For The Storms - Losing What's Left of Us

It took me longer than I care to admit to write this review because FOR THE STORMS' second full-length album, "Losing What's Left of Us" is so damn good, I couldn't tear myself away from it long enough to type something out.   It isn't just good--it full pulls you into it's grey world, almost making you part of the music.

This Italian band mixes death/doom, sludge, and a host of other genres together for one of the most potent examples of extreme doom I've heard in the second half of 2024.  The approach to the songs on "Losing What's Left of Us," is very unique and makes for an exciting and imaginative listen. 

The album is divided into three chapters, separated by the interludes “Ghosts” and “May The Emptiness You Carry Bring Some Comfort When You’re Gone.”  I’m very hit or miss with interludes but they are both placed smartly into the track list and actually compliment the songs that come after them.  “Ghosts” is an emotional piano piece with subtle uses of spoken word–it’s quite haunting.  The following song, “Closures,” echoes the details of that song, specifically carrying over the clean piano and spoken word. 

“May the Emptiness…” is also a clean piece with melodic bass and ethereal clean vocals that make it stand out despite its shortness.  Much like “Ghosts,” it’s a haunting composition that works well within the album’s structure.  Its quiet ending makes the stark and ghastly opening of “The Void Below” all the more potent.  

The album isn’t  only separated by interludes—the music offers some changes to each chapter, even while keeping the core sound of their doom firmly planted.   The first two songs on the album, “Dogma” and “Regret” are definitely among the most abrasive and straight forward (ish).  Each of them has a modern sludge style to them.

The second chapter, featuring “Closures,” the title track and “Fragments,” takes a step towards death/doom and a much slower tempo.  However, the songs are melodic at times and even have some blackened elements.  

The final chapter, consisting of “The Void Below,” and “Nepenthe (To Watch Myself Die)” take everything the band is and mixes into epic and sprawling dirges—funeral doom and depressive black metal join the ranks of the subgenres these guys handle with apparent ease. 

The band describes the album as “minimalist” and I can definitely see (hear) that.  Sometimes the album is almost gentle in presentation but still heavy in tone and subject matter.  The band works well in these liminal spaces and even at its most stripped down, the music still speaks volumes.  

But, of course, it can be ultra-abrasive and nearly incompressible in its direct  heaviness.  This isn’t a prog album–nothing here is flashy or avant-garde but an album like this isn’t going for that anyway.  It doesn’t need it.  When it comes to the more dark genres, there is nothing better than playing darkness, facing that darkness, and controlling it.  

The production is basically perfect.  It’s open enough to make the clean elements stand out but it does so without polish or a bright sheen—just because something is clean does not mean it isn’t dark or intense.   The dynamics of the mix make each instrument clear, capturing every little note which makes the heavy parts all the more raw.  

As far as what my favorite chapter is, I can’t say I have one.  Each one offers a different perspective and approach—it’s not about what is the best, but about how each chapter feels.  I won’t go too much into the subject matter for fear of rambling in what is already a long review but a lot of it seems to be about the effects of time, loss, and just general non-existence.  If you want more, hit the bandcamp link and the end of review; the band explains it all on their page.

I may not want to pick a favorite chapter but I’ll talk about my favorite songs from each one.  “Dogma” does a fine job in introducing the album but “Regret” really hits me hard.  There exist a duality in the song, an unique approach of melding light and heavy elements together by not actually mixing them but letting the styles speak for themselves while complimenting each other through their differences.  After the halfway mark, their doom/sludge expands outward and unfurls in a natural way but it’s gripping and seemingly endless.  Nicola’s vocals are stunning—strong, extreme, but emotional as anything I’ve heard this year. 

I’m a firm believer that an album’s title track should be among the best the album has to offer; “Losing What’s Left of Us” confirms that personal necessity for me for the second chapter.  Doom, and anything under its vast umbrella, is my favorite music so I’m all aboard the nearly two minute long intro/buildup.   Everyone in the band has this uncanny ability to always keep the music substantial and weighty, even when they throw in melody.  The halfway mark finds the band reaching, and succeeding, on grasping the height of desperation with a scope that could even be described as cinematic. What I love so much about this song is that it captures the reasons why I love doom so much, why it speaks to me so much.  The first five minutes or so consists of raw, thunderous power. Afterwards, it drops the distortion and offers a clean passage that is tragic and just as raw in its own way.  

The two songs that make up the final act are nearly the same in their high quality but “The Void Below” edges out to be my favorite.  The screams/growls and the slow tempo create, well, a void that sucks me right into it’s impenetrable wall of sound.  I like how the song actually speeds up a notch (doom doesn’t ALWAYS have to be crawling) and turns into an uncommon fury of fire and ash.  I can hear a touch of post elements, especially in the halfway point where the song goes hypnotic.  Everything is grounded again after that with a riff fest that hammers away over and over.  

I don’t think I can say enough good things about For The Storm’s “Losing What’s Left of Us.”  It hits all the right notes, written by a band with a creative fervor they managed to translate exceptionally well into this massive opus.  Any fan of the slower, more despondent genres of metal should not miss this album. 

