Sonny's Reviews

Coroner's debut, whilst still being almost universally lauded, has been overshadowed a bit by their better produced and more technically focussed releases that succeeded it. Whilst that is understandable as they are great records, this less polished and more reckless-sounding release should not be ignored by anyone who considers themselves a fan of either Coroner in particular, or thrash metal generally. For a debut release this is supremely confident sounding and the playing is technically adept to such a level that it puts a lot of their contemporaries to shame, the sheer pace of a song like Suicide Command would ensure it descended into a bit of a mess in less accomplished hands. The style for most of the album is pretty much straight-ahead, uptempo, neckbreaking thrashing, incendiary solos firing off with regular abandon at a thousand notes a minute. I also love Ron Royce's vocals, they sound a lot like Iron Maiden's Paul Di'Anno, a singer who, for me, embodies the power and aggression demanded of metal vocalists and sound perfect here.

1986/87 was arguably the high water mark for thrash metal and Coroner's debut is a release that is well at home in the company of those other legendary releases as well as being a really solid building block for their more technical and accomplished subsequent releases. Unfortunately this passed me by upon it's original release and it would be much later before I got into Coroner, which is a great shame as this would really have appealed to a 25-year-old me.

Interestingly, later editions of the album have a bonus track, Spiral Dream which was written by Celtic Frost's Tom G. Warrior who had a close connection to the band, even performing vocals on 1986's Death Cult demo and indeed, seems to have been a big influence on the band's style. One of the better and more accomplished debuts from the world of eighties' thrash metal and a great place to start if you want to explore Coroner's discography.

April 2018 and English epic doomsters Solstice released their third album, White Horse Hill, a mere twenty years after their previous, the classic New Dark Age, one of my all-time favourites. Mainman Rich Walker and returning drummer Rick Budby were the only band members common to both albums, Solstice having been through a staggering number of members over the years, including nine - yes NINE vocalists. Obviously there are some differences between the two albums, but the commitment to epic doom metal and the spirit of Old Albion remains a constant. However, I cannot for a minute pretend that White Horse Hill is anything like as accomplished an album as New Dark Age. For starters the production seems horribly muddied - sometimes the guitar lead just springs up unexpectedly out of the mire - and vocalist Paul Kearns seems to be struggling against this muddiness, overstraining to be heard, at least on the more epic sections, although he comes more into his own during the gentler parts such as For All Days, and for None or the quiet section of Under Waves Lie Our Dead. Furthermore the songs don't seem as strong as those on New Dark Age, they aren't bad, but there's no Cimmerian Codex, New Dark Age II or Cromlech here and the album just doesn't flow anywhere near as naturally as New Dark Age. Another thing I miss is the lyrical wordplay of NDA and the absolute requisite of reading the lyric sheet with a dictionary to hand! Somehow WHH seems so much more prosaic, although it's lyrics do invoke an image of Olde England fairly effectively.

On the plus side Walker and ex-Lamp of Thoth guitarist Andy Whittaker seem to have good chemistry and play exceedingly well off each other, the main riff and lead interplay of the title track is worthy of the price alone. Overall I would say that White Horse Hill is a decent album that has been eviscerated by a poor sound and could have been so much more than it turned out. Yet after a twenty year wait for a follow up to such a favoured release, I've got to admit to having been more than a little disappointed.

Drone metal, despite having a reputation for monotony and repetition can actually throw up some very interesting releases and, for me, Divide and Dissolve's Gas Lit is one of them. Now, Divide and Dissolve are new to me, despite releasing three albums since 2016. They are a duo comprising Australian Sylvie Nehill on drums and US-born Takiaya Reed on guitar and saxophone and are based in Melbourne. Their music is mainly instrumental and their themes are based around anti-opression, societal equality and the end of imperialism.

Their take on drone metal includes a reasonable amount of doom metal too, but also incorporates instruments more usually associated with classical or jazz music for a seemingly quite avant-garde experience, despite not indulging in the angular and disjointed mechanics of avant-garde music, but letting the disparate sounds flow one into the other in an organic and oddly satisfying way. One moment the horn sound is allowing for a dreamy, meditative sensation and then the massively distorted guitar and fairly primitive-sounding drum patterns gatecrash in with an angry battery of crushingly heavy chords that blow away any sense of peace or calm that may have been accumulated, only themselves to be replaced once more by the serene blowing of horns, as if to say "even this too must pass".

There are songs like Prove it and especially It's Really Complicated that are full-on, earthquake-like rumblings of sonic mayhem and I did enjoy them, but it is the songs that make most use of the dichotomy between light and dark, calm and anarchy that I found most interesting. There is also a track called Did You Have Something to Do with It that is basically just a spoken word recital with only a minimal instrumental backing, invoking the spirit of popular uprising against oppression and performed by painter Minori Sanchiz-Fung.

I know this album probably sounds a million miles away from what a large number of people get into metal for and may be dismissed by some as politically-correct, liberal-artsy bullshit but if you have a taste for the more unusual metal releases or want to try to get into drone then this, especially with it clocking in at a mere 33 minutes, may well be a decent place to start.

Grief Collector were formed in Minneapolis back in 2017 when Among the Serpents' Brad Miller and Signs of Reign's Matt Johnson decided to get together to play some serious doom metal. By 2019 they had come to the conclusion that they needed a credible vocalist and so managed to get ex-Candlemass and Solitude Aeternus vocalist Rob Lowe on board. The resulting trio issued a six-track, thirty minute EP to little fanfare or acclaim in April 2019.

Fast forward two years to summer 2021 and the release of En Delirium, the band's debut full-length. Featuring ten original tracks and a Dio-era Sabbath cover, the album clocks in at over an hour and is very much in the epic doom mould as you could expect from a band featuring a vocalist with Rob Lowe's track record. Comparison to previous Lowe outfits such as Solitude Aeternus and Candlemass is certainly appropriate, at least in terms of style, as was probably Miller and Johnson's intention when inviting him on board, Grief Collector being conceived to play exactly the kind of epic doom Lowe has mainly been involved with. I'm not so sure the comparisons hold up quality-wise however, Grief Collector being at least a rung down on the epic doom ladder from those titans of the genre. Sure, there's some decent riffs, guitarist Johnson fires off some nice solos and Lowe is as good as ever, but there just isn't the same level of quality as far as the songs go. There's not that much that will lodge irremovably into your brain like Candlemass managed so many times over their lengthy career.

The problem with playing metal of a fairly old vintage, such as traditional or epic doom, is that there are so many great albums out there that it needs something exceptional to worm it's way into the affections of the genre's adherents and possibly to usurp some of the old guard's material and while there is nothing inherently wrong with En Delirium this isn't the album that is going to knock over any of the classics. I don't want to give the impression that I didn't like this, because I most definitely did, but it will probably ultimately be filed under "solid, but no classic".

Stephen O'Malley and usual cohort Greg Anderson, have produced some of the most extreme doom metal known to man as well as founding one of the premier doom metal labels, Southern Lord and are probably most well known for being the driving force behind SunnO))). After their short-lived first project, Thorr's Hammer split and before loosening bowels with the aforementioned drone metal titans, these doom metal stalwarts were the integral members of seminal extreme doom outfit Burning Witch. The band also featured vocalist Edgemont Martin (aka Edgy 59) and bassist G. Stuart Dahlquist (aka G. Subharmonium) along with a couple of drummers (successively, not at the same time)!

I think it is pretty safe to say that seldom has doom metal been served up that is more extreme-sounding and gruelling an experience than Burning Witch. As if the titanic, world-destroying chords of O'Malley and Anderson weren't enough then the tortured and deranged shrieks of Edgy 59 are sure to push you over the edge. This is most definitely not comfortable doom metal, in whose all-encompassing embrace you can wallow and luxuriate - no, this is deliberately confrontational, difficult and just downright unpleasant-sounding in order to throw you off balance and make you feel ill at ease and feed your suspicions that something IS indeed rotten in Denmark. A track like Country Doctor is certainly only going to appeal to those who like their metal music to confront them with the distressing and difficult-to-love, although there are a couple of slightly more accessible and, at least relatively speaking, conventional tracks such as Sacred Premonitions acting like pieces of flotsam for the drowning listener to cling to. One aspect of almost all of O'Malley and Anderson's music that cannot be ignored is that it is written with an additional instrument in mind. That instrument is sheer, unadulterated volume. Throughout their careers their music is seemingly intended to be as much a physical sensation as an auditory one and can only really be fully appreciated within the context of extreme volume, which is another reason that they should be considered as genuinely inhabiting the most extreme end of the doom metal spectrum. Sure, high volume has played a part in metal for all of it's fifty year reign, but with these guys it isn't just an option, it is an integral part of their whole sound. 

