Aethyrick - Death Is Absent

Aethyrick is a black metal band from Finland, who formed in 2016.  Their latest release, “Death Is Absent,” is their fifth full-length album; they have also released two demos, two eps, and will soon release a new split album with Marras (which I will try to review at a later time).

One of the many reasons I love to review is that I get exposed to so many bands I’ve never heard before.  Aethyrick is one such band and I will definitely be going back to devour the rest of their albums.  Their music captures the raw energy of black metal but incorporated into this fury is a captivating sense of melody and sprawling songwriting.   The atmospheric parts are still very dark, the band is keen on using even the most melodic moments to drive forward that old school sound.

The songs sound familiar in context from where their influences arise but it’s also clear the band has their own sound and style.  I can definitely hear the passion for their music—these songs are all interesting and engaging.  Each one sounds different but they all fit into the greater whole.  

Production wise, it captures the abrasiveness in the riffs, drums, and vocals but it has enough dynamics to also capture the songs at their most epic points.  That’s great because the album has a lot of catchy moments. But, with all that being said, it has a certain hint of warmness to the sound that’s hard to explain. 

The band is at their best when they combine light and darkness  together in a perfect melding, such as on the opening song, “The Fire That Sires The Sun.” The band rages forth like a river with subtle keys adding an important but delicate touch to the song.  That’s really what t his album is all about too–finding ways to greet the darkness with a type of light.  After all, one cannot exist without the other, right?   Why should they be enemies and fight?  The band explores, and finds, the common ground between the two.

But just because a band, especially a blackened one, uses melody doesn’t mean the songs are jaunty or happy.  Case in point is “Beyond All Death,” which is tinged in delicious bleak sorrow.  But it’s still presented with a wide breath of epic measure, like facing something majestic yet knowing there is always the presence of danger beyond each nook and cranny.  The vocal cadence is catchy and emotional, used as an abrasive counterpoint.   After the three minute mark, the drums pour on a wonderful bouncing rhythm with clean guitar backing it up.  The screams riding on top of this wave is fantastic and the whole segment in a welcome little twist.  It’s the little details like this that make the album standout. 

The final song is “Only Junipers Grow On My Grave,” and it’s gripping from the beginning.  I love the bass in the beginning that carries the song—bass should take center stage in black metal more often!  The potent, stark drumming is like lighting streaking across the stormy skies the guitars are building up.  The atmosphere across the song is unique—it’s moody but with a refined, regal quality to it. The lead guitar is oftentimes a beautiful serenade against this mood even beauty hides a darkness.

“Death Is Absent,” is an album that hit me hard and left an impression on me.  As far as melodic black metal goes, I don’t think anything else this year will match it.  This is a smartly written album by a band who are clearly masters of their craft.  Highly recommended. 

Ingurgitating Oblivion - Ontology of Nought

 Ingurgitating Oblivion is an avant-garde extreme metal band from Germany, who formed in 2001.  Their latest opus, “Ontology of Nought,” is their third full-length album; they have also released an EP, two splits, and two demos. 

I debated for a long time if I was even going to review this latest album from Ingurgitating Oblivion. It's not that I don't like it–I do. But, for a long time, I just wasn't sure how I could find the words to speak about this album. Even for avant-garde extreme metal, this is really out there. There is so much happening within the songs that it simultaneously appeals to everyone and no one.  This is quite possibly the most difficult review I have ever tackled. 

I don't mean that in a bad way. I'm just saying that it runs so many gauntlets that it's hard to guarantee what someone will think about this album.  Obviously any music is objective but the mileage of “Ontology of Nought” will vary GREATLY depending on who is listening to it.  

Overall, they definitely have a foundation built upon experimental blackened death metal.  But it’s constantly changing, turning sharp corners, disappearing into holes, and coming out another side that didn’t give any indication of its existence in the first place.

This is my first exposure to the band’s music but, in my research, it seems most people are complaining about this album’s mix/production.  I, for one, think it sounds pretty damn good.  It’s just muddled enough to add extremity, even when the band is really reaching to the far field.  To me, a crystal clear production on this album would be a disservice—it isn’t clean, clear music so why would it need a bright sheen on top of it?

With five songs and a runtime of an hour and fifteen minutes, this isn’t an album that you can listen to casually—this deserves a deep time with time and much patience.   Even on a normal album with songs this long, all the details won’t be revealed until multiple listens have been played.  But this album?  I don’t know if it can be listened to enough, in that respect.  This album is so detailed, so jammed packed with details and ideas that a person could probably make a hobby out of listening to this.  

I did find appeal in these elements.  I am an imaginative person with a brain that never turns off.  Listening to something like this really got my creative juices flowing.  Despite what my brain can come up with, I live a pretty boring life.  I’m not saying I don’t like my life but it is boring.  As such, I enjoy music that can take me to places, give me experiences that just aren’t possible.  “Ontology of Nought” has certainly created such a scenario.  I’m still trying to figure out what type of world this album sends me to but it’s completely different and that must be respected.  

I will do my best to talk about each song since there are only five of them, despite their lengths.  I could write a full review for each song but I don’t have that much sanity left after running through this beast.

