Satanic North - Satanic North

Satanic North is a black metal band from Finland who formed in 2019.  In 2022, they released their “Four Demons” demo and have now finally let loose upon the world their full-length self-titled debut.

Two of the band members are from folk metal heroes Ensiferum.  Bassist IIT Caprae is actually the guitarist/harsh vocalist Petri Lindroos while the drummer, Abyssir, is Janne Parvianen.  That’s quite the pedigree but it has been a long time since I cared about Ensiferum so I wasn’t sure what to expect with two of the members trying out black metal.

Thankfully, my worries were worthless because this self-titled blast of unholy blackness is straight up, old school second wave black metal.  It isn’t going to win any awards for originality or reinvent the ever turning wheel of extremity but there is something to be said of taking a stripped down approach.  Over the decades, black metal has grown into one of the more diverse styles in metal.  There isn’t anything wrong with that (and truth be told, I quite like it that way)  but sometimes I don’t want epic acoustic passages, sweeping keys, or twenty minute blackened dirges.  Sometimes simple and straightforward is better and this album is a winning case for that argument. 

The album opens with the aptly titled “War.”  Forget anything flashy—this song goes for the throat.  Rapid fire but crisp drums accent a classic guitar tone and throaty screeches. After the 2:37 mark, the band slows it down slightly and injects groove to bridge the faster parts of the song together.

“Village,” lets the bass and drums do the talking as the guitars take a more refrained approach.  However, the band returns to full throttle very shortly in what can only be described as a maelstrom of hate.  The song’s middle segment is one of the highlights on the album, what with the screeching cadence of the vocals and the snare drum which compliment the riffs in a big way.

The lead guitar peppers the notes of “Four Demons,” like lighting striking brackish waters.  I like the last minute or so of the song a lot as the guitars take a more intricate route and opens up a bit.  Hopefully this is a sound they will explore more in future releases.

“Vultures,” is one of the darkest songs on the album and, perhaps, the most evil.  There is something decayed and sickening about its atmosphere.  The intro and outro are both more moody as well, adding a layer to the music while it book ends the faster paced, more brutal middle section.

The final song is their namesake.  Ending an album with “Satanic North” on the album “Satanic North” by the band Satanic North?  Amazing.  This is a short but sweet song that burns brightly at barely over the two and a half minute mark.  The rhythm is tight and focused and sets up a great moment for the blazing guitar solo to rip through. 

Ultimately, Satanic North and their debut album isn’t going to change anyone’s mind about black metal but if you know, you know.  And you’ll eat this right up. 

Atræ Bilis - Aumicide

Atræ Bilis is a death metal band from Canada that formed in 2018. “Aumicide” is their second full-length album and they have an EP as well. In a very short amount of time and with just a handful of releases under their belt, the band has already carved their way to the forefront of the modern tech death scene.

Calling anything on “Aumicide” technical is somewhat of a disservice to the band. Not that being technical is bad but the ten songs on this album are so much more different than other tech bands.

This collection of songs are in a constant state of flux. There is a very little repetition to be found here. Each note, each riff appears, destroys the senses, then is destroyed itself.  From one moment to the next the songs are built, broken down, and rebuilt again. While this could make for a challenging listen (especially for those who aren’t familiar with this style) it definitely makes for an interesting album with a lot of depth and replay value. 

The element I like the most about this album is the unknown danger, the shadows that lie await in its extremity.  I’m not saying death metal has gone down hill (on the contrary, I feel it has never been stronger) but “Aumicide” brings back a lot of the danger that made death metal such a force to begin with in the first place.  I know this album is going to destroy me but the anticipation of how it will do just that kept me on the edge of my seat through its entire runtime. 

The album opens with the instrumental, “Protoxenesis,” and it’s fury is unbridled.  Most intros, in my experience, are worthless but this one successfully sets up the album.

"Hell Simulation” is a descent into madness itself, lead by the spastic vocals of Jordan Berglund.  David Stepanavicius is the only guitarist and his work is outrageous–one man is doing all this, weaving these incantations together even while they break apart from each other.

By the time the song is halfway done, the rhythm duo of Luka Govednik (drums) and Miles Morrison (bass) has long since bashed my brain into powder.  The sheer convocation in what they do and what they play kept me going as my mushed brain tried to register what was truly happening. 

