Meltem - Mare Nostrum

Meltem is a psychedelic doom metal band from Spain who formed in 2019.  They released their first demo in 2022.  Just a couple years later and they have graced us with a staggering mind trip in the form of a full-length musical opus called “Mare Nostrum.” 

“Mare Nostrum,” is an album that has a huge sound that is filled to the brim with dynamics and many layers.  The overall sound of the album is definitely rooted in both 70’s rock and stoner doom but it has a very healthy dose of Middle Eastern music to it as well.  

If the combinations of all those elements and styles sound like it might be unique and adventurous, that’s because it is.  The atmosphere has a warm, fluid sound that covers the music like a gentle breeze.  With that being said, it has more than enough moments of pure raw aggressive heaviness that reveals a certain danger inside the many details and intricacies of their music. 

Consisting of four tracks and a runtime of 41 minutes or so, the album is just the right length to offer many reasons to come back and explore this expansive world the band has built.  

The album opens with “Tretze,” and at 12 minutes in length, it is a bold statement from the opening seconds to the last moments.  Immediately, massive distorted riffs fill the sound—I review with headphones on and the song fills my head up within about four seconds.  The drums hit hard with a robust sound that still manages to compliment rather than overpower.  

A Mediterranean solo twists its way through the dense doom, creating an opening moment for the strong, clean vocals to make their presence known.  As the song indicates, Meltem is a band that makes every element work for the song as a whole.  Every note, every instrument, every surprising flavor, all has a purpose and builds towards a special monolith.

Around the five minute mark, the bass leads the band on a journey through psychedelic fields, a fever dream amongst the gravestones.  It’s trippy as hell and highly enjoyable—at this point, I was so entranced by the music that I truly felt I was along for a journey into the unknown.  I don’t do drugs but if I did, this song might be the best thing ever.  The following movement is much heavier, the vocals a little more abrasive.  The band lives and thrives on their ability to combine sonic intensity with dreaming like harmonies.  

The next song is the instrumental “Curcuna,” and it features even more of a focus on their eastern influences.  I don’t know much about instruments outside of rock/metal but whatever they are using here creates a smokey, hazey tone that adds an air of mystery to their contagious approach.  

At this point it is obvious the album as a whole flows straight through as a large, captivating piece that takes the listener on a journey of myriad flavors and musical viewpoints.  If this song isn’t hypnotic then I don’t know what is.  The bass drops around the halfway mark before the band dials up the doom.  Like the crest of waves against the shore, the riffs crash back and forth while the drums and bass go for broke.  Absolutely stunning!

“Mandragora,” has an excellent build up, almost cinematic in its approach.  The drums are atmospheric, and that is a hard instrument to generate such a sound, as they roll the song along to it’s breaking point around the two minute mark.  Hard, sludge infused doom hits like a ton of bricks at this point, making it all the more impressive this is the same band that just crafted the instrumental from earlier.  

But true to the band’s vision, they bring their brand of music in all flavors…and the flavor of this song is punishing for the four minutes.  A wonderful clean piece hits next, the back bone held up by melodic bass. A couple minutes later the band returns to crush skulls once more.  

The vocals kick in around the 9 minute mark and they add a whole new dimension to the song. It’s arcane, a little ancient and unknown with a little hint of caution behind the scenes. 

The final track is another instrumental called “Oasi,” and this one doesn’t use distortion to get its point across.  What it lacks in doom riffs, it makes up for in layers of interwoven tapestries that make it just as heavy as anything else on the album in its own way.  

With “Mare Nostrum,” Meltem has crafted an interesting debut that will appeal to a large audience, even those who normally shy away from doom.  It has more than enough variety and craft songwriting to impress even the most cynical of music lovers. 

Grim Colossus - Descent Into Madness

Grim Colossus is a one-man (Magnus Berglind)  doom metal project from Sweden, who released their debut EP “Where Shadows Dwell,” in 2022.  Flash forward a couple years and they have dropped their full-length debut “Descent Into Madness.”   

From my understanding, the album tells a story of a man who, after diving into the occult, becomes haunted by nightmares and visions.   The atmosphere of the music definitely goes alongside the story, offering a grim and horror filled experience.  The production is fitting as well, just raw enough to add girth and grit.

Despite the subject matter, this is not extreme doom.  Instead, the experience is told in a much more traditional style of doom.  Comparisons to Candlemass would not be wrong but I find this to be darker and more melancholic than a lot of other bands who try the old school doom worship.  This is doom just how it should be played:  low, slow, and full of despair.  With that being said, the songs do speed up when needed.  

Magnus’ vocals are amazing.  He has a huge, clean voice full of emotional intricacies without being overly theatrical or operatic.  He’s definitely great at building songs around riff based structures but it is his composition skills that are the highlight of the album.  Every instrument plays so well with the others, each note being exactly where it needs to be.  In essence, this album is full of well organized songs that flow just as they should considering its story based approach. 

Since the album is (somewhat) short at just 31 minutes across 7 songs, I will say a little something about each of them.  

The album opens with “Dreamworld,” offering low, clean tones and deep, almost Gothic vocals.  A little over a minute into it, the heavy riffs fall like a rock but the clean tones stay, creating a very dark sound.  The vocals are tortured, aggressive in their own way.   This song is a fantastic introduction to the album, a slow dirge that grabbed me immediately.

“Insomnolence,” sends the doom into hyperspace, with fast riffs and pounding drums.  The bass rumbles appropriately, threatening to shake apart the foundation.   The groove guitars are catchy but still more than intense enough for their purpose.  

The monstrous riffs on “Into The Tomb,” are some of the best on the album.  At this point, I realize that the album is growing darker as the songs progress.  This is one of my favorites on the album, the guitars and bass just dig deep into cavernous tombs and pull out some truly nasty guitars.  

“Descent Into Madness,” embraces its namesake through the guitars and bass offering a widing approach of the brain losing sense of reality.  The clean, darkly melancholic intro and mid-section go a long way in planting a foothold in the darkness but it’s the guitar solo near the sound’s edge that truly reaches out for the unknown.

Dream-like visions make up “Phantasmagoria,”  and the song nails down what it might be like to be locked within this feverish state.  The guitar tone is sinister as hell and even frightening to a degree.  The rhythm that backs up the solo around the 2:30 mark is as crushing and bleak as anything I’ve heard this year.

The short but sweet “Sconces of Fire,” showcases that doom can be done well in a limited time frame.   Not a second is wasted, from the sludge opening to the faster paced verses, this song offers a rollercoaster of fear and horror.

“Paradise,” ends the songs, filled with an incredible vocal performance and melodic riffs that drip with dramatic tension.  The drums are especially pervasive, making this perhaps the heaviest song on the album.  It’s a dirge that represents everything I love about doom metal.

Grim Colossus’ “Descent Into Madness,” is a great album that tells a story of that descent through both lyrics and music.  It’s a dark, brooding adventure that offers a lot of replay value, if you are willing to walk a path to darkness.  

Vexing Hex - Solve Et Coagula

Vexing Hex is one of the more unique bands I have heard recently.  It’s hard to pigeonhole their sound because they change genres like most people (hopefully) change their underwear.  As a whole, I would say it is occult rock but it’s also so much more.  

Elements of punk, doom, pop, stoner, traditional metal are intertwined into their song structures.  Throw in some prog, grunge, a hefty dose of the 80’s, and even some thrash…and you might have a good idea as to what they sound like. Ultimately, however, Vexing Hex prove with “Solve Et Coagula” they don’t sound like anyone but themselves.  

This might sound crazy but if I were to describe their sound, and this album, with one word it would be:  Halloween.  This is the soundtrack to a crisp, cool Autumn night. 

Through my internet travels, I have seen a lot of comparisons to Ghost but I honestly don’t think they sound all that similar and “Solve Et Coagula” is better than anything I’ve heard from them anyway. 

This is apparently their second full-length—I haven’t heard their first one so I have no basis of comparison.  I went into this album completely blind and it offered constant surprises through an engaging, varied, and dynamic sound. 

The production and mix sounds fantastic.  There is a vintage atmosphere (I bet this album would sound GODLY on vinyl) throughout but it’s modern enough for each instrument to stand out on its own without overpowering the others.  All the little details of the album, of which there are many, can be heard in full glory.

As I said earlier, there is an occult/horror vibe to the album but, despite that, the album is fun as hell.  The band clearly embraces all their characteristics with a certain undeniable charm and had a blast recording this.

The album opens with the ultra-catchy “Into The Night,” and features a chorus that WILL bury itself into your brain. The riffs and bass are jaunty, in a pop sort of way but it’s definitely rock based.  The organ is a nice touch, adding a lot of old school atmosphere to it.  The bass pops well, keeping the song beefy when needed but melodic in other areas.  The drums are very complimentary to the music and offer their own variety of play.

