Shadowdoom9 (Andi)'s Reviews

If there is something that is hard for me to admit, but I still feel the need, it is this: Until now, I couldn't really get what's appealing about one of the most famous metal bands in the world, Metallica. Their debut has made me realize the band's earlier strength! Kill 'Em All (originally titled Metal Up Your A** until their record label manager suggested changing the album title and cover art) combines the more speedy and punky elements of Motorhead, Iron Maiden, and Judas Priest into the ultimate start of thrash!

Kill 'Em All sounds as if they covered the heaviest tracks from different early heavy metal bands and increased the tempo and added more heaviness to the riffs, solos, and vocals, thereby updating the classic formula. Of course, these are all original songs, and very unique ones too.

Already putting the thrash sound in place is the fun opener "Hit the Lights". However, "The Four Horsemen" is a better standout, sounding tighter than Megadeth. Apparently, that band Megadeth has their own version called "Mechanix", for their own debut album two years later. Megadeth's founding frontman Dave Mustaine was originally the lead guitarist for Metallica before he was fired for his abusive behavior and replaced by Kirk Hammett. The band took the "Mechanix" composition Mustaine wrote and rewrote it into the 7-minute riff monster that it became. So Megadeth's version is a re-recording of the original written by Mustaine. "Motorbreath" has more of the potential for the band to kick-start thrash metal, though the phrase "thrash metal" wasn't coined until next year when the late Kerrang! journalist Malcolm Dome was describing an Anthrax song.

Another highlight is worth partying to, "Jump in the Fire", having more of a hard rock groove. The chorus is so unforgettable, you'll be singing it in the shower out loud for the neighbors to hear. The instrumental "(Anesthesia) – Pulling Teeth" has the best performance here from bassist Cliff Burton (who sadly lost his life 3 years later when, while touring for Master of Puppets, he fell from the band's bus that tipped over and crushed him. RIP). He performs impressive bass soloing for that track. "Whiplash" has more powerful riffing. The excellent verses have clear contrast with the catchy choruses. As a result, that song is quite memorable, and nothing's a waste of time.

"Phantom Lord" bursts through greatness, especially in the innovative drumming. Same with "No Remorse" which, as the title implies, is remorseless. Things get more mid-paced in "Seek & Destroy" while staying destructive. "Metal Militia" can surely bring joy to both longtime and new fans, and the bass can heard quite clearly, compared to what people keep mentioning about the band's 4th album ...And Justice for All.

With all that said, I don't think there's much I can say to criticize, except maybe the bass-driven instrumental can be more of a bonus track, no disrespect to Burton. Kill 'Em All is perhaps the first full-on thrash metal album, so listen before you judge, and...well, have fun!

Favorites: "The Four Horsemen", "Jump in the Fire", "Whiplash", "Phantom Lord", "Metal Militia"

Mnemic has touched the hearts of many modern metalheads, even after their split. The remaining founding member, guitarist Mircea Gabriel Eftemie was a master of polyrhythms, and his clear riffing and melodies that stay together with the mechanical bass and drums are what kept the band in place until things changed. He caused progressiveness from the guitar to switch out of what you hear from Opeth into a hint at a new djenty chapter...

Their debut Mechanical Spin Phenomena is a solid start of the band's futuristic industrial/groove metal journey, though it wouldn't be perfected until The Audio Injected Soul. This storm of modern sounds is something that has changed part of the course of metal in the early 2000s.

"Liquid" represents their melodic side in the chorus after a verse of guitar aggression. "Blood Stained" is a heavy tight mind-blower, often changing tempo. However, the band loses some focus in "Ghost", sounding a bit dull after that opening duo peak. "Db'xx'd" is the band's longest song at exactly 8 minutes, and has mechanical Meshuggah riff power and keyboards, all leading up to a cool ambient outro.

"Tattoos" has a bit of a Mushroomhead vibe while staying industrial. "The Naked And The Dead" is another golden highlight to make even the most serious metalhead smile. "Closed Eyes" takes a distorted drift into melody.

The title track is another highlight of progressive-ish industrial groove metal that would help bands like Sybreed and Divine Heresy find their direction and let bands of other genres like Animals as Leaders borrow their progressiveness. The chaotic electro-metal talent of Strapping Young Lad can definitely be heard. Another one of my favorites is "Zero Gravity", one more spacey 8-minute track with a slow blend of metal riffs and keyboard blasts. There's also a bonus remix of "Blood Stained" by Rhys Fulber.

After his time with Mnemic, vocalist Michael Bøgballe would keep exploring the band's sound in a more djenty level with Scamp. But this album from Mnemic has an almost entirely good metallic mix of brutal industrial attacks and melodic synth depths. If you're up for that, then crank up the volume....

Favorites: "Liquid", "Db'xx'd", "The Naked And The Dead", "Mechanical Spin Phenomenon", "Zero Gravity"

Seeing a review for this album appear in this site made me wonder, "I've reviewed all of my metal milestone bands, but can I review the metal albums of a rock band that would eventually shape my taste into 'true' metal, beyond this nu metal sh*t?" Answer: I CAN!! Linkin Park is probably the most successful 21st century rock band, yet metal fans call them "sellouts for kids". Some say they've expanded on the nu metal atrocity started by Korn and Limp Bizkit, others say they're a boy band with guitars. It's sad to see all this hate towards a super successful band. I might not enjoy this band as much as the metal bands I listen to now, but I won't take them for granted, that's for sure.

Linkin Park released their debut album Hybrid Theory (taken from their earlier band name) in October 2000, just a few months shy of what people think is technically the start of a new millennium (2001), and the technical new millennium started in a bang for this band. Excellent reviews and gigantic sales skyrocketed, hence making this a genuine well-sold platinum album. There may not be a big improvement in the popular music industry but Linkin Park's debut would remain one of the best-selling albums of nu metal and all time. Yep, there are 12 heavy industrial-infused nu metal tracks in this album produced by Don Gilmore. In fact, would you call nu metal "metal"?? It's cleaner and less edgy (in the music anyway)! Well whatever you want them to be called, Linkin Park have their best skills of heavy metal guitars, hip-hop rapping, and pop hooks.

It starts with...the rap rock hit "Papercut", where the rapping verses by Mike Shinoda make a great blend with the melodic vocal chorus by Chester Bennington (RIP). "One Step Closer" is their breakthrough single worth checking out for both metalheads and radio listeners. The riffing is both heavy and kid-friendly, the latter adjective maybe not the killer screaming bridge ("SHUT UP WHEN I'M TALKING TO YOU! SHUT UP!!"). This is metal for Sesame Street-level beginners and that song is probably the heaviest one allowed in karaoke (I know because I've been there). The low-toned loops in "With You" are performed by the Dust Brothers in a rap metal track where its gravitation center strikes your jaw off. "Points of Authority" sounds as if Bennington and Shinoda are each reading their own poetry written in a lyric sheet, acting as a lyrical exchange. That song is kinda killer though.

The emotional hit "Crawling" is where icy synths and bass crawl through the intro before getting mudded out by the guitar heaviness and Bennington's cries. The more industrial fans might compare the song to Nine Inch Nails. The lyrical subject matter deals with Bennington's teenage years of torture and meth addiction, and he's so upset about it that he needs help from the crowd when performing the song live. More of the band's skyrocketing hooks appear in "Runaway", where the primitive tune's melodies can probably get the song into alternative radio. The fairly appalling "By Myself" is a weak track that is a real example of nu metal's bad side. The hip-hop smash-hit "In the End" has piano performed prominently by Mike Shinoda as he raps along. I don't know if that's what made that song the most popular of the album, but it is what it is.

"A Place for My Head" continues the poetic lyrical exchange between Bennington and Shinoda. This is again used in "Forgotten" but more apparent with the vocal battle between the two vocalists in the pre-chorus. That song is probably another real example of nu metal tainting the second word of the genre's name. The two and a half minute experimental jungle track "Cure for The Itch" is probably the weakest point of the album, but it's where turntablist Joe Hahn really shines. The perfect formula of the singles continue once more in the closing song "Pushing Me Away", which I still like since first listening 9 years ago. Oh how I wish that was a single...

What remains of this review is the conclusion, and that is this; Linkin Park's debut album is excellent, at least compared to what the heavier metalheads think. Surprisingly, the songs I like are perfect choices for all 4 singles and two promo singles, all that's missing is that final song. The only weak songs are the remaining 5. Seems as if my like for Linkin Park before switching to real metal has infected my mind. Sure it's mainstream, but I couldn't skip to where I am today without this band, right?! Thanks a ton, LP....

Favorites: "One Step Closer", "Points of Authority", "Crawling", "Runaway", "In the End", "Pushing Me Away"

A few people might think Vektor is a Voivod ripoff, but...BOY WERE THEY WRONG!! They just don't see how much of a difference this band makes! First off, the instruments really work well together with precise drumming, tight riffing, and bass with more than one note per bar. The instrumentation is really cool, but what's really amazing is the vocals by David DiSanto. Forget about his domestic violence present for a while and check out his vocal range that's beyond belief. His vocals are in the same kind of level as Destruction's Schmier, but his high soaring screams are near-impossible! I bet he does what Michael Jackson used to do, grabs his own b*lls hard.

The guitars are so unique and really stick out in this album. One unique thing that marks a different approach is the F-tuning (a half-step higher than standard E tuning). I think more bands should start tuning their guitars up to F or F# 6-string, or even C or C# 7-string. When they play a riff that sounds familiar (other than the higher tuning), suddenly a different never-before-heard riff smashes into your face, while keeping constantly high quality. What's also pleasant is, the solos are magically placed in fields where you would never expect. But in the parts where you do expect a solo, they are short and end up coming out anti-climatic. However, the guitarists are really skilled, and despite those solo setbacks, they can master them as super well as DragonForce.

The title opener is probably the best track of the album. They really balance the thrash and progressive styles perfectly without having to copy anything. "This song won't write itself," rushy people say, but it's as if that song did! "Oblivion" is another great song, but it gets a little dull. It's late-Emperor-esque intro is actually the "Spiral Galaxy" intro from their demo Demolition. After that, it's on to the actual old-school speed metal intro before the Destruction-like shrieking comes in. Also, the end is a bit rushy, another good reason why I prefer its Demolition version. "Destroying the Cosmos" is another song that was re-recorded from the Demolition demo, and while I like this one better than the demo version, it doesn't quite reach the standards of the other songs besides "Oblivion". However, that solo-riff combo throughout literally the last minute is one of the most epic song endings I've ever heard! Great strength in an otherwise "meh" song!

"Forests of Legend" is an absolute highlight and the first of three 10+ minute epics. It begins with an eerie acoustic intro that sounds like the progressive thrash "Bard's Song (In the Forest)", before the heaviness begins building up before crashing safely into early-Megadeth-style speedy thrash. After that, it's back to the eerie acoustic section before another glorious outro! "Hunger for Violence" is a Voivod-like composition, opening with strange symmetric chords before heading into Theory in Practice-like violent heaviness. "Deoxyribonucleic Acid" which is what "DNA" stands for, opens with a speedy version of an Iron Maiden riff before its scientific thrash ascension.

