Blighted Eye - Agony's Bespoke

Blighted Eye is an extreme metal band from Seattle, Washington. They formed in 2019 and released their debut EP the following year. Their new release, “Agony's Bespoke” is their debut full-length.

Their members come from an impressive background, to say the least. Bassist Ben and guitarist/vocalist Kyle are from progressive/tech death band Aethereus. Guitarist Christopher (ex-Terra Morta) and drummer John (Mesmur, Pantheist) round out the rest of the band. 

“Agony's Bespoke” has a huge sound that covers a wide variety of styles. Black, death and large does melodic textures find a place within the albums 1 hour runtime. Even elements of doom and prog ate integrated.  You could think of the album as a jack of trades but instead of being a master of none…it absolutely nails everything.

Some might scoff at such a runtime but it certainly doesn’t feel like an hour.  In fact, each song is filled with so many hooks that the album glides on thru with ease.  So despite its length, this is one of those albums that you’ll want to replay over and over.

The album sways back and forth through a variety of moods, displaying both light and dark atmospheres through the use of clean instrumentation mixed with heavier elements.  Each song is dynamic with a lot of moving parts but it doesn’t seem hurried or rushed.  I like to think of each one as its own little world residing in a bigger universe.

The album opens with “Tragoedia,” which perfectly captures the essence and overall feel of the album.  The clean guitar and subtle keys make for a detailed, lush composition that still leaves breathing room for the drums and bass to slowly ramp up the tension.  The vocals are a mixture of growls, screams, and even wonderfully executed cleans.  Both the instrumental aspect and the vocals play off each other, each one allowing plenty of moments for the others to build within its world.  The result is a cohesive song that’s melodic when needed but uses more extreme avenues to push the song forward. 

The use of tempo is yet another piece of this tapestry that is used to great potential.  On “In Enmity,” the guitars settle in for a balance groove while the drums stick to a faster tempo.  Then the guitar solo arrives, complementing both speeds before it all comes together for a mid paced romp with tight riffs and growls.  The song speeds up as it goes along, the guitars and bass offering a sterling attack.  In the later half, atmospheric textures arrive as the song growls into a lush, expansive ending.

All this mixing of styles doesn’t mean the band doesn't spend time focusing on a particular one when needed.   “A Feast For Worms,” lets their black metal side loose, a venomous attack that is one of the more intense moments on the album.  I like the drums a lot here, very atmospheric which is always impressive to do on such an instrument. 

“Nightingales,” is a short but surprisingly moving interlude that offers a respite before it melds into the next song, “A Reverent Stillness.”  The gentle synth work paired with the insane vocals is a contrast that works for itself, rather than against.  The first part of the song is subtle, low key atmospheric riffs that steadily build up before all hell breaks loose.  The galloping riffs in the mid section are catchy as hell and also set the song up to head back to its atmospheric approach.  

Last, but certainly not least, is the ending title track.  It’s just over 11 minutes and it has become my favorite song on the album because there are just so many great parts to enjoy.  The follkish beginning is a nice little detail, as is the brief ambient section around the 1:27 mark.  It’s the extra care and crafting of these small effective moments that becomes the glue holding the song together.

My favorite part of the song has to be the hectic and abrasive midsection and the quiet, introspective movement that arrives afterwards.  The two styles couldn’t be more different but yet they work together in context of the song.

Blighted Eye’s “Agony’s Bespoke” is an impressive display of songwriting.  It changes direction and mixes styles in a smooth, intelligent way that makes it seem like a living, breathing creature.  A highly impressive album that won’t soon be forgotten.  

Firtan - Ethos

Firtan is a black metal band from Germany, who formed in 2010. Their latest album, “Ethos” is their fourth full-length album; they have also released two EPs.

Firtan have always strived to honor black metal while still willing to step outside its confines. That has never been more apparent than with the epic sonic journey that is “Ethos.”

It's absolutely incredible just how well these songs are crafted. They are atmopsheric and melodic but not floaty or overly etheral; there is some real meat on these hooks. Even as its most adventurous, the album  remains rooted in the carnage aand ervor of the blackened arts.

“Ethos” is a statement from the band and it spoke to me with its musical musings. What is says to me is that it is possible to push the genre forward with new ideas without losing what makes it great to begin with.

Clean notes drape over the opening of the first song “Hrenga” like light filtering through a dim display. It isn't a warm light but a dismal one that just exposes decay and ruin.

The riffs are clever, put together thoughtfully with the rest of the song to keep it all flowing yet mindful enough to share the burden. The subtle keys eventually swirl into a mix with the guitars. Those elements paired with the insane howls and screams make for quite the sterling concoction.

And that's really the secret of the album and band—-how effective they are in combining and building so many layers and ideas….and how effectively it works.

Even when they take a more straight forward route, the songs still shine. The opening grooves and shrieking roars of “Contra Vermes” embraces the genre's more violent side. But there still exists a subtle layer that peaks through the horde of drums and riffs. And the bass? Slapped me into next Tuesday.