“Besmirched,” lets their metal elements shine through, sounding not unlike some old school 80’s thrash metal.  The subtle keys keep the band well within their elements, always sounding unique as they take on new avenues and adventurous.  I love the keys around the 2 minute mark…..spacy and a little scary but act as a nice bridge between the last minute or so of the song which is surprisingly speedy.

“Mind Funeral,” is a highlight for me because, not even mentioned how goddamn catchy it is, the sound on it is very fresh.  The melodic bass and clean guitars pair with keys in the beginning for a gloomy, unexpected intro. The riffs are solid, a sterling combination of metal and pop.  The way the drums dance around the song is a sensibility that most bands in the modern age won’t try for but the band pulls it off.  The dual melodies near the end cap it all off nicely.

The album returns to a doom/metal sound with “Poison Apple,” providing some deeply toned, gnarly riffs.  The keys are whimsical and even though they seem to sound like they wouldn’t work with the riffs, they absolutely do.  I bet this sound will be a total killer live.

The final song, “Revivified,” combines melancholy clean parts that appear in between the riffs, ensuring the band rocks even while being morbidly emotive.  The guitar solo in the later half is great and I love how it helps transition the song into the next movement, which is a rifftastic.  

Vexing Hex’s “Solve Et Coagula,” is one of the best surprises I’ve heard this year and a wholly unique experience.  It’s just heavy enough to satisfy metalheads, not overly heavy enough to alienate non-metalheads, and has more than enough variety that even people who don’t even like rock music will still find themselves headbanging (or even dancing) to these catchy occult tunes. 

Kvaen - The Formless Fires

Kvaen is a one-man black metal band from Swedish musician Jacob Björnfot (ex-The Duskfall, Autumn Death) that formed in 2019.  “The Formless Fires” is Kvaen’s third full-length album, having also released a split in 2021.

I’ve been following them since the beginning and if “The Formless Fires,” is any indication, Kvaen is going to turn into one of the most consistent projects in the scene.   The album’s production is impeccable—both dynamic and vibrant to bring out the album’s intricacies and details.  It’s much cleaner than a lot of black metal but, while that might be a problem for some, it doesn’t take away from their raw energy and powerful songwriting.  

Each song is chock full of blistering solos, harmonies, melodies…everything you could ever want in melodic black has been incorporated into the 8 song, 39 minute runtime.  Sure, it has all been heard before, but with songwriting this sharp, it just doesn’t matter.  At the end of the day, it isn’t what you do that matters but how you do it.  And Kvaen does their craft so goddamn well. 

It is worth noting “The Formless Fires,” has a much heavier and fuller tone to it because Fredrik Andersson (A Canorous Quintet, Vananidr, ex-Amon Amarth, among many others) offers his always impressive and towering drumming style to the album. Jacob handles vocals and all the other instruments—and he brings his best performance yet.  

Overall, each song is along the same lines but there is enough variety to differentiate them, even if it’s not exactly dynamic.  But the result is every song being a banger, engaging and a great example of modern black metal.

The album opens with the title track and is not only a great representation of the album’s sound but for the band in general.  If you are already a fan then one listen to this song will let you know the rest of the album is up to par.  However, if you’re new to their sound, this one will grab you and you’ll find no disappointment in their other music.

A crushing riff opens the song as drums scatter the notes about just before the bass begins to help ramp up the song. The raspy blackened screams are raw but intelligible, making for catchy vocal lines that blend in smoothly with the fast paced riffs and drums. A cleverly written guitar solo that is equal parts a ripper and crafty, leads to an atmospheric passage of riffs that hang in the air as the drums build up the tension. 

If the riffs on “Tornets Sang” don’t get your blood pumping then you’re lame or dead.  The vocals are very powerful on this song, screaming loudly between the moments of riffs dropping. Some thrash influences can be heard throughout, interspersed with tons of groove. This is one of the more catchy songs on the album.  

“Basilik” is a blackened mania, vicious and perpetually hurtling forward.  The drums and guitars take turns seeing who can play faster and meaner before a guitar solo rips through it. I love how the drums compliment the cadence of the vocals in the halfway point before the solo appears.  

The album ends on a somber note with “The Wings of Death.”  The clean tones blend in with the distortion as the drums push through.  It’s heavy but tragic and progresses from there.  There is a lot of atmosphere on this song, living in the liminal space in between the other instruments.  Despite its more depressive tone, the energy is palpable as the band fires on all cylinders.

“The Formless Fires,” is another excellent album from a band who can seemingly do little wrong, offering a third album that trump their other two.  

Codex Mortis - Tales of Woe

Codex Mortis is a black metal band from the Netherlands who formed in 2017.  “Tales of Woe,” is their second full-length album.

“Tales of Woe,” is a short but very engaging album, burning through six tracks in around 27 minutes.  It’s always quality, not quantity, and the band delivers a lot of quality here.  This album is all about balance.  It has a lot of atmosphere, but not so much to the point where the instruments become background music.  It’s melodic but never loses its  fast paced, blistering edge.

The song structures a riff based, backed by the  powerful rhythm section Mathieu Westerveld’s bass and Michiel van der Plicht’s drumming.  The bass is much heavier than what I usually hear in black metal.  I love this because it lends the albums a very thick, full presentation.  Because the production is impeccable, and arguably too good for this style, that heavier low end helps keep the album grim enough for the die-hards to not scoff too much over how good it all sounds.

Dirk Willems’ vocals are impressive and I appreciate that he adds in low growls alongside his ferocious blackened screams, something I wish more black metal bands did.  The album only has six songs so I’m going to say a little about each one. 

Arjan van Dune and Bram Hilhorst open the album with high speed riffage of “Forsaken,” barreling alongside the drums. The lead guitar accents the atmosphere as the death growls plow over it, creating a chaotic tapestry of extreme metal.  The song breathes a little here and there, slowing down to let the riffs soak into the fabric.

A classic black metal tone intertwined with a deathly groove kicks off “Capricious Disembodied Villain,” to a brutal start and the low growls add to the menacing tone.  This is one of the most intense songs, due in no small part to Willems screaming his ass off.  The last forty seconds add in a stark dose of melody that smashes into an fiery ending.  

“Chosen,” opens with clean piano, adding a touch of the theatrical to their blackened proceedings.   The guitar carries on the emotive atmosphere with a short but clever build up to the fury.  The song explodes outward, casting its rage everywhere.  There is a lot of groove injected into the riffs as well, creating a headbanging song that flows well. 

“Trenched In Blood,” is, well, a bloodbath of brutal vocals, pervasive guitars, and a bass/drum attack that rumbles like an earthquake.  The guitars are a touch dissonant, creating an odd atmosphere that pairs well with the fury. 

“Fire, Screams, and Death,” unrelenting and seems to get more and more acidic until around the two minute mark with a blistering guitar solo weaving through the riffs.  The later half is surprisingly moving, a slow dirge with one hell of a solo.  The last part of the song is clean keys, ending the song on a surprising note that works as well as any other idea on the album. 

The final song is “It Dies With Me,” and it ends the album with an explosive statement–absolute banger of a song.   The drumming is fast and intense but never loses that tight crisp approach.  Some of the heaviest riffs are featured here but what really grabbed me was the moody mid section that leads into a rather big, epic moment as the band goes for broke. 

Ultimately, Codex Mortis has crafted an impressive album with “Tales of Woe,” and it definitely left me wanting more.  The short runtime, however, just means there is plenty of time to replay this beast again and again. 

Malignancy - ...Discontinued

Malignancy is a brutal technical death metal band from Yonkers, New York who formed in 1992.  Their latest release, “...Discontinued,” is their fifth full-length album, in addition to a number of demos, EPs, and splits. 

Their music is some of the more brutal death metal I’ve heard this year but it's presented with a technical flair that most other BDM bands just can’t match.   The riffs in particular are insane—fast and unrelenting but ever changing with an unstoppable energy.  Much could be said for the bass and drums, that despite their leanings towards insatiable violence, are anything but caveman riffs.  This is smartly written music that just happens to be insanely intense.

The production is much cleaner than a lot of death metal I’ve heard this year.  It shouldn’t work, but it does.  When the music is so out there in extremity yet mind boggling with its presentation, a slightly shinier layer of auditory nightmares is needed to capture the essence of each sickening moment. 

