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Angry Metal Guy<a href="https://www.angrymetalguy.com/stuck-in-the-filter-november-and-december-2024s-angry-misses/" rel="nofollow noopener" target="_blank">Stuck in the Filter: November and December 2024’s Angry Misses</a>By KenstrositySeeing as how it’s already almost February, you must be wondering why we’re still talking about shit from 2024. Not that I have to explain myself to you, but I didn’t give my minions grueling tasks just so that I could not take the glory for their labors. That wouldn’t embody this blog’s continual aspiration of being terrible capitalists! And so, we press on, searching and rescuing worthy—but not too worthy—pledges for the barbaric, Hunger Games-esque event that is Stuck in the Filter.BEHOLD! Gaze upon these late-year candidates with the appropriate levels of awe, ye ov little consequence! Kenstrosity’s Wintry Wonders <a href="https://www.facebook.com/Caelestra86" rel="nofollow noopener" target="_blank">Caelestra</a> // Bastion [December 13th, 2024 – Self Release]Beauty is in the eye of the beholder. For this sponge, I know something is beautiful when it ensnares me into otherworldly environments unlike those which mirrors terrestrial mundanity. UK post-metal one-man act Caelestra specializes in such ethereal worlds, with debut record Black Widow Nebula catching my attention under its blazing miasma of <a href="https://www.angrymetalguy.com/countless-skies-glow-review/" rel="nofollow noopener" target="_blank">Countless Skies</a> lushness, <a href="https://www.angrymetalguy.com/astronoid-radiant-bloom-review/" rel="nofollow noopener" target="_blank">Astronoid</a>al optimism, and <a href="https://www.angrymetalguy.com/dreadnought-the-endless-review/" rel="nofollow noopener" target="_blank">Dreadnought</a>-esque compositional vibrancy. Follow-up Bastion treads much the same path, but with an added emphasis on cathartic spells of intensity reminiscent of current <a href="https://www.angrymetalguy.com/irreversible-mechanism-immersion-review/" rel="nofollow noopener" target="_blank">Irreversible Mechanism</a> (“Finisterre”), <a href="https://www.angrymetalguy.com/kardashev-liminal-rite-review/" rel="nofollow noopener" target="_blank">Kardashev</a> (“Soteria”), or <a href="https://www.angrymetalguy.com/devin-townsend-lightwork-review/" rel="nofollow noopener" target="_blank">Devin Townsend</a> (“The Hollow Altar”). Balancing these potentially disparate references, mastermind Frank Harper’s compositions flow with an uncanny smoothness without falling into a pit of homogeny. Bastion thereby represents a varied and textured affair built upon compelling guitar leads, unexpected riffs, multifaceted vocal techniques, and athletic percussive movements (“Finisterre,” “Lightbringer,” “The Hollow Altar”). Choosing the long form as Caelestra’s primary vehicle for this musical journey only deepens the experience, as each act offers a wide spectrum of moods, a rich tapestry of characters, and a lush layering of story to enrich any listener’s journey through Bastion (“Lightbringer,” “Eos”). Yet, the whole coheres tightly into a memorable and accessible forty-eight-minute span, easily replayable and effortlessly enjoyable. That, more than anything, makes Bastion a neat little triumph worth checking out.<a href="https://www.facebook.com/pg/EarthboundMusicUK" rel="nofollow noopener" target="_blank">Earthbound</a> // Chronos [November 26th, 2024 – Self Release]I have the honor of claiming this find all to my own—something that hasn’t occurred as often this past year as it has in those preceding. Bristol’s Earthbound offer a particular brand of melodic death metal that I want to love more often than I actually do, but they checked all my boxes here. Occupying a space somewhere between <a href="https://www.angrymetalguy.com/amorphis-halo-review/" rel="nofollow noopener" target="_blank">Amorphis</a>, Countless Skies, and <a href="https://www.angrymetalguy.com/dark-tranquillity-endtime-signals-review/" rel="nofollow noopener" target="_blank">Dark Tranquillity</a>, Earthbound’s style is simultaneously effervescent, introspective, and crushing on debut record