Everto Signum - Beastiary

Everto Signum is a black metal band from Portugal, who formed in 2010.  Their latest album, “Beastiary,” is their second full-length album; they have also released an EP.  

The band is highly inspired by nature and called their musical style “Elemental Black Metal.”  This idea, this inspiration from nature, translates into the themes of “Beastiary.”   The overall story guides the listener through a chain reaction of natural disasters.  That story is represented through each of the seven songs, seven different cataclysms.   

It’s an interesting concept but, and this is me being honest, none of that matters if it’s not presented to the listener the right way. Well, does the band get their point across effectively?

Everto Signum absolutely nail it.  “Beastiary,” is a very adventurous album with a lot of energy.  Not only that but there is definitely a wild urgency running through the songs that is as infectious as it is dangerous.   The result is an album that is riddled with trepidation, fury, and a dynamic sound that steps outside the box of the usual black metal formula.

The band’s vast range of influences translates well, and if I said this is a progressive metal album, I don’t think I would be wrong.  With that being said, it is also very much a black metal album that blends riff-based structures with potent melodies without forgetting the natural, raw power of the genre.   

The atmosphere of the songs changes as the music ebbs and flows through various sounds, including the aforementioned prog, folk, and even dungeon synth.  Sometimes the tempo is fast as fuck, and sometimes it hangs back when the band needs to be explorative and contemplative.   Regardless of what sounds they play, and how they play it, the album flows smoothly from beginning to end. 

The album opens with the short but blistering 49 second intro “Genesis.”  The fast paced drumming, rumbling riffs, and piercing screams set up the album quickly and effectively.  

Then all hell breaks loose with “Colossus,” and a deep growl that accompanies it.  The drums have a great sound–full, deep, and powerful.  The guitar tone is very thick and empowering—but not overpower; the bass guitar doesn’t have to fight for its space and provides its own killer approach.

I love the bass peeking out from behind the start-and-stop rhythm of the riffs around the one minute mark. The song races towards its best moment at the 3:00 minute mark with the heavy-handed riffs and double bass.  The band settles into a catchy cadence, including the vocals as they ride a wave of an unique rhythmic approach.

“Wyvern,” has moments of frighteningly aggressive passages that arrive in quick bursts in between melodic bass and a subtle atmosphere that steadily rises as the song moves towards its zenith.  There are a lot of proggy moments here, specifically with the trade trade-off-offs between the bass and guitars.  It’s very clever and showcases just how well-written this song, and the album as a whole, is. 

“Dragon,” is a brutal song with a classic, raw blackened feel to it.  It’s mystic, arcane, and more than a little hostile.  However, the riffs oftentimes strike a sterling balance between heavy and melodic textures.  The galloping passage that begins at the 2:33 mark is nothing short of masterful–I had to rewind this part so many times because of how goddamn great it is.  The keys/clean chants highlighting the screaming vocals is perfectly bombastic without it being corny. 

Every song is good but the 13-minute epic “Deinos,” is by far the centerpiece of the album.  Every second of the song is great and the flow is perfect.  Ambient tones begin the song before low, depraved blackened death growls worm their way through the stark distortion. The tempo builds up well, going from a slow crawl to a faster-paced groove as it races towards the halfway mark.  Afterward, the song gives off even more urgency as it blizskriegs towards a jam session around the 8:25 mark which is catchy as hell.  

Everto Signum’s “Beastiary,” is a well-written black metal album that incorporates a ton of ideas and concepts—and pulls off every one of them.  Do you like aggressive black metal?  Do you like melodic black metal?  Do you like black metal that is focused on the songs?  Are you just diving into the genre and need a good band?   If you answered yes to any of those, you need this album. 

Duisternis - Relapse Into Submission

Duisternis is a one-man black metal band from Scotland.  The project's latest album, “Relapse Into Submission,” is its debut full-length album; an EP was also released earlier in the year.

The band’s name is Dutch for “darkness,” and I would say it’s a damn good name for the project.  “Relapse Into Submission,” is a very dark album, maybe one of the darkest I’ve heard this year in terms of atmosphere. 

The project has a very DIY feel to it and is just raw enough to capture the essence of the black metal genre.  However, it isn’t overly raw and this isn’t just another random black metal band.  Although it has many of the genre’s hallmarks, this is also an album that aims to do something different and stretch beyond its own boundaries.

It’s atmospheric but in a more subtle way, rather than an expansive and bombastic fashion.  There are elements of industrial music, specifically synths and eerie effects.  These elements are used very effectively and compliment the metal rather than take away from it.  Every note here is needed and it all comes together in service of the album’s overall sound.

I like how these different elements work together.  Sometimes the songs live in the liminal spaces in between the synths/effects but other times it’s all about the riffs and straight-up carnage.  The tempo echoes this—this album isn’t nonstop fas as fuck songs that go nowhere.  They are fast when needed and take a more introspective approach when it is called upon.  For a debut, it’s a surprisingly confident-sounding album.  “Relapse Into Submission,” knows exactly what it is, what it wants to do, and where it needs to go.  

It’s 8 song, 37 minute runtime is perfect—it has excellent flow from beginning to end and there isn’t a bad song on it. 

The album opens with “Seductive Addiction,” and its noise intro that builds up with clean, ambient tones.  It’s more than a little unnerving and sets the album up perfectly.  The sound bytes are a nice touch too.  Around the 1:14 mark, the band settles into a groove that sounds Gothic to me—it works, especially with the synths/effects in the background.  The blackened vocals arrive shortly after and as much as they contrast against the other elements, they still complement each other. 

That’s really the key here:  there isn’t one thing that could be removed from this album and it would still work.  Every element, no matter how different from each other they first appear, must be here to make it work. 

The tempo around the halfway mark is surprisingly catchy with it’s industrial-like beat that slides into a unique solo and killer rhythmic section. The song fades out as disturbing sounding as it began.  A great opening song!

“Decline of the Ages,” opens with the drums playing an offbeat but effective intro. This is a short, blistering song that’s just barely over the two and half mark.  However, a lot of ideas are squeezed inside it’s charred walls; every element of the band is presented. It’s as eerie/unnerving as it is vicious and uncompromising. 

“Darkest Desires,” fires right out of the gate with searing riffs that cut deep.  The vocals are so abrasive–the audio equivalent of vomiting up knives.  This song’s brutal atmosphere and caustic instrumentals are nearly alien, such is the uncommon fury.  The ending riffs around the 2:50 are MASSIVE as they plough through the effect laden landscape.  Goddam what a way to end a song! 

