Shadowdoom9 (Andi)'s Reviews

A band's sophomore album is sometimes a home-run or a foul. Some fans want more improvement, while others don't want drastic experimentation. Since their debut Edge of the Obscure was released 6 years before this album, they must've really been trying to find that right balance.

Among the Amorphous continues the tech-death-infused melodic cyber metal sound of their debut, this time it's more progressive. The conceptual tale from the debut is still going, here in a different world. The artwork and music videos greatly capture that concept. If you're up for some apocalyptic future kaiju battles that is kinda like Godzilla vs. Kong gone Star Wars, or weird assemblies of those monsters, you don't wanna miss this saga!

The opening track "Spiral into Existence" sets the dark tone as synths and vocals spike through the metal instrumentation. "Deceptive Signal" is a true highlight, underrated otherworldly djenty cyber metal for those who want similar music to Mnemic. The brutal verses go well with the epic chorus. Another battle-ready standout is "Sins of the Mechanical". Although Sybreed, Mnemic, and Raunchy haven't released an actual album in years, The Interbeing has made up for that and gotten fans of those earlier bands f***ing mind-blown. There's even some atmospheric meat here! "Borderline Human" has more of the industrial or Circle of Dust and the hardcore progressiveness of Erra.

"Purge the Deviant" has heavy riffing and a slightly longer track length than any of the band's other tracks, both perfect for a sci-fi battle. "Cellular Synergy" is an atmospheric interlude with female spoken vocals. "Enigmatic Circuits" has some electronic melody that can also be found in The Word Alive.

Then we have the impressive "Pinnacle of the Strain". The great screaming vocals fit the song well in amazing goodness. Truly this is Meshuggah-inspired cyber metal! With the album nearing its end, we have the industrial "Sum of Singularity", borrowing some drums and synths from Crossfaith. It has definitely foreshadowed the sound of their next album Icon of the Hopeless, and a great way to end this one. Well, after the apocalyptic title outro.

When I write my own books, I see it as a labor of love; taking a couple or so years to complete a book but it is all worth it. That must be what The Interbeing was going for when they worked on Among the Amorphous in a slow steady pace. And it's worth keeping fans around, old and new!

Favorites: "Deceptive Signal", "Sins of the Mechanical", "Purge the Deviant", "Pinnacle of the Strain", "Sum of Singularity"

As we all know, Northern Europe has pretty much the biggest amount of metal bands in any subregion. Denmark doesn't have as many popular metal bands as in Norway, Sweden, and Finland, but I enjoy some notable bands from the country including Mercenary and Mnemic. What if you can combine the sounds of those two bands to make tech-ish melodeath/cyber metal? Enter the Interbeing, whose killer talent is highly displayed in their perfect debut Edge of the Obscure!

You can also hear from this band some aspects from neighboring country Sweden, with the djenty riffing of Meshuggah and the catchy melodies of Soilwork. And how about some industrial synths all the way from America made fresh by Fear Factory?

Let's get it all started with the atmospheric intro "Elusive Atmosphere", building up in slight techno. Then the powerful "Pulse Within the Paradox" hits with b*lls-out rhythms to begin this rollercoaster ride. "Tongue of the Soiled" sounds a bit mangled at first and I was going to drop the album's rating a half-star down from perfection, but the kick-A groove decimates that mess into oblivion. I also enjoy the cleans that add to the cyber melody. "Face Deletion" is one of the f***ing best songs from this band. Enough said!

"Fields of Grey" is another awesome track, with more of the band's Mnemic/Fear Factory influences. "Shadow Drift" may be challenging to some, but the djenty pace is all worth it. The mind-blowing "Swallowing White Light" peaks high with more of those Fear Factory vocals.

Some spoken female vocals can be heard "In the Transcendence" which is a groove-filled (mostly) instrumental. "Celestial Flames" has more of that heavy brilliance. The bridge and chorus has djenty groove worth headbanging to if you're a fan of Periphery and Meshuggah. "Rhesus Artificial" is one more technical highlight without having to go all-out Periphery crazy. The instrumentation is once again well-composed. Atmospheric keyboards and guitars echo through the outro "Ledge of Oblivion".

The remixes are a bit odd, and this review is based on the standard edition without them. Edge of the Obscure shows that the band can wear their influences like a battle jacket. Something that sounds amongst the best really should've made it big!

Favorites: "Pulse Within the Paradox", "Face Deletion", "Fields of Grey", "Swallowing White Light", "Celestial Flames", "Rhesus Artificial"

I have mentioned wanting to check out the new Dark Tranquillity album Endtime Signals, and here we go! And just like I predicted, the results are as great as they are in Lacuna Coil's Sleepless Empire, with a solid 4 stars. However, the other Dark Tranquillity album I've revisited, Damage Done, really beats Lacuna Coil's Karmacode by a mile. If Black Anima is the Lacuna Coil album I've missed out on when I severed ties with the more melodic bands from my past, Moment is what I've missed out on from Dark Tranquillity. A lot has happened to the band's lineup in the time I was away. Long story short, founding guitarists Niklas Sundin and Martin Henriksson, and founding drummer Anders Jivarp are out, leaving only longtime members vocalist Mikael Stanne and keyboardist Martin Brandstrom to keep the band going with new members.

Fortunately, the new lineup that includes guitarists Johan Reinholdz (Skyfire) and Peter Lyse Karmark, bassist Christian Jansson, and drummer Joakim Strandberg Nilsson (ex-In Mourning) can really brings back some of the band's earlier roots. It's like a 25th anniversary throwback to the electronic-infused gothic-ish melodeath sound of Projector and Haven. Besides that, it seems like there are also some fresh industrial/progressive elements within layers, electronics, and guitar chords. The band knows make things unique and interesting in the 13th album, marking a better return to form than In Flames' Foregone.

The melodic "Shivers and Voids" is a solid opening track to remind you all of the band Dark Tranquillity fans have known. "Unforgivable" continues the throwback, exploding with aggressive speed while staying melodic. An epic standout! Breaking the pace a bit while staying true to what they are is "Neuronal Fire". Then "Not Nothing" really slows down for beautiful yet crushing darkness.

"Drowned Out Voices" charges through empowering riffing and background synths. However, the vocals indeed sound a bit drowned out. Then we have a gothic ballad in "One of Us is Gone". It is dedicated to late ex-guitarist Fredrik Johansson. RIP... The speed goes back up in "The Last Imagination". And further up in "Enforced Perspective".

The slow "Our Disconnect" is the perfect track to exemplify what this album is going for, darkness and dread for the endtimes. "Wayward Eyes" drifts through catchy keyboard hooks, again throwing back to Projector and Haven, maybe a bit of Damage Done. "A Bleaker Sun" is the most filler-ish track, and I hate to say this but it almost sounds like an AI-generated Dark Tranquillity song. "False Reflection" is slightly better, though it's too ballad-esque compared to the previous ballad.

I consider Endtime Signals a solid return to form for the band, staying melancholic, creative, and living up to the name. Not all the tracks work perfectly, particularly the last two, but the melodeath fire still burns to light up my darkened heart....

Favorites: "Shivers and Voids", "Unforgivable", "Not Nothing", "One of Us is Gone", "Our Disconnect", "Wayward Eyes"

Sorrow was the first taste of the atmospheric female-fronted progressive doom pioneered by The 3rd and the Mortal. Today I revisit the album that really sealed the deal with their sound, Tears Laid in Earth.

I can still recognize most of the greatness in this offering! As melodic guitars and haunting atmosphere transcend, guiding them through is the angelic vocals sung by Kari Rueslatten. Thanks to her, the idea of female vocals in metal would spread like wildfire, convincing The Gathering, After Forever, and many other symphonic/gothic metal bands to tag along for the ride. There's no denying how much of a game-changing mesmerizing vocalist Rueslatten is.

"Vandring" is the intro consisting of just her voice. Then the music begins with "Why So Lonely?" It stands out in peaceful melancholy from the riffing and singing. As of writing this review, I had a short amount of sleep due to having to wake up early (fasting month), and listening to this song, I can almost hallucinate a hot angelic goddess from the heavens singing to me, "Will you be mine till the end of time?" We have another excellent highlight in "Atupoema" with its audible bass. "Death-Hymn" is a heavier track in both the music and the lyrics of darkness and despair ("I never thought I would feel this way", "Prepare your soul for the journey through the woods of evil").

There are more ambient synths in "Shaman", performed by Rueslatten herself. The instrumental "Trial of Past" has clean guitars that make another melodic highlight. Even the drumming can get heavy despite being simplistic. What causes the quality to drop a little, away from perfection, is the two-minute "Lengsel", which is fine but a little pointless. "Salva Me" is more gothic in a similar vein to Gothminister, specifically the tracks featuring Nell Sigland of Theatre of Tragedy.

The least creative song title ever "Song" is actually one of the most creative tracks in the album, starting atmospheric before becoming more intense at the climax. I also like the dark sorrow of "In Mist Shrouded". And finally, "Oceana", still reigning as the longest and greatest T3ATM song. Not even the closing track of Sorrow can surpass it. The band created a monstrous complex 19-minute epic can put Fates Warning's epics to shame. You can rarely find vocals and clean guitars as haunting as in the beginning. And as it goes on, you can find yourself swimming in an oceanic realm, with the guitar effects singing a unworldly whale-song. And the rest is perfect history!

All in all, Tears Laid in Earth is what I can still consider an atmospheric female-fronted progressive doom near-masterpiece. The two-minute tracks may prevent this album from being totally perfect, but a lot of the best and almost the first songs of this style are all in here, including that unbeatable 19-minute epic. The divine vocals of Kari Rueslatten can really make my day. Amazing album for anyone wanting all things beautiful without any of that radio pop sh*t!

Favorites: "Why So Lonely?", "Atupoema", "Death-Hymn", "Trial of Past", "Song", "Oceana"

It has been a few years since I last heard of this band. People seem to compare The 3rd and the Mortal to The Gathering, and I can understand why. Almost as if they were following the footsteps of T3ATM. Their 1994 releases Sorrow and Tears Laid in Earth are what saved The Gathering from becoming gothic doom with R.E.M. vocals by hiring vocalist Anneke van Giersbergen for Mandylion and the next 5 albums, all of which seem to have a similar stylistic direction to T3ATM's subsequent releases.

If there is one album I consider the beginning of female-fronted progressive doom, this EP is that! One moment the guitars and drums sound clean and dreamy, and the next they sound heavy and intense. The vocals of Kari Rueslåtten sound beautiful, though in the softer folk sections, you might almost think of Enya.

"Grevinnens Bønn" (The Countess' Prayer) greatly exemplifies this doomy sound. I often get my bleak darkness from deathcore bands like Carnifex, but I can get it from this release without ever having to go extreme or brutal. The medieval folk side comes from the title ballad/interlude. "Ring of Fire" (no it's not a Johnny Cash cover) brings back some doom, getting close to death-doom in the instrumentation. "Silently I Surrender" is a more progressive while still doomy 8-minute epic.

All in all, Sorrow should be worth your time if you wanna hear progressive doom that would pave the way for a league of female-fronted gothic doom bands. I can chill out to this EP and listen to it as much as I like!

Favorites: "Grevinnens Bønn", "Silently I Surrender"

As far as the 21st century metalcore scene goes, Killswitch Engage is one of a few bands to stand out big and bring the scene to light. It's this blend of heaviness and melody that makes it so appealing to open-minded listeners such as myself. They started off massively strong in their first couple albums then just kinda dipped a bit in the era of Howard Jones. Not saying he's a bad vocalist at all, just that the albums he was in ended up being part of the lower half of ranking list. Then when Jesse Leach returned, the band's earlier power made its comeback too, reaching its greatest height in years in Atonement. And now comes their highly anticipated new album This Consequence!

The greatness of their music continues to stay strong here. This Consequence shows the band diving further into their earlier ruthless roots while staying catchy. And with its short total length of 35 minutes (almost reaching the 2000 debut's total length), it's clear they're thinking "F*** quantity, it's all about quality." The album contains their most brutal songs yet while not losing too much melody. The vocals are filled with majestic emotion that make great contrast with the extreme side.

"Abandon Us" straight-up attacks with heavy twisted riffing without ever needing an intro. After Leach bellows out the verses, he sings the choruses in melody and drama. A mighty flawless start! "Discordant Nation" gets you hooked with thrashy speed. "Aftermath" has deathly rage while balancing it out with mainstream melody.