"Asteroid" is less technical and more rock-ish in the first few minutes, and while not quite reaching the climax, an incredible charge thunders in with solid bass, sounding like when Lemmy's bands Hawkwind and Motorhead collide and travel into the future. The second 10+ minute epic "Dark Nebula" is probably the least superior of the epic trio, but it's still great. It shows a bit more of a Pink Floyd influence than Voivod while keeping the technical thrash virtuosos. "Accelerating Universe" is the 13 minute true diverse crowning highlight, initially starting with Metallica hammering thrash, it gets more epic and heavier throughout, even developing an amazing psychedelic atmosphere in the halfway point, before building back up into a heavy speedy ending.

Black Future is an almost flawless work of progressive thrash metal art, despite a couple weak points. But those weak points are really tiny flaws and they don't bring down this 5-star rating. With this album, Vektor has reached for the progressive thrash metal stars!

Favorites: Black Future, Forests of Legend, Hunger for Violence, Accelerating Universe

The more I discover the more melodic cyber/industrial metal bands out there, the more intrigued I've become. There seems to be great impact in electro-industrial keyboards blended with metallic guitars/drums. Fear of Domination has that mix in their industrial melodeath sound that's like Sonic Syndicate if they doubled the amount of synths. That kind of style really speaks to me!

Their debut Call of Schizophrenia is a heavy album, but it's not just heavy in the guitars but also in the keyboards. I enjoy this synth-metal attack and I'm up to checking it out in their next couple albums as well. For now, let's dive into this one...

It starts off clean but heavy in what can be the band's own theme song, "Fear of Domination". You can hear some background cleans by keyboardist Niina Telen. Awesome start! "Mistake in Evolution" speeds things up, though the background keyboards are a little oddly placed. Still, everything else fits like a puzzle, with the keys being the odd piece out. "Clown Industry" has the melodeath of Dethklok while adding in the electro-trance elements The Browning would later have.

"Synthetic Paradise" loses some pointage while the album rating is still intact. The rapid punisher "Punish Y.S." really speeds up as rapid riff-tastic highlight. With some great production in the riffs blended with synths, Norther would probably wish they had more of that. "Intact Girl" is an OK track but one I don't care too much about.

"Perfect World" is perhaps the most Deathstars-sounding track here. Then we have the ambitious title track speeding through heavy verses and a melodic chorus with more of Telen's background cleans. All in perfect synergy! The best song in the melodeath side is "Theatre". The keyboards are more subtle, allowing the guitars and drums to shine. I just wish that song was a little longer. The "Fear of Domination" remix by MC Raaka Pee probably could've been better off elsewhere, but I guess it's fine.

Industrial melodeath may not be for everyone, but it's what makes Fear of Domination such a unique band and something I would never get tired of. Pretty much all songs and enjoyable, though a couple of them could've been slightly better. Recommended for anyone who likes synths in metal!

Favorites: "Fear of Domination", "Clown Industry", "Punish Y.S.", "Call of Schizophrenia", "Theatre"

The Place After This One can be considered Underoath's very own Classic Symptoms of a Broken Spirit. It's their 10th album and the one where they take on more of an alt-/industrial metal sound. This is where the band adds in more electronic experimentation than before, taking some cues from bands such as The Prodigy and early 2010s Linkin Park, signifying a new future for the band.

Don't worry, longtime Underoath fans! You can still hear some of the melodic catchiness of They're Only Chasing Safety and Define the Great Line, along with the anthemic metalcore of their subsequent albums. All in solid bangers, though there are a couple disappointing tracks...

Kicking off the action right away is "Generation No Surrender" which attacks with lead vocalist Spencer Chamberlain's frantic screams. It's practically like their late 2000s era on steroids, especially in the riff-wrath. Everything sounds so fresh and natural, staying true to what you remember them to be. "Devil" comes up next with electro-industrial synths by longtime keyboardist Chris Dudley, almost heading into trancecore territory with his synths and the guitarwork. Drummer Aaron Gillespie sings his wonderful cleans to remind you about the band's fresh unique sound. The chaos doesn't end there, as "Loss" blends hardcore screams with melodic cleans, alongside fast drumming speed. After those 3 tracks, "Survivor's Guilt" keeps up the anthemic streak, more melodic in the chorus while going wild in the verses.

Another trance-y track "All the Love is Gone" has more experimentation on their plate. The vocals rise slowly in intensity in the first verse, letting out all this energy in the chorus. It all leads up to a fist-pumping breakdown in the bridge. The more formulaic "And Then There Was Nothing" still has something, with nothing but guitar/vocal aggression. However, I feel like it could've extended with some melodic sections to make it a more balanced killer banger. Really pulling my leg is "Teeth" which really shows something different. It grabs my attention but in a bad way. Choppy glitch-hop just isn't my thing. Fortunately, the boost of heaviness at the end saves that track from being a total sh*tter. What can really get the live crowd dancing and headbanging is "Shame", a big highlight with cinematic electronics. The riffs and vocals will make you jump along to the beat. The synths and guitars are in such a sweet blend.

The blazing "Spinning in Place" is like a better more electronic take on one of the weaker songs from Define the Great Line. The rapid pace isn't that bad, but seems kinda like rushed towards the end, another short track that should've been extended for better closure. One of the band's most industrial highlights yet, "Vultures" is a killer track that can really punch its way to Hell and back. The ethereal leads grab my attention as much as the heavy chorus, "How’s it feel now that you circle with the Vultures?!" The chorus isn't the only massive hooker here. We also have the dark heavy bridge featuring Troy Sanders of Mastodon and his gritty singing. Truly a "take no sh*t" kind of highlight. Next, "Cannibal" continues switching between heavy and melodic. The vocals in the chorus are quite huge, though the drop into a soft bridge kinda breaks the flow. Still I love that harmonic vocal power, "CANNIBAL!!!!" Final track "Outsider" marks the grand end of the journey. Aaron Gillespie sings solo in this track, and that helps it being an easy track to end with. The perfect way out, with more to expect in the future!

The Place After This One is a strong transition from the past to the future for the most part. While a few odd tracks may bring this album down to almost average status, Underoath still have their boundary-pushing passion in album #10. The keyboards really take the frontstage without losing much of the riff variation. The screams and cleans are in great balance, adding cool effects without damaging the vibe. If two or 3 songs from the middle of the album were slightly improved though, the quality would be much larger. With such powerful compositions, Underoath has never ceased to amaze the world. We don't know what will come next after this, but I can't wait....

Favorites: "Generation No Surrender", "Survivor's Guilt", "All the Love is Gone", "Shame", "Vultures", "Outsider"

Adding symphonic black metal elements to deathcore is something that has been done for over a decade, but this kind of sound has been popularized by Lorna Shore and several other bands have been following their lead. I'm sure Worm Shepherd have been following that band's footsteps since before the "To the Hellfire" boom, having formed on the day Lorna Shore's Immortal came out, and releasing their own album In The Wake Ov Sol later that year. And now comes their second album, Ritual Hymns!

Worm Shepherd has a little more maturity than other bands in the epic deathcore league. The writing is tighter and darker. The guitars and keyboard orchestrations are in an awesome balance, the latter they know how to use wisely in their brutal sound for a perfect experience of death and glory.

The opening title track is a solid grand example of that band. The atmospheric keyboards are quite effective while letting the heaviness shine. It's like a bridge between the Lorna Shore tracks "Immortal" and "Welcome Back, O' Sleeping Dreamer"! Then we have "Ov Sword and Nail", another crushing highlight. The breakdown and vocals are balanced out with occasional small experimentations like the bass intro. When each member has their own moment, it shows that the vocalist isn't always the leader, unlike other deathcore bands. "The Raven's Keep" would've been as much of a highlight as the first two tracks, but its early fadeout is kind of a small issue. Small enough to still maintain the album's perfect score. The song itself is one of the more blackened tracks here with its rapid pace.

More ideas roll in through "Chalice ov Rebirth" including another b*lls-out breakdown. As great as that is, I feel like there could've been slightly more momentum in the track. I feel like the inclusion of guest vocals by Lucca Schmerler in "Blood Kingdom" is a bit odd, though it doesn't affect much. Abuse allegations aside, his vocals rule in the band he was once in, Mental Cruelty. The symphonics shine the best in "Wilted Moon". That epic highlight is almost a redux to the Lorna Shore track "And I Return to Nothingness".

We have more monstrous vocals in "A Bird in the Dusk", from vocalist Devin Duarte and guest vocalist Scott Ian Lewis (Carnifex). Despite being hard to tell apart, it adds quite a difference to the usual delivery. "The River Ov Knives" has some cool occasional cleans. If anyone thinks clean singing only belongs in melodic metalcore/emo bands like Black Veil Brides, they're dead wrong. "Winter Sun" can almost be a deathcore tribute to the band Wintersun with its blackened symphonic power metal-ish guitarwork. It might just be the strongest epic deathcore album ending track!

Ritual Hymns is another true definition of symphonic blackened deathcore. You really gotta enjoy the tight serious writing. While Lorna Shore hasn't done anything new since their album Pain Remains released later this year, Worm Shepherd is still active, and I look forward to exploring more of this band's material and the epic deathcore realms!

Favorites: "Ritual Hymns", "Ov Sword and Nail", "Wilted Moon", "A Bird in the Dusk", "Winter Sun"

3 and a half years is a long-ish gap between two albums, and some listeners might've forgotten about Alien Weaponry and their unique Maori metal sound until their new album came out. Then again, there was almost that same gap between their two other albums Tu and Tangaroa. Many fans of Alien Weaponry still remember them, and they continue their memorable path with Te Ra!

This young band has maintained their groove/alt-metal band with a bit of djent, thrash, and of course, their native music. The lyrics alternate between English and the Maori language. Their sound continues to evolve, and so does their popularity when going festival after festival.

Crashing through the gates is the thrashy "Crown" with thick layered production. Culture shall not weigh them down! Following up is the single "Mau Moko" with sick music and lyrics, as the verses deal with ancestors' preserved heads. The band's experience with history is what helps the band stand out a lot. "1000 Friends" is a killer banger with some accessibility. The perils of social media are detailed well in the lyrics. We have another thunderous banger in "Hanging by a Thread".

"Tama-nui-te-ra" has some Gojira vibes. "Myself to Blame" has slow sludgy groove. The vocal power of Lewis Raharuhi de Jong help make that track an epic highlight. Getting into "Taniwha", it's darker and heavier, featuring guest narration and vocals by Lamb of God's Randy Blythe.

Storming in lyrics against war, "Blackened Sky" continues expanding the band's boundaries. "Te Riri o Tawhirimatea" is one of the most deathly tracks the band has done. "Ponaturi" stomps around with the nu metal-ish contrast of melodic verses and heavy choruses. "Te Kore" is a short different ending track, a slow percussive march while Maori origins are described in the lyrics. The live crowd might just march along and pound their chests like gorillas.

Alien Weaponry is not a band to sell out, and they've proven that with some more of their top-notch Maori metal in Te Ra. These young New Zealanders keep putting their passion and emotion into the work, as a reward for their longtime followers!

