Gods & Punks - Death

Gods & Punks is a Brazilian doom metal band, who formed in 2013. Their latest release, “Death,” is their fifth full-length album; they have already five EPs and a live album under their belt as well. 

The South American doom scene is crazy good and I can’t think of one band from the scene that I haven’t enjoyed. Somehow, this album is the first time I’m hearing of Gods & Punks brand of doom…and I’m blown away.

“Death,” is a doom metal album, pretty close to stoner/psychedelic tendencies with some rock and roll elements. This particularly genre is stuffed to the brim with all kinds of bands of varying qualities. Do we need one more? Yes, yes we do. Why? Because “Death” is a fresh sounding album with a unique approach. 

It isn’t any one thing that makes it unique—the overall album just sounds different from anything else I’ve heard from the stoner genre this year. Maybe it’s the vocals, which are expressive and equal parts hazy and soaring. Perhaps it’s the rock and roll aesthetic that makes their brand of doom especially catchy and smooth. Oh I know what it is. It has to be the Gothic, gloomy atmosphere that most stoner bands don’t have. Oh wait…it’s actually the progressive approach to the songs, infusing all these styles and little details into a sound that changes regularly but hangs onto its roots. Actually, it is all that.  

Listen to the riffs on “Slowburner” and tell me they aren't catchy as hell. The vocals have a classic feel to them, a little distortion laced on top to add a certain swagger to their cadence. 

The drums and bass compliment the song at just the right moments, lending the song a mighty beat and groove.

The chorus is an earworm and the overall energy is infectious. Of course the whole album has these qualities but as an opener, the song really smacks you on the face.

“The Night of a Thousand Days” offers slabs of fuzz within seconds, and the drums ring loud and true. The production and mix helps so much, it ha a vintage quality (I bet this album would sound amazing on vinyl) but modern enough to let the dynamics of the song to shine.

The riffs are crawling, picking up every piece of dirt and grit found along the way. I believe that's an organ in the background and it's icing on the cake. The ending is an unexpected but fantastic display of clean instrumentation.

“The Space Between The Spaces” showcases the album's dynamics and the band's willingness to step outside the box.

The beginning tribal, shamanistic and even a little cult. The clean guitar, including the leads, weave magic through the misty apperiations as ghostly cleans hang above.

A groove that could go on for days arrives, a little blues and good ol rock and roll mixed in. The song speeds up soon, the drums and bass driving it home, back to an intricate clean finish. 

The final song, “Black Box” is a doozy. The beginning journey of the song is a country/gospel/rockabilly hybrid as it slowly but steadily builds up the doom. 

Then it turns into a clean piano romp…And back up again with the riffs and leads. An utterly fantastic song.

Gods & Punks’ “Death” is a massive successful album that proves you can be metal as fuck while still stretching vast boundaries. 

Absorb - Smog

Absorb is a death/doom metal band from Canada, who formed in 2013.  Their latest release is their second EP “Smog” but they have also released two full-length albums over the years.

With three tracks and a runtime of nearly 25 minutes, it’s a decent amount of music for an EP.  Doom, and anything under its myriad umbrella, is my favorite genre so I can be quite picky.  However, Absorb’s latest EP is right up my alley.    

The production is stark and deep—I review music with a decent pair of headphones and each song sounded like it was sending me further down to the next level of hell.  Musically, it’s slow, low, and exemplifies what one would expect from a death/doom band.  However, the songs are very much structure and riff based—it’s atmospheric of course but the EP builds an actual meaty body structure instead of relying on long drawn out liminal spaces or ambient textures.

Erik’s vocals are abrasive, offering up growls and screams for a performance that fits in perfectly with the music.  Jeff and David’s guitars actually feel like two people playing, their notes are just so robust and dense.  Much of the same can be said for Jay’s bass—absolutely monstrous with one hell of a low end.  It takes a damn good drummer to make slower paced music slow—-make no mistake, Aaron is fully capable of handling that role. 

“Disassociated,” is the first song, offering a great overview of the band and EP’s overall sound.  It begins with a noisy intro that quickly gives way to the shadows.  The bass hangs over the atmosphere, using those shadows as tendrils to wrap around the air itself.  The riffs and drums are both taking it slow but ultra heavy—seriously, these might be the heaviest sounds in the universe right now. 

I enjoy the higher, pitched blackened vocals because they grasp the essence of the song with their visceral approach.  A lot of people don’t realize how extreme doom can get but if they need a reminder then I highly suggest this song.  As the song speeds up slightly, groove slams like concrete winds.  

The title song starts more immediate with a massive groove that crushes like a glacier.  The riffs grow more expansive as the song goes about his slow crush. The middle part is deep as a well, I almost felt lost in its ocean of drowning despair.  The tempo picks up afterwards, an introspective fury with more energy than a lot of doom bands can muster.  The songs ends more harrowing than I thought it would, more than a little unnerving.

The final song, “Cecilia,” opens with bass that would probably register at least an 8 on the richter scale.  This is my favorite of the three; the vocals have a little bit of an echo with them, adding a surprisingly horrific and ghostly tone to the song’s atmosphere.  The violence increases as the song rises towards a towering crest of pounding drums, crushing tone, an unending waves of doom after doom.  Near the end, clean vocals, more like a shout, appear and they fit in quite well.

Absorb’s “Smog” EP is a mini-epic that hits all the right notes on what I look for in doom metal, especially the extreme side of it.  Highly recommended. 

Laceration - I Erode

Laceration is a death/thrash band from California, who formed in 2006.  Their latest album, “I Erode” is their second full-length album; they have also released four demos, a split, and an EP.  

Although their Metallum page labels this death/thrash, this leans more towards death metal to me.  However, when death metal is played with some unbridled energy as this album, the lines between the two genres tend to be blurred a little. Regardless of what you want to call it, this album is a blazing white hot beast of a ripper. 

The production/mix is sharp as hell.   Some might prefer a little more grime to their extremity but it works for the album, allowing each note from each instrument to stand out as a loud, violent example of how to craft death metal in a modern way that still honors the gods of old.

As with any great death metal album, the songs are focused on the riffs.  That isn’t a problem for lead guitarist Donnie, bassist Eli and vocalist/guitarist Luke–each of them are masters of their craft and deftly combine speed and groove with just the right dose of technicality.  It would be all for naught if they didn’t have that all important backbone but Aerin and his ridiculously tight drumming handles with precision and fluid motion. 

Yes, the album is fast.  Yes, it is brutal.  Yes, it checks off all the boxes for what makes a great extreme metal album.  However, it also answers a big YES to the question “But is it fun?”  

Fun?  In metal?  I certainly can’t speak for others but I love music, specifically metal; I like it for fun and pleasure, even when I’m reviewing...I like it even more when I know the band is having a good time.  I review albums, and yes I suppose that is a job even though I don’t get paid for it, but I’m not doing it for the hell of.  I love it, I love the music.  

And I can tell the band loves this album.  As I already mentioned, they check off all the boxes that are needed for underground greatness but they definitely are not going through the motions.  This is an exciting, fresh, and, well, FUN listen.

The album opens with the intro track, “Degradation,” which is nothing more than ambient noise but it does do its job of setting up the tone for the album.  It also flows directly into the first full song and that is important.

That first song is “Excised,” and before the 30 second mark even passes, you’ll be headbanging like it’s 1991.  The riffs are catchy, the solos bite through the songs with their fantastic tone but always make sense within the context of the song.  They aren’t overly flashy nor are the other instruments—everything melds together for the sake of the song. 

“Vile Incarnate,” is a pile driver, the drums hammering away like its the last thing that will ever be done on the planet.  Luke’s vocals are brutal as death and cold as a grave; barking over the riffs as they slice and dice their way through is one of the many highlights the band provides.  The thrashy guitar solo guts the middle of the song just before the band double downs on its speed.  This song exemplifies the band doing what they do best, which is starting out extreme and adding more layers to it as they go along.  They double down on their own sound and the songs are all the better for it.