With "Forever Aligned", Jesse Leach still has his vocal strength just like in those kick-A first two albums. The music is amazing including the harsh vocal verses. This catchy banger shall age well. I also hear a bit of a modern Soilwork vibe. I enjoy the chorus despite a slight issue with Adam D.'s cleans, probably would've been better with Howard Jones there instead of Adam. The outro is so beautiful too! "I Believe" has more upbeat accessibility. "Where It Dies" has the earlier midtempo heaviness. Then "Collusion" battles against worldwide corruption with f***ing heavy riffing from Adam D. who even performs p*ssed-off growls alongside Jesse in the bridge. So brutally awesome!

"The Fall of Us" fires away with blazing blasts and guttural vocals to blast you into the wall behind you. "Broken Glass" might as well as appear in the Atonement II EP because of the unusual sludgy pace and occasional blasts. "Requiem" closes the album with another highlight to remember. Summarizing all the band has to offer in their new album, this shall please the crowd for many generations.

In an age where bands don't sound as triumphant as they did in their prime of, say, 20 years ago, Killswitch Engage continues to rule. This Consequence has helped paved their endless road of success and victory!

Favorites: "Abandon Us", "Forever Aligned", "Collusion", "The Fall of Us", "Requiem"

It's not often a live album gets a perfect score, at least one from me. But the two-CD offering is so awesome, I don't need to get the Blu-ray version. It's basically two of the best Killswitch Engage albums and an encore in a high-quality livestream concert. I might just be up to also checking out (Set This) World Ablaze if not just a DVD release!

The technical production here impresses me more than most other live albums. Apparently, there's something going on in the intermission, but I won't spoil the fun of just the CD edition by checking it out. Just listening to the songs make this a pure live experience in the comfort of my own home. With this awesome two-album setlist, it might just blow away their weakest but still amazing releases like The End of Heartache and KSE V.

The first track and single of Atonement, "Unleashed" already has what's to come in this offering. Then "The Signal Fire" lights up the heavy fire, and Howard makes a small but amazing comeback in the second verse with his massive screams. The drums and guitars are so fast and furious with intense variation. Next song "Us Against the World" can provide motivation and strength for you to fight against different challenges. In the majestic highlight "The Crownless King", Killswitch Engage continue bringing back some of the earlier heaviness. Chuck Billy of Testament has brought forward enough fury for this song to have potential in the DOOM soundtrack.

"I Am Broken Too" still shows the band intensifying their sound while mostly having melodic emotion. "As Sure as the Sun Will Rise" follows that motive with more brutality in the verses. We also have the catchy "Know Your Enemy" with more hardcore yells. The mid-tempo "Take Control" shows the band having the pleasure of reinventing the wheel without breaking the original wheel.

"Ravenous" doesn't lose any melody yet they still have their metal heaviness. "I Can’t Be the Only One" has the power to inspire you to be brave enough to battle against your personal issues. "Bite the Hand That Feeds" is a killer way out of this album.

To start their 2000 debut part of the setlist, everything everywhere all at once kicks through in "Temple from the Within". Without an intro, the instrumentation hits you non-stop. A great mid-paced start to this perfect experience! A good thrashy track, "Vide Infra" has more spoken/shouted cleans to fit with the screams. The brutal blasts of "Irreversal" level up the intensity, defining the sound to expect in the album.

"Rusted Embrace" has some awesome vocals here. "Prelude" is quite g****mn good for an instrumental. It's too bad not a lot of the more serious metalheads give the earlier material like that track more appreciation. It segues to "Soilborn" which is really solid.

Next track "Numb Sickened Eyes" is a killer track worth listening to. However, its ending a bit annoying and I feel the need to skip it. Still it doesn't affect the album's perfect score that's still staying steady. "In the Unblind" has more effective mixing. The powerful screaming, guitar soloing, and drumming is a great reminder of the album's strength. The outro track "One Last Sunset" is replaced by "Just Barely Breathing", in which the slow acoustic outro is a bit out of line, but the rest of the song is still crushing.

All in all, an awesome top-notch show for those wanting a couple incredible albums by this band in its best live quality. It once again proves that while Howard Jones is still one of the greatest vocalists around, Jesse Leach has the throne with his name engraved in stone!

Favorites: "The Signal Fire", "The Crownless King", "As Sure as the Sun Will Rise", "Take Control", "I Can’t Be the Only One", "Temple from the Within", "Irreversal", "Rusted Embrace", "In the Unblind", "Just Barely Breathing"

As with many other metalcore/melodic metalcore bands having been active in the past 25 years, Bleeding Through continues to stay true to their sound. They expand their horizons on the fast brutal side to make a heavy offering out of their aptly titled 9th album Nine!

It seems like they haven't lost much of their steam after really slowing their pace between albums. Nine is their first album in 7 years, a slightly longer gap than between The Great Fire and Love Will Kill All. They were still active before Nine though, releasing an EP titled Rage in 2022. And they have more of that rage in their ninth album, one of their most furious releases to date. Even that meme-worthy (two paths) cover art is filled with darkness and fire.

"Gallows" starts with a sample of Saruman (Christopher Lee) from Lord of the Rings saying "We have only to remove those who oppose us" then blasts off with the unique drumming fire and screaming fury that's what make this band so unique. "Our Brand is Chaos" has their usual chaotic brand of metalcore that made it big in This is Love, This is Murderous, throwing in their earlier blackened aspects and visceral lyrics. "Dead but So Alive" erupts into thrashy chaos, evolving into blazing soloing and the vocals of Brandan Schieppati and keyboardist Marta Demmel together in the chorus that makes an epic standout imprinted in your mind.

Next song "Hail Destruction" rips through face-tearing destruction until the 3-minute mark when everything halts then slowly makes its way back up for the searing soloing of guitar duo John Arnold and Brandon Richter. With all that, it almost comes close as the ultimate highlight for me. "Lost in Isolation" has more harmonic soloing crashing in, here courtesy of Doc Coyle from God Forbid and Bad Wolves. Other things to note are the ravaging drums and riffing, along more of the chorus dueling between Brandan and Marta. All of that surpass the previous track as the ultimate highlight of melody and intensity! The album has an intermission, with the slow piano/soprano vocal interlude "Last Breath". Then "Path of Our Disease" might just be the most "blackened Hatebreed" song I've heard since Underoath's first two albums.

"I Am Resistance" continues that speedy fury alongside the raging vocals of Comeback Kid vocalist Andrew Neufeld. Another special standout! Then "Emery" has more emotion while staying intense. The chorus throws back to their only full-on ballad "Line in the Sand" (The Truth). "War Time" is a violent banger with background vocals by Brian Fair (Shadows Fall), and the lyrics fire away as well. "Unholy Armada" has the last of the violent storm then ends with harmonic soloing as darkness gives way to light.

In a time when bands get more melodic for the sake of commercial success, Bleeding Through fight back against the trend by keeping their raw and vicious sound intact. Let's hope the band can continue making one album per year or two just like in their earlier days. We need more of the raging darkness!

Favorites: "Dead but So Alive", "Hail Destruction", "Lost in Isolation", "I Am Resistance", "War Time"

2023 was quite a year for the return of early underground melodic metalcore/deathcore bands. Prayer for Cleansing and Undying reformed a couple shows (no word on if any new albums are on the horizon), and Dawn of Orion (raise your glass!) and Plague Thy Child (lower your glass...) have each re-released pretty much all their earlier material in one album. Dawn of Orion's album A Celestial Ballad contains all 3 of their releases plus a few unreleased tracks.

Now I'd like to talk about the demos for a brief moment. 1997's Twilight Eternal is more death metal-oriented, and it might remind some more of Deicide than Morning Again. Sweet roughness! 1998's On Broken Wings blends those two bands' sounds for something nice, but its more polished production falls flat. So it's not that great...

Anyone who has read my review For the Lust of Prophecies Undone already knows what I think of its songs, but I'll say them again here; "As the Bloodred Moon Rises" greatly exemplifies that riffing, filled with true early melodic deathcore. This is the kind of darkness not even In Flames and Soilwork have dived into, having starting to go their own mainstream route in the early 2000s. "A Widow's Covenant" has a bit of technicality added to their riffing, hinting at what The Faceless and Betraying the Martyrs would have a decade later. "Creation's End" sounds like what may be the creation of the deathcore we know from bands like Carnifex and Whitechapel, and the melodeath of Disarmonia Mundi. "The Passing of Idols" starts off with a bit of thrash/groove before having more of the deathly sound.

The instrumental "To Hunt the Ethereal Sun" is the song vocalist Myke C-Town uses in his YouTube video outros, specifically that ethereal acoustic intro. The blend of acoustic/electric guitar reminds me a bit of Kalmah, though all that's missing is the symphonic keys and neoclassical shredding. The release ends with two re-recorded songs from their Twilight Eternal demo, which we will talk about once we get there, starting with "Thy Divine". The other one, "The Ancient Promise" can certainly start a moshpit at the beginning with its hardcore riffing and breakdown.

The 3 unreleased tracks must've been from an unknown unreleased demo or the recording sessions of their debut, starting with a different edition of the title track of the demo "Twilight Eternal" which hints at the melodeath sound later found in Insomnium. "The Liar's Broken Rhyme" has the best of the early metalcore of Morning Again and the melodic metalcore of Atreyu, Killswitch Engage, and Trivium in the vein of those bands' early material. "For Every Crack, a Hollow Smile" is a bit hollow, but it's still good.

Now we come to the On Broken Wings EP, and "Sown Into Flames" exemplifies the early metalcore of Converge blended with melodeath that would take true from in Neaera. You want heaviness in the title track? The midway breakdown has it all. "For Dying Eyes" continues the mix of melodeath/deathcore before As Blood Runs Black made it cool.

I mentioned how rough yet killer the Twilight Eternal demo is, but now it's become a battle of which track is better, with the title track starting with an unneeded audio sample from the horror film The Prophecy. Now "Thy Divine" I like better than in the debut album, with the thrashy intro riffing sounding nice and raw. "The Ancient Promise" is slightly less that its debut album counterpart but I still like it. Then "Gates of Emptiness" ends it all with the best metalcore riffing and growls of the entire compilation.

So of all of these tracks in A Celestial Ballad, most of the songs from sections 1, 2, and 4 are pretty great. Most of section 3 (On Broken Wings) are decent but could've been better in the production. If anyone wants early metalcore and death metal fused together in a way that really hits the spot, there you go....

Favorites: "As the Bloodred Moon Rises", "Creation's End", "To Hunt the Ethereal Sun", "The Ancient Promise" (1999), "Twilight Eternal" (previously unreleased), "The Liar's Broken Rhyme", "Sown Into Flames", "Thy Divine" (1997), "Gates of Emptiness"

A day after my Undying review marathon, I stumbled upon a song by Stormlord. I've actually first heard of this symphonic black metal band from Rome, Italy, nearly 10 years ago, but never gotten around in checking out because I was young and not ready to explore those dark blackened realms. Once I pressed play earlier today... HOLY SH*T, it has almost the same vibe as Undying! I'm talking about D-flat tuned epic heavy guitar melodies with occasional symphonic synths. Of course, both bands are worlds apart in terms of genre. Undying is melodic metalcore. Stormlord is symphonic black metal with power metal influences to go with both the epicness and the rawness.

What makes Stormlord stand out in the symphonic black metal pack is the lyrics centered around Italian mythology, and it fits well for when the music alternates between melodic and thrashy. At the Gates of Utopia is the band's second album and their first with the locally popular Scarlet Records after a decade in the underground. I'm just amazed by the greatness this band has with their power metal-infused sound!

Opening track "Under the Samnites' Spears" is that song I've mentioned above. After an epic keyboard march covering the first minute, the second minute has that melodic riffing that made me think of Undying. But when it slows down and the shrieked vocals come in, that's when Stormlord fans can recognize the band they know. Basically, an epic black metal structure of fast guitars and drums occasionally slowing down for a gloomy section. Even people like me who aren't into black metal that much can enjoy this power and glory. Starting off "I Am Legend" is some fast thrashy sections that then slow down for the usual bombastic sound. The power continues to rise in "Xanadu (A Vision in a Dream)" with some dramatic choir and male operatic singing. Still we have great speed in the guitars, bass, and drums, in conjunction with the epic atmosphere.

"And Winter Was" levels up the blast beats typically found in black metal while having some mid-tempo darkness. The title interlude is where the keyboards shine well sounding both dreadful and dreamy. Then we have the violent "The Curse of Medusa", in which the drums and vocals go brutal while still sounding epic.

"The Burning Hope" once again starts with mighty thrashy riffing then slows the tempo down. At this point, the more pompous side has already been done to death, but at least they still have that thrashy riffing later on in the song. "A Sight Inwards" has more melancholic melodies alongside those cool thrashy guitars. Here is where I get a little tired of the operatic singing, though it's manageable. Lastly, "The Secrets of the Earth" has the album's last chance of blending together epicness, gloom, and brutality, and the end result is the perfect ending to such an offering.