Crippled Lucifer is actually available in a couple of versions, the original 1998 version being sub-titled Seven Psalms for Our Lord of Light, it is now available in an extended version which carries the sub-title 10 Psalms for Our Lord of Light. The original version contain seven of the eight tracks contained on the Rift.Canyon.Dreams and Towers EPs. The 2008 expanded version also contains the track Rift.Canyon.Dreams from a split release with Asva and Burning Witch's two tracks from their split with Goatsnake, which is pretty much the sum total of the band's recorded output and is the version I would recommend as the CD is a nice package altogether.

Whichever version you listen to, be sure that you are going to be subjected to a crushing, bleak-sounding, nihilistic version of doom metal, a million miles removed from Candlemass, My Dying Bride or Saint Vitus, that takes no prisoners, gives no quarter and, to be honest, couldn't even give a fuck if you like it or not. Be prepared.

I have a massive soft spot for Arkham Witch and I buy virtually everything they put out. It is their combination of doom-inflected heavy metal riffing, Lovecraftian horror and irreverent sense of humour that endear these Yorkshiremen (and woman) to me so much. I listen to an awful lot of extreme metal, but sometimes it's great to put something on that is just a load of fun and not too demanding on the old grey matter. I don't think that bands like Arkham Witch and Australia's Lucifer's Fall, who are very much in the same vein, get anything like enough credit for keeping the flame of good old, fun-loving heavy metal alive.

Three Bladed Doom (a purposely ridiculous title I suspect) is eight tracks spread over a mere thirty minutes and is a great length to put on when you just need a bit of a headbang with a smile on your face after another day of crap. With track titles like The Return of Klankenstein, Cult of the Dead and Droid Fucker you know you're getting the musical equivalent of a Roger Corman film rather than The Exorcist or The Shining and there is absolutely nothing wrong with that. All hail these quirky Yorkies and long may they reign!

I originally became aware of Ophis via their 2010 album Withered Shades, but found it to be nothing special and promptly put the band out of my mind until hearing a track from Spew Forth Odium (Default Empty) on the Academy Fallen playlist for December (many thanks, Ben) and, in truth, I couldn't even believe it was the same band. This is right up my street as far as death doom goes, being crushingly heavy and filthy sounding, but having melodic enough riffs to make each track remain long in the memory. A lot of the album, but especially opening track Default Empty, sound a lot like classic era My Dying Bride, but with all the gothic pretensions stripped away. There is a desperation and yearning permeating the album that you can feel in the depths of your soul, as perfectly expressed during the melancholic, but majestic, Of Stygian Descent. Other tracks have a more aggressive stance with some powerful death metal riffing, Conflagration Eternal, for example, kicks off like something from early Incantation before slowing to a more deliberate pace as Philipp Kruppa's gurgling growl intones the futility and hopelessness of existence. This is exactly how I want my death doom to sound, morose but defiant!

Spew Forth Odium sounds fantastic and it is a fact that it is no longer necessary for death doom to have muddied production values in order to sound menacingly melancholic. It is a constant source of wonder to me how some bands can still sound so bereft of hope and filled with futility whilst remaining crystal clear, as is the case with Ophis' latest. The bass rumbles along, underpinning all and shaking the foundations like a seismic warning tremor, as Ole Fink's drums batter away, every cymbal crash or double bass kick heard in perfect clarity. 

Ultimately this is an album you have to surrender yourself up to and immerse yourself in, allowing the thick riffs to grab hold and drag you deep into it's cloying heart and if you do and are any kind of fan of death doom, then I seriously doubt you will feel short-changed by Spew Forth Odium.

On early listenings I had this pegged as a solid 4/5, but it keeps calling me back (when I should be clearing up my end of year lists!) and every time it does I get even deeper into it, to the point where I can't in all conscience give it anything less than five stars. What's more, I've now got it sitting as my Album of the Year, in a year which I feel has had some excellent releases, so that should tell you exactly how highly I rate it.

Rapture are yet another melodic death doom band I have been aware of but not listened to until now. I have often seen them compared to Katatonia, a band I can either take or leave, so that's probably why I haven't been too rigorous in checking them out up to this point, especially as I prefer my death doom to be of the filthy, old-school kind rather than the melody-driven style employed by Katatonia et al.

I must admit that I found the first couple of tracks a bit lacklustre, but when the riff to This Is Where I Am kicked in then I felt much more comfortable. It sounds very much like early Opeth with a doom vibe (I had to check the album information just to make sure it definitely wasn't Mikael Akerfeldt on vocals) and that certainly is not a bad thing, this comparison also feeling appropriate for next track The Fall by which point I am very much more invested in this. These two tracks are fairly uptempo when taken in the context of the death doom sound, but are where the band sound strongest to me and along with the title track are the album's high water mark. Unfortunately, when the band try to infuse their songwriting with a bit more subtlety they seem to lose momentum and just feel a bit weak, as illustrated by the massive drop-off from Futile to the frankly sappy Someone I (Don't) Know and so I much prefer the tracks with the more muscular riffing which are mostly concentrated around the middle of the album.

I can certainly hear why Rapture are held in high regard within the melodic death doom community, as there is no doubt, even to my ears, that they are very accomplished both as songwriters and performers, their music effectively utilising the contrasts of light and dark. But as any rating I dole out has got to be subjective and a reflection of my own personal enjoyment then I am unable to give it the highest of marks as there are parts I personally didn't enjoy, despite there objectively being nothing wrong with them. In fact reading this review back it sounds more negative than I intended, because I really enjoyed the more uptempo (and darker?) tracks, This Is Where I Am, The Fall, Futile and the excellent closer (About) Leaving but the rest I found somewhat forgettable I'm afraid.

I'm sure you are all familiar with that scene in Pulp Fiction when Vincent Vega hits Mia Wallace with an adrenaline shot after a heroin overdose and she sits bolt upright with a huge gasp. That was the effect this album had on me the first time I sleepily put it on just after waking up one morning. There is no subtlety here, there is no light and shade, this is nothing more or less than an adrenaline shot to the heart that will energise you and thrill you. Condor are a Norwegian three-piece and blackened thrash metal is their meat and drink, red and raw. The songs in themselves aren't especially memorable (and that isn't a criticism) - there are no melodic hooks or riffs for your brain to cling on to, the music is far too fast-paced for that, but they are aggressive and they are relentless and they feature some incendiary soloing which is probably what stands out most for me. For thirty-six minutes this album makes you feel like you are on a runaway train without any means of braking, holding on for dear life as it hurtles along. In a way it kind of reminds me of Reign in Blood, in that occasionally the band sound like they are barely holding it together and are on the verge of it all falling apart into chaos, but somehow they manage to maintain the integrity of the songs, which makes for a remarkably thrilling listen. Lyrically the songs mirror the music in that they deal with violence, horror and evil and Chris Sacrifice's ragged shrieking vocals perfectly fit in with this aesthetic. Condor have managed to pull off the extremely difficult trick of, to a certain extent, reproducing the sound of their heroes, such as Sodom, Kreator and Slayer whilst also making it sound modern and relevant to younger audiences as well as appealing to original fans of those bands.

Apparently Condor are members of the Kolbotn Thrashers Union, a loose grouping of thrash bands from the Kolbotn area of Norway, brought together by Fenriz of Darkthrone and include Nekromantheon who have released one of 2021's best thrash albums. In my opinion blackened thrash albums like Unstoppable Power and the aforementioned Nekromantheon's Visions of Trismegistos have saved thrash metal from it's twenty-year long sojourn in the wilderness and bands playing this style are now starting to sound relevant again. Long may it continue as these albums have made me enthusiastic about thrash metal once more.

I absolutely love Archgoat's blistering approach. Their war-drenched blasphemies assault your eardrums and take no prisoners when it comes to black metal extremity. This latest release, Worship the Eternal Darkness, is not as much carpet bombing as a laser-guided, targeted approach however which results in quite a bit of variety from a band who usually crank out the war metal riffs like there's no tomorrow. I mean, after the short intro, Heavens Ablaze is a typical piece of Archgoat war metal, then this is followed by Black Womb Gnosis which sounds much more like standard black metal fare and then comes All Christianity Ends which verges very much on old-school death doom. This makes a nice change, because no matter what the essential style Archgoat are striving for they still kick ass like few others and this stretching out of their sound is a welcome departure - provided they still throw in the odd war metal face-melter here and there to satisfy the faithful.

The modern production values on Archgoat's releases means that they have to be even more on point than some of the old-school war metal acts like Blaphemy and Beherit because they can't hide any shortcomings in a muddy production job and they accomplish this with aplomb. Lord Angelslayer's are still the most badass vocals in extreme metal too and so with Worship the Eternal Darkness I think the band have done enough to evolve their sound without alienating any fans of their existing rabid style of blitzkrieg metal. I genuinely find Archgoat one of the most exciting modern metal bands to listen to and with this latest ripper they haven't disappointed.