“Refrain From Mind,” is surprisingly gentle, what with it’s clean keyboard beginning.  But this false sense of security doesn’t last long—at the 32 second mark, a massive doom metal style riff suffocates everything.  This blanket of distortion is nearly palpable, especially when the double bass joins it. The vocals are chaotic and demonic–quite the performance.  The whole song has a “wall of sound” feel to it yet it’s distinctive enough to enjoy each element if you’re not brave enough to face the maelstrom all at once. 

The final song is “Crowned With Filth,” and it just might be my favorite on the album.  It’s really out there, in terms of just how against the grain it is.  This is a powerful example of black metal’s power but it’s also a fitting display for what this album is all about.  The synths in the background add a prenatural fury to the riffs and vocals—it’s almost surreal. 

Duisternis’ “Relapse Into Submission,” is an awesome late year surprise for me and the genre.  I know a lot of you have already made up your mind for your favorite black metal albums of the year but I’m tell you know, don’t publish those lists until you hear this beast. 

Old Wainds - Stormheart

Old Wainds is a black metal band from Russia, who formed in 1995.  Their latest album, “Stormheart” is their fifth full-length album; they have also released three demos and a split.  

“Stormheart,” also happens to be the band’s first album in ten years!  So many bands once thought lost are making comebacks…and this album is one of the strongest ones I’ve heard lately.  

This album is interesting because it has a firm grasp on black metal’s aggression but it’s still atmospheric.  While it leans more on fast paced energy, it isn’t afraid to be introspective when needed.  An example is the opening song, “Watch The Midnight Unveil.”  The intro builds up into fast paced drums and a cold, distant atmosphere that’s highlighted by subtle melody at a much slower tempo.  It’s an odd sort of combination that works because it builds up the tension, leading into a steady groove by the time the full band comes in. The song stops for a brief second at the 1:59 mark, leaving a door open for the band to walk through as an even more aggressive entity.

Of course, the band is just as effective when hitting hard and fast, as in “Of Night and Ice.”  This song barrels through from the first second, revealing a song with very abrasive riffs that are low and deep but not slow.  The band still offers melancholic and frozen notes interspersed between the speeding carnage.  Simply put, the band exists in two worlds at once but never has to pick and choose as both are seamlessly woven into the fabric of their compositions. 

The album flows well across its 7 song, 43 minute runtime. That’s pretty much the sweet spot for black metal; from one song to the next, “Stormheart,” does not have a bad song or even a bad second.  By the time “The Eternal, the Dead, the Arcane,” the album is firing on all cylinders!

This song is a beast with a massive, rolling groove ripping it up the moment the song begins.  The vocals are disgusting and vile, always a good thing.  The painful screams and laughter around the halfway point is a nice touch, adding a level of brutal psychosis.  There are moments in this song, brought on by the drums and the guitars that get meaner as the seconds pass, where the song is unfathomably heavy. 

“Snow Storm,” nails the underground elements of black metal with the bleak, cold atmosphere that it so often represents. Much like a snow storm, it is unrelenting and dense as hell.  Like howling winds, the music ebbs and flows from huge swaths of atmospheric intensity to straight line winds that cut straight through to the bone.  This is a raw, powerful song and the best one on the album and the only way to end this journey.

Old Wainds “Stormheart,” is a fantastic aggressive yet deep black metal album that sent me to a frozen, destitute world.  Fans of the band won’t find anything to complain about here and newcomers will be made a fan instantly. 

Order of Nosferat - Towards the Nightrealm of Orlok

Order of Nosferat is a black metal band of international origins, specifically Germany and Finland. Their latest album, “Towards the Nightrealm of Orlok,” is their sixth full-length album; they have also released a split.

I’ve said it before and I’ll say it again: I love reviewing so much because of all the badass bands I get to discover.  Case in point is Order of Nosferat; their latest blackened slab of bloody vampiric haunts is my first time hearing the band’s music.  

I love how damn raw this album is yet it has a keen sense of melody with its usage of synths/keyboards.  Their metallum page says they are black metal and dungeon synth.  I won’t argue with that but this album is way more interesting than any true dungeon synth I’ve heard. It is obviously a big part of their sound but the black metal shares equal airtime as well.  As a result, “Towards the Nightrealm of Orlok,” is an album that is haunting all the time even while it is throat ripping.

The album opens with “...Far Away to the Land of Ghosts,” and, as far as intro tracks go, it is pretty damn solid.  It without a doubt carries the atmosphere and theme of the album and it doesn't sound half bad either.  I appreciate that it runs into the first full song “Crossing the Shadowland,” so it creates a seamless blend of storytelling. 

“Crossing The Shadowland,” begins with immediate energy and riffs so raw they ride the line between being actual notes and just static distortion—sounds amazing!  The synths are raw too, sort of muffled and definitely bleak.  They provide a fantastic layer to the song without overtaking any of the band’s primal power away.  The drumming is engrossing, the right notes at the right time always finding their place among these shadows.

“At The Sea She Longs For His Return,” is so goddamn beautiful in a way that’s hard to explain to normal people—in a way that only black metal can be.  The synth work is depressive but there is a regal atmosphere to its bleakness that make it hard to ignore.  Its melancholic tones pair so goddamn well with the blackened screams.  The riffs are a heavy blanket, suffocating darkness that hangs over the song like a neverending winter.  Around the 4:11 mark, only the drums and keys/synths remain–it’s a twist that fits in, which really shouldn’t be that much of a surprise at all.   The black metal returns to end the song with sorrow tinged riffs that end this dirge with a bang.

“Into Pale Shadows and Ghostly Dreams,” is like a surreal moment when you’re caught in a fever dream but can see and feel the nightmare as much as you would if you were awake.  The song transitions to unrelenting speed and riffs around the 1:54 mark, a visceral display of caustic savagery.  The screams reach for pain and horrific emotions that can’t be easy to pull off but yet here we are.  I like the synth/key/ambient passage that begins at the 3:45 mark–I’m amazed at how well the band explores these other planes of existence without compromising their core black metal sound.

The final original song (the actual last track is a cover) is “Beyond The Eternity Gates,” captures the mood and themes of the album as a whole.  The synths and metal are truly one, cohesive force.  It’s depressive yet beautiful, contemplative yet arresting.  

Order of Nosferat have impressed me with their approach to atmospheric elements and how they present their powerfully bleak black metal.  “Towards The Nightrealm of Orlok,” is a (very) late year surprise. 

Deivos - Apophenia

Deivos is a death metal band from Poland, who formed in 1997.  Their latest album, “Apophenia” is their seventh full-length album; they have also released a demo and an EP.  