As amazing as At the Gates of Utopia is, I still don't feel up to switching back to the on side of my on-off relationship with black metal. Nonetheless, this is the best I've heard from symphonic black metal in a long while, particularly in some highly memorable tracks including the title intermission. As for a couple tracks, they rule too but could've had less forced ideas. With all that said, power metal-ish symphonic black metal might just be worth it for any metal listener!

Favorites: "Under the Samnites' Spears", "Xanadu (A Vision in a Dream)", "At the Gates of Utopia", "The Curse of Medusa", "The Secrets of the Earth"

Of course the moment Undying reach the highest peak in their sound ends up being their swansong release. I'm not too worried since they've reformed two decades after this album At History's End. Plus there are other metalcore bands that I enjoy, so you won't see my interest in the genre fading out anytime soon.

Metalcore bands like Undying have really touched the hearts of people who were around my age (mid-20s) or younger back then. As always, Undying provide their melodic metalcore sound that was only in the early stages of popularity. There are some things different in At History's End compared to the previous album. More direct melodies, more hardcore riffs, and more poetic lyrics, the latter recited by female vocalist Logan White, replacing Timothy Roy. It's the best you're gonna get from this band!

"Reckoning" has the best of many bands past and future, including late 90s Cave In, The Ghost Inside, Killswitch Engage, and Omnium Gatherum. A brilliant start to this offering! Taking their anger out on the perils of humanity is "Lament". Then "Teratisms" starts slow before having a more thrashy sound to remind me of Sylosis' demo EPs.

"By Turns" sounds like it could've given 36 Crazyfists the idea to go metal/hardcore next year. Logan White's views against a society of injustice to women covers "As Above". You gotta admire her lyrical spirit!

There is one interlude in this album, "Arrangement for Invisible Voices", filled with nothing but piano and strings, which made me a little bored just like the interludes in the previous album. Without it, At History's End would've been perfect. "For the Dying" once again sounds like the spawning point for later bands from the hardcore of Architects and The Ghost Inside to the melodeath of As Blood Runs Black and Sylosis. Final highlight "The Age of Grace" pumps you up with the intensity of Morning Again.

At History's End really should've had as much love and recognition as the more mainstream bands out there. Still it's fine staying underground. Now that the band has reformed recently, they now have time to create a new part of their melodic metalcore evolution and maybe hit that perfect 5-star mark. Their history shall be ongoing!

Favorites: "Reckoning", "As Above", "For the Dying", "The Age of Grace"

One year after the original demo release of Undying's EP This Day All Gods Die came their debut full-length The Whispered Lies of Angels. Again I hadn't gotten around to listening to this band the first time I've heard of them. Not enough hooks? Maybe... But now I hear that it's great enough to get me hooked! For the most part, anyway.

It's interesting how some of the most influential bands besides the popular ones are the bands that split up after less than 10 years, and it took the talk of the early melodic metalcore town to get this band recognized. Similar to other bands like Darkest Hour, Undying take the road of adding At the Gates-ish riffing. However, more often than not, things slow down close to the doomy melancholy of My Dying Bride. With all that said, they still have the hardcore rage, with more melodic leads and breakdowns than solos.

A much better opening song than in the EP, "Echoes" has the guitar, vocals, and drums roll through in melodic passion. Fantastic start! However, "Tears Seven Times Salt" is an odd unnecessary interlude. Fortunately, "The Company of Storms" brushes that aside with some deathly melodic metalcore not too far off from Upon a Burning Body's demo years. Things get a little underwhelming in "Fallen Grace" in which, despite its short 3-minute length, the melodic near-end bridge of the track goes on for a little too long. The rest of the song before then is still good though.

"The Coming Dark Age" is OK, but here they just rely a little too much on melody, jostling its balance with the heavy side a bit. "Born Again" has more of the hardcore sound later mastered by early Architects and the melody later mastered by Black Veil Brides. Same with "A Desert in the Heart" having a bit of the ambience of Silent Planet.

"Formal Absences of Precious Things" is another useless flow-killing interlude. "Of Masks and Martyrs" is one more original song, have some of the melody later that Betraying the Martyrs would later have, while not going the epic deathcore route of course. The beautiful hidden cover of "The Cry of Mankind" by My Dying Bride is a solid ending to this offering. This is as close to doom metalcore as we're ever going to get, and I didn't even have to increase the playback speed to 2x!

The Whispered Lies of Angels came from an era when melodic metalcore was not yet the norm. I can hear how much it affected the scene greatly. Not much wrong except for a couple odd interludes and a little too much melody in a couple songs. At least that will be fixed one album later....

Favorites: "Echoes", "The Company of Storms", "Born Again", "Of Masks and Martyrs", "The Cry of Mankind"

Undying is a band that I've come across a few times in the past several years yet hadn't gotten around in actually checking them out. Why? I have no idea. Let's fix that... Melodic metalcore had its start in the late 90s when bands in the American hardcore listened to Gothenburg melodeath and decided to add elements of that to their sound. Darkest Hour may have their reign, but Undying is a more underrated example, and their D-flat tuned heavy and melodic sound would carry over to Prayer for Cleansing, a band that includes former members Tommy Rogers and Paul Waggoner who would go on to form the more popular and progressive Between the Buried and Me.

Their first release, the EP This Day All Gods Die was recorded in 1998 and released as a demo, though it would get an official CD release in 2001. The idea of blending hardcore with melodeath was new and unheard of when the EP first came out in the underground. Gothenburg fans would certainly be pleased about their favorite metal style spreading into America. The hardcore side gives it that grit you don't often hear in In Flames. Strong rage and sweet melody are just what the doctor ordered.

The chilling synth "Intro" is almost like a continuation of the hidden outro in Children of Bodom's Something Wild, almost as if this is an alternate timeline where that band continued that album's D-flat tuned blackened melodeath sound and mixed it with metalcore. The title track seals that deal, but it doesn't impress me that much. There's not much variation in the drumming compared to the other songs. "Lay This Life Down" is filled with melodic darkness while battling it out with the hardcore rage. That's the kind of rage the more popular melodeath bands wish they had!

"Fire of Life" digs deeper into adding variety. The blend of slow and fast sections scream Prayer for Cleansing, while the former has the same slow dread as My Dying Bride, whom the band would cover one of their songs in their next release. More of those melodies and tremolo are in "When the Heavens Shed Tears". Finally, "For Liberation" is a mighty battle between the 90s metal/hardcore of Vision of Disorder and Burst and the European melodeath that would later reach bands like Neaera and Omnium Gatherum.

This Day All Gods Die is not the best start for Undying, but still good. Their later releases would have a more complex melodic turn that would pave the way for the more popular American melodic metalcore bands. Heavy darkness has been given more melodic light....

Favorites: "Lay This Life Down", "Fire of Life", "For Liberation"

Another early deathcore album... And wow, what a boost in quality compared to that Plague Thy Child EP! Just like that band, Dawn of Orion was a practically unknown band from around 25 years ago that had no chance in making it big. At least one of the members ended up being more well-known, vocalist Myke 'C-Town' Jamison, having started his own YouTube channel and even used one of Dawn of Orion's songs as the outro for his videos. I'll tell you what song that is when we get there...

Dawn of Orion was an early deathcore/metalcore band, the way Plague Thy Child had done it two years later, but Dawn of Orion is the real deal here. There's a lot of deathly riffing blending heaviness and melody, inspired by At the Gates, and this was years before the rise of melodic metalcore.

First song "As the Bloodred Moon Rises" greatly exemplifies that riffing, filled with true early melodic deathcore. This is the kind of darkness not even In Flames and Soilwork have dived into, having starting to go their own mainstream route in the early 2000s. "A Widow's Covenant" has a bit of technicality added to their riffing, hinting at what The Faceless and Betraying the Martyrs would have a decade later. "Creation's End" sounds like what may be the creation of the deathcore we know from bands like Carnifex and Whitechapel, and the melodeath of Disarmonia Mundi. "The Passing of Idols" starts off with a bit of thrash/groove before having more of the deathly sound.

The instrumental "To Hunt the Ethereal Sun" is the song Myke C-Town uses in his video outros, specifically that ethereal acoustic intro. The blend of acoustic/electric guitar reminds me a bit of Kalmah, though all that's missing is the symphonic keys and neoclassical shredding. The release ends with two re-recorded songs from their Twilight Eternal demo, starting with "Thy Divine". The other one, "The Ancient Promise" can certainly start a moshpit at the beginning with its hardcore riffing and breakdown.

I wouldn't say For the Lust of Prophecies Undone is the best melodic deathcore album I've heard, but it's a solid offering of face-tearing aggression. It's lightyears better than that Plague Thy Child EP, and a great way to begin this dark deathly side of the metalcore scene. This band shall be commended for this fascinating discovery....

Favorites: "As the Bloodred Moon Rises", "Creation's End", "To Hunt the Ethereal Sun", "The Ancient Promise"

Today I decided to explore another very example of deathcore. Plague Thy Child was a short-lived band whose only well-known release was a split album with metalcore band The Common Man. Plague Thy Child's 2001 EP has been given a 2023 official re-release that includes a 2000 demo.

The sound is basically early deathcore/metalcore, with deathly riffing, blackened screams, and hardcore breakdowns, almost like what Embodyment would've had if they didn't abandon their deathcore sound at the time. In theory, that all sounds cool, but sadly it's f***ed up by the demo production that makes most of it a mess. Despite that, "Autumn" combines that brutal sound with dark melodies, sounding quite beautiful. Everything else though is too bland or unclear. An actual re-recording of this sh*t is in order....

Favorites (only one I like): "Autumn"

If their EP, Version 4.5: The Dark Chapter, can be considered the All That Remains "Forever Cold" EP of Cypecore, Make Me Real is their Antifragile. It is their comeback album after the passing of their founding bassist Chris Heckel. They chose not to replace him to respect his memory. And besides that EP, they have performed some live shows with a few other members making their exit and entrance. I'm still trying to get a little more used to the band's sound though...

Make Me Real is less deathly than their earlier works. Here we have more melodic choruses and stronger cleans for more of an industrial groove metal sound similar to Mnemic. Most of the new songs pack quite a punch, so if you're expecting some freshness in their new material, you've come to the right place.

Traditionally for Cypecore, the album starts with an "Intro", this one nice and short. "Neoteric Gods" kicks off the technical action hard. This is deathly djenty industrial/groove metal at its best! It impresses me with its background synths and its dark yet anthemic chorus. I love it, and I'm sure Cypecore fans would too. "Pinnacle of Creation" keeps up that strength as a more groove-ish standout. Synths pop up more in "Doomsday Parade".

I don't know why they chose a ballad as the album's title track. I mean it's not too bad, but lacks some strength. Next track "King of Rats" is worse. Too much electronic sh*t in that one. The more deathly groove highlights return with "Fragments".

Hammering in further is "I'll Be Back" (Terminator, is that you?), an industrial banger suitable for the dark reality of humanity. "Patient Zero" is the closest throwback to their earlier melodeath sound while adding in a nice amount of electronics for good measure. Traditionally for Cypecore, the album ends with an "Outro", but the issue is, it's a 3-minutes long, a little too long for an electronic instrumental.

I would've loved the album much more if not for the 3 tracks in the middle along with the outro being so long. Still, Make Me Real is quite good. It's a nice comeback 6 years after The Alliance, and I might just be up to checking out more of their earlier deathly material....

Favorites: "Neoteric Gods", "Pinnacle of Creation", "Fragments", "I'll Be Back", "Patient Zero"

Is time travel real? While it isn't in the era we are in, Cypecore knows how to create that illusion with their "2123 Tour". Honestly, one of the reasons I don't go to live shows is the fear of experiencing a future that seems so real yet coming home embarrassed that it isn't. And this is a band that have started nearly two decades ago...

Cypecore have released 5 albums that follow a futuristic sci-fi conceptual saga, a similar aspect to Mechina. A year before their new fifth album Make Me Real, the band hinted at their new direction with this EP, Version 4.5: The Dark Chapter. The "4.5" part is quite clever, since the band wanted to give their fans something new after a 5-year gap that may have been caused by the tragic loss of the unreplaceable bassist Chris Heckel. Consider this Cypecore's own All That Remains "Forever Cold" EP, if you will.

Blasting off is "Chosen Chaos" which is one of the coolest song titles ever chosen. The EP doesn't follow the usual "Intro"/"Outro" aspect, so it has only a short amount of time for you to actually prepare for the chaos. The blasts and guitarwork strike through with their might. The vocals help make the song sound like melodeath-ish metalcore gone Disturbed. "Rise" is a nice display of a cleaner, more industrial sound. The guitar and bass shine instead of the previous track's drum blasts. Slight points off for the electronic overdose, but it's still good. "Spirals" has great harmonies that fit well with the screamed vocals. I also love the cleans and the bridge in the second half.