“Carcerality,” is filled with groove, groove and more groove.  The drums provide plenty of groove on their own, the fills are especially gripping. The bass goes hard, backing up drums and complimenting the riffs–and being very audible while doing.

The final, and title, song is nearly six minutes and that makes the longest song on the album.  This allows for a more intricate song structure and the band runs with it, fleshing out their sound in a big way without changing it too much.  Basically, it means they add more riffs, more solos…more everything.  

Ultimately, Laceration’s “I Erode” is a gripping album that provides a blistering experience, demanding multiple listens and being engaging every time. 

ColdCell - Age of Unreasoning

ColdCell is a black metal band from Switzerland, who formed in 2012. Their latest album, “Age of Unreasoning,” is their fifth full-length album; they have also released an EP.

This is my first experience with the band's brand of black metal but I'm impressed. Their sound is a very convincing mixture of atmospheric leaning and a classic black metal sound. 

It is aggressive and extreme but not in a rushed way. Of course there are faster tempo parts throughout the album but the band certainly isn't afraid to take a slower approach, a methodical look at their own style to let it all marinate and sink in.

And it will do just that--this is a creepy album, unnerving and vile in many ways. Fans would argue that's the point of black metal but “Age of Unreasoning” approaches the style in such a way that these elements are just two more weapons in their arsenal. This is a layered album and peeling back each one exposes a different form of which the dark, bleak melancholic sound of their destruction takes.  I really like the production. It's wide enough to capture all the aspects of the band's sound but not so expensive they can't see the forest for all the trees.

The album opens with “Hope and Failure” and the atmosphere begins to sink I'm almost immediately…a certain finality soaks into the psyche alongside the riffs and drums. The vocals are desperate, maddening growls and screams that work so well with the slower tempo. The drums soon kick it up a notch but the music is just as ethereal as it is intense…..it's an unique approach that pays off.

The feeling of being broken and destitute arrives with “Left,” a cold song that had s cold chill running down my spine for its entire run time. The drums are front and center , beating over the riffs that hang in the air like hung men saying on their ropes in the wind. The intensity grows steadily, like the rumble of an impending earthquake. The vocals grasp on these emotional tendrils tightly, swinging the song into freighting territory.

Ines Brodbeck provides vocals for “Meaningless,” and her touch is emotional, raw and just as powerful as the blackened vocals in the other songs. The music ebbs and flows alongside her vocals as it finally explodes into an uncommon fury.

The final song, “Discord,” feels like has been shaken up and is frothing towards the top. The song gets there but in a subtle way; instead of bubbling over and erupting, their musical concoction swells and crashes against the inside barriers.

With “The Age of Unreasoning,” ColdCell has crafted one of the best black metal albums I've heard this year. 

The Depressick - Faded.exe

The Depressick is a DSBM band from Mexico City, Mexico who formed in 2013.  “Faded.exe” is their second full-length album; they have also released two demos, three EPs, and three splits.

I don’t know much about Mexico city in particular or Mexico in general, but it must be one depressing place to create music like this.  The desperation, the despondency, is so thick across the album’s 7 track, 46 min runtime that it’s mentally exhausting at times.  Of course, the band includes post and atmospheric elements as well so the sadness is tripled.  

In the band’s own words, “negativity, misery, poverty, sickness and filth,” of their environment contributes to their bleak sound.  It sounds like the members haven’t had the best life and have been put through the ringer.  With that being said, they are clearly trying to persevere, in a way, to use these experiences to push out great music like this.  It feels odd calling something born out of such misery “great” but it's also a testament to their talent and, ironically, of the human spirit. 

The vocals are what one would expect for an album such as this—and very solid.  There are howls/screams that are common for the genre but some good ol’ fashioned blackened grime.  Musically, as I mentioned earlier, it includes elements across a few sub genres but it is first and foremost a black metal album.  The guitar/bass tones and the drums capture the underground energy of the scene.  The album never lets go of its blackened roots even when the band brings out some of their more layered musings. The bass, specifically, offers the album a deep sound, a rumbling of darkness that permeates throughout.

“Shattered Heart,” is a solid opening song as it gives a good indication of what to expect across the rest of the album.  All seven songs differentiate enough from each other but it is a safe bet that if you like this one, the rest of the album will meet expectations.  It begins immediately, a surprising amount of energy for a band of this style.  The vocals are torturous and pull the listener along through the winding tunnels of pain. As the song builds, it becomes more layered and expansive but it still sounds powerful.  After the 6:7 mark, ambient clean tones cascade across the bleak sky just before the crushing weight of distortion rests on top.  The lead guitar offers a melody so stark that I actually felt bad.

“HCI” uses electronic beats in the beginning but I’ll be damned if it doesn’t work and fits firmly into their sound. This might be my favorite song on the album, I love the bass and the dirge-like guitars.  The vocals are extra emotive too—the first three minutes or so of the song are quite the journey.  Afterwards, the drums kick up the tempo but the guitars and bass still grasp that atmosphere….I feel this song really represents their sound.

“Papillon (Part 1)” starts off as one of the more straightforward songs on the album but a surprising twist is on the way at the 2:31 with more electronic elements and some sort of cultural chant. It sounds very interesting and it works in the context of the song.  A lot of DSBM bands would be afraid to do something like this but The Depressick are clearly no ordering representation of the genre.  That’s certainly a good thing. 

With “Faded.exe,” The Depressick have created an album that is as hopeless as anything I’ve heard this year but it’s also unique and engaging enough to stand out from the pack.  

Obscene - Agony and Wounds

Obscene is a death metal band from Indiana, who formed in 2017. “Agony and Wounds” is their third full-length Album; they have also released an EP.

“Agony and Wounds” is an album that doesn’t try to hide it’s influences or pretend it is anything other than straight up death metal.   There is a certain charm to knowing who and what you are—I like that kind of confidence.  And in today’s scene, sub genres get blurred very often and, while there isn’t anything wrong with that, it is ironically refreshing at times when a band doesn’t want to sound, well, refreshing.  Give me old school death metal any time of the day, any where.  

The production is solid–it’s loud and boisterous but every instrument can be heard with clarity; every brutal note hits hard, fast, and is razor sharp.  Every performance sounds meaty—this is a very robust, full sounding album.

Overall, the album is a nonstop banger.  While there are moments of slow to mid paced tempos and melodic flourishes here and there, the album is constantly full-speed ahead.  It is a very fast paced album and the 41 minute runtime will quickly pass.  

Speaking of melody, the band injects it when need be but it isn’t their focus…which it makes it all the more important when it does show up.  The opening song, “The Cloverland Panopticon,” opens with about 40 seconds of melodic guitar before the audio assaulting begins.  The tempo is pulled back ever briefly around the 1:40 mark, letting the strong guitar tones sink in for maximum effect.  These little details make the songs all the better, as every tight construction needs something to keep it from falling apart.

“Breathe The Decay,” is one of my favorite songs on the album and a fine example of what the album is going for.  It thrashes and rages with a fervor that would make even the most cynical metalhead blush.  The rip roaring riffs and hectic rhythm prowess is blanketed by slower tempos and more dynamic riffs that introduce a little melody.  Again these parts are few and far between but they hold it all together.

None of the songs are very long—-the band is more than content to drop their bombs and fly off, leaving behind wreckage rather than a lingering sense of dread.  “Death’s Denial” is the shortest song on the album and it leaves no time for the band to do anything but create said wreckage.  Tight drums, zeroed in riffs, depraved vocals, and rumbling bass offer a blistering focus.

The album stays pretty consistent all the way through, with the later half offering plenty of its own visceral numbers.  “The Reaper’s Blessing,” is so fast the vocals push through like hurricane winds moving down a narrow passage: concentrated, almost palpable.  Impressively, the speed is somehow doubled around the 1:28 mark.  I jammed this song with a decent pair of headphones and it felt like the music was going to push out of the front of my head. 

“Dressed In Corpses,” is surprisingly catchy, especially the cadence/rhythm of the vocals. The guitars grow more ominous as the song moves along, becoming extra powerful after the mid section where it slows down then speeds up, creating a whip last effect that is quite potent.