“Wermut hoch am Firmament,” arrives, brining with it wave after wave of aggression that crash against enigmatic shores. The solo is well composed, playing off the vibe of the song as it goes from emotional to searing. 

“Ruakh,” is perhaps my favorite song on the album. I love the foggy yet flavorful tones in the opening minutes. The riffs are adventurous and pair well with the ominous chanting in the background.

Several fantastic screams rip through the song, never letting the atmospheric becoming too thin. The final half of the song features a lot of little details ans nuances that make it sound all the more fulfilling and deep.

The album as a whole has a lot going on but is never overbearing or cluttered; it unfurls itself as it continues to build upon itself. Thats a hard thing to accomplish but Firtan have no trouble pulling it off. 

With “Ethos,” Firtan have finally honed their sound, combining all their eras while still paving the way for the future.

Legions of Doom - The Skull 3

Legions of Doom is a doom metal band born from the tragic passing of doom metal legend Eric Wagner (The Skull, Trouble, Blackfinger).  The material on this debut album, “The Skull 3,” is from what would have been on The Skull’s third full-length album but realized in a different form. After getting the blessing of the Eric’s family, The Skull guitarist Lothar Keller and Bassist Ron Holzner (Trouble) welcomed drummer Henry Vasquez (Saint Vitus, Pentagram, Blood of the Sun), guitarist Scott Little (Leadfoot), vocalists Karl Agell (Lie, Heavy, Leadfoot, COC, Patriarchs In Black) and Scott Reagers (Saint Vitus).  

If you’re familiar with The Skull, then Legions of Doom will find a place in your collection as well.  It’s low, slow, and heavy.  As I always ask, when it comes to doom metal, what more could you possibly ask for? “The Skull 3” acts as both a loving tribute to Eric but also as an example of his everlasting legacy.  With that being said, the album stands tall regardless of looking at it through the legacy of Eric.

The production is basically perfect, the mix as well.  The low end is captured exceptionally well but it isn’t to the point where the other instruments don’t get to shine.  The guitars are just as heavy as the bass, matching deep tones against deep tones for an extra heavy album.  Even for a doom album, this sounds bottomless. 

The dual vocal approach is a nice touch; I’ve always liked Karl’s voice and I’m glad to see he has returned to music in a big way recently.  I’ll be honest, I’m less of a fan of Scott’s vocals; he certainly isn’t bad, he just doesn’t hit me the same way as Karl.  However, that’s very much a personal performance so please take that with a grain of salt.  If you like his style, then Scott brings it just as hard as anyone on this album.  

The album begins with “Beyond the Shadow of Doubt.” The opening riffs are massive—truly impressive. Karl’s vocals are on point, his voice has aged so well, if at all!  To top it all off, the song is catchy as hell with very impressive drums.

The hefty crunch of “Lost Soul” shows the band can hit as hard as they groove.  The song has a menacing tone and venomous bite to it.  After the 4 minute mark, the tempo speeds up with some of the best riffs on the album. Scott's vocals have just the right balance between aggression and theatrical. 

“Between Darkness and Dawn” is a moody song that transitions through styles and moods. The opening is even blues inspired. It's dense and abrasive in places but on others it is smoky with some swagger. Very very good song, especially after the 4 minute mark because of the riffs that are laced with a bit of epic flavorings. 

“Insecticide,” is one of my favorites on the album. It's a rager but still has all the hallmarks of a good doom song. Karl sings his ass off as well, just as intense and dynamic as the music.

A stark contrast to the song is the one that follows after, “Heaven.”  It features Eric's vocals and it's….well, bittersweet I suppose. His voice gets to shine one final time yet there is always the finality of it. It was a good idea to include this song and it's as emotional as anything I've heard this year.

The final song, “Hallow By All Means” is a nearly 10 minute epic. It's nearly unbelievable how heavy this song is in the first half! The middle is more laid back but no less emotive. The final is all rising action that's reached in cacophony of drums and a massive wall of guitars and bass. 

Legion of Doom’s “The Skull 3” is a fantastic work of doom metal that honors the genre and pays tribute to one of the legends of the scenes all the while standing on its own considerable legs. 

ÇÖKÜŞ - An Hour of Lies

ÇÖKÜŞ is a doom/heavy metal band from Chicago who are new to the scene.  They have burst forth from the underground metal scene with their debut full-length album “An Hour of Lies.”

The band may be new but the members themselves are veterans of the scene, as they are made up from former members of Earthen Grave.  In addition, the members also found themselves in a variety of bands, including Vanishment, Lair of the Minotaur, Witchcryer, and The Living Fields.  In addition, they are joined by bassist Patrick Green and guitarist Steve Ligeza (Torg, Makahiya).  

Although it’s definitely rooted in a more traditional version of doom metal, I can hear some “grunge” influences as well.  It’s a rather compelling listen, they use their various influences well and create a sound all their own.  Oh, and the album is stuffed to the gills with kick ass riffs.  Despite their doom foundation, they don’t always play slow either so there are more than a few moments where the band tears it up.

