November Fire - Through A Mournful Song

November Fire is a doom/stoner metal band from New England that formed in 1991.  Over the years members would come and go as the band recorded demos and played gigs throughout the Boston area; the band stayed active until 2004 and, after some sporadic reunions, returned to the scene in 2022.   Flash forward to 2024 and the band drops their full-length debut “Through A Mournful Song.”

My time with this album was well spent.  I’ve no doubt this is one of the more unique metal albums I’ve heard this year.  I would say doom is their foundation but they are hard to categorize.  A lot is going on in these songs and across its forty-minute runtime, the band doesn’t shy away from exploring variety within its dynamics.   

There are a lot of psychedelic tendencies across its breadth and it often times has an unhinged quality, almost supernatural in a way.  The vocals from bassist Terry go a long way adding to the band’s special atmosphere.  His vocals are deep and expressive, like a Gothic and horror-drenched Elvis.  Or a Glenn Danzig that doesn’t sound tired and washed up.  I’ll let you decide that. Regardless, his vocals are fantastic and as powerful as his bass.  

Dave (guitars) and Jim (Drums) make up the rest of the trio.  Dave’s guitars are electric and he supplies a variety of styles.  Slow, crushing doom?  Check.  Jagged sludge riffs?  Yep.  Galloping rhythms and mind-bending solos?  Yes, please.  Jim’s drums are the rock, the foundation of the band and he keeps them focused and strong no matter what direction they take. 

The production is impressive.  It’s raw but not “black metal disgusting toilet raw” but definitely has an underground, DIY feel to it.  The mix is strong as well—everything can be heard in equal measures and nothing has to fight for space.  It’s a dense-sounding album but spacious enough for it to be encompassing.  The audio files sound great on my bass-heavy headphones and I’ve no doubt it would sound truly stellar on vinyl.   Since the album is just six songs, I will run through each of them and say a little about why they are so goddamn awesome.  

The opening song, “Wall of Monsters,” is a great starter for this inferno.  The instruments start simple and begin to build up momentum as the deep vocals ride over them.  There is just enough venom to the vocals to lend the song an edge that isn’t often heard in anything under the stoner/psychedelic umbrella.  I love how the cymbals compliment the vocal rhythms and the riffs are fantastic—drenched in fuzz but groovy as hell.   After the halfway mark, the guitars/bass create a trance-like rhythm and it latches hold tightly when the guitar solo arrives.  

“Can He See,” opens with bass and..wait, are my walls shaking?  Oh no that’s just Terry trying to implode my headphones.  His vocal cadence is catchy as hell too.  Dave’s guitars grow more massive as the song moves forward towards the final half that’s loaded with more groove.  Jim’s drum work here is magic and creates the perfect foundation for the trippy solos to build from.  The galloping riffs near the end had me head banging hard!  

“Sad Song With No Name,” does have an air of melancholy blowing through it.  These winds bring ultra-heavy guitars and a strong vocal performance.  The lyrics tell a story of violence and the music carries with it a lot of danger.  It’s subtle and uses it’s six and half minute runtime very well in its world-building.  The tempo kicks up a bit around the 3:30 mark and the band leans heavily on a horror-like atmosphere.  The lead guitar seeps into the mind, turning the song insane and frightening.  The guitar solo is emotional as hell and is a nice late-stage surprise for the song.  

“Faint as the Stars,” feels like a hard rock song in the beginning, what with the strong rhythms and melodic bass.  The vocals are expressive and get more menacing as the music moves towards a dark epicenter.  This track showcases how strong this trio is, sounding like it has more members than it actually does.  The song rides down the spine of the bass to the 3:30 mark where it flirts with more psychedelic style guitar solos.  It’s spacey in a way and the liminal space fill up with trippy notes.

The final two songs, “Under Red Skies,” and “Wake Up”  are my favorites on the album.  The former has an occult-like feel to it.  The bass and vocal patterns are hypnotic and really pulled me into the fabric of the song.  The guitars get more intricate and the bass gets more towering as the song plays out.  From the halfway point to the end, the song is a long jam session with solos ripping through and the band letting it all hang out.  

“Wake Up,” is the most energetic song on the album and will definitely keep you up with the simple but effective chorus.  The drums and bass hit hard, a rumbling groove that tears it up while the lead guitar soars high above. The vocals use a lot of effects and different styles, keeping the song fresh and exciting. 

November Fire’s “Through A Mournful Song,” is a heavy as hell doom/metal/whatever album that has a sound all its own.  It’s a darkened adventure that is well worth taking and brings fresh life into the genre.  

Immortal Bird - Sin Querencia

Immortal Bird is an extreme metal band from Chicago, Illinois, who formed in 2013.  Their latest album, ‘Sin Querencia,” is their third full-length album; they have also released two EPs.

In 2019, I reviewed their previous full-length for Metal Temple, “Thrive on Neglect,” and absolutely loved it.  I still jam it occasionally so I’ve been waiting a long time to hear this new beast. The wait for “Sin Querencia,” was worth it–and then some. 

This album continues the exploration of their sound without boundaries—there isn’t really any way to classify their sound other than simply calling it metal or Immortal Bird.  They are what they are and do what they do.  I could sit here all day and explain that I hear black metal and crust, among several other things, but it’s better if I just talk about why the album kicks ass and why this band is one of the best on the scene playing extreme metal.  

The production is incredible—every instrument, every note, every screen, and growl can be heard with equal measure.  But there is also a unique rawness to the album that makes it incredibly dense, weighty, and biting.  And how about the guitar tone?  Immaculate. 

This band is a three piece but they make as much noise as an airplane flying through your face.  Rae’s vocals are among the best I’ve heard this year—she is a rare beast and I would put her up against anyone in the scene.  Matt’s drums and Nate’s guitars/bass match her energy and fervor 100%.  There isn’t one point on this album where the band takes a rest.  They put a 1000% into each song. 

The most impressive aspect of “Sin Querencia,” is the band hasn’t made their music more accessible—they have doubled down on their sound and if you don’t like it then fuck you.  They embrace who they are and what they want to play—and that can be both heard and felt throughout this beastly opus.

The flow of the album is another highlight.  The album contains 8 songs and a run time of just under 36 minutes—absolutely perfect for what they are doing.  Each song flows into the next one and it’s placed right where it needs to be.