The album begins with “Uncreation's Whirring Loom You Ply with Crippled Fingers,” and hazy tones, dripped in the mysterious arcane that is often the feeling of the album.  The build up is slow but intense—this song drips anxiety to me.  I don’t know much about jazz but in my research, a lot of other people speak of the jazz leanings.  Is this what I’m hearing before all hell breaks around the 5 minute mark?  Jazz for hell?  It sounds fucked up and the song only gets more depraved from there. 

The drumming is maddening, almost doesn’t even seem human.  In fact, it’s hard to believe all this is only TWO PEOPLE.  I can’t wrap my head around it but the music bends me to its will anyway.  After the 8 minute mark, the song goes into an alien soundscape.  What is happening???   I better go to the next song before I get trapped here.

“Two Weave the Tapestry of Nought,” is weirdly grandiose in the beginning.  Then it feels topsy turvy; I half expected my world to turn upside down and the music to drain out of my years in some form of liquid sludge.  But very early on the song reveals that despite all their randomness, the band IS extreme metal first and foremost.  That violence, that level of uncompromising brutality, is something I held onto for a focus while trying to survive this song.   I think I found something like a rhythm somewhere in all this mess but it’s hard to focus when you have no idea what to expect from second to second.  Is there any ANY band out right now that takes this random vibe to such extremes? There is a clean portion about halfway after a clever solo but the clean notes of this band are just as psychotic as the heavier ones, just on a different plane.  

“The Blossoms of Your Tomorrow Shall Unfold in My Heart,” begins with oddly placed notes and melodic bass that I found captivating.  Will this song be normal?  No, sir.  The chaos ensues very quickly and I felt like my ears were being violated (compliment, by the way).    If the crumbling of a building could be captured and put into audio format….this might be that!  The riffs here are diabolical and I think they made me a little nauseous (another complement, by the way). Near the end clean vocals make an appearance.  Who is she?  Where did she come from?  Metallum says her name is Ava Bonam with no information beyond that.  Well, she sounds great.  Anyway, this song exhausted me and I have to leave.

Ok, I’m back and ready to speak about the last songs. “...Lest I Should Perish with Travel, Effete and Weary, as My Knees Refuse to Bear Me Thither,” is the shortest song on the album, not even 11 minutes long.  Slackers! Ava makes another appearance, her ethereal voice the only gentle element on the entire album.  This song actually unfolds in a smooth, dreamy sort of way.  But it grows darker and twists up in odd spirals as the song builds up.  Waking up from a dream and feeling like you just were put through the ringer is never fun but apparently the band decided to turn that feeling into a song. 

“The Barren Earth Oozes Blood, and Shakes and Moans, to Drink Her Children's Gore,” might be the best song title this year.  This one begins more immediately than the other four because it explodes after one second. But then it pulls back and dances around clean rhythms. Then it goes back into world ending death metal.  This song pulls and pushes from one end of the extreme to the other.  It feels like being put into a blender, turned into gooey paste, frozen into cubes, and then put into a shaker.  

Ultimately, I enjoyed my time with “Ontology of Nought” even though I wasn’t sure what I was listening to—and I’m still not sure.  I like music that steps outside the box and tries for something different. Ingurgitating Oblivion have written an album that exists in a world that never had the box.  But regardless of whether you like it or hate it, it is without a doubt an interesting listen that deserves to be experienced at least once.

Mother Of Graves - The Periapt Of Absence

Mother Of Graves is a melodic death/doom band from Indianapolis, Indiana who formed in 2019.  “The Periapt of Absence,” is their second full-length album; they have also released an EP.

Mother Of Graves’ previous album, “Where Shadows Adorn,” was a fantastic album that found itself among the best of the year 2022.  I can firmly say that “The Periapt of Absence,” is even better and will also find its place on many year end lists.  

Instead of falling into a sophomore slump, the band has managed to craft an album that both hones their sound while expanding it.  The songs are the heaviest they have done yet they are also their most dynamic.  This album is exactly how a band should follow up a well received debut!

The album is, of course, heavy as a coffin filled with lead.  For all their melodic and atmospheric leanings, they are still much darker and more intense than so many other bands out there who do the same style.  It’s an interesting combination; the songs are so goddamn bleak but catchy, engaging, and I could not get them out of my head (although I didn’t want them to leave anyway). 

The production isn’t quite as loud this time around and I think it helps their sound; dark but subtle in ways that allows the details of their music to be explored without anything being overbearing. This album can be enjoyed on a piecemeal basis but works just as well as a straight play through; its 8 song, 45 minute runtime is the perfect length.

The guitars are sweltering but, of course, offer plenty of melodic moments as well.  They are oftentimes, as is the album as a whole, Gothic as well so even at their most intense, everything still has a sort of refined artistry to it.  They might be under the death metal umbrella, but they aren’t the type of band that only wants to push through and be done.  These songs have been carefully crafted and each one takes its time introducing its often subtle layers. 

There is a lot of breathing room in the songs, too.  Although none of them are overly long, they aren’t short either.  The structures are built in a way to let the songs unfurl in a very natural way, offering a lot of room for each instrument to cast its own shadow and add their vision to the songs.

The album opens with “Gallows,” and it immediately intertwines doom, melody, and a powerful rhythm section.  It’s very moving and emotional, in a way that only doom metal can offer.  The band settles into a groove when the vocals kick in; Brandon gives a huge performance here, and the album as a whole, that further cements the fact he is one of the best vocalists in modern doom.  His growls/screams are just simply perfect.