Don’t let the album title fool you—this is a short but sweet 33 minute ride across 9 songs. Concentrating on these shorter bursts of doom/heavy metal romps creates a smooth flow as the album burns through its time.  Perfect for repeat listens?  Hell yes.

The best thing about the album is its undeniable energy. Based on the information given to be in the press release, it seems this release is the culmination of ten years worth of collaborations.  It seems that has definitely paid off.  I’ve no doubt that in those years there were many trials and tribulations but it's obvious the album was made with love and care for this style.  It’s a blast! 

The album begins with the acoustic intro “It Died On The Vine,” and as far as intros goes, it is pretty good because it sets up perfectly into the first full length song, “As It Falls.”

The aforementioned song is catchy as hell—and heavy as lead.  The band jumps in immediately with big riffs and the insanely awesome vocals of Mark Weiner.  Damn this dude has some pipes!  The drums and bass complement the music so well, offering a solid rhythm machine and a foundation from which the songs grow. The vocal cadence rock and rolls off the riffs, the whole band firing on all cylinders. 

“Leave It Behind,” has a hard rock aesthetic.  The intro is amazing, what with the barreling drums and guitar solo.  The soaring vocals have no issues being heard over the raucous metal but it’s the catchy chorus that sticks out the most.  The song really comes together during the solo, especially when paired with the drums.  

“Wolf Moon” is one of my favorite songs on the album.  The bass grooves in a big way for the opening moments.  By the time the minute mark has arrived, the band is throwing it down hard.  It’s moments like these that display the true power of the band.   The ending is my favorite part; melodic riffs lead into a bass drop as the crunch of the rhythm guitar hits like a hammer. 

The last song is a reprise of the intro so the last full song is the searing “Hammer To Fall.”   These riffs are VICIOUS.  Goddamn this band is heavy as hell.  The song absolutely rages throughout but still manages to be catchy and memorable.  Of course, that applies to the album as a whole as well.

With “An Hour of Lies,” ÇÖKÜŞ clearly used their years wisely in crafting this beast of a doom/heavy metal album.  A stunning debut for sure and it has definitely put them on my radar for the future. 

Hammerfilosofi - Solus (Igne Natura Renovator Integra) - Solus (Igne Natura Renovator Integra)

Hammerfilosofi is a black metal band, whose members hail from both Norway and Italy.  The duo formed in 2020 and made their debut last year with their full-length “The Desolate One.”  A year later and they are back with another powerful statement in the form of the ep “Solus (Igne Natura Renovator Integra)”.  

Consisting of four songs and a runtime of 25 minutes, there is quite a bit of content to explore here. Each song is multi-layered, requiring multiple listens to absorb every nightmarish detail.  Fortunately, these sprawling songs are held together by exemplary songwriting so replaying this frightening beast over and over again isn’t a problem.

According to the press release I received, the band wants to “musically and conceptually bring back some of that rebellious pride, wrath, and danger that for us are mandatory ingredients in black metal.” 

The band definitely accomplishes this. The music on this album shrouds itself in the element of danger, both in an atmospheric approach and much more directly. Even in the best of today's black metal, I don't often get that. Sure, it all tends to be aggressive and against the grain but it lacks danger and the air of nervous energy that “Solus” certainly has in spades.

With that being said, these four songs offer even more dimensions. It's theatrical to a degree and somewhat cinematic. Those words tend to be used for more epic, progressive and melodic type bands but it fits here in a way that can't apply to those genres.

The sequence and flow of these songs seem as chapters in a larger story. In essence, the band has crafted it to perfection, allowing each song to stand on its own and differentiate from the others while also being part of a larger whole. It's impressive.

The album begins with the haunting clean tones of “Hunt or Be Hunted.” It sounds dismal and even a bit sad….it has a “do or die feel to it,” the last gasping act of desperation put to audio.

As the song transitions from keys/synths to electric fury, the band keeps a tight grip on its unique atmosphere. 

The pained moans and groans are a nice touch, a perfect lead In to the actual vocals, which sound like a damned soul at the end of his rope.

As the riffs build up in layers, the drums keep it very abrasive with preternatural speed. The bass is deep and expansive, a void unto itself that helps spread the darkness even as it devours. 

After a few seconds noise, a primal roar erupts on “Alpha Ego” that sends the band spiraling into madness.

This song is a descent straight into bell, a push into the flames by the insane drums. The guitars/bass are unsettling and unrelenting as they alternate between blackened fury, defeaning crunch, and dismal melodies that blanket the notes with tragic burdens.

At the mid section, the band pushes themselves hard, breaking through dimensions and out the other side. This new side embraces a horrific power that mixes atmospheric with the profane.

“Holy Fire,” acts as both a song and interlude of sorts but it bridges the albums ending stretch to the albums final. It's spoken word, some sort of audio clip. The music is suffocating and yet searing.

“Epigone of Tragedy” is the final, and best, song on the EP.  The opening moments are unnerving and nearing insanity's requim, what with the screams and wails.

The music is towering, as if an attack unseen from above is raining down, an unrelenting storm of riffs, drums and vicious but commanding vocals.