The title track finishes the album, with another melodic intro but this time in the form of clean piano.  It isn’t there for long but it’s a nice touch, especially how it mixes in with the death metal portions.  This is the only song that doesn’t really kick up the tempo all that much but I actually like that and it reveals how good this band would be at putting out a whole album of death/doom.  

All in all, Obscene’s “Agony and Wounds,” may not be anything flashy or groundbreaking but it also isn’t trying to be those things.  For what it is, the album is a satisfying trip through the fields of desolation and devastation. 

Wizard Tattoo - Living Just For Dying

Wizard Tattoo is an Indianapolis-based progressive metal project from multi-instrumentalist Bram the Bard.  The project blends in a ton of different styles....doom, progressive, black metal, jazz, and even grunge all find a place in this project's highly unique approach.

Their latest release is their EP “Living Just For Dying,” a follow up to their debut full-length “Fables of the Damned.”  With four tracks across a runtime of 20 minutes, this short but sweet mini-adventure packs a lot of interesting and highly engaging material.  

I’m a firm believer that unique music needs to be promoted.  Is this outside my wheelhouse?  Definitely.  Hell, it’s probably outside most people’s wheelhouse.  But even if I didn’t like it (which I do!), I’d still be writing this because something this different needs to be exposed.  I’ve always heard (and said it myself quite a few times) there is nothing new under the sun.  For the most part, that still holds true, for better or for worse.

But every now and then…an exception rears its multifaceted head to prove me wrong.  What I find most impressive about “Living Just For Dying,” is how cohesive it sounds!  Each of the four songs sound different from each other but all fit into the overall atmosphere together.  

The album opens with the title track and its acoustic leanings.  The tones are deep and dense, providing a heavy factor in a stripped down way.  The vocals are amazing–deep, Gothic overtones with a folky feel to them.  The entire song has a singer-songwriter vibe to it but it works so well.  A  cello or violin (its hard for me to tell, sorry) is thrown in the mix too because, fuck it, why not at this point? But, again, it works.   Bram’s songwriting and composition skills are obviously too on point to allow any one element to NOT work.  

“The Wizard Who Loved Me,” is up next and brings more acoustic elements with it but in a much different approach.  This is more of a prog-rock approach, featuring the vocals of Djinnifer.  Her vocals are unique as well—lithe and ethereal but with a rock vibe to them as well.  This is a moody song, having the atmosphere of a doom song even if, musically, it isn’t.  The guitars are intricate during the middle half and lead into an emotive guitar solo.  The ending is surprisingly foreboding, what with the low  tones and flavorful drums. 

The album does a 360 and offers a blackened song for “Tomorrow Dies,” featuring the vocals of Fausto Aurelias.  If I played this for someone, they would  have no idea it was the same band who offered the previous two songs.  With that being said, and as I previously mentioned, the tone and atmosphere remains the same so even though it walks a completely different path, it comes from the same inspiration and moves towards the same destination.  

The vocals are raw and powerful, pairing well with the groovy black metal riffs.  The song has moments of pure speed and aggression, offering as much searing guile as any actually black metal album. 

The final song, “Sanity’s Eclipse,” is a fantastic opener because it brings the album full circle, offering many of the same elements the first song offered. This one has a higher sense of urgency, a certain trepidation I can’t quite put my finger on but can definitely feel it.  The middle part is a heavy acoustic passage that has a sort of shamanistic feel to it.

Wizard Tattoo’s “Living Just For Dying” EP is a wonderful little piece of music that fits more ideas and dynamic textures into it than a lot of full-length albums can offer.  This is such an different type of music that it deserves praise and fans of music, in general, will no doubt find a something to like here. 

Sarajah - Sarajah

Sarajah is a doom metal band from Finland who formed in 2010.  This self-titled album is their full-length debut; they also released a demo in 2017.

The band's sound is a more traditional style of doom, a stark contrast to the other members' bands.  Both vocalist Magus and drummer H.Wizzard are from Fimir. Guitarist J.H. is the musician behind Shades of Deep Water and In Depths of Winter.

Still, while Sarajah may lack the extreme elements of the aforementioned bands, they are still doom and just as heavy in their own way. J.H. and  bassist/second guitarist Jeff Pekkilä bring riffs for days. Each song captures the classic feel of old school Doom through the worshiping of thick, fat riffs that go on for days. H. Wizzard's drums are as impenetrable as the guitars, offering a meaty approach that is powerful and vibrant.

Traditional doom isn't usually known for its vocal prowess but Magus is an absolute beast. He doesn't use filtered vocals, an overly gruff speaking voice, high pitched wails, or any other doom trope. Simply put, he sings his ass off with an expressive, deep voice that sounds convincing.

Ultimately, the individual performances are something to behold.  Concentrating on listening to just any one instrument will provide a highly engaging trip---just really killer instrumental prowess here. So much traditional doom ventures too far into stoner and becomes blinded by its own fog.  Not this album; it doesn't sound sleepy, hazy but instead vigorous and hungry. 

The production is solid–nothing flashy but that's not what this style needs. The important thing is the low end is mixed in perfectly and none of the instruments drown pit each other.  It has an open sound, a lot less confined than what some other traditional doom bands bring to the table. In essence, although it's obviously influenced by the legends of old, it has a modern sound to it. 

The songs are, of course, centered around the power of the almighty riff but every instrument gets equal time to shine. I'd say despite how good each individual performance is, everyone is on board with making the songs whole. This is without a doubt an album that can be enjoyed either on a piecemeal basis or straight through. The 37 minute runtime, across eight songs, certainly helps with that. 

The album opens with the title track, starting off with a groovy riff and notable bass. The vocals croon with a deep clean; within a minute the band is firing on all cylinders. And that's really the key to the albums success: the band always comes together and compliments each other's playing.  The middle portion of the song is a good example of which I speak…it's a little jam session where the band feeds off each other. 

“Long Riders,” is also groove laden but the riffs are massive, almost sweltering. The vocals are very catchy here and the chorus was stuck in My head for some time. The middle part of the song is one of the album best moments. The guitars throws out a final riff before giving the backbone to the bass, which in turns helps boost up the clever solo. 

“Home of Arktos,” is the shortest song on the album but extremely focused…the riffs cut deep and have a flavorful vibe to them.  Once again, the vocals are catchy as hell.  I liked the opening, which begins as clean, deep tones before the riff drops. It's a solid, heavy slab of notes and it falls like the sinking of a ship to the unfathomable depths. The guitar solo is just melodic enough to offset the abrasiveness of the riffs without taking focus off the song. The clean instrumentation returns after the halfway mark, another little details that adds to the fullness of the song.  

That's another great element about the album: it has a towering, full sound.  Every second is used, nothing is wasted, and nothing is overdone.  It comes to to bring the doom, destroys all in its path, and then leaves.  It makes for an album with a smooth flow and a lot of replay value. 

The final song, “Underworld,” is the longest Song on the album at over 8 minutes. It has a long intro that stacks riffs upon riffs upon riffs before the vocals enter right before the two minute mark. The guitar solo has a slight psychedelic vibe to it, a nice addition to add an extra layer to this mini epic.

All in all, Sarajah's self-titled debut is a strong effort and one of the best traditional doom album I've heard in this second half of the year.  

 

Liminal Shroud - Visions of Collapse

Liminal Shroud is a black metal band from Canada, who formed in 2018.  Their new album, “Visions of Collapse,” is their third full-length album; they have also released a demo.

Liminal Shroud have become one of my favorite modern black metal bands.  They reach a level of despondency that has now been taken to the next level with “Visions of Collapse.”  As with their past albums, their black metal is absolutely loaded with melancholy and depressive atmospheres.  However, they dive head first into the songwriting on this album; but instead of getting trapped within themselves, they harness their true potential.

The songs are more intricate and grasp the concept of melody and the understand that it can be used to make a bleak sound even more unfathomable.   Yes, their music has always had these traits but now they are zeroed in on it more than ever.  