Favorites: "Mau Moko", "1000 Friends", "Myself to Blame", "Taniwha", "Ponaturi", "Te Kore"

Well, time for Arch Enemy revisit #2! Metalheads already know these Swedish melodeath innovators well in their 3-decade 12-album career. Longtime fans would've already witnessed the darkness of Johan Liiva, the venom of Angela Gossow, and the fury of Alissa White-Gluz. As for the instrumentalists, Michael Amott (guitars), Sharlee D’Angelo (bass), and Daniel Erlandsson (drums) still stand as a talented trio since the Liiva era. And their powerful melodeath sound continues in the insane new album Blood Dynasty!

With this album, you can expect many rebellious anthems appearing all around. Joey Concepcion from Michael's brother Christopher Amott's band Armageddon has stepped in after Jeff Loomis left to reform Nevermore. The guitarwork once again has that blend of melodic and technical in the arrangement. And there are some different surprises to be found in the album while the band still focuses on what they truly are. We all know how diverse Alissa is in the vocals compared to Angela. Alissa can go from growling fire to mezzo-soprano water, the latter you can also hear in her time with The Agonist and her guest vocals in Kamelot. Perfect for this heavy/melodic mix!

All you know and need to know about Arch Enemy is in "Dream Stealer", a thrashy anthem, with some of the most furious vocals Alissa has done since joining the band over 10 years ago. Her vocals reach climatic heights in the chorus of triumph. On the other hand, the slower while still blazing "Illuminate the Path" has a more melodic chorus while leveling up the vocal dynamics with her cleans. The guitar work almost sounds straight out of the Liiva era, with the B tuning and all. "March of the Miscreants" has more extreme riffing to break the mainstream chains, continuing the midtempo pace in the typical melodeath sound of their homeland. The sound continues rolling with more speed in "A Million Suns". Then we have the rapid-fire monster "Don't Look Down".

The filler interlude "Presage" is the only track I would consider out of place here. The title track is one of the catchiest anthems by the band, almost rivaling the Gothenburg 3 with the solid leads of the guitar duo that is Amott and Conception. Another anthem "Paper Tiger" can get your attention with the instrumentation and vocals. Then we have something quite different, a cover of a French power ballad, "Vivre Libre", originally by Blaspheme. There's no melodeath, not even in the vocals. Gluz sounds very much like an angel have descended from Heaven to go to a rock/metal concert. Perhaps the most Guardians-esque track Arch Enemy has done! Punching through with heavy might again is "The Pendulum" that swings around in melodeath fire while having some potential on the radio. "Liars & Thieves" is a swift banger while having some power metal-ish melodies, all before making a dramatic exit.

The deluxe edition comes a couple bonus tracks, originally recorded with Loomis before his departure, with B-tuned guitars, starting with "Break the Spell" which has highly melodic/technical leads and background symphonics similar to Kalmah. "Moths" is a heavier track, almost having a bit of the metalcore of Like Moths to Flames. The Japanese deluxe edition has one more bonus track, a cover of Death's "Evil Dead". Y'know, that Death track also covered by DragonForce and Warbringer. Sadly, it has the same problem as DragonForce's cover, not fitting well with the other two bonus tracks. Maybe it would work better as part of the standard edition.

All in all, Blood Dynasty is an filled with fresh new anthems and high-quality throwbacks to their earlier sound from 20 years ago and beyond. The late 90s and early 2000s were when this band along with Amon Amarth and Soilwork were really just hitting it off with their melodeath. I'm glad Arch Enemy can restore that classic sound in this new album. With every newfound clear waterfall, to quote one of their other songs, there's blood in the water!

Favorites: "Dream Stealer", "Illuminate the Path", "March of the Miscreants", "Blood Dynasty", "Paper Tiger", "Vivre Libre", "Liars & Thieves", "Break the Spell"

I gave the new Mental Cruelty album some listening and a review shortly after it first came out. I enjoyed the Lorna Shore-esque brand of epic deathcore, but I thought the symphonic black metal side was a little too much. Fast forward a couple years and my tolerance has grown immensely. I now find Zwielicht an awesome offering that's like Lorna Shore but more depressive, melodic, and blackened. The lyrics have a lot depth and death in them, and that's something modern extreme metal fans shall love!

Stepping in on vocals is Lukas Nicolai, replacing Lucca Schmerler after Lucca's firing due to sexual abuse allegations. As brutally good as Lucca is (despite the allegations), Lukas is a total powerhouse when it comes to growls and screams. He has even added an uncommon aspect in deathcore, clean singing.

"Midtvinter" is a dark ominous intro to get you ready for an epic journey. "Obsessis a Daemonio" is a total blaster which you might think it's Dimmu Borgir on steroids. At over the 3 and a half minute mark, Lukas attempts some clean power metal-like singing like some of the male guest vocalists of Avantasia. The earlier neoclassical soloing has its comeback in "Forgotten Kings" in clear prominence.

One of the most Lorna Shore-like songs here is "Pest" which is a brilliant highlight. Lukas is quite talented, though he can't surpass Will Ramos. No one can beat the epic deathcore vocal king! Then we have the slow-ish "Nordlys" which is kind of a brutal deathcore take on the more dramatic Scandinavian melodeath bands out there. "Mortal Shells" combines many elements of the band's previous albums to make one of the most diverse highlights in the album. Sinister guitar and vocals drifting through along with the crushing drumming for a powerful experience.

The title interlude is a German-sung Nordic folk piece than can easily fit well in an Elder Scrolls game. "Symphony of a Dying Star" has riffing and soloing sounding much closer to the epic melodeath of Insomnium and Wintersun. Greatly exemplifying the black/death metal drumming and guitarwork is "The Arrogance of Agony". The epic finale "A Tale of Salt and Light" has the symphonic death metal/core of Ex Deo and early Betraying the Martyrs to make one of the most glorious deathcore tracks ever!

How would I consider Zwielicht? F***ing awesome, that's what! This is symphonic melodic blackened deathcore with sharp riffing and mystical atmosphere freezing away the earlier brutal hellfire. Not to mention those fast blasting drums and Lukas' wide-ranged vocals. Their best work besides Purgatorium, maybe slightly more!

Favorites: "Obsessis a Daemonio", "Pest", "Mortal Shells", "Symphony of a Dying Star", "A Tale of Salt and Light"

Ever heard the idiom "When Hell freezes over"? It is based on the eternal fires of Hell, and normally it's used to describe something that can never happen. The idiom fits well here in so many levels, yet the event really does happen. People who thought the deathcore hellfire wouldn't mix with the freezing cold of symphonic black metal were proven wrong by a new legion of bands. While Lorna Shore would take the throne of popularity, Mental Cruelty would bring the blend further.

Formed in Germany in the mid-2010s, Mental Cruelty really pushed extreme to the extreme with their string of releases from 2016 to 2019. Their sound had the technicality of Rings of Saturn and the brutality of Signs of the Swarm. From A Hill to Die Upon onwards, this style filled with breakdowns and blasts have taken a more epic blackened turn.

The chilling intro "Avgang" already hints at the new direction with an acoustic folk melody and background electric strums. Then the first actual song "Ultima Hypocrita" fires away with a fantastic metal blend of epic beauty and extreme brutality. This is the true start to their new symphonic blackened deathcore era, and I especially love the blazing soloing. "Abadon" still has some heavy slam while not losing any of the orchestral epicness. This epic brutal mix just works so well!

The meat ends up barbequed in "King Ov Fire". And again in "Eternal Eclipse", going savage with their symphonic deathcore. "Death Worship" has nothing worth complaining about at all, having destructive growls drilling into your ears like a surgeon.

"Fossenbrate" is a mellow interlude with sounds of nature. Then the forest is burnt down into the RuneScape wilderness in the title track, filled with blasting fury. Next track "Extermination Campaign" continues the destruction of everything. The melodic/symphonic grandeur as bleakness to the apocalypse. The 7 and a half minute final epic "The Left Hand Path" has the last of this epic blackened deathcore fire, packing it all up with the gigantically packed track.

Extreme metal can sometimes have some grandeur, which is what makes Mental Cruelty so unique and special. Even though abuse allegations towards Lucca Schmerler would cause him to be out of the band the following year, the music of the band he was in shouldn't be forgotten. Savor it all!

Favorites: "Ultima Hypocrita", "Abadon", "Eternal Eclipse", "Extermination Campaign", "The Left Hand Path"

Mental Cruelty's debut Purgatorium is filled with lyrical blasphemy and gore, brutal riffing, and vocals ranging from low growls to high shrieks. Despite all that violent rage, I actually love it. And we have more of this crushing German deathcore quintet's sound in Inferis!

This is the soundtrack to the hellish Land of the Dead that the album title translates into. Pure brutal deathcore lasting slightly longer in total length than Purgatorium. Oh I forgot to mention that Purgatorium has guest vocals from Duncan Bentley, Diogo Santana, Ben Mason, and Daniel Burris. In Inferis, guests include vocalists Dickie Allen and Jason Evans (from Infant Annihilator and Ingested, respectively) and guitarists Jack Simmons and Marco Bayati (from Slaughter to Prevail and Desolace, respectively).

The album's title intro lurks in like a horror movie. Then the first song "Planet of Misery" opens with rapid drumming, dark guitar chords, and death growling. The top-notch production puts everything in front, thus making the slam-deathcore slam hard onto the surface. We also have some soloing energy before a brutal breakdown. "Blood Altar" marks another one of my favorites here, adding killer variation in the riffing and vocals. Once again, it ends with a downtempo breakdown to remind some of Osiah. Next up, "Tormentum" is another destructive track, with Dickie Allen's guest vocals towards the end.

"Priest of Damnation" annihilates with fast riffing and the technical leads of Within the Ruins. "Mundus Vult Decipi" has Jack Simmons' guest guitarwork. The riffing and overall instrumentation are absolutely insane. The sludgy breakdown and the long audio sample that comes before it really brings the track up to highlight status. The odd track out here is "Cosmic Indifference", which could've had some better improvement, but not much worth considering a standout.

"God Hunt" makes up for that with its massive riffing and Jason Evans' guest vocals right before the pulverizing breakdown. "Human Evisceration" was re-recorded from the Pereat Mundus EP. F***ing incredible strength and speed there. The "outro" "Monocerotis" ends with the last bit of brutal technicality, even hinting at the later blackened era.

Inferis can very well be the soundtrack for exploring the darkest depths of Hell. It's so stellar yet absolutely dark, continuing the atmospheric brutality of Purgatorium. Fans of Mental Cruelty and other deathcore bands (including the ones the guests are/were in) might enjoy this as much as their debut. The strength of the band keeps growing, and while they'll start taking on a more melodic epic direction in subsequent releases, the brutality is still around for heavier listeners to be pleased!

Favorites: "Planet of Misery", "Blood Altar", "Mundus Vult Decipi", "God Hunt", "Human Evisceration"

You don't often expect me, someone who often tries to avoid the gorier sh*t from death metal/core, to find an album like this perfect. But in my honest opinion, it is! As far as slam-deathcore goes, this is that style at its best. Part of the reason is how short it is compared to their later 10-track albums. In 32 minutes, you have 8 tracks, or 6 if the two-part suite isn't separated and one track didn't have its intro a separate track, all giving you extreme brutality in a moderate amount.