Lake of Tears are not a band I have listened to before, despite them being around since 1992. Apparently they now operate as essentially a solo project of mainman Daniel Brennare aided by a number of guest musicians. This is his first release in ten years and 2011's Illwill which dealt with Brennare's diagnosis as suffering from severe leukaemia. This is not quite what I expected from a gothic metal album, especially not from one with a science fiction concept. However, as in the very best science fiction literature, Brennare uses the conceptual tale as a vehicle to explore very human emotions such as alienation and depression, futility and hopelessness. Musically, thankfully, this shies away from the oft-used cliches of gothic metal and there is no heavy-handed sub-Hammer gothic musings of laconic Anne Rice characters, strewn with earnest string accompaniments. Rather, this is a much softer, more reflective release than is my experience with gothic metal, in fact I would question whether large tracts of the album are even metal at all. Daniel Brennare's vocals are quite expressive and are exclusively clean sung, he does sound genuinely reflective and sincere in his emotional expression. It isn't a homogonously low key album, there are heavier tracks, such as Lost in a Moment (which features an homege to / pastiche of Bowie's Space Oddity) and Ominous One which is the album's heaviest track, but I found the gentler, relflective material to be far more successful, feeling more genuine in it's expression.

I have never been backward in expressing my contempt for most gothic-based metal, but there is far more going on here and it doesn't just feel like some kind of gimmick or schtick, in fact the gothic element is more subtly implied as an atmosphere rather than an obvious stylistic choice. For me, this is interesting enough to bring me back, which is more than I can say for a lot of gothic releases.

I've been following Olde for some time now and they are proving themselves to be a band that just keep getting better and better with each subsequent release. Pilgrimage is their third full-length album and is their tightest and heaviest with undoubtedly the best production job to date. These Canadians play a brand of sludgy doom metal that doesn't really aim for the usual grief-drenched melancholy of doom metal, but is an angrier, more aggressive-sounding beast altogether. A lot of the credit for this more aggressive sound must be attributed to Doug MacLarty's vocals, which owe a lot to hardcore punk's menacing and violent style - as I've pointed out before, to me he sounds very much like Sick of it All's Lou Koller.

Greg Dawson and Chris Hughes make for an ultra-heavy guitar pairing with some solid, heaving doom riffs and a few nice solos, the one during Medico Della Peste being one case in point. I particularly love the ringing, clean-sounding, recurring melody at the beginning and throughout In Defiance, which seems heavily influenced by the intro to The Devil's Blood's Voodoo Dust, a track which is a particular favourite of mine. A major beneficiary of the great production job is drummer Ryan Aubin whose efforts, along with bassist Cory McCallum to add additional depth and heft to the tracks, are well showcased without being thrust too heavily to the fore.

Initially I was reasonably impressed by Pilgrimage, but repeated listens have opened up new treats I may have initially missed and, I have got to say, this is an album that just gets better the more time you're willing to put into it. One of the absolute standout moments for me is guest Nick Teehan's unexpected and brief sax solo during The Dead Hand that all too quickly gives way to a short explosive guitar solo, but I applaud the intention and I hope this is an avenue the band choose to explore further on subsequent releases as it sounds amazing.

This album is of sufficient quality to break the band out of the murky underground shadows they have been inhabiting for too long and will hopefully garner them a bit more recognition which they undoubtedly deserve. If you're a fan of quality doom I heartily recommend this album to you for your perusal.

Gloosh is a solo project of Siberia's George Gabrielyan (Георгий Габриэльян) who is also the instrumentalist behind duo Frozenwoods. The project seems to be unfairly hindered by having a name that doesn't really fire the imagination of most English-speaking black metal afficianados (despite being Russian for wilderness it doesn't translate well into English) and consequently doesn't glean the attention that he may have otherwise, which is a great shame as Gloosh are a step up from a majority of Russian black metal outfits. He plays a dramatic style of atmospheric black metal that is at once extremely expressive and viscerally savage. Opener Swampsong, for example, is a real whirlwing of a track, blasting along at an impressive tempo, whilst the terrific, ragged vocals shriek about how they are the natural elements that make no concession to Man (all the lyrics are in Russian), a concept I'm certain is familiar to someone who lives in Siberia! It's not all breakneck blasting however, there are some nice tempo changes, sometimes even verging on doom metal pacing, and several more melodic, medium-paced sections that give the tracks plenty of variety and allow for some nice builds and climaxes. The track that was released as a promo, Hexenring, is the prime example of this variety, from an all-out blasting assault of an opening to a funeral doom-like central section it climaxes with a dual female-vocal that is reminiscent of Lindy-Fay Hella's vocals for Wardruna.

Thankfully, despite the thematic predominance of nature and the natural world, Gloosh never resorts to hokey folk metal cheesiness, but keeps within the realms of black metal, in the manner of more talented black metal naturalists, such as Wolves in the Throne Room. I quite enjoyed Gloosh's debut Timewheel, but I consider this a considerable step up in quality, both with respect to the songwriting and dynamism of the performance and also the production values - the album sounds absolutely fantastic. Although it isn't by any means a perfect release, it certainly shows enough potential that allows optimism that he may one day produce a Two Hunters of his own.

Italian metal and specifically doom metal, has a fantastic ability to throw us fans a few curve balls now and again - Paul Chain anyone? Messa are another band that attempts to push the envelope and do something a little different with tried and tested metal tropes, in this case female-fronted doom metal which has been very much in vogue over the last few years and has become a bit tired and stale as a sub-genre as successive acts merely regurgitate what has gone before with little attempt to produce anything new or exciting. So when a release like Feast for Water comes along it is like a genuine breath of fresh air.

Following a short intro, the first track proper is Snakeskin Drape which is the most metal track and is fairly orthodox doom within the context of this album. To be honest, despite it being a decent slab of metal, if the rest of the album sounded like this I certainly wouldn't regard it as highly, as there are bands who do the straight-up female-fronted doom thing much better. I presume the track's placement is to ease the listener into the album and not to scare them off by getting too diverse from the outset. The subsequent track Leah also has a very heavy intro, but from then on things become a little less typical as the song alternates between gentle minimalism and crooned vocals to reverb-laden heavy chords with a more earnest vocal.

Messa prove more than willing to bring in other, more mainstream, influences from outside of the metal sphere, such as during the bluesy Seer, but they aren't merely a bolt-on effect to possibly add more mass appeal, rather they become a synergy between the heavier, metal-based material and the more traditional musical styles resulting in seamless transitions between the contrasting styles. She knows has a kind of smooth jazz feel, led by Alberto's gentle piano keys and Sara crooning vocals, being punctuated by a heavy riff-led chorus before segueing into the intriguing Tulsi which begins with what almost amounts to a blast beat and a soaring guitar solo before settling down into it's main riff. The track eventually returns to the jazzy vibe of She knows and actually ends with a brilliant saxophone solo. White Stains has the most memorable riff and chorus and is one of the album's heavier tracks. Closing track Da Tariki Tariqat is an instrumental affair, heavily flavoured with a middle-eastern vibe that builds in intensity to it's zenith and a final release.

The songwriting is excellent, the technical prowess is flawless and Sara Bianchin's vocals are a treat. Messa really are a bit of one-off and are very Italian in their approach to metal, being unafraid to incorporate other influences and take the music to places more cautious and conservative acts would fear to tread. It may not ultimately be to everyone's taste but I applaud the band for their vision and a genuine attempt to push the envelope of what has become an increasingly stale sub-genre.

I have documented previously how I struggle with large chunks of death metal, especially the exaggerated violence and brutality. Overtly technical death metal doesn't really chime with me either as it's often staccato nature disrupts the flow of the tracks too much to my ears. Consequently I have a pool of favoured bands I tend to turn to for my death metal fix - Autopsy, Bolt Thrower and Vader for example. Near the very top of that list come Nile.

Nile were one of the first bands I got into upon my return to metal after my hiatus during most of the 1990s, via their Black Seeds of Vengeance and In Their Darkened Shrines albums, so I remember anticipating the release of  Annihilation of the Wicked with some relish. Luckily we Nile fans were not disappointed and with AotW Nile unleashed their tour de force. Though it is technically superb, it doesn't flog that technicality to the expense of the flow of the tracks, each of which run like a dream nor does it short-change on the heaviness front, battering the listener relentlessly with wave after wave of brutal riffs and some of the finest solos I have ever heard on a death metal album, such as those heard on Cast Down the Heretic and Von Unaussprechlichen Kulten. The Ancient Egyptian theme is a great motif but doesn't really have any defining impact on the actual music as we are mercifully spared any goofy, faux-authentic egyptian passages, save the odd intro or interjection such as the intro to User-Maat-Re and briefly during Von Unaussprechlichen Kulten. There is plenty of variation in pacing from hulking, almost doom-like passages to brutal headlong charges with the longer tracks making for some seriously epic death metal. Tracks like the title track and Cast Down the Heretic are honestly some of the finest death metal I have ever heard and the quality overall is exquisite, revealing a band that were absolutely on top of their game as both technicians and songwriters. One of my all-time favourite death metal releases

Finnish doomsters Fimir formed from the ashes of Church of Void after the latter split-up in 2018, with four of CoV's five members (excepting drummer Johannes Lahti who went on to form his own project Byron) joining the new band. I had championed Church of Void since their debut Winter is Coming ep back in 2012 so was fairly disappointed when hearing of their split. All seems to have turned out well though, as this debut album from Fimir seems to attest and I would venture that, even though it isn't a massive departure, it is even better than either of the original band's full-lengths.