“Inward To Abraxas,” opens up with notes that seem to bend and stretch around this unseen audible reality.  As it threatens to break away, the cracks are filled by the bass and drums.  A constant transformation changes the song as it plays but the death vocals keep it all grounded.  The middle part of the song throws in a surprising twist of murky and hellish atmospheres. 

The title track is another instrumental but it is placed well in the middle of the album and very much bridges the gap between its halves.

And it leads seamlessly into “Kingdom Of Cortisol,” which sounds harrowing and hopeless from the very first second.  The bass throbs and hums, an earthquake of notes that rocks the song back and forth.  The drums and guitars are thick but hang back for seconds at a time just to go deeper and harder.  The whole atmosphere is unhinged and a bit crooked for a truly demented song.

The final song, “Excruciate Incarnate,” is the album’s hidden weapon.  Just when I thought it couldn't possibly be faster, heavier, or more insane this one comes along and turns it all on its head. The tight, choppy rhythms that arrive just after thick, dense but groovy riffs nearly knock me on my ass—-so many parts of the song seem absolutely surreal.

In many ways, “Aumicide,” is an album that isn’t just an evolution of the bands sound—it’s another total reinvention.  This is a fresh, exciting take on extreme metal and something the scene needs.  Atræ Bilis are without a doubt paving the way for death metal’s future. I truly feel this band is pushing death metal into new territory metal into new territory.

DVNE - Voidkind

DVNE (pronounced Dune) is a progressive sludge/post-Metal band from Scotland who formed in 2013 under the moniker Dune before changing the spelling in 2015.  “Voidkind” is their third full-length album, in addition to having three EPs and a live album under their belt. 

DVNE’s music is as sprawling as their sci-fi subject matter and their talent is near alien because it is damn near unbelievable. This album has staggering depth and there is a lot to unpack across the ten songs and 58 minute runtime.  

Their brand of sludge includes other influences as well, including doom and psychedelic.  All these sounds are fused together and presented in music that is rich in texture and complicated.  Despite that, their sound isn’t pretentious nor bloated with unnecessary details.  In essence, even though it includes every idea ever, it remains a highly focused album that flat out rocks. 

The vocals are as varied and dynamic as the music, featuring growls, shouts, and wonderful usage of cleans.  I’m not sure if it's the same guy or not but whoever is involved, does a great job in making the vocals and lyrics as colorful as the music. 

Thankful, the production/mix/mastering captures all the many details that make up the music.  Every instrument, every note, is placed perfectly next to the other ones—nothing sounds muddle, tiring, or too compacted…this is an album with a very wide open and expansive sound.

“Summa Blasphemia,” opens the journey with a dizzying groove that goes hard from the first second.  The subtle keyboards are just what is needed to add another dimension to sound without overpowering what is already there. 

The way the song switches to a catchy segment with vocals and crashing drums is one example of how well the band is constantly coming together.  This song is a mighty opening track because it showcases the synergy of the band and their confidence not only in themselves but in each other.   

“Reaching For Talos,” begins with utterly fantastic drums.  The cleans reach for the skies, never having to strain over the instruments.  The guitars/bass are deep, balancing melody with a sludgy doom that stretches outside the confines of the genres even while honoring them.  After a crushing groove and deep growls, the song strips itself away to more “simple” instrumentation just so it can ramp back up.

Interludes notwithstanding, “Sarmatae,” is the shortest song on the album and, consequently, the most direct and straightforward.  It may not be as ‘epic’ as the other songs but it is no less adventurous and provides a good overview of what the album is all about.  The bass in particular slaps but the guitars offer riffs for days, especially near the end around the 3:05 mark.  

The album doesn’t ever let up, with a couple of the final songs being among the best.  “Abode of the Perfect Soul,” has a main groove that will twist your head off.  The bass is dense, as are the drums.  This stalwart foundation keeps the song alive as the band builds a monstrous city on top.  I love how the vocals switch from extreme to gentle cleans as the drop of the hat, with the musical complementing both styles.  The band is at their best when they flow like this, an effortless march of ideas that change and grow as they come. 

The final song is “Cobalt Sun Necropolis,” is absolutely wonderful song.  It builds up nicely, steady and smooth.  The contrast of the heavy riffs against the cleans are magical.  The middle part with the screams and growls is just as effective, a coming storm.  The later half is crazy riffs and clever drumming with extreme vocals to compliment the controlled chaos.