As for the songs, they are definitely riff based but are fully capable of building up the atmosphere within seconds before going for the throat.  The moody opening of “Bioluminescent Toxins,”  is a prime example.  The bass and melancholic guitars build up through a somber and gloomy haze but by the 1:30 mark, the band is stomping my face into the ground.   The song rips through groove, bludgeoning, and straight-up abrasive passages—-an exceptionally strong opening song.

The drums are deep and rich, crushing fathoms transformed into music.  These brutal waves crash against the guitar in “Consanguinity.”  The bass pairs alongside the guitar, offering a bed of dense and melancholic savagery before the song embraces liminal elements with a clever clean passage.  However, by the time the halfway mark arrives, the band is once again firing on all cylinders—unstoppable and nearly inconceivable.

There are moments across the album where the song is so palpable that I swear I could feel it pressing against me.  “Ocean Endless,” is a prime example of how physical their sound can be.  I wasn’t sure if my headphones would survive this rumbling assault; like a snowball that gains mass and momentum as it rolls towards its conclusion, the song begins hard and just keeps piling it on.  The passage from 2:17 to 2:38 is easily one of the most harrowing and ravaging pieces of music I’ve heard in the last half of 2024.  Jesus titty fucking christ what a song!

The best has been saved for last with the title track, “Sin Querencia.”  This is perhaps the best song the band has ever written.  This song is beyond the extreme—one of those songs that explains why people love metal and why others can't.  If you get it, you get it and this song will be your anthem.  If you don’t, then why are you here anyway?  The bass alone is ready to kill but every second, every note of this final song is its own explosion.  From 2:52 to all the way to end at 4:44 is perfection.  If someone asked me for a definition of extreme metal…this song is all they need to walk away with an understanding.  

Immortal Bird once again offers an impressive collection of songs as they march their way to a flawless discography.  If “Sin Querencia” doesn’t make a lot of publication’s year end lists, then let's just throw the world away and start over. 

The Gates of Slumber - The Gates of Slumber

The Gates of Slumber is a name I never thought I would see again but….behold, they have returned with their first full-length album since 2011!  Apparently they reformed in 2019, which is something I didn’t even know about.  Regardless, the boys are back in doom down and all is right in this world.  At least the doom world…

I usually review albums while wearing headphones but, on occasion, I play the albums out loud to annoy my family.  I have to keep them on their toes, right?  Well I was jamming this new self-titled release (their 6th full-length album) and my wife said, “I don't like this, it sounds like Black Sabbath.

I know, I know.  She isn’t a metalhead, and especially hates doom,  so just roll your eyes and try to move on.  I won’t divorce her over it but I did give her a history lesson on doom/Sabbath/Ozzy which she promptly ignored.

Fortunately, a band sounding like Sabbath doesn’t bother me but, while the band’s influences are obviously like with most doom bands, they don’t sound like anyone but themselves.  These riffs are slow, thick, powerful and sinister as hell.  The guitar/bass tone is absolutely perfect.

Mainstay Karl Simon (guitars, vocals) sounds in top form.  His gritty and expressive cleans continue to pair well with these darkened riffs.  Add in Chuck Brown’s impeccable drumming and the omnipresent bass of Steve Janiak and the result is yet another strong addition to TGoS’s already masterful discography and to the ever growing pantheon of doom. 

The album is straight up old-school doom metal.  But it’s much darker than most of the traditional doom bands of old.  It’s also not something I would call stoner or psychedelic.  That’s too many bells and whistles for this album.  This is just three dudes with a love for the purity of the genre and they burn it up.

Karl’s vocals are somewhere between a heavy clean and a sludgy wail—as always, it’s a very balanced approach without going too light or heavy.  He is right where he needs to be and so are his riffs. He plays doom the way it’s always the best to be: slow and thick as mud.  The solos have a bit of a blues feel to them but they aren’t flashy enough to take me out of the song, thankfully, and fit in right where they need to be. 

Steve Janiak (also in Apostle of Solitude) supplies the immortal low end.  To the surprise of no one, he is a large part of the band’s’ crushin delivery.  He doesn’t just simply follow the guitar and oftentimes takes a walk on his own. Chuck Brown (Apostle of Solitude as well) steers this mighty doomed ship while making it unbreakable.  His approach is crisp and detailed, serving up sizable and interesting chunks of his own merit. 

The album opens with Brown flatlining everything before it even begins on “Embrace The Lie.”  The guitars and bass both dig deep, pulling up massive mounds of Earth and dropping them from high above.  This slow death is impending and unstoppable.  Karl’s vocal rhythm/cadence is catchy and supplies hook after hook, especially for the chorus. It’s six and a half minutes long but seems to pass by much faster, which is always a good sign.  The solo is interesting and the bass that pushes it through is fantastic.  

“We Are Perdition,” is worth your money and time for Steve’s bass alone.  While he throws out the weight of a thousand suns, Brown builds up the intensity as it all comes together at the 38 second mark.  Some of the album’s best riffs can be found throughout the song and if you think you can’t headbang to doom, this song will have you rethinking something so stupid.

I LOVE Karl’s vocals on this song—one of his best performances, I’ve no doubt.  His lyrics flow out right along with the music.  The song takes turns switching from bass to static build up as it builds back to the ending.

“At Dawn,” is one of my favorite songs on the album.  This is a stark song, surely one of the darkest and intense they have ever written.  It’s so slow–I love it.  The details within the music have plenty of time to provide its aural assault.  Another amazing Karl performance is at hand here—the echo effect is used to perfection on his voice. The chorus is infectious, especially during the middle part where the band just jams it out to hell and back.  

The final song, “The Plague,” is another stellar example of this album’s power.  The cymbal work accents the song’s buildup as the doom is thrown out, so heavy that it just crashes straight down to the other side of the planet.  There is a sudden tempo change just before the halfway point–the drums roll up the tension and then release it like a kick to the face.  

The Gates of Slumber’s self-titled album is an opus of everything that is right in doom and a love letter to it’s best elements.  If anyone can’t see why doom fans love so hard this genre then this album will open their ears up. 

Golgothan Remains - “Bearer of Light, Matriarch of Death

Golgothan Remains is a death metal band from Australia, that formed in 2015. “Bearer of Light, Matriarch of Death,” is their fourth overall release; they also have a demo and two full-lengths.

This short but very well executed tells a story in its 4 song, 20 minute runtime about two centuries-old creatures trying to find companionship but are unable to find it due to their evil spirit.

It's an interesting concept and the music matches it head-on with a surprisingly dynamic sound.

The atmosphere of the songs is incredible!  Black and doom metal elements can be found mixed in with their unrelenting death match. 