The album opens with the absolute banger “Existential Dread,” and within about twenty seconds fully displays what the band was going for.  The way the drums and bass dance around the insane riffs is maddening, the song (and album as a whole) teetering on the edge of insanity.  The vocals are deep but with tightly controlled inflection that makes them much of a blast as the music they barrel through. Around the 1:50 mark a primordial scream rips through the riffs as the band decides to take the phrase, “pulverizing meat grinder,” and runs with it.  

Should music this  unrelenting be catchy?  “Irradiated Miscreation,” answers it with a bloody and bruised “hell yes,” because every riff in this song is awesome.  The song has just enough groove to make the transitions from each moment to the next memorable.  The drums in particular go for broke….sounding like, at any minute, the kit might fall apart and melt down the song to nothingness.

The briefest of respites comes in the form of a sound bite that opens the first 57 seconds of “Ancillary Biorhythms.”  The band quickly makes up for lost time with a twisted, frenzied maze of technical prowess that shakes the foundations of the song to the very core.  It gets built over the next two and a half minutes with tower death growls and harrowing screams leading the way towards a burning utopia of caustic rhythms.

“Decomposing Divinity,” sounds like the mental breakdown of a person questioning everything they thought they knew.  As the madness eats away their senses and they lose who they are, these ruins don’t dissolve but instead reshape and form into a new form of clarity.   What I’m trying to say is listen from the 2:21 mark and all the way to the end:  guitars, bass and drums driving home a frightening symphony of chaos as it slowly winds down to hit another climax soon after. 

The last song, “Biological Absurdity,” is beyond ridiculous and I mean that in a good way.  The song represents the epitome of the album’s sound:  rabid death metal that pummels and shreds but with precision pain and focus. 

MALIGNANCY have crafted an unique album that happens to live in two worlds;  technical and brutal without being too far into either style.  There is a lot of appeal with “...Discontinued,” because it’s going to be something that lovers of extreme music will enjoy but even those with more discerning tastes will find much to digest as well. 

Ceremony of Silence - Hálios

Ceremony of Silence is a blackened death metal band from Slovakia who formed in 2015.  “Hálios,” is their second full-length album.

Ceremony of Silence plays a form of extremity that, while definitely aggressive, has an unique atmosphere ...it sort of creeps into you and flows like a miasma rather than directly assaulting the senses.  “Hálios,” ticks off all the boxes of every element I want in my blackened death concoctions but does so in an atmospheric and off the beaten path way to the point where the album sounds different than a lot of other bands of this style.

It is more nightmarish and creepy with its brutality than pulverizing.  Rather than listening to this and saying, “Wow, this is destructive,” I’m saying, “This is a raw, maddening, form of arcane mysterium.”

Balance is key to this album.  Every instrument is expertly mixed in, nothing over takes the others and they all get equal representation.  This goes a long way in making the album as atmospheric as it is.  The resulting ‘wall of sound’ lends the album a full, encompassing sound: listening to it truly feels like I’ve been transported to another world.  But it isn’t an alien world.  It’s a world that is vaguely familiar but it’s off kilter…everything feels different. 

And that’s a good way to look at the album. Yes, it is blackened death. Yes, I have heard a million bands in this style.  So it’s familiar….but, at the same time, it is different enough to make me question the landscape, to lose my bearings of confidence. 

The album opens with “Primaeval Sacrifice,” and it’s dissonant leanings that, paired with the intense and dense drumming, makes the atmosphere surreal as hell.  Serpentine riffs coil around the ghastly vocals, tightening their grip as the bass and drums push the song to a portal of blackened void.

One of my favorite songs on the album is “Moon Vessel.” Its slower pace is boosted by a steady beat, even as the song grows more out there and profane as the second pass.  The drums compliment the riffs and vocals, hitting hard at the height of urgency.  A surprise comes in the form of clean instrumentation at the 3:25 mark, striping the essence of the song's sound down to an exposed nerve within the music.  

“Light Runs Through Light,” is one of the more brutal songs, the vocals in particular being very abrasive.  But the same unnerving approach to the music keeps the theme and direction of the album in tact, offering the song a path that teeters in and out of insanity. This song best combines their heavier and atmospheric aspects.

The final song, “King In The Mountain,” opens with freight train riffs break way to brief, slightly quieter moments that makes the first opening moments sound like falling down a rabbit hole.  The middle part slows to a crawl for one of the best moments on the album.  After a slow avalanche of riffs, deep, clean tones pull the song into deep caverns.  The death growls keep going on, an primordial echo in the shadows.

Ceremony of Silence’s “Hálios,” is a ultra impressive album that sounds like it is from a alternate dimension of an ancient past but is forward thinking enough to help push the genre into the future. 

Ceremony Buryment - Trail of the Unknown Fate

Ceremony Buryment is a funeral doom metal band of international origins, their two members hailing from both the United States and Croatia.  Instrumentalist Malevolus (Venomous Echoes, Void Blight, Wallow) and vocalist Margul Demonic (Dysenteric Excementation, Embalmatory) formed the band in 2022.

I enjoyed their debut album, “As We Weep Over Life,” but “Trail of the Unknown Fate,” takes their sound to a higher level.  The production is better and I find the over songwriting to be even more bleak and despondent.  

This is funeral doom exactly how it should be played:  incredibly slow, cavernously deep, and devoid of anything that might appeal to the mainstream.  Funeral doom, in my humble opinion, should always be against the grain and an esoteric experience.  This describes the album perfectly and it’s one hell of a journey.

The album opens with “Paroxysm of Dubiety,” and in the spirit of true funeral doom, it takes nearly 50 seconds for the music to begin creeping in.  It builds up perfectly, the distortion warning its way in just before the deep, nearly inhuman sounding, guttural growls make their presence known.  The lead guitar provides what could be considered a form of melody but it isn’t bright and sunny–it’s dismal, moldy, and highlights just how dark the album is. 

As with any good funeral doom, there are a lot of liminal spaces and ambient textures that fill in the cracks between the slow, impending doom.  The segments, such as the one between the 3:15 and 3:42 mark, go a long way into fleshing out the song and are just as important as the actual metal parts. 

A longer example of such textures appears around the eight minute, bridging the gap to the other side of the hellish shores, which begins around the 11:44 mark.  The death growls are a suffocating blanket, complimenting the guitars which are also a suffocating blanket. It’s just a sweltering example of the power of funeral doom—if you know, you know.  

“Traversing The Unknown,” is a weird song (in a good way) that indeed thrives inside a cauldron of mystery.  At times, it’s almost alien such as in the opening moments that is laced with clean tones.  The bass hits around the 1:18 mark, immediately filling up the atmosphere with deep, rich, notes.  This song unfurls in a very natural way and it’s the shortest so it fills up every available second with everything it needs, nothing more, nothing less. 

By the time the distortion kicks in at 2:35,  the song is already captivating but now it goes overboard into true insanity.  Some kind of monstrous, disturbing vocal lines echo throughout these dark corridors. As the song grows, I feel swallowed up by it, descending deeper into whatever type of hole this is.   The last couple minutes are a tragedy incarnate and I felt it.

Funeral doom can be as towering as it can be cavernous, such as “Stand Before the Monoliths” displays tenfold.  The guitars and vocals are stark standouts, reaching clawed and broken hands for a higher abyss.  This possibly the darkest song on the album (and that is saying something) due in no small part to the clean notes that pepper the heavier aspects.  It’s almost maddening in a way, as if I'm coming face to face with something I can’t truly understand.  Around the halfway mark, the song descends even deeper.   The glacial music pushes me through claustrophobic and uncomfortable passages until the ending of clean notes that only make the danger that much more present.

“Embrace The End,” begins with appropriately funereal keys and a somber atmosphere.  Death arrives around the three minute mark.  The heavier parts of the song mix in so well with the more ambient/key textures, creating an unique atmosphere for the song.  It’s both sad and disturbing, hitting emotions in a very strong way.  Out of the three songs this one combines heavier and outside the box elements in the best way—very smooth flow despite how it makes me feel.

All in all, Ceremony Buryment’s “Trail of the Unknown Fate,” is a truly encompassing and enthralling funeral doom album that any fan of the genre would do well to add to their list. 

 

Locusts and Honey - Teach Me to Live That I Dread the Grave as Little as My Bed

Locusts and Honey is a doom metal band from Long, England who formed in 2023.  “Teach Me to Live That I Dread the Grave as Little as My Bed,” is their debut EP.  The album is one song divided up into six movements, acting as the songs.  

Their sound is very much rooted in funeral doom although there are a lot of liminal spaces and a psychedelic vibes to the atmosphere.   Although the song is nearly 30 minutes in length, these minutes tick back much, much faster that one would think. 