When an awesome deathcore album comes out in the beginning of the year, fans of the genre will surely be pleased for the rest of the year. That must be how epic cyber metal fans feel when a Mechina album comes out on New Year's Day. Anyway, expect a lot of breakdowns and blasts in Mental Cruelty's debut Purgatorium!

The title suite begins with the solid "Chapter 1: The Rotting World Above". An ambient intro fades into neoclassical shredding followed by fast heavy riffing. Nothing seems redundant at all. The other part "Chapter 2: Rise of the Antichrist" is one of the most technical tracks by the band. That relentless charger is like a more brutal Within the Ruins! "Vicarius Filii Dei" continues the heaviness with occasional pace changes.

Heading further into the deathcore side, "Father of Abomination" has more hardcore riffing and closes with a slamming breakdown. "Genesis (Lies From the Beginning)" is the interlude that might work a tad better when embedded to the next track. "The Venerable One" has more of the top-notch vocals and riffing.

Slows things down while staying heavy is "Immortalizing Purgatory". It's quite solid and interesting when it can naturally from slow to fast and maintain the relentless chaos. Finale "The Incantation of Human Annihilation" is filled with heavy riffing. This brutal standout is mostly instrumental, only having some vocals in the first half. Quite a heavy way out with all its might!

If there's anything that can be considered the epitome of slam-deathcore, Purgatorium is that. And this is before they added more variation in their later albums by adding in symphonic black metal elements. This solid masterpiece is for any and every deathcore fan!

Favorites: "Purgatorium" (both chapters), "Father of Abomination", "The Venerable One", "The Incantation of Human Annihilation"

Mental Cruelty has always been a deathcore band. However, there are two different styles they fall in; brutal slam deathcore and symphonic blackened deathcore. The 2010s era lies within the former. The blend of slam death metal and deathcore the band perfected in their debut album Purgatorium can also be heard in the EP Pereat Mundus. The more hardcore-sounding riffing, screams, and breakdowns steer the band's sound right on the line between the two subgenres. And I actually love this sound as much as their later era! The brutality can go all-out nuts without having to have the total gore of other slam-death bands.

"Oppressionis Potentia" is the most f***ing brutal way to start, like THE SH*T. It's a massive start to this band and their earlier era. "Master of the Void" is also something not to be missed out on. It continues this brutal slam deathcore bordering in on downtempo deathcore. The powerful riffing and demonic growls take you to a f***ing dark realm. Then "Human Evisceration" keeps up the brutal hellfire. F***ing incredible strength and speed on this one, with more of this vocal insanity.

"Excruciation" is another solid brain-blasting banger. It features guest vocals by Dennis Schuler of Gutrectomy. The one track I have a problem with is "Seed of Evil", mainly because it's too short. A bit of an anticlimax there.

So what makes this EP great? Nice brutal riffing, heavy slamming drumming, and vicious growls. Lucca Schmerler has performed some of the most intense harsh vocals around. It's a shame we can't take him too seriously because of the abuse allegations that would get him fired in 2022, but of course, I can sometimes separate the art from artist. Pereat Mundus is a superb start not for the faint of heart!

Favorites: "Oppressionis Potentia", "Master of the Void", "Human Evisceration"

You know what, I really need to get into more industrial-tinged melodeath. The music made by Cypecore is so good, that I want more of it from different bands. Fear of Domination, perhaps? Anyway, if Identity was a small step up, The Alliance is a big leap that has never let me down. More common listening for me coming my way!

This is the final album with Tobias Derer (drums), Evan K (guitars), and Chris Heckel (bass) before Chris' death. RIP... What a shame, because they're all so talented, and Tobias is such a captivating drummer. Lots of technical rhythms and blasts striking through with no flash, all substance. His drumming is a solid fit to the riffing of Evan K. and Nils Lesser, having an industrial vibe that is also heard in the occasional background synths.

The "Intro" aspect may have been overdone, but it's so short and doesn't affect much. The title track blasts off as an intense battle-ready banger full of djent-ish riffing. The melodic "Dissatisfactory" has a more gloomy flow. It's filled with lengthy complexity that makes it memorable. So is "Dreamsmasher", also having cleanliness from Dagoba.

We also have the diverse "Aeons" with its haunting siren-like guitar leads. "Reject the Stream" rips through with nothing wrong. 7-minute epic "Remembrance" that shows the band at their most atmospheric and progressive. The best one here! "The Voice of Conviction" has some melody from metalcore bands like Unearth and Killswitch Engage.

"Leviathan" is another one of the best tracks in the album, having more melodic guitarwork with some background keys. Vocalist Dominic Christoph sounds fantastic going from harsh to whispers to shouted singing. Everyone's talent shines the best in this heavy/melodic blend. "Values of Death" is like the opposite of their earlier track "Values of Life". After that, "The Gift of Failure" never fails, having some melodeath from Mercenary and early Shadows Fall. The "Outro" is OK, not affecting the album's perfection.

All in all, The Alliance is a perfect balance of the band's past and future, similarly to how A Wake in Providence's Eternity turned out for that band. All before each band's 2024 album takes a more too-pompous-to-enjoy-all route. I shall be giving The Alliance more spins in the future. Despite their unfortunate losses, Cypecore shall not fall!

Favorites: "The Alliance", "Dissatisfactory", "Aeons", "Remembrance", "Leviathan", "The Gift of Failure"

Sometimes the most wonderful and spectacular bands end up being so underrated. I can say that about Cypecore and any band that's either cyber metal of symphonic deathcore (of course, Lorna Shore is too popular to be underrated). This German futuristic melodeath/groove metal band continues their journey with album #3 Identity!

It's easy to describe this band as a more modernized industrial-ish take on Gothenburg melodeath, but they can be more than that. They can expand the boundaries of their sound to add some fresh uniqueness. At the time of recording this album, guitarist Nils Lesser and drummer Tobias Derer were part of symphonic metal band Beyond the Black. After Identity and that band's second album Lost in Forever came out, Lesser and Derer left Beyond the Black and focused on their main band.

The ominous "Intro" begins the album. Then "Saint of Zion" impresses me with its guitar/keyboard fury to get me hooked. "Where the World Makes Sense" is another powerful anthem. "My Confession" is more melodic, throwing back to classic Fear Factory.

Heads will roll in "Hollow Peace", and you can never turn away from it. The title track attacks with the usual blend of melody and heaviness. "Drive" continues the crushing sound while having some driving speed. The clean-sung "A New Dawn" is one of the best tracks I've heard from this band and the groove/melodeath realms.

"The Abyss" is the only track in this album I would consider weak here without bringing the rating down. The same can almost be said about "The Void" which is a little more rock-ish. The "Outro" goes on for too long and is a little unnecessary. Fortunately, saving the album from losing its 4.5-star rating is the popular bonus track "The Hills Have Eyes". If this was in the standard edition as a regular track, and the previous 3 tracks weren't included, this offering would've been 100% perfect.

Odd tracks aside, Identity shows Cypecore unleashing amazing hits that tear down the walls of conventionality. They stand out amongst the sea of Gothenburg copycats. Nils Lesser is still committed to Cypecore and keeping the band alive, and maybe their future will be more successful!

Favorites: "Saint of Zion", "Where the World Makes Sense", "My Confession", "Identity", "A New Dawn", "The Hills Have Eyes"

The passing of two members from the band's original lineup has the concept of this album Take the Consequence to be given a bleaker effect. This is the story of how the world may end in the hands of humanity, with no hope for a bright future...

Cypecore have a lot of mechanical atmosphere in their sound. Their blend of melodeath, groove metal, and industrial elements makes them come out as a stylistic offspring of Dethklok and Fear Factory. It is their vision to warn us about this dark future via music of rage and emotion. It's a cold feeling with barely any warmth. With that said, Take the Consequence lets us endure the darkness within the brightness of our homes.

The "Intro" is a little long for one but it is enough to get you hooked. The first actual song "Values of Life" is what I like for all this heavy aggression and some electronic experimentation in literally the last minute. "The Lie of Redemption" is slower but has beautiful melodic soloing. Then the verses start and the riffing is sh*tloads of heavy, heavier than even Fear Factory! H*LL YES!!! And this was 15 years after Demanufacture! Maybe this year (as of this review), a heavier industrial/groove metal band might take the throne. Anyway, the mosh-worthy chorus once again makes that song a great highlight. We have some Dark Tranquillity-like melodeath in "The Balance".

Losing some impact is "Plague". However, "Moment of Impact" brings back the impact. While it's slower, it has dark melody in the guitarwork, balanced out with the usual heavy rhythms. That oughta get the listener hooked! The vocals are a little strange, like there's the usual shouting but there are also some rap-ish whispers in the verses. Still quite cool all the same. "Coma Vigil" would've also been great, but d*mn those f***ing keyboard effects in the first half. Not all of that song is a total loss though. The final two minutes are almost entirely instrumental while making great use of the guitarwork, especially in the tasteful soloing to end it all. "Sick Sad Little World" makes me remember the band's skillful talents and pulls off impressive turns in tempo.

It segues to the awesome "Torn Apart" with some of the best vocals and lyrics ever shouted by the late Azge. "Feel the Ground (Devastated)" is more devastating, sounding almost as djenty as Born of Osiris in the riffing. The epic "And the Sun Will Never Rise Again" has some of the groove of Nevermore and Dave Padden-era Annihilator while sneaking some industrial elements of later Motionless in White and Celldweller. The long "Outro" isn't all that necessary. Neither is the odd hidden country track.

It's sad that Attila "Azge" Erdélyi would leave the band after this album and never return, especially since he would later pass away along with bassist Chris Heckel. Still, Azge's vocals help out with the album's variety. A couple tracks could've been better, while not affecting this great album. And this band would later reach greater heights....

Favorites: "Values of Life", "The Lie of Redemption", "Moment of Impact", "Sick Sad Little World", "Torn Apart", "And the Sun Will Never Rise Again"

In the late 2010s, A Wake in Providence released a couple amazing brutal deathcore albums, the first of which with the legendary Will Ramos of Lorna Shore. And a year before this review, 2024, the band released their new album I Write to You My Darling Decay, which I thought was a good symphonic blackened deathcore album though a bit too pompous. Their 3rd album Eternity is the perfect balance between those two sounds! And it came out a week after Lorna Shore's masterpiece Pain Remains.

This incredible release is A Wake in Providence's first one released via Unique Leader Records. It continues to impress me in the epic side of the deathcore realms which stands half a galaxy apart from the brutal side.

"An Odyssey Through the River (Overture)" continues the aspect of melodic intros, this time adding in clean singing by D'Andre Tyre, making this almost sound like later Katatonia. That is until the heavy instrumentation and growls smash through the second half mercilessly. "The Horror ov the Old Gods" doesn't light up one bit, maintaining furious drums and vocals with occasional sharp turns in tempo. "We Are Eternity" is filled with symphonic black metal-ish deathcore chaos. The riffing and breakdowns pound to the f***ing max. "Siamo Legati Dal Terrore" has more of that punishing speed in the blasts. The different vocal styles fit well for the rapid energy and occasional slower stomps. The structure is quite complex without going all-out progressive.