Tomb of God consists of six tracks of impressive Scandinavian traditional doom metal, very much in the vein of Count Raven and Lord Vicar. Well actually there are technically only four tracks because the second half of the album consists of the three-part title track, although each part plays as a distinct track and work equally well in isolation. It is not an album that is out to push the envelope or even to try much new, but it is very well executed doom metal with some pretty memorable riffs and excellent lead work. I love the guitar tone, especially during the solos which are possibly the highlight of the album. The bass too has a terrific sound and is allowed to shine through on several occasions, most notably during the first part of Tomb of God, the gothic-inflected Obsidian Giant where it is featured as the lead instrument. Vocally Fimir obviously sound like Church of Void as vocal duties are still performed by Markus Pirkkalainen (aka Magus Corvus) but this time on several occasions he has double-tracked some harsher vocals alongside the clean. It's no death metal growl or blackened shriek, but still has a harshness to it that CoV didn't utilise and works quite well. The only real criticism is that the drums are very ordinary and don't really shine through, although as drummer H. Wizzard is the new guy in town, maybe he didn't feel confident enough to exert himself in the studio just yet and possibly that will change with time as he settles into the band.

All in all a very competent and enjoyable slab of traditional doom metal that I will be quite happy to return to often.

I have been a big fan of Monolord since 2015's Vaenir, which is still the summit of the band's output for me, but their previous album No Comfort, despite still being a decent album, felt a little lacking to me and, ironically, a little too comfortable. Your Time to Shine however, sees the band getting somewhat back on track for their debut Relapse Records release, albeit still falling a bit short when compared to Vaenir.

YTtS has big doomy riffs and the band's now familiar washed-out vocal style mixed with the occasional psychedelic part that is pretty much par for the course in quite a lot of modern traditional doom metal. The songwriting is great and the album pacing is superb as it builds from the opening track The Weary, it gains in momentum like a tidal wave so that by the time we get to the title track we are washed away by it's melancholy power. This is also an album of contrasting themes and atmospheres, from light and airy psychedelic moments to heart-crushingly melancholic doom riffs which reaches it's culmination on the epic closer, The Siren of Yersinia.

So with Your Time to Shine Monolord have developed their sound a little further, without abandoning what makes for great traditional doom and in so doing have got themselves back on track after a somewhat lacklustre previous effort.

To be honest upon first listen I wasn't especially impressed with Skullreader. However, each time I've returned to it it has dug it's claws deeper into me and now I think it has finally "clicked". To be sure it isn't an "immediate" listen and it certainly doesn't grab you like Zhaaral's Darkspace bandmate, Wintherr's Paysage d'Hiver work does (and in truth it isn't really on the same level as Paysage d'Hiver, but then again, not a lot is).

Anyway, back to the release on hand and what Zhaaral has served up is a hybrid of melodic and atmospheric black metal with some occasional, brief post-metal-ly sections. There is a fair predominance of keyboards present, but they aren't at all overbearing or cloying and are very tastefully incorporated into the overall sound. I have seen the album compared to Blut Aus Nord and that is a fitting comparison I feel, especially when compared to the Memoria Vetusta series (although, again, it isn't on the same level of accomplishment). The layers of guitar and synth build an all-enveloping ambience that does allow for some nice mental pictures to flow. Lord of Mind, for example, with it's slower pacing feels like a journey through a huge abandoned alien city.

I initialy disliked the fact that the vocals are buried in the mix, but have actually grown to enjoy that aspect, as the fact that you have to strain a little to hear them properly makes it feel like a voice is reaching out between dimensions or across the veil between life and death to impart some profound insight. This is not merely an album built on atmosphere though, it also has some quite cool riffs, Fire and Thirst for example, which also has some nice Middle-Eastern influenced guitar work and Vanitas whose main riff sounds imperious.

Overall a very good album, albeit one that takes a bit to get into, but one that is worth persevering with. May not ultimately stack up against his more celebrated colleague's back catalogue, or his original band's output, but I would have welcomed hearing further releases from this project to see where they may have led. As it stands however, Sun of the Blind is a one-shot deal so presumably Zharaal has scratched whatever creative itch he may have been feeling within Darkspace, for now at least.

Metal Inquisition is one of the most egregious cash-in records ever released into the metalverse. The album was written by and all the instruments (including programmed drums) were played by Leslie Howe who was one half of synthpop duo One 2 One and was put out by Canadian label Cobra, purely with the intention of exploiting the explosion in metal's popularity of the early 80s and making some quick cash. The vocals were handled by the cover's cartoonish, masked maniac Mr. Piledriver (Gordon Kirchin). Now I know the late seventies and early eighties were the heyday of things like exploitation cinema, but this is taking that ethos a step too far for me (and I was ever the biggest fan of that style of movie-making anyway).

This type of blatant cash-grab is complete anathema to me and is reason enough for me to take against it by itself, but the lyrics of this album have got to be some of the most crass garbage it has ever been my misfortune to hear. And no, I don't need to lighten up as this goes beyond mere cheese (where would metal be without it) into the realm of infantile and, frankly, insulting to the intelligence of metalheads everywhere. The only reason I haven't furnished this with a very rare half-star rating is because Howe actually can play a pretty mean guitar and the sound is excellent. But aside from that I resent everything else about this album, even feeling a little conflicted about reviewing it and focussing even the slightest bit of attention on it. Shameful and embarrasing.

The only band whose first six albums I have listened to more than Iron Maiden is Black Sabbath and then only just, so that probably tells you exactly how much I enjoy this album already. Although Maiden had dabbled in the epic previously, Hallowed Be Thy Name for example, this is the album where Maiden became E.P.I.C.

Kicking off with the tribute to the few in number but ridiculously brave RAF pilots of The Battle of Britain, Aces High, Powerslave shifts immediately into top gear and fair hurtles along, the track's pace encapsulating the velocity and dynamism of the dogfighting Spitfires in their dance of death with the Luftwaffe aces as they join in battle above England's south coast. Following this with the album's first big single release, 2 Minutes to Midnight, Maiden are truly revealed as a heavy metal band operating at the height of their powers, from the scintillating twin leads of Smith and Murray to the soaring vocals of the "Air Raid Siren" sounding better than he ever did either before or since. Following the galloping instrumental Losfer Words (Big 'Orra) come a couple of my favourite less-lauded Maiden tracks, Flash of the Blade and The Duellists, both of which are terrific, but Flash of the Blade especially is an awesome slice of hi-octane heavy metal. Back in the Village is another speed-driven number which is very much in the vein of the opener Aces High and in truth tends to get a bit ovelooked due to it's proximity to the album's towering epics.

And so to the main event: Powerslave and the thirteen-minute Rime of the Ancient Mariner pretty much defined epic heavy metal in the early eighties and perfectly illustrate just how supremely confident Maiden had become at this point. Powerslave's tale of a death bed Egyptian pharoah finally having to face his own mortality is as suitably bombastic and towering as the subject matter would dictate. Fittingly for a track about an all-powerful monarch, Powerslave sound absolutely imperious. The main riff has a glorious Middle Eastern vibe and Steve Harris' bass sounds better than ever before, particularly during the solos of the second half of the track. Now this would be epic enough for most metal bands at this point in the genre's development but Maiden then up the ante even higher. Rime of the Ancient Mariner takes heavy metal and marries it with prog rock sensibilities in a way pretty much unheard of in 1984. Harris and co at this point were riding on such a wave I think they believed that now was the time to do exactly what they really wanted to do as they had accumulated enough kudos to take the fans along with them and a thirteen minute progressive track based on classical literature, although on paper a tough sell (we were only half a decade on from the punks burning prog rock to the ground remember) launched them even further into the stratospere. What can you really say about Rime of the Ancient Mariner? This is an incredible track and one of metal's great narrative experiences. If you want to point at one particular song and say when were Maiden at their peak then this track would be my answer and it may even be the single most awesome heavy metal track ever committed to wax.

I have a fair number of albums that I have rated as five-star releases, but this is mainly based on my enjoyment of them rather than the fact I consider them perfect. Powerslave is one of only a fistful of albums I would give that accolade to (Paranoid, Reign in Blood and Watching FromA Distance being the others). Despite this it still isn't my favourite Maiden album as I have a deeper and more personal connection to the Paul Di'Anno-fronted Killers, but that's just me and Powerslave deserves all the plaudits it has ever received several times over.