Because of these elements, there is a chilling and horrific mood in each of the songs. The doom and black metal elements help bring about an ancient, arcane feel. The result is an album that is as brutal as expected but it's often times subtle with its details.  

These subtle elements begin the EP on the first song “Methuselah,” and its intro that builds up as it slowly rises to a boil. The album’s production (handled by Greg Chandler from Esoteric) is perfect—hellish and deep without being overbearing. As such, the song sets a tone early on but even when it transitions to a burner, everything stays connected and smoothly flowing. 

“Tribulation,” begins with a burst of speed, maintaining the tempo on a bed of rumbling drums, blackened death riffs, and impressive extreme vocals. The bass is pretty damn sweltering, capturing the atmosphere at the song's most harrowing.  At the 3:45 mark, the song slows down a bit to open up the riffs to a steady but persuasive groove before sliding back into raging speed.

“Necropoles,” might be my favorite of the four songs. There is just this certain element to it that makes it stand out. It definitely showcases the band's knack for creating brutal music that's heavy on suffocating and dangerous sounds. 

“Andromeda,” ends the album with high energy, urgency, and a certain Mournful finality in the air. The vocals on this one are desperate and crazy, heightened by the drums which play as if they are on their own funeral march.  

Golgothan Remains’ “Bearer of Light, Matriarch of Death,” is an album that does a lot in its short runtime and builds a very in-depth world and compelling story. One of the better EPs I've heard this year! 

Iniquitous Savagery - Edifice of Vicissitudes

Iniquitous Savagery is a brutal death metal band from the United Kingdom, that formed in 2012.  Their latest release, “Edifice of Vicissitudes,” is their second full-length album; they have also released an EP and a demo.

“Edifice of Vicissitudes,” is the band's first album in nearly a decade but they haven't skipped a beat or gone soft. If anything, the album is brutal death metal played in its most straightforward form. That also means it is an honest album that embraces its own sound and does exactly what it needs to do.

Despite its singular vision of providing face-melting brutal crushing, it's a smartly written album with much going for it. It isn't often that an album of this nature has so many details that it becomes a grower that requires patience and multiple listens but here we are.

Among the flesh-ripping slams, virtuous instrumentation abounds with technical flourishes, especially for the bass with absolutely fucking slaps ass. Multiple listens will reveal an album that is more catchy than it has a right to be; the album's 30-minute runtime is filled with riffs and hooks for days.

“Casualty of Diabolical Trial,” is super groovy as technical prowess hooks the riffs together. Bass and drums rip the song apart even as they provide their own building blocks.  I love the slower parts— heavy to the point madness. The galloping double bass in the mid-section is impressive and ignites an already large fire to a full-on inferno.

“Choked Before First Breath,” is a smorgasbord of tasty slamming jams. The movements at 1:10 and 2:35 reveal just how well-composed this album is. There isn't anything here that doesn't belong—every strangled note and guttural serves a sinister purpose. In essence, it isn't an album that is brutal for shock value but an album that uses the uncompromising nature it naturally presents as a very effective tool. 

“Narcotic Exsanguination,” is an interesting song, which it's unique vocal approach in the beginning. The growls and grunts are so deep they become one with the instruments--this is a massive, towering wall of sound.  Slamming grooves make it a catchy one too…if you think BDM can't (or shouldn't) be catchy then this song will change your mind even as your body is crushed.

“Bio-Digital Convergence in the Fourth Industrial Age,” ends the album as one of its best songs.  The pinch harmonics add a Sci-fi flavor to the song but not enough to take away from its effective use of nonstop riffage. The slow down at the halfway Mark is so filthy so against the grain that I nearly cried tears of joy. The volume of the song rises up as it ends in a massive sprawl of death. One hell of a way to end the album!

Iniquitous Savagery's “Edifice of Vicissitudes,” is a fantastic late-year discovery for me. The band manages to put their own spin despite being zeroed in on capturing the essence of the genre. 

Cryptorium - Descent Into Lunacy

Cryptorium is a Swedish death metal band who formed in 2022.  Their latest release, “Descent Into Lunacy” is their full-length debut album; they have also released a demo. 

And what a debut this is!  “Descent Into Lunacy” isn’t going to reinvent the wheel but what it does is consist of eight tracks of blistering, old school death metal across just over 30 minutes.  It’s a very convincing sound that goes out of its way to pulverize with a deadly groove.   I absolutely love the way the album sounds: raw and gloomy as hell.  More so than a lot of other OSDM worship bands, this one truly embraces the values of the late 80’s/early 90’s underground death metal scene. 

Vocalist/guitarist Fabbe is a disgusting human being–and I mean that in the nicest way possible.  His vocals are depraved, ridged growls with a lot of heft behind.  The dude is truly a beast but it doesn’t end with his monstrous vocal abuse.  His guitars are fantastic, thick and swampy yet injected with the cold-as-a-grave riffs that are actually infectious as hell. Bassist Knalle shines through the album, his bass always audible.  He doesn’t simply rise up from the muck—he is part of it, embracing the putridity of it all. 

Albin’s drums embrace the deadliness of it all by supplying a foundation that is a battering ram but zeroed in on deadly attacks with tight, focused drumming that compliments the songs but supplies its own personal ravaging. 

What I appreciate the most about this album is the band has an  uncanny knack for understanding when to take the songs down a lane that’s just under “fast as fuck” but isn’t afraid to hang back and let it all breathe when the need arise.

The opening song, “Incarcerated” is a powerful example of which I speak.  The beginning is blistering, the band seemingly in a race to finish before it begins.  But, later, swaths of groove are injected in between these faster, hellish parts.  It’s a dynamic that works well, especially when used alongside the guitar leads, such as near the song’s ending.

The fade in for “Inner Decay” is a clever idea for letting the perfectly toned drums to the front of the song, leading the way for a short song that’s so brutal that it probably couldn’t be any longer without destroying my headphones.  The bass has a strong presence in this song, working its way out from the guitar even while working in tandem with it. 

The band, and album, is at its best when the groove machine all comes together as a definite, evil wall of sound.  “Void of Life,” is such a moment–a monolithic song with pulse pounding rhythm and  deep, rumbling bass.  Around the 1:55 mark, the band stops for a few precious seconds to let the bass set up one of the nastiest drops I’ve heard all year.  Fan-fucking-tastic! 