This is the first time I’ve heard their music and I’m kicking myself—I’ve been missing out for 27 years!  Damn!  Oh well, better late than never, right?  Unfortunately, I did not have time to check out their back catalog but if “Apophenia” is any indication, I'm in for quite the ride.

This is exactly the kind of death metal I like: bludgeoning yet engaging.  From the first note to the last, the entire blistering 33 minute runtime across 9 songs is an absolute blast. The aspect I like most about the album is that’s it is technical without all the moddern “widdly wham” that comes with *insert random tech death band here* these days.  These days?  I know I sound like an old man yelling at clouds (I’m 41 so I guess I am old anyway) but I just love it when a band can play in a technical fashion yet still manage to write actual riffs with groove and notes that don’t always fly by at 1000 mph.  “Deivos,” is the album that captures what the tech death scene has been missing. 

The production is loud and vibrant, capturing the many dynamics and twists in the music without being too clean or overproduce.  Every instrument shines in the best way and all the bright spots, ike the solos or time changes, are captured perfectly in the mix.

The barely controlled chaos begins with “Feretory.” Within ten seconds, the sound is encompassing and massive.  Vocalist Angelfuck (and why wouldn’t that be in his name, really) is monstrous and adds a special layer of brutality to the music.  Around the 1:32 mark, guitarists Tomasz and Mścisław hammer so ferociously that I had to rewind this passage multiple times because the punishment was so severe, so unrelenting that I managed to beg for the pain over and over again. 

“Sermon of Hypocrisy,” is brought to life by the ravaging rhythm prowess of the beastly Kamil (bass) and Krzysztof (drums).  No doubt this is one of the most powerful duos I’ve heard in death metal this year—their sound is thick and suffocating, even without the other instruments in the mix.  Remember those solos I talked about earlier?  There are a couple short but sweet ones here (at the 1:4 mark and the 2:57 mark) that claw their way out of the fury, showcasing a special brand of madness.

“Revelations,” is maddening in its approach but every note belongs where it is needed to create a song that flows much better than any song this goddamn intense has a right to. I love the riffs at the 2:06 and the bass I might love even more.  The solo around the 4 minute mark is almos unexplainable but it leads right into a slower tempo crush that ends the song on one of its best moments.

Ah yes, now we come to the title track.  Monolithic.  Massive.  Encompassing.  Brutal.  Any number of things could be said about it but it’s an experience that’s better enjoyed with a decent pair of headphones so you can feel what I did: my head imploding.  As the song approach its midsection, the band throws out grooves that just bulldoze everything.  The technical flourish after the solo is just as impressive and it’s so crazy how these guys blend riff based death metal with technical aspects so effortlessly

The final song is the roaring “Persecutor.”  The drums and bass ramp up the urgency almost instantly and the band rides alongside, throwing out riffs that balance the groove and the tech while the vocalist barks out his sermon with guile and venom. 

Deivos’ “Apophenia,” is one of the best death metal albums I’ve heard in this final half of the year.  I wish I had discovered them much sooner but I’d say this is obviously one hell of an album to start with.  .  

 

Mefitis - The Skorian//The Greyleer

Mefitis is an extreme metal band from California, who formed in 2007.  Their latest album “The Skorian//The Greyleer” is their third full-length album; they have also released two demos.

According to their metallum page, the band is described as “dark metal.”  Going into a bit more detail from such an ambiguous term, I could easily see their music being labeled as death, black, and even Gothic.  Regardless of what genre you want to lump them into, “The Skorian//The Greyleer,” is an adventurous extreme metal album with a lot of detail to it. 

This album certainly isn’t an easy listen at first.  It flows very well and with a run time of just under 42 minutes across 8 songs, it isn’t overly long either.  But it’s dense with a lot going on.  Sometimes these details are more obvious with a direct approach but, at other times, the band doesn’t have any issues taking a more subtle approach.  

Personally, I like music like this and this was a fun album to dive into and explore all its intricacies and details.  There was obviously a lot of care and thought put into this album and it paid off in a big way.  

The production/mix helps with the enjoyment.  Despite all that is going on in the album, every instrument is balanced against the other one.  The songs never sound cluttered or convoluted, either.  

The album opens with the explosive “Vire’s Arc,” represented by the pulsing bass and insanely tight drumming.  This is a more blackened metal oriented song, complete with abrasive screams and an underground feel to the atmosphere.  But subtle keys and tempo changes keep the song fresh and exciting, focused on its desire to be not quite the focused composition for the listener. But it’s so good that you’ll want multiple listens anyway and it will begin to reveal itself over time. 

That’s really the key for the album, too.  It demands multiple listens because with each session, I discovered more and more intricacies that made me (happily) fall further into this rabid rabbit hole. 

“The Untwined One,” opens with a massive Gothic feel but moves forward to a death metal oriented style.  At this point, it is clear the band doesn’t rest on any one moment for too long and is more than satisfied with presenting this song (and each song) with multiple angles from which one can listen. The use of clean vocals is fantastic, never taking away from the extremity but adding to the layers. The melodies near the end are catchy, providing an engaging hook to grasp upon.

Speaking of melody, the band dives headfirst into it with the opening seconds of “...And the Mason Wept.” But the urgency builds up, just bubbling underneath the surface as it’s cooked to  froth with the drums.  The melody returns at the halfway point–it sounds unique, kind of old school yet Gothic and just theatrical enough.  

One of my favorite songs is “Wanthriven,” due in no small part to the opening, blackened grooves. The keys latch onto them perfectly, both instruments becoming one.  This opens the path for the Gothic cleans to make their presence known—so impressive how this song flows so smoothly even while offering so many soundscapes.  Of course, that is indicative of the album as a whole, too. But on this song it works exceptionally well.  I love how the bass builds up a hypnotic rhythm too, subtle and catching me off guard. 

The final song, “The Greyleer,” is the shortest on the album and seems to be the most straightforward.  However it isn’t any less engaging.  The fast paced rhythms and the clean vocals couldn’t be more different yet they couldn’t compliment each other any better.  Their usage makes the extreme vocals all the more biting, too.  

All in all, Mefitis’ “The Skorian//The Greyleer,” is a highly complicated album without actually sounding like it’s all that complicated.  It’s smartly written, deceptive music that will provide many great listening session if you have the patience to dive in and discover its many wonders. 

Against I - Songs For The Dying

Against I is a Swedish melodic death metal band, who formed in 2022.  Their latest album, "Songs For The Dying," is their second full-length album; they have also released four EPs.

Sweden isn’t a stranger to melodic death metal, having given birth to it decades ago.  Over the long years, the scene has come and gone through a lot of sounds.   Ranging from the classic Gothenburg sound to more aggressive avenues (and everything in between), the country has been pumping out melodic and melancholic jams so consistently that you would be forgiven for rolling your eyes at yet another melodic death metal band trying to get their name out there. 

