Corpsefucking Art - Tomatized

Corpsefucking Art is a death metal band from Rome, Italy who formed in 1996. “Tomatized” is their sixth full-length album; They have also released a demo, EP, Split and a live album.

“Tomatized” is a fun, brutal blast of a death metal album. Wait, a minute…did I say fun?  I thought death metal was supposed to be horror drenched, abrasive and against the grain of good taste? It is and this album checks off all those boxes. But it's also an album that embraces the odd and doesn't concern itself at being taken too seriously, at least in terms of lyrical content

But make no mistake: the musicians are deadly serious. Across the blistering 9 song 29 minute runtime, a cacophony of rhythm prowess and gutturals rip through the decayed atmosphere. The bass and drums standout just as much as the guitars. Massive swaths of pummeling grooves highlight the tumultuous songs. 

Both the production and instrument tone are exactly how I like it: raw but still with enough clarity to allow the violence to shimmer with all the vibrancy blood splattered carnage...and tomato juice. 

This is my first experience with the band so I can't really compare this to their previous works. However from my limited understanding all their albums are part of a larger story. This one appears to be about….tomatoes? Sure, why not. 

The album begins with the title track and what, I assume, is squelching sounds from tomatoes  That's a sentence I never though I would write but I'll be damned if it doesn't work for both me and the band. The keys are disturbing, setting up the horror theme well. The song is fast in places barreling through when needed but it isn't afraid to dial the tempo back and let the riffs crush very slowly, leaking juices and all.

The bass on “Blood Kitchen Garden” kicks the song into gear immediately while the tight, crisp drumming catches the ears and helps pull attention to the riffs. The guitars are wild, whipping back and forth between speedy groove and massive crunches that hit like being beaten with a bag of potatoes. I can talk about other food, right?

“A Nightmare On Tomator Street” is a ridiculously awesome title and the music is just as impressive. The tempo jumps back and forth between slow and mid paced for a bit before introducing sudden bursts of speed.  The band is fantastic at using tempo to their advantage . 

“Dead Sushi” throws in sound bytes and a cinematic approach for the song's intro before the Hell gates open at the 45 second mark. This one of my favorite songs on the album because of the sweet, sweet riffs and hurricane drums. As expected, the song impresses with its seamless transitions from one tempo to the next.

“Escape From Alpha City” ends the album with the same urgency that opened it. This is another personal favorite of mine, I especially like the clever drumming that compliments the rage and energy that rolls off the song.

Corpsefucking Art's “Tomatized” is a nice late year surprise for this humble reviewer and I don't even like tomatoes.   Any fan of riff based death metal, or perhaps angry vegans, will get a kick out of this. 

Bile Caster - Writhing Between Birth and Death

Bile Caster is a UK based doom/sludge metal band who formed in 2019. “Writhing Between Birth and Death,” is their debut EP; they have also released a demo and a split. The EP contains three songs at just under 30 minutes runtime so it has a decent amount of material. Regardless, it's always quality not quantity and this EP is nothing but killer extreme doom from the first second to the last.

Musically, it is centered around the slow tempo and thick, cavernous riffs of death doom.  But the tone of the instruments captures the abrasiveness of sludge. The combining of these two styles results in songs that are deep and dark but extremely biting.  

The vocals are fantastic and some of the best I’ve heard in this second half of 2024.  The low growls have just the right amount of echo, as if the vocalist is crying out in torment from some cavern far below the earth.

Each song is longer than the one before it, a detail that I found intriguing; it felt as if I was really delving deeper and deeper as I went through each song.  This adds a sense of mystery and foreboding that is absent from a lot of doom, even extreme ones.  The crushing is straightforward but I found the experience to be anything but that.  Though they all consist of similar ideas and themes, each song sounds unique from the others.

“Abscess,” opens weighty riffs that spend a few seconds pounding before letting the distortion drip off each note, offering stormy clouds that hang over the proceedings.  Much like the title might suggest, the song feels like it is swelling up with something.  All the pain across all the dark paths build up on top of each other as the seconds tick by.  But instead of exploding, it fills up with puss around the 6 minute mark.  The song sounds like there is something rumbling within itself, a beast within a beast clawing to escape.  