Upon my return to metaldom in the late 90s / early 2000s, I thought a safe bet would be one of my old favourites, Iron Maiden, so I purchased their (then) new album Brave New World from my local recorded music emporium. The last "Irons" album I had listened to at this time was Seventh Son, a decent album but one I have always believed is a little overrated, that however is a story for another day. Like someone who's been in a coma for a decade and wakes up expecting everything and everybody to be the same as before, I was extremely disappointed with Brave New World. This was no Powerslave, this was no Piece of Mind or Number of the Beast so what the fuck went wrong with Iron Maiden I asked myself as I threw the CD to the back of the cupboard and acted like it never existed.

Anyway, after 20+ years and the release of possibly Maiden's final album Senjutsu, I decided to revisit this much-maligned (by me) album. I have more perspective on Brave New World now that I am aware of how disastrous the Blaze years were for Maiden and, indeed, how below-par Bruce's previously final album Fear of the Dark was. So with fresh ears and a greater appreciation of where Maiden were as a band at the time (or more accurately where they had been) I have given Brave New World a reappraisal.

Firstly the facts: Bruce's replacement, Blaze Bayley, was out and Bruce was back in. Adrian Smith also returned to the line-up for the first time since 1988's Seventh Son, but Janick Gers (who's addition is the one decent thing to come out of the Blaze era) stayed on making Maiden a triple guitar, six-headed beast of a band. 

Well, in truth I really must have been in a foul mood when I first listened to this because I can't now for the life of me see why I was so pissed off with it at the time. It's not perfect for sure and there are a couple of tracks that I find a bit irritating, Blood Brothers especially has a terrible chorus and if it and The Fallen Angel had been exorcised to produce a more concise runtime I think the album would have been all the better for it. But there is some great stuff here too. Wicker Man is a decent opener and I love the longer tracks, Dream of Mirrors, The Nomad and Ghost of the Navigator, all of which are suitably epic in execution. There's some good 'bangers too - Brave New World, Out of the Silent Planet and the title track to name but three. All in all I would now have to renounce my former idiocy and revise my opinion to a considered and conditional thumbs up for Brave New World. It is a worthy successor to Maiden's eighties' output, whilst not quite achieving the same level of metal heaven due to the lack of any earth-shatteringly killer tracks like Hallowed Be Thy Name, The Trooper or Rime of the Ancient Mariner. But it most certainly is not the abject failure I originally had it pegged for.

Hour of 13 are the brainchild of North Carolina's multi-instrumentalist Chad Davis and have had a turbulent history with almost constant line-up changes that have inviolved them going from a duo to a quartet and back again. Erstwhile vocalist, veteran of many doom outfits, Phil Swanson has been in and out of the band, but like clockwork, has always been present when the previous three albums have been cut. Black Magick Rites was released for only 24 hours on the band's website back on 1st November 2020 and was then taken down. It has now been re-released by Shadow Kingdom Records in physical format.

Black Magick Rites is basically a Chad Davis solo album released under the Hour of 13 name and is the first to feature Davis himself on vocals, Swanson not being in the picture for whatever reason this time around. Unfortunately for Chad this is the most glaring difference between the latest and the previous trio of albums. Davis is not a terrible vocalist, I have heard far worse in doom circles, but he is no Phil Swanson either. Swanson has a very distinctive voice that is perfectly pitched for traditional doom metal and has a lot of recorded doom under his belt, whereas Davis' vocals sound a little washed out and are not at all remarkable. Some vocalists can raise the quality of a release by the strength of their performance alone (think Mercy with and without Messiah Marcolin) and Swanson is one of those, sadly Davis isn't. 

Musically, if you are familiar with Hour of 13's previous releases then there won't be any great surprises here for you. Davis writes convincing, Sabbathian riffs and (ofttimes hokey) lyrics of the occult with decent skill and is obviously well-steeped in traditional doom metal and understands what it's adherents look for in the genre. But I just can't help but ponder what might have been if Davis and Swanson could have resolved whatever differences lay between them for this release and I keep coming to the conclusion that we would have been listening to a better album as a result.

Since previous release, Gloomlord, the Floridian death doom duo have expanded into a trio by adding guitarist Nihilistic Manifesto to the lineup and beefing up their already impressively heavy ranks. For the recording of Foreverglade, they also brought in session drummer L. Dusk. Both new additions have had a positive effect on the band, the rhythm section feels more solid and has a greater depth to their foundations with L. Dusk's addition and NM certainly makes his presence known, especially with some atypical death doom soloing (check out the solo on Subaqueous Funeral) and a bit more of a gothic feel to the guitar sound.

The production sounds much better on this compared to Gloomlord too and I think the album benefits from a clearer sound without losing any of the filthiness that we have come to expect from the band. The riffs are super-downtuned, throbbing death doom chugs in the main that any fan of old-school death doom acts like Autopsy should be right at home with and the vocals have a bit of variety, utilising not only the usual deep growls derived from death metal, but also black metal shrieks which harks back to the band's earliest days when mainman Fantomslaughter ran the band as a black metal solo project.

The band have also developed their songwriting somewhat, with the centrepiece track being the eleven-minute epic Cloaked in Nightwinds which has several tonal shifts during it's runtime for a bit more of a progressive feel (it is still insanely heavy though) and Empire of the Necromancers strays into melodic black metal territory more than once and has a more airy atmosphere to it than the previous tracks, allowing a ray of light into this filth-strewn, foetid swamp. Closer, Centuries of Ooze, somehow combines ultra-heavy death doom with what sounds at times suspiciously like Wall of Voodoo's Mexican Radio for a strange but incredibly effective atmosphere.

So, on the evidence of this, Worm seem to have come on leaps and bounds in the twenty months since Gloomlord's release and if they continue to develop at this rate we will have a serious contender on our hands before long.

There are some very accomplished solo black metal artists out there currently, with projects like Paysage d'Hiver, Panopticon and Saor putting out album after album of superb atmospheric black metal. Another who deserves to be in the conversation is Jacob Buczarski, aka Mare Cognitum, who also has a very strong discography including last year's Wanderers: Astrology of the Nine, a really well received collaboration with Greek black metaller Spectral Lore. Anyway, a year on from that critical success and Mare Cognitum has released his latest solo effort, Solar Paroxysm.

Mare Cognitum's MO is atmospheric black metal with a cosmic theme, although his music tends not to be overtly cosmic in an atmospheric sense. Rather, his take on the genre involves quite aggressive atmo-black which he suffuses with some very accomplished melodies that act as a counterpoint to the blasting and so makes for a nicely layered and balanced style. Atmospherically, Solar Paroxysm feels more negative sounding than usual with plenty of heavy riffing, blastbeats and vocal savagery with very little by way of cosmic aesthetics, although he does maintain his knack for gorgeous melodies.

The album's theme relates to stellar mortality and cosmic death, it's lyrical content proclaiming the dying of stars and, in particular on Terra Requiem, the passing of the Earth and all life within. This track is probably the most evocative on the album with a dirge-like quality that intones what must inevitably come to pass. I wonder if the album's death obsession and overall negative vibe is Jacob Buczarski's personal reaction to the pandemic which he's managed to channel, via his musical alter-ego, into a cathartic primal scream. Either way it's a fine piece of work and I enjoyed it's darker tone as befits the times we are living through.

Witchrot are a four-piece stoner doom band from Toronto. They released a four-track, self-titled ep back in 2018 then underwent a bit of an upheavel, bassist Peter Turik moved to guitar and he and vocalist Lea Alyssandra Reto were joined by new bassist Cam Alford and drummer Nick Kervin. This lineup are responsible for the band's first full-length, Hollow. The album is a much more focussed affair than the psychedelia-laced ep and is much better for it in my opinion, the former sounding at times more like an extended jam session.

The album kicks of with my favourite track, Million Shattered Swords - the gentle intro with Lea crooning softly soon erupts into a mighty doom riff and we are off on a crushing journey of psychedelic heaviness as the band maximise both volume and distortion to debillitating effect, the vocals soaring majestically over all this sonic devastation. They take the (increasing jaded-sounding) female-fronted stoner doom template and feed it steroids, bringing in some real sludgy heaviness to add to the groove-laden stoner riffage. Lea Alyssandra Reto's vocals are especially powerful, reminding quite a bit of one of my favourite female vocalists, Mia Zapata of punk band The Gits. The engine room of the rhythm section is strong, especially the bass which often has a driving, kinetic quality. The drums, sadly, could be a little better produced, they sound a bit muted and muddy to me and often struggle to make an impression. Still, this is a pretty impressive debut effort from a band who are trying to put a bit more oomph into the stoner doom scene and to which end they have been quite successful.

Well, it's taken 28 years for me to finally get round to Earth's legendary debut. The reason for this tardiness on my part is that my introduction to the band was via 2008's The Bees Made Honey in the Lion's Skull, an album which I found so extremely boring and tedious that the very name Earth became anathema to me. So here we are in 2021 and buried within September's Fallen playlist was the opening track of Earth 2, Seven Angels, which when I heard it for the first time made me realise that I had made a terrible misjudgement of the band, a mistake which I would have to rectify in very short order.

