Daniel's Reviews

This was my first focused attempt at an Amaranthe release & was mainly instigated by Andi’s Hall of Judgement entry to have “Leave Everything Behind” removed from The Horde & the Melodic Death Metal subgenre. It has to be said that upon first listen it became immediately obvious as to why I’ve never ventured here before though as the sound that Amaranthe were pushing is an exceptionally poppy one with a couple of the tracks sounding much more like Kelly Clarkson or Demi Levato than At The Gates or Dark Tranquillity. The band take a six-piece configuration including an unprecedented three full-time vocalists which combine uplifting female vocals, alternative/power metal style male vocals & more extreme metalcore screams. It has to be said that the two men must have struggled to know what to do with themselves on stage as they’re not contributing all that regularly when compared with your average front man.

This release is essentially a self-financed demo however you’d never know it from the quality of the production which is easily up to the task of presenting a band that had already nailed down a pretty professional & well-defined sound. I’d describe it as a very poppy take on Melodic Metalcore with a number of influences layered over the top including some clean vocal hooks that remind me of alternative metal bands like Linkin Park, power metal theatrics & symphonics, the technical riff structures of progressive metal & the more rhythmic staccato attack of djent. In truth there’s absolutely no Melodic Death Metal here so that tag would seem to be completely misguided. I’d also suggest that the Trance Metal one is a bit premature too as I don’t hear anything that reminds me of legitimate Trance music. Instead there are just some fairly accessible synthesizer lines employed in more of a supporting capacity which probably isn’t worthy of its own genre tag. Perhaps these elements were accentuated when Amaranthe returned to the studio to re-record these five tracks for their self-titled debut album? I’m not too sure but I think the Trance Metal thing is probably more of a link to the band’s later material than it is a reflection of what you can expect to hear on “Leave Everything Behind”.

One of the reasons I struggled so much on the first couple of listens to this E.P. is that the opening three tracks sound far less mature & are more overtly commercialized than the closing two tracks are in my opinion. As a result it took me a few spins before I became aware of the fact that I actually quite like “Act Of Desperation” & “Director’s Cut”. Early on I’d simply tossed them in with the bubblegum stuff that preceded it & it took a bit of familiarity before I could separate them enough to judge them on their own merit. That’s not to say that the earlier material is awful or anything. It’s just miles away from my taste profile & would likely be closer to that of my six year old daughter in all honesty (That's not a criticism. It's a genuine observation as my daughter loves Babymetal). I have to say that the shredding guitar solos are a real highlight & bring to mind childhood idols of mine like Joe Satriani & Steve Vai, particularly in the excellent use of legato. The weak point of the record is probably the metalcore vocals though as they add an additional layer of immaturity that reeks of a band that’s trying their best to find some sort of street credibility. I honestly think Amaranthe would have been better off limiting themselves to a more streamlined dual vocal attack.

At the end of the day “Leave Everything Behind” was never going to see me reaching for my higher scores or commanding that I investigate Amaranthe’s entire back-catalogue but I would hazard to guess that it more than achieved what the band had set out to do. Unfortunately the heavily commercialized approach that’s pushed down the listeners throat on the first few tracks really does stave off any chance of recovery for me & I’m forced to place the E.P. into the “None Of My Business” category.

For fans of Dead By April, Crossfaith & Blood Stain Child.

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

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

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

For fans of Suffocation, Nile & Cryptopsy.

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

For fans of Wold, Mnima & Enbililugugal.

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

For fans of Abruptum, Gonkulator & Beherit.

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

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

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

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

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

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

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

I first encountered Surinamese producer Maurice de Jong & his Gnawing Their Tongues moniker upon my return to metal back in 2009 & have had a long & often stormy relationship with him ever since. At times I’ve found it almost impossible to relate to his music which tends to be completely devoid of anything humanly relatable while at others he can create one of the purest soundtracks to the apocalypse you’re ever likely to encounter. For this reason I generally appraoch his releases with a level of caution & self-preservation, just as I have on this occasion with his fourteenth album “Genocidal Majesty”; a record that I’ve committed to investigating as a part of my Black Noise deep dive.

Gnaw Their Tongues’ “music” can be quite an intimidating prospect for the uninitiated. You see, it can often sound completely foreign to your average listener given that it’s very much at odds with the concepts that traditional music is built on. For example you’ll find very little melody here, if any at all. Instead you can expect to be assaulted with buzzing swarms of feedback, scraping metallic abrasions, ear-piercing static, high-pitched electronic data transmissions & big farty dubstep-ish bass tones which often amounts to the unpleasant experience of a close-range encounter with breaking glass. It’s futuristic & inhuman, cold & desolate. And when it’s all over it tends to leave you with a bleak outlook of pure loneliness & despair. Humans inherently need hope in their lives & you’ll find very little of it here in an industrial landscape that’s purely electronic & brings to mind images of suicide & torture. But just like a car crash, I find it so hard to look away because there’s something so visceral & powerful about this art that captivates me in a very different way to your average heavy metal anthem.

“Genocidal Majesty” is an extremely consistent record. Its run time is kept short at just 31 minutes with the entire tracklisting maintaining a very high standard & a finely honed sense of focus. There’s very little doubt that Maurice knew his sound very well by this point in his career as the album represents a fully realised & beautifully executed creative vision. There’s really very little reference to metal here though. The are no guitars or any other form of organic instrumentation included so the record sits far more comfortably within the realms of industrial music than it does within metal. In fact, you’ll rarely find a release that so perfectly fits the description of the Power Electronics subgenre so it very clearly belongs under that banner. Maurice’s insane screams are a definite highlight & offer a lot of appeal to me. I assume that this is where the links to black metal are drawn from but in truth they could just as easily have been lifted from a metalcore record. I could probably have done without the guest vocal contributions from The Body’s Chip King as I’ve never been a fan of his atonal, high-pitched squeals which don’t even sound like they’re vocals to tell you the truth & only end up contributing yet another uncomfortable & unnerving component to what is essentially the soundtrack to a horror movie that’s yet to be made. There’s a strong sense of cinematic drama about “Genocidal Majesty” with the rare appearances of synth pad sounds offering some minor relief from the relentless industrial battering you’re receiving from the remainder of the run time (see the bonus track on the Spotify release “Void Sickness” for example which is perhaps unsurprisingly my favourite track on the record). Given the general professionalism of the overall production though, I have to say that the snare sound could have done with a bit of work as it tends to remind me of chip tune a lot of the time which isn’t a positive comment.

I’ve been really impressed with “Genocidal” Majesty”. Its quest to alienate & isolate the listener has been unanimously successful so it certainly isn’t for everyone but those that seek refuge in the uglier side of underground music in order to take them as far away from every day suburban life will likely find a strange sense of pleasure in the universal unpleasantness of the experience. As far the Black Noise sound I came in looking for goes though there really isn’t much of a connection to this fine example of Power Electronics. I think us metalheads sometimes think we have monopoly on extreme music & like to draw everything in that bracket in under our metallic banner but I think it’s a stretch too far with this particular release.

For fans of The Body, Utarm & Spektr.

The debut album from this cult Swedish artist is one of the weirdest & most ambitious metal-related releases you're ever likely to hear. It comprises of two enormously challenging 25+ minute pieces that seem to be completely improvised. If they're not then I have no idea how they were composed. They also bring into question the concept of what constitutes music because there's some absolutely random shit going on here & it often has nothing whatsoever to do with traditional musical theory. The idea of calling this a black metal or black noise release is questionable at best in my opinion too. There's no doubt that the First Wave of Black Metal sounds of early Sodom & Hellhammer (particularly "Triumph of Death") played a big role in Abruptum's DNA but there's simply so much more that falls WWAAYYY outside of conventional metal ideals going on here. In fact, I'd hazard to describe "Obscuritatem advoco amplectère me" as experimental/psychedelic noise rock meets avant-garde metal. Much of the admittedly pretty doomy guitar work is comprised of feedback & dissonant attacks on open strings which leaves the aesthetic sounding far more Bauhaus than Bathory while a lot of the drumming sits closer to rock than it does to metal. But then you'll get these sudden bursts of unaccompanied blast beats here & there & psychotic vocals that remind me of the Japanese extreme metal scene or a very young Tom Angelripper (Sodom). It's certainly noisy stuff but can I really say this is black noise? I don't think I'd say it's genuine noise music OR black metal to be honest. I think people are simply clutching at straws in a vain attempt to label this musical cacophony which is far more interesting than it is enjoyable.

For fans of Emit, Gnaw Their Tongues & Enbilulugugal.

Greek outfit Mnima has been around for a good few years now & have put out ten zillion EP's in that time but this debut full-length is the first release I've committed to checking out. For a supposed "black noise" release, I've gotta say that it offers bugger all in the way of genuine noise music though. In fact, this is really just a very raw & particularly lo-fi black metal release with vocals that sound a lot like Burzum mastermind Varg Vikernes & musicianship that's left at the door for the sake of demonic authenticity. The first half of the release is actually pretty decent with the admittedly generic tremolo-picked riffage possessing some reasonably enjoyable melodic hooks. Unfortunately the B side is noticeably weaker which taints the whole experience for me & I'm left wondering how my black noise experiment has found me venturing here in the first place. "Disciples of Excremental Liturgies" is nothing to write home about & there are much stronger black metal releases out there this year.

For fans of Black Cilice, Candelabrum & Burzum.

The second phase of my Black Noise deep dive saw me tackling the fourth full-length album from Canadian solo act La Torture des ténèbres (French for “The Torture of Darkness” i.e. as opposed to the wholesome, family-oriented & generally fun garden variety of torture presumably). “IV: Memoirs of a Machine Girl” is an 81 minute marathon for the senses that’ll see your mental stability being well & truly tested so I’d steer well clear of it if you harbor any concerns around your mental health. La Torture des ténèbres is the brain-child of Jessica Kinney; an artist whose creative vision originally began within the more familiar realms of atmospheric black metal but over time has seen her expanding the scope of her metal roots with “IV: Memoirs of a Machine Girl” showcasing a much more expansive array of sounds & possibly even having transcended the confines of metal altogether.