All in all, DVNE’s “Voidking” is a utterly impressive album.  Fans of any type of abrasive music and/or progressive structures must put this on their radar.  It is simply one of the best albums I’ve heard this month. 

Blaze Of Perdition - Upharsin

Blaze Of Perdition is a black metal band from Poland. They formed as Perdition in 2004 but changed their name to their current moniker after the parting of their vocalist Xaos Oblivion. Their new album, "Upharsin," is their sixth full-length album; they have also released numerous demos, splits, EPs, and compilations.

This album lives in a lot of worlds and has a much more dynamic sound than I expected, as this album is my first exposure to their music.  It is a vicious, bleak, and violent record but it's also melodic with catchy hooks and an incredible atmosphere.  The core of their sound is definitely a more raw type of blackened fury but they aren't afraid to color outside the lines when need be.  The result is a cohesive that never sounds forced, no matter what path the songs take. 

Production wise, the sound is pretty much perfect.  It is both gritty and razor sharp without sounding over produced or too raw.  This helps the songs really breathe and give them room to grow in their runtimes, which are somewhat long with the shortest still being over seven minutes in length. The band uses their time well, however, because the songs never get boring and offer wonderful details within every second. 

“W kwiecie rozłamu,” begins the album with a disgusting blackened scream that echoes through the harrowing atmosphere.   The drums are fast and tight, the guitars and bass producing the famous black metal tone but still keeping it just atmospheric enough to elevate the song into an even dimmer, colder world.  The song works so well because the tempo isn’t nonstop speed—the middle portion slows it down to a crawl, letting in an apocalyptic scenario of death and dismay.  

“Przez rany,” brings the hooks I was talking about earlier–this song grabbed me from the get go.  A more methodical side of the band’s sound is represented well here, especially with the drums that accent the riffs at just the right time.  The vocals are terrifying but their cadence and inflection works among the chaos.  I can’t tell if it is lead guitar or synths/keys, but subtle use of their sound hangs in the background at times adding another impressive layer.

“Niezmywalne,” is my favorite song on the album—it’s just epic in all the right ways and sounds exactly how I like my black metal.  The music is a wall of sound, successful by balancing urgent riffs with a more ethereal bleakness.  Around the 2:25 mark, a little groove is injected, the bass boosting up the vocals for a wild moment of pure energy.   After the five minute mark, the band’s brand of dimly lit melody reaches for the stars among the void and grasps upon them with otherworldly tendrils. 

“Architekt,” is ruled by a truly gripping vocal performance.  The double bass is a thick sea of moving death; the two elements combine make for a song that is dense and blacker than black.  The song burns and destroys for nearly five minute–then a wonderful change happens.  The song turns ambient and spacey with quiet but arresting tones permeating through.  The drums soon kick off a slow burn dirge that is worthy of a black metal mantle.

“Młot, miecz i bat,” closes the album strongly.  Like any good ending track, it culminates the band’s vision on this album and represents all the elements well.  It is the longest song on the album with an ebb and flow through various soundscapes and tempos.  The later half of the song is particularly engaging, the lead guitar creating rising action among the groove.  The ending guitar solo is fantastic as well.

All in all, considering I haven’t heard the band’s music before, Blaze Of Perdition’s “Upharsin,” is a nice surprise.  This is a black metal album that is as melancholic and memorable as it is destructive and uncompromising.

Necrot - Lifeless Birth

Necrot is a death metal band from Oakland, California who formed in 2011.  “Lifeless Birth” is their third full-length album; they have also released three demos and a compilation.

“Lifeless Birth” is a filthy album that takes the best elements of death metal and runs with them.  Simply put, this is a fun album.  Fun? Whaaaaat?  Can we have fun in death metal?  Of course we can.  This is one of those albums where every track is solid--from beginning to end this album is an absolute blast.  That isn’t to say this isn’t a serious release by a band who isn’t serious.  On the contrary, “Lifeless Birth”, and Necrot themselves, are deadly serious.  But they also clearly love their chosen style of play and they let the listener know that.

Yes, this is an absolute pummeling album with non stop brutality.  But it is also melodic and catchy as hell.  The magic of the album is that it incorporates these two “scary” words so well into their ode to old school death metal without missing a beat that there isn’t any time to complain as I’m  too busy headbanging like it is 1987.  