"Liquid Fire" is a strange track that's still OK. It's more nu metal-ish with some rapped vocals, closer to Korn and Limp Bizkit. Nonetheless, the usual madness is still going on at full force. Then we have "Rise (Death Version)", a version of "Rise" in which the vocals are screamed and the drums blast through. The sound here, along with most of the other tracks, is closer to metalcore than melodeath, which I can greatly accept. I love this heavier version more!

All in all, this EP sounds quite cool in the highlights, and I think they should've kept just the heavier version of "Rise" instead of the clean version that's still good. Version 4.5: The Dark Chapter might not be their best work, yet it can get you geared up for their next album. Time travel may not be real, but this dark futuristic music is....

Favorites: "Chosen Chaos", "Spirals", "Rise (Death Version)"

The brand-new All That Remains album Antifragile can be kind of considered their own Linkin Park From Zero. They've tragically lost a longtime member and it took around 7 years for a new album to be finished and released with a new member who can shine in the spotlight while respectfully maintaining the fallen member's legacy. Something different about that is, All That Remains stayed active and recruited the new member almost right away.

The long silence before this album was for several reasons. Not just the passing of guitarist Oli Herbert, but also COVID and a tough search for a new record label before deciding to go independent. I'm not kidding about new guy Jason Richardson shining well, his unique technicality from All Shall Perish, Born of Osiris, and Chelsea Grin, fits perfectly well with All That Remains' melodic sound. We also have the return of bassist Matt Deis (who performed in This Darkened Heart) and the relentless drumming of Anthony Barone (A Night in Texas, Beneath the Massacre, Shadow of Intent). With that, Antifragile is a path to a new era, one of perfect glory last achieved in the late 2000s!

As the first track "Divine" blasts open the gates, f*** yeah, All That Remains are back! This perfect comeback single is basically This Darkened Heart (especially with Matt Deis rejoining) gone Killswitch Engage. This surely does justice to the legacy of Oli Herbert. "Kerosene" lights things up with relentless bass/drum machinery rolling right through. It is a fire that can never be put out. Anyone who is up for All That Remains' less metalcore but still heavy tracks should check out "No Tomorrow". Again, Jason Richardson has done his job well in paying tribute to the late great Oli Herbert. "The Piper" is a more technical highlight, displaying his talents that help take the band to the next level. There's a lot more complexity than before while balancing it out with the usual hooks. Wonderful!

The title track hits hard, like "face-punch-bleeding" hard. It's quite strong and relatable for battling through life's struggles and rising against it all. "Forever Cold" is the single that has gotten me the most pumped up. I'll tell you ONE MORE TIME, Jason Richardson has done well in maintaining the legacy of the late Oli Herbert. "Poison It" pushes forward the technical boundaries yet again, throwing back to the heavier tracks from what I consider the band's heavier era (The Fall of Ideals, Overcome, For We Are Many, maybe more towards the latter two for the D-flat tuning).

Another superb comeback single is "Let You Go". Then we have "Cut Their Tongues Out", full of unbreakable roof-tearing thrashy metalcore chaos. Finally, "Blood & Stone" is the epic emotional closing track. The piano intro and outro are performed by none other than Jordan Rudess of Dream Theater. And in between is a metalcore extravaganza of heavy riffs and whimsical DragonForce-like leads. Philip Labonte lets out perhaps his most dynamic vocals to date. The perfect way to close this masterpiece!

I can't ever deny that Antifragile is the strongest and most passionate All That Remains album in 15 years. The legacy is staying solid with grand defiance in every move each member makes. Oli Herbert would be so proud. And thus an exciting new chapter for the band begins!

Favorites: "Divine", "The Piper", "Forever Cold", "Let You Go", "Blood & Stone"

After checking out Shokran's debut album Supreme Truth, I felt like skipping ahead 10 years into their new album Duat. It's time to find out how this album by Egyptian-themed Russian djenty progressive metalcore stands as a contender for the Revolution Gallery Awards for 2024...

Like many other bands I've listened to, Shokran has a blend of heaviness and melody that I can easily appreciate. Mesmerizing melodies are in great interplay with djenty heaviness. Dmitry Demyanenko is a true master of that guitarwork. The impact is enhanced by the clear production, giving the riffing more power. The vocals by returning member Sergey Raev can please any modern metalhead with his vocal antics.

"Khonsu: The Traveler from Thebes" has his cool vocals in best display. While his harsh vocals rule, I also love his cleans. The song itself is definitely worth repeat listens. Including some f***ing killer soloing! Another amazing album standout is "Set: The Shark in the Womb" with killer heaviness. There are some lower growls in "Thoth: The Silent Witness". Then "Amon-Ra: The Battle for Tomorrow" really battles it out as you can hear some bits of Born of Osiris and Wage War, mostly the former having left a deep influential mark for this band.

"Maat: The Feather Against the Heart" is another absolute favorite with lots of heaviness and variation. We also have the catchy clean chorus in "Horus: The Never Changing War". Then "Osiris: Your Death Is Just a Beginning" balances the Born of Osiris influences with Tesseract. "Isis: Caught in the Knot" is just filled with awesome fire.

"Anubis: Can’t Escape the Hound" is almost like a djenty take on the metalcore/post-hardcore of The Word Alive and Escape the Fate. The vocals reach great heights in the climax of "Tefnut: The Greatest Drought". The modern power in the melody can almost compete with Bad Omens. It stands out with its catchy chorus and more of those Egyptian vibes. I can almost give "Hathor: Drunken With Blood" the ultra-heavy crown. But it's the crushing "Imhotep: The Falcon of Gold" that takes the throne.

Duat shall never disappoint for the most part. All these strong riffs and leads make an essential part of this modern metalcore album. Just brush aside the barely-there variety and you can go on a metal carpet ride....

Favorites: "Khonsu: The Traveler from Thebes", "Set: The Shark in the Womb", "Maat: The Feather Against the Heart", "Isis: Caught in the Knot", "Tefnut: The Greatest Drought", "Imhotep: The Falcon of Gold"

Travelling from the world's largest country covering the northernmost part of Asia and a bit of Europe on the west side, all the way down to the Middle East and Egypt, Shokran can add in some oriental grooves to their djenty progressive metalcore. Following The Sixth Sense EP, the band got to work on their debut Supreme Truth. And its cool modern cover art seems to give away its release in 2014, NOT 2004.

Supreme Truth is a 15-track journey that's both heavy and mesmerizing. Most of the tracks have an average 3-minute length, which may seem mainstream but all their talent is nicely crammed so while they're all short, you'll get a lot out of them. Expect the unexpected...

The opening "Interlude" already gives you a head-start through the technical speed of the guitars, as the orchestral/neoclassical melodies zoom through in this inhuman rampage. Impressive! "Pray the Martyr" unleashes the growls and screams from the vocalist that fit greatly with the sonic melodies, before clean singing appears too. Low growls also spread through one of my favorite tracks "Ghost Ruins". The riffing and vocals are awesome there. "Memories" has a highly melodic chorus that's not too bad though different from what the band usually does. "Charon" has some of the best vocal diversity in the album. The growls, screams, and cleans all battle it out in more of the fast heaviness that modern metalheads will never get tired of.

"Collapses" is also nice in the vocals. "Original Sin" has more progressive originality. As does "Crotalus" which actually has some Eternal Tears of Sorrow-like synths. Another djenty favorite is "The Right to Sorrow", with its heavy riffing and soloing going well with the Egyptian atmosphere. "In Theatre of Illusions" is stronger but tiring at this point.

I absolutely love the title track, getting me hypnotized by the riffs and growls sounding like Whitechapel while mixed with stunning melodies. "Sands of Time" has the most development, lasting 4 minutes in length, a minute longer than most of the other tracks. The structure is also different! "Punishment" starts with an Arabic prayer. As a Muslim, I'm quite familiar with that aspect. The bad-a** "Dark Desert" is another great favorite. "The New Battalions" ends it all on a catchy note.

It's not everyday you witness a band that can blend oriental melodies and technical speed together, but it's quite a promising mix. This extreme hypnotic band is overlooked in a world of bands replayed on popular demand. I say the one thing tough about this album is the structure in these short songs. While you get a lot out of them, they really could've had slightly more consistency so they don't sound too similar. If there's one more band of oriental-ish technicality, that would be Born of Osiris. As remarkable as that band is, I can almost say the same about Shokran's debut Supreme Truth, filled with music and vocals from another dimension....

Favorites: "Interlude", "Ghost Ruins", "Charon", "Original Sin", "The Right to Sorrow", "Supreme Truth", "Sands of Time", "Dark Desert"

It's been ages since I've last listened to an album by Arch Enemy, the last new one I've heard being Will to Power. I've still heard a few songs by the band, but never thought about a full return to their material. After hearing some singles from their new album Deceivers, I took some time to decide whether to give this band another chance. And with their upcoming album Blood Dynasty coming out two months after this review, if I want to listen to Deceivers while it's still fresh, it's now or never...

As with many melodeath bands, Arch Enemy is the kind of band that aims for melody and aggression blended together in great balance. They still haven't dropped their melodic side in the guitar leads and keyboard ether. Vocalist Alissa White-Gluz decided to add more clean vocals than ever, reminiscent of her former band The Agonist.

The diverse opening track "Handshake with Hell" has those cleans in best display. The creativity shines greatly from the epic intro to the energetic rest of the song. ''Deceiver, Deceiver'' (Is it a title track when the name is repeated twice in the title?) blasts through heavy Swedish melodeath, the way At the Gates and In Flames kickstarted it in the mid-90s. "In the Eye of the Storm" is a midtempo anthem, like a march into the war. "The Watcher" is a total thrasher.

Things slow down for the sweet highlight "Poisoned Arrow". Then "Sunset over the Empire" starts with audible bass making way for the harsh vocals and riff melodies. There are even some strings and choirs that almost make this a symphonic death metal track. "House of Mirrors" has some amazing Dark Tranquillity-esque melodeath.

"Spreading Black Wings" has some lyrics that aren't totally bad, but they could've been better written, "Do not fear to tread the left-hand path, I am here spreading black wings". The interlude "Morning Star" is a nice break with some guitar talent. Keyboard melancholy covers "One Last Time" while staying heavy in the instrumentation. The closing track "Exile From Earth" is almost as epic as the opener, with the vocals, soloing, and background atmosphere, reaching great dark heights.

I can witness the greatness the band still has after Will to Power. Alongside the melodic guitarwork, the clean vocals and symphonics add a sweet touch. Deceivers shall give them some new fans, though the earlier ones might be thrown off. I look forward to their new album Blood Dynasty and finding out if it works for their 30-year milestone....

Favorites: "Handshake with Hell", "In the Eye of the Storm", "Poisoned Arrow", "Sunset over the Empire", "House of Mirrors", "Exile From Earth"

5 years after my first review for Within Temptation's second album Mother Earth, which I wrote over 5 more years after my first listen, I decided it was time for review attempt #2. Part of the reason for this second attempt was one of my outside-world friends sharing a song from this album. Unfortunately, I don't find this album as perfect as it was 10 years before this new review, mostly because I've grown out of this full-on symphonic metal sound, with other flaws I've just noticed that I'll detail later on...

Mother Earth marked a change from the D-tuned gothic death-doom of Enter. Only the serene vocals of Sharon den Adel remain, with none of the growled vocals by guitarist Robert Westerholt. The music is faster and slightly tuned down to D-flat, and the lyrics are more fantasy-related. And it took two years for this to be the band's breakthrough.

The two popular singles are still some of my favorite Within Temptation songs today, beginning with the epic dreamy opening title track. The other popular single "Ice Queen" is quite catchy, though the title track has a little more magic. Then the album starts to calm down with the pleasant rare-for-me-to-enjoy ballad "Our Farewell". Then we have the equally slow (in a more doomy way) folk-ish highlight "Caged". Both the vocals by Sharon den Adel and the instrumentation are quite diverse. The peaceful calmness are at the right dose here, before it all ends up crashing down later... "The Promise" still reigns at the band's longest song to date at exactly 8 minutes. I used to love that epic, but what do I think of it now? Well, as nice as the strings/guitar harmonies are, the vocals sound too high for my maturing ears and make the song sound longer than it really is.

"Never Ending Story" bores me as a non-metal acoustic folk composition. I prefer the song by Limahl and its cover by Dragonland. I'm quite baffled by this long orchestral intro for "Deceiver of Fools", not sounding like the rest of the song. They should've just embedded it to the previous track. The song itself is a nice symphonic march to break free from the earlier gothic ballad-ish tracks. Again the problem is those d*mn cat-meowing-esque high vocals that don't have as much variation as the highlights. I'm not sure what the point of this ominous next "Intro" track was. I don't even know why that has its own track but the previous song's intro doesn't. It segues to "Dark Wings" which has a little more of the ridiculously high vocals, but that issue is actually brushed aside by some of the best guitarwork here, including a guitar solo by Ayreon mastermind Arjen Lucassen. "In Perfect Harmony" is the worst track saved for last. It's really more of a happy-sappy Disney/Enya track than anything and it made me almost fall asleep.