Don’t roll them too far or you’ll miss Against I, whose “Songs For The Dying,” shows a lot of promise for this still young band.  What the album lacks in originality, it more than makes up for in energy and composition.

Against I play a very modern version of melodic death; the influences from the old-school days are there of course but the band isn’t afraid to inject other styles into the sound.  Thrash elements and a ton of groove can be found among the 11 track, 43 minute runtime, and it certainly helps spread out their vision and reduces monotony.  

The guitars tend to be atmospheric as well, focusing on as much mood sitting as they do thrashy grooves.  But it all sounds cohesive and flows pretty damn well.  I don’t think 43 minutes is too long of a runtime for this style but it goes by a lot faster, which is never a band thing and a testament to the songwriting contained within. 

Production/mix is about what one would expect for this genre; it sounds fresh, loud and clear but could definitely use more of a low end presence for some added heft.  

The album opens with “Bound In Blood,” and it immediately jumps to what the album does best: quickly ramping up the energy and diving head first into the song.  Before the 30 second mark even passes, the band is firing on all cylinders and settling into a steady groove.  I like the vocals a lot; mostly the vocals are death screams a la At The Gates but deep growls are used as well.  Regardless, the vocals are just potent enough without overtaking the melody. 

Supposedly, this band used to be more industrial leaning; I haven’t had time to check out their previous releases so I can’t comment but “A Hymn For The End,” does have light usage of those elements.  The opening riffs are fast and rumbling, a neo-groove approach that reminds me much of 00’s metalcore, which is never a bad thing.  The slower parts, highlighted by the tight drums, inject a melancholic atmosphere to the song which also adds to its urgency. 

The guitar opens “Eternal Slumber” with a catchy lead before the riffs begin to hammer it down, alternating between speedy attacks and crunchy rhythms that keep the song open to embrace the subtle usage of keys. The last half of the song finds the guitar taking an interesting return to their melodic tinges before ending the song on a furious note as it fades out to ethereal keys.

“Father of Lies,” is one of my favorite songs on the album, it’s riffs finding a catchy balance between groove and more expansive avenues.  The band turns on a dime, heading into a thrash passage with hammering riffs and drums. The bass gets time to shine, peeking out from the spaces in between the band's audible assault. 

Another banger is “Praise The Dead,” which is loaded with sinister guitar tones and surprisingly thick riffs.  Musically, the song thrives on these grooves but the keys highlight the song perfectly, once again, keeping the energy high.  Around the 2:47 mark, the band embraces death metal for one of the best moments on the album: grinding riffs, deep growls, and destructive drumming.

The final song, “The Blackest Night,” is absolutely fantastic.  It’s immediate, catchy, and has a really cool vibe to it that just grabbed me from the get go. The guitars are at their most melodic on this song, contrasting with the vocals yet making it work.  There is a certain tragedy to this song, the air of despondency that makes it sound out from the rest.  

Against I’s “Songs For The Dying” is a solid representation of melodic death metal from a band that manages to balance modern sensibilities with the roots of the genre. 

Isleptonthemoon - Only the Stars Know of My Misfortune

Isleptonthemoon is a one-man project from Atlanta, Georgia who combine post-rock, metal, depressive black and shoegaze into a style that channels Neverending pain and sadness. It's latest album, “Only the Stars Know of My Mistfortune,” is the fourth album released. 

The production is great. Although the album’s sound is certainly massive, perhaps even monolithic in terms of its stark emotional towers, the production and mix is open; everything flows freely and, with a decent pair of headphones, will envelope the senses. 

This is quite the arresting journey. It almost aways has a give and a take with the music, a constant push and pull between light and dark elements. I like that because even when it's at its most blackened moments, a certain gentle fragility exists. This is pained, harended music from a grave in place of a heart but it's also always teetering on the edge of a mental and emotional breakdown. 

On the flipside, the light elements, the ones that shine more clean than in the shadows of chaotic distortion, are just as dense and destructive but walking a different path to get there.

The album opens with “Safety,” and its warm, acoustic guitar. There is a feeling of being content in safety but there is also an underlying Feeling of something more sinister. These skies of grey turn bleak and thunderous around the halfway point, when the song explodes with intense drumming and bleak Sounds from the melancholic guitar. I like the clean keyboards, dropping like rain on cold Winter day.

“Maybe I Don't Know It Yet, but Good Things Are Coming Soon,” embraces their post-rock influences with gentle, clean vocals riding atop a wave of acoustic guitars and ambient keys. The song adds depth and intricate details as it smoothly flows over.  

Of course, the growing darkness, ever approaching, arrives at the 3:48 mark. The rest of the song is torturous but also beautiful in its despair.  This aligns with the overall sound of the album. It will break you but even through the tears, clarity can be found.

The final song, “Keep Hidden,” doesn't feature any metal elements but I'll be damned if it isn't just as potent and unrelenting. It's A quiet approach, a gentle breeze that moves as a ghost through the air. 

Isleptonthemoon’s “Only the Stars Know of My Mistfortune,” is a deep, dark journey that might leave the listener to explore their own depths even while plummeting into the albums own endless crevices. 

Bedsore - Dreaming The Strife For Love

Bedsore is an extreme progressive metal band from Italy, who formed in 2018. Their latest album, “Dreaming The Strife For Love,” is their second full-length album; they have also released a demo and a split.

This was a hard album for me to review. I was a huge fan of their debut full-length “Hypnagogic Hallucinations,” so I was taken aback by the sounds presented on this album.

The band’s prior music isn't a stranger to progressive elements but on this one they dive heard first into 70s prog rock. As a whole, I find it works pretty well but it certainly feels like it's more prog rock than metal at times. 

That may or may not be a deal breaker for some so mileage may vary. For me personally, I feel like this album leans so heavily into its influences that it loses a lot of the mind numbing psychosis that made their debut so impressive to me.

But this album is worthy for the bold risks it takes and how unique it sounds. There isn't a shortage of bands mixing old with the new but, thankfully, the way Bedsore approaches it keeps, the album sounds different from any contemporaries. I don't think each song works but the songs that do work are pulled off amazingly well.

The opening song, “Minerva's Obelisque”  unfortunately doesn't start the album out quite as well as I was hoping.  It's basically an intro but it's about five minutes too long. It's an instrumental (except for some light clean vocals near the end) so it's missing the extreme vocals.  That missing element keeps the song a bit too light for my tastes and the structure ends up meandering around too long.