The band knows when to go full speed ahead and goes to pull back slightly to add little details and intricacies.  Check out the huge groovy riffs that open “Cut The Cord,” that lead to a thrash style attack.  The riffs are subtle in their growth, allowing the lead guitar to add its own layers at 2:08 and 4:52, which hit right after the catchy chorus of “Cut The Cord!” being growled out like the end of the world.

Before I had time to get some icy hot for my neck, the pulverizing riffs of the album’s title track gave me whiplash in under 30 seconds.  The bass is particularly potent here, a deep rumble that is the audio equivalent of being ran over by a train. 

By the time the halfway mark hits, the riffs lay on top of each other for a meaty, thick section that just goes harder by the second, up until the blazing, face ripping solo rears its monstrous head.  The song comes out of the solo without missing a beat while adding in some very killer jams up until the very last second.

As the name might imply, “Winds Of Hell” is a disturbing, hellish landscape of a song that puts a huge smile on my face because of all the old school goodness that constantly piledrives me. At the halfway point, the band switches gears for more intricate riffs..and just keeps throwing them out over and over again.  It is near maddening but gong crazy never sounded so goddamn great.   

The album finishes with the nearly nine minute song “The Curse,” and I hope it's an indication of what the future holds for the band.  The longer song structure really allows the band to flesh out its sound.  Despite the length, the song remains constantly fresh, exciting, and never once allows for any lulls or unnecessary parts, which is how the album is as a whole in the first place. 

This song has a lot of twists and turns; just when it doesn’t seem like it can get more heavy, it does.   When there just doesn't seem to be any ounce of melody, it pops up out of the grime.  A perfect way to end a great album.

Necrot's “Lifeless Birth” is one hell of a ride, a uncompromising album that isn’t afraid to give the OSDM worship some progression even while being such a passionate example of the power and energy of true death metal. 

 

Mother Of All - Global Parasitic Leviathan

Mother Of All is a metal band from Denmark who formed in 2013. “Global Parasitic Leviathan,” is their second full length album, in addition to having two EPs and a split album as well.

Their sound may be rooted in melodic death but it has a ton of thrash elements in it too and it is some of the most exciting thrash I've heard in some time. It doesn’t stop there, however, because I also hear elements of progressive and death metal in the mix too. 

The genres are completely infused with each other, a true melting spot of styles where it is impossible to hear where one begins and the other ends.  This leads to very compelling songs with insane energy.  All these styles and ideas the album represent are so seamlessly intertwined that it never comes off as meandering or spastic.  The songs are very riff based and are constantly pushing forward.  Vocally, Martin possess a searing barking shout that adds to the urgency of the songs

The album begins with “Cosmic Darkness,” and it’s melodic riffs that build up the tension.  Heavy rhythm guitar creeps up in the background and as it all culminates into a thrashtastic movement, the drums nail down these ideas and launch them outward.

The song rages hard with riff and after riff pummeling the song about.  After the halfway mark, melodic flourish takes over the guitars and the band settles into a groove before ending the song with a mild explosion.

The first song is a bombastic performance but “The Stars Already Faded,” offers a more moody, extreme take.  The opening moments tread the line between black and death metal.  Around the one minute mark, the song breaks and goes into a more thrash oriented direction. 

This song reveals another classy element in the album.  No matter what is going on, the songs never rest on their laurels and always inject some kind of catchy hook or higher tempo moment.  I never once got bored with this album, it just wouldn’t let its own style become stagnant.

The bass in “The Stars…” really pops, especially during the more extreme moments.  Near the end more intricate guitar playing arrives before the song ends in atmospheric riffs and fervent drumming. 

The opening riffs from “Debt Crush,” grow and change out from one initial idea, taking progressive cues and incorporating them into a thrash rhythm.  The break in the middle lets the bass breathe quite a bit for a stellar performance.  The melodic passage that comes afterwards feeds back naturally into the tempo ramping up where perfectly placed guitar solos, in turn, lead the song back into thrash metal waters. 

The final song is probably my favorite on the album because it takes every idea the album presents, puts them into a blender, and throws it out in a nearly seven minute epic. It is a good bet that if you like this song, you’ll be all over the others as well.  Overall, the song embraces the melodic side of their sound but incorporates moments of speedy thrash and a progressive mindset throughout.

Mother Of All has released a very impressive and dynamic album in “Global Parasitic Leviathan.”  It is an album that will appeal to a wide range of metalheads.  It offers something for those who want to head bang until their neck falls off and for those who prefer their metal a big on the melodic, intricate side. 