"The Hunt ov the Wraith (First Movement)" starts a trilogy of movements that I call the "Eternity Suite". The chorus is so powerful and melodic in all this dark drama, with searing guitar leads. Next up is "The Book ov the Eldritch (Second Movement)" in which ominous orchestrations lead into brutal destruction the blasts and growls. "The Court ov the Trinity (Final Movement)" very well summarizes this trilogy with lots of exciting moments. In all honesty, this trilogy really should be performed in a live setting in its entirety. No separating the tracks!

"Weep into the Abyss, for It Hears You Not..." is another interlude, this one allowing you to hear just small piano so calm before the final storm. "Vicious Attenuation" is for those who can be fully prepared for a 5-minute final ride with barely any stopping until the end. The technical instrumentation appearing front and center is something you can't ignore, and it's all worth ending this perfect offering.

A Wake in Providence has shown the world how much they stand out amongst the deathcore scene, with Eternity sealing that deal. The songs are nicely long and creative. Although Will Ramos is currently with Lorna Shore instead of this band, both bands have made a masterpiece that month, so everybody wins. A potential classic for eternity!

Favorites: "We Are Eternity", "Siamo Legati Dal Terrore", "The Hunt ov the Wraith (First Movement)", "The Court ov the Trinity (Final Movement)", "Vicious Attenuation"

Whenever you see the word "Blvck", spelled with a "v" instead of an "a", you know they're about to take a more blackened direction with their sound. Similarly to Mental Cruelty at that time, A Wake in Providence was still in their heavier, more brutal era, only this time, they're starting to hint at their later epic blackened deathcore style to come...

A Wake in Providence continue to rise in the American deathcore scene, and with this album The Blvck Sun || The Blood Moon, they're starting to make their move out of their earlier downtempo-ish deathcore sound for something a little different. The aggression has a subtle dash of symphonic black metal. While it's often considered their debut record, I believe that status should go over to Insidious Part II. Anyway, get ready for some slamming riff-fury and atmospheric anthems!

"I, Adversary" is another ominous instrumental intro. It starts soft and atmospheric then rises into deathcore heaviness with the first ever vocals from current member Adam Mercer. It segues to "Sworn Adherent" with more of the brutal percussion. "The Impure" continues the impure deathcore sound with some technicality from Pestilence.

"A Cataclysmic Eternal" levels up the metal intensity. "Oblivion" is a sludgy anthem that includes blazing drumming. What makes it more of a highlight is the occasional clean singing by guitarist D'Andre Tyre as well as guest vocals by Mark Poida (ex-Aversions Crown). More crushing breakdowns appear in the brutal "A Laube de L’enfer". And even more so in "The Blvck Sun". The drumming is simplistic while staying brutal. Mercer is a beyond talented vocalist, and his growls and screams are in great display there.

The band takes things to more ethereal tranquility in "The Finite Infinite" while balancing out with the album's usual brutality without sounding too forced. "Discipuli Autem Tenebris" has more of that balance, as the riffing from guitar duo Jordan Felion and D'Andre Tyre and the pummeling percussion of Anthony Dipietro make another strong standout. Guest appearing in "The Blood Moon" is CJ McMahon (ex-Thy Art is Murder). The 6-minute finale "Behold Thy King" perfectly channels their inner Tom Barber-era Lorna Shore, leading up to an eerie ending to this ultra-heavy experience.

Ok, the comparisons between this band and Lorna Shore have been done to death, but you can't deny the sound A Wake in Providence have in The Blvck Sun || The Blood Moon. There are some differences as much as there are similarities. The band has gotten a bit stronger and would reach their highest peak in Eternity. Still, this 2019 offering is another aggressive soundtrack to a journey through Hell, and it shall help deathcore shine brighter and darker than the Blvck Sun!

Favorites: "The Impure", "Oblivion", "The Blvck Sun", "The Finite Infinite", "Discipuli Autem Tenebris", "Behold Thy King"

It was a little tough deciding where to start my review journey through the rest of A Wake in Providence's material, but ultimately I decided to start with Insidious Phase II. It's a re-recording of their 2015 Insidious EP, extended to a full-ish album. And it has the one and only future Lorna Shore vocalist Will Ramos!

The lethal heaviness can crush your skull and ooze through your ears and brain. It expands the boundaries of this deathly genre that is deathcore. Complex and heavy as h*ll with all its punishing aggression. A Wake in Providence know how to go technical, brutal, and atmospheric all at once. This dark offering fits right in with its name, something as insidious and bleak as Death himself.

The atmospheric intro "Doom" begins it all on an eerie note that would have listeners on the edge of their seats. Then the straight searing "Seeker" kicks off with the vocal dynamics of Will Ramos, hopping through different vocal styles so seamlessly. "Black Mass" is a 6-minute epic with great drumming flow from Anthony Dipietro. I enjoy the alternation between Ramos' growls and the screams of Dickie Allen (Infant Annihilator, later Nekrogoblikon). Nothing ever sounds weak there! Ramos has that monstrous intensity that would continue to stun listeners 5 years later in his time with Lorna Shore. Absolutely insane!

"Euthanasia" has more of Dipietro's brutal drumming in synergy with guitar duo D'Andre Tyre and Jordan Felion to pulverize your head and the music oozes into your brain. The guitarwork really grinds up then slows down in an almost doomy pace (Doomcore?!). The instrumentalists all make a crushing invincible force, with their work striking like a spine-breaking jackhammer. The title track continues the speedy riffing in conjunction with brutal breakdowns to get listeners hooked, alongside the guest vocals by Bryan Long of Dealey Plaza. We have some more eeriness in "Bane", as the band strikes as another standout in the deathcore scene. They never have to go mainstream to sound so good. Wait, did Ramos just do a Knocked Loose-style "ARF ARF" towards the end?!? D*mn, he can do anything with his vocals!

Insidious Phase II includes two tracks that weren't in the original Insidious EP, starting with new song "Ov Hell" featuring Spite's Darius Tehrani. Not the best track, but it doesn't affect the album's rating. On the other hand, "Psycho", an earlier previously non-album single, stands out greatly with guest vocals by Shadow of Intent vocalist Ben Duerr, and that wouldn't be the only time he appeared in A Wake in Providence track.

There's no escape from the darkness and destruction of this offering within your brain. Insidious Phase II has some of the heaviest deathcore that doesn't cease until the end. And it's quite amazing hearing Will Ramos before Lorna Shore. The beast awakens!

Favorites: "Black Mass", "Euthanasia", "Bane", "Psycho"

A Dark Halo made a second album after 17 years in the void. And this time, they have a full 5-member lineup to make a solid cyber/alternative metal offering. A phenomenon that has sadly yet to caught on...

For those wondering what this blend would sound like in A Dark Halo's perspective, imagine the electronic/metal mix of Fear Factory put together with the mainstream gothic-ish tendencies of Evanescence. Vocalist/bassist Dave Lowmiller and guitarist Jonesy have continued the project with guitarist Abe Robertson, drummer Kaye Papale, and vocalist/guitarist Mel Rose (from Mechina) by their side. You can also expect some melodeath, djent, and pop-core here, a similar cauldron to Amaranthe.

We start off strong with the great "Thin Be the Veil" with splendid vocal melodies. The glorious "Starfall" is my favorite of them all. Nothing I can say can do that perfect song justice. "Vector Unknown" is darker and heavier, featuring Anna Hel. The softer cleans and heavier screams alternating between each other sound so haunting. It's like a lurking menace in the space of tranquility, turning it intense and bleak. The cleans still shine, along with the creativity in the music. The band is never afraid to explore the unknown, and as a result, we have another wonderful standout!

"Flame Betide" can also please me with some influences from Fear Factory and Scar Symmetry. The one track I would consider somewhat weak is "I, Revenant", the only song here that's under 4 minutes.

"It Never Sleeps" is another one of my favorites, sounding haunting while having the lovely clean singing of Mel Rose. The beautiful ballad-ish track "Afterworld" practically combines the late 90s eras of Paradise Lost and Fear Factory, while having some deathly heaviness. The album ends with the 6-minute epic "The Disquiet", filled with hammering metal to remind you that the journey was worth it.

The only things I would object to in this great album is one or two tracks having some slight weakness, and there probably could've been a couple more tracks added here. Nonetheless, I approve of this long-awaited comeback album for A Dark Halo. Maybe the future flame of cyber metal never be extinguished....

Favorites: "Starfall", "Vector Unknown", "It Never Sleeps", "The Disquiet"

The brand new Mechina album Bellum Interruptum has made me curious about that band's new harsh vocalist Dave Lowmiller's previous band A Dark Halo. This band has already had some ties with Mechina whose clean vocalist Mel Rose joined A Dark Halo for their new album Omnibus One. The first album A Dark Halo is an amazing gem of industrial/cyber metal for fans of the genre and Mechina!

Catalyst was released in 2006, 17 years before their next album. Their brand of industrial/cyber metal is basically what Fear Factory had at the time but made better and more futuristic. Still the music here is quite unique and can get listeners hooked with the synths and guitars.

One of my favorite tracks here is the first one, "Burn It All", having lots of groove and energy from the intro onwards. Then we have the mighty "Beyond Recall" with some of the best choruses in the album. "Dust and Ashes" has some heavier riffing, but the mid-tempo pace seems to take things closer to the alt-metal territory of early 36 Crazyfists and, very later on, Any Given Sin.

We then reduce the speed with the slow verses of "Silence", a ballad-ish highlight that can still be heavy. Then we have the piano/synth intermission of "Reformatting..." Unusual but a well-needed break.

"Nucleus" has more of the heavy industrial metal without going as extreme as Strapping Young Lad. "Apex Realized" has a nearly similar vibe to 2010s All That Remains while really industrializing that later sound. "Unbreakable" is an incredible ending track, as heavy guitars and beautiful synths continue to duel each other for an industrial/cyber metal tune that should really catch on along with the others.

It's not everyday you can find a practically unknown album that can make your day with its music and lyrics of coldness and loss. Catalyst is a special album to listen to. A dash of melancholy for your industrial/cyber metal heart!

Favorites: "Burn It All", "Beyond Recall", "Silence", "Unbreakable"

It's sad when a grand discovery comes with tragedy. A month ago as of this review, vocalist/keyboardist Sindre Nedland passed away from cancer. I had just encountered his vocals for the first time that are just out of this world. RIP...

Solemn is the latest offering in the 20-year career of Norwegian blackened progressive death metal band In Vain, and it's a monolith of triumph! The compositional writing is so unique and diverse. Besides the now-gone-from-the-band vocal duo of Sindre Nedland and Andreas Frigstad, guitarist Johnar Håland shines with his epic guitarwork. And the other half of the band also have the talent to help make this powerful masterpiece.

"Shadows Flap Their Black Wings" bursts in with riffing energy and deathly growls in the verses. Then the chorus drifts through clean melody in the guitar leads and singing. "To the Gallows" has extreme aggression in the music and vocals, while the cleans are still around to balance out the strength. A melodic calm surrounding the heavy storm! Then "Season of Unrest" has some slow bass in the verses while marching into both heaviness and melody. With deathly darkness comes melodic light, again proven in the music and lyrics. I love the beautiful bridge that comes with saxophone similar to the Norwegian Shining.