With five tracks, it stretches its boundaries across 44 minutes of length, a little longer than their previous album.  However, it isn’t overly long but it doesn’t matter because the songs breeze by because they offer so many details to keep the engagement high.

The production  brings the songs to life with a full sound that isn’t so suffocating the instruments can’t be heard.  Each instrument can be picked out of the mix at any given moment and they all offer rewarding experiences should your ear choose to follow one over the year.  Regardless of their individual journeys, they all come together in the end to make the song whole and memorable.

The album opens with “Nocturnal Phosphorescence,” which begins with clean tones and melodic bass.  The lead guitar works it’s magic as it walks a path between the notes.  As the build up moves ever forward, the drums offer a prelude as it begins to ramp up the energy one beat at a time.  

Around the 1:32 mark, the double bass kicks in just after the first distorted notes make their presence known.  The clean gives way to dour riffs and an almost doom metal tempo and atmosphere.  The band doesn’t rest for long, suddenly speeding the song up to blackened tempos.  The bass kicks up its game and is certainly the MVP through much of the musical transitions.

The key here, as with the album as a whole, is how the songs change without it coming off as a band being indecisive or wayward.  On the contrary, the band is laser focused as the songs unfurl smoothly.

Death growls pierce the veil as the song doubles down on intensity.  The drums help move the song back to a slower tempo and the lower growls grab onto it.  The song finishes with that classic black metal rage we all know and love.

Ambient, spacey tones start “Nucleonic Blight” with an alien tone.  The cadence of the vocals and drums add an alarming sense of urgency to the riffs, which walk a fine between melodic and dense. The instruments both compare and contrast against each other, offering an unique perspective that changes every time you listen to it. The song gets frenzied after the halfway mark with the lead guitar just before the drums hammer it all down.  The bass reaches out, and snares, a wonderful, darkly emotive passage that finishes out the song.

“Resolve,” is the longest song on the album but it is more immediate than the previous two.  The guitars and bass create blackened melodies as the vocals scream out for the skies.  I love how the drums compliment the other instruments, leading the ears around to other parts of the song while remaining wholly enjoyable themselves.

The song is very subtle in speeding up but by the time the halfway point begins to descend, some of heavier moments on the album arrive.  With them comes clean vocals that are nearly ethereal in their presentation but their low presence in the mix works in the song’s favor.  

At just a few seconds over the four minute mark, “Malaspina,” is the shortest song on the album but it is placed well in the song, a final hail mary before the final epic.  I can’t say it’s much of a respite, however, as the beginning is furious as well as a passage just after the halfway mark.  The ending is rather intricate with a lot of cool guitars happening as it fades off into the void.

The final song, “The Carving Scythe,” is perhaps my favorite on the album.  The band goes for broke, reaches deep, and pulls out the very essence of what makes the band tick.  If anyone wanted an example of the band’s music, I’d be comfortable recommending this song as a starting point. 

The highlight is the band going from lumbering to frantic after the three minute mark but playing with liminal spaces that offer a much different midsection before the song barrels through once again to the album’s finish.

It has been said there is no point in fixing what isn't broken…with Liminal Shroud’s “Visions of Collapse,” they refined what already worked for them to create their best work yet and set the stage for the rest of their star spawned journey. 

Vanhelgd - Atropos Doctrina

Vanhelgd is a death metal band from Sweden, who formed in 2007.  “Atropos Doctrina” is their six full-length album; they also released an EP in 2010.

Although rooted in death metal, “Atropos Doctrina,” is an album with a black metal atmosphere.  It’s raw, grim, depressive, and constantly tearing on the edge of insanity.   Musically, it stands outside the edge of death metal as well, offering a variety of blackened and melodeath passages that push the band’s dynamics further.  Vanhelgd has a firm grasp on these ideas and how to use them; their sound is encompassing and they use everything in their arsenal to present this frigid, desolate landscape.

The vocals go a long way in presenting these ideas—they sound depraved through the use of growls and screams, both of which sound like they are about to snap and proceed to a mental collapse.  

The guitars weave in and out of the various genres with ease, their tone always keeping the feel of the music together so it all stays dark even when the focus shifts to a different perspective.  The drums and bass are mixed perfectly into the production, each of them offering a sound that is both robust and oppressive.

“Saliga äro de dödfödda,” opens with the album and it feels like a declaration of something, perhaps of war or some foreboding thing on the way.  The cadence of the vocals lends them a sort of barking, spoken word feel.  The riffs are heavy but atmospheric, dropping at the right moments alongside the drums to heighten the song’s sense of urgency.  The tension is palpable and reaches its height with the groove riffs near the end.

“Ofredsår,” is already huge within seconds because of the drums and the riffs, which seem to get more and more dense as the song goes even after changing to a faster tempo and a more black metal oriented style.  Around the 2:54 mark, the guitars turn supremely deadly and focused on destruction just before moving on two atmospheric touches, complimented by the deep bass drum. 

That’s really the key to the album’s success: how well the instruments are in tune with one another and help each other out with the flow of the songs.  They all bring their own individual flavors but still manage to move as one for a very smooth experience, despite the abrasive nature of the music.

“Atropos Hymnarium,” and it’s blood curdling riffs got my heart pumping immediately and the double bass nearly made it explode.  As the song opens up with a huge growl, I felt like I was put through the ringer.  The way the song moves like a snake winding through the forest floor looking for its next meal is one of the highlights of the album.  The halfway point of the song is basically the audio equivalent of a meat grinder. This is one of those songs that just doesn’t let up, moving from point to point only to stop for a second to batter you before moving on.

“Gravjordsfrid,” ends the album and has become one of my favorites.  It has an odd sense of melody about it….it is very subtle, seeping into the cracks to fill up the liminal spaces.  The lead guitar adds a lot of dismal melodies throughout to cover the song with a depressive, melancholic mood that is very gripping.

Vanhelgd’s “Atropos Doctrina” is n album that is loaded with atmosphere without losing one iota of intensity and seething, painful rage.  It’s blend of styles will make it appealing to any fan of extreme metal and might even win over a few who normally don’t venture into death or black metal territory. 

Hangman's Hymn - Life Is Not A Miracle

Hangman's Hymn is a blackened doom metal band from Belgium, who formed in 2021.  After an EP and a string of singles, the band has dropped their debut full-length album  “Life Is Not A Miracle.”   The two musicians behind the band are scene veterans, GVC and XDS, both of which have been in a plethora of bands, including Aken Manah, Splendidula, Anomalocaris, Witherwill, and Plagueland. 

“Life Is Not A Miracle,” may be rooted in black and doom metal but the dimensions which hold it together include atmospheric and melodic touches.  It makes for a compelling journey as the perpetual darkness that permeates from the album benefits from these other styles, stretching their core sound to other boundaries.  A lot of drum of images and sounds of “lighter” bands like power metal or anything in the Gothenburg scene when someone speaks of a band using melodies or harmonies.  But the truth is, melody doesn’t always mean those things and can help make an album sound even more despondent.  That’s exactly what happens here.  

A fine example of which I speak is “Dagelijks Blood,” around the 3:45 mark.  The clean guitar 100% fits the vibe of the song and flows with all the other pieces.  Instead of taking away, it adds so much and, even though it is an obvious contrast, works with the sea of distortion that rides underneath it. 

The final song, “Moe,” is all clean vocals and instrumentation but, again, it works within the context of the album.  After the previous songs,  it’s like the aftermath of some kind of apocalypse.  It isn’t a time for reflection but a time for walking through the wreckage, surveying all that was lost. 

The production must be praised.  It very much takes a DIY approach and, after giving this album a very detailed listen,  it is exactly the type of sound it needs.  Some might prefer a cleaner route, and while I think that works great for some bands, when it comes to blackened doom, DIY really is the best way to go.

As I’ve said before, black and doom have a lot more in common than people know so a raw production helps bring out these common elements, especially the atmosphere.  Indeed,  this album is loaded with a depressive, hopeless scenario.  The music cries out, clawing, like a person trapped in a suffocating coffin, desperate to break their nails down to bloody stubs in a desperate attempt to avoid finality. 