Veriteras - The Dark Horizon

Veriteras is a melodic death band from Seattle, Washington that formed in 2019. “The Dark Horizon” is their second full-length album; they also have two EPs under their belt. 

I haven't heard the band's previous releases so I went into this album completely blind. Honestly, what I heard has blown me away….this is top tier melodic death metal with a blackened edge. It's also catchy as hell. Each song is filled with intricate melodies, harmonies and songs that lodged themselves inside my head for days.

The energy is infectious–every song exuberates a jaunty energy that make this album a very smooth and easy listen—at around 31 minutes this is a collection of songs that begs to be listened to over and over.  

Their black metal influences keeps the songs from being too “happy” sounding, ensuring for every melodic note there is a heavy riff to act as a counterweight. Some of the speedier moments, especially the faster moments, definitely add a lot of heft to the songs even when they are at their most melodic.

Most impressive about the album is how put together the songs are—each element is perfectly paired with all the surrounding ones.  If any one instrument, vocal line, or drum hit were removed, the songs would be changed completely.  The band is really in tune with each other and it shines through the songs.

The album opens with “Certainty,” which is a banger of a song.  It opens with blackened riffs and subtle but sweeping keys. The crisp drumming helps the riffs drive the intensity. The vocals are high growls that sounds great—throaty and demanding but intelligible. Around the 2:14 mark, the song shifts to a more atmospheric tone but the hard driving rhythm keeps it all grounded.

“Abyss,” is instantly catchy with the melodies digging their hooks in deep. The rhythm guitar and vocals provide a steady cadence for the drums to drive a beat into, allowing the melodies to play off these harder edges. After about halfway, the song speeds up greatly but still allows a lot of breathing room for the guitars to weave their magic.

“Sanctuary” is one of the best songs on the album, due in large part to its cold and unrelenting atmosphere not unlike anything from the first WINTERSUN album. This one of the more blackened and biting songs on the album, it shows how aggressive the band can be but they never forget how to keep their melody well balanced into the fabric of the songs.

“Light In The Darkness” ends the album on a high point. The keys in the beginning add a clever accent on the music, making the fervent energy that comes afterwards all the more potent. The drums are devastating here, as are many of the riffs. This song is the best example of how the album sounds as a whole and represents their style well.

I was very surprised by "The Dark Horizon." The album brings back much of what made the hey dey of melodic death so great.

Iron Monkey "Spleen & Goad"

 Iron Monkey is a sludge/doom metal band from the United Kingdom who formed in 1994.  Their latest album “Spleen & Goad” is their fourth full-length album, in addition to a split album, an EP, and two compilations.

I missed out their initial run when they released their self-titled debut and the follow up “Our Problem,” both of which were well praised and are now considered classics.  After their break up 1999 and the passing of original vocalist Johnny Marrow, the band returned in 017 with “9-13” and a new line up.  Guitarist Jim Rushby took on vocal duties and bassist Steve Watson moved from  guitars to bass.  Original drummer Justin Greaves did not return.   This album features Ze Big on the kit. 

Flash forward to 2024 and the band is back with “Spleen & Goad,” a heavy hitter of an album if I ever heard one.  Some might have noticed that there aren't any true surprises on the album, opting for a more direct approach instead of providing twists and turns.  Does that matter?  Hell no.  This is sludge.  Who listens to this style for music that goes off the beaten path?  I want to be pummeled inside and out.  “Spleen & Goad” does exactly what it is supposed to do and I don’t see anything wrong with that. 

As with any good sludge album, this album is built up on riffs, riffs, and more riffs.  From beginning to end, each song offers one thick slab of concrete after the next.  The other part of a good sludge record is the rhythm section.  This album has that in spades, both the drums and bass offering one of the heaviest, most dense performances you are going to find. 

This is sick music for sick people.  The entire album is brash, abrasive, and does give one iota of care who it offends or if anyone even likes it.  

The album begins with “Misanthropizer,” and it is immediately the audio equivalent of being inside a bus when it slams into a wall.  The vocals are pure gravel and grit, almost painful to hear.  Good, what else is needed for an album/band like this?  Absolutely nothing.  The song, and this is indicative of the album as a whole, is at its best when everything fires on all cylinders and becomes a massive wall of sound.  It is super intense and almost dizzying, with a prime example being the movement from 2:38 to 3:02.