With that being said, having the album divided up into six tracks is somewhat unnecessary as only the second movement, “Leathern Cord,” is an actual song, with the remaining five making up smaller portions that basically make up the intro, three interludes, and an outro.  There isn’t anything wrong with this structure, as the song is seamless even through track transitions, but it’s best to go from beginning to end instead of listening on a piecemeal basis.

The psychedelic vibes begin with clean tones, though they are dismal and melancholic.  Subtle keys add in ominous layers and to be honest, this part actually sounds disturbing.  After a couple minutes of build up, a truly sinister riff settles in with a death growl making its monstrous presence known.  The music is slightly melodic but does nothing to alleviate the perpetual darkness perpetuated by the other elements.   This is straight up abrasive, nasty music that isn’t going to be for everyone.  But if you know, you know.  As the minutes rumble through, the song grows even more sinister with dark melodies acting as shadowed monoliths reaching for the skies, their judgmental gaze upon all. 

The drumming remains interesting and engaging throughout; if there were any lulls to be found, the drums wouldn’t allow a restful moment for long.  At what amounts to the halfway point, dark ambient noises, perhaps even consisting of drone influences, cast their own shadows–all light is swallowed up and there is no hope to be found.

Near the end of this movement, the spacey vibes make their presence known, albeit briefly, but they do their job of transitioning the song back onto a heavier path.  The vocals are sickening, riding alongside a very slight groove that is the doomiest doom that ever doomed a doom. 

The song ends its last few minutes with ambient and clean instrumental tones, highlighted by gentle yet foreboding guitar.

All in all,  “Teach Me to Live That I Dread the Grave as Little as My Bed” is an interesting song/ep and kept me challenged, horrified, and invested for its runtime.  It takes a lot of balls to make your debut release one long song but Locusts and Honey pulled it off and then some.  I anxiously await a full-length!  

Henry Kane - Circle of Pain

Henry Kane is a one-man band formed by Wombbath’s (among others) Jonny Pettersson in 2016.  “Circle of Pain” is the project's third full-length album, in addition to a split album release in 2017.

Henry Kane’s music is extreme as hell, amplified by its amalgamation of various styles including crust, death metal, and grindcore.  I’m familiar with many of his projects but, for whatever reason, I haven’t had a chance to check out Henry Kane’s music before.  With that being said, I like what I’m hearing and I’m pleasantly surprised by the dynamics and variety that he injects into an extreme tapestry while still making it all coherent.  

Little twists here and there, such as keys, subtle hints of melody, adventurous  bass or symphonic elements fill up the cracks in the band’s open sound.  The result is an extreme metal album that isn’t afraid to be more than what it is while still being exactly what it should be.  It’s a rare combination of stepping outside the box yet staying grounded enough to where it is still presented as a serious work of art.  

The album opens with “A Swarm of Idiots,” and it immediately showcases the Jonny’s interesting vision of incorporating melody and keys.  These elements are blended seamlessly, no doubt battered into the mix with the drums.  At its fastest, the song is surprisingly catchy and almost anthemic.  I love how the bass can be both melodic yet rhythmic enough to help the drums hold down the foundation.  

“Numb” offers another surprise by throwing out some symphonic elements.  They work well with the wild screams and tight, crisp drumming.  This song is a straight up banger even as it’s sweeping and catchy.  The infectious, pulverizing groove around the 2 minute mark is the highlight of the song but just as impressive is how well it transitions to the blitzkrieg that comes afterwards. 

“Wealth Of Obscenity” is an insane album with a crust/punk energy and swagger that cannot be denied.  The vocals are amazing and kept me on my toes.  The solos after the hallmark are different and unexpected but very much welcomed.  That statement could be applied to the album as a whole too.

The final song, “En önskan i mörkret,” features more of the crust energy and rhythm but the symphonics also return…such an odd combination but Jonny is too good of a songwriter to make it be anything other than badass.  The atmosphere across the song is urgent yet it’s a little somber as well. 

All in all, Henry Kane’s “Circle Of Pain,” is a breath of fresh air and I haven’t heard an extreme metal album quite like this all year. It feels personal and genuine yet brutal and abrasive.  This is an album that cannot be missed. 

 

Morgue Meat - Apocalyptic Visons

Morgue Meat is a brutal death metal band from Dallas, Texas who formed in 2010.  Their latest album, “Apocalyptic Visions,” is their second full-length album.  They have also released two EPs and a demo.

Morgue Meat and their new album offer a straightforward, no frills take on death metal.  It’s simple to the point of being archaic—that is a compliment.  Sometimes I don’t need anything fancy…and make no mistake, there is nothing refined or gorgeous about this decayed slab of metal meat.

With a runtime of just over 25 minutes across 9 songs, the band gets down to the rotten core of death metal’s essence and just blitzes it out.  The only respite is the intro track, “Intrōductiō Infernalis,” but even that one offers pounding drums and sharp lead guitar.  

The first full song, “Lesser Key of Solomon,” takes simple but pulverizing riffs to the beat of drums that pound impending doom and lets all hang right out of the gate.  The bass is just as heavy as the guitars, all of which are only matched by the vocals.  Every element of the band is, well, brutal and it’s actually amazing just how against the grain the album is. The sudden burst of speed just before the minute and half mark feels like the song being put through a grinder.  

There isn’t much in the way of variety but, then again, this isn’t the type of genre to offer that up.  If you’re listening to this, you don’t want dynamics, bells, or whistles.  You want to be pummeled.. …and you’re going to get it tenfold. 

“Ream of Eternal Suffering,” takes riffs, chops them up, and spits them back out as chunks of flesh that smack you right in the face. Touches of blackened speed appear here and there, offering the same type of devastation but this time too fast for you to do anything about it other than being decapitated.  

Even on an album such as this, “The Tormentor” offers an extreme take on the extreme.  The band actually lapses themselves in the amount of punishment they can dish out.  The song gets even more effective around the halfway mark when it slows the tempo down a bit for a true crushing experience.

The final song, “Conqueror’s Wrath,” introduces groove, tossed around like a ragdoll from the bass.  The entire band goes lower and than low for the final half, lead by death grunts that can’t possibly be pain free for the vocalist who recorded them. 

Ultimately, Morgue Meat’s “Apocalyptic Visions,” isn’t here to change any naysayers minds about brutal death metal but it's an obvious ode to all things grotesque and uncompromising.   I give it a sickening seal of approval. 

Srefa - Solstice

Srefa is Tel Aviv, Israel based black metal band who formed in 2020.  “Solstice” is their full-length debut although they released an EP in 2022.

Srefa’s black metal is raw and violent.  Scathing vocals, pummeling drums, and a guitar/base tone laced in darkness are the elements that present themselves at first.  Speaking of bass, it is very audible  and prevalent–something I always like to notice in black metal.  

The production is, much like the music, raw but it’s all beefy—this sound is truly massive and sounds absolutely pulverizing with a decent pair of headphones.  “Solstice” is an album of surprises though and the songs don’t always go the way they seem like they should.   

The first song “Ensnared and Conquered” is somewhat straight forward but the bass, as mentioned earlier, stands out well among the riffs.  The song is fast but not overly and many of the riffs hang back a bit in moments to let the bleak atmosphere saturated into its essence.  

This is an album that doesn’t reveal itself for several listens—it takes time to soak up the music and elements that were missed the first time will reveal themselves later.  I love albums like this–and this one has an endless depth that was fun, if frightening, to dive into. 

“The Unyielding Fear,” is one such example.  Unyielding, indeed—the song just doesn’t quit.  It’s basically a hurricane of primal force, its winds eviscerating. But after a couple listens, the melodic tinges from the bass surface and bring the music into a new dimension. The guitars shift in a very subtle manner, changing themselves at the last seconds while still retaining some of their old heritage only to embrace new avenues.  

The album is atmospheric when called upon, but again, it's more of a subtle effect like a miasma spreading its death.  The opening moments to “Misdiagonsis,” is a prime example of this effect.  The song unfurls like the slow approach of a dead winter, bringing with it an icy touch and the promise of death.  Small little details arranged as to what amounts of melody for this band incorporate themselves into the song’s mid portion as it grows darker, riffs rising up as start towers among the gray skies.

The final song is “The Chase,” and immediately sets itself apart with an ambient opening, lead only by the bass and keys.  Like a pebble gaining momentum as it falls, the song adds layers and speed until it bursts forth to the other side. After the 4:30 mark, some of the album’s best riffs arrive with just the barest hint of groove to finish the song, and album, out strongly.

Srefa’s “Solstice,” is a harrowing and caustic journey through blackened realms, unknown and strange yet familiar with the underground tones of the genre. 