Mercyless - Those Who Reign Below

Mercyless are a cornerstone death metal band for the scene.  These French demons formed way back in 1987 and released their debut demo in 1988.  Their first two full-length albums, 1992’s “Abject Offerings,” and 1993 “Coloured Funeral” are classic death metal bands.  Things got a little weird after that and they released a string of  subpar albums.  But 2013 saw the band take back their crown with “Unholy Black Splendor.”  It’s been nothing but greatness since and once again they return after four  years with  their eighth full-length album “Those Who Reign Below.” 

The ever stalwart vocalist/guitarist Max Otero leads the lineup through 11 songs and a 43 minute runtime.  At this point, you know the drill:  old school band playing old school sounds.  And there isn’t a goddamn thing wrong with that.  There has been a huge OSDM revival for awhile now–I enjoy the hell out of it.  However, all these new bands playing the whole style, while awesome and please, please give me more, just doesn’t have quite the same charm as a band from the actual original scene still putting out visceral death metal.

The production, the riffs, the rhythm…everything here sounds like it comes from time that once was.  But it doesn’t sound like a cash grab, forced, or tired.  If anything, the band is as energized as they have ever been.  Groove, chugs, and thrashy moments clash together as the band hammers out one song after another. If I have any complaints, it’s the oddly placed last song, “Zechariah 31,” which seems like it would be better served as an intro or interlude.  

That minor quibble aside, there is a lot to like here.  The opening song, “Extreme Unction,” opens with a faster tempo to introduce the album in a direct way before switching to a slow groove…and then speeding back up again.  This whiplash is very effective and makes every moment seem even more effective. 

Mercyless is a band that has always been great at controlling the ebb and flow of a song without compromising anything in the songwriting process.  No matter what type of riffs they throw out or what tempo they choose, it’s always effective and it always makes sense for the song.  In that regard, nothing has changed for “Those Who Reign Below,” and that is definitely a compliment.

“Evil Shall Come Upon You,” embraces the murky production.  The riffs are fast and full of hellish groove but there is a certain sulfuric atmosphere on top of the song that just works.  As a result, the song is, of course, brutal but also urgent and more than a little dangerous.  The solo is absolutely perfect and so are the sinister as hell riffs behind it.   

“Thy Resplendent Inferno,” sort of has a doom-ish vibe to the opening riffs—dense and deep.  The frantic bursts of wildness between those riffs builds the song up for the explosion of speed that happens around the 43 second mark.  The bulk of the song alternates between the two tempos and is never anything less than arresting.  The mid section is surprisingly melodic but it doesn’t last long—and why should it?  The band knows not to get too comfortable and is on to the next attack. 

The later half of the album maintains the momentum.  “Chaos Requiem,” begins as a stalking, lumbering beast from which there isn’t an escape—and the drums compliment it profoundly.  The band zeroes in on their speed and rages with a forward thinking idea of doing nothing but going for the throat.  After the solo, the riffs open up a bit for one of the best moments on the album–the guitars give it their all and it’s a hammering. 

Not counting the short outro, “Sanctus Deus Mortis” is the final song.  This is perhaps my favorite song on the album because it really captures the magic of the original underground death metal scene—this song could have fit on their earlier albums with ease. 

Mercyless’ “Those Who Reign Below,” is a prime example of how a band that was there for the early days of the scene can still be relevant in today’s metal world–and still show the younger generation how it is done. 

Carnosus - Wormtales

Wow what an album!!! “Wormtales,” the third full-length album from these Swedish death metal freaks, is an unrelenting slab of nihility that's heavier and darker than anything they have done yet. 

What it lacks in technical flair and big, catchy moments that graced the well reviewed “Visions of Infinihility,” it makes up for it with a massive sound that embraces all that is mighty and powerful in extreme metal. 

Carnosus aren't strangers to thrash influences and this album continues to embrace the genre but forgoes much of the flashy shredding and replaces it with smarter songwriting that's clever without going overboard and doing too much. It is definitely a simpler album in terms of technical ability but this approach just allows them to zero in on playing death fucking metal. Their sound is now honed to a “T.”

The band still retains their rapid fire approach of throwing out all kinds of vocals over music that tends to be spastic and energetic. 

The album begins with “Birthless” and it's creepy short intro before laying a thick foundation with earth shattering drums and guitars. The bass is just as heavy but open enough to be the powerhouse it needs to.

A melodic solo cuts through the filth before the band pulls back on the tempo to allow the disgusting, and impressive vocals, to get some time to shine in the grime.

I appreciate the album leaning towards melody a lot more—I much prefer it to technical prowess. 

I especially find it impressive when they use melody to throw out curveballs. Case in point is “Within Throat, Within Heart.” The song spends over two minutes beating bodies against the walls the suddenly it stops for a clean instrument passage that is surprisingly emotive.

“Worm Charmer,” is a highlight for me. Carnosus steers their undead ship into murky waters that's as atmospheric as it is blistering. This is a moody song where the vocals really come in handy to set everything up.

“Paradoxical Impulse,” has a certain way about it….disturbing and even stalker-ish. But the guitars cast their magic, spinning through groovy, melodic and harrowing passages.