“Csp” opens with bass that I’m pretty sure knocked some of my brain parts loose.  Listening to this song with headphones may have been a mistake.  The tempo on this one is more mid-paced, which is great because it lets every heavy second grind into the senses even further.  I found this song to be nearly exhausting, such is its pernicious goal of devastating. A compliment for sure!  The last couple minutes are a massive groove, not unlike a giant boulder gathering speed as it races to crush your body.

What kind of sludge album wouldn’t have any famous hardcore punk swagger and energy?  “Rat Flag” brings the pain with that same pent of energy that is constantly exploding once it finally releases.  Even when the song takes a faster approach, the band never loses its penchant for sweltering, brutal riffs. 

“Exlexed,” is one of my favorite songs on the album; the tone is just so goddamn perfect.  The riffs hit all the right spots, as do the drums which are insanely complimentary even while bringing their own brand of uncompromising attitude. The vocals are barked out like a rabid dog, adding even more insane layers to a song that is already as abrasive as a brillo pad being scraped against the skin. 

The final song, “O.D. Rose'' is the shortest on the album and it's more of an outro than anything.  It’s basically just noise but it works because it acts as the musical version of rubble and destruction, the broken remnants of a world that couldn’t stop its own demise. 

With “Spleen & Goad,” Iron Monkey have released a mountainous album of sickening sludge and abrasive doom that is a special form of brutal.  If you like riffs, intense music, or just stuff that goes against the grain for the hell of it, this is definitely one album you need. 

Vircolac - Veneration

Vircolac is a death metal band from Dublin, Ireland who formed in 2013.  Their latest album, "Veneration" is their second full-length album, in addition to also having two demos and an EP.  So what do I think of this album?

I. Think. This. Album. Is. Insane. End of review.

Just kidding. This isn't the rend of the review. But I wasn't kidding about the insanity of this album. While it definitely isn't progressive or technical, it is definitely imaginative in how it incorporates and shifts through many styles. The soundtrack to going insane? Yep.

Seriously though, Vircolac’s “Veneration” is an album that wears many hats and is constantly changing said hats. Or should that be spikes? Or is that only a blackened thing? Cammo shorts it is, then.

Seriously (again) "Veneration” is an album that kept me guessing the entire 36 minute runtime. I never knew what was around the musical corner from one moment to the next. Some might prefer a more focused approach. That's fine but there are plenty of death metal bands that provide this. This particular one provides spastic insanity and that's just fine. 

As I said, this is death metal. But its also melodic, crusty, doomy, and sometime downright theatrical.

“The Lament (I Am Calling You),” opens the album and gives absolutely no indication of what will happen afterwards. This song is dominated by clean vocals and gentle atmospheric music. What am I listening to here? Some hipsters bandcamp demo?

Then the title track hits with a massive sludge doom death riff that then growls its way into an existence of pure thrashing speed.  The drums are a huge part of the song and steer it well. Groove is splattered throughout the nasty riffs as the song jumps between brutality and Doomed death.

“Our Burden of Stone on Bone,” begins with quiet but dark tones. The skies darken and a crawling riff arrives as a surprisingly emotive solo crawls out of the much.

The vocals are sick as hell and go right alongside the massive, muddy riffs. Seemingly random bursts of old school death and groove laden rot connect the song together. Then it slows down to light textures, creating a somewhat atmospheric backdrop that thrives on liminal spaces.

The album ends in glorious style with the massive final song “She is Calling Me (I. War II. Death III. Redemption).” The beginning is a little disturbing with the shrieks.  The bass absolutely slaps and the feel of the song switches between a hardcore punk/crust dirge and straight up crushing death metal.

This album is a pleasant surprise to my ears and I love how adventurous it is with its risks while still being an unrelenting death metal machine. This is death metal how it was always meant to be played: raw, dangerous, unsettling, and impossible to ignore.

Witch Vomit - Funeral Sanctum

Witch Vomit is a death metal band from Portland, Oregon who formed in 2012.  Their new album, “Funeral Sanctum” is their third full length album, in addition to a demo and three EPs.

“Funeral Sanctum” is a brisk 30 minutes, spread across ten tracks, two of which are instrumental interludes.  This is a short but sweet and blistering piece of death metal that offers monuments of wreckage across its runtime without ever overstaying its welcome or feeling like anything was left out.  