Haissem - Khaos Ebony Flame

 Haissem is a one man black metal band from Ukraine who formed in 2014.  The mastermind behind the project is Andrey Tollock, also from the doom band Sunset Forsaken (who just released a damn good album earlier in the year too).  

“Khaos Ebony Flame” is Haissem’s eighth full-length album, in addition to also having two EPS under the blackened belt.  Andrey has released something under this moniker every year since 2016—most musicians would get burnt out and stagnant at this rather impressive rate.  Not Andrey.  This dude is a beast and he only improves his craft with each release.

At a runtime of 37 minutes across 5 songs, “Khaos Ebony Flame,” is quite a bit shorter than last year's “Ad Cor Tenebrarum,” but there isn’t anything wrong with that.  The shorter length has allowed the song writing to be sharper, distilled down to the essence of what makes Haissem so great.  All the elements that make the band such a stand out act in black metal are refined, refocused, and presented expertly in “Khaos Ebony Flame.”  

The production captures the more menacing tone and harrowing nature of the songs. It’s definitely more raw than some of the past efforts but it isn’t overly so to the point of becoming disengaging from songwriting.  I appreciate how much focus there is on the bass, an instrument that black metal sometimes ignore or, at the least, gets buried under everything else.  

The mixing is pretty solid, however, which allows the bass to really stand out.  The keys stand out well too and it's impressive how well they work with the bass. The guitars are impressive as well—this isn’t nonstop tremolo riffs.  Andrey’s guitar playing is much more methodical and thoughtful than just playing unresolved tritones and nonstop riffs that go nowhere.  The true MVP of this album is the songwriting but it’s the guitars that move these ideas forward. 

The album opens with “Sui Generis,” and it brings with it ambient tones that creep up over time, immediately creating an unsettling atmosphere. The blackened growls throw out the lyrics with venomous bite as the bass and guitars dance around the textures created by the imaginative keys which sound more unique than some bands can pull off. The song structure is loose, even a little playful, and it left me guessing as to where the song was going to go next.  After the five minute mark, the song goes into progressive territory with dizzying and hypnotic guitar.

“Isfet,” carries over from the previous track, almost like it is a sequel.  This is a testament to the album’s cohesive nature and the relation of the songs to themselves and the album as a whole.  Basically, “Isfet,” helps reveal an album that take a lot of different directions but always makes sense in the bigger picture.

The vocals are deeper on this song, rumbling growls that clash against the exciting and theatrical keys.  The riffs are denser, static acid eating away at the fabric of the song’s reality.  As the song is eaten away, it builds itself back up again with groove laden riffs and spacey textures.  This song is nearly 9 minutes long but certainly doesn't feel like it. 

The halfway point of the album, “Ginnungagap,” brings back the proggy feel and it works so well.  The first minute of the song is the combination of the instruments seemingly playing different parts but coming together as one force.  This song is very guitar oriented but the rhythm section is just as powerful, providing a perpetually moving blackened death machine that is always looking to the next movement to grasp it’s clawed hands upon.  The keys near the end are swirling and even a little whimsical.

The final full-length song is “Tiamtu,” and it is very immediate.  By the time the 14 second mark is hit, growls have already ripped the spacey textures to shreds.  This song has such a cool, interesting structure and atmosphere.  It feels like it is being held together by these disparate elements, clinging to life as it seems to really to fall apart at any minute.  Perhaps my favorite of the five songs!

The last track is “Soak Kaos,” which is more of an instrumental outro but it fits the mood and themes of the album.

With “Khaos Ebony Flame,” Haissem’s sound has been pushed to the next level.  It is a black metal album that takes a different approach while fully embracing the mysterious ethos of the genre while showcasing the desire to step outside its rigid lines in a very successful way. 

Holycide - Towards Idiocracy

Holycide is a thrash metal band from Spain who formed in 2004.  Their latest album is “Towards Idiocracy” is their third full-length album; they have also released a demo and two EPs.

The members of the bands are made up of alumni for the metal underground. In particular,  vocalist Dave Rotten is most noticeably involved in such bands as Avulsed, Christ Denied, and Decrapted.  Bassist Vicente Payá, also in Decrapted, ahas his hands in Bis•nte and Golgotha (who are aboutto release their own really solid album).  

With a pedigree like that, Holycide’s “Towards Idiocracy” should be a total banger of an album right?  Damn right.  In fact, I am 100% confident that, as of the writing of this review, this album is the best thrash metal album I’ve heard all year.  

It, of course, has influence from the 80’s scene but it is more than that.  It isn’t trapped in a bygone era as it forges its own sound.  It is oftentimes quite a bit more dense and extreme that most of other 80’s thrash worship.  The production/mix job is so much better than much of what I’ve heard for the genre this year–it actually sounds good and, not only that, but also vibrant and full. 

Musically, it has all the hallmarks of the genre: blazing riffs, shredding guitar solos, and a DIY attitude. However, it has a modern atmosphere to it—I don’t feel like I’m listening to some tired of washed up band trying to capture the glory days.  This feels genuine, important, and urgent.

And the vocals are actually worth listening to.  Rotten doesn’t sound like a rabid racoon vomiting up a small child it just ate while its nuts are being squeezed. His vocals ride the line between a gruff clean and death metal snarl and it all works perfectly. 

The album opens with the bombastic explosion that is “A.I. Supremacy,” and it’s immediate attack upon the senses.  From the first second to the last, the rhythm guitar barrels forth like there isn’t a tomorrow.  The simple but effective chorus captures the essence of the song and was stuck in my head for a few days.  I walked around growling “A.I. Supremacy” and my family thought I was insane.  

The riffs at the 1:25 mark are head banging to the extreme, a wave of energy that grows into a rampant guitar solo that’s so sharp it could cut through steel.  

“Remote Control,” features riffs that are more intricate but still providing a fast paced thrash groove that never lets up.  The bass in particular stands out, especially in how it compliments the vocals and riffs. The riffs are just slightly melodic enough to be engaging, as is the guitar solo at the song’s halfway point.  The riffs just afterwards made me want to body slam myself against my wall–some of the best on the album.

The tight, crisp, drumming of “Power Corrupts,” leads the charge for what is a song that lends towards death thrash and I’m all here for it.  One of the heavier songs on the album, the main riff is meaty as hell.  The song ramps up the energy constantly as the seconds tick through and by the end I felt as if it was going to actually explode and destroy my headphones (and my head).

The vocals get their time to shine in “Angry For Nothing,” one of the more standout songs on the album.  I love the opening growls and the brutal thrash attack from the instrumental portion.  This song is intense as hell and possibly my favorite on the album. 2:20 to 2:30 contains more intensity than some entire albums do!  The guitar solo blazes through, the rhythm underneath just going for broke.

The final song, “Flamethrower’em All,” is another of my favorites on the album. The cadence of the vocals and rhythm are infectious but it’s the pervasiveness of the bass and drums that really catch my ears. The guitar solo is imaginative, starting and ending melodic but shredding in the middle.  

All in all, Holycide’s “Towards Idiocracy” is a highlight for the thrash metal genre in 2024 and any other band wanting to try and take them down better take notes first.  This is one beastly album that isn’t going to be dethroned easily. 

Devil Moon Risen - Fissure of Men

Devil Moon Risen is an Arizona based band with a very unique sound.  They formed in 2020, in the middle of the pandemic and dropped an EP.   Their brand of high energy and catchy music combines punk, desert rock, and stoner doom into a truly dynamic sound that blazes from start to finish!  Oh and they also include sludge and old school heavy metal into the mix!   “Fissure of Men,” is their debut full-length album…and it is a massive achievement!

The band is a three piece but they sound even bigger. Chihuahua Chad (I hope that is his real name) plays bass guitar, upright bass, and vocals.  His bass is a huge component to the album, if not the main one.  He is absolutely pulsating, steering the direction of the band even while he compliments the other two member’s own styles.  His vocals are extremely varied, everything from cleans and screams.  

Guitarist Rocky Destructo (awesome) has just a big of a job though as the album’s only guitarist.  The song always contain a lot of riffs, in addition to other aspects the string wizard provides.  This dude can really and truly play anything and offers a dazzling display of influences and styles. 

I’m sure you’ve heard of being caught between a rock and a hard place?  Drummer/keyboardist Everett Jones is the rock AND the hard place.  He provides the hardest foundation possible—he has to, to be able to keep these crazy songs from collapsing under their own weight.  His style is just as dynamic as everyone else's and he gives one hell of a performance.

The album’s 9 song, 36 minute runtime is just the right length, perfect for the band to burn through their rather amorphous style.  It is truly impressive how they combine these different genres togethers while still keeping the experience smooth and cohesive.   The songs can be chilled and laid back one minute then the next heavy as hell.  Do you want to crack open a beer on the beach and listen to this?  Or is the soundtrack to street fighting?  Why not both!