“Cosmoclaustrum,” latched onto me immediately with that deep brutal death growl that opens the song. The riffs are part groove, part chugs that create a hard hitting rhythm that is one of more catchy moments on the album.

The final song, “Solace In Soil,” is my favorite song on the album. The slow, murky beginning excites the doom metal lover within me. The drums and bass layer the song in dense riffs that are like a dimension unto itself. This is the slowest song of the bunch, at least in some moments, and it allows the band to really bring the pain.

Carnosus’ “Wormtales” is a sick, depraved modern death metal album that further cements this band as a force to be respected and reckoned with. I don't want to say it's a step up from their previous efforts so much as it's a step in another direction while honoring their roots.

 

Sørgelig - Φθορά

Sørgelig is a black metal band from Greece, who formed in 2017. Their latest release, “Φθορά,” is their third full-length album; they have also released four EPs and a split.

As soon as I read that Sørgelig was from Greece, I had high hopes for this album. Honestly, I don’t think I have heard anything under the blackened category from Greece that I haven’t liked. “Φθορά” is definitely yet another strong album to help build the rich legacy of Greece’s underground metal scene. 

“Φθορά” can best be described as “fast but melodic.” However, that doesn’t really explain the depths of the album. Yes, they are fast but it isn’t straight up speed just for the sake of it. The melodies aren’t there to provide some catchy hook or give it a mainstream feel. Everything, every element, has a very natural flow to it and everything is exactly where it should be. A bit of DSBM can be found in here as well, as the album is definitely well protected against the light. But, of course, there is plenty of groove and perhaps even a bit of thrash as well.  

Sørgelig isn’t here to reinvent the wheel but their commitment to their sound and the ultra tight musicianship which brings it to life is commendable and keeps that wheel rolling as hard as ever. Odious’ vocals are depraved and wild—he sounds like some kind of wounded beast that’s trapped in a corner.  

Production wise, the album is pretty well balanced. While it obviously doesn't have a poppy sheen, or fancy bells and whistles, it does sound pretty good for the style. The mix is solid too—the guitars fit right in where they should be. And the drums and vocals aren’t overly loud–so many black metal bands make these two elements way too loud but on this album there is a place for every instrumental and vocal.  

The album opens with “Breed of Waste,” and a cacophony of inhuman sounds that kick the song off before the guitars rip through. When the band comes together, their music becomes like a force of nature. By the time the one minute mark is based, every member is firing on all cylinders and it is nearly surreal. The album is just as effective in the slower parts as well, such as the middle part which allows the song some breathing room—and plenty of room for the band to come back full force.

“Αποσύνθεση” highlights the effectiveness of N.D.’s drums—a robust sound that fills up the air around him without overpowering everything yet is still a major force of presence. This song is sort of hypnotic, with the way the guitars have a slightly dissonant quality to them. Near the end, the guitars take a more old school approach and finish it all under an obsidian moon.

“Of Wrath and Pyre” is a groove machine; Reactive, N.D., and Έκπτωτος is surprisingly catchy they move from a mid-paced tempo to a faster one with apparent ease—it’s a massive attack with a deadly approach but it sounds natural and smooth. Around the 2:46 mark, the song grows even darker and ominous, slowing down to a crawl while Odious barks like an insane person.

The final song, “Dreamscapes of Lethe,” is my personal favorite on the album—this snarling monster of a song is over 11 minutes long. It has energetic vocals that send shockwaves through the riffs, a few of them I found to be unique, odd combinations of groove and dissonance plus good ol black metal blasting

The song picks up speed until the notes crest against the darkness and spill over with wild noises and a unrelenting fervor that's almost hard to process. 

The bass in the middle part song really sticks out, carrying the rhythm over it while snarling vocals and deadly drums pound it out.

The last couple of minutes are clean but just as dark and intense in their own way.

Sørgelig's “Φθορά,” is a fantastic black metal album that honors the Greek scene but has enough variety to make even the most cynical fans respect its approach. 

 

Trollcave - of the Abyssal Trespasser

Trollcave Is a funeral doom metal band from Spain, who formed in 2021. Their latest release is “Adoration of the Abyssal Trespasser,” their second EP; they have also released a full-length and a split. 

Trollcave’s doom is raw and ultra-abrasive. There is a difference between being heavy and extreme—this 31 minute EP is beyond those terms to the point where it is nearly alien. 

That's a compliment, too. Even some of the deepest and darkest doom bands don't sound disgusting and inhuman as the two songs presented here. 

The production is exactly how it should sound: against the grain and straight up disturbing. Every slow riff, ambient noise, death growl and drum bash rings out like the movement of an unknown beast in brackish waters.

The first song, which I suppose might be two since the intro is included, is “Intro / Grotesque Abyssal Trespasser.” The intro to the song is dark textures against an ominous backdrop. Decent into the sulphuric pits of the Abyssal nothingness? The sound track, at least.

Around the four minute mark, the stark monolithic noises change into pulverized riffs that rise and fall, cresting against the horrors. The death growls are some of the most evil I've heard in doom lately. 

Doom like this doesn't sound like dying so much as is sounds like it is death itself. It's slow, stalking, and inevitable. I love how even when it's at its heaviest, the clean/atmo/ambient tones are still present, creating multiple layers of darkness.