The basics of their sound have been retained—brutal, disgusting death metal that can go from lighting speed to doomed crawl. Throw in a bit of black metal too for good measure and their sound is always abrasive, always cavernous and never lets up.  

“Funeral Sanctum” leans into a melody a bit more and features their tightest song writing to date.  In fact, I’d say a lot of this album is surprisingly catchy.  Despite that, and a little more focus on melody, Witch Vomit do not sacrifice their sound, even an inch.

The album opens with “Dying Embers,” a short intro that does a solid job in building up the album’s momentum early on. It is dark, unnerving and leads right into “Endless Fall.”

This song opens with fury and inhumane growls.  The riffs are intricate but not technical, a balance between old school and a modern extreme approach.  Groove and what amounts to melody for this band grace the middle portion of the song.  The ending is a cacophony of drums and a wild guitar solo.

“Serpentine Shadows,” opens with a melodic guitar lick that quickly switches to their classic colder-than-a-grave guitar tone.  Flurries of melody are intertwined into the savage riffs, ensuring the band is always a ravenous beast no matter what approach it takes. 

A slow, crushing groove opens up “Black Wings of Desolation,” and the lead guitar expertly winds up the song into a feeding frenzy that breaks out just before the one minute mark passes.  This is a bulldozer of a track but as the song progresses and the riffs open up, my head could not stop banging.  This is one of the longer songs on the track and feels much more fleshed out.

But the minute-long “Endarkened Spirits” showcases it’s always about quality not quantity—and they fit more into a minute than a lot of bands do in six.  This is rifftastic song that is among their most caustic and brutal. 

The title track ends the album with a loud groan and the ever approaching night.  This is an corpse cold death metal song that is a prime example of not only this album’s sound but the a great representation as a whole of what the band themselves is all about. 

At this point in their rotten, disgusting career, Witch Vomit have solidified themselves as major players in the American death metal scene.  “Funeral Sanctum” keeps the bands signature sound while also expanding it in the best ways.  This band is unstoppable now. 

 

Funeral Leech - The Illusion of Time

Funeral Leech is a death/doom band from New York, New York who formed in 2015.  Their new album, “The Illusion of Time” is their second full-length album, in addition to have a demo.

Doom, in all its myriad forms, is by far my favorite genre so few things get me more excited than an album that mixes it with disgusting, decaying death metal.  “The Illusion of Time” is such an album, combining mid-to-slow paced doom metal with crushing old-school death.  

There is a truly evil and harrowing atmosphere to the album—-it has such a classic feel to it while sounding modern thanks to its production and mix that is appropriately raw but open enough to truly grasp the often cavernous nature of the music.

The pacing of the album is insane—the band really knows when to put the peddle down hard and speed up or when to get down to crawling in pain on the ground like funeral doom.  Each song flows smoothly even while presenting such abrasive and against-the-grain music.  Not only that but it flows very well from song to song. The forty-three minute runtime across five tracks breezes by so well that this demands a lot of replay and never gets old.

There are use of key/synths too and they only add to the nightmarish atmosphere.  Likewise, the album’s incorporation of melody just casts a dim light so the murky depths can be seen in an even more frightening way. 

Since the album “only” has five songs, I’ll say a little about each of them.

“...And The Sky Wept” opens up the album with an eerie atmosphere that moves through like a ghost.  Some sort of weird shouting comes out of the background just before the band drops the hammer.  The riffs are deep with a great tone–this is the exact kind of guitar tone I want for this style.  The bass is a beast—an every moving rumbling earthquake.

Around the 5:30 mark, the song slows to a dirge and if you didn’t think it couldn’t get heavier than the beginning then you’re wrong.  

“Ceaseless Wheel of Becoming,” opens with an old school approach, the entire band on a nonstop quest to bulldoze everything in front of them.  The bass digs deep, perfectly accenting the dropping of the riffs.  The drums hit hard but never cover up the music but instead provide a strong focus and foundation.  I love the mid section—so slow, the music having the depth of an endless void.  This is what doom is all about. 

“Penance,” is one of my favorites on the album, a very interesting song that lets the bass take the lead and isn’t afraid to use the synths/keys to incorporate some truly scary melody. The track is darkly melodic from the 6:00 mark all the way to the end but Gothenburg it isn’t.  This is a funeral, a dedication to death and the journey over.

The last two songs, “Chronofixion,” and “The Tower” truly push the album to the next level.  “Chronofixion,” has undeniable groove and energy, riding the line between death and doom while perfectly complimenting each style.