Dizzying grooves and crunchy riffs alternate to form the unhinged beginning of “Obscure Reality.”  This is one of the more frenzied and uncompromising songs on the album.  This is the type of song that exemplifies what death metal is all about and even though I love modern DM, in the end, old school is always the way to go.  If this one doesn't induce whiplash, then maybe you don’t like death metal and should go find better taste.

The title song, and the longest at over six minutes, ends the album.  Church bells ring out in the opening seconds before slow, doomish riffs snake their way in like a predator stalking its victims.  The guitar tone is insanely great—this is what death metal should sound like: cold, evil, yet fueled by the warmth of blood and decay.  As the seconds ram their way though, the song gets meaner and faster.  A surprising, and well written,  twist of clean instruments makes its presence known near the end before the song returns to its final, crushing moments.

There isn’t a shortage of bands playing OSDM these days but Cryptorium are up there among the best with a surprisingly strong debut in “Descent Into Lunacy.”  Losing your mind never sounded so good.  If you like death metal, you’ll love this.  And if not, like their bandcamp page says, then you’re a whimp and poser.  Sorry, not sorry. 

Trollcave - Adoration of the Abyssal Trespasser

Trollcave is a funeral death/doom metal band from Spain, who formed in 2019. Their latest release, “Adoration of the Abyssal Trespasser,” is their second EP; they have also released a full-length and a split.

The two songs on this album, that equal to over 30 minutes of music, is among the most terrifying doom metal I have heard this year. Considering doom is my favorite genre and I’ve heard a billion different doom albums, that is saying a lot. This is the type of music that if you let a non-metal fan listen, they either won’t get it or they will break down and pray to jeebus over what they just heard.

For people like me? It doesn’t get much better than this for funeral doom in 2024. I love this type of music and these two songs have everything in them that makes me feel that way. 

Being a funeral doom band, the songs on this EP are long, slow, and as deep as the unfathomable abyss of some alien world. What I really like about the album is that it’s just as brutal as it is cavernous. Much of that is due to its pacing—obviously, it’s slow but it doesn’t drone on and on without purpose.  

The production goes a long way in making the album as bleak and unforgiving as it is—it’s raw and dense but open enough to swallow the listener whole. How else could it contain all these sounds?  

I also really love that it isn’t a complicated album—it’s subtle and simple in its approach because it knows exactly what is needed at the exact time. Why throw it all together when every instrument, every element, can speak for itself when it is time to do so?

The first song, “Intro/Grotesque Abyssal Trespasser,” begins with deep, ominous, ambient tones. Within thirty seconds, the mood is set and I’m wondering exactly what horror is around the next corner or pocket of darkness. The synth work is fantastic—I wish more funeral/extreme doom bands used them. They definitely help set the atmosphere and they work hand in hand with the guitar/bass tones. Speaking of which, those tones are perfect. Around the four minute mark, the intro gives way to the slow crush of these riffs. The death growls are also well conceived with the right amount of echo. 

Around the halfway mark, the song turns clean but it’s the type of stripped down approach that is just as dark as the distortion–it’s on a different path but still dripping with the same dangers. The build up is excellent—fast double bass kicks up the trepidation while the guitars and bass do their magic in the background. Around the 9:25 mark, it all comes together and the song manages to inject monstrous grooves into the mix. 

The second song is “Abominator’s Diseased Carrion,” and it begins in a more immediate way. The drums compliment the song, keeping the flow on the death metal side and allowing the doomier parts to increase the atmosphere.

Around the halfway make, after the songs barrels through by being propelled by the drums, a slow, dense Gothic style riff hits. The cymbal works accents as just the right spots. The synths blanket this passge with cold tones—all of it combined is rather claustrophobic.

The temple opens back up afterwards, providing steady riffs until the songs pulls back on the tempo for the ending. 

But getting down to the nitty gritty: this album is disgusting, abrasive, and the definition of what being underground truly means. This is an esoteric experience so it won’t appeal to everyone—if you don’t already like this style, this EP won’t change your mind. But if you get it, if you love this type of music, then this album is going to full enthrall and envelop you. There is respect and a certain amount of charm in that—playing something with such purity is something to be commended.  

All in all, Trollcave’s “Adoration of the Abyssal Trespasser,” is one of the best EPs I’ve heard this year, doom or otherwise and a wonderful late year surprise for the doom genre.  

The Holy Flesh - Advocate, Martyr and Redeemer

The Holy Flesh is an atmospheric black metal band from the UK, who formed in 2019.  Their latest album, “Advocate, Martyr and Redeemer,” is their third full-length album; they have also released an EP.  It’s actually a one man project, from the musician known as Entity. 

Over the years, this project has become one of the most interesting in the blackened scene.  The prior albums were an example of how a band can be extreme without actually being extreme.  Their music is very dark, raw, and occult but with “Advocate, Martyr and Redeemer,” the mysterious Entity has upped his game and released The Holy Flesh’s best album yet.  

Their previous album, “Herald and Adversary” showed signs of adding a bit more detail to their decidedly stripped down approach of their debut, “Emissary and Vessel.”  It was a little more dense, a little more heavy, and progressed just enough to progress the sound from the first album without being too far removed.

The Holy Flesh’s mindset is one that truly embraces building on what came before.  “Advocate, Martyr, and Redeemer,” takes the sound from the prior release and builds on it just as that album built up from its own predecessor .  It’s a masterclass display of songwriting composition and bringing one’s ideas to fruition. 

Although definitely not as violent or aggressive as *insert random black metal band here*, this 6 song, 50 minute long album is heavier and more intense than anything they have done before.  Taking this path doesn’t distract from their raw, occult feel—actually, it makes it even better.  Now there is a slight urgency to the music that makes it all the more dangerous and gripping.  

But darkness and grime aren’t the only elements brought forth this time around; there is more melody and atmosphere than ever before.  It works extremely well and, honestly, makes the songs more haunting than ever. 

The production and mix have an upgrade too.  Though not pristine by any definition, the foggy overcast of their previous album has been lifted to allow every detail standout.  The bass in particular makes a case for why I think this is their best sounding album yet but in a way that does nothing to distract from their sound and purpose. 

The opening song, “Advocate I” presents this new path with a faster past tempo but still includes the dirty, raw mysticism that makes the music so appealing in the first place.  As the song moves forward, it adds layers with melodic riffs.  The song isn’t complicated by any means but it has many dynamics and dimensions to it.  I would say that’s a great way to describe the album as a whole too.  Clean tones and bass intertwined after the halfway mark, building a tapestry to a tapestry of riffs and a catchy rhythm.   This song, and all the others, always has a purpose leading it its destination. 