After the 9 minute mark, the song speeds up slightly and even injects groove, albeit sweltering and decaying.

The second song, “Abominator's Diseased Carrion,” eschews an intro for a more direct approach. The band retains its groove but it pulses with a special kind of finality that sort of creeps me out. 

Around the three minute mark, the song throws a surprising twist with a increase in the tempo. Another surprise builds off that one, a minimalistic passage of simple but concrete riffs and moody tones.

This process happens again around the 10 minute mark but it's a little faster and maybe even more harrowing.

Trollcave’s “Adoration of the Abyssal Trespasser,” is Ann exploration of things that might not need to see the light of day but will be heard none of the less. If you're a fan of funeral doom, this EP might still surprise you at just how anti-light it is. 

Pyrrhon - Exhaust

Pyrrhon is an extreme metal band from New York who formed in 2008. Their latest release “Exhaust,” is their fifth full-length album; they have also released two demos and three EPs.

There's insane and there is bat shit insane. Then on the other side of that, far off into a dimension of its own rests “Exhaust.”

I've heard the name Pyrrhon over the years but this album is my first exposure to their music.   From my limited research and understanding, this album is them at their most accessible. Really? It is? THIS album? I can't imagine.

But I can experience.  This particular experience is one made of death metal, noise, punk, core and dissonance. It's all these things yet more. I suppose at its heart the band has produced a death metal. 

It's more like a train collision set to moody extremity. There is a lot going on here and the album demands multiple listens. Every time I learned to this, I found something new that I didn't notice before.

But for all its constant changes, it still offers an unhinged atmosphere that feels on the verge of exploding.  But although it might nearing a finality, it's going to give all it has to offer for those will listen.

“Not Going To Mars,” is urgent and off balance within seconds. It has rhythm but it's in free fall. The inhuman vocals rip and tear the fabric of the song open, letting twisted and bent riffs through.

The halfway mark is an insane groove that seems to have its own path but it travels bring it back to the song and impressive lead work.

“The Greatest City On Earth” has a ridiculously awesome opening—its almost mind numbing but the vicious vocals keep it grounded just enough. 

The middle is deep and groovy with the lead guitar cresting on the waves of music.  

“Out Of Gas,” is an odd song with ominous bass tones, incredibly detailed and intricate drumming. 

There a surprising psychedelic aspect to the song, what with the clean vocals and music that doesn't seem to have a real, singular hook.  Near the end is one of the more chaotic passages and it's quite the experience.  A surprise within a surprise? Sure.

"Stress Fractures,” Sounds like the band is on the edge of a collective nervous breakdown. But instead of collapsing on its own weight, the song embraces its own demise and instead it thrives.  

The final song, “Hell Medicine,” must be soundtrack for a psych ward. But there is an odd rhythm to grasp on but that will require multiple listens. While you're waiting, prepare to get hurt with a deadly guitar solo and rapid riffs.

Pyrrhon's “Exhaust,” is a worthy extreme album that doesn't concern itself with anything other than being itself and arriving at a place of controlled chaos, just as long as gets there using every fucked up element possible along the way.

Doomsday Sun - A Slow Agonising Rapture

Doomsday Sun is a doom metal band from the UK who formed in 2016. Their latest, "A Slow Agonising Rapture” is their second full-length album; they have also released three EPs.

“A Slow Agonising Rapture” is a punishing album but it has a lot of levels and degrees of dishing out that punishment. It's a deceptively simple album that has more layers than you might think upon the first listen. 

I'd say doom fits their overall style but they have zero issues in mixing it up. There is a metric ton of groove throughout the album and a fair bit of hammering sludge. 

In some ways, it's atmospheric as well although in a more indirect way. Make no mistake, this album is a punch to the FACE.

As if that wasn't enough, the album is full to bursting with catchy hooks. Every song has a moment that makes me want to get up a punch someone in the face. It might be a riff, or a vocal line or maybe even smack of the drums. But the band's musicianship is tight and they always kept it interesting. 

The production and mix is spot on, pushing the tone of the instruments into a vibrant display of density while capturing the all important low end.

“Hostile Takeover,” opens the album and it's exactly the kind of song needed to grab attention and showcase what the band is all about. 

The first riffs are slow and intense but the subtle keys heighten the atmosphere even further. 

Vocally, Matthew's bellows are somewhere between a gritty, Sludge covered throat yell and death growls. He has a very commanding voice and adds a whole lot to the songs, especially in terms of his vocal rhythms/cadence. 

Remember the catchy hooks I talked about earlier? This song is all hook after the 4 minute mark, offering riffs for days and a slick guitar solo. The lead guitar is consistently good and offers a lot more varying styles than what a lot of doom offers.

Songs like “Fool's Mythology” have huge stoner/psych vibes, what with the groove riffs and lead guitar.

Two different vocal styles are used on this song and it's a great dynamic as they trade off from each other. There are some rock sensibilities peppered throughout, especially in the solos and riffs that back those up.

The band isn't all grit, however. Their clean tones in “Convict of the New Law” for example are used well in their efforts to act as intros to the guitar. But even mixed in with the doom, it works.