More of the band’s unique approach to melody creeps in after the 3:30 mark, creating a massive movement that is introspective and arcane but still just as heavy as anything else on the album, in its own way.  Afterwards, the song seamlessly slides back into a behemoth. 

“The Tower,” is an 11-minute death/doom epic and one of the best ending songs I’ve heard this year.  From beginning to end this is a truly massive song that, well, towers above all.  There isn’t a second that passes by that doesn’t belong there.  From the synth/death mix in the begging, the brutal and fast paced mid-section, to the chaotic finishing, the band uses its time well to make sure every moment truly belongs. 

Funeral Leech’s “The Illusion of Time” is starting off April right for both death and doom. This is a very impressive album that needs to be on the radar for not only doom fans but any fan of extreme metal that is chock full of potent songwriting. 

In Depths Of Winter - In Depths Of Winter (2024 reissue)

In Depths Of Winter is a melodic death/doom band from Finland who formed in 2021.  It is actually a one man project from J.H., also from the bands Shades of Deep Water and Sarajah. 

I’m glad that this self-titled debut release from IN DEPTHS OF WINTER has been reissued for 2024 because it gives me a reason to review it, which I originally did not do the first time it came around in 2022.  Not that I needed an excuse though because this album is darn near perfect for this style of melodic death and doom.

The atmosphere is bleak, frozen, and downright inhospitable.  These elements are exactly what is needed for this type of music.  With that being said, there is a certain chilling clarity to the overall sound of the album.  This is music that represents a place that might as well be alien compared to most people…but for those who live it, this is life and the highest form of living to the fullest.

As one might expect, this album is as cold and brisk as a winter day.  I could listen to this in direct sunlight in the middle of a hot August and I would still get chills.  The songs are, at the base, riff and rhythm based.  But the melodies and harmonies that form the layers tell a story of their own.  The result is a mixture of heavy and melodic styles that sound truly moving and beautiful together even while being dark and heavy. 

The album opens with “Winter Sun,” and it gets off to an immediate start with strong melodies already intertwining themselves among the thick riffs and tight rhythm of the bass and drums. The vocals are deep growls but aren’t guttural—just the right pitch, intense but intelligible. The keys are quite moving and really boost the atmosphere.  This song is a musical tapestry, a true painting of notes to create a large whole.

“All Days Are Hell,” is ten minutes long but doesn’t feel like it—the dismal atmosphere is weighty but the songwriting is free flowing.  The opening melodies are among the best on the albums and the drums in particular do a great job in complementing the other elements. The middle part of the song is rather atmospheric, both doomed and soaring high above the clouds.  The later half has a gentle, almost classical quality to it but it fits the mood and themes of the song.

Since it takes the name of the band, I expected “In Depths of Winter” to be one hell of an epic track—my expectations were not only met but exceeded.  This wintery mix is almost 11 and a half minutes long and every second is great.   I love how the vocals and melodic tinges of the guitar contrast against each other yet they work so well together.  These dynamics interplay a lot on this song, each type of instrument complimenting the other.  This songwriting approach, which is not limited to just this song, but the album as a whole, lets the songs be dense in both terms of being heavy but also in its layers while still having an open and expansive sound. 

“Nothing Left Unfinished” is a dark song that sounds similar to funeral doom due to its mournful nature. It’s probably my second favorite song on the album after the title track because it nails down a cold, dismal sound that sounds a little cavernous and claustrophobic compared to the other songs. 

The final song, “Lukossa Ajassa” is one of the more bleak songs on the album.  The opening moments recall cold, gloomy skies where the sun cannot tread.  The riffs are ultra heavy and crawl by as a slow procession.  The guitar melodies lend the song a Gothic vibe and I’m all for it.  The vocals are strained, an emotional pain that is just begging to exert itself.  

This reissue includes two tracks, “Winter Sun,” and “Lukossa Ajassa” in mono sound mode and these sound more raw and rough but I wouldn’t mind hearing the whole album produce this way, the songs sound even better with a little grit to them. 

With the dense heaviness and lush layers of melodic gloom, I can feel the danger and trepidation that lurks within but I also feel an embrace—is it one of life or the endless void?  Ultimately, regardless of how the music touches you, all these feelings are represented in top tier form. Worth revisiting again and a must listen for those who missed it a couple years ago.