While that finality is represented in spades across the album’s 11 song, 50 minute run time there also exists a sense of urgency.  The guitars, which have a fantastically diabolical tone, are harrowing against the strong rhythm section and low end.  

The intro song, “Doors,” is another piece of clean instrumentation and sets up the mood of the album as it flows into the first full song “The Cats.”   As the clean tones fade away, chucky riffs paired with keys take over.  Clean vocals and blackened riffs arrive and give way to death growls and music that, while atmospheric, is surprisingly catchy.    The blackened vocals reach out from whatever cesspool they crawl from, a maddening plea.  

The clean and extreme vocals are both used in a balanced fashion, each of them exactly where they need to be to give the song more meaning. 

“To No One’s Health,” is catchier than any extreme metal song as a right to be but I’m not going to complain.  The keyboard riff is a simple but highly effective earworm that was embedded into my head for days.  Doom doesn’t always have to be slow—the guitars and drums bridge the more introspective parts of the song with fast paced performances.  The clean vocal chorus is yet another catchy element but the blackened wails bring the song to a fitting conclusion.

“Ashes,” is a great interlude, somber and funereal, whose delicate touch is as sharp as broken glass.  It’s placed in what is basically the middle of the album; a wise choice for respite or the breaking of any potential monotony, although the album doesn’t have any. 

The song that follows is “Thresh,” with an immediate hooky riff.  The melodies swirl among the choppy rhythms and extreme vocals as the intensity swells.  It all breaks at the halfway mark, low spoken vocals pushing against the lead guitar.  The bass and keys that follow are the like the rising of the river, a final act of destruction.

The album leans heavily into the black metal side with “Be On Your Way,” and its speedy riffs have a enough melodic edge that cuts deep.   This is one of the more straightforward songs on the album but it has some of the best riffs and, again, it’s more catchy than one would realize.  

“Des Nichts” is somber piece brimming with violence; it boils over as the song move forward and festers until the guitars cut loose at the 2:59 mark.  The winding lead guitar and riffs/bass make for a compelling mixture.  The last minute is great, clean vocals brooding over the music then the growls push the tempo back up.

Hangman’s Hymn’s “Life Is Not A Miracle,” is an apocalyptic journey that truly melds doom and black metal together, the void created bonded with atmosphere and melody...and all full embraced by smartly written songs. 

2 Wolves - Not Worth It

2 Wolves is a metal band from Finland, who formed in 2011.  Their latest release, “Not Worth It,” is their fifth full-length album.  This my first experience with the band so, going in blind, I wasn’t sure what to expect.

Well, it is safe to say I am blown away by “Not Worth It.”  The music is definitely rooted in Gothic Doom but has a melancholic, melodic atmosphere not unlike melodic death.  This pedigree isn’t a surprise considering their country of origin.  No one creates broken and beaten down melancholy like Finland.   I would best describe this album as the love child of Moonspell and Swallow The Sun.  If that doesn’t get you excited, then there is little hope for you.

Musically, they have plenty of moments of transitioning from clean to distorted tones, fully grasping the depressive aspects of doom by embracing it with a Gothic touch.  The tempo is slow to mid-paced but there are a few moments here and there where the band speeds it up a couple notches.  Overall, it is a miserable album (compliment) that only genres like Gothic and doom can do but I’ll be damned if it isn’t catchy as hell.  Humming along to misery never felt so good.  As expected, the album is laced with a lot of melodies, harmonies, and clean keys/piano that help the songs not only stand out but latch onto you.

Production/mix/mastering is fantastic. With all the layers and dynamics happening, nothing is ever lost–every instrument shines through the murkiness in a big way to offer a rich, full sound so the sadness can smack you right in the face.

The album opens with “No Longer,” and it’s clean tones, with melodic bass at the center.  The rhythm guitar provides steady waves while melodies lace the atmosphere, pushing the song to the vocalist and his deep, baritone cleans. 

When he throws out deep growls and gritty screams, the drums kick up the intensity while the guitars take a more melodic route. It's a big sound that hits all the sweet spots for what I look for in Gothic doom.

The band builds up their songs nicely as evident with “Man Of A Thousand Faces.” The opening acts as a nearly two minute intro and it is during this the musicians showcase their commanding presence.

Like the ebb and flow between night and day, the two moods clash yet one cannot exist without the other. The highlight  is the ending when where keys and lead guitar take each other's hand for a strong finish.

“Where Birds Can Sing No More” throws black metal into the mix. The band is highly adapt at playing the style but they also, from a songwriting standpoint, incorporate it effortlessly into the other elements of their sound. The halfway point is one of the best moments on the album. The bass takes over, providing a low deep end while melodic textures dance around it.

The album closes with “The One That Is Gone,” and its a somber instrumental that brings a fitting finality to the album.  2 Wolves’ “Not Worth It,” is a powerful piece of Gothic melodic doom that will appeal to a wide variety of people.  

Skelethal - Within Corrosive Continuums

Skelethal is a death metal band from France, who formed in 2012.  Their latest album, “Within Corrosive Continuums,” is their third full-length album.  They have also released two demos, three splits, three EPs, and a compilation. 

This album is dirty and nasty as hell, as if it was spat out by the fires of some mysterious, blood soaked nightmare void.  Gui’s vocals are tremendously haunting as much as they are brutal, with a perfect amount of echo used.  Will the growls hammer you to death?  Yes. Or will they creep inside like an ethereal miasma and burst from within? Also, yes.

He and the other guitarist, Lucas, cast sickening, horrific spells of six string madness with their suffocating riffs.  They play an effective combination of old school worship, modern intensity, not afraid to include melodic moments and even progressive elements.  

Julien’s bass and Ilmar’s drums provide much of the album's sound and the two of them work perfectly together.

The production is unpolished, raw to perfection and captures the atmosphere as it was meant to be.  Some bands need good production, others don’t.  Skelethal embraces the way their album sounds and their songwriting is better for it. 

The album opens with “Creation,” which is an intro but features a little of the melody I spoke of earlier.  It’s a short but captivating song that gets the bloodletting going for the first full song.  

That song is “Spectrum of Morbidity,” and the opening rumble of riffs and from-the-grave vocals feels immediately familiar yet it’s a sound all their own.  For two minutes it’s a burner but just before the halfway point, the band takes it to another dimension with a more dynamic, fleshed out sound that instead of watering it down actually spreads the filth.

The album is at its best when the band’s profane death metal seamlessly integrates into murky, somber passages. The beginning of “Eyes Sewn Mouth Full,” is exactly of which I speak.  The bass swims beneath the surface, a behemoth in a swamp of dirge-like riffs..  The drums are actually atmospheric to a degree, their presence very well known but hanging back because that’s what the song needs.  

Another passage in the song grabbed me as well, from 2:40 to 3:32.  It’s almost doom in the way the atmosphere just sort of sprawls out without the band stopping their stampede for one second because the sweltering fires here are just as dangerous as their faster paced stuff. 

“Upon The Immemorial Ziggurat,”  has a massive twist about halfway through an ambient passage that is both alien and haunting.  A surprise like this, so late in the album, is impressive because it shows the band isn’t afraid to take it easy and they have a need to keep things engaging all the way through.

The title track ends the album on a 12 minute long instrumental that captures the mood of the album and presented the ideas of all the other songs in one long journey through parts unknown.  It’s melodic in the right places, cold and aloof in others, and brutal when it needs to be.  A fantastic closer.  

“Within Corrosive Continuums,” is a death metal album through and through but it also offers much more depth and layers than a lot of bands that are as violent as Skelethal can pull off. Recommended, get on this now! 

Flamecrown - Fire Mountain

Flamecrown is a one man black metal band from Panama, who formed in 2021.  “Fire Mountain,” is the project’s debut album.  The mastermind behind the blackened carnage is none other than Ricardo "Lebzul" Brenes, the musician behind Doomslut, Estrangulación Fecal, Lake of Depression, and Spirit of the Deep Water.