Around the halfway mark, clean tones thrive among liminal spaces as the song takes a deeply introspective route that is, in its own way, just as intense as the minutes that lead up to it.  It builds back up smoothly, in large part because of the bass guitar.  

“A Scarlet Threnody,” has become one of my favorite songs in the final half of the year.  Everything about it is perfect.  The gentle and lush ambient tones present a thoughtful intro as the instruments swirl together.  The floodgates open at the 2:40 mark, death doom flowing out, casting its shadows out over the song’s world.  It’s slow, low, and exactly what I want in a doom song.  The ending is beautiful, a brief section of clean tones before ending in death/doom.  

The title track offers a lot of layers, elements stacking on top of each other, always building towards a great whole.  I love the drumming across the song as well, it's interesting and makes sense at every turn. There isn’t one instrument on the song that takes center stage–each of them meld in expertly.  It’s a wall of sound with a beat.

The final song is “Like Darkness To A Dying Flame,” and it is one of the best songs the band has done so far.  The build up is fantastic—it’s slow but there is a certain energy of anticipation.  It pays off when the drums come in,  hitting hard and pushing the song forward.  Keys blanket the background, accenting the riffs that drop around the 1:30 mark.  The music alternates between riffs, varying tempos, and Gothic textures that swim inside darkly melodic waters. As the song moves towards the halfway mark, the drum and bass take over–a very well done passage!  The band pulls back for a minute, offering a slightly laid back approach that grows back into oppressive death/doom. 

“The Periapt Of Absence,” is an album from a band that has a lot of confidence and the abilities to back that confidence up.  It’s a serious, mature effort that just goes to show how potent the doom genre can be and why we all love it.  This is the next logical step for Mother Of Graves, their best release yet, and it cements their overall style while setting them up for the future.

Ghosheart Nebula - Blackshift

Ghostheart Nebula is a doom metal band from Italy, who formed in 2017.  “Blackshift” is their second full-length album; they have also released an EP.

I reviewed their debut full-length, “Ascension,” for Metal Temple and proclaimed it “the best album their label has released.”  Does their second album match that quality or did they fall victim to sophomore slump?

They didn’t match the quality of their debut…they have surpassed it!  The bands self styled “cosmic doom” takes everything that made their previous release so great and pushes it past boundaries while still remaining true to their core sound.  Interestingly enough, the album picks up exactly where “Ascension” left off so, in many ways, it’s also a companion piece. 

“Blackshift” is a doom album that has all the hallmarks of the genre but introduces even more atmosphere, blackened elements, post, drone,  and a psychedelic/spacey worlds their music grows and thrives inside. 

I want to praise the decision to introduce Lucia Amelia Emmanueli as a part of the band on this second album.  She did guest vocals on the previous one but she is used so much more now—and she definitely helps push their sound to the next level.  Her emotive, ethereal voice is powerful, haunting, and another incredible detail for their songs to present. 

Of course, this is doom metal, so it explores darker themes.  According to their press release, the album explores concepts such as “sunyata,” the Indian philosophical concept for emptiness.  It also features cosmic themes, reflection on human feelings and even takes a scientific route in exploring quantum entanglement theories.  

That’s a lot of introspective topics but they fit into the band’s ghostly brand of cosmic doom and they present it with deep, dark tones.  Once again referring to their PR sheet, “Blackshift” is another reality going down into the deepness of the blackest voidness.  Heavy stuff, heavy music.

The cinematic approach of their music, and their ability to build anticipation, is captured on the intro song, “VdB 141 IC 1805.”   It’s a short but sweet instrumental of ambient noises and electrical fuzz that leads into “Sunya.”

The opening riffs are sad yet layered with atmospheric edges and hints of melody that stick in the mind long after the song has moved on to other areas of darkness.  The vocals alternate between death growls and harrowing screams, capturing the essence of the song’s overall mood.   Lucia’s own vocals are the perfect counterbalance to Maurizio’s own—they make an incredible duo!

I love how the guitars are as adept at casting out actual riffs as they are in taking a liminal, expansive approach when needed.  It’s all integrated very well and plays out smoothly, despite the dark subject matter and music.   With this song, the band has truly embraced what and who they are. 

One of the highlights of the album is “Naught, I” and it is one of their best songs so far.  That opening scream is impressive as are the darkened waves of bleak sundering the guitars and bass cast out.  This song is both violent and epic, using melody at just the perfect moments to heighten the song to a tower presence. 

The drums hit pretty hard, brutal but also intricate and help keep the song grounded even when it’s stretched out among the stars.  The song transforms into a blackened doom segment, offering the true power of the genre just before the halfway mark. From here, the cosmic elements of the band are on full display—it’s bleak, it’s endtime, but it is also strangely beautiful. 

The final half of the song is held together by spoken word and melodic bass—very cool effects, especially with the subtle keys in the background.  The band returns to their blackened post doom to finish out the song in a grand display of death in outer space.

Although I certainly and obviously appreciate the band’s style, it’s also nice to have a more straightforward song.  The title track is that song; it still retains the album’s elements and is certainly atmospheric in its own way but it’s more to the point.  I like how the beginning is an exciting build up, the middle is filled with liminal space, and the ending is insane.  It’s another example of just how well the band can bring to life all their ideas.