The slow tempo grinds it's way to a faster beat as the song moves forward as yet another catchy chorus reveals itself.

After a surprisingly atmopsheric mid section, the song finishes strongly with a much faster paced approach.

“Utopian Blues” has a lot of variety, beginning with deep bass and desert like clean instruments. There is a smokey, and folky, singer/songwriter approach to the song before the doomhammer drops. Of course, it brings with it another catchy chorus. The placement in the track list for this song is thoughtful, adding a little twist so late in the album.

The title track is downright filthy and perfectly named. There is a menacing tone throughout the song but the groove around the hallmark is KILLER. From this point forward, it's precision strike after strike.

“Another Day, Another Horror” is my favorite song on the album and a great way to end it. The lead guitar is loaded with infectious flair and the whole song has a steady rhythm that flows like an avalanche. The vocals during the stanzas are particularly biting while the cleans are catchy. 

Ultimately, “A Slow Agonising Rapture” is a doom metal album that presents itself in a variation ways with clever songwriting but still bring the sonic density expected of the genre. There is a lot of talent within this band and they use it very well to create engaging music.

Canis Dirus - By the Grace of Death

Canis Dirus is a black metal band from Minnesota, America that formed in 2008.  Their latest release, “By the Grace of Death” is their fourth full-length album; they have also released an EP and a Split.

Canis Dirus’ style on this album is interesting, to say the least.  On one hand, they embrace a more orthodox style of black metal.  Depending on what part of what song, hearing this album would make  you think it was an old school raw 90’s black metal album.

However, such a description only tells half the story.  At other moments, “By the Grace of Death,” embraces dark atmosphere and cold melodies, unafraid to step outside the box and offer introspective, and perhaps even tender, moments.

It’s an adventurous concoction that is fully embraced and elevated by the expert songwriting.  Each of the six songs across the album’s 38 minute runtime offer something new than one came before but it’s still held together by a consistent and cohesive thought process.

The production is damn near perfect.  The vocals are in the mix at the right spot with just enough echo on the blackened screams to lend it that classic feel.  Musically, the instruments exist in a world of grit and razors but the mix keeps anything from being too muddled.

I am impressed how open the songs are, especially in the atmospheric/melodic moments.  The album lets it all hang out with a vicious blackened style but smartly pulls back on that to let the more expansive movement really move through the songs. 

A violent screen and tight rhythms kick off the beginning of the album’s opening song, “Once Cursed Path Glistens In The Sun.”  The song steadily builds up, the drums doing a great job in keeping the song flowing.  Soon, a sprinkle of ambient textures appear but are absorbed by the coldness of the song–little moments like that, of which there are many across the album, make the album that much better as it gives away its intricate details.

By the time the song reaches the halfway, it’s a cauldron of boiling water that spells over with much vehemence.  As the instruments rage, the keys creep their way in so the back half of the song arrives very naturally with it’s clean tones. 

There is usage of folk elements as well, as evident by “A Forlorn Hymn To Absolution.”  It may be forlorn but it’s also darkly beautiful and emotional, showcasing the band’s desire to expand their blackened veil. The whole track is laced with stellar lead guitar and clever rhythms, the bass pulsing like a  heartbeat. 

“Vultures Whisper” begins just where the previous song leaves off—I feel these two definitely work together as companion pieces.  Much of the folk vibe carries over but this time it’s more dense as the song melds into blackened textures.  The tempo is more laid back but the heavy riffs and drums keep it engaging.  The middle part of the song has a baroque feel to it, a sort of regal elegance that took me by surprise but a pleasant one indeed.

The final song, “The Mind See What The Eyes Cannot” is a banger.  Subtle keys highlight the proceedings, like moonlight on a cloudy evening.  The drums and vocals give it their all, pounding and pushing their way through the fog.  For over half the song, this blackened dirge hits hard but the later half is melodic, a mixture of atmospheric and folk tones that compliment what came before but finish out the song in a way that only this band can.

Canis Dirus’ “By The Grace of Death” is an outstanding album that seeks to honor the blackened ways of olde while also pushing their sound, and genre, forward by incorporating new avenues and paths for the music, and listener, to explore. 

Dragoncorpse - The Fall of House Abbarath

Well, this is completely different.  I’ve heard, and said it myself, there is nothing new under the sun.  Then I experience music like this and realize that maybe we really are all full of shit.  Dragoncorpse’s new EP “The Fall of House Abbarath,” is one of the most interesting albums I’ve heard in the second half of this year.  

The music contained within the 6 song, 23 minute runtime is one surprising after another.  The band takes a myriad of sounds, including deathcore, metalcore, and power metal, throws them into a melting pot and remolds them as something truly creative. 

The orchestrations are lush, playful, and just as potent as the heavier elements.  The atmosphere of these songs is really special, nailing down a fantastical fantasy element in a playful manner while also being deadly serious.  Cleary, the band knows their craft and just how to put together what I assume is a large variety of influences.  