“Martyr II” tries its hand at groove—and succeeds.  As the groove winds down, layers of guitars offer the perfect setting for the low growled vocals to enter—subtle but venomous.  Parts of the song are surprisingly energetic, especially in relation to how the drums and melodic passage play off each other.    The later half of the song gets a kick up in tempo when the drums double down on this more aggressive route, grabbing hold of the music and pushing it forward.  

The final song, “Redeemer II,” is one of the longest songs on the album at nearly 10 minutes.  This one is perhaps my favorite on the album because I feel it captures not only everything Entity is doing on the album but also The Holy Flesh as a whole.  When listening to this song, I can feel on an emotional level everything the band has done and what it has been leading up to.  

With “Advocate, Martyr, and Redeemer,” Entity has found a way to once again progress The Holy Flesh’s sound to the next level while hanging on the roots and elements that made it so captivating to begin with.  

The Mosaic Window - Hemasanctum

The Mosaic Window is a one man black metal band from California, who formed in 2021. The project's latest release, “Hemasanctum,” is its second full-length album; an EP has also been released. 

Although I didn’t review it, I did enjoy last year's “Plight of Acceptance.”  “Hemasanctum” is a step up in every way and solidifies Andrew as a force to be reckoned with in black metal.  Although there was nothing wrong with the programmed drums from the previous album, having a live drummer this time around makes all the difference in the world.  Gabe Seeber (Vale of Pnath, The Kennedy Veil) adds a robust and hefty weight to the album, even when its at its most melodic moments. 

Of course, it doesn’t hurt with all the death metal elements the album has to offer as well.  Combining melodic black metal captures the speed and energy the genre is known for while pulling on the heartstrings (more on that later) but death metal adds an extra layer of sonic pervasiveness that cannot be denied.    

Andrew formed the idea of The Mosaic Window after the passing of his father and grandmother during the pandemic.  As an outlet of such grief, the project was already built upon very emotional foundations.  With “Hemasanctum,” he further explores dark topics that we so often avoid—mental health, self-awareness, religion.  These subjects, according to his bandcamp page, are the meat of the album with the first song being about birth and the last one being about death. 

The result is an album that is highly emotional with an atmosphere born of melancholy and tragic situations.  As I mentioned, this album tugs on the heart because, well, it comes from the heart.  Black and death metal are so often seen as being extreme for the sake of it but that extremity can be used for cathartic purposes as well.

Despite the subject matter, this album is catchy—I mean, absolutely gripping.  Every song has a wow moment and is stuffed full of hooks that will grab and never let go.  I love this because it doesn’t shy away from the bad things in life—rather it uses music to embrace them because, well, these things can’t be avoided so why try?

“Incantation to Summon the Unstable,” opens the album with the sounds of a child crying, the birth if you will.  The music that follows is an aggressive, fast paced tempo with blackened screams and death growls riding on of these seismic waves.  This song is an explosion and the best way to introduce the listener to the album.  Near the end, a catchy groove and solo pushes the song to even greater heights, as the intensity ramps up.  The song boils itself back to a slower tempo briefly before rising to the top once more.  The ebb and flow is smooth as hell even though it’s extreme as hell—and this fits the album as a whole too. 

Andy LaRocque (King Diamond) provides some lead guitar for the second song, “The Pounding of Hooves,” and it lends the song a classic feel to it in places.  The cadence of the vocals, especially the parts that are layered, are yet another example of how the album so easily sticks in the head.  I love the subtle melodies between the verses too, just the right amount to make the track that much more memorable.  The later half of the song is my favorite part—the dense, hypnotic riffs and the pulsing of the drums just sent me into a headbanging zone of which there is no escape–and no desire to do so.

Andy makes another appearance on “Turibulum” and it’s one of the best songs on the album too.  The opening solo is tragically beautiful but also composed so well that I had to rewind the song to hear it over and over again.   But just as infectious are the riffs that arrive after–expertly balanced between melody and destructive qualities.  A thrashy feel makes an appearance just before the solo at the halfway mark—outstanding moment!  

Another personal favorite is “Night Disease.” I just love how it begins with boundless energy peppered with sorrow but then slows down to a doomish rhythm.  The slower approach lets the atmosphere sink into the very fibers of the emotions it emits. The rest of the song switches back and forth between the tempos–it’s a harrowing experience with a natural flow.

“Hymn to Silence the Light,” is both a beauteous and despondent song.  It ends the album perfectly, the death here to compliment the birth of life to bring the album back full circle to the beginning.  That’s real life because one cannot exist without the other and the song embraces that hard truth.  The middle part goes from urgent to bulldozer, all the while peppering the liminal spaces with atmosphere.  

The Mosaic Window’s “Hemasanctum,” is the next logical step for the project and shows the power of using metal to help convey thoughts and emotions that some feel are better left unsaid.  But facing of these uncomfortable subjects and realizations makes for a highly engaging and thoughtful album that has a maturity that isn't common in the genre.  

Alkymist - UnnDerr

Alkymist is a progressive doom/sludge metal band from Denmark, who formed in 2016. Their latest release, “UnnDerr,” is their third full-length album; they have also released an EP.

This is my first time hearing the band’s music but this album is immensely impressive.  The guitar tone is PERFECT.  The riffs, of which there are many, have the density of doom and the caustic edge of sludge. Guitarist Stefan Key and bassist Kaspar Luke are string wizards, casting fiery rhythms out like the dirtiest, filthiest arsenal in the world—truly bludgeoning work.  Apparently, they have a new drummer named Per Silkjaer; they better keep him because the dude is a goddamn animal.  It’s all spearheaded by the volatile vocals of Peter Bjørneg who fights and claws his way through the songs with abrasive vocals that are a cross between “I shoved sandpaper down my throat” and “wounded rabid animal that is super pissed off.”

But it isn’t only all about the guitar and bass tones.  The atmosphere is just as crushing, as if the law of gravity were removed and it’s impossible to get up under the now suffocating weight of existence. However, it doesn’t stop there—this album has too many dynamics and dimensions for it to end so simple. A psychedelic/stoner vibe also exists among the flowing magma of the band’s core sound and I even hear some Gothic influences.  

The progressive side of the band handles all of this very well—I mean, that’s what makes it progressive in the first place.  This isn’t Dream Theater or Tool—the prog elements manifest themselves as the very dynamics and varieties of sound that keep the album so powerful.