Chronos. Boasting chunky riffs, soaring leads, classic melodeath rhythms, and buttery-smooth baritone vocals, Chronos throws blow after blow for forty-nine minutes of high-engagement material. Looking at standout tracks “A Conversation with God,” “The Architect,” “Cloudburst,” “Aperture,” and “Transmission,” Earthbound’s compelling songwriting tactics and knack for a killer hook recall underappreciated gems by modern contemporaries <a href="https://www.angrymetalguy.com/rifftera-across-the-acheron-review/" rel="nofollow noopener" target="_blank">Rifftera</a> and <a href="https://www.angrymetalguy.com/svavelvinter-morkrets-tid-things-you-might-have-missed-2018/" rel="nofollow noopener" target="_blank">Svavelvinter</a>. Some of their most accessible moments almost, but not quite, veer into pop-levels of accessibility, further accentuating Earthbound’s infectious energy (“Change,” “Flight,” “Transmission,” “Chasing the Wind”). This works marvelously in Earthbound’s favor, not only making Chronos a joy to listen to in its own right but also impressing me with how polished and professional the band is with only one full-length under the belt. Don’t let this one fall through the cracks!<a href="https://www.facebook.com/profile.php?id=61555378127543" rel="nofollow noopener" target="_blank">Flaahgra</a> // Plant Based Anatomy [November 15th, 2024 – Self Release]WWWWOOOOOORRRRRRMMMHHHHHHOOO… wait, what? Oh, no, this is Flaahgra. But, the riffs sound like my beloved <a href="https://www.angrymetalguy.com/wormhole-almost-human-review/" rel="nofollow noopener" target="_blank">Wormhole</a>! What’s going on? Oh, well this explains it. Sanil Kumar of Wormhole fame is responsible for Plant Based Anatomy’s guitar work. Rounded out by Tim “Toothhead” Lodge (bass), Chris Kulak (drums), and Anthony Michelli (vocals), this Baltimore quartet concoct a fast-paced, riff-burdened blunderbuss of gurgling vegan slam meatier than the fattest flank this side of Texas. It may be based around plants (and Metroid), but there are enough muscular grooves, neat lead work, and boisterous percussive rhythms here to keep even the most ravenous death fiend stuffed to the stamen (“Blood Flower,” “Toxic Green Fluid,” “Solar Recharge,” “Plant Based Anatomy”). Oversaturated with killer hooks, Plant Based Anatomy feels every bit as headbangable as this group’s pedigree indicates, but their application is delightfully straightforward, allowing Sanil’s standard-setting slams to shine brightest (“Plant Based Anatomy,” “Garden Cascade,” “Venom Weed Atrocity”). At a lean twenty-five minutes, Plant Based Anatomy rips through my system as efficiently as any grease-laden, overstuffed fast-food chimichanga, leaving just as vivid an impression in its wake. If there was ever a quick and easily digestible example of what differentiates really good slam from two-buck upchuck, Plant Based Anatomy is it. FFFLLAAAAHHHHGGGRRRAAAA! Tyme’s Time Turners<a href="https://www.facebook.com/solarwimp/" rel="nofollow noopener" target="_blank">Solar Wimp</a> // Trails of Light [November 15th, 2024 – Self Release]The richly dense knowledge and tastes of the commentariat here at AMG are a marvel. And despite the long hours of hard work the staff put in writing and keeping Redis at bay, not to mention the gut-wrenching task of pumping the n00b sump pit every Friday<a href="https://www.angrymetalguy.com/stuck-in-the-filter-november-and-december-2024s-angry-misses/#fn-209724-1" rel="nofollow noopener" target="_blank">1</a> we continue to scour tons of promo to bring you the best and the rest of all things metal(ish). Invariably, some things trickle up from our most precious readers that deserve more attention than a few rando comments and respects. Such is the case with L.A.’s Solar Wimp. It was during my <del>most recent stint in</del><a href="https://www.angrymetalguy.com/stuck-in-the-filter-november-and-december-2024s-angry-misses/#fn-209724-2" rel="nofollow noopener" target="_blank">2</a> continued n00bdom that I scoped one of our commenters pimping the Wimp‘s who released, sadly to me now, their last album, Trails of Light, in November. As my ears absorbed the immediately quirky dissonance of the