Imperiled helplessness and suffocating hopelessness is the foundation of “Trapped.” The drums and bass add on the pressure, each moment of the song acting like the increasing burden of pressure.  At just over the halfway point, the song sort of collapses into itself resulting in a sort of panic desperation.  Not in the sense of hope that one might live but with the finality of knowing death is imminent.  

The final song, “Harrowing,” gets more tortuous as it shifts from crawling riffs to an uptick in the tempo.  The low bass and liminal spaces during the sound bytes drench the song in horror, trading riffs for atmosphere but in a minimalistic way that swallows all the light around.  Imagine being dragged naked and blindfolded across the floor of a cave and thrown into ice cold water at the end.  This would be the soundtrack for such a horrible situation. 

Bile Caster’s “Writhing Between Birth and Death” a stunning debut EP that hits the sweet spot between nasty heaviness and the dreary world of death that doom so often resides in. 

Kanonenfieber - Die Urkatastrophe

Kanonenfieber is a blackened death metal band from Germany who formed in 2020.  Although there is an anonymous live line-up, the band is actually a one-man project from a musician known only as Noise.  “Die Urkatastrophe,” is the project’s second full-length album; three EPs and a live album have also been released. 

Kanonenfieber is one of the most interesting concepts in the modern extreme metal scene.  Their brand consists of a highly convincing mixture of death and black metal.  It is balanced pretty damn good, not leaning too far into either side except when needed.  It’s also razor sharp and focused, offering the band up as one of the heaviest and abrasive out there right now. 

Their subject matter is of great interest to me—War World I, perhaps because my last name (Wittenmeier)  is of German descent).  I’ve always maintained that WWI had to be one of the most horrific wars in history, if not the most.  Weapons such as machine guns, artillery, and chemicals were introduced in this war.  I cannot imagine what went through a soldier's mind when he saw his friends ripped apart by this gun that fires all those bullets in quick succession.  Or suffocating to death amidst all the carnage after inhaling phosgene gas.  It’s horrific to think about and that isn’t even mentioning the psychological carnage that happened. 

Kanonenfieber seeks to speak of the horrors of war,  using extremity in music to preach against the extreme horrors of men against men. Although their focus is on WWI, their lyrics remain potent. Unfortunately, in today’s world, they have also never been more important. 

I usually prefer something rougher for production when it comes to this genre but the clean production works in the album’s favor because it’s so damn sharp and clear, offering a chance for the searing music to really reach the ears and dig in.

The album’s wonderful production/mix also offers up their use of melody in a vibrant way that echoes the sorrows of which they speak.  The band’s approach to these melancholic details is subtle yet so damn powerful.

On top of all that, these songs are catchy as hell.  That might seem weird considering the messages within the music but it just makes them all the more urgent and with great conviction.  Noise truly understands the subject matter and pours a lot of heart and soul into it.  I can hear it, I can feel it, with every second of the album’s 50 minute and 40 second runtime.

The album opens with the intro song, “Grossmachtfantasie,” and it sets up the whole album.  Even though I can’t speak German, there isn’t denying the power it builds up as it races towards….

…."Menschenmühle,” the album's first full song.  It’s very immediate and vicious within the first 30 seconds.  The music, particularly the drumming, is robust and energetic.  The riffs and vocals take turns ripping it up while the bass/drums provide a bombastic rhythm attack that holds up this considerable foundation.  The melodic tinges on the edge of the chorus are icing on this cake but the song really brings it when it births out of a spoken word passage with incredible blackened screams, complete with music that marches towards the final conclusion.

“Lviv zu Lemberg,” has a killer melodic opening that caught my ear immediately.  Noise sure knows his way with history but he’s a hell of a musician too and it’s amazing how he can make music like this so goddamn memorable.  The riffs are INSANE, switching from quick grooves to sudden bursts of violence.  The vocals ride atop them with descriptive force, carrying the song to a furious but melodic section that reaches its height around the halfway point.  Afterwards, a beautifully tragic passage leads the song to a bombastic ending. 

