff, channel this riff through an absolute wall of distortion, fuzz, and raw percussion, and then deliver a few carefully chosen lines through "Dixie" Dave Collins. Collins sounds like a cement mixer, his voice is raw, whiskey soaked, marijuana smoked, and gravely. He also one of the greatest front men to ever do it-an angrier, more eccentric, and aggressive Ronnie Van Zant, and one of the finest gentlemen I've ever smoked cigarettes with. Again you aren't going to get anything refined with Weedeater, but I actually think Dave is an underrated lyricist (Shep might write some too)-like a country singer he isn't going to give you metaphor, or surrealism, he's going to say exactly what needs to be said and nothing more, which I think is an art in and of itself.

Example from this album:

"Wish I could be like you all the time

Blind, deaf and dumb all goddamn day

But everybody needs just a little bit of downtime

So I'll just turn my back and walk away"

It's lyrics like that I feel in my veins more so than anything Dylan-esque.
 

 Every album is consistent. I chose this one because it has some of my favorite songs on it, and it's considered to date by many to be their best offering, but I listen to their whole discography. It's probably not for everybody, but it's exactly what I need.