The final song, “Orphan of Light,” opens with crushing riffs and frightening death growls.  This song is a monster, slowly taking its time with its inevitable approach. Lucia gets time to shine around the halfway mark and gives a sterling performance. She’s backed by the drums, which are imaginative and complimentary of the song. 

With “Blackshift,” Ghostheart Nebula have upped the game for themselves, doom, and any style of music that is atmospheric or boundary crossing.  Although nothing is official yet, I have been trying to form a “best of” list for 2024 in my head.  “Blackshift” just came and changed the game with this late year stunner.  

Undeath - More Insane

Undeath is one of the best modern death metal bands in the scene right now. The Rochester, New York based band formed in 2018 and released their debut demo the following year. I discovered them with their full-length debut “Lesions of Different Kind” and have been a fan ever since.

I love when a band consistently gets better with each release—Undeath is definitely showing improvement album after album.  They aren't reinventing the wheel but they are making it bigger, better and more…wheelier. .

The point is that everything that makes Undeath good is now making them great as they simultaneously tighten and expand their sound.

They mix it up and wear their influences right on the sleeve but they don't sound like anyone but themselves. 

“More Insane” can be technical, groovy, and even thrashy. They slide in and out of styles so seamlessly that instead of sounding disjointed and aimless, it sounds catchy and focused.

The production is immense….it really captured the pushing essence of the album’s heaviest moments but makes the more vibrant areas of the songs stick out.

The drums and bass have a real heft to them, laying the framework that helps form this rich, deep sounds that brings out the band's ferocity rather than play against it.

The albums opening song, “Dead From Beyond,” is more than enough to convince Even the most discerning metal head. The guitar work drifts in and out between thrashy riffs and intricate notes. The growls and screams are monstrous but the expert mix keeps it all even...every element is powerful but not overpowering each other. 

The halfway mark features the drums going for broke—vicious but razor sharp. The bass and guitars duel it out for speed, carrying the vocals along with them.

“Brandish The Blade” is one of the best songs on the album and one of the best they have ever written. The main rhythm is a pile driving barn burner And gets more and more biting as it moves along, especially when the drums grab the end of it and slap it around. 

When the title of the song is growled right before a snarling “Go!” And the breakdown hits…goddam magical!

“Sutured For War” is held together by clever drumming, highlighting the best parts of the song. About a quarter of the way from the end, the tempo transitions to slow tempo before throwing in a melodic bridge. Very memorable!

The vocal pacing of “Bounty Hunter” is fantastic, leading to slow, intense moments during the chorus and again after the halfway point. This is a short but uncompromising song that shows cases the band at some of their heaviest moments.

The final song, “Bones Clattering In The Cave” is another one of their best songs. The riffs are pure evil—absolutely incredible tone, even in the faster moments. Around the halfway mark the band really brings it: the true power of an unstoppable death metal band is something to behold. 

"More Insane” is more of everything that made Undeath's well established fanbase grow so large.  This is their best album so far and even fans that haven't jumped on this undead bus will want a ride. 

The Crown - Crown of Thorns

 The Crown is a metal institution. There isn't any discussion about that to be had. Even you don't like them (what THE HELL is wrong with you?), their energy, power, and influence cannot be denied.

Formed in 1990 (as Crown of Thorns before being basically forced to change their name), the band has been bringing exhilarating death thrash from the underground for over three decades. That's not nothing nor is it an easy feat. They haven't always had it easy either, calling it quits at least once that I know of. But they persevered and here they are again with their 11th full-length album (12th if you count “Crowned Unholy,” the re-release/re-recording of “Crowned In Terror”).

Speaking of “Crowned In Terror,” that was my introduction to the band…I bought it on a whim after seeing an ad for it in Metal Edge. I had never heard their music before but the cover art looked cool and I was already a fan of Tompa, who provided vocals on the album. I was 18 and blown away once I pushed play on my cd player. I'm now 41 and blown away with “Crown of Thorns,” now that I have pushed play on my mp3 phone app.

The Crown has been with me a long time and, although I certainly like some albums more than others, I don't think they ever released a bad album. And now, over 20 years since I first discovered them, I think they have released one of their best albums.  In fact, “Crown of Thorns,” is their best album since 2003’s “Possessed 13.”

There are a couple notable things about the album.  It is the first album from the band to not feature founding member Magnus Olsfelt.  When his departure was first announced, I was worried how things would proceed.  No offense to him but it, obviously, went better than I could have imagined.  Secondly, another original member returns:  guitarist Marcus Sunesson.  He and Marko Tervonen pick up where they left off…..one of the best guitar duos is back and all his right with this world. 

The whole band sounds so reinvigorated and the album has a fresh, dynamic sound.  The band rips it up like they haven’t done in years.  Two new members, drummer Mikael Norén and bassist Mattias Rasmussen, go a long way in providing this newfound fire.  Both of them bring the band to the next level.  

Hell, even the album artwork from Giannis Nakos’ helped forge the new found.  His work includes a bridge from the band’s  hometown, looping the band’s history back to where everything started.  The band was inspired by the art and focused on creating music that most complimented the piece.

The album begins with “I Hunt With The Devil,” one of the best opening songs I’ve heard in years.  It’s fast, furious, mean and lean—the band focuses on bringing back their hellish, old school sound.  It fucking RIPS.  Johan sounds amazing—this dude doesn’t age.  Despite it’s boundless rage, there is a certain atmosphere presented that makes the song sound magical and exciting.  The chorus is killer, too.  Near the end, the band throws in their always haunting and arcane version of melody.  