“IV: Memoirs of a Machine Girl” is an absolute beast of a release featuring six very lengthy pieces that all comfortably exceed the ten minute mark. Jess obviously doesn’t care all that much for the vinyl or CD formats of my generation because it almost seems like she’s intentionally extended the album’s run time so that it’s just too long to fit on a single CD. Whatever the reason for it may be though, the run time definitely overstays its welcome a touch & I challenge anyone to actively listen to the entire duration of the album without experiencing some sort of mental fatigue. Personally, I feel that it would have benefitted significantly from the omission of the final track which would have seen it finishing at a still quite indulgent 68 minutes. That’s not to say that closer “Lysol, Scrub Away Your Sanity” is weak in any way but I’m not sure I needed yet another sensory barrage after the first five tracks had seemingly achieved everything that Jess had set out to do.

There are a few different elements to the La Torture des ténèbres sound that are repeated across the tracklisting. The first is the beautiful, dreamy & very Mazzy Star-ish downtempo sections which have layers of effects applied to them in order to give them an eery & sombre feel. I get the feeling that Jess could actually be a very talented performer in that space if she focused her powers on good rather than evil. Then you have the over-the-top noise sections which are much more prevalent & generally see a guitar part providing some sort of melody under a huge & overbearing wall of artificial noise. The first couple of tracks see the instrumentation hinting at a black metal atmosphere but the noise dominates proceedings to such a degree that I’d be reluctant to label this as anything metal related. Outside of those first two tracks I struggle to see the links to black metal though with the general feel of the base music leaning much more closely towards the dreamy post-rock of Sigur Ros. In fact, I’m not even sure the guitars have had any pre-mix distortion applied to them in all honesty so (unlike Wold’s “Screech Owl” that I kicked off my Black Noise deep dive with) most of “IV: Memoirs of a Machine Girl” just doesn’t feel remotely like black metal & I doubt it was ever intended for the black metal audience. The thing that probably sees it being tied back to black metal though are Jessica’s tortured & psychotic screams which sound very much like they could have been taken from a depressive black metal release. They’re relentless in their negativity &, when combined with some pretty twisted samples, ensure that you will find no form of light or empowerment in this music. It’s an ugly wasteland of disgust & disconsolation.

When all of these elements are combined, the result takes the form of a noise release much more than it does a metal one & I tend to think that labelling “IV: Memoirs of a Machine Girl” as a metal release is a bit of a stretch. That’s not to say that it’s not a rewarding experience for the metal audience though. Given my taste profile I’m not surprised that I find the first couple of tracks to be a little more enjoyable than the remainder of the album. The atmosphere of those two tracks hints at a majestic blackened darkness that I find more appealing than the slightly less imposing post-rock driven material but that’s not to say that there are any weak tracks included because there’s not. It’s a very consistent record that could maybe have done with some trimming from a pure indulgence point of view but would also have benefitted from the six tracks having proper endings instead of simply cutting them off dead when they were still in full flight. Overall though, I’d suggest that “IV: Memoirs of a Machine Girl” is a very respectable noise release that seems to sit pretty comfortably under the Non-Metal tag in our database.

For fans of Gnaw Their Tongues, Utarm & Nahvalr.

In my quest for a clear understanding as to whether the black noise subgenre is really a thing & is worthy of inclusion in the Metal Academy database as a metal subgenre in its own right I decided to begin with one of the more blatantly black noise releases in the 2007 sophomore release from Canadian artist Wold (can't you tell by their logo on the cover?). If you were thinking that black noise is likely to be an extremely lo-fi take on black metal then you were 100% correct as you won't find a more intentional attempt at audio degradation than you'll find here. In fact, the fading intros & outros of many of the thirteen tracks give hints at what the original music might have sounded like before it had the levels strategically blasted up into the realms of extreme distortion in post-production, all in the quest for a greater textural & atmospheric layer of hideous noise. So, does it work? Well when Wold get it right it certainly does but those moments are so few when you take into account that this bloated release stretches out to an unbearably lengthy 73 minutes in duration. The ultra-grim black metal vocals of Fortress Crookedjaw are certainly very appealing for extreme metal aficionados like myself but the instrumentation is often lacking in any sort of musical quality, instead taking the form of battering & offensive distortion more than something you'd find genuine pleasure in listening to. When Wold hint at melody through their more ambient excursions though you can clearly see the attraction to this sort of music. They just haven't got the balance right at all here.

The clear standout tracks are the super evil "This Is How I Know" (which is by far the best example of the black noise subgenre included here & is a piece of work that has slowly snuck up on me over several listens before finally encouraging me to label it as a masterpiece) & the super-repetitive & trance-inducing thirteen-minute black ambient/noise closer "Undying Fire Of Urian" which absolutely carry this album. Sadly though it's not enough to make up for the clear failures like the God-awful "Nervosa" & "I'm The Chisel" which are pretty close to as dumb as extreme music gets. The couple of traditional noise tracks included also offer nothing at all from a musical point of view, failing to create any sort of dark atmosphere that you can grab on to. I think it's fair to say that I'm not the target audience for a record like "Screech Owl" but I still have my doubts that it'll be sitting at the top end of the subgenre. If it was then I'd have to think that the incredibly poor cover art would likely taint the entire subgenre & scare off many potential listeners.

For fans of Gnaw Their Tongues, Sutekh Hexen & Затухание.

If Ashenspire did have any black metal roots then they've certainly been tossed aside for this highly regarded sophomore effort, haven't they? It's definitely an unusual release & one that does sit pretty comfortably under the avant-garde progressive metal tag. The most noteworthy elements on display are the theatrical & almost psychotic clean vocals of drummer Alasdair Dunn who continues to rant like a man possessed in his unapologetically Scottish accent throughout the entire tracklisting, mostly speaking or shouting more than actually singing. The other is the use of some extremely jarring time signatures that do tend to interrupt the flow of the song-writing at times. The ambition is undeniable but the execution isn't quite what I'd hoped, particularly the performance of Dunn behind the kit as his drum sound isn't ideal for metal (it's more in line with jazz) & he sounds pretty messy when he gets his blast beats on. The use of violin is done very well & brings to mind Ne Obliviscaris as it provides a little stability in even the most chaotic of movements while the overtly Scottish & emotionally charged vocals combine with some of the more sweeping black metal oriented chord progressions to remind me of Irish folk metal legends Primordial. The sheer insanity & creativity is more in line with a band like Arcturus though.

As you can probably tell, I struggled with "Hostile Architecture" a little bit at times but I can't deny that my overall impressions after four full listens were generally positive. There's no doubt that it's Dunn that's my major obstacle here & I can't deny that I would greatly prefer a more traditional & talented front man but I think I find it hard not to look on a pure form of artistic expression like this one with fondness & endearment as it's not all that common in a market that's saturated by copy cats. In saying that though, I can't say that I'm likely to return to the album in the future. It's an experience that I'm glad that I've had but it simply doesn't tick enough of my boxes to command any level of adoration.

For fans of Primordial, Ne Obliviscaris & Arcturus.

After revisiting this old friend over the last few days I was reminded of just how well it fits under the "deathgrind" tag. In fact, it may well be the definitive example of what that term was originally intended to describe because it easily harnesses both sounds in roughly equal portions & perhaps that's why it appealed to this particular death metal fanatic at the time because I've never quite found the same level of appeal in grindcore as I have in my beloved death metal. What we have here are 15 tracks that span a variety of tempos but are still undoubtedly designed to crush your cranium into a soft pulp. Former Winter drummer Scott Lewis' blast beats were indeed the fastest thing we'd ever heard at the time & I have to admit that I can't think of anyone that's surpassed them since without employing the gravity blast technique. He's an absolute machine & his endurance is very impressive to say that least. The combination of slower grind grooves & super-fast blast beat sections goes down a treat while Kevin Sharpe's deathly vocals are nicely contrasted by some searing high-pitched screams (presumably contributed by Anthrax/Nuclear Assault/SOD bassist Dan Lilker) which I find to be a real highlight. It all makes for a very entertaining ride, if not one that offers a lot of depth below the surface but that's not exactly what most of this record's audience will be looking for anyway. You'll no doubt be able to pick up the band's influences very obviously across the tracklisting with a Bolt Thrower riff thrown in here & a Napalm Death or Death one tossed in there but I have to admit that I'd never realized just how heavily influenced by Carcass' early works Brutal Truth were until now. It's glaringly obvious at times but is executed in more of a complimentary way than a plagiaristic one. But the biggest strength of "Extreme Conditions Demand Extreme Responses" is in its consistency as it sets a very solid standard early on & never lets it dip throughout a relatively long 45 minute run time for this style of extreme music. It's a real shame that Scott Lewis would leave the band shortly after this album & that Brutal Truth would gradually steer away from their death metal side over the coming albums as they'd really hit on something here & never came close to matching it in my opinion.

For fans of Napalm Death, Terrorizer & early Carcass.

Fucking hell! This album absolutely slays! The dual tagging of Atmospheric Black Metal & Avant-Garde Metal isn't particularly accurate as I don't think "Aveilut" feels all that avant-garde & it doesn't have much to do with the classic atmospheric black metal sound either. To my ears it's an experimental take on your more conventional black metal sound which incorporates strong post-metal & drone metal influences at times. The way this duo have used the tools of black metal in a very different way but still maintained all of the menace & blasphemy is phenomenal. There is a little bit of dissonance on offer but I wouldn't suggest that it's anything out of the ordinary for modern black metal. The unusual part is the way they've layered the different tremolo-picked guitar lines & tied the psychedelic synths & effects into the wall of sound so tightly. I can't say I've ever heard anything like it but it reminds me a lot of the approach that some post-rock artists take. Those vocals are as grim & frostbitten as you'll find too. They're right up my alley. Interestingly, my two highlight tracks are also the furthest from black metal with "I" being a post-metal affair & "IV" being a wonderful builder of a drone metal piece. This is easily the best record I've heard from 2022 so far.