The best is that it’s all so seamless and mixed perfectly.  This isn’t an album that could be power metal or deathcore.  It’s both at the same time yet so much more than either style. So much power metal sounds dated but the band’s modern influences peppered throughout the album keep their music from sounding like it is stuck in the past.  So much death/metal core is too mainstream,  afraid to take risks so it all sounds the same.  This EP is one big risk–and would  well worth taking because there are a lot of rewards to reap from it.

The album begins with the intro song, “An Introduction to Heroism” and it sets up the story of the album.  I’ve never been good at following the storylines in concept albums so I can’t really tell you what is actually going on but I appreciate the theatrical approach to the intro.

The first proper song is “Welcome Home,” and it’s a banger.  It opens with a somewhat folky vibe but the rumbling double bass and fast paced riffs quickly take over.  It swirls together within seconds, creating a huge sound.  The lead guitar seems to create stories of its own, leading the song into punishing core riffs and crazy growls/screams.  Honestly, it’s pretty vicious which is something I feel that both the “core” genres and power metal  really need.  I’m pretty sure they only have one vocalist—this dude is a monster and does A LOT with his voice. 

Of course, just as much credit must be given to the other musicians–the fact they have combined such seemingly different genres into one cohesive force is nothing short of amazing.

“I Live Again,” is a fantastic song with a ton of urgency to it.  The vocals claw out in angry might while the melodic guitar builds up with the sweltering double bass before all hell breaks loose.  The middle part of the song embraces a density that’s as heavy as the stars but near the end, the song opens up and everything is majestic.

My favorite song is “A Quest For Truth” because I really feel it truly captures the sound of the EP and what the band is going for.  If someone asked me for an example of this band’s music, I’d tell them about this song.  I love the opening vocal melodies and how easily the cleans transitions to growls and screams.  The lead guitar compliments the guitars/bass, offering moments of soaring epiciness and crushing death riffs.  The keys go from subtle to sweeping, keeping the song on its toes; I especially like the keys around the three minute mark.  The drums building up behind them hooked me immediately and the clean vocals knocked it out of the park.

“Whisper On The Wind,” is a traditional ballad-type song, with gentle cleans and atmospheric keys lacing the atmosphere.  It’s placed at just the right moment in the album, offering a respite from the chaos.  It’s a catchy song, brushed with emotional storytelling and music that, while quiet, is just as powerful and loud as the rest in its own way.

The final song is the banger “Fear And Hunger.”  The beginning is straight up pure fury!  The lead guitar grabs hold of the reins and gallops the song into a huge chorus with outstanding cleans.  There is a proggy feel in the keys/guitars as they duel it out.  The final half of the song smokes with a brutal bridge but slides back into the chorus for the end. 

"The Fall of House Abbarath," is an adventurous little album with a ton of heart and never-ending excitement.  Before this album, I never thought I wanted epic melodies mixed with breakdowns.  I never thought I would want falsetto vocals alongside a modern core approach.  But here it is and I want more—this band needs to put out a full-length ASAP. 

For some reason, there wasn't an option to embed their bandcamp so here is the direct link:

https://dragoncorpse.bandcamp.com/album/the-fall-of-house-abbarath

Horna - Nyx - Hymnejä Yölle

Horna is a black metal band from Finland, who formed 1994. The band has been extremely prolific; “Nyx - Hymnejä Yölle” is their 12th full-length album. Over the years they have also released two demos, 11 EPs, 20 splits, three compilations, and three live albums!

Despite their long history, “Nyx - Hymnejä Yölle,” is my first exposure to their music.

Their sound embraces the cold tradilion of Finnish extreme metal. From beginning to end, this album is as cold as the North winds. 

But even blood still flows from under the ice—each of these six tracks are visceral and uncompromising. The production is not quite as raw as I was expecting but that's a good thing. There is lot of decent moments in the bass guitar and bass drums so the production allows for the band to naturally release their aggression without burying the rhythm section. 

The result is an album that is fast paced, flows effortlessly and sounds meaty as fuck.

“Hymni I” opens the floodgates with the bands brand of fury exploding outward. The drums compliment the songs very well. There are very subtle hints of melody, especially in the later half. But there isn't much here that if flashy—this pure 100% uncompromising black metal.

“Hymni II” has a surprisingly catchy beat to it, the drums adding an uncommon movement to the song. The riffs here are slightly more atmopsheric but still very much presented in a grounded way.

The drums continue to build up their speedy intricacies while the guitars and bass ramp up the infectious energy. The middle part is slower with a lot of groove. 

“Hymni III” Sounds a little like what mid period Enslaved might do. Their is a catchy, almost rock and roll groove/beat to the song. It's a nice twist but the bands singular vision for going for the throat isn't compromised.

“Hymni IV” and “Hymni V” are the two most vicious songs on the album. Both of them bring out the best of lighting fast black metal. The former uses light atmopsheric textures to add a layer to the song. 

The latter is more haunting due to the clever use of clean wails. But the depraved blackened vocals are icing on the cake.

The last song, “Kuoleva Lupaus,” is the albums wildcard. It's entirely clean in both vocals and music but the feel of the song doesn't make it out of place.

Horna's “Nyx - Hymnejä Yölle,” is a journey that does a lot with its sound without overly relying on the many elements the genre has but up over the years. 