opener, “Entwined with Glass,” I was reminded of how blown away I was upon hearing Jute Gyte for the first time, this more due to my un-expectations than anything else. What followed was a journey I happily embarked on through fields of saxophonic freedom (“Strand and Tether”) and forests of long-form avant-garde brilliance (“Shimmer”). The black(ish) metal vocals and tech-jazz guitar histrionics of Jeremy Kerner, combined with Justin Brown’s bassinations and Mark Kimbrell’s drums, imbue so much passion into the music on Trails of Light, it has me guessing Solar Wimp may have very well saved their best for last. While I’m sure you’re ready to move on from 2024, I’d encourage you to dip back into last year’s well for a bit and give Solar Wimp’s Trails of Light a listen or five. Thus Spoke’s Fallen Fragments<a href="https://www.facebook.com/yothiriaofficial/?locale=en_GB" rel="nofollow noopener" target="_blank">Yoth Iria</a> // Blazing Inferno [November 8th, 2024 – <a href="http://www.edgedcircleproductions.com/" rel="nofollow noopener" target="_blank">Edged Circle Productions</a>]Yoth Iria’s sophomore Blazing Inferno arrived with little fanfare, which is a shame because they’re very good at what they do. Their brand of Hellenic black metal even <a href="https://www.angrymetalguy.com/yoth-iria-as-the-flame-withers-review/" rel="nofollow noopener" target="_blank">charmed a 3.5</a> out of GardensTale with their 2021 debut As the Flame Withers. The new album very much picks up where its predecessor left off, in musical content as well as the fact that Yoth Iria clearly have a thing for giant demonic figures dwarfing human civilization. In a refreshingly to-the-point format, the group<a href="https://www.angrymetalguy.com/stuck-in-the-filter-november-and-december-2024s-angry-misses/#fn-209724-3" rel="nofollow noopener" target="_blank">3</a> serve up some solid, groovy Satanic triumphalism that belies the relatively diminutive breadth of the songs that contain it. With thundering drums (“In the Tongue of Birds,” “We Call Upon the Elements”), spirited guitar leads (“But Fear Not,” “Mornings of the One Thousand Golds”), and a collection of classic growls, ominous whispers, and cleans, Yoth Iria craft engaging and very enjoyable compositions. Tracks manage to hold atmosphere and presence without detracting from the dopamine-producing tremolo twists and wails of drawn-out melody (title track, “Rites of Blood and Ice,” “Mornings…”) that draw it all together. This is black metal that makes you feel good about allying with the light-bringer. Not in any highbrow way, of course, just with great riffs, the right amount of tension and nuance, and convincingly massive compositions that steer away from the overwrought and cringe-inducing. It’s just plain good.<a href="https://www.facebook.com/Verdant.Realm.Botanist/" rel="nofollow noopener" target="_blank">Botanist</a> // <a href="https://verdant-realm-botanist.bandcamp.com/album/vii-beast-of-arpocalyx" rel="nofollow noopener" target="_blank">VII: Beast of Arpocalyx</a> [December 6th, 2024 – Self-Release]Though recorded all the way back in 2016, the music of Beast of Arpocalyx has not seen the light until now. The seventh installment in the esoteric, botanical saga, VII: Beast of Arpocalyx focuses on plants with mythological animal associations. In comparison to last May’s Paleobotany, this is the solo work of founder Otrebor yet the heart of Botanist’s music has never been compromised. The distinctive tones of hammered dulcimer, make the black metal ring—literally and metaphorically—with playful mysticism when they engage in chirruping and cheerful refrains (“Wolfsbane,” “The Barnacle Tree”) and a weird eeriness when they stray into the dissonant (“The Vegetable Lamb of Tartary,” “Floral Onyx Chiroptera”). Nothing is substantially different here, but Botanist’s style is an enjoyably quirky one that I, at least, am always happy to indulge in. In many ways, this is not far removed from raw black metal, with the prominent chimes of (not always tuneful) melodicism wrapping snarls and rasps in an iridescent veil that makes the psychedelic turns from whimsical peace to urgent and barbed blastbeat