For fans of Krallice, Blut aus Nord & Bríi.

I actually hadn't ever checked out a full Solitude Aeturnus record until now but was really excited coming in as I've loved what I've heard through the monthly playlists & "Alone" certainly hasn't left me disappointed. This is one absolutely monolithic doom metal record of astronomical proportions. Every track is pure class. The production job is superb, the performances are spot on & the cover art is as imposing as you'd hope for such a depressive gem. Front man Robert Lowe would have to be right up there with the best metal vocalists I've ever encountered with his powerful delivery placing him right in the sweet spot between Ronnie James Dio & my favourite vocalist of all time in Soundgarden's Chris Cornell. The guitar solos offer a super-pure tone & are performed with true precision, even hinting at Yngwie Malmsteen-esque theatrics at times. As with their epic doom counterparts Candlemass, the classic heavy metal sound has clearly been an influence on Solitude Aeturnus but the band's doom credentials are never in question with even the more chuggy, mid-paced metal riffs possessing enough weight to satisfy even the most selective of doom tragics. When you've got a tracklisting this strong it's often hard to pick out highlights but not on this occasion with opener "Scent of Death" being one of the greatest doom epics ever recorded & "Waiting for the Light" & "Upon Within" also sitting comfortably amongst the top tier of the doom crop. "Alone" is a wonderful example of the epic doom metal sound & can be seen as a celebration of everything that's great about the subgenre.

For fans of Candlemass, Crypt Sermon & Solstice.

This is another really solid effort from these Norwegians who must be challenging The Amenta for the title of the most under-appreciated band in The Sphere. Unlike our previous Red Harvest feature release (2004's "Internal Punishment Programs"), "HyBreed" contains a significant Post-Metal influence on several of the more drawn-out tracks with Neurosis being the clear influence, particularly in the use of tribal drumming & repetition with long build-ups & crescendos. There are also a couple of 10+ minute ambient pieces included which are both of a high quality & break the tracklisting up nicely. We even get a fantastically doomy Gothic Metal song in the wonderful "On Sacred Ground" which draws upon Type O Negative & Tiamat for inspiration. There isn't a single track included that's not of a very high quality & there's more than enough variation to justify the very long 78 minutes run time. I've gotta ask the question, what the fuck have these guys done wrong because they should be comfortably sitting alongside the big names of the Industrial Metal tree.

For fans of Godflesh, Yerûšelem & Kill The Thrill.

I count myself lucky to have been one of the privileged few that picked up on the whole Pantera groove metal phenomenon very shortly after its conception & subsequently had the pleasure of watching them develop & go from strength to strength over a number of years. I wasn’t in any way aware of Pantera during their 80’s heavy/glam metal days but their important 1990’s “Cowboys From Hell” album had already been pleasuring my ears for a good 18 months by the time they completely realigned the global metal scene with their career-defining 1992 sixth album “Vulgar Display of Power”. Despite my being firmly entrenched in the extreme metal scene at the time, it was absolutely impossible not to be impacted by the wave of euphoric adoration that seemed to engulf the band & that would only increase further with 1994’s hugely successful seventh full-length “Far Beyond Driven” which topped the charts in my home country of Australia. Everyone appeared to love it at the time (myself included) but it seems that time has seen it’s qualities down-played versus it’s two older siblings & I thought it was time I investigated why.

Let me start off by saying that there are a few elements that differentiate “Far Beyond Driven” from its highly praised predecessors. For starters, it’s the most focused of the three records in that Pantera had finely honed the groove metal style they were responsible for creating down to an easily identifiable sound & this album sees them thoroughly indulging in that by milking it for every last drop. In doing so we see legendary guitar virtuoso Dimebag Darrell coming up with some of the greatest groove metal riffs ever written but I think it’s fair to say that (unlike “Cowboys From Hell” & “Vulgar Display Of Power” which offered a bit more variety) you really do need to buy into the whole groove metal thing if you’re gonna dig “Far Beyond Driven”. The other major difference is that front man Phil Anselmo takes a consistently more guttural & aggressive hardcore-inspired vocal approach for the vast majority of the run time & in doing so leaves behind any semblance of his higher-register Rob Halford-impersonating singing voice. Neither of these things are negatives as such. They’re simply observations & if I’m honest I found the added focus on pure adrenaline & masculinity to be quite the drawcard at the time even though the public perception seems to have flipped a bit towards a feeling of super-macho posturing over the years.

The musicianship on “Far Beyond Driven” is outstanding & we really see the rhythm section of bassist Rex & drummer Vinny Paul setting the bar extremely high for the competition, particularly Vinny whose performance here is one of the highlights of the album as a whole. In fact, I think Pantera relied a lot less on Darrell’s amazing shredding by this stage & I don’t feel that the production places as strong a focus on him as a result. Instead Pantera come across as a well-oiled & finely-honed unit that know their sound extremely well & conduct themselves with complete professionalism. The production job does sound pretty dated with the rhythm guitar tone being very much of its time but this can easily be forgiven when you consider that Pantera were one of the primary instigators in changing the way we viewed guitar tones in general during that period. It’s very easy to be critical from an historical perspective but if we’re honest with ourselves none of us had a problem with it at the time.

The real difference between the first three Pantera groove metal outings is the quality of the song-writing though & there have been some sacrifices in their true-metal-at-all-costs mentality. Both “Cowboys From Hell” & “Vulgar Display of Power” were very consistent records with no genuinely weak tracks included & “Far Beyond Driven” is no different. What’s missing though are those few genuine metal classics that both of its predecessors contained as I don’t think I can say that any of its twelve tracks included qualify for that level of adoration. Instead we have twelve songs that range from pretty decent to very strong which amounts to a very rewarding listen, just not one that will see my life changing. That’s not to say that ANY of Pantera’s albums have changed my life terribly much as groove metal simply doesn’t appeal to me as much as it does to others but you know what I’m saying. In saying all that, I can’t say that I see “Far Beyond Driven” as sitting all that far behind its more readily celebrated peers. It’s still a very strong release with a lot of positives. I do think that some of its biggest tracks like “Five Minutes Alone” & “Becoming” are a bit overrated though. I’d also suggest that some of the tracks in the middle of the album that are generally regarded as being a bit weaker are actually very good with the two-song run of unusual change-up track “Good Friends and a Bottle of Pills” & the weightier “Hard Lines, Sunken Cheeks” being a fine example of that. Even the ill-placed cover version of Black Sabbath’s “Planet Caravan” (the original being an all-time favourite of mine) is very well done even if it is too closely aligned with the original & seems a touch inferior in comparison. For me the highlights of the album sit with muscular groove metal outings like main single “I’m Broken”, super-masculine opener “Strength Beyond Strength” & the thrashy “Slaughtered” but (as I mentioned earlier) there’s not a clear line of delineation between the stronger & weaker inclusions as the quality band doesn’t stretch all that far.

Overall, I’d suggest that “Far Beyond Driven” showcases a band that were still at the peak of their powers & were content to focus purely on further amplifying the things that made them different from the rest of the market when they first broke into the scene in 1990. Was it successful in what it was trying to accomplish? Yeah I think it was for the most part. It’s not quite as strong as “Cowboys From Hell” or career highlight “Vulgar Display of Power” but the gap isn’t large enough to see me scoring it any differently so it’s another essential release for fans of Pantera or groove metal in general.

For fans of Exhorder, Lamb of God & Machine Head.

I've been a big fan of Californian sludge metallers Dystopia's 1994 "Human = Garbage" E.P. & 1999 "The Aftermath" E.P. for some time now so I've had their sole full-length album on my radar for a number of years but have somehow managed to avoid giving it my full attention until yesterday. This self-titled comeback release came after a gap of nine years from Dystopia's last record & is generally regarded as somewhat of a classic for fans of crusty sludge metal but I have to admit that my first few listens have been.... well..... a bit underwhelming if I'm being honest.

The themes are clearly centered around drug addiction with the use of some decidedly negative layered spoken-word samples being somewhat of a trademark for the band by this point. The filthy crust punk production is certainly appropriate but somehow Dystopia have always found the genuinely heavy production job they so sorely require to be quite elusive in my experience. The delivery of dual vocalists Matt Parrillo & Dino Sommese is even more overthetop than ever before, at times bordering on the ridiculous in their sheer insanity & I think that goes a long way to explaining the appeal of a record like "Dystopia" as it really does push the threshold of drug-fueled depression & depravity. There are a couple of problems here that weren't visible on the band's short-form classics though. There really aren't any genuine belters with the two-minute "Control All Delete" being the only one of the proper songs to really get me going. There are also a few clear duds included, particularly the grindcore-inspired "Illusion of Love" & the God-awful waste of space that is the untitled closing track. I find it hard to see how anyone can rate a release like this one the full five stars after listening to that closer to be honest. Surely common sense has to prevail at some point, doesn't it?

Dystopia are certainly at their best when they get their doom on & you can clearly see that during the first half of lengthy opening track "Now and Forever". I also enjoy it when they go for broke in a crusty hardcore direction like they do on the before-mentioned "Control All Delete" but when they start to tail off significantly for me is when they employ groovier riffs &/or bouncier beats & there are a number of those moments scattered across the tracklisting. It would seem to me that Dystopia have made a huge effort to take their strengths & to amplify them in the hope of maximum appeal for their underground fanbase but I don't think it's had the desired effect because the creativity & focus that I found so appealing on their previous material doesn't seem to be here. Sadly, I can't help but think that Dystopia's day in the sun had already run its course & they would have been better off leaving their 1990's legacy untainted.

For fans of Tragedy, Sea of Deprivation & Damad.