“Scars Of Light,” fairs a lot better. It's faster paced and it's progressive elements get to the point at better angles for their ideas to bounce from. The riffs and keys/organ meld together pretty well across the song. The melodic elements are spacious enough to hold these ideas while allowing the non metal elements to sound as tower as the extreme ones. 

“A Colossus, an Elephant, a Winged Horse; the Dragon Rendezvous,” is the center piece of the album and clocks in at nearly twelve minutes. The opening tones capture a foreboding feeling and the desecent into madness that I was missing.

It's methodical; each instrument adds in their own style as they all work together to build the song up layer by layer.  

From the six minute mark onward is my favorite part of the song. The tempo is fast, the atmosphere hellish and crumbling.  When the extremity of their core sound pokes holes in the blanket of their classic prog, the band's new direction shines. 

The classical clean guitar is beautiful yet has a hint of twisted machinations within it.  But it's final moments of the song that make it stand out, where melodic flourishes dance around black metal and prog elements.

The final song, “Fountain of Venus” is another solid song. The first few minutes are urgent in an odd way, and even sound a little playful at times. The bass is particularly strong.  

There are moments of rich smoothness (from the 3:54 to 5  minute mark) that show a maturity and confidence to this direction that made me feel a little bad that it hasn't grasped me fully. 

Ultimately, no matter how you might feel about Bedsore’s “Dreaming The Strife For Love,” the album is worth checking out at least a few times.  What the band is going for may not hit the mark every time but it’s an unique experience, something that is lacking these days in most genres (metal or otherwise).  I also can’t fault a band for willing to experiment either.  Hopefully, in the future, Bedsore can better focus the extreme elements into their unconventional ideas so that it’s a more cohesive experience.    

Vidres A La Sang - Virtut Del Desencis

Vidres A La Sang is a black metal band from Spain who formed in 2002.  Their latest album, “Virtut Del Desencis” is their sixth full-length album.

“Virtut Del Desencis” is a strikingly well written album!   This is an amazingly unique extreme metal album that mixes it up ways few bands I’ve heard this year have.  Although black, and even death metal are definitely the basis of their core sound, they really can’t be pigeon holed into any one style.    In essence, this album is versatile and dynamic; it kept me guessing where it was going to go from one song to the next.

WIth that’ being said, it doesn’t sound too out there or disjointed.  Despite the myriad sounds presented across its 6 song, nearly 45 runtime, it always feels cohesive with expertly managed flow.  45 minutes isn’t too much to ask for six songs—in fact, it will actually be a lot longer because they are so damn good, you’ll want to hear them again and again. 

The production and mix are both fantastic.  Every detail, everything that pours out from its many nooks and crannies, can be heard without having to strain the ears.  The overall sound of the album feels very “live” to me and the tone of each instrument is crisp and biting.  In essence, this is an unconventional album but with songs that are so well crafted that it never seems overdone or pretentious. 

According to the band’s press release the album’s title means ‘vritue of disenchantment,” which is that state of the soul where the last moments of lucidty swell just before surredering to the total absence of any hope.That is complicated stuff to digest for sure and it requires music that steps outside the box to explain in; the music across the album certainly matches the depth of the lyrics.  

There isn’t a bad song among the six so I will hit up a few of my favorite moments across the album.  

The album opens with “Màrtirs,” and it’s ambient beginning that builds the song up with soft, warm tones.  As it grows, it sounds vaguely funereal just before the bands explodes into rapid drums and psychosis induced riffs, with the lead guitar providing much of the atmosphere.  The vocals are blackened growls that meld with the song structures, every piece flowing togther as one.  The clean vocals later are a welcomed addtion and fit perfectly into the controlled chaos.  My favorite part is the solo and the riff jam session that arrives afterwards—hammering and hypnotic!

The beginning riffs of “Sempre és incert,” feel sort of off kilter and topsy-turvy, as if the song is a crumbling structure that’s barely hanging on.  Everything breaks off into clean instruments and whsipered vocals, with the lead guitar providing short but sweet solos that pierce through the veil.  The buildup of the song is amazing–the layers build up with each passing second, this crumblng structure regaining a foundation as the song moves towards the four minute mark when the band embraces its black metal roots and goes for a gut punch.  

“L'elegia dels innocents,” begins with unquie, almost alien, soundscapes.  In the background, the guitars and bass work on building their own math and it all melds together before the one minute mark.  There is a meloncholic feel to the song that contrasts against vicious vocals, which are barked out in a suprisingly catchy cadence. The gallopoing riffs and melodic tinges on the bass keep the song both heavy and expansive.  The solo in the later half is killer and the rhythm goes for broke.

At this point in the album, it’s clear that every song is going to offern plenty of wow moments. “Capricis de l'atzar,” marks the halfway point and changes things up with a long, clean intro.  It’s a miminalistic approach that does a lot with less.  It’s very clever but also serves the purposes of building up tension.  The song eventually settles into a slow groove and the whole band acts as one moving part. It’s kind of doomy and unrelenting but in a subtle way.  The quiet tones make another apprearnce just before the band opens the floodgates, with the drumming steering the song into frenzied waters.

This song really shows how well the band is able to write extreme songs without sounding extreme, heavy without doing in an convential way.  It’s a brave approach that a lot of bands can’t pull off and requries a level of confidence that’s hard to reach.  Well, Vidres A La Sang reach it and live on it, thriving and growing with each passing minute.

“Records a l'oblit,” is quite a bit more intense than the previos two tracks, offering a late stage visceral attack to help break up any motony (although this album has none).  The drums are a battery ram and the bass exists in the spaces between, filling the gaps for a full sound.  The guitars are clean and intricate in parts, a different approach to extremity. The middle part of the song is catchy, especially the riffs.  I like the melodic solo, possibly the best on the album.

The final song, “Llàgrimes de sang,” ends the album on a haunting note.  The opening tones are somber and ghostly.  The guitars are echoes on the wind but the vocals tell of a storm on the horizon.  The first half of the song creeps in, slowly unfurling its tendrils.  Around the 4:18 mark, the beast those tendrils belong to reveal themselves and the darkness begins to march forward, ever approaching and unescapble.

Vidres A La Sang have released one hell of an album with “Virtut Del Desencis.”  This album has a lot of depth and detail—people who don’t even like extreme metal will find something of merit within its wall. If you’re a fan of metal that makes you think, that offers more than just nonstop bludgeoning, this needs to be on your radar.  A stunning acomplishment. 

Tyrannic - Tyrannic Desolation

Tyrannic is a black metal band from Australia, who formed in 2010.  Their latest album, “Tyrannic Desolation,” is their third full-length album; they have also released two demos, a split, a compilation, and an EP.