Allt - From The New World

Allt is a progressive metalcore band from Sweden, who formed in 2020. “From The New World,” is their debut full-length album; they have also released an EP.

I don't know what it is about prog metalcore but it's always good. “From The New World” is another fine addition to the genres halls.

The production is MASSIVE. It's loud, clear and razor sharp all wrapped up in a big modern production. Normally, I would argue most bands don't need such a slick production job. But this album definitely requires but not only that----it thrives in it. 

The bass and guitar tones are deep and seemingly endless. The atmospheric textures generated through the keys/electronics stand out against the heavier elements but don't over take them.  

The riffs are modern as well but mix it up enough to keep engagement high. The drumming and vocals are both powerhouses, adding so intense a sound that each song feels like the explsoive ending of another and birth of the next one.

The album begins with the short instrumental intro “A Flash of Light.” It's not bad for what it is but the real magic begins with the first full song.

"Remnant” is monstrous because within seconds each element of the band is presented with the aggression factor dialed up to 20. 

Surprisingly gentle cleans are peppered throughout, weaved into the riffs and extreme vocals as they all head for a catchy chorus.

“Memory of Light,” somehow finds a way to up the intensity factors but it's the riffs that truly impress; they are a constant source of change, twisting, breaking and reforming into new little worlds.

That's really the key to the albums greatness. This is, of course, a cohesive album but each song is still distinct from each other.

The drum loops on “The Orphan Breed” mix with electronic noise for a different approach to their style. It works very well as the song always continues to flow properly. After the halfway mark, the density of the riffs are World breaking!

Even with their prog approach, they still bring the pain with plenty of gain. Thr groove of “Emanate” is brutal and infectious. It's just one part of the song though—the ending is melodic and sweeping.

The final song, “Cycles” has an unique feel to it….a dark modern Gothic tone but with deep grooves and the never ending heavines the band provides with apparent ease.

Allt's “From The New World” is an album with a firm grip on its identity and the sound it wants to achieve. Fans of core will eat this up but progressive fans will find much to love as well.

The Black Dahlia Murder - Servitude

The Black Dahlia Murder probably doesn’t need an introduction considering they are one of biggest bands in death metal. Since 2001, the band has been churning out extreme and often times melodic metal on a consistent basis. Their sound is often described as melodic death but, for me, that doesn’t really fit their sound to a "T."  I suppose it depends on the album in question but all you really need to know is they have never released a bad album, although some are better than others.  

I have a minor, somewhat special, connection to the band on a personal level. A long time ago, close to 20 years ago, I briefly wrote for a magazine called Modern Fix. One of the first things I did for them was interview this band through email. I know, it’s not much, but it helped me cut my teeth in the “metal journalism” scene. The interview was during their “Miasma” era but I’ve followed the band since their first album. It has been great watching this band grow and become as big as they are. 

The tragedy of frontman Trevor Strnad still hangs over the scene and I’m not sure if we will ever come to terms with it. After his passing, a lot of people assumed the band would dissolve. To be honest, I never thought they would. Over the years it seems that people have forgotten that Brian Eschbach has been in the band as long as Trevor. I’ve actually seen many websites say that Trevor was the only original member.

I get it, Trevor was obviously a huge presence in the band and in the scene, but Brian’s own influence is more than considerable. I figured he would carry on with the band and I’m glad he did.

"Servitude” is an album that I know Trevor would be proud of. Brian moving from guitar to vocals is a huge deal but he pulls it off. Although they do sound different, Brian’s vocal attacks are familiar enough that his performance feels very natural. It’s also their tenth album, which is no small detail, because so many bands don’t even make it half as far as they have. To still put out albums of this caliber, especially after such a tragedy, is an amazing thing to behold.

Another important part to the album is the return of Ryan Knight, who last made a recorded performance with the band on 2015’s “Abysmal.” It doesn't feel like nearly a decade has passed as he barrels his way through with apparent ease. Although I will miss Brian’s style, he and Brandon Ellis are more than capable of bringing the band’s frenzied, chaotic, melodic sound to the forefront. Bassist Max Lavelle and drummer Alan Cassidy continue to hold up a furious rhythm section while providing an immovable foundation. 

At this point, if you know then you know. As good as “Servitude” is, if you’re not already a fan of the band then it won’t change your mind. But the good news is that if you are a fan, then there isn’t any reason why this album won’t satisfy you. 

Throughout its 10 song, 32 minute run time the album provides fast paced death metal that is full of catchy riffs and hooky melodies. The album is very tight, using all its available minutes to get in, get off, and get out. With the exception of “An Intermission,” it’s pretty much pedal to the metal, full throttle death metal. If that’s your thing, then go for it. If not, then why are you even reading this? Please, just go. 

It all begins with “Evening Ephemeral,” and it’s clean opening among the backdrop of watery sounds. Before the minute mark has passed, a scream rips through and the band quickly settles on a groove. 

Much like Trevor, Brian barks out the lyrics with insane energy that constantly drives the songs forward. The middle part finds the bass and drums finding a sweep spot for groove, the perfect vehicle to both let Brian throw out his lyrics and set up the song for a solo that begins melodic but quickly transforms into something a little more flashy but it makes sense in context of the surrounding music. 