Last month I found myself revisiting San Francisco blackgaze legends Deafheaven's fourth full-length "Ordinary Corrupt Human Love" & being really impressed with what I heard so I immediately popped the previous album "New Bermuda" into my Spotify playlist for this month so that I could see how it compared. I remember thoroughly enjoying it at the time of release & not much has changed in that regard as it's yet another quality release from an extreme metal band that simply couldn't produce a dud if its life depended on it. For the follow-up to 2013's classic (& heavily divisive) "Sunbather" album the band opted to reignite their black metal passion with this record being perhaps their most black metal release however that's not to say that Deafheaven's signature blackgaze approach has dropped off the radar by any means as they tend to skip between the two sounds quite often. There's a little post-metal here & there but I wouldn't say that the post-rock influence is anything that isn't covered by the blackgaze tag. The screaming vocal performance of front man George Clarke is a highlight as usual, as is the blasting drumming of Daniel Tracy. I guess it's fair to say that everything that Deafheaven touch is pure class. They could fart in my face & I'd probably praise the complexity of the fragrance & the textured & melodious tonality of its song. In saying that, the last track "Gifts for the Earth" does see the quality drop a touch & I'm not sure "New Bermuda" ever threatened to enter my Hall of Metal Glory with one of my more prestigious ratings. It just pips out "Ordinary Corrupt Human Love" for the highly sought-after honour of being my third favourite Deafheaven record these days though (behind "Sunbather" & "Roads To Judah") & I think most black metal fans would really dig it if they gave it a genuine chance.

For fans of Lantlôs, Numenorean & Alcest.

I was particularly late in the game in discovering this underground release given that it didn't confront my ear holes until around 2009 but I shouldn't feel too ashamed because it really has been one of those records that's built its reputation over many years & kinda crept up on the competition very slowly through word of mouth. This sole album from Austria's Broken Torso now seems to be regarded as somewhat of an unheralded classic amongst brutal death metal aficionados however I can't say that I see it quite as positively as that to be honest.

Despite "The Ultimate Abhorrence" being universally claimed as a brutal death metal release, it's definitely not as cut & dry as that. You see, Broken Torso have a few other strings to their bow & tend to balance out the brutal blast beats with more melodic riffage that's similar to the more accessible sounds of Swedish bands like Edge of Sanity & Dissection. The vocals are super-deep & ultra-dark which adds a nice contrast to some of the more melodic riffs. There are no guitar solos included & I tend to think this may be due to the technical deficiencies of guitarist Alex Mayrhofer because he's obviously the weakest link for Broken Torso. Whereas some fans refer to his guitar work as unhinged & psychotic, I tend to think of him as lacking control & timing because he struggles to stay in time with very capable drummer Thomas Breiteneder throughout this short 27 minute album & this is somewhat of an obstacle for me to be honest. You see, while Breiteneder does a fantastic job at blasting away with genuine precision, it almost sounds like Mayrhofer is having trouble his monitor speaker & can't hear what's going on around him with the other musicians in a live environment. This is particularly noticeable during the middle of the record where things start to fall apart pretty noticeably during weaker inclusions like "Thrill of Terror" & "Unforgotten Sins". Thankfully the quality level picks up significantly over the last couple of tracks & I'm left with a generally positive feeling by the end of the album.

"The Ultimate Obhorrence" may not be the unheralded classic that it's made out to be but it's definitely worth a few spins for those extreme metalheads that don't mind a bit of melody amongst all of the blasting violence. It reminds me very much of bands like Slovakia's Nomenmortis & France's Kronos in that way while the both ways bet Broken Torso take in regard to the more brutal & more traditional styles of death metal should appeal to fans of bands like Dying Fetus whose original band logo the band have so clearly ripped off.

For fans of Kronos, Nomenmortis & Dying Fetus.

I really enjoyed Nails' third record back at the time of release but was perhaps too preoccupied with the Metal Academy podcast at the time which didn't allow me to fully grasp just how much hardcore violence it contains because these guys are kinda unparalleled in that regard. Look, I love albums like "Unsilent Death" as much as the next extreme metal nut & 2013's "Abandon All Life" sophomore album is my all-time favourite grindcore record  but I honestly have no idea how this release can be seemingly overshadowed by the band's previous work because it's an outstanding example of the genre with a ridiculously powerful production that could not possibly be better for this style of music. The 22 minute run time is dominated by the eight minute sludge metal classic that is closer "They Come Crawling Back" which perhaps goes part of the way to explaining it but the bass guitar & drum sounds are absolutely immense on this record with Todd Jones' vocals sounding utterly monstrous. Don't believe me? Check out tracks like "Friend to All" or "Into Quietus" & tell me you can sit still, let alone stop flailing your arms around & fly kicking anything in close proximity with complete disregard for your own or anyone else's well-being. With the exception of "Abandon All Life", I've struggled to rate a grindcore release higher than a 4/5 on Metal Academy but "You Will Never Be One Of Us" has come within a bee's dick of achieving that feat with this revisit to what is an outstanding release for the genre.

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

Here's a hot take for ya. This is my Cryptopsy album of choice these days. I know that might sound strange given the almost unanimous love for the Canadian's first couple of records & the fact that brutal death metal is my subgenre of choice but I honestly never saw the attraction that others seem to & consider them both to be significantly overrated. I actually don't have any time for "Blasphemy Made Flesh" & even though I quite like "None So Vile" I've never thought of it as anything particularly special. For their third record though we saw Cryptopsy dropping a little bit of the brutality & adding a significant amount of technicality with a more professional production job & a new vocalist who actually attempts to enunciate his words even if his delivery is more serviceable than it is impressive. Extreme drumming legend Flo Mounier still blasts away at ridiculous speeds but he still doesn't have the endurance or precision to fully pull it all off & I maintain my position that there are much better death metal drummers out there. Despite the consistent blasting though, this is definitely more of a tech-death record than a brutal-death one. New front man Mike DiSalvo sounds quite a bit like Cannibal Corpse/Monstrosity legend George "Corpsegrinder" Fisher here. In fact, I'd suggest that the whole album comes across as a more brutal & technical version of the world's biggest selling death metal band. There's not a weak moment on "Whisper Supremacy" though with a very consistent tracklisting being one of the album's strengths. Unfortunately it lacks the highlights to be considered for my higher scores & it probably doesn't help that the individual tracks can tend to sound pretty samey as they lack a bit of identity. Still... I love this style of death metal & have always found Cryptopsy's third effort to be a really enjoyable experience.

For fans of Suffocation, Wormed & Cannibal Corpse.

This one is a really interesting one that's worthy of a bit of discussion. On the one hand this release is so obviously not a metal release in that if you took the black metal vocals away (which only appear on half of the tracklisting) you would essentially have a conventional New Age record, albeit one that seems to be very much intended for the black metal audience. On the other hand though, those vocals could only be found on a black metal release & some of this material would seem to fit pretty comfortably on a Burzum album given its conduciveness to drawing images of "Lord Of The Rings" style fantasy. But then there's also an early 80's new wave element to the overthetop synthesizer tones given that they often lack subtlety & tip toe along the borderline of cheesiness. It poses the question "Does black metal need to have guitars & black metal instrumentation?" I would suggest that the answer is YES & my inclination is to go with a YES on this Hall of Judgement entry as a result but I can't say that it's a unanimous decision as I can see the argument for going to other way too. Perhaps placing "The Ashes of Light" under Non-Metal but still allowing it into The North is a fair compromise. I'm not sure if that would cause any logistical issues but it's worth considering.

As for the album's quality, I can't say I agree with Sonny on that. If you can allow yourself to accept the musical direction that Lustre have taken then you might find that "The Ashes of Light" has a certain charm to it. It's glistening, lush, majestic & ethereal but will certainly alienate many extreme metal fans given its generally positive & uplifting tone. I don't mind some of the better New Age releases though & have even been known to thoroughly enjoy it in conjunction with a professional massage on occasion so I would guess that I'm more open to this sort of record than most grim & frostbitten black metal fans. It's disappointing that I couldn't find any pictures of corpse-painted black metallers receiving massages to post in the Hall of Judgement thread though as I would have thought someone would surely have pasted Abbath into that sort of scene at some point. I guess that fact alone tells us that this release is tailored towards a fairly niche market.

For fans of Burzum, Midnight Odyssey & Eldamar.

PURE…… CHAOS……

PURE… UNADULTERATED…. UNMITIGATED…. RELENTLESS CHAOS!!!!

That’s what German mathgrind outfit Atka bring to the table alright. Seventeen short, sharp shocks to the system through incredible insanity, complexity, urgency & savagery & a front man who must surely be only moments away from a hernia given just how nuts he goes on every track. I’m honestly not sure how a band like Atka can keep this up for more than one or two releases & that seems to have rung true for Atka who haven’t been seen or heard of since.

I really am a sucker for inexcusably brutal yet well produced extreme metal music, aren’t I? Particularly when the level of musicianship is as high as it is here. I mean if The Dillinger Escape Plan looked side to side I’m sure they’d see Atka sitting right alongside them in that department only they’re carrying a whole array of super-intense blast-beats to scare your boss, your girlfriend & your Aunty’s best friend right back to wherever it is they came from. At just thirty minutes in duration you would think that a record like this one would be well-served by the short runtime but I would think that even such a brief dalliance with the senses would be almost too much to bare in one sitting for the majority of casual metal fans. Thankfully I’m not a casual metal fan by any means & this record was right up my alley. May the song structures have ADD & the blast-beats be eternal I say!

For fans of Discordance Axis, Antigama & Fuck The Facts.

I don't think it'll surprise too many of you to hear that I struggled with this one & I was always expecting to if I'm honest. I've encountered Deathstars a number of times over the years while programming the monthly The Sphere playlists & it was always clear to me that they sit well outside of my musical taste profile so I've never felt the need to fill in the gaps by venturing into a full album before. Now having done that over the last 24 hours I'm left feeling exactly as a thought I would. You see the sound that Deathstars are pushing here is a fair bit poppier than I'm generally comfortable with & if you're going to go that way then you'd better have the hooks to back it up. There are a few tracks that succeed in that regard (see "Cyanide", "Termination Bliss" & to a lesser extent "Virtue To Vice") but unfortunately I don't think they've nailed them consistently enough to draw my attention away from my stylistic concerns here.