Tyrannic is definitely black metal but, if this album is any indication, they are also doom metal.  There is a strong element of that style throughout the album and, considering it’s my favorite genre, I’m right here for it.  

“Tyrannic Desolation,” is certainly an interesting album that embraces many of the old-school leanings of black metal.  It’s a raw approach that is bursting at the seams of its leather with desolation and cold, bleak music. Nothing here is flashy, overdone, and bloated with anything other than, well, straight up black metal. 

But their doom elements help the album so much—this part of their sound doesn’t so much as change the direction of the album as it does improve it.  The slow to mid-paced parts keep the album fresh and riff based…."Tyrannic Desolation” has a lot of kick ass riffs!  

The tone of the drums is fantastic—very organic but focused as hell.  Vocalist/drummer R knows exactly what each song needs and runs with it without being overbearing.  I think the band is a trio but I’m not not sure who plays bass. Regardless, the bass is just as potent as the drums and together they provide a solid low end/foundation.

The band is at their best when the doom and black metal are combined, such as in the opening song, “Prophetic Eyes of Glass.”  The riffs, courtesy of J, are groovy yet they still have that dangerous underground tone to them.  The song speeds up at a moment's notice, which adds to the unknown fury the band casts out.  I love the middle part of the song, which goes from slow headbanging like it’s 1987 to a darkly melancholic passage.

The title track is a banger, this time the band focusing more on the traditional black metal elements they offer, at least for the song’s opening moments.  The guitar solo is a nice touch, a clever way in pushing the song forward to the doom parts where the band goes from frigid waters to scorched earth.  The final half is gripping, R’s vocals clawing from a tomb, looking for a fresh kill for a bloodmeal.  

“Stillbirth In Still Life,” is one of my favorites on the album–the opening moments are a surprisingly Gothic passage that wouldn’t sound out of place on an old school Paradise Lost or My Dying Bride album.  This song takes its time, seeping in under the skin only to rip it slowly, an inch at a time.  The vocals and drums compliment each other so goddamn well, each of them reaching for heights of pure desperation before coming down like a hammer. 

“Dance On Graves Chained To The Labyrinth,” is another favorite of mine.  The riffs are not unlike the previous song––macabre and thick.  But around the 2:14 mark, the song takes a different turn with a surprisingly emotive guitar solo.  The scream in the middle of it is harrowing as the notes begin to shred a little before getting more introspective.  Near the end, it builds up to an epic climax.  This song is quite surprising and placed perfectly in the track list as the album nears its conclusion.  The atmospheric melodies at the song’s end are something else and a very welcomed addition. 

The final song, “Morbid Sanctum,” wastes no time in providing a singular, devastating conclusion to the album.  The riffs and drums in the beginning are sweltering and nearly exhausting.   The first half is suffocating doom but by the time the halfway mark is reached, groovy and psychotic riffage birth from the darkness, an almost hypnotic passage that is engaging as it is morbid.  

Tyrannic’s “Tyrannic Desolation,” is another late year surprise for me that offers a sterling combination of black and doom,  using each genre to compliment the other while providing a balanced, cohesive collection of chilling songs. 

 

Hjemsøkt - Om vinteren, på en sort trone

Hjemsøkt is a black metal band from Norway, who hit the scene last year with their debut EP “Mystikk og mørke.”  A year later, they return with their full-length debut album “Om vinteren, på en sort trone.”

The band describes their style as “Ethereal Misantropic Black Metal.”  I definitely think that is a great way to describe the album.  Oftentimes, it fully embraces the more abrasive side of the genre by offering fast songs, searing riffs, and vicious blackened screams.  However,  that only tells half the story.  This album is also filled with many atmospheric/ethereal moments that showcase the band’s willingness to step outside the box.

The band embraces their dynamic style right out of the gates with the first song, “Døden hersker blandt fjord & fjel.” The clean instruments and chanting begins the song on a surprisingly different note than I would have thought. This part flows nicely so nothing feels forced when the black metal kicks after the 1:36 mark.  

The song spends the next few minutes pouring gas on a fire, the flames rising to extreme heights.  After the halfway point, around 3:15, subtle, ghostly tones pepper the soundscape.  It pairs well with the furious rage the band simultaneously releases. The distortion fades out and more clean, and intricate, clean guitar arrives before the song finishes out in an extreme way.  Adding in these little details, these moments that catch me off guard even as they make sense in the context of the song, are what make the album so good.

It would be easy for the band to rest on its laurels and throw the rest of the songs on autopilot but each one offers something new and none of them follow the same path or structure.  Case in point is “Forhekset av en blek & ensom måne,” a song with a strong backbone and damn near unstoppable.  At first listen it sounds like just another ultra speedy black metal song.  However, as I listened more, the subtleties of the song opened up and its mysteriousness revealed itself to me. The bass is one of those elements that floated through the veil of my understanding—it’s melodic and differentiates itself from the wall of sound generated by the guitars.  The slow to mid-paced parts of the song are a welcomed addition, it adds a little breathing room between bouts of aggression.  The drums, especially after the halfway point, are groovy and more catchy than they have a right to be.  

How effective would misanthropy be without streams of depressive, melancholic textures?  “Dødens øyne,”  is loaded with sullen atmospheres and a certain despondence that adds just the right flavor to the song.  The clean vocals go on a long way in helping with this and the bass too.  The guitars are groovy but not overly–just enough to help position themselves to provide a twist to the mid section, with clean instruments, chants, and blackened howls.  As the carnage ensues, the atmospheric elements creep back in and continue on as the distortion fades out.  

The final song, “Vinterkveld i trollfjell,” ends the album on a high note.  The guitars, and the opening scream, set a tone of urgency that is as infectious as it is hectic.  The bass and drums are a very convincing team here, keep the balance between melodic subtleties and the affinity for black fucking metal.  

Hjemsøkt’s “Mystikk og mørke,” is a solid black metal album that steps out of the box but in an organic way that makes the overall sound seem more rich and full than a lot of blackened releases I’ve heard this year.  Despite that, it’s still zeroed in on the genres more anti-everything perspective—this album will satisfy a variety of fans.  

A Dead Poem - Abstract Existence

A Dead Poem is a blackened doom metal band from Brazil, who formed in 2023.  “Abstract Existence” is their debut full-length; they released an EP in 2023. 

This is a very striking debut and it sounds like it comes from a band who has been around much longer than they have.  Clearly, the duo of lead guitarist/bassist Marlon and Vocalist/guitarist/keyboardist/drummer Be Misanthropic have a firm grasp on the vision of this album.  This effectively combines doom, Gothic, and blackened elements into one broad,  harrowing sound of dire melancholic madness. 