“Martyrian,” opens surprisingly sorrowful before the clean guitars transform into a biting melody, propelled by the death thrash the band has crafted so well.  The drums are fantastic—so focused yet you can tell he had a blast doing them.  Fast, crisp, clean but robust and vibrant.  The low end is marvelous, boosting the song to intense levels the band hasn’t visited in a long time.  The lead guitar throws in some melody here and there—the band’s grasp on making their brutal death thrash has always been balanced with a keen sense of melody and never has it made more sense than on this album.

“Howling At The Warfield,” is another highlight.  The vocal cadence, the rhythm in the lyrics is catchy as hell but I love how much the drums compliment the whole song.  It has a few slower parts here and there, expertly intertwined for maximum effect and flow. The last minute or so of the song is full-stop The Crown doing what they do best.

The next song, “The Night Is Now,” is one I keep jamming over and over.  The drumming in the beginning helps set the stage, and the buildup as the other instruments arrive is impressive.  Once again, the drum and vocal rhythm steals the show but check out that groove at the 2:40 mark.  Aaaaaaaaaaaaaarg, it’s so good. 

“The Agitator,” is old school extreme thrash at its finest….the guitars sound like they are about to come loose, crash and burn.  It’s reckless abandon to the extreme and, of course, the bass makes it sound all the better.  This is 1 minute and 50 seconds of devastation. 

The final song is “The Storm That Comes,” and from the opening riff to the last second, it is a gripping song that doesn’t let go.  In my humble opinion, this is one of the best songs the band has ever written.  Everything comes together here, a culmination of not only the album but of the band’s impressive career.  The chorus is insane but the song manages to get even better after the 4 minute mark. 

The Crown has been part of my life for a long time now and I’m pleased to no end that this far into their career, they have released an album this good.   If you’re a fan, you’ll love it instantly.  Even if you have given up on them for whatever reason, this will pull you back in.  “Crown of Thorns,” is a keeper.  

Eight Foot Manchild - Do Spirits Return?

Well, now for something completely different! Before this release, I didn't know anything about the Massachusetts based Eight Foot Manchild. But someone in the band sent me the promo for this album, their fifth EP "Do Spirits Return?" and described it as “doombrass” so I figured why the hell not give it a chance? I love doom and, believe it or not, I was in concert/marching band during my middle and high school years (I played trombone). 

Of course, I sucked so much ass that I gargled my own balls. However, this band does….whatever the opposite of gargling balls is. 

Although sax certainly isn't a stranger to doom (or metal, in general), I can't say I know a lot of bands that also incorporate trombone and tuba into the mix. At the very least, I never would have imagined all these instruments would be in a doom metal band. And a damn good one at that.

The foundation of the band itself is straight up doom: heavy riffs, expressive vocals, and a powerful foundation.  The atmosphere isn't depressing or sad (this isn't funeral doom) but it's certainly dark, laced with moody evilness among horrific tales.

But this isn't doom AND brass. Much like the band stated, this is doombrass! One style couldn't not exist without the other–take away either the doom or the brass and the songs are only half of their ultimate potential. No, this is a TRUE mixture. This is a symbiotic relationship between sounds that shouldn't work together but do.

The production is great. It's just misty enough to provide the hazy fog of unseen horror lurking within. And it's just vibrant enough to capture every instrument. Trust me, every detail across these five songs deserves to be heard. 

Since it's only five songs with about 20 minutes runtime, I will say a little about each one. But I feel my words can't really do something like this justice. Head on over the bandcamp link at the end and jam out. That's the best way to experience this new, unique sound. 

The song is “Monsters Reign” and, like any good first song, it sets the stage for the rest of the album.  If you like this song, it’s a safe bet you’ll enjoy the other four songs.  If not….well, there is zero chance you won’t like it as long as you keep an open mind.  It’s just too damn clever, catchy, engaging, and entertaining.  Of course, those descriptions apply to the EP as a whole as well. 

Despite the inclusion of brass, they don’t feel shoehorned into the songs.  Likewise, the doom elements don’t seem to be added for the hell of it.  Every instrument has its place. I think it’s really awesome the tuba acts as the bass—it’s magnificent and supplies a low end as heavy as any bass guitar.

The vocals are fun—clean with boundless energy but just rough enough when needed. Near the end, the entire band grooves and bangs it out.  I never thought I would say that about any brass instrument but here we are.  

“Tanas Root,” is an immediate song that settles into a big groove early on.  The vocal cadence is huge but matched by the instruments, which feel like doom falling down a rabbit hole, smacking the ground, bursting apart, and reforming into a new beast altogether. 

The sax is an instrument I normally can’t stand—definitely my most hated instrument of all time.  But it sounds great on this song, and the album too of course.  That’s a testament to the band to take something I hate and make it put a smile on my face.

“Circle of Salt,” is a short but MASSIVE song.  The beginning seems fathomless and sinister—if someone asked me to give them an example of what this band sounds like, I’d probably choose this song.  