There isn’t a stone left unturned and every second is used to fill up the atmosphere.  There is always something going on…a heavy bass drop, clean guitar note, searing riff, hazy vocals, a scream…their sound doesn’t rest for a second and on constant rotation to display what they are capable of delivering. 

The production/mix is stellar–every instrument can be heard, each note as its place among the others, and it sounds like a dream even while capturing their often heavy and abrasive style.

The opening song, “Bad Sketch of a Killer,” kicks off the album with heavy riffs, sterling drumming, and bass that could break the world. It’s bouncy, energetic…already the band is mixing their styles before the album even passes the one minute mark.  The clean, filtered vocals go along well with the guitar as it transitions to clean instrumentation. The middle portion of the song is balls out metal, groovy bass intertwined with riffs and drums that often take that groove and add in sudden bursts of speed.  

“The Rim,” ramps up the intensity from the get-go with bass and drums just straight tearing shit up.  How about those screams around the 1:35 mark?  Excellent!  The vocals have a punk cadence to them, a certain in your face attitude that is captured well.  The guitar solo is slick as hell—fun but impressive, especially how the rest of the song seems to warp around it.  The last 17 seconds of the song are intense, the drums driving it home like a beast.

“Mungo Gringo,” is a weird, short but sweet song that burns bright at just over two minutes in length.  It’s very much a wild punk song that is basically a two minute long atom bomb explosion.  But the band still finds the time to throw in some surprises, such as the sudden clean part at the halfway mark and the metal riffs that follow. 

I don’t know who “Shaun Powell,” is but he must be awesome (or a total asshole) for inspiring this kick ass song.  This is another short banger, under three minutes but squeezes in so much.  The groove of the cymbals is infectious, as are the backing gang vocals.  The main guitar riff is monstrous and the song gets planet heavy in the last thirty seconds or so.  

“D.T.T.B.O.W.T.B” is a fine way to the end the album.  It song is stoner doom but glued together by bouts of ragefully punk rock until the end when it turns into something much more closer to extreme metal, complete with hammering riffs and deadly screams.  

Is punk infused stoner doom (or stoner doom infused punk? or sludge doom stoner punk? or punked up sludge doom?  WHAT IS THIS?) your thing?  Maybe, maybe not.  But I went into this album blind and came out with my eyes open.  No matter what you’re into it, give Devil Moon Risen’s “Fissures of Men,” a chance because I can’t think of any reason you wouldn’t be blown away. Unless you’re lame. 

Grand Demise Of Civilization - The Blaze of Abaddon

Grand  Demise Of Civilization is a black metal band from Minnesota who formed in 2008.  “The Blaze of Abaddon,” is their fourth full-length album. 

This is my first experience with their brand of blackened atrocities but I am impressed.  Their sound is very dark, grim, and about as aggressive sounding as one could imagine.  However, it is also surprisingly melodic, at least in their own way.  The melodies aren’t happy or jaunty but instead a dull light that gives way to false hopes.   The melding of their aggression and melody lends the album an unique atmosphere that is both hellish and expansive.  

The production is just raw enough to coat their music in an appropriate amount of bleakness but the mixing is superb–every instrument can be heard, including the bass which is all too often drowned out in black metal. 

At a runtime of 50 minutes at six tracks, the album is long enough to reveal all its depth but not so long that it wears out its welcome.  Although they obviously share the same elements, every track sounds different enough from the others to keep the pacing and flow smooth, considering how extreme the album is.  

The classic approach of using tremolo is, of course, featured throughout the album but that isn't the only basis the band provides for their black metal.  The songs are riff based with plenty of changes among the notes.  Tempos vary as well–mostly lighting fast but slower, more introspective parts are peppered throughout.  I’ll speak of some highlights of the album below.

The journey begins with “Redeemer of Wrath,” as the music grows into the foreground.  Before the one minute mark has passed, the song is full of raging, encompassing drums and sorrow-tinged guitar riffs.  As the lead guitar rises the action, the bass peaks out from behind the chaos.  The vocals, which are mostly blackened shrieks, push the song into overdrive just as melody arrives for what could be respite but only serves to further the song’s urgency. 

The band isn’t afraid to to include atmospheric touches, as evident around the the 6:16 mark where subtle keyboards lace the guitar riffs.  The ethereal blanket pairs well with the thunderous double bass, offering a duality that manages to compliment each other.  The guitar solo is clever and helps lead the song back into its more chaotic waters.

“Silencer,” features the aforementioned slower tempo.  The bass and drums provide a deep intro that recalls the silent approach of some monstrous entity.  The trepidation grows until the vocals hit, bringing full blown fear along.  The bass and drums do a fantastic job in filling up the liminal spaces—I review with decent headphones and I felt like the band was playing right next to me.  

The song barrels ever forth for the next few minutes but around the 5:37 mark, the bass and lead guitar swirl together to launch the song into an exciting movement that switches back and forth between rumbling movements of depravity and melodic passages. 

The final song, “The Consequence,” is one of the more intense songs on the album, at least parts of it.  After opening in a slower tempo for nearly a minute, it turns into an absolute powerhouse, unleashing all the nastiest demons.  The middle part gets frenzied to the extreme with the short but gripping guitar solo.  The song ends in a surprising twist, fading out to a almost beautiful clean outro.

Grand Demise Of Civilization’s “The Blaze of Abaddon,” is an engaging take on black metal that that include enough dynamics to make it one of the more interesting black metal albums; it is extreme and against the grain but doesn't stand in its own way. 

Fireblood - Hellalujah

Fireblood is a doom/sludge band from Charlotte, North Carolina.  "Hellalujah," is their debut EP, an 18 minute banger of an album with riffs for days.

Their southern roots should let this be a surprise to no one but their music has a swampy, groovy core to it.  The guitar tone is dirty and abrasive as hell, a sterling combination of doom, sludge, and that classic southern-tinge that has that special sort of intensity.  Mike Rot is the only guitarist but he sounds like seven because his riffs are heavy and layered as a goddamn dump truck full of coked up alligators. 

Despite how great the riffs are, any band of this type would be worthless without a good rhythm section. Thomas Stanfel (drums) and Angel Rot (bass) are a two man wrecking crew.  Their own sound and tones are heavy as lead and unmovable as that dump truck I mentioned earlier. 

Travis Overcash's vocals are pure gut and guile, offering a variety that serves up growls, screams, heavy cleans, and a tone of seemingly never-ending energy.   Without a doubt he is a great frontman and spearheads the music extremely well. 

Since it's just four songs, I'll say something about each of them. They all standout in their own way and have big hooks that just pulled me in from the beginning.

"Decomposition," begins with sludgy riffs and doomed groove that are perfect for headbanging, which I did the entire time I wrote this.  The guitars and vocals compliment each other very well while the rhythm section compliments everything.  It results in one big sound that sounds huge but the cadence of the vocals make it all surprisingly catchy.  The middle part slows the tempo a bit as the band goes into total devastation mode.  That scream pierces the air as the the band throws out groove after groove. 

"All Out War," is an apt title if I've ever heard one---this song just doesn't quit. Before the song even reaches the 30 second mark the band is full swing, like the swing of a sword that is about to severe a head from the shoulders.  Around the 3:22 mark, the song hangs back for a few seconds to ramp up the climax before it explodes.

"Who's Your Devil?" wastes no time providing swamp grooves.  This song kind of reminds me of doom/sludge version of Lamb Of God, except actually good and relevant.  My favorite part begins at the 3:25 mark with the words, "Who's Your Devil?" kicking off two minutes of sludge/doom mayhem.

The darkest and most dense song is the final one, "Like Blood Down The River."  It has a very bleak atmosphere that mixes well with the riffs.  The vocals are strained and expressive, adding to the dark layers.

 

If you don't have a spare 18 minutes then you need to get them because this little EP provides a big experience and I can't wait to see where the band goes from here.  We need a full-length very soon!

Terminal Nation - Echoes of the Devil's Den

Terminal Nation is an extreme metal band from Little Rock, Arkansas who formed in 2014.  “Echoes of the Devil’s Den,” is their second full-length album; they have also released two demos, two EPs, two splits, and a live album.

I enjoy the hell out of this album and it is becoming one of my most played of the dozens upon dozens I have listened to and/or reviewed this year.  Not only does the band avoid the dreaded “sophomore slump” but they release their best album and set their path onto underground, and perhaps beyond, domination.