The production must be praised.  It’s raw and bleak, it’s menacing tendrils wrapping around each note and instrument of these songs and pulling it into its void.  It’s the perfect atmosphere for the songs which combine a subtle form of aggression, low-key danger, and stark gloominess.  Overall, it sounds quite abrasive yet it’s open enough to let the many dismal melodies and sorrowful passages find a clear path through the utter darkness. 

The band isn’t afraid to embrace faster tempos, allowing its black metal influences to come out from the edges of insanity without overtaking the doom.  If anything, it perfectly compliments by becoming one with it.  There are several instances of quieter moments, where clean notes dance among the liminal spaces.  In these moments, the band’s lights shine as strongly (or in this came, dimly) as the heavier moments.

The vocals are freighting, a brutal form of blackened screams and growls that are about as gentle as having your face shaved with sandpaper. There is just enough echo on the back end without going overboard.  It’s the only vocal style that will work here and it sounds great while matching the music, so no complaints.  

Despite the macabre lyrics and abrasive style, the album flows very smoothly.  It doesn’t hurt that the runtime is perfect with 7 songs at just over 38 minutes long.  The album glides through quickly, allowing many reasons for repeated listens without fatigue setting in. 

The album opens with the gripping song, “In Forgotten Dimensions.” Like being pulled into the unknown cavernous crevices of a cave, the melodies grabbed me and thrust me into the thick of it.  The drums sound so damn good too—loud and full, complimenting each part of the song with urgency.  The blackened vocals float through the air like a restless spirit—it all sounds truly analog, as if the band was playing right next to me.  Invest in a good pair of headphones for this album and you’ll become one with this nightmare.  Around the 2:15 mark, an interesting atmospheric ambience falls like water drops from a stalactite , dripping down into the details of song and reforming a new beast.  

“Before the Rising Sun,” adds a surprising fast paced groove that kicks the song with a bang just before the tempo slows down to a crawl. At this point, growls scrape the bottom of its cage of muck, pulling up with it all the unspeakable things that crawl in the dark.  The melodies are striking but compliment the darkened doom—this isn’t Gothenburg melodies.  The song is peppered with guitar leads that fill in the gaps, adding another layer to this already towering monstrosity. 

“Obedience,” is a Gothic embrace that reminds me of a much more extreme version of something Paradise Lost might do.  I love the contrast between the guitar melodies and the double bass because, despite their differences, they compliment each other and work for the song.  Around the 3:58 mark, the riffs hammer out some of the best moments on the album–and the drums crash around them with abandon. 

The final song is “Silent Tears Fall,” and it’s as mournful as a funeral within just seconds.  I love the ambient textures—they meld so goddamn well with the blackened doom carnage.  After that passage, the band rocks out like some kind of jam band from hell before another ethereal passage arrives. This one is a little mysterious and disturbing but I’m right here for it, especially because it leads into a kick ass guitar solo and a tight drum performance. 

A Dead Poem’s “Abstract Existence,” is a fantastic blackened death/doom album with a impeccable vision that includes Gothic and melodic elements that balance perfectly with the desolate leanings of the album’s dark odyssey. 

Tethra - Withered Heart Standing

Tethra is a doom metal band from Italy, who formed in 2008.  Their latest release, “Withered Heart Standing,” is their fourth full-length album; they have also released an EP.

I discovered Tethra back in 2020 when I reviewed their third full-length album, “Empire of the Void,” for Metal Temple.  I gave the album high marks and still listen to it on occasion to this day.  So how does “Withered Heart Standing” compare to an album I so obviously love?

It’s just as good, and in some ways, even better.   “Withered Heart Standing,” has eight songs, two less than the previous album.  It’s also about eight minutes shorter, with a runtime of just under 49 minutes.  This slightly shorter approach is better because it trims the fat and offers a more focused album.  It flows a lot better too, with no filler.  

The band’s brand of melodic death/doom remains intact but they also explore more Gothic elements this time around.  Gothic and doom go hand in hand so it’s a welcomed approach, in my humble opinion.  The slow to mid-paced doom is emotive and not afraid to introduce melodies while the Gothic aspects had a subtle, regal quality to the songs.

The core lineup of vocalist Clode, bassist Salva, and guitarist Federico remains intact.  New additions, drummer Lorenzo and other guitarist Gabriele join the fray.  All parties involved do a splendid job in bringing the album’s vision to life.  Federicio and Gabriele are excellent at keeping the songs heavy and intense while still layering them with melodies and introspective moments.  Clode’s vocals only improve and are more potent than ever.  Whether it’s a death growl, scream, or a deep clean, he does it all.

The production is utterly amazing.  It has a warm and deep feel to it that brings out the emotional nature of both the lyrics and music.  Lyrically, the band gets more personal than ever, offering perspectives on loss, rejection, and solitude.  I mean, this is doom metal.  If you are expecting tales of sunshine and puppies then maybe you’re in the wrong genre.   

There isn’t a bad song on the album so I’m going to touch on a few that really hit me but this is such a smooth flowing album with so many strong moments that it’s best to listen from beginning to end.  I promise you won’t get bored, not even for a second. 

The band begins this new opus with the beautifully amazing “Liminal.”  The clean tones that kick it off are layered and build up wonderfully.  There is a classic feel to this part, embracing Gothic doom with open arms.  Around the one minute mark, the guitars kick in with guitars that provide heavy crunches that slide in and out of surprisingly catchy grooves and melodies.  The subtle keys have a tight grasp on this sorrow-filled song and I was nearly brought to my knees before the song even really begins.  

Around the two minute mark, the awesome death growls rip through and bring with them a slow tempo change that we all love about doom.  The chorus is yet another catchy element that hooked in me for many repeated listens.  Who says Gothic melodic death/doom metal can’t be catchy while also having depth?  Of course it can.  Tethra’s strong songwriting won’t allow for anything less.  

“Days of Cold Sleep,” has a guitar melody that reaches deep inside the heartstrings and will not let go.  From one second to the next, each note of this song is perfectly placed to create the next moment.  I love the deep bass that props up the entire song, a strong undercurrent of darkness for the band to lay their tapestry.  The vocal cadence is infectious as are the harmonies of the background vocals.  Elisabetta Marchetti (vocalist on INNO’s debut album “The Rain Under”) provides her majestic cleans—she pairs so damn well with Clode’s growls. Fantastic!!!  Just over the halfway point, a baroque and classic passage divides the song, bridging it together in quite the sterling way. 