Earth 2 is an album that is virtually impossible to review without resort to metaphor and hyperbole. As these are my preferred modes of expression usually, I don't intend to depart from this norm. This is an album that is as much a tactile experience as an auditory one. I imagine the absolute best way to experience it is through a huge Marshall stack at bowel-voiding volume. I can't escape the feeling that there is more going on than you can actually hear, in the same way as the majority of what's happening in the universe is undetectable to the human eye: gamma radiation, x-rays, infra-red light and dark matter all being invisible to us humans, I suspect that there are sonic waves produced by this that are too low a frequency to be heard and instead are felt, just like when the hairs on the back of your neck inexplicably stand up due to some undetected and unsuspected stimulus. It's almost like the album is a black hole's event horizon that once breached, inescapably draws you further into itself, crushing with unimaginably immense gravitational force for the heaviest experience in the universe.

It is ironic that a band called Earth produce music that, better than anything else I have heard, replicates how I imagine the majority of the cosmos would sound if it wasn't in vacuum. Within it's grooves I hear the death of stars and the demolition of galaxies, for what I can only describe as a transcendental and meditative experience. I'm not sure that any other album has ever launched my imagination onto a more vivid journey than Earth 2. I am fortunate that I live on a north-west facing hillside and get to see some fantastic sunsets. I am already anticipating sitting in a garden chair playing Like Gold and Faceted as the sun begins it's descent below the horizon, and letting the track become the soundtrack to the dying of the day.

Drone metal is absolutely not for everyone and neither is Earth 2. This is atmospheric music that truly is as much sensation as sound. It is very simple and repetitive, but is particularly affecting to those who "get it". Are there any riffs? Not really - well there are, but they are so slowly realised that they appear only as single chords sustained and built upon to amass into nothing less than a natural force. I'm sure there are plenty of people, including fans of doom metal, who find drone in general and Earth2 in particular boring, but for me this album is one of the most profound musical experiences I have ever had. I'm just cursing myself that it took me so long to submit to it's gravity, but I suppose it's better late than never.

In the ninth circle of doom metal hell, where no light penetrates, only the most desperate and forsaken of doom metal releases reside. If you were to venture there, like some latterday Dante Alighieri, then you would find within it the likes of Burning Witch's Crippled Lucifer and Hell's III. These abyssal depths now have a new resident and that is Body Void's Bury Me Beneath This Rotting Earth.

This is an album of doom metal at it's absolute bleakest, shriven of any hope or even a ray of positivity. The riffs are tortuously slow, heart-bursting chords piled one upon another into a soul-crushing mountain of volume and feedback that makes every breath an effort and renders all other external stimuli mute, scattered sparingly with outbreaks of higher tempo violence. Willow's vocals have the tortured soul quality of only the most desperate-sounding doom metal vocalists with lyrics that berate the world's politicians for their self-serving betrayal of the remainder of mankind. Whether or not you subscribe to a similar view, this admonishment certainly feels heartfelt and Willow's frustration with the status quo is palpable. Edward Holgerson commits acts of intense battery upon his drum kit, sounding occasionally like he may be attacking it with actual severed human limbs and additional chaos is provided by Entresol who's electronics add another layer of noise to the already powerfully alienating nature of this sonic tsunami.

Bury Me Beneath This Rotting Earth seems to be very heavily influenced by Stephen O'Malley's previously mentioned Burning Witch project and if you are familiar with Crippled Lucifer then you will have a good idea what to expect here. This is true doom metal for the serial cynic and disillusioned soul who sees no reason to hope or believe and if this is you, then you are in for a treat.

Even prior to the release of So Long Suckers, Reverend Bizarre had announced their intention to split, so it seems that they decided to go out with an album that could be viewed as the last word in traditional doom metal. Everything about the album is exaggerated and drawn out to a point (or more accurately beyond a point) at the edge of comfort. Intro riffs are played over and over way beyond where you would expect the vocals to kick in (They Used Dark Forces), chords are held for an interminable amount of time (Sorrow) and there are passages of bass-led noodling that act as more of a buffer than an intro or outro that seem at odds with the track they are attached to (Anywhere Out of This World). Then of course there is the extended track lengths. For trad doom some of these tracks are historically long, three of the seven tracks are over 25 minutes long and the album as a whole weighs in at a hefty 130 minutes.

And you know what, I love every minute of it. Reverend Bizarre are one of my absolute favourite traditional doom acts and, for me, very few can hold a candle to the Finnish trio. So Long Suckers isn't a perfect album by any means, look to the debut In the Rectory of the Bizarre Reverend for that level of doom metal nirvana, but it is a great example of an album pushing a genre to the absolute limits of extremity whilst remaining wholly within it's confines, so no harsh vocals, blastbeats or synths are to be found within this two hours plus of no frills, fuck-you-if -you-don't-like-it doom metal.

The riffs are memorable and gargantuan, courtesy of Lord Peter Vicar (Kimi Kärki), subsequent founder of the excellent Lord Vicar and the drumming of Earl of Void (Jari Pohjonen) is on point and, despite the extended repetition of the tracks, he does plenty to keep it interesting. For me though, despite his vocal shortcomings, the bass playing of Albert Witchfinder is fantastic and the instrument's presence is stamped all over So Long Suckers in a way that is reminiscent of how Lemmy's bass would often dominate Motörhead's sound (and even more so, Hawkwind's), adding a real depth and heft to the material that takes it to a different level of doom-laden substance.

This really isn't an album for the doom metal newbie and deliberately so I guess. Reverend Bizarre have wilfully gone about testing the limits of Traditional Doom and the mettle of it's adherents with their swansong, in an attempt to go out with the last word in the genre. To this end, I would suggest, they have been singularly successful and have produced an album that may alienate some but will heavily reward those willing to go along with it.

Aussie funeral doom merchants The Slow Death have finally returned with their first album in six years. To my ears this is an improvement on 2015's Ark, it's four heaving slabs of funereal death doom being just what the doctor ordered (well he didn't, but he damn well should have!) Weighing in at over an hour this is no album for the impatient metal fan, but being funeral doom you knew that already, right? It's an hour of massive riffs, clean female and gravel-throated growling male vocals heaved along by a great, solid rhythm section with well-placed keyboards and piano to add layers to the atmosphere and is one of the better doom releases this year. It's not always super-slow, but it IS always heavy as hell, so give it a listen if deathly funeral doom is something you're even remotely interested in.

Skepticism's fifth album has been some time in the making - it has been thirteen years since the release of Alloy and there has been a lot of water under the bridge in the metal world since then (and also in the real world for that matter). It seems that Skepticism too have been changed by the past decade or so as Companion is a more multi-faceted release than we have come to expect from most funeral doom acts in general and Skepticism specifically. There is quite a variation in pacing, from the lethargic and seismic slowness of true funeral doom, through quicker, but still fairly slow death doom, to the medium-paced almost-death metal of Passage. It doesn't sound like much to the uninitiated, but it's a spectrum shift for a band whose previous work has focussed very much on glacial pacing. Each of the album's six tracks has a unique atmosphere and character like never before heard on a Skepticism album.

The keyboards and especially organ, in typical Skepticism fashion, play a key role in generating the album's atmosphere. It's there, full-on in your face straight out of the gate with opener Calla where it weaves an atmosphere that I would weirdly have to compare to a Saor track in it's sweepingly panoramic scope. The track sounds initially like it should accompany open-skied vistas of the Old West or the Caledonian Highlands - how un-funeral doom can you get? This is a great intro to the album however and gives a nice taster of the band's current direction. Second track, The Intertwined, has a gothic death doom feel to it that is quite reminiscent of classic era My Dying Bride and although I sometimes have my issues with gothic elements they aren't laid on with a trowel here and are subtlely enough applied to enhance the track rather than detract from it. The album's longest track, the ten minutes of The March of the Four, is probably the nearest to a traditional Skepticism track, but even this is delivered with a bit more "bite" than we have come to expect. The organ on this one, particularly during the intro, really does sound as if it was recorded as the mourners file into an actual funeral.

At the mid-point of the album Skepticism change up a gear to a previously unimagined tempo with Passage, a track that feels like it wants to explode into full-on death doom territory in the style of Winter or Autopsy. It also contains a breakdown with a swirling organ sound that feels like it should be the soundtrack to a descent into a psychotic episode from an Alfred Hitchcock movie like Vertigo. The Inevitable, like The March of the Four is more akin to previous Skepticism work and is, for me, the least remarkable track here. The Swan and the Raven however, begins in menacing fashion with a string intro that says "something evil this way comes" and once more has a kind of cimematic feel to it, which seems to be a recurring theme. This closer may actually be my favourite track - it is definitely the one where the guitar work shines through best and the synths feel alternately menacing and expansive.