For this review, I'd like to go through some of the bonus tracks, mostly off the 2022 expanded edition, starting with "World of Make Believe". It's more orchestral with barely any metal, but it's actually one of the best of the bonus tracks. Nothing terrible at all! "Restless" is a single version of a song from the doomy debut Enter. It's still a precious song, but it's the single edit that fades out early, and it's a little unfitting for this album, bonus track or not. "Bittersweet" is that track my outside-world friend shared when he was grieving over his friend ignoring him. As beautiful as it is, it's too Enya-esque for my liking. Sorry, friend... "Jane Doe" was recorded in the Mother Earth sessions but was originally only a bonus track on their next album The Silent Force. Robert Westerholt's growls make a comeback, adding to the song's dark vibe. You know what, scr*w the title track, "Jane Doe" has taken its reign as one of the best songs by Within Temptation.

Mother Earth is suitable for if you're just chilling at your home and looking at a forest on an Autumn night. At least, that's what the album would've been without some of the upbeat highlights like the two opening singles. The way the album has been set up I still recognize as unique in this blend of orchestrations and guitars. But this album would be less boring if a quarter of "The Promise" was trimmed off, "Never Ending Story" and the two-minute intro of "Deceiver of Fools" were replaced with "World of Make Believe", the "Intro" of "Dark Wings" wasn't separated, and "In Perfect Harmony" was replaced with "Jane Doe". Those changes would make this album a better blessing for the Earth....

Favorites: "Mother Earth", "Ice Queen", "Our Farewell", "Caged", "Dark Wings", "World of Make Believe", "Jane Doe"

Why do some of the most loyal members of a band end up being the ones passing away so soon? WHY?!? Bassist Chris Heckel was one of the founding members who stayed with the band until he lost his life to leukemia in 2018. Vocalist Attila Erdélyi was also a founding member, but he left the band in 2016 then died in 2022. I've just discovered this band today as of this review, and his vocals are some of the most distinctive I've heard in the genre. RIP those two fallen members...

The highly underrated cyber metal subgenre is worth good listens on the move, like in a car, train, or plane, when you imagine a more technological future in the outdoor landscape. Cypecore, by name, sounds like a blend of that subgenre and metalcore, but actually those two are more secondary. Melodeath/groove metal reign here!

Not all of it are those genres though, as the "Intro" has an ominous trip-hop-ish vibe that sounds like one of those interludes are the second-to-last track of a Linkin Park album. "Everdying" blasts off with the core-ish melodeath of Dark Tranquillity and Sonic Syndicate. If you're a melodeath fan who enjoys this blend of heaviness and melody, you're gonna enjoy a lot of this album, along with Attila's vocals. Next up, "Mission" continues the crushing glory. The drumming sounds so organic, pounding through alongside the melodic guitar and growling vocals. "...And Death Was Nothing To Him" has more of that awesome writing as heavy verses collide with the melodic chorus. That's the kind of aspect the band can borrow from Dark Tranquillity and other melodeath bands without ripping them off.

That sound continues on in "Final Hour". Same with "Signs", channeling the spirit of Gothenburg metal. Heading into the title track, the heaviness is toned down for beautiful melancholy. Still the chorus is worth screaming along to, with the opportunity to growl from the darkest vocal depths of Hell. The band's core-ish melodeath/groove shines well as being independent allows the band to have a lot of creativity. "Something Inside" turns up the groove, not too far off from Lamb of God. Maybe closer to that downtuned Lamb of God cover project, Drop God. That shows how greatly the NWOAHM can spread into Germany and other European countries.

Then "The Origin of Hate" proves the band's talents with the speedy verses, melodic chorus, and heartful soloing. You can also hear some slight industrial here and there. Also memorable is "Control Yourself" with its cool catchiness. The last full song "Distraction" balances everything smoothly without anything distracting. Finally, an "Outro" appears, sounding similar to the intro, bringing this 12-track (10-song) album to full circle.

Cypecore should be appreciated for their great sound and production. Albums like Innocent should really catch on to a greater population. There's not much bad about this killer album, really. But the intro and outro are both necessary and not....

Favorites: "Everdying", "Mission", "...And Death Was Nothing To Him", "Innocent", "The Origin of Hate", "Control Yourself"

Well, time for me to make another attempt in exploring the war history-themed power metal of Sabaton. The Art of War is Sabaton's 4th album, and the last of an interrupted 4-year streak of albums, although their 3rd album Metalizer was recorded 5 years before its release. It is their 2008 album that has sealed the band's sound main lyrical theme. Aside the usual war lyrics, the music can pack some punches with its riffing, keys, and the unusual-for-power-metal baritone vocals of Joakim Broden.

The album is, as you can guess, based on the Chinese military book written by Sun Tzu. The spoken quotations are taken from an audiobook version read by a female narrator. To be honest though, hearing this album now makes me think the narrator is one of those cheap AI voices, long before that became a thing. That and my withering appeal for power metal makes my rating for this album a little lower than it would've been 10 years ago... But hey, the mid-paced marches and rapid speeders are still interesting, like a nice bridge between Black Sabbath and DragonForce. The fresh vocal melodies are also welcome!

Let's skip the useless "Sun Tzu Says" intro and head to the main attraction... "Ghost Division" is a h*ll of a kick-A opening track, getting the motor running with heavy riffing and dramatic keys. They've used this track as their opening song for almost every concert, unlike most other bands that start with the first track of their newest album, and they made the right choice there. The title track is a slower pounder with catchy keyboards. But then we have the pompous "40:1". It's one of my outside world friend's favorite Sabaton songs, but it's not really for me. Still it's good with its fast speed. The more progressive "Unbreakable" is one of the best songs I've heard by Sabaton, and I still think that today. It's the band's own Black Sabbath "Heaven and Hell"!

"The Nature of Warfare" is another f***ing useless spoken interlude, and the strange keyboards don't help. It segues to another mid-tempo track "Cliffs of Gallipoli" which is quite fun with its bouncy piano and simple chorus. "Talvisota" really speeds up a bit. "Panzerkampf" sounds too much in the chorus though I don't mind the folk-ish approach.

We then end up in the only full song I consider weak as f***, "Union (Slopes of St. Benedict)". It sounds like a heavily butchered cover of DragonForce's "Cry Thunder", 4 years before that far better DragonForce track. "The Price of a Mile" is one more strong mighty mid-tempo march, detailing war's horrors without glorifying it. Anthemic chorus and emotional soloing there! "Firestorm" unleashes the last bit of vicious speed. "A Secret" is a pointless outro, and the "illegal download detected" ending really threw me off.

Honestly, I would've thought The Art of War was the power metal hit album I thought it was 10 years ago, if not for those d*mn quotations, that "Union" sh*tter, and a couple tracks needing slight improvement. Still, most of the full songs here are some of Sabaton's greatest hits, and that should give you your money's worth....

Favorites: "Ghost Division", "Unbreakable", "Cliffs of Gallipoli", "Talvisota", "The Price of a Mile", "Firestorm"

Taking its name from a Who Framed Roger Rabbit-inspired live-action/animated film from 1992, the second album by Chat Pile, Cool World takes through our world's reality of violence and decay. I say the music is cool while the world itself is not. Their noise-ridden sludge/alt-metal sound is something worth listening to, remembering the toxicity of different places while staying safely in your home...

Since 2019, the band consisting of vocalist Raygun Busch, guitarist Luther Manhole, bassist Stin, and drummer Cap'n Ron have taken on a journey full of songs ranging from minimalistic to anthemic. In Cool World, you can hear the noise-ridden sludge/alt-metal in full force with elements of goth and industrial within these grooves.

Opening track "I Am Dog Now" has a brief ambient intro before the crushing riff rolls through as Busch yells the track's title, "I AM DOG NOW!" (I prefer to be a cat, I'm a cat person). There are some Today is the Vibes around here. Busch imagines himself to be an uncaged animal yet having "nowhere to go at all". Then "Shame" shines more interestingly with soft grunge melancholy, as Busch sings "And the world was quaking open, with all our fathers smiling". The bridge contradicts that motive with brutal death growls. Beating through "Frownland" is some groovy industrial bass. "Funny Man" has similar lyrical themes to the previous tracks with lyrics like "the blood of my sons is just a new beginning". It gets close to nu/groove metal territory, maybe even a bit of rap metal, while obviously not going the Limp Bizkit route. "Not evеryone gets to hide."

"Camcorder" sounds a bit out of line and stretchy in this attempt at a 6-minute epic. At least I can give the earth-breaking outro some good points. After that, "Tape" is more gothic-ish in the clean singing while the shouts are never compromised. "The New World" is the track that has everything to expect in an album like this one; beauty and brutality, sounding both accessible and not, all in its f***ing glory. The lyrics are so intriguing despite its bleak darkness, "I couldn't take on the weight of existence, I couldn't watch them execute my friends".

"Masc" heads back into the earlier catchiness. "Milk of Human Kindness" allows you to walk this world that would make you feel confident while losing hope at the same time, and apparently, Busch "screamed about it all night". The last bit of killer destruction appears in "No Way Out", reaching a climatic height as Busch's let out his final cries of "NO ESCAPE! NO WAY OUT!!!"

In a world that was once made for us to live but now has taken a backwards turn in that objective, Chat Pile's shall have listeners' ears opened to its sound and the horrors of the world while turning away from it. Goodbye, cruel world, and hello, Cool World....

Favorites: "I Am Dog Now", "Shame", "Funny Man", "The New World", "No Way Out"

Since 1999, the Project Hate MCMXCIX (formed in my birth year and having its roman numerals in their name) is known for their Swedish death metal sound spiced up with industrial/symphonic elements that have been prominent since the mid-2000s. The project founded by guitarist/bassist Lord K Philipson and vocalist Jörgen Sandström had recently abandoned the more typical song lengths for an aspect that has covered their 2010s albums and beyond; 6 tracks with an average 13 minutes each, almost hitting the 80-minute CD limit. Death Ritual Covenant is a more industrial example of that technique...

Basically their symphonic-infused death metal sound, similar to 2000s Septicflesh, is given a more progressive and industrial treatment. Adding in bits of flamenco and EDM shows that experimental alt-metal bands like Dog Fashion Disco and Twelve Foot Ninja aren't the only bands who can do that. The deathly grandeur is strong within the mechanical riffing and bass by Philipson and the harsh growls by Sandström.

The opening title track provides a great example of that brutal riffing, with the main melody sticking around at the right times from start to finish. Storming on is "The Eating of the Impure Young", a 15-minute death metal epic, apart from adding in some strange dubstep in the middle. Strange but quite welcome!

"Legions" seems to take on the dramatic deathcore of Whitechapel and Winds of Plague but without much of the "core". There are also some guest vocals by Darkane vocalist Lawrence Mackrory. Deathly power shines in "Through Fire There is Cleansing" with more of Philipson's guitar weaponry. Johan Hegg of Amon Amarth also guest appears in this track, along with track 2 and this next track...

"Inferno" is shorter than the other tracks in the album, with a length of 10 and a half minutes ago. It's like the progressive death metal of the first two Extol albums with pieces of Amaranthe and Dir En Grey. "Solemn" is the epic finale, having the melancholic melodeath of Omnium Gatherum while still covered in electro-industrial beauty.

Making an album filled with long epics can be risky, especially when they had to add so many ideas and make sure the 80-minute CD limit isn't surpassed. However, it has mostly paid off, as the charm is never lost. Death Ritual Covenant is a solid album up for an adventure of adventures. It might get a little tiring, but you just gotta appreciate this band's determination to explore with barely any limits....

Favorites: "The Eating of the Impure Young", "Through Fire There is Cleansing", "Solemn"

As the thrash metal scene was making its way into Denmark, Artillery was the band making the genre big over there. Whereas on the heavier end of the thrash spectrum, Invocator take on the technical thrash sound of Coroner, Dark Angel, and Sadus with speed and brutality. And you might know a couple of the band members from their later careers; Per M. Jensen as a former drummer of The Haunted and vocalist/bassist Jacob Hansen as one of the most prolific record producers in metal!

The heavy side of the band comes from the speed/death metal elements, and in their debut Excursion Demise, many tracks are a fast blizzard with some slight mid-tempo groove. With all that in mind, Invocator knew how to add variety to their speed so that their listeners can breathe.