aggression (“The Vegetable Lamb of Tartary,” “The Paw of Anigozanthos”) very compelling, pleasant even. Yeah, it’s kind of weird to hear chorals or synths under blackened rasps and clanging drums, while a dulcimer warbles along. But when the weirdness nonetheless succeeds in developing an atmosphere and inducing a desire to garner a similarly obsessive knowledge of flora, I can’t really complain. Killjoy’s Atmospheric Attractions<a href="https://www.facebook.com/p/Nishaiar-100067774879707/" rel="nofollow noopener" target="_blank">Nishaiar</a> // Enat Meret [December 5, 2024 – Self-Release]2024 may technically be over, but there were a few releases in December that keep dragging my attention back to last year. First up is Nishaiar from Gondar, Ethiopia, whose sound resides at the unlikely intersection of traditional Ethiopian music, post-black metal, and Enya-style New Age. Coming off an arduous release schedule that yielded an EP and 5 full-lengths in only 4 years, Nishaiar took some extra time to recharge since Nahaxar in 2021. The results are readily apparent–Enat Meret features some of the punchiest material the band has written to date. “Yemelek” combines folk instruments, vibrant male chanting, and rending screams. An important element that elevates Enat Meret is the addition of a full-time female vocalist, whose moniker also happens to be Enat Meret. Her voice ranges from ethereal (“Idil”) to wistful (“Enat Midir”) to commanding (“Beheke”). There is some bloat—intro track “Semayawi” repeats itself for too long and “Awedal” through “Alem” leans too hard into atmosphere to be suitable for active listening. Even so, this is an album unlike any other you’re likely to hear anytime soon.<a href="https://www.facebook.com/@atravetosus/" rel="nofollow noopener" target="_blank">Atra Vetosus</a> // Undying Splendour [December 20, 2024 – <a href="https://www.immortalfrostproductions.com/" rel="nofollow noopener" target="_blank">Immortal Frost Productions</a>]Next up is Atra Vetosus, who came to me by way of rec-master TomazP. Undying Splendour is a captivating work of atmospheric black metal that tempers the wanderlust of Skyforest with the melodic trem-picked fury of <a href="https://www.angrymetalguy.com/mare-cognitum-solar-paroxysm-review/" rel="nofollow noopener" target="_blank">Mare Cognitum</a>. It’s stuffed with triumphant, uplifting guitar melodies that contrast compellingly with mournful, anguished shouts and screams. Like a flowing stream, the graceful orchestrations smooth out any rough edges in their path, pairing exceptionally well with the rhythm section in the intro of “Forsaking Dreaded Paths.” The brawny bass lines throughout the album add satisfying oomph and the drumming is constantly engaging with lots of fleeting tempo shifts (“This Fallow Heart”) and expansive tom rolls (“Elysian Echoes”). Atra Vetosus have perfected the difficult art of long-form atmoblack—all the proper songs on Undying Splendour are between 7 and 11 minutes long and, crucially, feel purposeful without meandering. Though atmoblack is often maligned, I’ll happily get behind Atra Vetosus as one of the new standard bearers of the genre at its very best.Skagos // Chariot Sun Blazing [December 21, 2024 – Self-Release]They say that good things come to those who wait. Skagos makes an excellent case for this expression with Chariot Sun Blazing, an appropriate title given the tremendous glow-up that the atmospheric black metal group underwent since releasing Anarchic in 2013. While their woodsy black metal has always maintained similarities with the likes of <a href="https://www.angrymetalguy.com/wolves-in-the-throne-room-primordial-arcana-review/" rel="nofollow noopener" target="_blank">Wolves in the Throne Room</a> (who are also based in Olympia, Washington), this time around the music is infused with a real live string quartet and a two-horn section<a href="https://www.angrymetalguy.com/stuck-in-the-filter-november-and-december-2024s-angry-misses/#fn-209724-4" rel="nofollow noopener" target="_blank">4</a>. The effects of this additional instrumentation run way more than skin deep; Chariot Sun Blazing feels and flows like an actual symphony. For