Overall this is a terrific album that cements Skepticism's reputation as one of the premier funeral doom outfits who have decided to strike out in a new direction, not with a quantum leap but with an incremental change that shouldn't alienate their fan base.

Vouna is the funeral doom alter-ego of Yianna Bekris, guitarist of atmospheric black metallers Eigenlicht. Atropos is the follow-up to her 2018 self-titled debut and is a much more substantial affair with it's four tracks (and short interlude) clocking in at almost an hour. The debut, whilst showing promise, felt underdeveloped for a funeral doom release. I feel funeral doom is a genre that needs to be luxuriated in, where the music allows the listener to be overwhelmed and smothered and duration does play a part in that experience, so the debut's half an hour featuring five tracks, whilst presenting some nice ideas, didn't allow them the development they deserved.

However, Atropos is by no means your stereotypical funeral doom release, it's generally a little bit pacier than normally expected and Vouna does a nice job of incorporating several different elements into the mixture. It's apparent from early on that she has a background in atmospheric black metal as it's influence features prominently at various points, particularly during the fifteen minutes of the album's best track Vanish where she even at one point resorts to a harsh black metal vocal and once more illustrates my view that there is much common ground between funeral doom and atmospheric black metal. The connection to atmospheric black metal is further strengthened by the addition of guest vocals by Wolves in the Throne Room's Nathan Weaver.

There is an emphasis on synths and piano within the album's doom context along with guest contributions on violin and harp that add layering to the tracks and introduces a pronounced darkwave influence, as if Vouna has taken the doom aspect of Chelsea Wolfe's Hiss Spun album to it's logical conclusion. By weaving in elements of atmospheric black metal, darkwave, dark ambient and gothic metal she has produced an album that feels mournful and yet warm, as if the artist provides solace to the listener through the shared experience of the music, the ethereal and soaring vocals in particular lending a calmness to the recording, despite it's melancholy nature, as if to say "we are all one and everything will be OK in the end". I say this despite even a cursory glance at the lyrics revealing a deeply sorrowful and painful undercurrent to the album. "Existence is anguish, Suffering and torment, How will I go on with the pain of what now is" from What Once Was doesn't exactly convey a hopeful message, but I still feel a sense of comfort is to be gleaned from the music itself and that ultimately there is a ray of light shining into proceedings, even if that is only provided by the release of death itself.

No matter what, I will always have time for monolithic and unrelentingly bleak funeral doom, but the variation in Atropos' tracks and the incorporation of other genres, in much the same way as Skepticism's new album Companion, seem to be helping to take funeral doom in a new and less predictable direction.

So, a new Iron Maiden album. Every new Maiden album now feels as though it may be the last so is met with a certain sadness as well as anticipation (unless you are one of those cynics who believe Maiden haven't produced anything of worth since the 1980s). Now at this stage it's unrealistic to expect another Killers, Powerslave, Number of the Beast or Seventh Son (depending on whichever Maiden's classic is your personal favourite) so it's important to keep an open mind and not just shit on it because it isn't one of those. It's equally important too however, to not get all dewey-eyed and laud it as the next coming just because it's a Steve Harris & co production. So attempting to keep perspective as a massive fan of the band since that marvellous debut way back in 1980 here's some thoughts on Senjutsu:

Well, the opening title track is just about one of the flattest openers Maiden have come up with to my ears - Aces High or Prowler this ain't, in fact it's not even Different World. The production is horrible and the track as a whole is uninspiringly bland. Oh dear, not a good start at all. Second track Stratego, however is a much more inspired affair with a bit more of a spark and therein lies the problem for me with Senjutsu - the songs just feel so inconsistent. Just as you think it's coming together and the band are getting into their stride, such as during The Writing on the Wall, they follow it with another flat-sounding track, in this case Lost in a Lost World. Don't misunderstand, Senjutsu isn't awful by any stretch and is probably better than an album by a hugely successful band who are into their fifth decade has any right to be, but as there is the very real possibility that this may be the last Maiden release I so badly wanted them to ignite that spark that I remember with such fondness. In truth, the songs may have had to be tailored to suit Bruce's declining vocal powers, although the band have handled that aspect admirably and Bruce has still come out with his reputation intact. That said, a massive plus and one aspect I really did enjoy was the soloing which was both vibrant and exhilharating and much praise must go to the guitarists, but especially Janick Gers whose contribution is outstanding and goes a long way to raising the kudos of the album.

A large number of fans seem to be shitting on the Steve Harris-penned epics of disc two, but for me it is a couple of these that truly save the album from relative mediocrity (we are STILL talking Iron Maiden here after all). I have always been a huge fan of Maiden's epics from Hallowed Be Thy Name and Rime of the Ancient Mariner to Alexander the Great and Paschendale and Death of the Celts and especially The Parchment lend Senjutsu that defining sense of true epicness that manages to raise the whole album above the so-so and make it a worthwhile listen. I purchased the really nice digibook double disc version but, in all honesty, it is probably only disc two and it's four epic tracks that will get much airtime in my house.

If this sounds like a bit of a schizophrenic review, it is because if it was a terrible album or if I didn't care about the band it would be easy to hold a strong view on it, but it is far from terrible, although equally it is no classic, so consequently my opinion is a bit ambivalent. There are aspects of it that I really enjoyed and there were also parts that I felt were a little lacking and I apologise for not being able to sound more damning or enthusiastic (delete as you prefer) but I really can't be any more partisan with my review than this - it's a credible release that, despite the odd stumble, plays to it's strengths and if you accept it for no more than that then you'll get along with it fine.

Old Forest have been increasingly suffusing their black metal with doom for a more melodic and, to me at least, a more satisfying result since 2016's Dagian album. Mournfall is their best album to date and their most fruitful attempt yet at alloying doom and black metal into a coherent whole. Black metal is still the more dominant partner, but alongside the shrieks and blastbeats, their doom riffs are convincing and carry enough weight to satisfy even the most hesitant doomhead. The increased use of clean vocals and simple, but effective, keyboards has added further layers to the imperious, doom-ridden atmosphere they are able to create - check out Despair is my Name for a superb example of what I'm getting at.

This is becoming a good period for fans of blackened doom metal and Old Forest are one of an increasing number of reasons why.

Fuck grindcore, deathgrind and brutal death metal. Playing with dismembered body parts and brutalising women, what the fuck's that all about?! No, when real men want to get extreme, then they go to WAR!!

But seriously folks, I don't generally care for super-extreme death metal. Apart from the music not greatly appealing to me, I sometimes find the whole aesthetic around extreme death metal and grind problematic. Of course, I completely understand that it's depictions of gore and sexualised violence are not to be taken seriously but they just don't appeal to me at all. War Metal, however, is just so fucking insane it's impossible (for me) not to get sucked into it's madness. Being derived from Black Metal rather than Death metal (although it certainly has Death Metal influences) makes it more palatable to me as well, as I am much more inclined to BM than it's deathly cousin. I also find the predominantly black, white and red aesthetic of the hand-drawn artwork much more appealing than the graphic nature of a lot of the more gory death metal covers. Naturally, as with any extreme genre, it isn't for everyone (or even most people) but there is something about the cacophonous nature of war metal that I really love.

Now I'm not trying to come across like some trve kvltist - I am mostly only familiar with the more established War Metal acts like Blasphemy, Beherit, Archgoat and more recently Crurifragium and Antichrist Siege Machine, but I had really enjoyed Bestial Warlust's debut, Vengeance War 'Till Death when I heard it a few years back. However, it is only now, more than twenty-five years after it's release, that I have got round to the Aussie warmongers' follow-up, Blood & Valour which has acquired the distinction of being my first five-star-rated War Metal album.

The Spanish film Intacto (great movie) has an opening scene where several people are running full pelt through a forest blindfolded. When I first heard Blood & Valour I had a sensation akin to how I think those people must have been feeling, of hurtling headlong at breakneck speed just waiting to be smacked in the face by a fucking huge piece of wood! Indeed on the first couple of listens it does sound a bit like uncontrolled chaos, but when you start to really listen to it properly then BW are revealed to be a really tight outfit and this is one hell of an accomplished album of sonic brutality. There are some fantastic, exhilarating riffs that remain defined and varied and are not just bludgeoning rehashes of the same idea over and over. The vocals are suitable demonic with shrieks and growls that come from the charnel pits of hell, but the drumming of Marcus Hellcunt (not his real surname I think) are what keep drawing me back, his assault and battery as blastbeat follows blastbeat is a thing of wonder to behold.

This is one of the most savage and visceral of black metal releases, at times it sounds like someone took a vinyl copy of Reign in Blood and played it at 45 rpm, complete with Jeff Hannemann-like squealing guitar solos, with songs slashing by like flailing sabre cuts. Possibly one of the most enervating albums it has ever been my good fortune to hear. If you love extreme black metal then you really need to listen to Blood & Valour.