I maintain that an album’s title track should be one of the best songs and Tethra take that notion and run with it—definitely one of the best here and one of the best they have ever written.  The tight, galloping rhythms carry the deep, Gothic cleans forward.  This song is like one big wall of emotional sound and, in case you haven’t noticed a pattern here, is catchy as hell.  The song doesn’t have any extreme vocals but the drum's thick double bass makes up for that, keeping the band’s death metal influences not too far away. 

As the album progresses, it actually gets better; several of the deepest cuts are some of their most heavy, and beset, songs.  Case in point is “Behind The Scars.” The extreme vocals are vicious and the music behind them is some of the most convincing doom I’ve heard in this last half of the year.  The intensity builds, highlighted by killer cymbal work and destructive bass. The song gets epic after the halfway mark…I can just feel the emotions pouring outward from the band and into me.  Super intense and another one of the best moments from the band’s career. 

The final song, “Commiato,” is a so-called ballad that begins life with clean pianos and a gentle but powerful vocal performance.  Around the three minute mark, sweltering riffs kick in turning the song from tragic to despondent 

Tethra’s “Withered Heart Standing,” is another great album in an unstoppable discography.  This album pushes their sound forward while retaining the elements that make them so grand in the first place.  I’ve no doubt this album solidifies their place in the pantheon of doom metal.  

Misanthropic Aggression - Insect Politics

Misanthropic Aggression is an extreme metal band from Atlanta, Georgia who formed in 2015.  Their latest release, “Insect Politics,” is their full-length debut; they have also released a demo and two EPs.

This album is a blast from start to finish.  Across its 12 track, 38 minute runtime, this duo blazes through death, black, and crust on a ride to hell and back.  It’s fast, catchy, energetic, and groovy as hell.

The crust/hardcore punk aspects of the music works in their favor, such as on the opening song, “Social Ruin.”  It’s short and high-octane–just over a minute of screaming death vocals, blistering rhythms, and riffs for days.  

As soon as that song ends, the title track begins.  There isn’t any rest, no time for a breather–just the next face melting song.  The production is balanced, each instrument throwing out fire that bounces off the walls, hits each other, and finds its place as the song moves perpetually forward.  The middle part is so damn groovy that I almost fell out of my chair headbanging. Forget 0 to 10, this song goes from 10 to 11. 

“A.S.S. III - The Borderland Wars,” is built with a chunky main riff that hammers consistently but held together by slower tempo riffs that add seething rage to the proceedings.  I love the drummer—insane urgency but very crisp and sharp.   The solo is wild—it makes sense in context of the song but definitely walks off the beaten path.

The bass drops like a boulder on “The Gates of Hell,” and then some of the album’s best, most memorable riffs hit.  The rumbling of the drums makes the song thick and nearly palpable.  The song doubles down and speeds up, bringing along with it deep death growls that push the intensity to insane levels. The solo blazes out a path for the last minute of the song to devastate everything to dust. 

At this point, the band is moving through the album, dropping one banger after another.  “Intentional Under Performance,” begins like it was already playing by the time the music reaches my ears.  This song is on fire—the double bass is meaty as fuck and I could fell it destroy my ears through my exploding headphones.  At the 2:11, thrashy, catchy riffs that would make THE CROWN proud end the song the only way they could.

The final song is “Eusocial Demesne,” and it’s one of the longest on the album at just over six minutes.  The time is well spent, offering thrashy moments that transition to blackened ones and then move onto the brutality of death metal.  The movement from 2:55 to 4:02 is an unforgiving nightmare of carnage and one of the album’s many highlights.

Misanthropic Aggression’s “Insect Politics,” is an untamed band playing inhospitable music.  They take all the bullshit in the world and give it a big middle finger while throwing the horns up on the other hand.   

Codespeaker - Scavenger

Codespeaker is a sludge/post-metal band from Scotland, who formed in 2019.  “Scavenger” is their second full-length album; they have also released a live album.  

According to the band’s press release, the album, “Is an ode to the powerless, a fitting theme for these days.”  The album’s music really grasps this theme and runs with it.  The whole album permeates with feelings of hopelessness, helplessness, and a righteous anger for change.  It speaks for those who cannot speak for themselves–and it’s loud as hell in doing so.

Despite the feelings and subject matter, “Scavenger” is a beautifully put together album.  The production is bottomless, working in tune with the massive riffs and bass for a sound that fills up my head–listen with a decent pair of headphones and you will become a part of the album.  As the sludge part of the band destroys, the post ingredients build.  Each song is layered with music that takes multiple listens to explore.  Each note, each beat, swirls together in an endless kaleidoscopic of audio meanderings.  

“Usud,” is the opening song and it gives an idea as to what lies ahead.  Each song does sound different but if you like this one, you’ll find much to explore in the remaining songs.  This one builds up with deep, clean tones, before urgent yet suffocating riffs hammer down.  The vocals are raw and emotional, somewhere between a shout and a growl.  I can feel the band’s frustrations as they rip through the song.  It slows down a bit, the album bringing out one of its many moments of clean music that thrives in the liminal spaces it provides.  The final half is melancholic and tragic, but still finds time to be a bulldozer when called upon.

“Rescission,” begins more immediately—and it’s crushing, the audio equivalent of an implosion.  I love the riffs in this one…they just don’t ever quit.  The band becomes one for the first half of the song, blending into a wall of sound.  It’s towering, monolithic, huge.  Whatever I could say won’t do it justice because this band nails down how to be heavy both musically and emotionally.  The action rises until just over the halfway mark where they hit a clean passage that’s just as stark, just in a different way.

The band is just as comfortable in shorter spaces too, as with “Samsa,” which is under four minutes.  This is a more straightforward song of course but it’s still densely packed and layered.  The second part of the song is one of the more punishing moments on the album and nearly made me dizzy. 

The sad, deceptively simple intro to “Karst” pulls back on the never ending heaviness but remains highly engaging.  As a huge doom/sludge/post fan, I crave these long intros and slow buildups. As the three minute mark approaches, precision drums carry the notes to heavier waters and by the four minute mark, the band is in full stride as it rains down its fury. 

My promo copy ends with “Hiraeth,” which is the final track on their previous album so I assume this is some kind of remaster version or maybe re-recording.   “Scavenger” is my first experience with the band so I haven’t heard their previous one to compare.  

Regardless, it’s a fitting final song that fully embraces both the light and dark elements of the band’s sound. This one is slower with a doom like tempo and atmosphere.  The middle part is unique as hell–I’m not sure if the songs are guitar or keyboard but they are awesome.  

Ultimately, Codespeaker has released a truly impressive album with “Scavenger” and it’s definitely made me a fan of the band.  If you like metal with depth and emotion (and why wouldn’t you?) then these albums should be on your radar as the year comes to a close.