“Panzerhenker,” is one of the more biting songs on the album, the band fully embracing it’s blackened but in their own way with a modern twist.  One parts searing speed, and other melodic landscapes, the album has a firm grasp on engagement without letting of the gas for a second.

The final two songs couldn’t be more different, at least musically.  “Ausblutungsschlacht,” reminds me of a blackened version of Amon Amarth at their height but with more emotional weight. After the halfway  mark, the song goes for broke with catchy vocal rhythms, riffs that hit hard when needed before hanging back to let the drums bulldoze through.  The last minute or so is a huge wall of sound where the band shines with all they have. 

“Als die Waffen Kamen,” surprises with a clean ballad that is just as effective and important as the other songs, just taking another path.  Noise’s cleans are great and I can hear the emotional drip through my headphones.

Kanonenfieber’s “Die Urkatastrophe” is a masterfully written album that uses extreme metal to handle a subject matter that is as brutal as the music.  It’s thoughtful even when it’s at  darker moments, never forgetting that even metal can provide an emotional outlet for even the most serious of subjects.  

Invernoir - Aimin’ For Oblivion

Invernoir is a Gothic doom/death metal band from Rome, Italy.  They formed in 2016 and their latest album, “Aimin’ For Oblivion” is their second full-length album; they also released an EP in 2018.

“Aimin’ For Oblivion” is an extremely well written album that is captivating from start to finish.  Its moody atmosphere is brought to life with rich, full Gothic influences. Melding perfectly into this tapestry of macabre musings is a firm grip on dark and deep death/doom.  The result is an album that is as haunting and emotional as it is heavy and abrasive.  However, it isn’t heavy in an aggressive way.  It’s the layered emotions, the shades of gray that rest upon each other to create this special kind of oblivion.  To me, that’s as heavy as anything in the universe, and certainly rivals even the most extreme music I could ever find. 

The production is one of the many highlights that make the album standout so late in the year.  It sounds amazing by offering a wide, open sound that captures every ghostly detail the band brings to the table across the album’s 8 song, 47 minute runtime.

As expected, and appreciated, the songs are slow to mid-paced.  This lack of a rush captures the true essence of doom and this album’s sound.  The band’s approach to songwriting really allows each of these songs to unfurl in a very natural way—the album flows from beginning to end without any bloat.  

The album opens with “Shadow Slave,” and the clean notes set the tone for the rest of the song.  Musically, their clean instrumentation is just as important as the distorted passages…each of them play off the other and both are required to really let this song, and the album itself, shine. 

The riffs kick in, laying a suffocating blanket but tinged with delicious Gothic melodies.  The song, and the album, hits a very striking balance between light and dark elements.   I absolutely love every vocal style in this song too.  Whether it is deep growls, screams, or cleans, it is all very effective and ties into the music effortlessly. During the clean vocal passage, the rhythm reveals its prowess; the crashing cymbals hit at just the right moment and the bass balances low end with its own sense of melody.  

“Desperate Days,” showcases another strong songwriting element the band has a penchant for: using the lead guitar to boost the vocals and vice versa.  The beginning scream rips the song open as the guitar follows through, together the song is pushed forward.  Around the 2 minute mark,  the death growls/screams scrape against the edge of the song’s boundaries while the lead guitar reaches for the skies.

The melodic grooves of “Broken” make for a surprisingly catchy song, despite the subject matter.  The clean vocals are especially great here, soaring and triumphant in their praising of all that is dismal in the world.  The extreme vocals are energetic and actually quite biting, a contrast against the sorrow that makes the song even better.  The ending guitar solo hits right in the feels too, highlighted by the void like bass and the pervasive drumming.

The ending song, “Useless” is the most atmospheric on the album.  The lead and rhythm guitar meld into one cohesive force while the bass/drums double down on the low end and rhythm.  The song sounds expansive and seems like it could go on forever. The death growls sound truly lost and pained.  A fantastic way to end a fantastic album. 