The (sort of) title track, “Spirits Return,” is another prime example of what this band is capable of and it seems like a companion piece of “Circle of Salt,” which makes sense because that song leads right into this one.  The vocals are occult and ancient—definite horror vibes here!  The drums hit hard, perfectly accenting the groove of the vocals.  I love the ending part, with the liminal spaces hanging between the thump of the tuba and chanting vocals. 

The final song, “The Good Death,” is a trip to the other side you’ll want to take several times.  The brass instruments are theatrical and bombastic, driving their own rhythm to push the song into a powerful vocal performance.  The tempo increases just after the halfway mark—whimsical yet deadly!

Eight Foot Manchild is a band that I never thought I would hear playing music that I never thought would exist.  The best thing is, it’s more than just novelty—this is some seriously great music…doom, brass, or otherwise.  Doom metal needs this, even if it may not be ready for it.  I hope they put out a full-length soon, ready or not here they come! 

Agrypnie - Erg

Agrypnie is a black metal band from Germany, who formed in 2004.  Their latest album, “Erg” is their seventh full-length album; they have also released a split, an EP, and on compilation. 

I am pissed at myself for never having heard this band before!  I am familiar with several of the bands the members have been involved with either through studio albums or in the live setting, such as Theotoxin, Benighted, and Harakiri For The Sky.  With that being said, “Erg” is an album that has a sound all its own.

It’s rooted in black metal but there are post and progressive elements to it as well.  It’s underground, heavy, and abrasive when it needs to be but there is a certain subtle approach for the songs that mixes all these elements together into one massive sound.   Across it’s eight song, 54 minute run time it changes emotions and moods often, varying the sound across tempos, style, and structure.  The best part?  The songwriting is strong and the track placement smart making for a smooth experience that doesn’t make the ears tired.

The album begins with “Aus rauchlosem Feuer,” and its the perfect song to introduce both me, and others, who are new to the band.  By the time the song was finished, I knew this album was going to be special.  The build up is arcane, mysterious, and just a little frightening. As the smoke clears, the whole band barrels through around the 1:50 mark.  The drums are atmospheric and highlight each instrument in the song because Flo knows exactly which parts to hit, where, and how.  

Toresten handles everything else and I can’t decide what he is best at.  His guitars are balanced between post and true black metal, his bass is sterling backbone and his vocals are damaging.  Jack of all trades and master of all.

The mixture of clean, melodic tones into the bleaker distorted elements is very engaging, especially in the middle part of the song. It’s serene in its own way, the part from 4:20 to 5:48 before all hell breaks loose.

“Sturm,” features a long intro too but this one is very base and drum heavy.  I could feel my heartbeat increasing as I try to prepare myself for what was about to happen. The band’s ability to change moods not only for themselves but the listener is amazing.  This song has a depth to it that requires multiple listens to truly absorb it all; it has layers within layers.

The two part “Blut,” is another highlight.  The first half is a intro consisting of hazy, laid back tones.  The action rises just when it changes over to the second half.  The vocals spit out acidic hooks that dig into the song and push everything along.  The atmosphere is hard to describe; it has very small hints of the lighter elements of the first part, not in execution but in a certain way I’m finding hard to find.  However, the drums and harrowing screams certainly make this one much more extreme.  One of my favorites on the album, definitely! 

“Stunde des Wolfes,” is one of the darkest songs on the album, a cold hand reaching out from the void.  Even the groovier, more melodic parts have a sharp bite to them.  The double bass drenches the song in a special kind of brutality.  But the band, once again, throws in a surprise with a epic clean section near the end before turning to its blackened roots. 

Agrypnie’s “Erg” is yet another blackened surprise to find me as the year winds down.  To be honest, I can see this landing on a lot of year end lists just because it offers to much music and as many reasons to return to it again and again. 

Servant - Death Devil Magick

Servant is a black metal band from Germany, who hit the scene with their first demo in 2021.  Their latest release, “Death Devil Magick,” is their third full-length album. 

This is my first experience with the band so I can’t say how it compares to their previous two albums but I am enjoying the hell out of this one!  It’s fast, bleak, and made of pure energy like any good black metal should consist of.  However, they have a knack for engaging songs and a cunning use of melodic moments that I find to be refreshing and surprisingly catchy. 

The production rides the line between clear and rough, very much a balance that helps make the songs that much more vibrant yet offers a much needed searing edge.  The individual instruments have quite the bit to them too, especially the drums which are crisp and clear but also powerfully robust. 

The album begins with the intro track, “Void.” As far as these types of short songs go, this one isn’t bad because it introduces the album pretty well and flows into the first proper song.

“Temple” is when things really kick into gear.  Check out the first riff—classic black metal.  The smattering of drums helps build up the tension for the song to burst wide open around the 55 second mark.  I find the vocals to be one of the best elements on the album.  The screeches aren’t always high pitched and there is a variety in the delivery.  The middle portion of the song brings with it a sea of melodic atmosphere, a perfect bridge to the other side of the song.  That side is made of clean instrumentation, an introspective twist to the song’s formula.

“Devil,” is laced with desperate sorrow that seethes with anger.  The vocal rhythm stands out against the crashing drums which propel the song into unbridled fury; an audio version of a hurricane rages through towards the halfway mark.  I like this part a lot, it’s a little slower but the band is just as engaging in these lower, more sudden tempos as they are on blast. 

The aptly named “Fury,” fades into a firestorm, the first quarter of the song being pure blazing speed. Melodic flourishes lead to a mid paced final half, the guitar offering a surprisingly emotive performance, complemented by the interesting drumming. 