The last couple minutes seem to take on a life of their own, pulling together and growing into a ferocious entity.

Hammerfilosofi's “Solus (Igne Natura Renovator Integra)” is a stunning EP that creates a nightmarish world of endless, menancing possibilities.

Solitary - Embrace The Darkness

Solitary is a UK thrash metal band that formed in 1994.  “Embrace The Darkness” is their fifth full-length album. Over the years they have also released three demos, two EPs, two live albums, a compilation,  and a split.

I’ll be completely honest:  thrash metal is my least listened to genre.  It isn’t that I don’t like it; on the contrary, my formative years in discovering my taste were very much thrash oriented.  Everything from the classic bands like Megadeth and Anthrax to more modern heavy weights like Dew Scented and The Haunted could be found in my collection.  

But over the years it seems thrash has lost its bite.  The old guard can’t keep up and a lot of the new bands seem to be doing it “paint by numbers.”  But the exact moment I pushed play on this promo, everything I thought I knew about the direction of the genre changed.  What is this?  A band that has been around for a while that still has it?  Has the venom and attitude that so outlines thrash finally been harnessed once more?  

You bet your battle vest wearing ass it has.

On “Embrace The Darkness,”  Solitary leans hard into what made the genre so great in the first place.  The songs are fast, laced with a hardcore punk energy born out of feverish and fervent desperation for things to get better.  But, as the album’s title suggests, they also embrace all that is wrong with the world, and humanity in general.  But holding isn’t nearly enough.  They take all the wrong doing, the sadness, the grime of our time and cast it back out tenfold.  Is it defiant?  Is it hopeless?  Is it a call to arms?  It is shoved in your face?  Is it a warning?   Its all of these things and more.  

The individual performances on this album are absolutely stellar.  Each member is a wrecking ball, each offering a path of destruction.  Following any one performance will guarantee a headbanging good time.  Fortunately, as a band, they are in complete synergy—these guys bleed confidence.  It isn’t cocky if you can back it up, after all. 

The production goes a long way in detailing the performances.  It is mixed perfectly, each instrument can be heard clearly—nothing is fighting for its place in line and that greatly reduces ear strain.  As such, this is a very smooth flowing album despite how abrasive it is.

With nine tracks (eleven counting the bonus track “Beat The Bastards” and vinyl only “Dvided and Demented", both of which my promo came with) and a runtime of just over 35 minutes, it hits the sweet spot for how long a thrash album lasts.  The length allows plenty of depth but also ultimate replay value. 

Musically, it carries an old school sound but it’s wrapped in a modern package.  At no time during this album did I feel the band was re-treading what came before but I also didn’t feel they were trying way too hard.  To me, thrash works best when it still allows melody amongst the speedy rhythms.  “Embrace The Darkness,” is melodic when needed, not going too far but instead using it as another finely tuned weapon in its arsenal.

The opening song, “III.XXIII.MMXX/Embrace The Darkness,” is a one two punch that combines a harrowing intro and the title track into one epic anthem. Richard and Andy’s guitars are fast and super tight—they sound like they are about to snap apart at any moment.  Gareth’s bass is actually interesting and I’m thrilled that I’ve found a thrash album that actually cares about the low end.  Roy Miller’s drums are violent, sharp, and definitely on point to compliment these songs but strong enough keep them from collapsing.  The chorus is catchy and I must compliment Richard’s vocals:  venomous and filled with guile.  At times he reminds me of Chuck Billy, and if that isn’t a compliment then I don’t know what is. 

The galloping riffs of “Virtues” shows the band isn’t content on just barreling through but fully capable of creating huge waves of notes that just steamroll the listener.  The cymbal work makes the song pop and is one of the many ways Miller highlights these songs.  The band is at their best after a blistering solo that leads into a thrash-a-thon and that’s exactly what happens after the halfway point.  

Solitary is adept at building up momentum within in mere seconds, such as with use of the opening guitar squeal and crashing drums on “Beneath The Surface.”  Once they lock in around the 30 second mark, it feels like the band is a force of nature that moves perpetually forward. The groovy riffs that make up yet another catchy chorus stand out immediately and allow for a smooth transition to the more speed induced parts that follow.

“Section 21” is one of my favorites on the album because it doesn’t have any chill.  From the first millisecond to the last ending note, this song rages nonstop.  The vocals, guitars and drums are all having a competition to see who gets to the finish line first.  Who wins?  The listener does because they get to witness totally uncompromising metal.  And how about that solo?  Mind melting.

The aforementioned vinyl only song “Divided and Demented,” is worth the price of admission.  It absolutely smokes, it’s catchy and has an explosive ending.  What more do you want?

The final original song is “Filtering Hindsight,” and its riffs balance themselves between dense rhythms and melodic tinges, especially during the chorus.  Speaking of the chorus, it is MASSIVE and I can just imagine the crowd singing it in unison, fists and devil horns pumping in the air.  

Solitary’s “Embrace The Darkness,” isn’t just a great album for the band but also for the genre itself; albums like this give me hope for thrash metal. 