“The Scent,” is a prime example of what the album is all about.  During the first minute, it includes so many elements that it feels familiar yet a feeling of being unsure of what direction the song will go.  Regardless, the band knows when to anchor down with a hook—the chorus is magnificent.  But like I said..it isn’t all about the riffs; just listen to the guitar solo and tell me Key isn’t just as good with that angle. 

The album handles longer compositions with ease too.  The title track is a ten minute romper that melds doom and prog without being either too meandering or flashy.  Every minute is used to its advantage—it isn’t long for the sake of it.  The first minute or so is the buildup, consisting of clean, atmospheric tones that echoes the psychedelic influences I talked about earlier.  The keys provide some ambient spaces, the band existing in both the physical and ethereal realms as the song explores liminal spaces. Afterwards, the song speeds up a little to get out ahead of itself.  The rhythm remains steady, zeroed in on providing an encompassing experience, which it does.  The band handles both the light and heavy moments of their sound with wisdom, knowing exactly when each style needs to be presented.  

On the opposite end of the spectrum, songs like “My Sick Part,” and “Fire In My Eyes,” are shorter numbers, allowing the band to really zero in on the more aggressive parts of their style.  The former is catchy as hell and the more straightforward approach is appreciated as it allows for a break between the longer songs.   The latter takes a similar path but is a bit more atmospheric, especially with the mid section and its subtle clean tones and build up.

There is a lot to like in this album; fans of doom or sludge are going to dive in head first, come up for air, and go right back down.  But there are enough details and depths within the 44 minute runtime for fans unfamiliar with the style to find it growing on them as they discover it’s myriad propositions for coming along for the ride. 

Shattered Hope - Memoir

Shattered Hope is a death/doom metal band from Greece, who formed in 2022.  Their latest release, "Memoir," is their overall sixth release and their first EP.  They have previously released two demos and three full-length albums.

Shattered Hope’s brand of death doom is a perfect storm of cavernous funeral doom, atmospheric depression, and Gothic tones.  All these elements blend together quite well, making for dynamic music that is immediately engaging despite the slower tempos they so obviously use.  

“Memoir,” continues this trend and further solidifies their sound.  I look at this little EP as a statement: the band loves and understands the doom genre, their craft, and they aren’t going anywhere.  With just three songs, one of which is a cover, the band says a lot in a smaller amount of time than they normally have.  In under 27 minutes, the band has created a full encompassing doom metal album with huge scope and breadth. 

I really like the production too.  I wouldn’t call it raw but it’s abrasive enough to keep the music heavy, even at its most depressing and melancholic moments.  So many forget that any kind of doom can be extreme–this album’s sound is a constant reminder of how it’s just as crushing as anything under the obsidian moonlight. 

“In My Waning Days,” begins with those aforementioned Gothic tones, courtesy of Eygenia Theocharatou,  before delivering a slab of riffs as cold as a morgue slab.  The keys and riffs compliment each other very well, each of them offering two sides of the same coin.  George’s (Tenebrae Semitarius) drums are powerful, keeping the flow at a decent rate.  Thanasis’ (Witchcrawl) bass is a giant void, but instead of pulling everything into itself for destruction, it keeps the instruments in orbit as a strong foundation for the composition to revolve around. 

Guitarists Thanos and Sakis(Decemberance, Tenebrae Semitarius) know just when to hang back a bit and give the atmosphere room to world build, especially in the song’s middle section which is made of clean tones and liminal spaces.  Of course, they also know when to pour on the emotions, as evident by the blanket of grief and emotional solo that follows.

“A Crevice of Painful Light,” takes a more intense approach, especially with the vocals.  Nick (Fohn, Ocean of Grief), vocals are corrosive with a special sort of depth to delivery the right amount of energy to the songs.  At times he sounds blackened, desperate growls and screams echoing through an exhausting night of unrest. 

The atmosphere of this song is very downtrodden but that chorus…wow!!!! It changes the song a bit, a surprising moment of clarity that rings powerful and true, even as much as the extreme vocals.  It’s surprisingly catchy and I found it stuck in my head for some time.  

But after that moment, the song gets ultra dense, slow, and pours on the death doom as thick as tears at a funeral.  It’s the perfect anthesis to the chorus yet everything in the song fits together.

The final song is a cover of a Diafana Krina song called “Ble Himonas,” which is apparently one of their influences.  To be honest, I have no idea who she is so I don’t have a frame of reference of how this cover sounds compared to the original.  But what I do know is this song fits right at home with the other two songs.  It’s the most atmospheric of the three and I like the interplay between the bass and keys–it sounds pretty unique to me.   

Shattered Hope’s “Memoir” EP is a great starting point for anyone getting into not only the band itself but also the deathly, more extreme side of doom metal.  

Abhorration - Demonolatry

Abhorration is a death metal band from Norway, who formed in 2020.  Although they released a demo in 2021, “Demonolatry” is their full-length debut album.

This album is absolutely bat shit insane.  Seriously, “Demonolatry” is raw and goes for the kill 10% of the time.  After jamming the hell out of this album, I felt physically exhausted and a little beaten down.  That’s a compliment and it’s also something I feel a lot of modern death metal is lacking, even the best of it.  

Death metal was originally a genre that actually frightened people and went against everything with good taste and mainstream leanings. “Demonolatry” captures that feeling, the aura of disgusting,  uncompromising violence.  The production and mix is fantastic.  The press release mentioned it was analog and every beat, every note could be heard and felt.  That pretty much nails exactly what I’m hearing–it’s raw, powerful, and boosts the already visceral nature of the band. It definitely has a “live” feel to the way it sounds and, with a decent pair of headphones on, it is very intimidating.  

The influences are obvious so I won’t waste time speaking of them but that’s fine because the band has their own sound.  Of course, it does have its old-school leanings, but that’s more in the feel and atmosphere not necessarily the music itself. 

The album opens with “Chamber of Agilarept” which is so goddamn hectic that I felt like it was going to somehow beat itself with its speed and burst out of my headphones, into my ears, and explode my brain.  Despite the carnage, the song isn’t messy—this song captures chaos, beats it and starves it, then lets it loose.  

As the song proves around the halfway mark, the band is more than just nonstop speed.  When the tempo drops and the songs breathe, the band offers riffs and pummeling moments that are far more catchy than they have any right to be. 