The next song is, “Death” and I found it to be a good companion to the previous one—excellent placement of songs for a smooth flow which is something a lot of bands this extreme don’t bother with it seems.  This one begins with a slower tempo, but not laid back in terms of the energy it supplies.  It picks up steam as it builds, everything pulled around the lead guitar.  

The final song, “Magick,” is the best song on the album.  I love the unique feel to the build up, especially in the drums with dance around with a rock vibe. The song seems to build upon itself as it goes, each instrument adding a different layer.  The subtle keys with the groovy riffs in the later half of the song are fantastic.  Once the vocals mix in, the whole song gets this clawing, desperate feeling. 

Servant’s “Death Devil Magick” is a nice surprise for me in this later half of the year.  The band’s commitment to underground metal is rivaled only by their desire to write interesting songs that stick in the mind long after they are over. 

Torrefy - Necronomisongs

Torrefy is an extreme metal band from Canada, that formed in 2011.  Their latest album, “Necronomisongs” is their fourth full-length album.  

This album is my first exposure to the band’s music but I am impressed with it!  Although very clearly heavy on the thrash elements, the band doesn’t stop there.  Black metal is definitely mixed in but it’s also just atmospheric enough for the songs to have a sense of vibrancy that most thrash bands just don’t have. They don’t always play fast as fuck either, they are more than capable, and willing, dial back on the rage and let the notes really sink in.  

Instrumentally, the band mixes it up constantly so even while it thrashes and bashes, its incorporating different genres.  It’s all very abrasive and energetic but also cleverly composed so it never seems disjointed or aimless.  The bass can be heard very clearly, even when the band is at its most chaotic. I don’t always listen to bass in thrash but I’ll be damned if I was hanging on every bass note across “Necronomisongs.” 

The vocals are fantastic and miles above a lot of thrash vocalists I’ve heard this year.  He is searing and menacing, the screams and growls drenched in what I can only describe as “liquid sandpaper mixed with rotting death.”

The album opens with “Of Wind and Worm,” and its harrowing blackened growl that rips through as the band barrels through like a runaway train. This song immediately  sets the tone for the rest of the album.  If you like any one element presented here then the rest of the album is well worth your time. The solo that begins around the 1:25 mark stunning and pulls my ears through the song, grabbing my attention and never letting go. 

I’ve always enjoyed thrash that leans towards being melodic.  While the album isn’t what I would describe as being melodic, there are several moments where the band incorporates the ideas into the songs and it sounds amazing.   Songs like “Street Reaper,” and “Corpseback Rider” both use melodic tinges very well.  

The former opens with a melodic gallop that leads into searing riffs that generate whiplash speed.  Oh and the guitar solos across the song absolute RIP.  In fact, the whole entire album is stuffed with wonderful examples of how to do guitar solos that don’t think away from the songs or sound out of place.  The latter features a solo around the 1:30 mark that adds melodic flourishes to the raging rhythm and the mid section has a NWOBHM feel to it, albeit much more aggressive. 

“Nature Vs Torture,” stands out to me because of the crisp, tight, drumming.  It’s energetic and boundless but zeroed in to give the songs the foundation and backbone it needs.  The middle part of the song is surprisingly depressive sounding, the band offering a tight display of cold, bleak black metal.  

The final song is the min-epic “Total Perspective Vortex.”  Throughout its six and a half minute run time, it's a musical gauntlet run with twists and turns.   The beginning is melancholic with incredible play between the lead and rhythm guitars. The moody atmosphere is perfect for vocals but also does a great job in leading the song into faster and heavier tempos as the seconds pass by.  

In my opinion, thrash is the most closed off of metal genres and the one that refuses to modernize the most.  But albums like “Necronomisongs,” prove the genre can embrace the past and still offer something new.  

Maul - In The Jaws of Breavement

Maul is a death metal band from North Dakota, who formed in 2017.  Their latest release, “In The Jaws of Bereavement,” is their second full-length album.  Over the years they have also released three demos, three splits, three EPs, one compilation, and a live album.

2024 has been a truly amazing year for death metal.  I have reviewed many death metal albums that are just fantastic—the genre truly will never die.  As the year gets ever closer to its own ending, any death metal album releasing must be of the highest quality because the competition is staggering.

Maul’s “In The Jaws of Bereavement,” is a rock solid release that has a lot going for it–and there is a lot going on with it.   First, it’s surprisingly catchy–every song has a moment that stuck in my head.  It might be a riff, a drum blast, a low end bass bomb, or a snarl but there is always something that makes me say, “Wow, I need to go back here again.”  Want some examples?  Ok, I’m game.  

Let’s take a look at the title, and opening, song.  The beginning is immediately atmospheric and when the inhumane vocals kick in, the energy is amplified tenfold.  This is how you open a death metal album.  Around the 1:17 minute, a “blaaarg” rips through and the band settles into a bouncy groove.  If this doesn’t get your head banging then are you even a metalhead?

After a pummeling 51 seconds, “Weaving Cerebral Horrors,” sends the song into choppy, rhythmic waters that are held together by groove and bass drops that could sink a battleship.  And how about that eviscerating scream around the halfway mark that pushes the song into a doom inspired passage?  