Sanctuarium - Melted and Decomposed

Sanctuarium is a death metal band from Barcelona that formed in 2021.  It originally was a one-man band, that man being Marc Rodriguez.  But he added additional members and, after a demo and a split album with Magick Howl, released their debut album, “Into The Mephitic Abyss.”  The band is firing on all cylinders, wasting little time and dropping their second full-length album, “Melted and Decomposed.” 

This album is absolutely FILTHY.  The five long songs spend 48 minutes doing exactly what the album’s title offers.  As these cavernous, often doom-inspired, leviathans of decayed music atrocities lumber their way through, they break down, destroy completely, and let the pain just fester until nothing is left but a rotten husk of what once was a living creature.  

While the album certainly embraces aesthetics of death/doom, it doesn’t seek to stay slow and stalking all the time.  A variety of tempos await in these deep cesspools of human mockery and the riffs are ever changing to engage the listener but not to confuse; even at their most chaotic, the band allows the songs plenty of time to sink in, letting the darkness seep into your very bones.

I really like the vocals ..deep and gravely but part of the music in such a way they sound like another force of nature, another instrument, being neither too loud or too low in the mix.  The tone of the instruments is deep and unfathomable.   I can’t decide what’s more oppressive, the bass or the guitars, which is good because it means there are just more layers to this nightmare.

However, the instruments are trapped in depths so dark that nothing can be seen.  The music is surprisingly open enough that what’s under the dark can be seen….yes it’s deep, yes it’s darker than black but you are still going to see what is killing you.

Since it’s just five songs, I will explain a little about each one.  Unlike some albums of this style, each song doesn't sound different from the last even while embracing these same themes and elements.

“Abhorrent Excruciation in Reprisal,” begins in an interesting way, offering an ominous sound as an intro.  Instead of being a separate track, the intro is built into the song, which starts a few seconds after these damp tones fade away.  

The song bursts outward with explosive riffs and drums before the instruments are grasped by ghastly death growls.  It slows down, letting the guitar breathe as they drop the doomiest riff that ever doomed a doomed doom.  The song ebbs and flows out of these tempos but throws in a surprisingly catchy groove near the end, perfectly marked by the drumming. The last few precious moments kick the tempo up for a final bout of clawing violence.

“Exultant Dredge of Nameless Tombs,” is a mind fuck in the beginning, with the way the drums suddenly stop as the riffs smash down.  The band injects more groove as the vocals rip through like a hurricane.  At this point, the song is a huge wall of sound; it works but, like I said earlier, the band doesn’t seek to stay in place all the time.  The song opens up, offering sweet, sweet riffs of festering death.  The mid section is my favorite moment, representing one of the heaviest moments in extreme music I’ve heard all year.  The song builds back up in a more intricate way, offering guitars that embrace the details and elements of the world they are building.  

“Phelgmatic Convulsions,” opens with a slow, serpent-like groove that stalks its way down empty halls, devoid of everything except the death that consumed all.  The drums are very clever, complimenting in just the right way to keep engagement high.  After the halfway mark, the rumbling carnage seeks to force its way into the world itself, possessing death and reanimate into something that knows nothing beyond moving ever forward to consume. 

“Sadisic Cremation of Emaciated Offal,” is one of my favorites of the five songs.  It has a certain energy to it that is hard to explain but can clearly be felt.  It isn’t often that music this putrescent is so enthralling but this gripped me from beginning to end.  Maybe it’s the guitars and how they move from riff to riff, not in a hurried fashion or truly slow way, but in a way that lets them get to the edge of madness before rising again to another level of putridity. 

The album ends with the unbridled fury of “The Disembodies Grip of Putrescine Stench.”  The opening is vicious, a pure death metal holocaust. The atmosphere on this song is incredible, always dripping something rotten onto the extremity.  It’s a sterling combination of old school brutality, doom metal decay, and smart song writing that uses abrasive tendencies  as a guiding tool. 

Sanctuarium has crafted an impressive album with “Melted and Decomposed,” and I can see it appealing to fans of both death and doom but also to those who like detailed, atmospheric music.  

Distant Dominion - Ripping Through Time

Distant Dominion is a new extreme metal band that hits hard and fast with their blazing debut album, “Ripping Through Time.”  The band might be new but its members have years of experience in such bands as Krieg, Rumpelstiltskin Grinder, Polterchrist, Mortal Decay and others.

But “Ripping Through Time,” isn’t just another run-of-the-mill extreme metal experience.  I have discovered this album is a well-crafted death machine that offers a lot more variety than the average extreme metal album.  It has just enough of a technical flair to add a flashy pedigree to the void it so viciously spits out.  It’s fast like thrash but wrapped up in a death metal extremity and the destitute, raw atmosphere of the bleakest black metal.   As if that wasn’t enough, there is clearly an influence from classic metal and a firm grasp on incorporating melody within these charred walls of chaos.

The album is mastered by Dan Swanö, so of course it sounds absolutely amazing.  It’s clear enough for all its little details to shine through yet it still retains a razor sharp, violent edge of potency and decay.