While Ricardo’s background tends to be doom oriented, “Fire Mountain,” forays into blackened territory to offering a different take on extremity. Musically, it is abrasive, sharpened on the edge but just raw enough to have a meaty sound, eschewing a thin small sound that plagues much of black metal.  The vocals are gritty, going for a low snarling growl with a spoken word cadence instead of endless shrieks. I much prefer this take as it makes the atmosphere feel arcade and ancient.

I like the variety offered in the guitars; the songs are very much riff based without the use nonstop tremolo picking. The drums offer more than constant banging and compliment the songs well. The songwriting focuses on building up coherent structures, each song surprisingly catchy. This is an album that embraces its black metal sound but isn't defined by it.

The album opens with “Fire Mountain,” and it does exactly what a title track should: provides an example of the album's overall sound and direction.  The subtle use of keys is welcomed–they aren't over powering but they increase the tension and urgency of the song.  The crisp drums do much of the same while adding a lot of extra bite.The guitar solo is unique, melodic and sweeping–fits perfectly into the fabric of the song.

The album has moments of melancholic textures, a firm hold on the Rapture of the bleak. “Roaring Shores,” is very dark and atmospheric, layers of despondent rage hanging over like storm clouds. The lead guitars use of melody peppers the song with these downtrodden moments while the rhythm machine keeps on rolling, the two styles meeting head on on these brackish waters. The ending of the song is among the album's best moments: the lead guitar wraps the other instruments around its cold embrace.

“Ancestral Bloodline,” consists of a straight up nasty guitar tone and keys that push the song through a harrowing tunnel, where groove batters the senses. The last minute of the song is one of the album's most intense moments: the low blackened growls mix with the drums and keys cresting a tumultuous atmosphere.

The album is one that embraces different elements as needed, not content to only be rely on either atmosphere or metallic elements. Case in point is “Morning Fog” and how it embraces its name….this song is thick with atmosphere, keeping the unseen hidden beyond murky soundscapes. The riffs grow more aggressive as the song moves forward to unleash these hidden apparitions as dangerous entities. 

The groovy elements and catchy vocal lined of “Above The Clouds” is a nice change of pace near the album's end to ensure it remains engaging in its final run. The guitars and bass roll through line a boulder gaining speed to smash through whatever attempts to stop; the song is a battering ram in music format.

The final song, “Evergreen,” has killer riffs, and grim guitar tone with a structure that's centered around double bass and groove laden instruments. Near the end, keys open song to its ending passage of rapid rhythms.

Flamecrown's “Fire Mountain,” is a short but searing ride of black metal that  provides a balanced performance that hits all the sweet spots of the genre without being trapped in them.

Amarok - Resilience

Amarok is an extreme doom metal band from California, who formed in 2010. “Resilience,” is their second full-length album; they have also released three splits and an EP.  The band’s sound leans towards death doom but I also hear Gothic, black metal, and funeral doom elements. 

“Resilience,” is exactly the kind of doom metal I like.  Long songs, slow tempo (for the most part), abrasive vocals,  murky atmosphere and a hefty rhythm section to hold all those intimidating elements up.  At a run time of over an hour with just five tracks, this is a meaty release that requires patience.  Give yourself some time to let this album wash (well, CRUSH) over you and a rewarded experience will be found.

Despite their oppressive sound, the opening song, “Charred (X),” reveals the album doesn't shy away from melody.  It’s a natural, organic process that isn’t thrown in for the sake of fluffing up the runtime or to fill in gaps for the sole purpose of getting to the next drop of suffocating riffs.  Colby (drums) and Brandon (Bass, vocals) deftly change their approach from the bruising open to the melodic bridge around the 2:55 mark, which goes a long way in keeping this nearly 18 minute long song flowing smoothly.

Brandon and Kenny’s vocals are fantastic–low, mordant death growls, sludge shouts, and gripping higher screams are all extreme and define the album perfectly.   Kenny, alongside Nathan, also provides the album with gargantuan,  demoniacal riffs.  Their tone is sharp enough to bite but still obtuse enough for even the most cynical of doom fans (like me).  However, they aren’t comfortable only playing riffs or melodic passages…there are many clean moments peppered throughout, filling up the liminal spaces with the same gripping style they bring to the more intense moments. 

Case in point is the movement at 6:58 through 10:04; its clean but not gentle, capturing the song’s sordid atmosphere.  But it’s also strangely moving and beautiful in its own way, something that only a doom fan will grasp. Near the end the tempo speeds up a bit, the vocals ripping through the air while riding the riffs to reach a speedy that finishes the song in a wild way.

“Ascension (XI)” takes a nearly opposite approach, using ambient/clean textures to build the song up until about the minute and a half mark, where it dives fully into Gothic textures.  The somber touch upon their deathly side is appreciated and lends the song a distant, cold feel…very funereal.  The halfway point is melodic but retains much of their oppressive heaviness due to the drums.  Near the end a small, clean passage changes up the scenario before the song ends in a slow dirge.  There is a lot going on here,  dredged out in just the right manner to keep it cohesive. 

The aptly named “Interlude,” is, well, just that.  I don’t have any major opinion on it.  It’s good for what it is but it’s being there doesn’t really affect the album one way or another.  For those not used to longform songwriting, I can see it being welcomed in providing a respite.

“Penance (XII)” features one of the best vocal performances on the album, the inhuman growls and screams seemingly reaching beyond the veil from some mysterious dimension of somber, regretful pain.  The performance is particularly gripping around the 5:15 mark—those screams sent chills down my spine.   The melodic riffs that couple them enhance their effect very well, absolutely enthralling.  Around the 9:30 mark, the band once again shows that just because they are doom doesn’t mean they can’t grind it out.  The tempo pushes the instruments into blackened territory, a fitting companion sound to the death/doom that surrounds it.

The final song, “Legacy (XIII)” opens with a deep, rich clean section that sounds wonderful with a decent pair of headphones.  I found this to be the most melancholic song on the album; the band ignores any desire to introduce faster tempos or ultra heavy moments…this is straight up epic, extreme doom metal that ends the album on a high note.  

Amarok’s “Resilience,” is a fantastic journey that combines disconsolate passages with stark, hulking instrumentation all wrapped up in a burdensome atmosphere.  However, underneath all the grim and despair, there is also hope to be found. This album is dedicated to the deadly fires near their home and the realization that nature, as well as humans, can overcome anything.  Highly recommended. 

Octoploid - Beyond The Aeons

Octoploid is a progressive death metal band from Finland who formed in 2022.  “Beyond The Aeons,” is their full-length debut.

Octoploid is actually a project from the ever creative Olli-Pekka Laine, most notably from Amorphis but also Barren Earth and Mannhai.

Although the prog elements are best used to help describe the band’s sound, it’s also often very melodic.  The band also isn’t afraid to venture into more extreme realms.  Honestly, at times, this sounds like early Amorphis. As the cover art and name might suggest, the album is also very trippy and psychedelic as well.  

To help bring his creation to life, Olli-Pekka Laine recruited some damn good musicians.   Mikko Pietinen, also from Mannhai, provides the drums. Much like the music, his style is varied and holds down the foundation even as he helps push the band into new sonic territories. 

Peter Salonen (Death Mex) lends his talents on guitar, offering a performance that runs from groovy riffs, catchy harmonies, and trippy passages.  Kim Rantala, who played keys on Amorphis’ “Elegy” and “My Kantele EP” rounds out the core band.  It is awesome to hear his keys once more, very complimentary of the band’s overall sound. 

There are guest musicians peppered throughout as well, most notably both Tomi's from Amorphis’, Swallow The Sun’s Mikko Kotamäki,  another former Amorphis keyboardist Kasper Mårtenson, Petri Eskelinen of Feastem and Rapture,  Jón Aldará from Hamferd and Iotunn, and two more Mannhai members, Janitor Mustasch, and IIkka Laaksomaa. 

If this seems overwhelming, don’t worry.  Each guest is dialed in so their distinct styles actually fit right into the album smoothly rather than making it disjointed or too aimless.  If anything, the album is a very smooth experience and I’m impressed by how well all these musicians came together.  