"At the Going Down of the Sun" is long, strong, and symphonic, once again including a melodic chorus in this otherwise dark heavy structure. "Where the Winds Meet" is where the two sides greatly battle it all out. The wall between the two sides is penetrated by the aggression from one side and the melody from the other, before the wall breaks down in a towering chorus. "Beyond the Pale" has more of the heaviness and growls before the fantastic guitar melodies and clean vocals soar through the skies.

"Blood Makes the Grass Grow" is the only track that's under 6 minutes and continues to blend the extreme and clean sides well. "Eternal Waves" has more melody rising from the dark ashes, moving things along in the chorus and bridge. "Watch for Me on the Mountain" is a strong clean swansong for the blissful harmonies of Sindre. Again, RIP...

Solemn is an epic progressive journey to help tear down the walls of conventionality. Deathly riffs and beautiful melodies make an intense blend of power and thunder. The fire and fury is brightened by melody and harmony and clean choruses soar through. Growls and cleans battle each other then make peace for coexistence. For anyone wanting a gem that's both ethereal and brutal at the same time, this is your Solemn hour!

Favorites: "To the Gallows", "Season of Unrest", "Where the Winds Meet", "Beyond the Pale", "Watch for Me on the Mountain"

Ladies and gentlemen, Mechina has broken the monotone with new and returning changes! Their new album Bellum Interruptum has not reached the glory of the second half of the 2010s, but it's coming close to that peak...

First of all, we finally have more of the growls than just one or two tracks, and they come from the fierce Dave Lowmiller of A Dark Halo. He ended up replacing longtime clean/harsh vocalist David Holch who left the band after 20 years, following his few-year fadeout. Lowmiller has his own fantastic vocals going on. And we have other guests returning including harsh vocalist Anna Hel, clean vocalist "Treasur'" Necole Wright, and guitar soloist Dean Paul Arnold, plus one special guest in the finale.

"Cruelty is the Point" throws back to the Venator era nicely with the serene vocals of Mel Rose. Also I didn't notice this initially but I realized the first minute of its opening track sounds practically similar to that of the RichaadEB/Cristina Vee cover of "Bad Apple!!" When that first verse hits, I almost feel like singing "Ever on and on, I continue circling, with nothing but my hate and the carousel of agony..." "The Plague Pit" is my favorite track of the first third of the album, a powerful djenty banger reminiscent of a futuristic Arch Enemy with the crushing growls of Anna Hel. A true sci-fi war anthem! "The Wasteful Energy of Words" is a duet between Mel Rose and Dave Lowmiller, having h*ll of a lot of momentum.

The title track is my favorite track of this entire album, one of the best Mechina tracks I've heard in ages, a 10-minute epic that includes a spine-chillingly beautiful two-minute bridge in the middle. The incredible "On the Wings of Vecterra" comes close to surpassing the previous track, and the female vocals here are mostly from "Treasur'" Necole Wright who previously guest appeared in Venator's "Totemic", plus some wild shredding soloing by Dean Paul Arnold. "Invictus Thales" makes me think of Xenon's "Thales" along with "Invictus" by Neurotech in the title, but the song itself is different from those two, adding in some more of Dave Lowmiller's growls in duet with Mel Rose's cleans.

I'm glad they kept in the awesome pre-release single "When Honor Meant Something", and they remastered it too, making it much clearer than the single version and even adding in some narration at the end. "The Collapse Promised to All" is the shortest track of the album and actually the best one of the final third, with more of those cleans and growls. "The Overwhelming Harmony of Collective Suffering" is an earth-shattering finale, and the special final guest is Ricky Lewis with his higher-range growls.

The story of Mechina continues, both in the concept and the band's journey. I would put Bellum Interruptum at the top of the 4-star tier, with an 84% percentage rating. It has lots of changes, and there's more to hope for in the next album if Joe Tiberi and co. can keep it all up. This might just be a new era for Mechina and epic cyber metal....

Favorites: "The Plague Pit", "Bellum Interruptum", "On the Wings of Vecterra", "When Honor Meant Something", "The Collapse Promised to All"

Skrew, the band led by Adam Grossman, took a decade off from their career, reforming in 2009 and having a new album released 5 years later. The temporary split-up was due to lack of label support as a result of poor attention for this album Angel Seed XXIII. And I can understand that...

There are some things in this album that have skrewed with fans (pun somewhat intended). The earlier guitar attack is reduced, adding a bit more industrial in the industrial metal. And while the earlier riffing is still around, it has slowed down from the earlier thrash. It sounds a little closer to groove metal or, dare I say, nu metal. So there aren't as many sharps as there are dulls in the guitarwork.

Opening the album is the bumpy groove track "Open Up". Then we have the dark sludgy "Sea Man". It rolls through reminding some of Soulstorm, with nothing monotonous compared to some of the other tracks. Things get more dynamic in the loud "Seventh Eye".

It leads to the next track "King of the Hole" which tries to make some harmonic aggression but ends up becoming a poor Pantera rip-off. The band's ravaging side is toned down for the industrial ballad "Porcelain". Balancing things out again by galloping through dynamics is "Kosmo's Seed". Then we have more of the slow sludge in "Sputnik", great for a motorcycle ride in the night.

The KMFDM EDM usage in "Angel Suck" is a little too much. I'm annoyed by the machinery used in "Horsey (Man)" in their attempt to sound like Godflesh. "Slip" is a slip into an acoustic sound that sounds too f***ing dull for me. After some silence and a couple outtakes, "Helter Skelter" begins. A kick-A industrial metal cover of a Beatles classic!

Angel Seed XXIII was, similarly to a Metallica song from the same year that uses the same drop D-flat tuning as the majority of this album, a BAD SEED for many listeners. After the band's decade-long split, they would return 5 years after reforming with Universal Immolation, an album that shows a more deathly sound while maintaining the industrial roots. But for now, Angel Seed XXIII is a bittersweet taste of their industrial metal sound gone less thrashy. A decent album, yet not a total winner....

Favorites: "Sea Man", "Seventh Eye", "Kosmo's Seed", "Sputnik", "Helter Skelter"

It's strange how sometimes even the weirdest, most vulgar industrial metal releases end up being so intriguing to me. I guess since I was able to explore Genitorturers' discography and the Nine Inch Nails EP that was made one of the most obscene short films in the 90s, I have no trouble checking out Bile's second album Teknowh*re.

Bile has known how to go all extreme and experimental with their brand of industrial metal. As with Nine Inch Nails, they are brave enough to stand up against the man and push the boundaries of industrial rock/metal, musically and lyrically. Bile can put all their strength and talent into the meat of the guitars, creating a simple formula that might make some question whether or not it's unique, but they add in some kinks to make a fresher style...

The "Intro is just a hodgepodge of noise and audio samples, as are many instrumental industrial metal tracks. It's actually quite mesmerizing! The title track bursts in with noise-ridden guitars, drums, and vocals, all done by Krztoff as he shouts the title. A great starter attack! "Weather Control" is more experimental with synth distortion. It has that KMFDM vibe suitable for dance-clubs. We have a nice structure in "No One I Call Friend", sounding raw, fresh, and emotional in this sonic soundscape. "Habitual Sphere" really brings on the catchiness, combining dance beats with thrashy guitars. When it pauses for Krztoff's verses, it builds back up and continues rolling.

"Compound Pressure" is one of my favorite songs in this album, and it happens to be the one with the filthiest lyrics ("I got a big fat c*ck and shot her face, swallowed my spunk with no disgrace", "I'm the lowest motherf***er now that is true, but I f***ed your woman to get back at you"). The crushing mid-paced guitars and drums booming through make it a true highlight. It's the Lindemann "Golden Shower" of this album! "Interstate Hate Song" cranks up the metal with the thrashy riffing and percussion, and even a bit of soloing. The vocal distortion might remind some of Skinny Puppy though. "Green Day" is not a tribute to that famous pop punk band, instead just being a short minute-long interlude-ish track with lyrics relating to drug usage, "Help me take my medicine, so the pain will go away, I'm all f***ed up on valium, I can't move my lips to say..." "No I Don't Know" has more of heavy riffing, intense shouts, and pummeling drums, in a way similar to some Fear Factory song remixes.

"Suckers" is another actual interlude, having some static noise and soft choral vocals. "Lowest Form" is just filled with fuzzy industrial feedback while having some metal melody and vocals. Then we have the ambitious highlight 17-minute 4-part suite "You Can't Love This". "Pt. 1" has some repeated somewhat indecipherable audio samples, though I recognize the line "I don't f*** sl*ts, I j*rk off on ’em." "Pt. 2" has the band's usual mid-paced sound with thick guitars and bass. "Pt. 3" is a dark ambient piece that you can find from Burzum or the DOOM soundtrack. "Pt. 4" has the last bit of distorted chaos with a repeated yell of "I hate you, you f***ing c*nt!" "Solitude is Bliss" is a 10-minute track of industrial sounds leading into metal complexity and slight lyrics. That can very well put Bile in the same industrial metal league as Ministry and Killing Joke.

I would enjoy this more if a few tracks weren't too industrial and/or vulgar, but Teknowh*re is still a solid album. I would recommend it to anyone who's up for something industrial and, at the same time, metal as f***....

Favorites: "Teknowh*re", "No One I Call Friend", "Habitual Sphere", "Compound Pressure", "Interstate Hate Song", "No I Don't Know", "You Can't Love This" (Pt. 2 and Pt. 4)

Christian metal is quite common yet a bit of an oddball in some metal genres. Daren "Klank" Diolosa and his Circle of Dust touring bandmate Klayton were part of the Christian music industry, though Klayton left the industry behind and Klank's views were on the extreme side...

Debates on his Christianity aside, Klank has impressed listeners with his debut Still Suffering. If Christian death metal was something once considered an oxymoron, Christian industrial metal was something barely heard of besides early Circle of Dust. There are more metallic guitars than there are techno beats, so why this isn't in Metal Archives is beyond me. It's a great heavy sound.

"Time" is the perfect start to treat you with what to expect in the album. "Downside" is also amazing, though it can't beat the previous song's reign. "Burning" is quite dark and heavy for a song by a Christian band, but it's another fist-pumper.

"Scarified" starts off heavy in the guitars and drum programming. If you strain your neck headbanging along, it's all worth it. What makes it a highlight is the amount of audio samples that are common in this album and other industrial metal releases. "Deceived" is slower with emotion ("The world will be a better place without you"). "Animosity" is another gem with its blend of metal and techno. Any fan of this kind of sound should love that. "Fall" is worth singing/shouting along to, "SEE! ME!! FALL!!!" It continues this heavy/catchy blend, never letting me down.

"Disease" can almost be an early example of proto-cyber metal, with its more computer-techno sound and cool vocal effects. "Leave" is not a track you would ever want to leave early. "Woodensoul" is a solid ending track with a bit of softness here and there. Well, it doesn't end the album entirely. After that, we have a vocal outtake that sounds kinda weird going from whispering to screaming.

What I enjoy in industrial metal is when lots of guitars are used, not just the techno side. I'm glad to hear more of this album after only hearing song from it a few year prior in one of the Sphere playlists. Cool Christian industrial metal for any listener, whether you're Christian or not....