"Aftermath,” starts with the sounds of an explosion then it really explodes with the entire band firing on all cylinders. The riffs on this song are more focused on brutality and I’m ok with this, the song is rather intense and burns short but very brightly. I enjoy the middle passage quite a bit, the band leaning back on the tempo a bit to link the riffs sink in and the solo to really shine.

“Asserting Dominion” doesn’t let the album fall back in the later half, offering one of the best songs on the album. The riffs find that perfect balance between melody and aggression, the rhythm section compliments it perfectly, offering a heavy handed performance when needed but taking a more indirect path in certain moments. The lead guitar offers flourishes here and there, accenting the song in just the right ways. The last minute is great, a melodic passage leading into a blazing solo and heavy riffs to end the song. 

The title track is, of course, another banger. I’m not sure what the meaning of it is in relation to the cover art but I guess it doesn’t matter because it rips, regardless. This song is the band doing what it does best: playing fast paced death metal with a keen sense of melody without going overboard with it, effectively combining Gothenburg influences with the heavier side of the genre, such as the Florida scene. 

The final song, “Utopia Black,” is one of the band’s best songs. The drums are very well done, catchy and groovy all the same. When they double down on the speed, the band exists in a wind tunnel where everything falls into place. Brian’s vocals near the end are vicious, a hell of a performance.  

The Black Dahlia Murder’s “Servitude” is a solid album from a band that has yet to do wrong. How it fits into their overall discography is a purely personal aspect but I don’t see any reason why fans of the band would have anything bad to say about this.  

Post Luctum - Forced To Watch You Wither

I've been following Post Luctum for a minute now but haven't reviewed them yet. I picked a good time to do so because “Forced To Watch You Wither” is the one man band's best album yet. This is the third full-length album from the moniker, in addition to also having four EPs.

The mastermind behind the project, Ian Goetchius, knows exactly what goes into a great doom metal album and how to pull on the heartstrings as well. Doom is, of course, a dour genre but it's also one of vivid beauty, in its own way. 

“Forced To Watch You Wither,” I believe captures that beauty. There's so much darkness in the world, in life itself. What better way to experience it than to face it head on? For in fighting the darkest battles, a person reveals the light within.

So yes,there can be beauty within the deepest voids. And this album is one of the deepest I've experienced this year but also most rewarding.

The growls and screams are harrowing, often times sending shivers through my body. Their stark embrace is both brutal and commanding, the vocal representation that music like this deserves. 

Although rooted in several genres, such as death metal, the music is melodic and Gothic as well. There is something to be said of melodic music that uses growls. There is also something to be said of slow music that lives with the shadow of Gothic’s embrace. This album lives within all of these elements.

Each song is a different shade of black, each casting out shadows that reach across the veil between life and death. It's touch, presented through suffocating tones and bleak harmonies, is both an icy one yet one that craves a way out into the world.

What it means for the listener, and what it means to me, is an album that is rich and deep as much as it is heavy and macabre. 

One of the best elements of the album is just how many details it has, both subtle and large. The seven songs glide by in about 55 minutes—and they beg to be played over and over to discover the treasures.

The atmosphere washes over the senses with an a flow that is uncommon for music this emotionally pained and abrasive.

Each instrument in each song is like the piece of a puzzle. It's fun hearing this puzzle be built from moment to moment, song to song, until finally the album stands revealed.

It all begins with “Interment.” The lead guitar is simple but powerful, casting tendrils of melancholy that linger in sullen thoughts just long enough for the mind to wander onto the next part.

The growls burrow their way into the meat of the song, becoming the core from which it all resonates. 

The clean notes in the middle provide a bridge between the song's halves yet the tones are just as sincere and sad, offering no respite. The clawing screams are extremely potent afterwards, seending the song towards its climax as the guitars and bass twist within turmoil.

“Winds of Chance,” is like a cold breeze hitting you hard on a freezing day. I love the texture created by the subtle use of keys. The clean keys provide a nice contrast against the growls although they work wonders together.

The melodies push the atmosphere further down to the next deep cave of endless torment. The usage of clean, funeral like tones in the later half to build the song back up to sweltering guitar and screams is nothing short of compelling.

“Descending From Joy,” is about as raw as a doom song can become and a definite highlight for me. It embraces a slow tempo so we'll, the melodies cresting against the rocks that are the riffs and vocals. 

This one sounds like it's the end of time, it's all crashing down but in that lies in the morbid hope that nothing will ever matter again, future pain against the soul has been spared.

The title track ends the album and even though it's slow, the trepidation and nervous energy builds up in a frighting way. 

The keys throw out finality, a certain acceptance of what is and never will be. The vocals are emotive—a chilling performance that made my own throat feel raw and I wasn't even trying to “sing” along.

The tempo kicks up after the six minute mark just enough to give the song one final push through the lightless tunnel.

Post Luctum's “Forced To Watch You Wither” represents everything I could ever want in a doom album. It also represents a band/project cementing it's place in the annals of the genre and showing exactly what it's capable of. A powerful, engaging album that speaks volumes. 

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.