instance, the combination of the Wagner tuba with guitar plucking in the beginning of “Which in Turn Meet the Sea” evoke a misty morning which gradually warms up with guitar and string crescendos to thaw the leftover frost. The compositions are introspective and intimate, which is refreshing when compared with the usual grandiosity and bombast of symphonic music (metal or otherwise). While there’s nothing wrong with the raspy vocals, this is a rare instance when I would be completely okay if this were an instrumental album. This is an experience absolutely not to be missed. Dolphin Whisperer’s Late-Blooming Bustles <a href="https://www.facebook.com/alarumofficial" rel="nofollow noopener" target="_blank">Alarum</a> // Recontinue [November 8th, 2024 – Self Release]So many bands in the progressive and technical lanes forget to have fun. Not long, unheralded Australian prog/thrash/jazz fusion-heads Alarum, though. Truth be told, I had forgotten this band existed sometime before their 2011 release Natural Causes all up until about September of 2024 when I caught wind of this new release, Recontinue. Their oddball, heavily <a href="https://www.angrymetalguy.com/yer-metal-is-olde-cynic-focus/" rel="nofollow noopener" target="_blank">Cynic</a>-inspired 2004 opus Eventuality… had stood the test of time in my archives plenty for its wild fusion antics woven into a riff-tricky, bass-poppin’ technical platform. And here, twenty years later, little has changed at Alarum’s foundation. A few things have shifted for the better, though, namely Alarum finding a more balanced resonance in production brightness and clarity, which helps highlight the flirtatious bass play of tracks like “The Visitor” and “Footprints” come to life. Additionally, this crisp and cutting mix allows the joyous neoclassical shredding escapades to carve a blazing path toward textures and alien warbles with a Holdsworth-ian charm (“Zero Nine Thirty,” “Awaken by Fire”). But, most importantly, Alarum continues to bring an ever-shuffling thrash energy similar to early Martyr works (“Imperative,” “Unheard Words,” “Into Existing”) while continuing to remember to toss in off-the-wall detours, like the funk-wah intro of “A Lifelong Question” or the bossa nova outro of “The Visitor.” Recontinue, as a late-career release from a continual dark horse from the land down under remains a consistent joy for the ears. If you’ve never heard Alarum to this point, and you’ve always wished that a jazzy, Cynic-inspired band would come around with a more metal attitude than the current trajectory of their inspirations, get Recontinue in your ears as soon as possible. And if, like me, you’ve fallen of the righteous path, know that time can correct all sorts of silly mistakes.<a href="https://www.instagram.com/gorging_shade" rel="nofollow noopener" target="_blank">Gorging Shade</a> // Inversions [November 11th, 2024 – Self Release]With a sound that is as otherwordly and looming as it is terrestrial and bass-loaded, Gorging Shade has taken a vigorous and shaking progressive death metal form. The proficiency with which every performer weaves disparate melodic lines through echoing, ghastly samples and chaotic, witchy background chatter does not come entirely as a surprise, as the entire roster consists of the members of instrumental progressive act Canvas Solaris. Mood, atmosphere and a bellowing howl, though, separate this incarnation of Georgia’s finest. But the eerie space that Inversions inhabits too has manifested as a collective of talents on display with another offshoot from this act, the dark industrial Plague Pslams (composed of bassist Gael Pirlot and drummer Hunter Ginn, who also currently plays with Agalloch). As an experience layered between the history of sounds these tech wizards have created, Inversions lands dense and challenging. At its core, a rhythmic stomp propels each of its tracks alongside percussive riffs that echo the constant motion of Cynic, the blackened scrawl of <a href="https://www.angrymetalguy.com/retro-spective-review-emperor-nightside-eclipse/" rel="nofollow noopener" target="_blank">Emperor</a>, and the melancholy triumph of <a