Speaking of doom, this album is heavy on those components to the point where I wouldn’t correct anyone who said this album fits into the death/doom pantheon.  It isn’t overly slow most of the time but there are just so many moments with thick, fat riffs spit out by an unstoppable rhythm machine against the backdrop of a dismal atmosphere.  

“An Alluring Deceit,” is an example of which I speak.  The clean bass tones and sparse but powerful drums in the beginning immediately set a cavernous atmosphere and the rest of the band goes for broke  with it.  Slow riffs and depraved vocals grind out the seconds until the song fades away with noise.

“Midwest Death,” begins with huge riffs taking over every inch of space, like the approaching darkness of an oncoming storm.  Doooooooom!  This would be a good time to talk about the drums, on this song and album as a whole.   I like that its obviously a powerhouse but it isn't a nonstop blast beat fest or fast for the hell of it. 

It should come as no surprise due to the album title but “Stuck Stomped and Smeared” is a big ol banger of a song. The vocals are particularly engaging here, love the snarls and higher pitched crawling growls.  The riffs are quick to ramp up tension and just as effective as letting it loose.  The bass in the midpoint of the song is beastly, as is the growl that it leads off from.

The final song, “Drawn to Drowning,” is one of the more urgent songs and a good way to end the album.  The low growls are utterly disgusting and the pinch harmonics on the guitars are quite effective.  The groovy midsection is another memorable moment, as is the brutal section after with the layered vocals and stomping guitars.

Maul’s “In The Jaws of Bereavement” is an impressive death metal album that puts songwriting first, resulting in album that is as memorable as it is brutal.  

DÖ - Unversum

Is extreme stoner doom a genre?  If DÖ’s “Unversum” is what it will sound like, then yes it should definitely become a thing.  Of course, it is already out there but it has never been played like this before.  Not only is “Unversum” built upon a foundation of mountainous groove, it also covers so much ground that the band can’t really be pigeonholed.  

Elements of black metal and sludge can be found among their brand of doom but the atmosphere is pure alien, spacey and psychedelic.  Imagine being sucked into a black hole but instead of your guts pulled out from your belly button like spaghetti wrapped around a fork then scattered into nothingness, you have your guts pulled out from your belly button like spaghetti wrapped around a fork then scattered into nothingness…to be  rebuilt into some sort of new consciousness inside a dimension that is turned upside down in every way possible. 

It’s a maddening trip through the other side, one which still has a focus and destination…however frightening it may be.  What’s so impressive about the album is that it sounds dense as a planet but vast as pace.  It’s a rare combination of hard hitting, head banging songs that work alongside liminal spaces to explore infinite possibilities. 

Despite its explorations, the album clocks it at a solid 45 minutes across 8 songs.  This is the perfect length because it keeps everything nice and tight yet demands multiple listens.  I can definitely see this being an album that could get someone into a variety of genres or maybe even be enjoyed by people who don’t like certain ones.  Don’t care for trippy music?  Fine, this has riffs for days and is a bulldozer in that respect.  Don’t care for a barrage of guitar riffs?  That’s ok, there is more than enough atmosphere and trippy moments for you to forgive the attack of the strings.  It’s an album that does a lot yet its individual pieces can be enjoyed as needed.  Or dive right in and experience a total banger. 

Check out the opening to the first song, “Call of the Supervoid.”  It’s spacey, as if being pulled into the stars themselves.  But the pounding of the drums is a pulsing reminder of the danger that lurks around the corner.  As the riffs punch holes into the fabric, subtle keys paste over it. It's mysterious and familiar all at once.  The lead guitar is full capable in world building as well, evident in the later half of the song that features a tripped out solo that grows a Life of its own.

It wouldn't be doom without a low end.  “Sulfur Incense” is brought to fruition with deep tones, vibrating fuzz and all.  The menacing vocals cut through the haze, teetering on the edge of sanity.  The slow, steady beat Of the song beats like the pulse of the universe but the final half is an expansive flow of energy that filters out to everything.

“Ode To The Dark Matter,” is perhaps my favorite song on the album.  I love the vibe in the beginning, the clean tones transitioning into heavier ones creates a moody that is both murky and stifling.  The vocals and rhythm match each other’s cadence, doubling down on the raw power that pours from the cracks.  After the three minute mark, the landscape changes.  The feeling is one of discovery, a newfound sense of exploration yet there is also some confusion as to what exactly is happening in this new, foreign landscape. .

The album ends with “Wasted Life Form,” and it had me thinking about the album’s title.  “Universum” is a Latin word that means “to be turned into unity” or “to be turned into a single whole.”   Of course the band spells it differently with a line on their bandcamp page proclaiming, “There is no I in unversum.” If that’s true, are we truly wasted life forms?  Are we nothing more but a piece of a whole, our individuality meaning nothing in the end?  Am I reading too much into this?  Is my attempt to sound smart coming off as lame?  I can’t answer these questions.  I mean, I can but I’m not going to.

What I will answer is “Does Wasted Life Form rock and end the album on a proper note?”  Yes, it does.  My favorite begins around the halfway mark; the song slows down with ultra-leaden riffs and hallucinogenic keys melding into one wall of sound. The drums and bass keep the song grounded firmly even as the song stretches its own concept.

 DÖ’s “Unversum” is a prime example of how a band can make a heavy album that is never slows down while also providing a lot of depth and introspective moments.