The opening title track is the greatest place to start with fantastic riffing. The perfect beginning highlight! The eerie acoustic instrumental "To a Twisted Recess of Mind" follows with some nice bass, as a much needed break within the intensity. It makes way for the furious "Forsaken Ones". Then "The Persistence from Memorial Chasm" is another banger in which speed and heaviness continue to persist.

While maintaining some of their hyperspeed, the more complex "Absurd Temptation" starts off slow, again showing their diverse structure. I wouldn't consider "Schismatic Injective Therapy" a total failure, because of its brilliant heavy speedy sections here and there, yet it's a bit draggy and could've been trimmed down. I mean, I like long songs, but there should be more dynamics than just solo noodling. And I know how that kind of thing is done, just listen to DragonForce. The soloing should've been more melodic rather than just fiddling with the notes, and it should balance out with the riffing. Shining better is "Occurrence Concealed" with great audible bass by Hansen.

I love the speedy riffing in "Beyond Insufferable Dormancy" that makes this track another sweet highlight. "Inner Contrarieties" is shorter but adding more progressiveness to their rapid technical thrash, similar to Meshuggah's debut Contradictions Collapse from that year. The CD edition comes with a bonus track, "Alterations". It is perhaps one of the fastest tracks in technical thrash, pretty much catching up with the frenzy of early Atheist and Believer. I feel sorry for those who have the vinyl version without that track.

All in all, Excursion Demise is a solid debut by this Danish band for all thrash fans. It probably could've been perfect if the two long tracks in the middle could have some slight improvement. Still this is top-notch tech-thrash before its 90s near-extinction and something an extreme metal fan should never miss out on!

Favorites: "Excursion Demise", "The Persistence from Memorial Chasm", "Occurrence Concealed", "Beyond Insufferable Dormancy", "Alterations"

Before their 2024 album, A Wake in Providence was known as the band Will Ramos was in before joining Lorna Shore. Both bands toured with each other when Will was still with the former. They both released an album in October 2022, and it's obvious which one shook the world. A Wake in Providence thought they would try to up their game with something more epic and operatic.

Well I wouldn't say A Wake in Providence is that competitive, yet it really seems like these symphonic blackened deathcore Staten Islanders are trying to level themselves up in their 14-year career. The band consisting of vocalist Adam Mercer, guitarists D’Andre Tyre (also doing clean vocals and orchestrations) and Jorden Felion, and drummer Jesse Mcenneny thought they would make a more bombastic follow-up to 2022's Eternity for greater success. And yes, there's a lot of the fire and fury of Lorna Shore and Chelsea Grin, but is it as perfect as Pain Remains? Let's find out...

"The Maddening" begins with epic cinematic orchestra that then bursts open the deathcore gates, as Adam's demonic growls greatly contrast with D'Andre's cleans, just like how the brutal guitars collide with those orchestrations. "Mournful Benediction" keeps up the perfect balance this band has between melody and heaviness. Drum blasts, symphonic keys, and a guest vocal appearance by Shadow of Intent's Ben Duerr make the song guaranteed to be an eternal epic deathcore hit. "Agony, My Familiar" is a spooky piano/strings interlude. It segues to the head-ripping "Agonofinis", another blackened deathcore storm as the crushing riffs and blasting drums continue shooting through the ears of all who's listening.

"And Through the Fog She Spoke" will stun you through more of this epic clean/harsh structure. "In Whispers" makes the deathcore much more grim than it already is, once again mastering the orchestrations and drums. Then we have an epic deathcore hymn in the title track, perfect fitting Adam's vicious growls together with the overall sound.

As compelling as "The Unbound", unfortunately it ends up sounding a bit generic and pompous, already leaving me head-scratching by the end of it. The vicious "Pareidolia" again has insane drumming and vocals, though at this point, they've gotten a little stale. It's not until the final track "I, The Mournful", when the blend of brutality and melody reaches its much needed climax. Demonic vocals, guitars, bass, and drums connect with orchestrations and clean/soprano vocals for practically "In a Sea of Fire 2.0"!

Deathcore combined with symphonic black metal elements is something that certainly won't be dying out too soon. I Write To You, My Darling Decay shows A Wake in Providence sounding extreme and metallic while at the same time sounding melodic and orchestral. It's all good, though I think it would be a lot better if they could've dialed back some of the pompous orchestrations in a few songs and give a couple tracks towards the end greater improvement. Nonetheless, deathcore is becoming darker and more demented, and metal instrumentation isn't the only thing needed for that evolution....

Favorites: "The Maddening", "Mournful Benediction", "And Through the Fog She Spoke", "I Write To You, My Darling Decay", "I, The Mournful"

I think I just found what I can consider the best album of 2014. Candlelight-signed British extreme symphonic progressive metallers Xerath released their third album (and last before their 7-year split) titled, you guessed it, III. This immersive masterpiece has revolutionized modern progressive metal, just like their first two albums have, but with more intriguing ideas in their inventory. This is true blazing epic extreme metal right here!

Xerath III has production magic from well-known Mercenary/Volbeat producer Jacob Hansen. His golden touch has helped with the perfection of this blend of orchestral drama and metal structures, creating something so unique and apocalyptic.

"I Hold Dominion" has all of those aspects to open the album in epic majesty. Next track "2053" has more melodic arrangement. "I Hunt for the Weak" shows the fascinating talent of vocalist Richard Thomson, with his black metal-ish shrieks and operatic cleans making this track come out like an epic progressive take on both Children of Bodom and Soilwork. The incredible shredding by guitarist Conor McGouran has such diverse technicality. The storm rages on "Autonomous" while having symphonic magic.

Tightening up with some groove is the heavy "Bleed This Body Clean" while having faith in their experimental ways. "Death Defiant" continues bringing that strong riffing further in conjunction with the symphonic progressive drama. One of the more unpredictable tracks is "Sentinels", all the way up to the wonderful solo towards the end. Then they push things higher up in the chaotic "Passenger". With the more futuristic cyber effects, that's the closest Xerath can ever get to sounding like Mechina. It is followed by the maniacal "Ironclad" with mesmerizing riffing and ambience.

"Demigod Doctrine" has lots of different textures, and the vocals ranging from screaming to singing are almost as impressive as Devin Townsend. "The Chaos Reign" has slight repetition in the riffing during the intro. Fortunately, we have more of the instrumental power. The chorus has some of the best cleans. "Witness" is more aggressive with a huge amount of screamed vocals. That's quite interesting, though not as much as the audible bass in the intro. The two-part 10-minute final epic "Veil" begins with the slow steady "Part I", as the band members unite in perfect synergy. Holding on to the epic intensity once more, "Part II" makes one final move at combining film score-style orchestra with metal, and it pays off, adding beautiful harmony to this apocalyptic chaos.

13 actual songs (or 14 tracks) and a time length of 66:06 may be an unlucky omen, but for me, I'm lucky to find an exceptional masterpiece from this band. I gotta go find a crown, because this album might just give Xerath the honor of being Mr. Epic Extreme Metal Universe 2014!

Favorites: "I Hold Dominion", "I Hunt for the Weak", "Death Defiant", "Sentinels", "Demigod Doctrine", "The Chaos Reign", "Veil" (both parts)

If Xerath stayed active after their trio of albums, they would probably reign alongside Mechina as the masters of symphonic progressive extreme metal. Still I'm grateful about how things have turned out in reality. There are barely any issues with the band's material, when everything is in a great balance. But before we can get to their highest point, we still have their second album, Xerath II!

Xerath is one of the more underrated bands in the league of Meshuggah copycats, but what makes them underrated in their ability to evolve into more than just that. This album is similar to Xerath I, while having some different tricks up their sleeves.

Kicking things off is the powerful standout "Unite to Defy". Then we have another good song, "God of the Frontlines", with vicious screaming. The orchestra seems to have stepped back for the riffing to be heard more easily. "Reform Part III" is another supreme highlight, continue the debut's "Reform" suite and leveling up the djent sound. Then "The Call to Arms" takes on the operatic storytelling of Black Veil Brides and early Crown the Empire for Xerath's own usual style.

There's some slight inconsistency in "Machine Insurgency", yet it's still great. Next up, "Sworn to Sacrifice" cranks up the speed, heading into progressive black metal territory. Sounds killer! "Enemy Incited Armageddon" sounds cool in the instrumentation and length, but the vocals sound a little hollow.

"Nuclear Self Eradication" isn't too impressive, though I can enjoy the guitarwork, including the mystical soloing. Sounding like a symphonic blend of Meshuggah and Opeth is "Numbered Among the Dead", with more of this artful soloing. "The Glorious Death" is a true epic, making glorious use of symphonics and choirs. It might just be one of the most expansive tracks is metal or any other genre!

Just like Mechina, a lot more people need to get into Xerath and its concept within the music and lyrics. As someone who's been into metal for nearly half of my life, as well as a bit of epic orchestral music like Two Steps From Hell, I can appreciate the excellent variation here, and my enjoyment won't fade away anytime soon!

Favorites: "Unite to Defy", "Reform Part III", "Sworn to Sacrifice", "Numbered Among the Dead", "The Glorious Death"

It was only around the time Xerath reformed a year before this review when I started listening to this band. Since the beginning, they've been signed to Candlelight Records and have unleashed their epic extreme sound to the world. Their debut was released in 2009, and it never disappoints!

Film score-style orchestra is mixed with Meshuggah-infused djenty grooves without sounding so forced. Kinda like Mechina without the futuristic cyber metal. The relentless heaviness of the guitars punches its way through the orchestral grandeur of choirs and strings. As a result, we something so brutal and glorious at the same time. The djenty machinery is just part of a greater soundscape of textures.

One of the best album openers is "Intrenity" in which emotional strings lead into intense riffing crashing in, showing a sign of what's to come. "Alterra" has some strong groove that might remind some more of Pantera. Another highlight "Nocturnum" has a lovely acoustic bridge with female siren-like singing throughout the second half.

The only track that slightly bothers me is "Consequences" which is fine but needs an extra kick. The orchestral "Interlude" has nice melody. And there's more melody in "False History", even in that djenty riffing. It also has a mighty chorus and soloing.

The riffing in "Abiogenesis" is as destructive as an earthquake, while the orchestral side stands in triumph. "Reform" is an 8-minute epic split into two parts. I don't have any word to describe this epic other than massive. Maybe even supermassive, or monolithic. Another one of the most f***ing epic tracks here is "Right to Exist". There's more variation in the riffing, and the cinematic symphonics that often take the front stage never sound weak at all.

All in all, Xerath I is an amazing album. This is pure greatness in the epic extreme metal realms. The band would make two more albums before their 7-year split, and I'm more motivated to check them out, thanks to this album's vengeance and grace!

Favorites: "Intrenity", "Nocturnum", "False History", "Reform" (both parts), "Right to Exist"

Anywhere in the darkest depths of the universe lies a massive vortex of terror and doom. Nothing close to it can escape, and it can even engulf light. It can pull things apart and stretch them thin until they break and scatter particles all around. And when it's all over, the dark void remains. If an offering of progressive death-doom can really work as a soundtrack to this bleak deadly phenomenon, this band knows how to do it right. Welcome...to the Black Hole District!

Two years after their previous album Kosmodrom, this Paris-based doom band, founded by guitarist Sylvain Bégot as a side-project to the defunct Anthemon, released a new album via Hammerheart Records. Black Hole District alternates between one-minute intros and EXACTLY 10-minute epics (a similar aspect to Neurotech's Symphonies II).

In atmospheric mist stands "They Wake Up at Dusk", a soothing intro. "Sentience Amidst the Lights" begins this dark heavy experience, guiding you with spoken vocals before descending into slow rhythms, melodic leads, and vocals ranging from growls to cleans. Next interlude "Elusive Whispers" has melancholic ambient keys. Adding some gentle touches is "To Wander the Labyrinth", then heavy riffs and rhythms touch down alongside the growling delivery, while balanced out with clean harmonies.

The energy is never lost, even when interlude "Suspicion" only consists of spoken vocals over ambience. "Unveiling the Illusion" unleashes guitar aggression in contrast with the string tranquility. Truly one of the greatest standouts here! Calming things down is interlude "Benefit or Hazard", though not without some anxiety-inducing suspense.

"On the Run to Nowhere" is filled with gothic harmony and interesting progressiveness for the more adventurous metalheads' pleasure. One more interlude "Moonfall" opens the entryway to the darkest part of the void. "Those Moments Lost in Time" is the perfect climax of slow doom, as growls and cleans battle it out once more. Sometimes it speeds up slightly while keeping the slow pace. And in the end, all fades away as you hear the spoken voice for the last time.

Black Hole District is for those who want to end the year in the darkest, most melancholic way possible. Sometimes, progressive death-doom can be so intriguing, and just like a black hole, it can grasp every soul it can find. Even the brightest soul!