“Echoes of the Devil’s Den,” is one of those types of albums that is intense and abrasive but somehow catchy as hell—and a lot of fun to listen to.  The band leans more into their death metal side this time around but still retains their hardcore rage and energy.  The riffs are bigger, the song’s more tightly constructed, and everything is just way more dynamic.  Throughout the twelve song, 40 minute runtime, the band mixes it up and offers a wide pallet of devastation.  It has traditional death metal riffs mixed with hardcore breakdowns and chugs.  However, sometimes it sounds a bit doomy and dismal, an added layer of mental despondency which works perfect for their subject matter which deals with a variety of real life political and social economic issues.   

At many points, influences from Obituary and Bolt Thrower can definitely be heard but there is also a slight mainstream gleam here and there.  I know that word is absolutely dreaded (don’t feel bad, I fear it too) but I don’t mean that in any traditional or radio-friendly way. My meaning is, these songs zero in on providing an extreme experience in a way that won’t soon leave you and is very much song based rather than being extreme for the sake of it. 

The album opens with the title track—apocalyptic rumbles and thunders of the future mixed with somber, funeral-like tones as sweltering riffs blanket the sky.  Just before the one minute mark hits, the title is spat out as the guitars drop the rain.  The tempo begins slow to mid tempo but still provides much urgency as it lumbers towards the faster final half.  An absolute banger of a song and a perfect one to introduce the album.

The album shows how to grind out a slow, painful groove in the opening moments of “The Spikes Under The Bridge.”  The guitars and bass crunch their way through while the drums lay down a foundation sturdy enough to hold all the chaos.  The vocals are higher pitched, raspy growls that represent the desperate mood.  My favorite part on the album is the breakdown around the 2:09 mark that descends down the spiral as the vocals bark out maddeningly.

Ah yes, “Empire In Decay,” hits next and it’s one of my favorite songs on the album.  The way the lead guitar hangs in the beginning as the rhythm drops notes that are as explosive as bombs sets the stage early for a track that is harrowing and filled with nervous energy that is constantly on the edge of a total collapse.  The chugging and pervasive growls generate more intensity in under two minutes than some albums do in their entire runtime. Around the halfway mark, the band goes balls out and blitzkriegs through a frantic section that leaves little left to stand.

It seems much has been talked about with “Merchants of Bloodshed,” due to Jesse Leach from Killswitch Engage helping out on vocals.  He provides a clean section near the end but it fits the song very well and is a more gruff performance than one might think.  But the song uses him wisely, as a compliment to the proceedings rather than the focus. This song is straight up Terminal Nation and another one of my favorites. 

“Dying Alive,” is one of the more straightforward and brutal songs on the album.  At just over three minutes in length, the song burns bright, quick, and lets their hardcore side hang out.  The double bass brings it hard, a stampede that pushes the whole song over the edge to the next level.  A slow crushing hardcore/death groove ends the song in a glorious way.

The final song, “Release The Serpents,”  is, you guessed it, another fucking banger. Dwid Hellion from Integrity serves up a beastly performance and fits right at home among the ruins of extremity.  The last minute and a half or so is surprisingly atmospheric but appropriately tragic….a smart way to end this album. 

All in all, Terminal Nation’s “Echoes of the Devil’s Den,” is a monumental achievement and one of the most smartly composed albums I’ve heard in this first half of the year.   Any fan of death metal, hardcore, or just damn good extreme music needs this in their collection ASAP. 

Adversarial - Solitude With The Eternal

Adversarial is a blackened death metal band from Canada, who formed in 2007. Their latest album, "Solitude With The Eternal," is their third full-length album; they have also released a demo, two splits, and an EP. 

Adversarial's take on blackened death is a bit different than a lot I've heard this year. While it is without a doubt pummeling and abrasive, it's all extraordinary dark and even murky. It takes the best of both extreme styles and blends them into something that is darker than black.

The tone of the guitars and bass is absolutely heinous and evil. It sounds just like blackened death should sound: maddening, frightening, and against the grain of any hope.

The drums are a highlight throughout the album. They are well produced with a killer tone themselves but aren't extreme for the sake of it. Real care and craftsmanship was put into the album but especially the drums.

The pacing and flow is excellent as well. With 8 sings coming it at around 32 minutes, it doesn't wear out its welcome and gives many reasons to return to these bleak lands.

The album opens with "Beware the Howling Darkness On Thine Left Shoulder," and it is already tearing on the edge of implosion. The entire band is firing on all signals and sound not unlike an advancing army on a death march.

"Witness to the Eternal Light," places the album on a firm black metal massacre especially with the rapid fire drums that push the extremity to the next level.  As the song rushes towards the two minute mark, it slow downs just slightly to let in insane vocals, howls and laughter unhinge the song completely. 

"Merging Within the Destroyer," has some of the biggest riffs on the album, thick with gargantuan energy that threatens to derail the music. The bass and drums keep the insanity as firm as possible but the guitars push on through, tunneling under the madness.

The final banger is "Endless Maze of Blackest Dominion," and it does seem like the pain is perpetual, such is the band's ferocity and fervor.  The vocals alternate between low gurgles, growls, and blackened wails---unrelenting, to say the least. The last 57 seconds is a testament to the band's destructive nature.

This is the first Adversarial album I've heard and I'll definitely be checking out their previous releases while keeping my ears open for their next act of destruction.  Highly recommended!

Moral Putrefaction - Moral Putrefaction

Moral Putrefaction is a death metal band from India that formed in 2015.  This self-titled album is their full-length debut but they released a demo in 2019.

I find this to be a very interesting album. It's production and atmosphere resides in the old school style but it's modern enough to go against any of today’s death metal. Blackened and even tech death elements are used throughout the album which pushes it beyond an old school way of thinking even as they honor the gods of old.

All these elements make this a well rounded album that does a little bit of everything. Despite its abrasive nature, the solid runtime of 36 minutes across seven tracks glides By smoothly, ensuring multiple listens aren't hard to do. I wanted to listen to it several times anyway because it's just so damn good. 

Simply put, this band knows how to put together a death metal song, balancing brutality with interesting and memorable songwriting. I will hit some of the album's highlights below.

It all begins with “Divided,” and its decidedly OSDM tones. The drumming is full and carries itself around the songs. The bass is massive, adding a lot of weight to what is already black hole heavy.Around the 2:15 mark, The gears are switched as they settle onto a catchy groove. The river of choppy riffs arrives next for an intense passage that is nearly exhausting.

“Colonial Genocide,” is laced with tech elements but the band still finds to approach the Atmosphere with a straight forward brutal attack. The bass blew me away at the three minute mark. The rest of the song goes bat shit crazy after a deep growl resonates through the structure.

“Scum of the Earth,” is brought to life with a monstrous growl. The song alternates between a doomy groove And pulverizing riffs. The guitar solo is almost a song by itself, providing twists and turns along the way.

The album ends with “Beyond Saffron Skies,” and it's a frightening freight train. The movement after the 4 minute Mark is my favorite. The bell tones hit hard, binding up anticipation for the lead guitar to shine.

This is yet another nice surprise for me as I approach the end of the year's first half.  It's a remarkable album for a debut and already establishes the band as one with smarty writing ideas and the confidence to make them work. 

Tzompantli - Beating the Drums of Ancestral Force

Tzompantli is a death/doom metal band from California that formed in 2019.  Their latest album, “Beating the Drums of Ancestral Force,” is their second full-length album; they also released an EP in 2019.

The band’s themes and lyrics focus on Indigenous/Native rituals, history and lore.  They go a step beyond this and incorporate traditional instruments into their highly extreme sound.  I see the word Indigenous/regional thrown around a lot but I haven’t heard any band that truly embraces it like Tzompantli.

Because of their dynamics and approach to incorporating culture and heritage into their doom, I think this will appeal to a lot of people even though their brand is very abrasive.  However, sometimes their music is quite a bit faster than a lot of doom so even death heads will find some common ground here to enjoy.

The album’s production and atmosphere is thick—hellish, ancient, arcane, and just impenetrable. This is easily among one of the densest albums I’ve heard this year.  Grab a good pair of headphones, turn this up, and you’ll feel like you are being beaten to death with a bag of rocks.

The drumming alone, which is a huge part of the band’s style, is more brutal than some entire albums I've heard this year.  They are robust and form a foundation that couldn’t be rocked by a nuclear bomb.  The bass made of similar attributes—an exceptionally powerful rhythm duo. 

The guitars are low and grimy, even when played at a fast tempo.  Groove, galloping rhythms are incorporated into more traditional riffage, making the guitars as dynamic as the music as a whole.

The album opens with “Tetzahuitl,” with barking mad death chants as the rhythm tunnels into the very earth, moving entire mountains and crushing everything.  The uptick in the snare around the halfway mark is catchy as hell and further propels the song forward.  After the halfway mark, the lead guitar offers up an atmospheric approach with dismal melodies.