The opening song alone, “Alchemystic,” was enough to convince me of the album’s potential and it will convince you too, no doubt.  It begins with raging thrash, the band providing a griping and ear grabbing performance right out of the gate.  But t hen it flows into intricate riffs, impressive bass, and chaotic yet focused drums—at this point, I understood this wasn’t just going to be an extreme album that goes fast as fuck from point A to B without much to say.  Instead, it goes fast as fuck from point A to B with A LOT to say.  Check out this song's halfway point: it’s melodic, catchy, and even a little atmospheric.  Then as quick as it arrived, it’s gone, and replaced with ultra precise riffs and flesh ripping vocals. 

The title song drops doom style riffs, slowing and suffocating.  The bass pops out very well, riding up against the guitar but still standing out in its own way.  The drums go a long way on this album, offering just the right amount of mood for whatever the song calls for.  Suddenly, this song calls for searing speed and delivers it tenfold.  Those traditional metal elements I spoke of earlier rear their head at the song’s halfway point with a surprisingly catchy vocal melody, melodic bass, and old school drums with modern double bass.  And the guitar solo that arrives afterwards?  It would fit at home any number of classic sounds from the 80’s and early 90’s but still firmly fits into the band’s sound. 

The classic metal assault continues with “The Witches Ritual” and its wonderfully executed riffs which grasp the understanding between the balance that often exists between heavy and melodic. Force works but so does steering it every so slightly.  The drums and vocals layer the song with extremity while the bass helps build the song up for the kick ass guitar solo.  The song ends with the riffs from the beginning, capping off the whole thing nicely.

The final song, “No Way Out,” is one of my favorites on the album and an excellent ending to an excellent album.  The flurry of drums builds up the energy, allowing the song to feed off the energy as it ramps up to a thrash fest.  But it isn’t all about speed–that would be boring and this album is anything but that.  A fresh groove and stunning bass highlight the blitzkrieg approach.  It all builds up to an impressive solo and a melodic ending that fades off into clean tones.

Distant Dominion’s “Ripping Through Time,” is an extreme metal album that isn’t afraid to step outside the box.  Its songs provide ample destructive force while grasping onto ideas that they seamlessly integrate and execute with fervent wrath. 

Moose Cult - Book of the Machines

I’m not sure what a Moose Cult is.  Is this a cult of moose that gather in their black masses?  Or is it a group of humans who are obsessed with Moose?  Or maybe it is a new kick ass doom band?

Well, it may be one of the first two but it’s definitely the last one.  Born out of the pandemic after writing a lot of riffs, Jonny Moose (oh ok, that’s where the name comes from) joined forces with members of Monsterworks, Thūn, Smokescreen and Bull Elephant to release Moose Cult’s sophomore album, “Book of the Machines.”  

I’m not familiar with any of these bands except for the excellent Bull Elephant but that is enough of a pedigree to warrant me checking out this album, though I haven’t had time to dive into their debut just yet.  

“Book of the Machines,” is quite the dynamic album!  It embraces a death/doom sound but also incorporates more traditional doom elements as well.  It’s melodic when it needs to be, bulldozer heavy at other times.  There are a ton of layers and depths to these songs, making it fit into the prog category as well.   Thankfully, the songwriting is focused so instead of all these influences making it sound disjointed, it sounds very natural—the songs flow to and from each other pretty well.

From my limited understanding, the lyrical themes of the album are inspired by the Samuel Butler novel, “Erewhon.”  I am unfamiliar with either but apparently it is “one of the first examples to ponder machine intelligence and self-replication.”  

That sounds above my pay grade and beyond my brain power but I do recognize the subject matter’s potency, considering the rapid advancement of AI in our current world.  It’s definitely scary to think about and “Book of the Machines,” is often a scary album with dark corners and trepidation around every turn.  It’s a bleak album, fully embraced in all aspects. 

I am impressed by how well the instruments compliment each other.  In the beginning of the first song, “Erewhon,” ominous sounds fill the void before giving birth to clean instruments.  The drums build up from there as the song marches every forward with growing tension. 

When the bass hits, the sound grows encompassing, opening the floodgates for the death/doom to arrive with a furious growl.  Both the low growls and blackened highs are very effective.  The band isn’t afraid to throw in some curveballs, such as the song’s sudden uptick in tempo and groove.  But wait, there’s more!  The mid section is more ambient/minimalist but still contains wonderfully melodic lead guitar.  This is a very clever, progressive passage that expertly flows right back into more extreme fields. 

Of course, the band is just as engaging when it streamlines its sound for a more direct approach, as they do in “Curse of Creation.”  The song is immediate, bringing out sweltering riffs and brutal growls.  The drums are hard but crisp and potent, a driving force from which the rest of the band launches their attack.  But this isn’t the type of album to rest on its laurels.  Around the two minute mark, the song takes a different path.  Melodic bass leads the way with a blanket of riffs just before a very impressive and beautiful guitar solo glides through.  But the carnage returns with harrowing screams while the music keeps up its melodic and atmospheric slow.  Once again, it’s impressive how this band can use different styles and emotions to their advantage yet keep its core sound intact.