On the positive side, the production job is clear, bright & glistening & does a great job at highlighting the band's main strength which is the contrast between the chunky guitar riffs & the lush & spacey synthesizer component. The simple groove-laden riffs have so clearly been stolen from the template that Rammstein developed that it's bordering on plagiarism while the synths give the overall package a noticeable cyber metal feel. For that reason I see this release as sitting somewhere in between the German Neue Deutsche Härte sound & a cyber metal one. There's absolutely no industrial metal here whatsoever so I'm absolutely baffled as to how this release has been lumped into that category. I'd encourage all members of The Sphere to correct that mistake ASAP. The other interesting element is the gothic one as the super-deep male vocals & dancey tempos have pretty obviously been borrowed from Sisters of Mercy, once again bordering on plagiarism at times. You'll also find some accompanying blackened vocals scattered across the tracklisting & those are pretty poorly executed & a little grating if I'm honest. Thankfully the few tracks that I do enjoy are really quite strong & there's nothing here that I regard as utterly horrendous so my overall opinion is that "Termination Bliss" simply isn't for me.

For fans of Rammstein, The Kovenant & Sisters of Mercy.

P.S. I was pretty surprised to discover that Deathstars were born out of the ashes of melodic black metal outfit Swordmaster whose "Wraths of Time" E.P. I was across during my tape trading days back in the mid-1990's. Also, guitarist/keyboardist Emil Nödtveidt is the brother of deceased Dissection mastermind Jon Nödtveidt while drummer Ole Öhman played on Dissection's classic albums. Both of these guys were also in melodic black metal band Ophthalamia who you might have heard of too.

Ok, so I feel like I should kick off this review with a clear disclaimer. I’ve had quite a bit of exposure to Loudness over the years but have never been a fan of what I’ve heard. My experiences largely sit within the band’s first four albums which saw the light of day between 1981 & 1984 &, while none of those releases were exactly horrible, they each left me feeling decidedly underwhelmed & wondering how records like “Disillusion” & “The Law of Devil’s Land” have become so popular with fans of the classic heavy metal sound. Akira Takasaki is certainly a wonderful guitar virtuoso but that was never enough to combat the cheesy & generic song-writing & the horrible Japanese-accented lyrics. Regardless, I’ve never been one to let internal bias direct my views on a release that I’ve previously been unacquainted with so let’s see what “Soldier of Fortune” is all about, shall we?

Loudness have certainly proven themselves to be quite prolific over the years as they’d released a full four albums in the time between 1984’s “Disillusion” (arguably their most highly acclaimed record) & 1989’s “Soldier of Fortune”. I remember some of their earlier material having a noticeable Rush-style progressive rock influence but by this stage they’d dropped that altogether with the late 80’s model of Loudness opting for a more straight-down-the-line hard rock-infused heavy metal sound. Akira’s devastating axe-slinging skills are the clear highlight of the album & this may just be the finest performance I’ve heard from him to date with Eddie Van Halen, Randy Rhoads & Yngwie Malmsteen influences all being combined into a truly slaying example of the late 80’s shred phenomenon. The other noteworthy element of “Solder of Fortune” is the incorporation of a new American vocalist in Mike Vescera who offers the band a newly found accessibility. He also goes a long way to solving the problems I mentioned earlier with original singer Minoru Niihara as the vocal delivery is no longer an issue for me here.

“Soldier of Fortune” kicks off pretty well to be honest & after the first few songs I was wondering whether I may have found a Loudness record I could actually appreciate. Unfortunately though, things start to got noticeably rocky through the middle of the album with hard rocker “Red Light Shooter” falling pretty flat & the two ballads “Twenty-Five Days” & “Lost Without Your Love” reminding me of my qualms with the band’s earlier releases. Things do start to pick up late in the piece before tripping over themselves again with lazy power metal closer “Demon Disease”. Don’t get me wrong. There are some decent tunes here & I get enjoyment out of a good 60% of the tracklisting. It’s just that there are no obvious highlight tracks to balance out the low points & that leaves me feeling like the whole experience is more of a chore than it would have been if there had of been one or two real belters included.

Poor Loudness. They try so hard but may be destined never to see my head turn in admiration, despite the presence of a guitar god of the highest order. “Soldier of Fortune” is a more straight forward heavy metal record than earlier outings & this is both its strength & weakness. It can sound pretty basic in its makeup at times but also seems a touch more focused at the same time. If pushed I’d suggest that it’s the Loudness record that’s come the closest to hitting the mark in my experiences with the band to date but they’ve still got a lot of work to do if they want to see me singing their praises.

For fans of Yngwie Malmsteen, Dokken & Accept.

I have an admission to make. Despite being aware of Californian groove head establishment since the very beginning of their recording career & having seen them perform live in years gone past, this is the only Machine Head record I’ve ever listened to in full before now. This omission is a little unusual as I usually pride myself on my willingness to step outside of my musical comfort zone in the interest of maintaining the broadest knowledge of metal music I possibly can, perhaps being driven by my Metal Academy responsibilities in recent years if I’m being completely honest. I was certainly aware of the significant impact that Machine Head made on the metal scene with their 1994 debut album “Burn My Eyes” & I know the bigger tracks on that record by heart thanks to the consistent exposure I received from other parties at the time but the early 90’s groove metal explosion perhaps didn’t have the same impact on me that it did other metal fans as I was already well & truly immersed in extreme metal. Was I missing out? Well, if “The Blackening” is an elite example of the genre then I’d suggest that I didn’t as I still struggle a bit with the lack of substance & the general focus on macho posturing but I can’t deny that this is a decent metal record & my score here reflects that.

I do appreciate the tight performances from the band & the solid, chunky production which does a good job at highlighting the strengths of the individual musicians. There’s still a truckload of Pantera influence in Machine Head’s sound even all these years later with Rob Flynn’s vocals sounding uncannily like he’s trying to emulate Phil Anselmo at times. There are a few differentiators to be found though & they’re well worth discussing. For starters, the extreme length of many of the eight tracks on offer pushes up into self-indulgent territory at times. The tracks aren’t boring or anything but I have to ask what the point was as it’s not like there’s much of a progressive component to these song structures so they really are just extended groove metal songs. There’s also a significant thrash metal influence to some of the tracks here, perhaps more than I’ve noticed in the Machine Head material I’ve heard from other releases. It’s not enough to justify a primary thrash tag but it’s definitely there. I’m not much of a fan of the clean vocals which seem to be a clear attempt at commercialism but the biggest surprise for me was the inclusion of Iron Maiden style guitar harmonies & often for extended periods. I can’t say that they work all that well as they try their level best to drag the band into a cheesier territory that’s somewhat at odds with their masculine image. I wouldn’t say that this is a deal breaker by any means but I think the implementation could have been executed in a more subtle way. The lead guitar work is pretty effective though & is often a highlight.

The tracklisting is pretty solid with only the one obvious dud in the more commercial “Beautiful Mourning” but there aren’t really any genuine classics for me personally. I generally like the vast majority of the album but the only track that really gets me going on a physical level is “Now I Lay Thee Down” which I find to be the clear album highlight. From what I can tell though, “The Blackening” not only seems to compete with “Burn My Eyes” for Machine Head’s most popular record these days but is also one of groove metal’s most highly regarded releases overall so I can only really assume that my personal taste is restricting its appeal. I do remember enjoying the tracks I know from the debut a bit more than what I’ve taken from “The Blackening” though so it might be worth my while giving it a chance at long last over the coming months. I have to admit that “The Blackening” is unlikely to disappoint fans of quality metal music but it was never going to threaten my upper scores from a purely stylistic point of view.

For fans of Pantera, Sepultura & Soulfly.

I was familiar with the first couple of albums from The Chasm through the tape trading scene back in the 1990's with one of my trading partners from Chile keeping me well up to date with everything that was happening in the South American extreme metal scene. Neither appeared to be anything particularly special though even if both were quite enjoyable. It wasn't until I returned to metal in 2009 that I had the opportunity to run through The Chasm's highly celebrated run of albums from 1998-2009 though & I found that "Procession to the Infraworld" was the clear standout. The other four records were a mixed bag for me & you've probably noticed that I've been revisiting all of these releases over the last few months to see if my opinion has changed. If anything I'd suggest that my feelings have declined a bit though with 1998's "Deathcult for Eternity: The Triumph" & 2003's "Conjuration of the Spectral Empire" doing very little for me. I quite like 2004's The Spell of Retribution" but 2009's "Farseeing the Paranormal Abysm" is probably the best of the rest in my opinion.

As with all of The Chasm's classic era releases, "Farseeing the Paranormal Abysm" presents a wide array of subgenres & is subsequently very hard to categorize. I've often pondered over whether this ambiguity of sound might be why the band have managed to achieve such a strong underground following over the years actually. Despite generally being labelled as a death metal band, you'll often find that there's just as much melodeath, thrash metal, black metal, progressive metal & doom metal about their records as there is genuine death metal & "Farseeing the Paranormal Abysm" is no exception. I'm pleased that the melodeath thing has been tapered off on this occasion though as, even though I generally liked "The Spell of Retribution", I can't deny that it put me outside of my comfort zone a little more than I would have liked.

With their seventh album we find The Chasm at their most creative & ambitious from a song structure point of view with several really lengthy pieces & a strong instrumental component. The band are known for chucking ten thousand riffs into every song & that's never been more the case you'll find here. If you're a riff-master then you certainly won't be disappointed but there's also a more progressive approach being taken on this record with a significant rise in the complexity of the riff structures. In fact, I'm often drawn to reference the technical thrash metal of Vektor. The Chasm have also made the open-string arpeggiated black metal style a consistent part of their arsenal & they pull it off with ease here along with the occasional dipping of toes into doomier territories (particularly on lengthy closer "The Mission / Arrival to Hopeless Shores (Calling the Paranormal Abysm)").