Invernoir’s “Aimin’ For Oblivion” is a fantastic doom metal album that captures the essence of what makes sorrowful, depressed music so appealing.  Hardcore fans of doom will find much to love here but it’s epic and thoughtful enough to pull in new fans of the genre as well. 

Deathless Void - The Voluptuous Fire of Sin

Deathless Void is a death/black metal band from the Netherlands, who  hit the scene a couple years ago with their debut demo.  Now they are back with their debut full-length album, “The Voluptuous Fire of Sin.”

And what an album it is!  It sounds absolutely evil…I mean, this album is just drenched with everything that once made people so afraid of the extreme genres of metal.  The overall atmosphere is hellish wrapped up in nonstop bloodletting. However, what makes the album so goddamn fantastic is that it isn’t self-absorbed in its extremity.  It doesn’t exist for the sole sake of carnage but, rather,  uses its black and death metal roots as just another tool in its songwriting arsenal. 

It is a far more dynamic album than what a lot of extreme artists can pull off yet it’s so focused that listening to it will increase your heart rate.  Dangerous yet smartly written?  Yes, please.  This album demands multiple listens because to fully absorb its fury can’t possibly be done in just one or even a few listens. 

Ominous landscapes signal the coming storm that is “Psychedelic Warfare.” By the time the built in minute long intro finally burst open, I was already mentally trying to prepare myself for the aural assault.  Inhuman drums, whiplash riffs and pulsing bass rip through my ear drums.  A change for recovery is blown away (as if it was going to happen anyway)  when the necrotic vocals batter their way through.  The drums complement the song so well, a barrage of patterns that seek to induce psychosis even as they crush.

The band doesn’t always need a warm up, so says, “The Shattered Realms of Man Become the Abyss.” This song begins so quickly that it felt like I was trying to constantly keep up with it, only to find myself failing.  By the time the song reached it ends, I was exhausted.  Is it possible for a song to be a physical force?  I think it just might be; at the very  least, this song makes a good case for the possibility.  

A curveball is thrown out with “Iside,” and I found it to be a nice respite but also haunting and ancient.  I’m glad its there because the next song, “Burning Shapes Without Form,” is a doozy.

You can tell me all you want that extreme metal doesn't have heart or soul but you’ll also be wrong all day long.  “Burning Shapes…” has plenty of that stuff, even if it’s seething rage, hatred and contempt.  The riffs on this song are truly special….violent but catchy with a groove that sounds like it was burst from the flames of perdition. The song (slightly) pulls back during the mid-section, allowing for a surprisingly atmospheric passage. 

One of my favorites on the album is “Crossing The Threshold,” because of the slower pace of the guitars against the backdrop of the insane drumming.  This song is like a force that pushes its way inside you. A lot of deadly but catchy riffs on this song and the bass stands out particularly well.  

The final song is “Curse Upon You,” and its, of course, a banger.  The assault begins fast and heavy and just constantly one ups itself.  It’s like “but wait there’s more!” of blackened death metal.  The last couple minutes generate a truly sulphuric, sinister atmosphere

Deathless Void have released an impressive debut album with “The Voluptuous Fire of Sin”  and there is very little one can do against except embrace the darkness and let it in. 

 

I

Marche Funèbre - After The Storm

 Marche Funèbre is a death/doom band from Belgium, who formed in 2008.  This band has grown into one of my favorite doom bands in recent years.   I’m somewhat late in that respect, as I didn’t discover them until 2017’s “Into The Arms of Darkness.”    I was fortunate to be able to review their 2020 album “Einderlicht” for Metal Temple; I gave it high marks.

Flash forward four years and they have graced us with their fifth full-length album, “After The Storm.”   Not only is it a step up from “Einderlicht” but it’s also the best album they have done so far—and that is certainly speaking volumes!

Their mastery over combining big, sledgehammer heavy riffs with sorrowful yet strangely beautiful melodies has grown exponentially over the years but on “After The Storm,” the band hits their stride, surpasses it, and pushes the band into a whole new level. 

The production must be praised…it has a huge sound, nearly bottomless.  Despite how depressing and mournful the album is, the melodies and harmonies are also vibrant.  The production/mix captures the essence of the album’s songwriting, allowing each note to be heard to its fullest without any one  instrument overpowering the others. 