Indigenous sounds, drums, and whispered chants make “Tlaloc Icuic” immediately both dangerous and mysterious.  Yet it is also entrancing and has me hanging on the edge to see what happens.  The riffs kick in, a huge rumbling that goes besides the chanting grunts, which is louder now.  This song has an unconventional approach, a sort of melding between an interlude and an actual song.  It is ethereal in a tribal way and is straight up hellish doom.

“Tetzaviztli,” is one of my favorite songs on the album because I love the build up.  The tribal drums, the riffs that creep in and help construct the song into this violent tapestry of atmospheric death and doom. I love the movement at 5:45…slow, crushing riffs that hang over like black clouds.  The last minute of the song is impending doom put to music.

The album ends with the masterful “Iconocuicatl.” This song is doom metal incarnate and represents everything that makes the genre my favorite.  It’s slow, heavy, dark and is more like an experience than a song.  The soundscapes are often dismal and thunderous, completed by the stark, pained vocals.

Tzompantli’s “Beating The Drums Of Ancestral Force,” has become on of my favorite doom albums in this first half of the year.  It solidifies the band as a powerful force within the scene and pushes their sound forward. 

Vale of Pnath - Between the Worlds of Life and Death

Vale of Pnath is a death metal band from Denver, Colorado who formed in 2006. Their latest, “Between the Worlds of Life and Death,” is their third full-length album. They also released two EPs and a demo.

At this point, guitarist Vance is the only original member. But his songwriting prowess, riffs and, most importantly, his spirit remain great as ever.

This album is the first to feature Ken Sorceron on vocals, although he has been with them for some time now. I was fortunate to see him live with both Pnath and Abigail Williams….I'm happy that his performance on this album is nearly as powerful as it is on stage. He's just a hell of a vocalist with a lot of energy.  I believe he also plays bass here as well and he brings it hard that way too.

Gabe Seeber makes his Vale of Pnath debut here too and his insane but tightly robust drumming is one of the many highlights on this album.

For anyone unfamiliar with their sound, they are very much technical in a riff based way. However, the symphonic and blackened elements are definitely being incorporated more and more. That may or may not be due to the fact Vale of Pnath and Abigail Williams are basically the same band (not in sound but in members) but whatever the case, I'm on board for this more theatrical, darker but still technical direction.

The album opens with “The Forgotten Path,” an intro that offers over two minutes of orchestral/symphonic that is lush and epic enough to make the likes of Septicflesh or Fleshgod Apocalypse proud.

The instrumental flows into “Silent Prayers,” that begins with deep, rumbling growls. The drumming is massive but doesn't drown out the other instruments. The riffs flash with technical flair but they don't get in the way of the layers, especially when the song begins to fire on all cylinders. The mixing job is perfect; despite all that is going on, it doesn't sound muddled or messy.

The atmosphere and textures of “Uncertain Tomorrow” are filled with suspense and trepidation.  This uneasy feeling combined with the technical groove of the riffs and the deep growls pushes the song into harrowing territory. The halfway point is a highlight by the drums covering the breadth of a minimalistic approach before it goes into a blazing guitar solo. Soon as it ends, hell breaks loose. The band, and album, is truly in its element when it all comes together. 

“Beneath Ashen Skies,” is one of my favorites on the album. It has huge black metal vibes and a lot of little atmospheric nooks and crannies. Movements at the 38 second mark and 330 marks are nice details that help make the song have such a wide, in depth expanse. 

The later half of the song is highlighted by sweeping keys lighting up the drums before mind blowing riffs push the song into and ending of blackened chaos.

The album ends with “Burning Lights,” and the band, particularly The guitars, pull out all the stops and go for broke.  The songs take everything that makes the album grand and just makes it all the more so, a striking painting of majestic brutality.

Vale of Pnath have been away awhile but ,“Between the Worlds of Life and Death,” is a statement that the time gone only improved them and the wait was worth it…and they will only propel themselves further into the future.

 

Mortal Wound - The Anus of the World

Mortal Wound is a death metal band from Los Angeles, California who formed in 2018. “The Anus of the World,” is their full-length debut, following a split and a demo. 

There are so many sub genres these days. Hell, most subgenres have their own subgenres now. There isn't anything wrong with that but sometimes that isn't what I want to hear. Sometimes I want straight forward, especially in the more extreme styles.

“The Anus of the World,” is definitely an album that scratches that itch. Hell, it doesn't scratch….it straight up shreds and pounds those little pieces into the ground.

This is an album that offers no frills or thrills other than the gift of straight up brutal death metal. As such, it's an esoteric experience—if you don't already have at least some interest in death metal, this won't change your mind. But there is some charm to that. I appreciate this album because it doesn't try to hide its nature or be more than it needs to.

Supposedly, the subject matter revolves around the Vietnam war but none of the growls and deep guttural vocals can be understood so it doesn't matter, per say. However, it nails down a bloody, depressing and hopeless atmosphere—and the music to match. I've no doubt it is suitable as a soundtrack to any of the war based lyrics.

The album opens with “Found Dead in a Bush,” and its omnibus tones, complete with a soundbite that explains the album's somewhat odd title. After battering and destroying with old school riffs, the groove hits at the 1:58 mark, riffs chopped into segments that like being hit by wave and dragged to the undertow.  

“Drug Filled Cadaver” sounds exactly how a song with such a title should sound.  The riffs are solid, unrelenting and the rhythm section backs them up while adding much girth to the sound. The song speeds up after the halfway mark to deliver the goods in a rotten raucous way.

“Engulfed in Liquid Hellfire,” is the audio Equivalent of being put into a meat grinder. The riffs are nasty, the atmospheric harrowing and the energy both urgent and unforgiving. The 3:53 mark is pure good ol groove that made me want to drop kick a moving car. I didn't so I was able to enjoy the insanely fast riffs at the 4:41 mark.

“Spirit of the Bayonet,” is a slower paced yet pulverizing, at least in the beginning. The riffs on this one are deep and true, cutting deep in a way that only death metal can. The way the tempo goes from slow, mid, and raged induced and back again is like being beaten and never knowing when the next strike is going to land.

The album ends on the aptly titled “Royally Fucked Forever,” and its a banger of a doozy.  The song winds up throughout only to release with primal carnage. It's a perfect way to end this uncompromising of an album.

Ultimately, “The Anus of the World,” is an ode to all things brutal and an album that makes a massive fist to every face it can find.  If you like death metal (and if not, why don't you?) then you need this in your collection. 

Hellbutcher - Hellbutcher

Hellbutcher is a black metal band from Sweden that formed in 2022. This self titled album is their full-length album and they have also released a demo.

2024 has been a year of musical surprises. I've reviewed quite a few albums from bands I wasn't familiar with and was satisfied with the results. Hellbutcher’s debut fits firmly into this category as well.  Their brand of black metal has a definite old school vibe to it but approaches the genre with a modern sense. Despite how intense and unforgiving it can be, the album manages to be melodic as well with a lot of big hooks.

The production is fantastic—-black metal doesn't always need toilet bowl stain production and the album runs with this idea. It doesn't take away from their underground appeal and, if anything, actually makes it sound more dynamic and even vibrant. 

The melodic beginning of “The Sword of Wrath,” gives an idea as to what awaits on the rest of the album.  The melodies are catchy but also sharp and seamlessly blend into the faster parts.  The blackened shrieks aren't too high pitched and, at times, remind me of Old Man's Child. I’ve heard but they are serviceable.  In the middle part of the song, the music rages from the surprisingly catchy chorus as the lead guitar spearheads a melodic movement that retains the energy of the song with the help of the tight, crisp drums and bass.

The album is sprinkled with influences from a more traditional form of heavy metal, particularly with how the lead guitar explodes out from the riffs, such as in the beginning of “Violent Destruction.”   A cacophony of guitar and drums duel it out in the songs midsection, offering a scene of chaotic hellfire.  

Of course, the album heavily incorporates thrash metal as well.  “Possessed By The Devil’s Flames,” is an old school rush infused with extreme elements that make it sounds like an ode to the 80’s but on steroids. The band has a fantastic ability to make even the most melodic parts sound evil and haunting.  

The final song is the absolute banger that is the appropriately titled “Inferno’s Rage.”  From beginning to the end, this flesh rending song never lets up.  Along the way the band still manages to instill a sense of old school sensibilities, making it as catchy as it is devastating. 

All in all, Hellbutcher’s self-titled album is an surprisingly polished and catchy album that manages to not let either of those often alien terms take away from their extremity.