This is all sounds very good on paper so why haven't I scored "Farseeing the Paranormal Abysm" higher? Well, for all their creative ambition, The Chasm have never been a band that was completely in control of their instruments. They lack subtlety & finesse & that can be clearly seen in the short progressive metal piece "Farseeing..." with the heavy-handed lead work leaving me fighting back cringes. I sometimes wonder weather this lack of polish is a part of The Chasm's underground appeal though actually. It probably makes them sound a little more underground even though their package isn't all that extreme for death metal. The production jobs usually sound pretty underground too which has further accentuated their street credibility. Personally I don't pay any attention to any of that. I call 'em like I see 'em & "Farseeing The Paranormal Abysm" is a pretty entertaining listen that doesn't quite manage to excite me consistently enough to compete with the premier death metal bands.

For fans of Cenotaph, Shub Niggurath & Blood Incantation.

Revisited this oldie for the first time in ages this week. I picked the CD up upon release back in the day after being impressed by Enslaved on the Emperor split & the album didn't disappoint me either. The majority of the tracklisting takes an expansive Norwegian black metal approach but there's also a Viking Metal component that differentiated it from some of the competition along with the regular use of keyboards without ever threatening to push out into "symphonic black metal" territory. I have to say that time hasn't been that kind to those synthesizers as they sound very dated & more than a little cheesy these days. Grutle Kjellson's vocals were pretty gurgly at this point too & could have been a little better. There's some wonderfully classic black metal on here though & I was heading towards awarding it a premier rating until the decidedly Moonsorrow-ish closing instrumental piece "Norvegr" popped up at the last minute to bring me back to earth. It's not a bad track but it's folky Viking Metal stylings aren't anywhere near as much to my taste as a blasting black metal monster like "Vetrarnótt" (my album highlight) or "Midgards eldar" with it's obvious early-90's Bathory influence. After revisiting Enslaved's super-popular 2003 album "Below the Lights" recently I'd have to say that I prefer "Vikingligr veldi" these days & I wonder how much of that is nostalgia. I'm not too sure but I can't say that I think of "Vikingligr veldi" as sitting amongst the elite Norwegian black metal releases. It's a second tier record for mine but a strong one at that.

For fans of early Emperor/Windir & Viking-era Bathory.

Revisiting the debut full-length from this legendary Atlanta outfit has seen me viewing it in a new light. I'd previously felt that it was a touch overrated & found that I enjoyed it less than their later work however I tend to think that my judgement may have been clouded by to the fact that I came to it immediately after having first encountered Mastodon's most classic albums "Crack The Kye" & "Leviathan". When taken in isolation & with fresh ears though I've discovered an entirely new appreciation for the ridiculously well-executed progressive sludge metal the band were wielding at the time. As is usually the case with Mastodon records, drummer Brann Dailor is the clear highlight & boy does he go to town here! He may just be one of top few drummers of all time these days & I can't get enough of his trademark fills & snare rolls. There's a metalcore influence on a couple of tracks (particularly on short opening track "Crusher Destroyer" which is the highlight of the album for me) but anyone labelling "Remission" as a metalcore release is misguided. The tracklisting kicks off with some major impact given that tracks 1 & 2 are the best of the eleven tracks but that's not to say that the rest of the record is a disappointment by any means as there's a solid consistency to every track included. There's just not the hooks to see me adjusting my opinion from a "very solid" release to the "classic" one that some people seem to claim it is. Still... anyone who enjoys a more expansive take on sludge will get a lot out of "Remission". In fact, I'd probably take it over a record like 2006's "Blood Mountain" these days.

For fans of Baroness, Dvne & Intronaut.

It's been many years since I revisited this seminal & quite bizarre one-off record from Norwegian avant-garde progressive metal outfit Ved Buens Ende..... & that really needed to be rectified because it's a truly confounding & resoundingly original piece of work from a band that were far too young to achieve such a feat. I first encountered Ved Buens Ende..... through the 1996 Blackend Records compilation "Blackend: The Black Metal Compilation Vol. 1" via one of the highlight tracks in "Carrier of Wounds" & immediately found myself captivated but it took time for the full effects to take hold because there's simply far too much going to be able to grasp it in one or two sittings. There are enough common traits to comfortably determine that Ved Buens Ende..... hail from the Norwegian black metal scene of the early 90's & you'll see plenty of evidence of that across the tracklisting however to describe them as a black metal band is far too limiting. You can expect to hear dissonant & completely atonal open-string guitar work that wouldn't seem out of place on Voivod's more ambitious records mixed in with jazzy experimental drumming & unusual & quite powerful clean vocals that somehow seem to draw upon dark melodies that perfectly compliment the tense atmosphere. Then a simplistic & consciously grim old school black metal section will appear out of nowhere & the snarliest, croakiest blackened vocals this side of Darkthrone will leap forth to penetrate your calmed state & remind you that this is still a release that has been born from the darkest pits of extreme metal territory.

For all those positives, Ved Buens Ende..... don't get it all right here. I rarely find an entire track to ticks all of my creative boxes with only the lengthy "Remembrance of Things Past/To Swarm Deserted Away" doing enough to qualify as a genuine metal classic in my opinion. There are also a couple of pretty ordinary atmospheric pieces included in "Autumn Leaves" & the hidden track that closes the album, both of which suffer from being too loose & wishy washy. Thankfully though those are the exception rather than the rule with the more substantial works being much more successful in their realization of an ambition that's stood out amongst its peers ever since. The best moments occur when the clean vocals manage to penetrate my soul in a way that leaves their eery melodies still easily recalled by my brain all these years later. More often than not these melodies are accompanied by a majestic & often dissonant guitar arpeggio that could only have been drawn from the Norwegian black metal scene yet somehow doesn't feel like black metal at all & it's this sort of contradiction that makes "Written In Waters" an enthralling ride, despite all of its imperfections.

For fans of Dødheimsgard, Fleurety & In the Woods...

It came as a bit of a shock to me but I actually don't think I've ever listened to "Roots" up until now. I was previously under the distinct impression that this was the point that Sepultura lost me but given that I've experienced no semblance of familiarity with most of the tracklisting I can only assume that my interest was simply too heavily entwined in the extreme metal scene to pay any notice to the Brazilians sixth full-length. But you know what? It's not a bad record to tell you the truth. It was certainly the band's least appealing offering to the time & is far too inconsistent to even think about my higher scores but I can't say that I find it to be as repulsive as many other ol' thrashers seem to.

"Roots" offers an interesting combination of styles with Sepultura having completely dropped their trademark thrash metal sound by this stage, instead adopting an approach that sits somewhere between groove metal, nu metal, hardcore punk & Brazilian tribal folk music. I can't say that it always works & there are a fair few failures along the way (particularly the God-awful "Ratamahatta") but when the band get it right they can still produce a very solid piece of bottom-heavy metal music, even though it won't be as musically & melodically impressive as they were capable of in their late 80's/early 90's prime. The Korn influence is plain for all to see but that's not to say that Sepultura do a bad job at incorporating nu metal into their sound. The parts that annoy me the most tend to be when they use the scatty Brazilian vocals over a metal backing or even opt for snippets of turntablism. The hardcore sections sound really natural though with gravel-throated Max Cavalera fitting the mould very well while the expanded focus on the traditional music of their Brazilian homeland was the natural destination for the journey they'd started with 1991's classic "Arise" album. The noticeable omission is Andreas Kisser's lovely touches of lead guitar melody seem to have become the victim of a more modern approach which is a shame.

While this might not be the most inspirational or addictive Sepultura release it's hard to deny that the band's intentions were in the right place as they can't be accused of simply repeating the formula that they'd built their career on. My personal preference in metal isn't really in line with the groove/nu metal direction that "Roots" has taken but the simple riffs contain enough quality to keep me interested, especially on the darker songs like "Cut-Throat", "Lookaway" & "Ambush". The beautiful acoustic folk guitar piece "Jasco" is a nice addition too. "Roots" may not be essential listening but I think it's worth a few spins nonetheless.

For fans of Soulfly, Machine Head & Korn.

2013's "Sunbather" record was one of the most divisive I can remember in my extreme metal journey & it's not hard to see why either but I'm not afraid to confidently state that I fell firmly into the camp that thought it was a masterstroke. Deafheaven's debut album "Roads to Judah" was a really solid example of post-blackgaze however "Sunbather" saw the band maximizing all aspects of their sound &, in doing so, set the metal world alight. Given the magnitude of that album, future Deafheaven releases were always going to be compared to it & that can probably be seen as a disadvantage, particularly given the tendency for people to prejudge based on past experiences. And this brings us to Deafheaven's fourth full-length album "Ordinary Corrupt Human Love" which sees the band taking their sound even further away from the black metal scene's comfort zone.

If you come in looking for black metal here then you'll be disappointed as there's really very little on offer apart from George Clarke's Ihsahn-like gurgles. In fact, it's quite hard to identify much in the way of any sort of metal for most of the record to tell you the truth. Instead the instrumentation draws from widely disparate (yet universally accessible) forms of rock music & manages to pull it all off with an ease that only the elite artists in the scene can manage. Melodic shoegaze? Tick. Stripped-back post-rock meanderings? Tick. Whispy dream pop vocals? Tick. Lush & progressive art rock excursions? Tick. Ethereal darkwave atmosphere? Tick.... & all executed with aplomb too. Opening track "You Without End" offers about the only weak point on the record via some ill-guided black metal shrieks layered over some particularly easy-listening art rock instrumentation which sounds well out of place. Thankfully the musicians execute their parts with enough sophistication to leave the track feeling predominantly positive as a whole but I have to admit that it was a strange decision to open with the weakest number on the tracklisting. From that point on Deafheaven don't put a foot wrong but in saying that they don't ever really see me thinking about reaching for my higher scores either. I guess the musical positivity that Deafheaven surround themselves with is still a little too far away from my sweet spot for that however I can't deny that they've managed to fully realize yet another brave & ambitious artistic undertaking here.

The more intense parts are still my favourite parts which won't surprise anyone but the indulgent post-rock sections are nothing short of lovely too. It's interesting that, despite the lack of genuine metal here, I still think the album is best described as post-blackgaze, mainly because George's vocals simply don't belong anywhere outside of the metal spectrum. There's not even all that much shoegaze on offer here either but there isn't another black metal-related subgenre that could possibly encompass the positivity in these melodic themes so it just seems to fit.