Favorites: All 5, but the best of them are "Sentience Amidst the Lights", "Unveiling the Illusion", "Those Moments Lost in Time"

The 80s thrash tsunami occurred mostly in the US, the UK, and Germany, but one band from Brazil has propelled that country into the scene. Sepultura brought Brazilian thrash metal forward with albums Beneath the Remains and Arise. Though longtime thrash fans were turned off by their switch to groove metal in Chaos A.D. and the more Korn-ish nu metal of Roots. After that, frontman Max Cavalera quit the band, followed by his brother drummer Igor a decade later. The band has continued to stay active, all the way up to this year (as of my review), when they started a farewell tour that will last until 2026. I actually hadn't experienced an entire Sepultura album, not even during my ultimate Pit test a couple years earlier, until now. Although it's unusual to start with the band's possible final album before retiring, let's hear what they got in Quadra!

More often than not, when a thrash band tries to relive their 80s era of destruction and mayhem, it doesn't reach the same glory as that era. However, the thrash sound in this album has been given more modern depth, and whether or not you've only heard one of Max Cavalera's other projects like Nailbomb or Soulfly beforehand, you can't resist the tribal heaviness of this band now led by top-notch vocalist Derrick Green. Bassist Paulo Jr. and guitarist Andreas Kisser have kept the band going throughout their history, heating things up with the riffing and shredding. And we have the rocket-powered drumming of Eloy Casagrande, who didn't stick around for the farewell tour. Quadra is an album of 4 different 3-track sections that practically pay tribute to their different eras. I'll name them after 4 of the classical elements; the "Thrash Fire", the "Groove Earth", the "Progressive Water", and the "Melodic Air".

The "Thrash Fire" section kicks off with the blazing epic opening track "Isolation", where an orchestral march leads into high-speed chaos. "Means to an End" blasts through with the thrash/groove metal of The Haunted, though the verses remind me of the heavier tracks by Demon Hunter. "Last Time" is filled with relentless shredding.

The "Groove Earth" section starts with "Capital Environment" which can go progressive and deathly without going far into the stylistic territory of, say, Job for a Cowboy. More groove-ish riffing can be found in "Ali". That, along with marching beats and bellowed vocals, brushes aside the shredding leads without losing too much melody. Stomping in again with that groove is "Raging Void", with lots of mid-tempo rage and none of the nu metal tomfoolery.

The "Progressive Water" section begins with "Guardians of Earth", as orchestral/choral sounds rise just like in the opening tracks of the first two sections, evolving into an epic progressive groove/thrash fest. It's only surpassed by the progressive thrash instrumental "The Pentagram", one h*ll of a journey that can be considered the Quadra Crusade. "Autem" is once again as progressive as Waltari, though sometimes it has the more melodic yet deathly verses of Mercenary. The other two tracks in this section still reign in the progressive throne though.

The "Melodic Air" section is introduced with the acoustic title instrumental. The rest of this section has two melodic heavy metal/hard rock tracks that are so unlike the other 3 sections. "Agony of Defeat" is a soft while still heavy power ballad, like a metallic Led Zeppelin. Far From Alaska vocalist Emmily Barreto guest appears in the "Fear, Pain, Chaos, Suffering", though her vocals don't really sound powerful compared to Derrick Green. The song is a bit underwhelming, and I prefer the other track in that section.

Sepultura's career has made it up to album #15 with Quadra. Anyone who has enjoyed Sepultura since before their move out of thrash 30 years ago will find something to love, and those who came here for progressive energy and/or earthly groove will be in luck. This blend of thrash and groove is similar to Slayer's final album Repentless, only lightyears better and more progressive. I think Quadra can win back earlier Sepultura fans while also bring newcomers who have spent time with music from bands like Machine Head and Gojira. The possible final offering from these Brazilian thrash masters shall be worth it for any metalhead!

Favorites: "Isolation", "Means to an End", "Raging Void", "Guardians of Earth", "The Pentagram", "Agony of Defeat"

The talented Novembre know how to please their longtime listeners. Their 1994 debut Wish I Could Dream It Again suffered from poor production and execution and ended up out of print. One year after their 4th album Novembrine Waltz, the band decided to re-record their debut with a new name, Dreams d'Azur. Now this is a much better take on that album! One that has kept those earlier listeners in joy until the band's next album Materia 4 years later...

So what are the differences between this album and the original debut, apart from the more obvious facts? There's more unique atmosphere to let the different parts really shine, whether it's the extreme heaviness in the drums, guitars, and growls, or the smooth melody from the acoustics, keyboards, and cleans that are greatly improved compared to the debut. The structures greatly set up the bridge between extreme and melancholic. There's great flow with some slight choppiness. Beautiful dreamy lyrics cover all the songs, with one of them written in Italian.

Still reigning as one of my favorites is "The Dream of the Old Boats". Ambient keys and guitars roll into drums and vocals that become more climatic in every minute. Perfect! "Novembre" can be considered the band's theme song, not just in the name but also when it shows you all the band really has. The soft long part heads straight into extreme growling and drumming speed. "Nottetempo" sounds close to mid-90s The Gathering instrumentally. Then we have some black metal rage in "Let Me Hate".

Then we have the filthy yet gothic "Sirens in Filth" that gradually grows just like in some of the earlier tracks. I love "Swim Seagull in the Sky" in both the debut and this re-recording, though the version in the latter has more power. The two-minute ending still rules with all of its f***ing glory. "The Music" continues to shine after being revamped. Calm keyboards make way for upbeat riffing melodies and better-flowing clean singing. Soon the drums and guitars jackhammer through alongside growls in heavier parts. "Marea" is a 3-part 12-minute epic that actually combines two tracks originally in the debut. Calm acoustics aside, it's a vast improvement and another awesome track here!

"Old Lighthouse Tale" is fast and extreme while having slight doom. "The White Eyed" is another solid track to love. "Neanderthal Sands" has some slow sinister melody. And some people thought they could only get sinister vibes from fast deathly thrash bands like Demolition Hammer. "Christal" ends the album with soft gothic ambience, like you have just woken up from a dream.

Dreams d'Azur truly is a stronger revamp of Wish I Could Dream It Again, and you can practically all the different styles in the late 90s eras of Opeth and Katatonia. Any fan of those bands should add this album to their collection. The progressive/gothic/black metal dream is real....

Favorites: "The Dream of the Old Boats", "Novembre", "Swim Seagull in the Sky", "The Music", "Marea", "The White Eyed"

I've listened to Novembre for a couple months then turned away from this band. Their 1994 debut is probably why. Re-recorded in 2002 under the name Dreams D’Azur, Wish I Could Dream It Again was produced with prolific Edge of Sanity frontman Dan Swanö, and what do we get?... F***ing poor production and execution, that's what.

Now I have heard early Ulver before via one of their black metal albums a year before this review, so I know lo-fi production when I hear it. But this sh*t makes Nattens Madrigal sounds clean in comparison. While it has some nostalgic vibes, it sounds more like a dream than reality, and I don't mean it in a good way. The instrumentation not having enough emotion does not help with the low mix. The harsh vocals sound a little too breathless, but they aren't as bad as the g****mn awful singing.

Not everything has gone down to sh*t though, as we still have some killer tracks with a stable formula, starting with "The Dream of the Old Boats". 5 tracks later, "Swim Seagull in the Sky" starts with a keyboard intro that's more depressing than depressive, but when the guitars roll in, they actually sound more powerful than the monotone that has dragged through most of the other tracks, though the soloing still slightly annoys me. The two-minute ending is perhaps the best moment of this ill-fated album, with all of its f***ing glory. "The Music" is also filled with nice music.

So yeah, that's pretty much all the highlights there. Really. The heavier black metal sections sound too dirty, the cleaner parts are too weak, and... F*** the more acoustic tracks. The album is passible while not really worth returning to at all. If you're looking for other albums of progressive/gothic/black metal, there are way better ones out there. And this was the same band who would make what I thought was a masterpiece in Arte Novecento a couple years later....

Favorites (only ones I like): "The Dream of the Old Boats", "Swim Seagull in the Sky", "The Music"

In 2013, one year after this release came out, Sybreed vocalist Benjamin Nominet called it quits before they were supposed to tour with Soilwork. The band had to cancel the tour, and instead of trying to find a new vocalist, they gave up and disbanded. An unfortunate temporary end to this leading band of industrial/cyber metal...

Sybreed was formed in 2003 in Switzerland, a country in Europe surrounded by other countries like Germany, France, and Italy, and sharing the same languages as those countries. This band blends industrial metal with elements of other styles including the groove metal of Devildriver, the djent of Meshuggah, and even a dash of black metal. Their 4th album God is an Automaton was one last trip through this experimental cyber dimension.

Drum roll please, literally, for "Posthuman Manifesto", with a slow buildup into a great riff groove. It is then twisted into the usual blend of drums, synths, and clean/unclean vocals. There's also a clean bridge to get you geared up for the clean final chorus. And if that first song doesn't refresh you enough, "No Wisdom Brings Solace" certainly will, starting with the usual groove-ish industrial metal. Electronics and distorted cleans soar through the verses. Any open-minded listener can appreciate this bridge between industrial and groove. The album starts really hitting highlight status in "The Line of Least Resistance". Holy f***, this cyber metal sound is just too good not to listen! "Red Nova Ignition" has more of that groove-ish industrial metal and the addition of electronics and singing. The riffs, blasts, and time signature changes rule in that one!

The well-composed title track includes colorful soloing. Guitar solos were rare for the band up to that point. The intro and the midsection of "Hightech Versus Lowlife" sound so brutal as part of the cyber/industrial metal greatness. "Downfall Inc." does not have the variation I expect from this band. It's quite a drop in quality compared to the previous track, and the weakest one they've ever done. Disposing of some of that weakness is the catchy mainstream-ish "Challenger", which is heavier while throwing in some keyboards, a balance mastered in Antares. Nominet's vocals sound the best here, with somber cleans going well with his raging growls. So unique!

"A Radiant Daybreak" starts with sludge-ish groove in the riffing and blazing drumming. The mix of heavy riffing and clean singing really adds to the originality. "Into the Blackest Light" is another heavy banger going f***ing hard especially in the midsection breakdown. The 10-minute finale "Destruction and Bliss" is the best track here. It starts djenty as heavy rhythms fill the atmosphere. The best part is the kick-A solo by Travis Montgomery of Threat Signal. The perfect farewell from Sybreed!

One other minor issue to note for this album is the lack of audible bass. Brushing that aside, this revolutionary band made their last attack. They've recently returned with a Slave Design remaster and a new track, but if they can make more than just that, and return to performing live, that's what the cyber metal realm really needs.....

Favorites: "The Line of Least Resistance", "Red Nova Ignition", "Hightech Versus Lowlife", "Challenger", "Into the Blackest Light", "Destruction and Bliss"

Sybreed has proven their worth in the heavily underrated cyber/industrial metal scene with their perfect one-two punch of Slave Design and Antares. Despite staying in the underground, they've had some of the more popular industrial/metal people working with them, such as Dirk Verbeuren (Soilwork) on drums in Antares, and Rhys Fulber (Fear Factory, Front Line Assembly) producing this album, The Pulse of Awakening!

With Fulber on board, Sybreed has maintained their sound while taking it to different horizons. And it seems like a lot of the Fear Factory influence is showing here, maybe even a bit of the djent of Meshuggah. Also the album title was inspired by Ergo Proxy.

We get the first taste of their usual sound in this album with "Nomenklatura", which is quite an amazing track to start with. Though not as much as "A.E.O.N." with incredible cyber-industrial metal genius talent! The synth-ambience really adds some that cyber effect. "Doomsday Party" is quite fun. Not as fun as that DragonForce track from 15 years later, but here, Sybreed have their own way of channeling 80s pop with its catchy chorus while staying metal. This more lively sound was first hinted in Antares, and it sounds like the coldness of Slave Design has been left behind. One track that I consider almost out of shape is "Human Black Box". As great as it is, the vocal distortion is a little too much and mechanical in an attempt to use a vocoder similar to Cynic.

Then there's the good "Killjoy", though far from great. After that, I'm reminded how excellent this album is with the aggressive violent "I Am Ultraviolence", with an explosion of heaviness to make up for those previous two slightly out-of-place tracks. The extreme strength of Strapping Young Lad being added here makes a lot more sense. The chaos is broken up by "Electronegative". The metal riffing over synth pulses should please anyone who likes industrial/cyber metal. For the next track, "In the Cold Light", who knew a depressive power ballad can fit so f***ing well in this genre? It's suitable for suffering in the despair of the bleak pandemic. The heavy final minute is so beautiful.