The halfway point of the album is an interesting little song called “Gateway to Evolving Thought.”  The first part of the song is clean instrumentation with an unique folk style vibe.,  I really like the drums and bass here, both are very engaging.  The song briefly comes to a boiling rage before settling down again, ending with a smattering of lead guitar.  This song is different from what came before or what arrives afterwards but I commend the band for pulling off such an unique vision that still manages to fit into the album. 

The final song is the title track and it brings with it a faster tempo that brings out their extreme metal side, this time very much leaning towards the blackened end of the spectrum.  The vocals are insane and the riffs are apocalyptic.  

Moose Cult’s “Book of the Machines,” is an album that came seemingly out of nowhere but I'll be damned if it isn’t one impressive surprise.  Any fan of heavy, thought provoking music that isn’t afraid to show variety within its compositions will definitely want to check this one out.

Har - Cursed Creation

Har is a Berlin-based blackened death metal of Israeli descent who formed in 2014.  After a demo and a couple of EPs, the band is ready to launch their full-length debut album “Cursed Creation.”  

With a runtime of just over 30 minutes across 8 tracks, the album is a breakneck piece of searing music that offers no respite—it starts off hard and just doesn’t stop with the exception of the interlude “Infernal Passage,” but even that one offers abrasive noise that bridges the gap to the next two songs of utter annihilation. 

The echo on the vocals is perfect—just enough to give it an arcane, haunted feel without going overboard and taking away their brutal performance.  I really like the production as well.  It’s certainly not clean but neither is it too raw.  Its own balance lets the guitar tones carry a real bite and provides the bass/drums with a heft to their tone.   Listen to this album with headphones and will definitely fill up the space around you.

The songs are riff based, as evident with the opening song, “Submerged In Cacophony,” and its wonderfully evil tone cast upon the riffs.  They are just groovy enough but still retain a musically serrated edge instead of a thicker tone.  The drums sound equally as engaging, a classic style especially the sound of the snare.  After the 3:23 mark, the song kicks up the depravity and ends with a battlefield of guitars, marked by the cannon fire of the drums.

The album is at its best when the songs seemed to feed off the frenzy of the drums, the entire band pushing towards an epicenter.  “Chronocide” captures this feeling well while throwing in a curve ball of catchy riffs around the 58 second mark—massive and doomy.  

The band pulls it off again with “Poisonous Entity.”  The first half is a dizzying array of riffs, bass and drums; it’s extremely thick, swelling to the breaking that’s at the 1:51 mark.  This passage has wave after wave of rhythmic power, hammered in further by the drums and complemented by the lead guitar. The band’s ability to use the instruments to build layers that compliment each other is impressive, creating a sound that is always chaotic. 

The final song, "Metaphysical Stench", is my favorite of the album.  I like the slower opening that steadily builds up until the song is the soundtrack of an earthquake’s deep rumble.  The slight melodic tinge near the end is another highlight before letting the chaos fully take over. 

Nothing on the album is mind blowing or reinvents any wheels but I’m pretty sure that isn’t the point of the album. If you want blackened death that is100% uncompromising that checks off all the boxes for underground extremity then “Cursed Creation” is the album for you.

Phenocryst - Cremation Pyre

 Phenocryst is a death metal band from Portugal, who formed in 2020.  After releasing their debut ep, “Explosions,” in 2021, the band is dropping their full-length debut “Cremation Pyre.”

And what an album it is!  The band’s style is extreme to the tenth degree but it also contains a horde of other elements; doom and psychedelic tendencies can be found within the album’s 8 track, 39 minute runtime.

A phenocryst is a type of crystal formed in volcanic rock—a fitting name for the band as their subject matter is based around volcanic disasters.  The music often reflects such cataclysmic events by offering moments of blistering speed with slower, methodical moments.  Volcanoes take time to build up their devastation, after all.

The opening song, “Pinnacle of Death,” begins with a heavy, sweltering blanket of riffs that creep up to its explosive run that begins at the 35 second mark.   The drums are fast, crisp, and on point like deadly strikes of lighting that always find a target.  The band is at their best when they lean into their doom side, such as just after the halfway mark before once again bearing their pervasive rumble upon my ears.  

I like how the music is always extreme but its density and slower moments expertly build up just the right amount of tension without giving too much away.  This aspect makes it all the more satisfying when the band rages out, spewing forth like the volcano on the cover art.  “Astonishing Devastation,” takes this to heart, offering a somber intro of what to come then suddenly the music just balls out explodes.  As quickly as the violence hits, it subsides into a groove that flows like lava moving towards its target.  The little details make it pop, such as the bass drop near the 2:26 mark.  Near the end, the tempo flows from atmospheric tinged riffs to unbridled fury.  

The highlight for me is “Embers Of An Ancient Fire,” because it just straight up nails the album’s overall sound.  The opening is massive riffs, boosted up by a sea of raging double bass.  The tone is sinister as hell—-everything is as natural and unstoppable as nature itself.  The transition from slow, to mid, to fast tempos in the song is smooth with a clean outro that is not unlike the post-devastation in the wake up nature’s brutality.  