“Spawn of an Abhorrent Entity,” begins mid paced and it is here where the band lets their blood-drenched guitar/bass tones truly shine.  This sounds pure evil and I’m all aboard on this hell train.  The drums are perfect, complimenting the extremity in the most profane ways but while making sense in context of the song’s structure.   The bass casts a dense, brutal dim light on the atmosphere, particularly well during the guitar solos.  The leads themselves are crazy but there is a loose structure that keeps them grounded just enough where they don’t take away from the other parts of the song.  

Around the 2:15 mark, the band goes rabid and hammers through a blistering section that almost turned my head all the way around on my body.  If you’re crazy all the time then you’re not crazy–but if you have these moments that remain unseen until the last second, if you keep people guessing on what is about to happen, then you are crazy.  That’s Abhorrent in a nutshell.

The title track ends the song as a total banger.  I love the rumbling drums in the beginning—they build intensity quickly and it seems as if the song is some kind of physical structure that is about to topple over.  

Around the 1:45 mark, the song slows down and it’s one of those moments where everything comes together.  It’s hypnotic but claustrophobic…like being caught in a spider’s web with the only certainly being your failing will eventually call death down to devour.  My favorite part of the song, and maybe even the album itself, is the final half where it hits a stride throwing out a devastating groove just before turning into a battering ram with a soul-melting solo.

Abhorration’s “Demonolatry,” is a very extreme but also very exciting death metal album.  For those fans who feel the genre has maybe grown to be too diluted or sometimes offers too much while ignoring the essence of its foundations, this album will bring you back to the good ol days of hell.  Highly recommended.

The Mist From The Mountains - Portal - The Gathering of Storms

The Mist From The Mountains is a black metal band from Finland, who formed in 2020.  Their latest release “Portal - The Gathering of Storms” is their second-full length album.  I actually reviewed their debut album, “Monumental” back in 2022 for Metal Temple.  I didn’t hate it but I thought it was only slightly above average.  I still write for Metal Temple but this time I’m tackling their music on my blog.

I'm happy to write that this album is pretty great—the band has really upped their game.  My biggest complaint about their debut was their ideas weren’t seamless or integrated enough across the songs as a whole.  “Portal” remedies that and is a much more cohesive experience, with the songs containing a natural flow that brings out their depth.

The songs are long, the shortest one being nearly 8 minutes, and the six songs take nearly an  hour to reach the album’s end.  I didn’t find the length as bothersome this time—every song here has a ton of well written moments and their visions are quite expansive.  None of the songs seem as long as their runtime and they offer many reasons to return to them.

Although the band, and album, captures the famous Finnish melancholy that so often permeates the country’s black metal, there are so many other dimensions to sounds and songs of “Portal.”  It’s melodic, folk infused, and even progressive in the sense of how adept the songs are at presenting new musical venues.

Of course, as I said, this is black metal so there is more than enough of that cold, searing, against the grain attitude that makes the genre so captivating. 

The album begins with “And So Flew The Death Crow,”  and the gentle sounds of the ocean’s waves.  It’s surprisingly serene and a fine set up for the acoustic guitars and gentle melodies that follow.  The vocals have improved this time as well—I love these deep, clean Gothic style vocals that wash over just as smoothly as the instruments. 

The song  builds up expertly, not in a rush but still always with a purpose.  As the song casts out its wide net, the melodies grow and are catchy as anything I’ve heard this year.  Around the two and a half minute mark, the blackened side of the band reveals its serpent head.  The blackened grows/shrieks/screams are also much improved and sound like pure venom.  The guitars capture the black metal tone but still play it with epic fortitude in mind. 

The middle part of the song is a bit folksy but just as engaging–the bass in particular stands out to me.  A heavy but slower part, including a catchy guitar lead, helps compliment the clean portions while pushing the song back into the realm of haunting black metal.

“At The Roots of the Vile,” begins in a more immediate way—like a hurricane force of demonic maelstrom, the band fires on all cylinders and doesn’t let up for some time.  But the riffs change frequently enough that nothing has time to set in and get boring—in fact, the beginning of this song is quite harrowing and has me on edge.  After a line of catchy clean vocals, the edge drops off into the abyss with a nice ambient piece of pure nothingness. It’s brief but speaks volumes, especially with the guitar highlighting the sorrow filled dangers.  The rhythm returns with a very catchy riff and a vocal performance that is jaunty and sort of made me want to get up and dance a jig.  Sea shanty metal?  Yes, please.  Then, suddenly, these waters build up to a hurricane's wrath and everything is blown away with the fury of black metal.  

The final song, “Saiva” is perhaps my favorite on the album.  From the very beginning it finds a way to combine sweeping textures with rousing metal—I love the energy on this song.  The clean vocals fit right in with the atmospheric riffs.  The song growls darker and more sinister as the seconds pass, both the aggression and tension ramping up.

Around the 7:20 mark, the electric power fades away to stripped down clean instruments and it’s beautiful in a lot of ways and very moving.  On this album, the band has found a way to make the light elements just as intense as the heavier ones.  

The Mist From The Mountains’ “Portal - The Gathering of Storms,” is a very convincing album that destroys the sophomore slump that many bands fall prey to while improving upon their first album in every way imaginable.  

Massacre - Necrolution

I doubt anyone reading this needs an intro but just in case your were born a few days ago and very quickly learned to read, Massacre are an utterly legendary death metal band, who formed in 1984.

The band has come and gone over the years but “Necrolution,” marks their fifth full-length album but they have also released a ton of demos, EPs, compilations and live albums. 

They returned once more in 2021 with their “Resurgence” album. Not wasting any time, the band is now unleashing “Necrolution.”

The influential vocalist Kam Lee is once again at the helm—and he still sounds violent as he'll.  

Guitarists Rogga Johansson and Jonny Pettersson also return. Hopefully I don't have to explain who they are but both of them are in a thousand bands but most notably Paganizer (Johansson) and Wombbath (Pettersson).

Bassist Mike Borders (Ravaged by the Yeti) returns as well and his massive rhythm machine is joined by their new drummer Jon Rudin (Just Before Dawn, among others).

That's quite the pedigree–one that generates certain expectations. Does “Necrolution,” meet those expectations?  I'd say, for the most part, yes. Is this album an instant classic? No but it is a strong statement that the band still has much to say and plenty of gas in their tank.

It has that classic OSDM sound: songs that get straight to the point and focus on riffs and powerful rhythms.  Slick leads, a ton of double bass, and mountains of groove. The production sounds pretty close to the style of the original scene but is louder and not as thin. Some might argue that takes from any potential raw power but this album has plenty of that to spare.

The songs aren't caveman level simple but they are also definitely not complicated. Ultimately, the band finds a balance between the two styles.