Monolithe's sound has progressed over the years from their early 2000's monolithic (pun intended) funeral doom, through a more death doom-orientated middle period to their current progressive doom phase. As time has passed it has found the Frenchmen becoming more adventurous and slowly developing their sound which has inadvertently (or maybe not) made them relatively more accessible.

Anyway to this month's feature which is most definitely in the "early funeral doom" phase of the band's evolutionary journey. Monolithe II takes the form of a single fifty-minute track, in common with each of the band's first four albums and, the funeral doom newcomer be warned, it relies heavily upon repetition, particular of the opening theme, for the layering and build-up of it's pervading atmosphere. If you are an impatient type of metal head then you are probably best leaving it at that and going back to something more likely to get your blood pumping because this is not an adrenaline rush of an album. Rather, this is a carefully constructed release that cradles and envelops the listener in a sonic womb of slow, thick riffs run through with veins of atmospheric instrumentation that utilises keyboards, gorgeous guitar refrains and even, in a nod to their homeland's folk music, an accordion (provided by guest Manuel Mechling) which, surprisingly, sounds fantastic and fits in perfectly with the vibe the band are attempting to convey. Meanwhile, whilst the music cocoons the unwary listener, vocalist Richard Loudin croons into the ear with his deathly growl like some Babylonian god of dreams, one moment comforting, the next discomfitting. This really is the kind of album that you have to let wash over you and consume you, allowing it to enter into both your conscious and subconscious mind and the most rewarding listens are when you are able to give yourself up to it completely, let go and see where it takes you. For me this is genuinely relaxing and soul-cleansing music, in the same way as with certain ambient pieces, this is the kind of album who's atmosphere takes you out of the everyday and transports you to a less mundane place, opening up the imagination as it does so.

However, it must be said that there is very little variation in pacing throughout the entire runtime, nor is this the glacial crawl of real extreme funeral doom, sitting comfortably in a medium-paced range. Neither does it convey a cloying atmosphere of melancholy that is typical of the genre, often feeling quite uplifting, so again this may annoy some funeral doom purists for not being sufficiently funereal. Yet it does posses a few moments where the tone changes and becomes more discordant and when this does happen it can sound quite menacing. Overall I would say this is a beautifully put together album of extreme doom metal that rewards the listener the more they are prepared to invest into it. An immediate release this isn't and I can understand why some wouldn't care fot it, but as far as I am concerned this is doom metal heaven.

Khandra are a Belarussian black metal four-piece who are now releasing their debut full-length on Season of Mist after a couple of well-received eps and, I've got to say, it's a decent slab of orthodox black metal mayhem. There's some variety to the pacing with some decent riffs and some slower sections but where it impresses most is when the blastbeats kick in and all unholy fucking hell breaks loose. In fact, not just with the blastbeats but in general, Pavel V's drumming is a powerful weapon and propels the tracks along effectively. Another impressive contribution is Vladimir Borodulin's vocals which have a vicious power to them that isn't always present in black metal vocalists (he was singer with brutal death metal outfit Relics of Humanity for four years, so it's not so surprising). The guitars have a searing edge to them that teases and torments the nerve ends although, in what is my only real gripe, they sometimes end up becoming buried in the mix when things get hectic.

This isn't really an album that is riff-focussed, it feels more atmospheric than that, but when the riffs are presented they are sufficiently effective and fairly memorable, as in my personal favourite In Harvest Against the Sun. There's an energy to All Occupied by Sole Death that makes it hurtle along and a savage atmosphere pervades the whole album that hints at a dark heart at it's centre.

There are a good number of black metal bands of varying quality coming out of Belarus currently and Khandra should really be right up in the vanguard with their aggression, savagery and atmosphere leaving a large number of their compatriots wanting.

Ungfell is a Swiss black metal project comprising multi-instrumentalist Menetekel and drummer Vâlant with occasional guest performers providing additional vocals or strings. Es Grauet is their third full-length and my favourite to date. It's melodic black metal is quite complex as Menetekel piles on the riffs then let's them go and intercedes with some excellent folk-laden passages, such as D Schwarzamslä (Wie us däne Goofe Pfaffä wärdet), that really add some, often quite gorgeous, atmosphere to proceedings. Don't fear, however, if the folkier parts aren't your bag brecause another frantic riff-fest is never too far away.

The album has an overarching narrative about a grisly murder in some old-time rural village (I'm thinking of the type of German village depicted in many 1960's Hammer horror movies) and it's corrosive effect on the inhabitants. Like most native English-speaking black metal fans I guess, I don't understand the lyrics so the concept is largely lost on me, but even so the structure of the album is still obviously conceptual. The band do a great job of selling the concept and are extremely succesful at conjuring up images of a rural backwater that is living under a dark cloud. Atmospherically I think the darkness is almost tangible, even though, weirdly, this is more explicitly felt during the folk-driven passages than during the metal ones. The riffs may possibly be a little too melodic to adequately convey the necessary level of disquiet, but let's be clear, they are great from a purely metal point of view. If you just want to hear some solid black metal riffing then when Ungfell let rip they certainly hit the spot.

I can see (or more accurately, hear) that there are those who may well take against this. It's constant transitions from riffing to gentler folkiness may cause some to baulk. Others may feel that the riffs themselves aren't evil enough and err too much on the melodic side. Me, I could care less, I still think this is a really enjoyable release and one I will definitely return to. I've also got to say, I love that crazy cover. I'm not sure how it relates to the album's tale but it is certainly fun and interesting.

WWI-obsessed Finnish duo Somme follow up last year's eponymous EP with another that very much ploughs the same furrow as it's predecessor. Raw and harsh-sounding black metal designed to flay the skin from unguarded body parts is the staple of this release as it was the former (obvious really as they are on UK label Death Kvlt). That said, my favourite track The August Sun is surprisingly melodic despite retaining that raw edge. Prussian Blood feels more accomplished than Somme and definitely marks an upward trajectory for the duo. I'm not sure how a full-length would be received at this point, their rabid and savage black metal may be better served in smaller chunks so, consequently, the EP format suits them perfectly.

I've got to admit to not being the biggest fan of folk metal, outside of the odd Finntroll or Moonsorrow album. I feel it's too often the black metal world's answer to European power metal and has a correspondingly excessive cheese factor for my personal taste. In a perfect world any pre-existing personal bias shouldn't make any difference and each release would be judged objectively but, sadly, I am not that person and it explains my initial reticence as far as Vredens Tid goes, the upshot of which is that I wasn't especially engaged with it over the span of an initial listen. However, my disposition to Månegarm's fourth full-length improved over the course of subsequent listens and by the third or fourth spins I was genuinely beginning to enjoy aspects of it.

I think the primary reason for that is that the actual black metal side of Månegarm's folk metal equation, despite sitting quite firmly on the melodic side of the scale, is really well done and is pretty visceral. I don't think that the black metal savagery hits hard enough first time around, especially for someone like myself who doesn't listen to a whole lot of folk metal, but following subsequent listens when the folky trappings can be mentally stripped away it is apparent that a true black metal heart beats under the surface. This is most obvious in Erik Grawsiö's vocals as he delivers them with real blood-red aggression.

That said, there were aspects of the folkier side of things that I still struggled with. The album started quite strongly and the first two tracks proper after the intro are probably my favourites (although the eight-minute Hemfärd does come close). The violin work on opener Sigrblot in particular grabbed my attention and is the best iteration of the folk metal vibe on the record. On the downside the female vocals provided by Umer Mossige-Norheim didn't really do it for me and I found them a little bland to be honest, in fact they completely ruined the title track which is, in all other respects, a belter. The tendency for most of the tracks to end up sounding like a jig I also found grating after a while. Another annoying tendency in the small number of folk metal albums I've listened to is the "sound affects" tracks (Moonsorrow can be a little annoying in this respect), Preludium in Vredens Tid's case, which just adds nothing in my opinion and merely pads out the run time.

So a bit of a mixed bag for me, aspects both ridiculous and sublime feature during the album's eleven tracks. On the positive side, as far as folk metal is concerned it is one of the better albums I have heard and although I'm not likely to return to it much, tracks like Sigrblot, Vredens tid and Hemfärd may get an independent spin on Spotify as the mood strikes.

I enjoy the sound and melody of Middle Eastern music but when heard in the context of metal it takes on a whole different level of intrigue, sounding darker and more exotic, at least to this jaded westerner's ears anyway. Crescent are an Egyptian band who take the history and folklore of their much historied homeland and present it through a blackened death metal prism. The result is a fairly brutal-sounding assault that still manages to summon up a nice level of melody and, with it's assimilation of elements of egyptian folk music, brings a nice contrast to the more usual and numerous instances of european folk-influenced black metal. Yes, they are kind of treading a similar path to Nile, but are much rawer than the US tech-death merchants and other than thematically they actually have little in common.

Personally I think Crescent deserve a bit more exposure and are certainly no gimmick, their Middle Eastern-flavoured metal is the real deal and anyone looking for a well-written and produced album of blackened death with a different slant should at least give Carving the Fires of Akhet a listen.