The more extreme influences shine again in "Lucifer Effect". It gets close to symphonic black metal, to remind some of Dimmu Borgir and Shade Empire. I love their cover of "Love Like Blood" by Killing Joke from that band's early new-wave era, with its cold feeling. The emotion can be expressed through the instrumentation more than the original vocals. The synth sounds mixed with booming guitars can blow you away more than Nine Inch Nails would ever. I like when covers stick to their band's usual style instead of just blindly following the original artist's footsteps, that's kind of the whole point of covers, I think... Props to this band for greatly standing by that rule! "Meridian A.D." has some great guitar grooves and vocals in the chorus. A bonus track before the finale is "Flesh Doll for Sale", which I like for its In Flames-ish sound. The 9-minute closing epic aspects continues in "From Zero to Nothing", sounding a bit like Tiamat's Skeleton Skeletron. In many editions, it ends with 10 minutes of ambience that I can do without.

It took a couple years for several of Sybreed's songs to grow on me, ever since I first discovered them via their Killing Joke cover, and after that, The Pulse of Awakening grew instantly to greatness. Still it can't beat the perfect starting duo. With all that, I'm prepared to take on their next album, their final one before their split. Awaken the machine!

Favorites: "A.E.O.N.", "Doomsday Party", "I Am Ultraviolence", "In the Cold Light", "Lucifer Effect", "Love Like Blood", "Flesh Doll for Sale"

Can you feel the emotion that comes from not just someone but something? Even the art that comes from music made by a band, as well as a successful film. It's essential for anyone with artistic and creative ability to give their work the emotion it needs, and there's a lot of it in this impressive work of art!

Sybreed is a groove-ish industrial/cyber metal band from Switzerland, formed out of the ashes of Rain (those last 6 words can make a good song title). They're so underrated yet painfully overlooked, staying strong for 4 albums until their unfortunate split-up. Antares is their second album, and it's as incredible as their debut Slave Design. It took a couple years for several Sybreed songs to stick in my mind, and when they did recently, albums like this one had left an remarkable impact in my ongoing metal journey.

The starting track "Emma-0" has beats and synths rising from the distorted background before unleashing sinister guitar riffing. Vocalist Benjamin Nominét screams his heart out against life struggles mutilating and hurting him. Soilwork drummer Dirk Verbeuren stops by to deliver some powerful drumming, shining in the progressive "Ego Bypass Generator". I love the amazing "Revive My Wounds". The beat here is so d*mn good. "Isolate" is an epic ballad-ish track to tone down some of the relentless chaos of the other tracks. A bit isolated, while still awesome!

Then we have more of the flaming blasts in the dynamic "Dynamic". Then "Neurodrive" rolls through excellent guitar rhythms and some of the best vocals by Benjamin. That might have leave a huge influential mark on Neurotech, and is one of my favorite tracks here. "Ex-Inferis" is a two-minute interlude that would fit well in a video game. Well now that I think about it, a Sybreed song ending up on the radio or a movie/video game soundtrack would be interesting. Think HALO or Red Alert.

"Permafrost" has more of the riffing soaring through. The vocals end up sounding more spoken in "Orbital" which nicely adds some variation to Benjamin's distorted vocals as he continues to sing about a dark future. "Twelve Megatons Gravity" is a prime example of aggressive deathly electro-industrial metal. It is one of the most rage-filled songs I've heard in the genre that barely any other bands can reach. The closing track "Ethernity" is a polar opposite of that, an ethereal tranquil 9-minute epic. A couple bonus tracks are around in different editions, including the more technological "Technocracy" and the more in-line-with-their-usual-material "Plasmaterial".

Whether or not you're into modern industrial/cyber metal, you can't go your entire lifetime without hearing this legendary offering. It's a shame that not a lot of music listeners have come across such a masterpiece. This underrated band needs more well-deserved attention, d*mn it!

Favorites: "Emma-0", "Revive My Wounds", "Isolate", "Neurodrive", "Twelve Megatons Gravity", "Ethernity", "Plasmaterial"

Shadow of Intent made a couple albums based on their favorite video game franchise Halo. After that, with another new lineup, Ben Duerr and Chris Wiseman have made a separate concept album about mass suicides at the hands of a demonic goddess. So dark, so depressing, yet... so intriguing!

Until at least 5 years ago, I was never really into deathcore. At first I thought it was like standard death metal with metalcore breakdowns. The kind of deathcore I prefer is when the genre goes progressive and symphonic. I only just discovered this band a couple years ago, and eventually it has managed to grow on me. Whether or not you have heard this band before, this symphonic melodic deathcore offering will impress the sh*t out of you and get you headbanging throughout these 52 minutes of darkness.

The title opener shall already get you hooked in the first minute, as epic strings rise into metal heaviness to begin this stylistic journey. The melody is so addictive in this, you guessed it, melancholic might. And more of this heavy speed awaits as the album progresses. The beastly "Gravesinger" is a true highlight. Seems like Shadow of Intent took Betraying the Martyrs' earlier sound to a much darker level alongside some classical elements of Bach and Beethoven mixed with some of the most brutal metal subgenres out there. This might also include some Dimmu Borgir-like symphonic black metal in the middle. And the outro with neoclassical soloing before a symphonic closure is just EPIC. The Trevor Strnad (The Black Dahlia Murder)-featured "Barren and Breathless Macrocosm" practically surpasses the previous track. Insane drumming and vocals here! The riffing reminds of early Whitechapel, especially during the cinematic ending. RIP Trevor... "Underneath A Sullen Moon" was the first single to drop, a year before the rest of the album. The Dimmu Borgir influences are taken further while throwing back to the technicality of Primordial. So dark and crushing!

Then we have the brooding "Oudenophobia". And after that, "Embracing Nocturnal Damnation". 3 dark 9-letter words that fit so well together. Just like how the sounds of Eternal Tears of Sorrow, Fleshgod Apocalypse, and The Browning (without the electronic elements) all fit together like a glove in this track. When you have songs like "Dirge of the Void" that blast through in a short 3 minutes, there's no way you'll ever be consumed by boredom. As always, the harsh vocals by Ben Duerr and the clean vocals of Chris Wiseman duel with each other at ease. Chris' cleanly sung chorus totally brush aside his atrocious attempt at that in the Primordial album.

"Chthonic Odyssey" spices up the band's symphonic melodic deathcore sound with the blackened elements of Chthonic and a bit of djent from Tesseract. "The Dreaded Mystic Abyss" is a long instrumental epic, a mind-blowing monster that has hit me the hardest in my over a decade of listening to metal. I guess this could be what the DOOM soundtrack would sound like if Angel Vivaldi teamed up with Mick Gordon. 10 minutes of atmospheric, epic, and brutal genius! The album doesn't end there though, making way for one more track, "Malediction". It is a monumental gem, one of the best I've heard from this band and genre. I really am torn between whether this is the perfect ending for the album or that long instrumental epic.

Throughout the past 5 years before this review, albums like Make Them Suffer's Neverbloom and Lorna Shore's Pain Remains have been my go-to albums for symphonic deathcore. In comes Shadow of Intent's Melancholy, an epic riff-tastic melodic deathcore album to please any metalhead. I just found a new best album of 2019!

Favorites: "Gravesinger", "Barren and Breathless Macrocosm", "Dirge of the Void", "The Dreaded Mystic Abyss", "Malediction"

Like fire rising from the abyss, metal can ascend from the underground and burn into the ears and minds of listeners. This is especially true for deathcore, despite all the hate the genre has received. I suppose that was around the time when deathcore bands that were active for a decade like Whitechapel were attempting to make their sound more commercial, and the outcome for fans was "What the f***ing h*ll was that?!?" Shadow of Intent, on the other hand, made the genre more interesting with their symphonic technical melodic deathcore style, starting with their solid debut Primordial. This interstellar sound is slowly rising further in Reclaimer, to brutalize the cosmos!

It seems like this band is taking the place of Winds of Plague who was fading out of activity, apart from that band's latest album Blood of My Enemy later that year. What's different is, Shadow of Intent have made the sound more melodic and technical, the latter aspect reminding some of The Faceless (also releasing their latest album that year). Alongside those more melodic moments, we also have the neoclassical brutality of Fleshgod Apocalypse. Just like that band, thrashing blasts and diverse harsh vocals collide with film-score orchestra. And what else do we have in this epic extreme extravaganza? The guitarwork of course! The technicality comes from not just the deathly riffing but also the neoclassical shredding that would make Yngwie Malmsteen proud.

"We Descend..." is the intro and the first track by the band to not start with the word "the". I didn't think this would be the missing spark needed to get me fully interested in the band via a Revolution playlist, but that was the case there. The first 20 seconds consists of beautiful melancholic piano, then the heaviness builds up, reaching it's high point in the breakdown for the last 30 seconds. This is two minutes of my life I wanna repeat! How the f*** have I missed this in my life?! It is followed by the first full song "The Return" in which technical deathcore practically combines with the symphonic power metal guitarwork of Symphony X and Iced Earth. If the clean vocals were higher and more operatic, the band would've beaten Dragoncorpse in that game. Plus there's some medieval harpsichord! Now there's still the more extreme side of the spectrum with the brutal breakdown and the blackened death growls. It's amazing that the vocalist Ben Duerr would still have that power in their next album. "The Horror Within" is a brutal blend of Impending Doom, Pestilence, and the symphonics of Ice Nine Kills. There's even a paraphrased quote from a Spongebob Squarepants episode in the lyrics, "The inner machinations of their minds are an enigma". Next track "The Catacombs" is the first track here with guest vocalists; Jason Evans (Ingested) and Dickie Allen (Infant Annihilator, Nekrogoblikon). Evan's vocals make things as brutal as Pathology in the heavy guitar grooves, while the symphonics still drift by.

"The Mad Tyrant's Betrayal" has some of the melody of Attack Attack! and Phinehas, particularly in the clean singing sections (far better than that one song in Primordial), while staying deathly as ever. The vocals in "The Gathering of All" end up going as intense as deathgrind when Slaughter to Prevail vocalist Alex Terrible steps in, though the speedy riffing is more reminiscent of The Black Dahlia Murder. "The Heretic Prevails" really prevails with this 3-way intersection between Fleshgod Apocalypse, Carnifex, and even the progressiveness of Protest the Hero. Tom Barber, who was at the time still with Lorna Shore and not joining Chelsea Grin until the following year, screams his way through "The Prophet's Beckoning". The melodic guitars and cleans stir up similar vibes to In Mourning and The Gallery-era Dark Tranquillity. Y'know, this isn't the only time I've heard Alex Terrible and Tom Barber in the same album. Listen to "We are the Dead" from As I Lay Dying's new album Through Storms Ahead to know what I mean. But let's not get to that right now. The last third of this album awaits...

"The Forsaken Effigy" is still deathly while having more metalcore-ish riffing from the heavy side of bands like Crystal Lake and Demon Hunter. Meanwhile, the blackened shrieks sound closer to Psyclon Nine. "The Great Schism" is a massive instrumental that has practically everything from bands of similar genres, including the deathcore of Impending Doom and Betraying the Martyrs, the melodeath of Omnium Gatherum and Persefone, and even the melodic metalcore of All That Remains and Unearth. "The Mausoleum of Liars" has some Voivod-ish progressiveness, but nothing else too special. "The Tartarus Impalement" is an epic of symphonic deathcore destruction and despair. It starts a bit mundane in the first 4 minutes, then the epicness rises at over the 4-minute mark with such great music, lyrics, and vocals. "And I'll never see home again, never comfort my wife as she mourns and I'll never hear the cries of my firstborn son, How can I possibly continue on?!" F***ing d*mn, man! Pure beauty and emotion rolls on throughout that minute. Then comes another amazing minute where the band work together to unleash their power in battle. The final climax goes on the last one and a half minute as the hero impales the enemy and rules in victory. Talk about such a finale for this offering! Though it probably would've been better in the first half...

Every song in Reclaimer has its own feel within this epic extreme sound. The band can be in the mood to go brutal, technical, or melodic. Either way, they still stand by their sound, and that and their lyrical concept helps keep the album consistent. The concept is heavily Halo-based, which is no surprise considering how much the band members enjoy that game and possibly any other sci-fi shooter video game. Think they can do a Star Wars Battlefront symphonic melodic deathcore album later on? With all that genuine songwriting and musicianship, Reclaimer comes on top as one of the better albums of this style of deathcore, maybe even all of deathcore. It would've been perfect, except my only complaint is, some additional breakdowns should've been included alongside the speedy guitar sections to bring more balance to the epic technical melodic deathcore universe. Still if you're playing Master Chief and need some killer music, let this amazing album play and fire away!

Favorites: "We Descend...", "The Return", "The Catacombs", "The Heretic Prevails", "The Prophet's Beckoning", "The Great Schism"