Arne’s vocals are truly something to behold.  Simply put, he is one of the best vocalists in metal and if this album doesn’t prove that, then any detractors must be deaf.  Peter and Kurt’s guitars are as engaging as they ever have been, weaving tapestries as easy as breathing.  Their playing is abrasive and sweltering yet flows as smooth as water, transiting to melodic moments with apparent ease.  Unfortunately, Peter stepped down after the recordings but this album is one hell of a swansong for him. Boris and Dennis are the meat and potatoes of the band—what doom metal band would be complete with a low end/rhythm battery to power all of this?   Both of them offer a full sound that backs up the band but they each sound distinctive in their own right.

Every song on this album is great—not good, not okay, not decent but truly GREAT.  Each of the six songs offer many “wow” moments and are extremely catchy, especially for the style.  They all stuck in my head and I honestly can’t say I have a favorite in fear of offering disservice to any one of them.  

“In A Haze,” opens the album with a perfect band.  If this song hits you in the feels then it’s a guarantee the rest of the album will keep your attention without fall.  The rhythm is heavy, landing like a sudden storm on what was a quiet, sunny afternoon.  The lead guitar is gorgeous, dripping with melancholic energy that permeates throughout the song.  

For the first half of the song, Arne growls his face off but offerings a catchy clean vocal chorus at the halfway point.  I love how the bass and drums accent the performances, both instruments hitting hard as nails at just the right spots.  

The guitars offer twin engines of sorrow in the opening moments of “Palace of Broken Dreams.”   The clean instrumentation that arrives afterwards is dark yet serene in a certain way.  The bass really becomes the MVP in this part, never letting the song become too floaty.  The vocals begin clean early on then growl to include the extreme side–I like the switch up and the fact the band doesn't always want to do the standards heavy/stanzas with clean/chorus.  Around the 4 minute mark, it all comes to a stop except for the guitars.  This passage is great and sets up a sterling vocal performance.  Near the end, harrowing screams and brutal growls lead the way with a backdrop of melodic heaviness.  Unreal!

The band is quite potent even in their more atmospheric moments, especially on “Devoid of Empathy.”  The guitars are moving—damn, what an emotional display!  The vocals are wonderful here, just the right amount of echo…expressive but ethereal in a way.  As the song moves along, the music transforms into this expansive movement where it sounds endless.   Is it possible to make a wall of sound that still sounds like, well, a song?  Yes, yes it is. 

“Enter Emptiness,” and its deep clean tones grabbed me immediately.  The song builds up fantastically, the slow riffs slowly creepy in like the decay of time.  The death growls sent shivers down my spine— growls can be just as poignant as cleans and it's proven here tenfold.  Around the 3 minute mark, the death growls scream out from the void…the band’s use of liminal space here is utterly impressive.  The lead guitar around the halfway point builds up tension before unfolding like a dismal dream of dismay.  The clean vocals as the song closes are haunting.

“Stranded,” begins immediately with crunchy riffs followed by groove.  The vocals are catchy as hell, along with the drums.  The riff based structure of this song is held together by leads….such cleverly songwriting.  The solo around the 5:45 mark is one of the best moments on the album….just insanely emotional.  This is probably one of the catchiest songs on the album and I found myself humming along to it, which is something I don't often do with doom metal. 

The title track ends in the album and I really like the viciousness in the vocals.  Their contrast against the riffs, which are balanced between heavy and melodic, works in its favor.  The song sounds immense and terrible (in a good way) but it’s still epic as hell.  By the time it hits the halfway point, all these elements have swirled together as a towering presence.  After, the five minute mark, the song gets even more special.  The growls jump out of the darkness as the drums and bass push the song into a sterling clean performance.

Marche Funèbre’s "After The Storm" is a stunning achievement of modern day doom.  This is a prime example of how a band can push their sound forward while still retaining what makes them great.  This is a doom metal album that will be loved by even the most hardcore fans of the style (such as myself) but I also think it is well written and catchy enough to pull new fans of the style along with it. 

 

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.