Favorites: "Time", "Downside", "Scarified", "Animosity", "Disease"

I believe to have reviewed this EP a couple years back and wasn't into it that much. But now that my taste in industrial metal is expanding further and further, I enjoy it much more now! At this point, I'm already familiar with dozens of Sphere bands and I like a few songs by White Zombie and KMFDM. And now here I am, making a better revisit of this collaborative EP between those two bands...

KMFDM contributed some remixes of two singles from White Zombie's La Sexorcisto: Devil Music Volume One. The remixes are included in this EP along with their original album versions. This is probably the earliest KMFDM has gone metal and the earliest White Zombie has gone industrial.

From that first riff, you know it's the original version of "Thunder Kiss '65". Great track, though the mixing is a bit cold. The "Swinging Lovers Mix" is different from the original version's metallic sound, including the intro and outro. Throughout the song, synths appear more than the guitars just come out as more of an afterthought. Next up, "The Remix That Wouldn't Die Mix" is longer and has more creativity, which makes me prefer it over the previous remix.

The next original track "Black Sunshine" is so spooky while still sounding cold in the mix. However, the "Indestructible 'Sock It To Me' Psycho-Head Mix" totally beats the original by throwing in raw aggression in the guitars and vocals. In the middle of the track, the drums switch to a dance beat before going back to groove-ish double kicks.

All in all, Nightcrawlers is a great EP that might be good for dance club parties with friends. Maybe a little weird for that, but just as long as everyone's OK. The remixes really depart from the originals with the "Thunder Kiss '65" remixes sounding more suitable for the club and the "Black Sunshine" remix actually being heavier and edgier. Cheesy while still the good kind of cheese. Worth it for any Rob Zombie fan to add to their collection....

Favorites: "Thunder Kiss '65" (original), "Thunder Kiss '65" (The Remix That Wouldn't Die Mix), "Black Sunshine" (Indestructible "Sock It to Me" Psycho-Head Mix)

The Valley and Kin were a different stylistic affair from the deathcore sound Whitechapel is known for. That's actually what I like about some deathcore bands, when they make their sound more than just that genre. Of course, I also enjoy their more brutal earlier albums that I wouldn't have the leeway to listen to like 10 years ago. The quality for that sound ended up dropping in the mid-2010s. But now they're back in their earlier form, cranking up their speed and heaviness in new album Hymns in Dissonance.

There's nothing but ferocious brutality and the occasional thrashy chaos and groove breakdowns, and maybe a few cooldowns. It even sounds massive with the guitar trio performing in superb synergy. Get ready for a pulverizing experience like no other!

Ominous melody starts "Prisoner 666" before firing up in reckless chaos. But it's the title track that really stands out amongst the rest. The chorus name-drops several of their earlier songs, and the breakdowns sound almost as djenty as Meshuggah while staying brutal. Their roots really are back! After "Diabolical Slumber" begins soft and eerie, it straight away blasts through as usual. Another brutal yet memorable is the crushing "A Visceral Retch".

"Ex Inferis" is an unnecessary interlude, but not too bothersome. "Hate Cult Ritual" is another memorable track to get the crowd moshing. "The Abysmal Gospel" is much more intense. Anyone complaining about modern deathcore not having the right kind of brutality, wake up and hear that "gospel"!

"Bedlam" is another heavy Meshuggah-ish track in the riffing. Then we get to the epic climax of the album, beginning with "Mammoth God" which has cleaner melody while staying ultra-heavy. "Nothing is Coming for Any of Us" has strong atmosphere to go with the brutality. The mixing rules as the drums, bass, and guitars drop down like falling bricks, allowing you to hear the riff-wrath deathcore fans really want.

Hymns in Dissonance isn't entirely perfect due to that odd interlude, but the album has potential to be a deathcore classic for generations to come. It just might make my top 10 albums of 2025 so far. Whitechapel are back to their old savage ways!

Favorites: "Hymns in Dissonance", "A Visceral Retch", "Hate Cult Ritual", "The Abysmal Gospel", "Nothing is Coming for Any of Us"

Taking a few-year break from Neurotech was the right call for Wulf. Since then, the 2020s is shaping up to be a bright decade for Neurotech so far. Pretty much every release in this era is amazing. Sure they can't beat the perfect glory of Infra Versus Ultra and Stigma, but it makes up for the project's past mistakes and the somewhat downward turn for Mechina in their 2023 album Cenotaph.

D*mn, the new album Memory Eternal rules! Alongside the usual orchestration and electronics, this might be just be the most metal Neurotech has gone in ages, including dark dissonance and even some blackened blasts and growls, the latter Wulf had not done in over 10 years.

The orchestration and choirs that open with "Credo" are what you might hear in a futuristic sci-fi film soundtrack. And it's blended with well-executed synths and vocals. "The Ark of Cain" shows that Wulf is never afraid to diversify his sound, as synths flow beside the vocals. For those expecting more of the trance-y side, "In Stasis" has that. Great song, though more suitable for a dance-club.

The more djenty "Echoes of the Fall" combines downtuned heaviness with electronics without ever having to go light. Well, except for the more acoustic parts, but they can flow through your body with a similar epic progressive vibe to the Symphonies series of albums. While it all sounds nice and spacey, you don't ever wanna miss out on the last minute in which the instrumentation goes hyperspeed. "Descent" is the only track that I would consider a bit disorienting in the rhythms. "Invictus" is another grand favorite of mine, with hyper-cyber sections reminding me of Devin Townsend, maybe even Strapping Young Lad.

"Walls We Created" is another dance track. The synths and pianos engage in an EDM-ish duel. The metal riffs and beats spectate while the atmospheric strings commentate and assist when needed. The title track is a progressive cyber metal monument. Pretty much everything Neurotech fans love is in in this 8-minute epic. A much better one than the title track of Solace!

Memory Eternal shows that the Neurotech fans know and love is still around. Whether or not you enjoy the first listen, every subsequent one would be a treat worth replaying. With a f***ing amazing album like this, the memory shall remain eternal!

Favorites: "The Ark of Cain", "Echoes of the Fall", "Invictus", "Memory Eternal"

The true return of Neurotech from Wulf's 4-year hiatus from the project came with this excellent album Solace. It's a nice improvement from In Remission and The Catalyst, and can certainly beat Evasive by far. Most of the albums besides those 3 are high-quality releases, and that 4-year break was mandatory to reach that glory again.

Wulf still has what Neurotech really is! Y'know, the usual futuristic cyber/industrial metal, pounding through atmosphere, electronics, and riffs that all sound so unique. Well, other than the mundane verse-chorus structure with the former sounding soft and the latter sounding heavy. Wulf's vocals are more improved than ever, further departing from his early growls, and adding in some digital effects. Often the vocalist gets all the spotlight, but Wulf doesn't have to worry about that because everything's done by him.

We're already getting something promising and enjoyable as the strong "Koma" wakes the project up from its coma. It is followed by the powerful anthem "Light Betides", one of the best tracks by this new improved Neurotech. "Waking Silence" has some melody from power metal bands like Unleash the Archers, while mostly electronic.

Bridging the heaviness a bit is the electronic ballad "In Ashen Fields", which is a beautiful highlight. "In Raging Reclaim" is the only track here I would consider slightly weak, though it's OK and nicely leads to the next track. The heavy "Alias" can really sum up the more metallic parts of Neurotech's career. I can almost say the same thing about "Defy Our Oath", having some of the symphonic progressiveness of Xerath.

Adding a bit of the more symphonic progressive is "Stop the Bleeding", almost like Eternal Tears of Sorrow gone electronic. "A Moment Lost" has beautiful vocals to make another highlight. The title finale I don't enjoy as much as most of the other tracks, but it's slightly better than "In Raging Reclaim". It's a good 8-minute cyber metal epic that listeners would have on repeat. It's almost close to uplifting rock trance! The starting guitar and bass is insanely cool! Some parts might be anti-climatic, but once it builds into the crescendo at over the 5-minute mark, the climax is filled with aggressive divinity. Some cyber metal listeners might be reminded of SyBreed.

Neurotech fans should definitely listen to this excellent Solace. It might take some time to get used to this band, like what I've been through, and in the end, you're ready to transcend through this musical dream. You can rock it out or relax, sometimes at the same time. The world of Neurotech isn't going away anytime soon. There's still some hope in the future of metal!

Favorites: "Koma", "Light Betides", "In Ashen Fields", "Alias", "A Moment Lost"

Neurotech reformed in 2020 and had a new album ready for release the next year. Before that, Wulf released an EP of unused demos from the first part of his career. No second paragraph, let's get right on it!

"Hope is Better than a Memory" is a good start. "Trust to Display" is definitely worth loving. "Cut the Cord" is a fun cyber metal tune that you might just want more of. "Ectogenesis" can make an instant classic, and it's from the epic Stigma era! I think the catch melody was reused in "The Ophidian Symphony" sometime after the recording. "Coda" is the one odd track out. Maybe it should've been released as a separate single instead of right after another instrumental track in this EP. It's still good though.

It's quite great hearing what Wulf made within the 10-year initial part of his Neurotech career that didn't see the light of day until this EP's release. It's a solid transcending blast before his true comeback in Solace....

Favorites: "Trust to Display", "Cut the Cord", "Ectogenesis"

In 2017, Mechina and Neurotech each released an album that would mark their last one before taking a couple years off. Well, Mechina would work on remastering 6 of their albums for their Compendium boxset, while Neurotech was having a firm temporary disbandment, with Wulf starting his own electronic project NeuroWulf. So here's what was originally Neurotech's final album, The Catalyst.

I say it's great for what was back then a swansong album. We have the usual electro-industrial/cyber metal from the past few years, summarizing them all nicely and working out a little better than In Remission...

There's atmospheric density in the intro "Act I - Enter" to start taking you through imagination beyond reality. The title track soars through with its anthemic instrumentation and chorus. Same with "Our Burial Ground" that's like a better outtake from In Remission. And again in "Sleepwalkers Lifeline" with spooky synths to go with the beats and vocals, not too far off from the Stigma era.

"Act II - Adapt" is a strange interlude. "The Flame of Faith" has the most of the album's heaviness, though it's played too safe and doesn't shine so well. "Epitaph" is a bit too soft for a heavier metal listener like me. "At a Standstill" perfectly makes up for what's missing in this act with its killer 4-minute summary of the project's journey.

"Act III - "Surrender" is also kinda weird. "The Seductive Void" is another strong track showing what Wulf has in store. "Reconcile" is nice and catchy in the chorus and the female singing by someone named Tamy. "Thoughts Become Air" is the stunning ending to the initial finale of Neurotech's discography. Fans of the project back then were likely satisfied with this track to close the curtain.

The Catalyst is a great album of melody and energy. The only slight bumps come in most of the second act that loses some slight steam. Wulf needed to leave his project behind for a few years, and it was a good decision, considering how much of a comeback he would make when he later returned....

Favorites: "The Catalyst", "Our Burial Ground", "Sleepwalkers Lifeline", "At a Standstill", "The Seductive Void", "Thoughts Become Air"

From 2013 to 2016, Neurotech decided to do it like Mechina and make an epic symphonic cyber metal journey to be released on a special holiday, except each "journey" is a symphony on Christmas day. Blending classical with cyber/industrial metal is what those two bands have done before, and Neurotech packs it all for something stunning.