“The Dawns In Nothingness,” opens with a clean intro, laced with a middle eastern flair. The keys are subtle but enhance the atmosphere exceptionally. Mikko's extreme vocals are biting, a contrast against the melodic music that works to create a fitting mood. Laine's bass is at the center, the song growing around this focal point. The chorus is catchy, balancing heaviness against a progressive flair. The song grows darker as it reaches its end which is groovy and psychedelic. 

Tomi Joutsen lends his voice to the jaunty “Human Amoral,” a song steeped in both melodic death and 70s progressive tendencies. The drums hit hard during some of the more intense vocal passages, a double punch of intensity. The rhythms are tight but the bass keeps it fluid through the density, allowing the sound to open up later. The middle portion is a psychedelic approach, conjuring up dreamy visuals and hazy textures. Tomi's vocals afterwards are gripping, capturing the epic moment as the guitars soar their way through.

“The Hallowed Flame,” is one of my favorite songs on the album.  I love the melodic bass and the flavorings of the clean instruments against the backdrop of Mikko’s clean vocals.  His extreme vocals because add an unique edge to the song, a stern weight upon the progressive melodies.  The song suddenly grows dark and groovy around the 3:30 mark, total mayhem that still finds a place among the more freeform elements presented in the other parts of the song.

Jón Aldará leads the final track, “A Dusk Of Vex,” which is another personal favorite.  The song fully embraces the band’s ideas that were presented in the album and runs with them.  It’s weird and out there with a ton of different elements yet it is also extremely focused…and catchy as hell with incredible performances from all involved.  This is a shorter version with the longer version only appearing on physical formats.  Unfortunately, my promo only had the short version so I cannot comment on the other one.  

Octoploid’s “Beyond The Aeons,” is an imaginative and adventurous album with a huge attention to detail that mixes a bunch of different styles together to create music that any fan of prog and melodic metal will enjoy.

As of the writing of this review, there isn't a Bandcamp page for the band nor can I find the full album on Youtube so there won't be any links to the full album but below is a song 

Silent Deep Ocean - The Throne of Whisperes and Dust

Silent Deep Ocean is a one-man doom metal project from Venus, Texas who formed in 2020. The musician behind the music is Greg Ritchey and “The Throne of Whispers and Dust” is the project’s debut full-length album.

The music is best described as funeral doom–it is dark, deep, and cavernous.  However it is also very atmospheric, expansive and even ambient in many places..  The songs flow very well even as they unfurl into unknown landscapes to eventually reveal their details.  

Greg has used a concept called “Endtroducing,” a technique that was revolutionary in the electronic music world, developed by a composer named DJ Shadow, who used it to create  an instrumental hip-hop album entirely out of samples.

A lot of those ideas are incorporated here, using keys, software, and VSTs to help create his vision of this ethereal, doom-laden world.  It’s very engaging and interesting and it could not have been easy to write and create but Greg pulls it off. I mean, to transfer this concept to metal…it really is amazing! 

The keys have an oceanic feel to them, a sort of watery way of traveling through the songs.  I found the album has an incredible balance between the heavier elements and keys, neither having to fight for position or attention for the ears of the listener.   This delicate balance enables the songs to be heavy but with enough elements to keep each one different from the last.  

Without a doubt, “The Throne of Whispers and Dust,” is a journey that demands a lot of attention.  This isn’t background music but something that needs to be experienced in contemplation during a long journey or late at night with a decent pair of headphones.

The album opens with “Fields of the Sorrowing,” a nearly eight minute long instrumental.  Although a fine song in its own right, it serves as an appetizer for the rest of the album, showcasing many of the elements that make up the journey as a whole.

The beginning is rich with clean and ambient tones.  The music increases in layers, building up in a natural way.  This is indicative of the album as a whole, nothing ever sounds forced or out of place.  The big riffs arrive not long after as the drums increase their tempo slightly.  At this point, the song is already towering.  I love the ambient/key movement in the song’s middle portion—beautiful in a way that only music like this can.  

I’ve always been hugely appreciative of female vocals, especially in the doom and Gothic genres so “Softly, the Soul Bleeds,” has an immediate effect on me.  The music is slow and depressive, moving along at glacial speed just as funeral doom should.  Short, quick crunches make the riffs even heavier before going back to flattening the atmosphere with its dead static.  The clean vocals, which begin as spoken word, change into an operatic nature.  Absolutely stunning. The later half, around the 4:40 mark, is a chilling vocal performance. 

The title track is one of the shorter songs on the album but just as effective as the longer epics.  The opening riff is sweltering heavy and the death growls take it to another level.  About as crushing as the depth of the ocean, the song is a monument to oppressive weight.  The music is deceptively simple, a concoction of death/doom and Gothic textures that enveloped me.

“Aeons of Order Quickly Turn to Dust,” as an amazing vibe with the bass intertwining with the clean tones and subtle keys.  The guitars come in, picking up their own intensity as the seconds tick by.  The bass gets ultra-heavy later, as black as the void.  A melodic passage opens up the song, almost heavenly in its gentleness before the funeral doom ends the song with ultimate finality.

“Behind the veil of eternity, she awaits,” begins with clean tones but soon mixes with doom metal for a Gothic shadow that overcasts the soundscapes. The mid portion is choppy riffs and robust double bass, sending the song to sonic levels that create quite the crescendo.

"The Throne of Whispers and Dust," is a wonderful concept using technology that I didn't know much about until I listened to the album and learned some background.  After learning about it, I'm blown away by the results of Greg's labors.  All doom fans need this! 

Stormwatchers - Rites

Stormwatchers is a heavy rock band from the wilds of North Carolina, who formed in 2017.  Their sound is quite interesting as it combines doom, psychedelic, and blues into one massive sound. "Rites," is their full-length debut, after a previous EP. 

The three members succeed in crafting a style that sounds like they have double the members–the trio contains, and lets loose, a lot of power across the 10 song, 52 minute runtime.  

Guitarist/vocalist Celeste King is an absolute beast.  Her vocals are phenomenal!  Expressive, powerful, emotional, towering…any positive adjective I could use to describe a vocalist could be used for her and she would fucking own it.  Her guitar playing is just as commanding, she provides riffs, riffs, and more riffs.  Oh and some riffs.  

Bassist Matt Owens provides the all important low end–and he can play anything, not content to just follow the guitar around the block.  His tone is always deep and rich but can be as heavy as a brick or as melodic as a summer breeze when called upon.  He also provides vocals and his voice pairs perfectly with Celeste’s own.

Thomas Stanfel provides the powerhouse providing thunder, lighting, and impressive control as he rips through the tracks.   The band’s facebook bio mentions their influence is across the board from The Doors and Black Sabbath to Jefferson Airplane and Moody Blues.  Thomas’ still definitely shows this–the guy can play anything. 

The album opens with “Burning Road,” and it’s a good indication of what to come.  Although each song sounds different with much to offer, if you like this song then you’ll enjoy the rest of the album. Celeste sings her ass off while offering heavy riffs, while the bass rips up the ground beneath it.

The middle segment brings in some of the blues influence I mentioned early, providing a touch of epic atmosphere to it.  The drums are fantastic in this part, creating a massive sound that is like a boulder falling down a cliff as the band builds back up the final half of the song. 

The title track opens with a very dense atmosphere, showcasing the band can be as heavy as any metal band without going too far into extremity.  The main riff rides the balance between blues and sweltering groove.  I love how the bass and drums work together to complement the song, adding movement against the slower aspects of the guitar. 

The middle part of the song is the highlight, with Celeste’s soaring vocals the music that swings back and forth like a pendulum, offering a groovy crush on both ends.  The sudden uptick in tempo afterwards hits like a punch to the face and then another to the balls.  

“Another Side,” has a big, jaunty rock and roll feel to it especially in the drums and groove of the bass.  Matt’s vocals have a rough, stoner-ish vibe to them and it works well with the dirtier feel of the music. A punk rock feel is offered in the later half of the song and is very catchy. 