The last full-length song is “Fogo Nas Entranhas,” and it translates to “fire in the bowels,” at least to my limited knowledge aka I googled it.  Regardless, I feel like this is the final step in an volcanic eruption set to music.  At this point, nature has uncoiled its indiscriminate death tendrils, outstretching to send out a final message to the unfortunate caught in its path.  The music reflects this, as it is fast paced and unstoppable—the only thing to do is succumb to it because there isn’t any escape.  Even if you did, there is nothing to come back to. 

Phenocryst’s “Cremation Pyre,” is a, wait for, rock solid death metal album that captures the feel of its subject matter by using its extremity as another tool to explore such a subject that uses boundless extremity. 

Mortal Blood - Harbingers of Chaos

Mortal Blood is a doom metal band from Baltimore, Maryland.  “Harbingers of Chaos,” is their full-length debut album; they have also released two EPs.  It’s actually a one-man project, the mastermind behind it, Dan Krell, writing, performing, and even producing/mastering the entire album. 

Mortal Blood’s brand of doom contains a lot of different elements, including Gothic, death, and black metal.  It’s an interesting concept because even though there isn’t a shortage of band’s playing these styles, “Harbingers of Chaos” sounds like a unique experience.  There is no doubt the album definitely has an apocalyptic atmosphere to it, the audio version of the cover art.  

The ebb and flow of the music is very tight, grasping on certain concepts with full attention to detail before moving on to a different path.  The first song, “Incantations of the Damned,” is a prime example of which I speak.  This particular song is all about the build up, with heavy but sparse textures moving across the expansive field of its structure.  The vocals, which are insanely abrasive, really do seem like some sort of command or creation of a spell.  The drums are very atmospheric, which is always a hard thing to pull off, and create a ton of trepidation. 

“Requiem Of Gothic Doom,” takes a different, more immediate approach.  The guitars are larger, filling up the liminal space with electric fire.  The vocals go from extreme to filtered cleans, adding a deranged vibe to the song.  The middle part is massive, with blackened growls/screams, clean chants, and guitars/bass that generate a murky wall of sound.  

The methodical buildup of these two songs is indicative of the album as a whole; each song is like a new chapter in the book of fear, another step towards insurmountable darkness.  The use of guitar to create atmosphere and textures instead of more traditional riffs is very clever and something I’m surprised more doom bands don’t go for.  It’s certainly effective and more than a little harrowing.

“The Fallen,” is the album at its most effective and my favorite song on the album.  I just love the ominous, sparse tones in the beginning.  The pounding drums and sweltering guitar are intense but less in an aggressive way, more into a “bury themselves into your psyche to make you go insane” type of way.  Once again, the vocals are abrasive but absolutely commanding.  He doesn’t constantly bark them out, instead choosing the opportune moment to use them…and it’s always unnerving.  Seriously, I haven't heard a vocal performance this freighting in sometime, in doom or otherwise. 

Thankfully, the album loses none of its potency as it moves along to another level of suffocating hell. “Persona Non Grata,” is a deep track that reaches into the furthest realms of darkness, pulling along with it all the grit and grime of the soul. My favorite park is after the halfway mark, with the bass drum pulsing as the guitar descends down.  The ending is pure violence—death growls, blackened screams, deep chanting, wailing guitar and the oppressive waters churned by the bass and drums.

The title track opens with a ominous guitar tone, one of the best on the album. Clean vocals litter the apocalyptic landscape as the drums ramp up the tension until the blackened cut through, razor sharp and as dangerous as the music.  The drums have a sort of tribalistic thump to them that, mixed with the fantastic vocals, creates an urgent sound that carries with it an arcane and mysterious atmosphere.

Another favorite song on the album for me is “Horde of the Blackened Sun.”  Goddamn, what a song!  The vocals are really up front in the mix, threatening to burst out and eviscerate the real world.  The music is slow and melodic, but a dark melody that brings with it only the promise of a future  undone—there is no hope to be found here.  The highlight of the song for me just after the halfway park with this really out there, dismal melody from the guitar.  It sounds like it could break at any minute, the insane world in which it thrives finally collapsing under its own weight. The album as a whole carries that vibe as well.  The entire 40 minute run time is absolutely maddening—listening to this album on headphones is truly an experience!   

The final song, “The Outcast,” sounds like the longing for a distant dream that will never happen.  There just isn’t enough vision, enough hope, for fruition of better things. The distorted clean vocals are almost alien and fit the landscape of the music perfectly.  In a way this sort of an outro to the rest of the album, the aftermath of all that went down.  The only thing more dangerous than the apocalypse is the post-apocalypse—-the song really nails that sentiment. 

Mortal Blood’s “Harbingers of Chaos” is a fantastic album that is as interesting and complicated as it is unnerving and despotic.  It certainly has an unique sound and approach to doom metal, one that I found arresting and engaging.  Definitely a highlight as 2024 moves into the next half.