I'm honestly not sure that Deafheaven can put a foot wrong at this point no matter what subgenre they tackle & "Ordinary Corrupt Human Love" is yet another strong release that sees them flexing their creative muscles. Thankfully the extreme metal world seems to be ready for it too.

For fans of Alcest, Ghost Bath & Oathbreaker.

When I first heard English funeral doom masters Esoteric's highly regarded sophomore album "The Pernicious Enigma" back in the day I found myself struggling with various different elements. There's no doubt that the production job could have been much better & that was my main obstacle however I also found the continuous wave of layered vocals & the extreme length of this release (i.e. a 115 minute double album of funeral doom metal can be daunting at the best of times) to be a challenge. Since that time Esoteric have become one of my absolute favourite bands though & this revisit has seen the penny finally dropping for me with everything the band were trying to achieve now being hungrily lapped up by this fussy ol' bastard.

That's not to say that "The Pernicious Enigma" is a perfect record(s) by any means. The occasional use of more up-tempo sections are nowhere near as effective as the rest of the material with the short industrial death metal piece "At War With the Race" failing to meet expectations. There are a few attempts at off-beat drumming that don't really stick the landing either & the fact that they've had to resort to using a drum machine for a few tracks tells a pretty clear story about fill-in drummer Anthony Brewer's talents. Nonetheless, the consistency with which Esoteric are able to deliver wonderfully monstrous masterpieces of psychedelic depravity is unprecedented & one needs only take a cursory glance at the likes of "Dominion of Slaves" or "Sinistrous" to realise how all-encompassing that idea can be when all the planets align. The incorporation of a diverse array of influences also helps to free the band from the strict stylistic confines of the funeral doom metal genre with Godflesh style industrial moments & slowly building post-metal build-ups proving to be invaluable assets here along with Esoteric's inimitable penchant for mind-expanding psychedelia.

Esoteric are untouched in their field & even a thin production job where the rhythm guitars have nowhere near the weight that they deserve is not enough to stop them from looking down on the competition from their funeral thrones while we bask in yet another glorious procession of unwavering doom.

For fans of Evoken, Thergothon & Skepticism.

Let me set the scene for you. It’s mid-1990 & a fourteen year-old boy (admittedly a very good looking one) sits in his bedroom in Sydney late at night with his headphones on listening to the radio with a cassette player set to record the show at the same time. The track changes & a chuggy throb starts up that’s unlike anything the youth has ever heard before. A guitar appears & starts playing a palm-muted melodic run then all of a sudden… IT HITS! The whole band kicks in & starts slamming out one of the tightest, chunkiest grooves metal had ever heard to the time. It's fair to say that the young man’s ears have more than pricked up by this stage but what’s this? The guitar solo comes in unaccompanied in a similar way to his idol Eddie Van Halen. And Jesus Christ this dude can shred! He’s got chops for days, weeks & years! And those vocals! They exude a powerful hardcore attitude but still maintain a strong sense of melody. The boy would replay this song repeatedly over the next week until the late night metal show returned the following week. This time we had another inclusion from this supposedly new band Pantera but it was a heavy metal inspired ballad with soaring vocals & dive-bombing guitar solos like none he’d heard before. This ongoing week-to-week process would go on for some time before the boy felt the need to pick the full album up through tape trading & he would give it a good ol' thrashing over the next year or so. Pantera would release their breakout sixth album in 1992 & would subsequently change the world with their story going down in metal history for all eternity.

I imagine that this would be a fairly familiar story for many of us but it’s one that I remember vividly. It was immediately apparent that there was something different about Pantera’s “Cowboys From Hell”, an album that most fans assumed was their recorded debut until they’d learn otherwise. You see Pantera had begun life as a decidedly run-of-the-mill heavy metal band with an unusually talented lead guitar virtuoso in their early teens under the guidance of Darrell & Vinny’s record-producing father. They’d release four albums between 1983 & 1988 that would drift a long way under my radar before finally discovering a new sound & taking it to the world. The resulting “Cowboys From Hell” album not only showcased that new direction to the world but it would also signal somewhat of a changing of the guard for a thrash metal scene which was starting to decline in the wake of the fast ascending grunge phenomenon that would completely explode the following year. But listening back now it’s hard to deny that “Cowboys From Hell” was very much a transitional album too as the tracklisting doesn’t completely embrace this new sound (known as Groove Metal) at the expense of past glories. I think it’d be more accurate to suggest that it incorporates it as the primary source of creativity while blending it with more familiar sounds. As a result, I find it hard to deny that this is as much a thrash record as it is a groove metal one with the remnants of Pantera’s Judas Priest worshipping US power metal experimentation still showing their head on quite a few occasions.

I think it’s important to note that if I had of rated this album back in the day I would likely have scored it a bit higher than I have here but it’s also worth mentioning that I’ve somehow managed to shun it completely for a good couple of decades which seemed kinda strange too. When listening to “Cowboys From Hell” with new ears now though it’s certainly not a perfect record & I can easily see why it wasn’t the soundtrack for my youth that it was for so many others. You see it hasn’t aged as well as I’d hoped. The production sounds kinda dated now, particularly the rhythm guitar tone which left so many jaws on the ground back in the day. It’s also easy to forget that there are three or four weaker tracks amongst the twelve on offer. No weak ones mind you, it’s just important to recognise that it wasn’t all hits. I have to admit that the whole groove metal thing isn’t really my cup of tea & that’s reflected in my opinion on some of the supposedly classic tracks on the album. Songs like the title track & “Domination” don’t smash me like they do/did other metal fans. I certainly like them (& I adore the guitar work in particular) but they aren’t going to see me reaching for my elite scores. Those are reserved for the tracks that steer away from the new groove metal sound with thrash metal anthem “Message In Blood” being the clear album highlight for me. It’s interesting that it’s also one of the least popular tracks on the album but that’s not unusual for me. The other track that completely slays is the classic heavy metal ballad “Cemetery Gates”. The main riff has clearly been inspired by Randy Rhoads era Ozzy Osbourne & is one the greatest in the history of metal in my opinion, particularly when used in conjunction with Phil Anselmo’s wonderfully emotive chorus hook. What an amazing climax Darrell & Phil created at the end too!

The new groove metal sound is best championed on the title track, “Primal Concrete Sledge”, “Clash With Reality”, “Medicine Man” & “The Sleep”. “Heresy”, “Message In Blood” & “The Art Of Shredding” are pure thrash metal though while tracks like “Psycho Holiday”, “Cemetery Gates” & “Shattered” give hints towards US power metal & even your more traditional heavy metal. The fact that you can very easily differentiate the different songs & parts of songs into their various categories tells you that Pantera’s sound was still a work in progress at this stage. It was a very impressive work in progress of course but I wouldn’t say that “Cowboys From Hell” is where we see groove metal being truly defined. That would have to wait for Pantera’s 1992 sixth album “Vulgar Display Of Power”, a record that I’ve now decided I appreciate a touch more than this one after all these years. There can be no denying the power of this band as a unit though. The rhythm section were as tight as you’d find & when they hit on one of their classic grooves it draws a physical response from the listener. For me though I’d suggest that there’s not a lot of depth to some of the groovier material outside of that head-nodding, body swaying thing that happens. I find songs like “Heresy”, “Domination”, “Clash With Reality” & “The Sleep” to be more of a pleasant experience than essential listening. Phil’s vocal performance still has one foot in the higher register Rob Halford camp most of the time & I wonder whether my knowledge of his screamier & more aggressive hardcore-inspired future is seeing me subconsciously craving a bit of that when listening to “Cowboys From Hell” these days.

Ultimately it’s very hard to be critical of this record as it sounded so fresh at the time & changed the metal landscape forever in several ways. While my score is still a good one it’s definitely limited by my musical comfort zones. I think I might need to revisit some of Pantera’s later works over the next few months to see how those records have been treated by time too. I suspect that I might find at least one of those to overtake the two early 90’s big boys at this point in my life.

For fans of Soulfly, Sepultura & Exhorder.

I didn't have much time for French blackgaze outfit Alcest's 2010 sophomore album at the time of release as I simply couldn't accept a wispy, ethereal & generally positive sound within the context of extreme metal at the time. It just seemed too much at odds with my concept of what a black metal record should be. I think it says a lot about how far I've come as a music fan that I'm now able to not only accept but actually enjoy albums like this one these days. It's simply a matter of accepting that this isn't meant to fit into my personal ideals & needs to be judged on its own merits instead of being placed next to my beloved Bathorys & Mayhems.

"Écailles de lune" sees Alcest presenting combination of shoegaze, black metal & post-rock elements (along with some noticeably goth rock inspired clean guitar sections) in what I'd describe as a post-blackgaze release overall. The vocal style ranges from dreamy, unintimidating & androgynous clean singing to screamy black metal shrieks while the instrumentation offers a lot of variety with noise-laden shoegaze walls of sound leading into blasting black metal tremolo-picked riffage & stripped back post-rock meanderings. My enjoyability of the material included across the six tracks also varies quite a bit too with the brilliantly executed short dark ambient piece "Abysses" being my clear album highlight. Opener "Écailles de lune - Part 1" & the wonderful "Solar Song" see Alcest indulging in your more traditional shoegaze melodicism while closer "Sur l'océan couleur de fer" opts for a drawn-out post-rock excursion. The black metal elements are mainly left for post-black metal anthem "Écailles de lune - Part 2" & the disappointing blackgaze of "Percées de lumière" which is the only one of the six tracks on offer that I don't get along with.

The production job is of course lush & accessible with everything sounding very easy on the ear. It's interesting how Alcest can manage to use the black metal tools of evil in such a positive way but still make it sound so natural. It certainly makes for another interesting Alcest release but I can't say that I enjoy "Écailles de lune" quite as much as I do some of their other albums like 2016's "Kodama" or their 2007 debut "Souvenirs d'un autre monde". I don't think I find it's appeal to be quite as consistent this time & the inclusion of "Percées de lumière" does tend to grate on me a little bit when you consider that there are only the six tracks on offer. Still... I get quite a bit of enjoyment out of "Écailles de lune" these days & can't really fathom how I could have scored it a 2.5/5 back in the day given that I was actually pretty close to going with a 4/5 on this revisit.