“Fear of the Unknown,” begins the album with leads that up the urgency, just before Lee goes for the throat. The song is short, fast and wastes zero time bringing out death fucking metal.  The middle part of the song injects riffs that are both dense and groovy.

I find the album is at its best with a slower tempo, as evident with “Ritual of the Abyss.”  The slower pace adds a disturbing, horrific element to their music that seems to be lack at times when they speed up. With that being said, the song does offer faster moments that act as brutal bridges to the slower more mid-paced sections.

“The Colour Out of Space,” is one of the best songs on the album. The guitar tone is extra caustic. The lead guitar Stands out as well, peppering the song with a surprisingly decent amount of atmosphere.

“Shriek of the Castle Freak,” is a short song that showcases how much fun the band can't have when they just let themselves go.  The riffs are nonstop pummeling.

“Shroud of Shadows” leans further into a doomy tempo, Serving up A haunted slice of atmosphere but also, Especially near the end, one that is surprisingly catchy.

“Ad Infinitum: The Final Hour,” is a solid ending song. The tempo varies throughout, the band comfortably taking in a slow kill before just going all out.

Ultimately, Massacre’s “Necrolution,” probably won't pull anyone over to the extreme side of the fence but if you're a fan of death metal, this is a solid album to dive into. 

Livløs - The Crescent King

Livløs is a melodic death metal band from Denmark, who formed in 2014. Their latest album, “The Crescent King,” is their third full-length album; they have also released an EP.

“The Crescent King” is a robust, meaty album with a big sound to it. Across it’s 10 song, 48 minute runtime, the band offers a lot of content that’s presented in an engaging way and catchy songwriting.   

The album is apparently a concept album, detailing the journey of "The Crescent King", who travels through space and time to discover the secrets of not only himself but also of humanity. 

It’s an interesting concept but fortunately, the music remains just as interesting. Although clearly rooted in the foundations of melodic death’s hallowed roots, their sound is more detailed than most other melodic death albums I’ve heard this year. 

It’s also dark, moodier, and has a modern heaviness to it that compliments the melodies and harmonies so much that the album feels weighty even when it’s at its most exploratory.   

Although it certainly has plenty of both mid paced and faster movements, a lot of the album dials back on the tempo to let the band’s somber and mysterious take on their storytelling sink in and play out in a natural way.  

The album opens with “Solstice” and I appreciate that it isn't an ambient piece, clean intro or pointless noise like so many intros seems to be. It's bacially an actual song, albeit a short one, that leads perfect into the next song, “Orbit Weaver.”

This song is quick and vicious in the beginning, showing off the chops of every member but, in particular, the vocalist shreds. 

The bass is audible against the riffs, something that is often over looked in melodic death. 

The title track doesn't hit as immediate but instead uses melody to build up the song. It's catchy and uses a slower tempo, which is find highly effective because it allows the band to really dig into the depths of their sound.  

The halfway mark hits harder with a lot of good riffs and a ton of groove, while the vocals scream like a demon.

Just because they don't shy from melody doesn't mean they can't bring the pain as “Scourge of the Stars,” proves. This is a tight song, very dense and one of the more punishing songs. The drums run through a spear piercing flesh and the guitars/bass throw out riff after riff. The last minute or so is biting, including a killer solo and a powerful ending.

"Harvest” is just as heavy but even more nuanced. This one is a slow to mid paced burner in the first half that grinds out note by punishing note. It spends up later on, a fanatics little twist before the song is drenched in melancholy.

“Endless Majesty,” is the final song and another one of my favorite. There is a certain finality to the atmosphere which makes it appealing as the final track. The ebb and flow of its tempo is infectious to the very end.

Livløs’ “The Crescent King” is one of the better melodic death albums I've heard this year. Fans of the style need to hear this ASAP but it has the chops to pull in new fans as well. 

Chaos Invocation - Wherever We Roam...

Chaos Invocation is a black metal band from Germany, who formed in 2004. Their latest release, “Wherever We Roam…” is their fifth full-length album; they have also released one demo, a split and a compilation.

This album straight up destroys in the best way possible.  It’s against the grain of everything and there isn’t one moment where the band decides to compromise on anything.  It’s focused on it’s blackened atmosphere with a razor sharp degree that should come as no surprise but still highly impressive. 

With all that being said, it has an unique feel to it and it’s approach separates itself from its influences and other bands in the genres. It’s a smart album that presents its chaos in an intelligible way and with much purpose.  The compositions are extreme  but engaging and exciting all the way through.  The energy across the eight song, 45 minute runtime is both maddening and infectious. 

The opening, and title, song begins with clean notes and a surprisingly emotional guitar solo before it builds up to a proper black metal rager.  But it is the little details like that, that make the songs stand out and put the band a cut above the rest.  The song itself has an atmosphere that is gripping, perpetually hurting towards oblivion.  

On some songs, such as “Golden Gates and Terren Light,” there exists a delicate balance between extremity and melody.  The song’s opening riffs exemplify that while offering a catchy intro that makes the song gripping from the beginning.  Around the 1:22 mark, another melodic passage, with spoken word gliding over it, is yet another moment where the band steps outside the cold sphere of which they live before jumping back inside.  The final half is amazing, what with the drums complimenting the riffs to drive the song towards its epic conclusion.  

“No Throne Withstands,” takes this idea of the band living in two worlds simultaneously and just runs with it.  The first part is raw, blackened power but the lead guitar peppers the song with just enough intricate detail to change its whole dynamic.   The leads appear again near the end, making the song all the more engrossing and insane.

A weaved tapestry of clean notes begins, “This World Wants Us Dead,” and it unfurls itself for over a minute then grows into a melodic passage, where the bass in particular is a highlight.  This intro builds upon itself wonderfully for over two minutes.  Then the hell gates open and all the rich darkness comes pouring in like an inferno.  After the four minute mark, a murky atmosphere permeates the structure, offering a simple but effective solo that effectively winds the song back up to its blistering speed with some clean vocals, which hit as hard as the extreme style. 

The final song, “Engravings of the Quivering Pedestal,” is one of the straightforward songs on the album but it still finds elements to put on display, such as the fucking awesome bass.  The groove in the mid-section keeps the tempo rolling while opening the song enough for a somber guitar solo to display its emotional burdens. 

Chaos Invocation’s “Wherever We Roam,” is a confident display of blackened elements that aren’t afraid to go where needed, to allow the dark moments to shine a different shade of black.