What can you expect from these Symphonies? Generally what classical symphonies from a couple centuries ago would sound like in the modern future. These compositions are all the 4 longest tracks Wulf has done to date, ranging from over 13 to nearly 19 minutes. And in each one, you get to move through this emotional whirlwind of different styles and sections, in a cinematic adventure of adventures!

The first symphony "The Elysian Symphony" is so beautiful, you just gotta hear it to believe it. "The Halcyon Symphony" can take your soul through a galactic adventure. Wulf knows how to master the art of symphonies as greatly as Hans Zimmer, and possibly also Mozart and Bach, while blending the orchestral arrangements with his usual cyber metal. It's impressive how well your creativity can take you when composing such a piece. This should really be more popular, seriously! The speaker frequency would be greatly enhanced with its intricacy and drama. F***ing outstanding!

"The Ophidian Symphony" is the longest of them all, at nearly 19 minutes, with many different acts woven together for one of the best epics done by Neurotech or any other artist. The final and brand-new symphony "The Veneration Symphony" fits quite well for a sci-fi film soundtrack of when you're playing a video game. Multitaskers can have all the glory by listening and watching/playing.

Symphonies is for any symphonic/cyber metal fan and those who want a cooler, more epic soundtrack to films. With not many people finding the skillful talent within Wulf, the world's not ready for that much greatness, but they should be!

Favorites: "The Halcyon Symphony", "The Ophidian Symphony"

In 2014 and 2015, Neurotech released two of the best albums in cyber metal, Infra Versus Ultra and Stigma. There were also two symphonies each released on Christmas Day, "The Halcyon Symphony" and "The Ophidian Symphony". Evasive was a misstep into electronic instrumentals. In 2016, an album was released that would mix together all the different sounds, before one that would compile all the symphonies so far. This one, In Remission, is the 6th full album released on June 6, 2016. Ha-ha, devilish...

Although many Neurotech releases are either memorable masterpieces or dwindling duds, In Remission is somewhat in-between. Nonetheless, this is one of Wulf's most diverse releases, taking a lot of what those 2014/2015 releases have to make dynamic electronic metal anthems.

"Retrieve" starts the album the same way Stigma does, exploding into cinematic strings while Wulf sings in clean drama. Everything builds up and starts sounding like your friendly neighborhood Neurotech track until it stops and leads to the next track. An excellent beginning! Shining well is "As Will Ascends" that again expands from soft ambience to loud electronica/metal. A bit predictable, but still h*ll of a highlight.

Next song "Divided Bliss" is a bit tiring in the synths and drum programming. The trance-y centerpiece "The Lost Hope" sounds like Evasive but more epic and in the same metallic vibe as "Uplift". The bass and synths drive through and never lose any momentum. Awesome!

Next track "Reprogram" is shorter and more ambient, having nice bliss yet is better off ignored. "Evolving Equations" tries to add in some of the symphonic progressiveness of Ayreon to their usual sound, but it's far off from the equation. The final track "Alleviate" is a nearly 9-minute epic of electronic enchantment. Though as much as I enjoy that one, "The Lost Hope" is still the best track of the album.

In Remission may not have the perfect strength of the two previous Neurotech metal albums, but it summarizes them all well along with everything else from those years. A few challenging things aside, this is a solid Neurotech release for the fans....

Favorites: "Retrieve", "As Will Ascends", "The Lost Hope", "Alleviate"

If you enjoy Stigma's ambient electronic instrumental finale epic "To Theta State" like I do, and when you first listened to its when it was released 10 years before this review, you were thinking, "Wow, I wish for more of that sound from Neurotech." Well, be careful what you wish for...

Evasive shows Neurotech taking out of all the guitars, leaving behind just electronica and ambience more suitable for a sci-fi film soundtrack. Maybe not even that, since some tracks sound way too relaxed and don't have much emotion. I suppose I enjoy a couple tracks, one of them being "I Desensitize". The other track, "Uplift" is the closest we have to intense heaviness, actually being the only industrial metal track here in terms of vibe. But the rest is just a sh*tty film score. Not even Transhuman came down that low....

Favorites: "I Desensitize", "Uplift"

What the Stigma?! This 2015 Neurotech masterpiece proves how much the world needs to hear this project, just like the previous album Infra Versus Ultra! Stigma continues its streak releasing one or two albums per year, a faster pace than Mechina's "one album per year on New Year's Day" approach. Often it takes time to build up strength and talent before making another album, but Wulf shows that he still has his charm after a short amount of time. The evolution continues greatly and naturally.

You need to have time to memorize all the different pieces of an album to let it flow through you with its mesmerizing atmosphere. That's a good advantage to build up my interest slowly, one song at a time, in the past 3 years. With its symphonic-ish cyber metal sound, there are many layers that stabilize its strength, within the guitars, drums, vocals (cleaner than before), electronics, and orchestrations. Yeah, the orchestrations almost reach the cinematic level of Mechina, hinting at what you would hear from Hans Zimmer and Two Steps From Hell, and it's what adds to this stylistic diversity.

The title intro already proves that with its sonic blend of symphonic ambience and electronic rhythms. The metal power kicks off in "Fear the Fear" as guitars, drums, and electronics collide in an energetic composition. The electronics head up further in "Of Adversity" that should be able to please fans of dance elements in metal without having to go Neue Deutsche Härte.

"Build to Last" has more futuristic trance with even a bit of dubstep. "A Graceful Light" is indeed a graceful highlight, sounding so unique in the atmosphere and emotion. Your soul can make a pleasant transcendence from your body to the astral plane.

"Brighten" can really brighten my mood a bit. Industrial/cyber metal is never highly boring, and you can have fun with tracks like this. If they ever make a film based on Cyberpunk 2077, or the next John Wick or Matrix film, you bet this song would be part of the soundtrack! It's quite well done! However, it sounds like a little too much like Depeche Mode, while not reducing the album's perfection in any way. "Through Hardships" is quite an epic standout to start the last leg of this album. You can marvel through all the hardships you wanna overcome! Amazing, huh?! Quite an astonishing motivational message. "You're not alone." "Things will get better." Finally, "To Theta State" is the 11-minute epic, an ambient electronic instrumental that marks a perfect mini-journey of darkness and hope. I can't believe how perfect a non-metal track like that can be!

Wulf should be proud of his work in Stigma and other albums, and where his journey has lead him so far. While it's not a sequel to Infra Versus Ultra, it's as perfect as that, striking through different dimensions. I'm just glad those two albums have the variation that was missing in Antagonist. Stigma for anyone and everyone who loves music!

Favorites: "Fear the Fear", "A Graceful Light", "Through Hardships", "To Theta State"

I thought of Neurotech's debut album Antagonist as a good but rough start to Wulf's career, impressing me with what has made cyber metal so great and underrated while, at the same time, lacking some variation. I decided to check out the actual start of the Neurotech discography, the Transhuman EP, to see if there's any hope in this early part of his career. Unfortunately, it's the same problems as in Antagonist. This has caused many songs to be decent but nowhere near highlight territory.

Two of the only tracks I would consider actual highlights are the title track and its 2014 re-recording in the re-release. Both versions represent what early Neurotech is all about. Same with "Down the Drain". The other tracks though are tame and don't have much of that catchy spark those highlights have. Down the f***ing drain they go....

Favorites (only true highlights): "Transhuman" (including 2014 version), "Down the Drain"

Illidiance started off with a symphonic black metal sound bled from their previous incarnation S.C.A.R.D., with the debut Insane Mytheries to Demise. Their next album Nexaeon started a different cyber/industrial metal route while their blackened roots were still around. Damage Theory and the Deformity EP are the releases where Illidiance have just become purely cyber metal. Nothing extreme, just dance-y cyber greatness. Most of the singles released in the years since then hinted at a new album to come...

2019's The Iconoclast continues this electro-industrial/cyber metal sound as tales of a bleak future are narrated in song. Not even the Terminator would stand a chance. Electronic keyboards, heavy riffing, and melodic/harsh vocals help guide you through these lyrics in a mainstream-ish sound that surprisingly isn't commercially popular.

6 of the songs are in Russian, but for this review, we'll just go for the English counterparts, starting with "Defying Gravity". Obviously it's not a Wicked cover (thank goodness!), though it's quite diverse with everything from progressive/djenty bands like Mnemic, Periphery, and Chaos Divine, to modern/melodic bands like Mnemic and Of Mice & Men. Now that's wicked! "Modern Iconoclast" is the first single from the album, coming out as early as late 2016. It's a solid track, but it falls into the same trap Deformity faced by relying too much on the grooves in their cyber metal sound. "When There is a Thunder" I like slightly more, thundering through while toning down for the softer verses. "Heaven Denies" has an intriguing combo of the heavier metalcore-ish sound of Invent Animate and Neaera, and the melody of D'espairsRay and Black Veil Brides.

"Last Dawn" isn't too mind-blowing, but it shines well, sounding like it would have no trouble fitting in Damage Theory. "Fuel for My Hate" is another pre-release single to really fuel things up. "Horizons of Days" has some of the progressiveness of The Faceless and The Human Abstract while maintaining the simplistic structure.

"Out of Coverage" continues to impress me with this cyber sound. "My Divergence" is quite diverse, though it's mostly the djentcore instrumentation of Born of Osiris that reigns amongst it all. "The Afterglow" gives this album a final glow with metalcore-ish bits from Crossfaith (including the electronic elements), In Hearts Wake, and the highly influenced Soilwork. A strong ending!

Since this album, the band released a live album and an acoustic album Oceanborn. A couple more singles would also pop up. Will they make another album? No idea, but I hope it will return to the brilliance of Nexaeon and Damage Theory. But for now, enjoy this Modern Iconoclast of cyber metal....

Favorites: "Defying Gravity", "Heaven Denies", "Fuel for My Hate", "Out of Coverage", "The Afterglow"

I wasn't planning on reviewing Illidiance's EPs, but I decided to just go with this one, Deformity. After loving this one at first, the interest ended up dropping pretty fast. It's a continuation of the band's groove-ish industrial/cyber metal sound that began with Damage Theory, yet it sounds a bit, well, deformed. It's clear here that they were trying so hard to modernize their sound, and it ends up falling apart a bit. Even their Shade Empire-ish symphonic black metal past wasn't that faulty...

See, if this ends up being The Kovenant's sound in the unreleased Aria Galactica, I would be confused as h*ll. Illidiance's mainstream side is a little too mainstream, when they're expected to have their Fear Factory/Scar Symmetry sound with the clean/harsh vocal mix done by the Shkurin brothers.

The opening title track is an awesome start, exemplifying their true sound. "Boiling Point" is another highlight with all that made Damage Theory perfect. "Urbanized" brings forward the band's Fear Factory influences and some 8-bit synths of Enter Shikari, but comes out unbalanced. "Let It Bleed" is one more track I enjoy, with what Neurotech was having at the time. The pointless ballad "Moments of the Fall" sounds too hollow with its synth-focused approach and is easily the worst track they've ever done.

Just tracks 1, 2, and 4 would be fine for Deformity. The other two are too unbalanced and are better off left in the dust. They knew what they were doing with this short EP, things just needed to be better executed. They would make up for those errors with another full album later that decade....

Favorites: "Deformity", "Boiling Point", "Let It Bleed"