The album remains consistent all the way through and by the time the seventh song, “Current,” arrives, it is obvious there isn’t any filler to be had.  The opening is heavy with a doom rock swagger, the drumming hitting all the right notes while the bass accents the atmosphere.  Matt’s vocals have a gruff charm to them; the back and forth between him and Celeste completes the package.   My favorite part is around the 4:00 mark, doomy grooves and powerful drums bring it home in a big way.

“Stargazer,” is a strangely beautiful song, heavy on the psychedelic side of their sound.  This song sort of creeps in, casting its magic in a slow but steady and powerful way.   The vocals are catchy and add in a lot of what makes the song work.  At the 3:40 mark, Celeste croons “We were young…” and the whole thing works with the heavy riff, her voice just pairs extremely well when the band is rocking its face off.

The final song is “The River,” and it is an acoustic instrumental.  Despite its sonic layers shed, it’s just as heavy in its own way and, after such a heavy, sterling performance across the previous nine tracks, it’s a good way to end the album. 

Stormwatchers’ “Rites,” is a fantastic heavy rock/metal album that incorporates a lot of different styles in one cohesive sound that offers many great moments and multiple reasons to come back often for a visit. 

Disloyal - Divine Miasmata

Disloyal is a death metal band from Poland, who formed in 1997. “Divine Miasmata,” is their fifth full-length album; they have also released a demo, a compilation and an EP.

“Divine Miasmata,” has a disturbingly distinctive tone.  It sounds cavernous and endless like a doom band but it has the fire, speed, energy and fury of death metal.  Its rolling devastation seems endless yet the songwriting is tighter than the hangman's noose.

The atmosphere matches the songs more so than many other albums I’ve heard this year.  It’s hellish without a doubt but there is a nervous, unhinged quality to the songs that push the album to insane sonic dimensions.

The guitars, conjured by Yahor and Artem, are laced with a dense tone, completely devoid of light.  Any melody presented by them only serves to put a dim light on their monstrous stalking. Blood sakes riffs, moldy passages, and bursts of unrelenting speed all find a place amongst the songs, oftentimes peppered with a flourish of solos.

The vocals are an instrument as well, such is their unbridled carnage that’s a passion born out passing for the extreme.  Konstantin’s death growls are deep but throaty enough to capture a raw, primal essence.  The screams are violent, threatening to rip the songs apart at the seams. 

Much of the band’s sound is attributed to Kolya’s bass and Jaro’s drums. The unbridled harrowing darkness seems out of the bass guitar like tendrils grasping for their next meal . The drumming straight up crush by providing a foundation that an earthquake couldn’t even move even while bringing a ton of furious atmosphere.  

The album begins with “Divine Miasmata,” and it serves as an instrumental intro that gives a glimpse into what will be experienced with the rest of the album.   

The intro slides effortlessly into the first full song, “Silent Revolution.”  The song is immediately towering, building itself as a stark monument with a flurry of guitar, and bass/drums that zero in as the pieces fall into place.  The gates of hell break loose, as a surge of hard rhythms change tempo, twisting the song into a distorted creature.  The solo around the four minute mark is surprisingly melodic but fits the mood. 

“1347-1352” offers more of what the band calls melody, dancing notes that build around the structure.  The drums race around, gathering the music and holding it tight to help unleash it around the 1:30 mark.  Sharp, biting rhythms fire off rapidly, trailing a blazing path for a slower, crushing tempo to make its way.   In one of the few very brief moments of rest the album offers, the song stops for half a second and then explodes in one of the most intense moments on the album.

“Betrayed Faith,” grabbed me immediately with it’s groove laden instruments.  If this song doesn't get your blood pumping, you are just dead.  Hell, it might not better as the song might just batter you back to life.  The drums are fantastic, complimenting the riffs at just the right spot to double down on what works but refusing to over do it for a second longer.   Deep clean vocals mix in with the growls at the halfway mark, a chilling effect.  

“Religion of Warfare,” begins as a frantic display with riffs, bass and drums bouncing off the charred walls as the vocals plow the way through.  The middle part is clever, beginning with groove and ending with a solo.  When the band comes out of the solo, it’s basically a steamroller of death.

The final song is “The Ascension of Abaddon,”  is powerful and encompassing, a fantastic way to end an already strong album. The odd melodies around the 1:41 mark are a highlight, taking their brutality to another world.  These slower, more atmospheric part work wonders, mixing expertly into their more fervent side to create a new beat entirely.

Disloyal’s “Divine Miasmata” is a supremely interesting album that hits all the sweet spots of what makes death metal so compelling.  This is starting the second half of the year for extreme metal on a high note that will be hard to beat. 

Duskwalker - Underground Forever

Duskwalker is a death/thrash metal band from Canada, who formed in 2015 as The Offering but changed to their moniker in 2018.   They released one album as The Offering but  “Underground Forever,” is their third full-length album as Duskwalker.

This album is highly infectious, taking thrash and death metal, putting them into a blender and spitting them out as a surprisingly catchy album.  This is a rip-roaring time, checking off all the boxes for what makes a good, even great, death/thrash album. 

What tends to turn me off from most modern thrash is that it often sounds overly dated, a modern touch that tries to be relevant but can’t seem to let go of the path.  Another issue tends to be the vocals, which have been average at best in my experience.  However, Duskwalker and “Underground Forever,” don’t have to worry about either of these issues.  Their sound is modern enough to actually sound like they had fun playing it and didn’t spend the night before listening to old Megadeth and Slayer records instead of honing their craft.

The vocals are impressive too—Joey’s growls and screams are insane!  I’m so glad he uses this extreme route instead of doing clean vocals that sound like a constipated Mustaine or something.

The most impressive element of the album is the exemplary songwriting.  Yes, it’s thrash.  Yes, it is death.  But it isn’t nonstop speed or unrelenting brutality.  The two genres are melded pretty well here so the sons get to breathe a lot.  Yes, the album does offer plenty of moments containing nonstop speed and unrelenting brutality but it also contains actual riffs, groove, and just enough melody.  

The album opens with “Crippled At The Core,” and it is a 100% certifiable banger.  I love that scream around the 20 second mark that leads the charge of rampaging riffs and drums.  The drums double down as the vocals spit out the lyrics with fury.  Offering slow to mid-tempo changes throughout the song keeps it all memorable, sticking in your head even as it blazes through like a bullet to the brain.

“Never Going Back,” opens with a nod to the old school but quickly upgrades into death/thrash fury, razor sharp riffs that bring the punishment to the edge.  The middle part of the song is utterly devastating.  The riffs break off with pinch harmonics and pull themselves back together to enter a groovy riff paradise.   

“City On A Cemetery,” begs with dismal, clean melodies that are washed in a veil of grime.  Around the 30 second mark, the song begins to hammer its way through.  The slower tempo lends the song a horror theme, perfect considering the title and subject matter.  The solo is very well done and the riffs are so unrelenting it’s almost dizzying. 

Thankfully, the album is consistent all the way through with a few of the later songs being amongst the album’s best.  Case in point is “Artillery Communion,” is a massive song, dense, with a real death metal aesthetic.  The tone of the riffs is freighting and deep, offering a visceral performance. The ending is a highlight with the way the solo steers the direction of the song.

If that song was more death metal oriented then “Vanquisher,” is placed right where it needs to be because it’s a thrash attack that just doesn’t let up.  The urgency grows as the song reaches an apex, conquers it, then climbs another one.  The bass just after the halfway point is wonderfully melodic and steps out from behind the solo, making its presence very well known.  

“Inhaling The Dust of Bones,” is perhaps my favorite song on the album, due to its horrific, blood drenched nightmarish atmosphere.  The bass is the MVP here, creating a low end sound that adds so much to the song’s evil dimensions. The first half is a dirge and maybe even a bit doomy but it soon grows into a mid paced battering ram. 

Duskwalker “Underground Forever,” is indeed an album that represents just how much good music is beyond the public’s eye.  The album has a firm grasp on how to truly combine thrash and death, and is unafraid to lean into one style more than the other when the need arrives.  On top of all that, it has a tone and atmosphere that is hard to beat.