For fans of Amesoeurs, Deafheaven & Lantlôs.

2009’s widely celebrated “Płoń” E.P. represented my initiation into the world of highly regarded Polish black metal outfit Furia shortly after my return to metal the same year. I’d noticed the praise it was receiving amongst some of the more reputable online metal resources & felt compelled to see what the modern black metal scene had to offer given my past passions for the genre. Given it’s short duration, I was possibly able to justify a few more repeat listens than I’d generally give to a release that doesn’t immediately tick a few of my boxes too so Furia can’t say that they weren’t given a fair crack at winning over my affections. I guess the only question remaining is how successful they were in this endeavor so let’s dig right into that then, shall we?

“Płoń” is an interesting release in that Furia manage to cover almost the complete scope of the subgenre set contained by The North in just a short 15 minute package which is most unusual, especially when you consider that the overall result doesn’t sound terribly jerky & works pretty well as a representation of a defined Furia sound. You’ll find elements of everything from your conventional black metal model to atmospheric black metal to melodic black metal to black ‘n’ roll to Pagan black metal to folk metal to Viking metal to post-black metal on this three track E.P. which made it a pretty good candidate for a feature release in my opinion (thus me selecting it I guess). There’s something for everyone here but it’s Furia’s sweeping & consistently melodic black metal riffage that ties everything together & ensures that “Płoń” doesn’t sound in any way jerky, despite jumping from subgenre to subgenre fairly regularly.

Furia’s sound is quite organic in black metal terms which ties in well with the Pagan aesthetic of some of the material. Vocalist Nihil (also the mastermind behind Polish black metal outfit Morowe) offers a tortured yelp more than your traditional black metal scream & often brings to mind self-mutilating Shining front man Kvarforth in that regard while Namtar’s drums possess a refreshingly natural tone that’s light-years away from the clicky triggered sound of most modern black metal drum kits. It simply sounds like a real kit that could be sitting in the room with you & is being played by a real human being. The guitars have a warm tone too which accentuates the tremolo-picked & arpeggiated riffs nicely.

The E.P. opens up with “Zgniję, nie odpowiem!”, a track that frustrates me to be honest because it simultaneously holds the releases best & worst moments. The drawn-out post-metal breakdown in the middle of this track is beautifully ambient & atmospheric & shows the potential in Furia's sound but this is surrounded by parts that offer me very little appeal. I struggle at the best of times with a lot of folk metal & Pagan black metal & this track is where you’ll find the most obvious references to those subgenres along with some black ‘n’ roll beats that were never likely to go down too well with this old extremist. All of this unfortunately amounts to a disappointing opening to proceedings. Things pick up from there though with the more traditional black metal of “Ohydny jestem” & the album highlight title track being much more to my taste. I can’t say that either tick all of my boxes though. There’s still a bit more melody than I’m comfortable with at times as this isn’t the most sinister sounding black metal you’ll find. The Viking section (complete with the backing of a choir) in the title track isn’t something I’d usually go for but I can’t help but be won over by the atmosphere in that track nonetheless.

Look, I’m not going to tell you that “Płoń” is an essential release or a hidden gem but I chose it because I think it’ll offer a broad cross-section of our members plenty of appeal & likely more than it does for myself. My own feelings haven’t changed terribly much as I still don’t love this record as much as a lot of the underground seems to but I can see the reasons that it’s regarded so highly as it’s an accessible yet artistically diverse release that’s well composed & executed.

For fans of Odraza, Morowe & Plaga.

I can still vividly remember the day I picked this CD up very shortly after release. I'd been a hhhuuugggee fan of Pestilence's previous album "Testimony of the Ancients" so I had very high hopes for its successor. I had no idea of what to expect going in though so I was as surprised as anyone with the band's new direction which took some huge creative risks through the full integration of jazz fusion influences into their signature death metal sound. Atheist had already gone down that path a couple of years earlier with their classic "Unquestionable Presence" album but this was a very different kettle of fish sporting a totally fresh take on the concept.

As Ben suggested above, "Spheres" was almost unanimously panned within underground metal circles at the time but we never really paid a lot of attention to what the masses thought & both found the sheer ambition & creativity of this album to be nothing short on invigorating. I don't think there's any doubt that Ben's enthusiasm was a little more intense than my own though & this revisit has reminded me of why. You see, while there's no denying that Pestilence deserve a lot more credit for their bold adventurousness here, there are plenty of moments that simply don't work too. You'll find overly complex rhythms that push the musicality limits a little too far, cheesy & dated sounding synth lines that sometimes clash with the metal riffage & intentionally off-key leadwork that crosses over the line into sickly territory but then there are also some stunningly angular riffs that remind me of Swiss tech thrashers Coroner as much as anyone & some wonderfully entertaining jazz drumming & bass playing to accompany Patrick Mameli's signature death growls which I'd loved for many years by this stage. Tracks like "Soul Search" & "The Level of Perception" are up there with the band's finest work but other pieces seemed misguided & over-ambitious & fell on their own swords in the name of art (see the jazzy "Personal Energy" or closer "Demise of Time"). It's intriguing stuff. You can't deny that. But it's not quite fully realised in my opinion. The sentiment was right but the execution got a little bit ahead of itself. Perhaps Pestilence just needed another record between "Testimony of the Ancients" & this one to test the waters & try things in a less extreme format before taking the plunge? I think that's probably the case but credit where it's due because "Spheres" represented one hell of a side-step for extreme metal.

There's no denying that "Spheres" was unfairly crucified by the metal public who weren't quite ready for this sort of experimentation from one of their death metal pin-up boys at the time but for me "Spheres" represents a very brave move from a well established band that were always looking to take death metal to its next logical step. The positives comfortably outweigh the negatives & I generally find the experience to be thoroughly rewarding with even the parts that failed to gel earning brownie points for ambition. Don't believe everything you read about this record because it's well worth your time.

For fans of Death, Atheist & Cynic.

I've been aware of Plini's existence for a long time now given that he hails from my home town of Sydney although I've never gotten around to giving any of his records a spin until now & I can honestly say that I've been very impressed with the experience too. The dude not only has chops to burn but he also understands the value of quality song-writing. What we have here is a combination of djenty progressive metal, artsy progressive rock & experimental jazz fusion (three styles that offer a lot of appeal for me personally), all bundled up into your classic late 80's instrumental guitar virtuoso style package. Plini wears his influences on his sleeve as I can easily pick up elements of Joe Satriani, Steve Vai, Allan Holdsworth & Al Di Meola in his sound however he still manages to give his solos his own personal touch as well. The thing that really dazzles me is his restraint & his stunning use of phrasing. This is certainly NOT your showiest guitar shredder record & that's a credit to Plini's understanding of what makes good music, something he's likely learnt from Satriani's philosophies on composition. He sounds like he's in total control at all times & there's not a note that's played without purpose & conviction. The simpler Satriani-esque melodies are definitely the highlight for me here, along with the more stripped back solos where Plini can be more emotive & expressive. Where he starts to lose me a bit is when he ventures into that quirky & joyous Frank Zappa-inspired territory that Steve Vai has so often made his own in the past. It all gets a little too arty-fartsy for my taste once things head in that pleasantly unintimidating early 80's jazz fusion direction but I don't ever feel like pressing skip because the promise of something more interesting is always only a few moments away.

Overall I'd suggest that "Handmade Cities" is a really solid example of the instrumental guitar record & has enough of a point of difference to represent a fresh take. What it lacks though is those one or two standout tracks that can elevate a "very solid" record to an "outstanding" one but you get the feeling that Plini has that in him on the evidence here & he may have already delivered on that potential for all I know.

For fans of Liquid Tension Experiment, Joe Satriani & Steve Vai.

I'd never encountered Chilean thrash metallers Parkcrest before but ended up really liking the way they harness the Bay Area, the Teutonic scene & the South American scene all at once on this July feature release. They certainly possess a really fantastic energy. The more intense & thrashier stuff is clearly Parkcrest's comfort zone & they seem to excel once they're drawing upon "Darkness Descends" & "Beneath The Remains" for influence. They've also spent a fair bit of time listening to classic Iron Maiden over the years though too as there are plenty of places where they throw in an unaccompanied Steve Harris style bass riff during a midtempo section or a melodic guitar lead that wouldn't have seemed out of place on a record like "Powerslave". The drumming isn't as polished as a Dave Lombardo but there's an undeniable urgency & electricity about the consistently high tempos & I think Nicolás Villanueva has done himself some big favours by examining Igor Cavalera's transitions on the classic Sepultura thrash records. The bass playing plays an important role here too with Sodom's Tom Angelripper being the source of inspiration I suspect. This is an absolute riff-fest though with the twin guitars jumping from one impressive riff to another in a never-ending stream. Javier Salgado & Diego Armijo can both certainly play fast but when they start to get a bit more technical or attempt some emotive lead work you can start to see their technical limitations starting to show.

I find "...And That Blue Will Turn To Red" to be top class in patches & these signs all point to Parkcrest's next record having the potential to be a really big one for them but I don't think they're quite there yet. They've crammed these tracks full of content & a lot of it is extremely strong but there are also less impressive inclusions tacked into every song as well so I feel that a little quality control would go a long way. The six minute closing title track didn't do very much for me either & has resulted in me dropping my score from a 4/5 which is disappointing given how strongly the record started over the first few tracks. It deserved a better climax than that in my opinion. Another thing that limited my scoring a touch were Salgado's vocals which are serviceable but don't really possess the charisma of the top tier thrash front men. He serves Parkcrest well during the more violent stuff but sounds a bit flat when he's barking over simple power chords during a couple of the choruses. So yeah... a promising release for the future with some untapped potential still yet to be drawn to the surface.

For fans of Ripper, "Darkness Descends"-era Dark Angel & late 80's Sepultura.