href="https://www.angrymetalguy.com/ulcerate-cutting-the-throat-of-god-review/" rel="nofollow noopener" target="_blank">Ulcerate</a> swells. But in a package uniquely Gorging Shade, a world emerges from each carefully constructed narrative. Sometimes energy rushes forth (“Disease of Feeling, Germed”). At others, noises creaking and crawling lay teasing grounds for careful exploration (“Ordeal of the Bitter Water,” “A Concession of Our City to Modernity”). Whatever the mode of attack, Gorging Shade delivers in a classic and meticulous wall of sound—perhaps a touch too volume-loaded on occasion—that hits first in waves of melodic intrigue, second in aftershocks of plotted and studied efforts. Its later in the year released may have kept Inversions’ treasures more hidden than I would have liked. The beauty of music, of course, is that we may sit with it as little or as long as we wish to parse its tireless arrangement.<a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/2024/" target="_blank">#2024</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/agalloch/" target="_blank">#Agalloch</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/alarum/" target="_blank">#Alarum</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/american-metal/" target="_blank">#AmericanMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/amorphis/" target="_blank">#Amorphis</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/astronoid/" target="_blank">#Astronoid</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/atmospheric-black-metal/" target="_blank">#AtmosphericBlackMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/atra-vetosus/" target="_blank">#AtraVetosus</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/australian-metal/" target="_blank">#AustralianMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/avant-garde-metal/" target="_blank">#AvantGardeMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/black-metal/" target="_blank">#BlackMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/blazing-inferno/" target="_blank">#BlazingInferno</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/botanist/" target="_blank">#Botanist</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/caelestra/" target="_blank">#Caelestra</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/canvas-solaris/" target="_blank">#CanvasSolaris</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/chariot-sun-blazing/" target="_blank">#ChariotSunBlazing</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/chronos/" target="_blank">#Chronos</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/countless-skies/" target="_blank">#CountlessSkies</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/cynic/" target="_blank">#Cynic</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/dark-tranquility/" target="_blank">#DarkTranquility</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/death-metal/" target="_blank">#DeathMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/dec24/" target="_blank">#Dec24</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/devin-townsend/" target="_blank">#DevinTownsend</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/dreadnought/" target="_blank">#Dreadnought</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/earthbound/" target="_blank">#Earthbound</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/edged-circle-productions/" 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Angry Metal Guy<a href="https://www.angrymetalguy.com/stuck-in-the-filter-october-2024s-angry-misses/" rel="nofollow noopener" target="_blank">Stuck in the Filter: October 2024’s Angry Misses</a>By KenstrosityNever fear, the blog’s penchant for <del>deep lateness</del> punctuality persists! It is likely the new year already by the time you see this post, but we’re taking a step back. Way back, into October. I was deep in the shit then, and therefore couldn’t do anything blog-related. And yet, my minions, those very laborers for whom I provide absolutely no compensation whatsoever, toiled dutifully in the metallic dinge that is our Filter. Unforgiving though those environs undoubtedly are, they scraped and scoured until, at long last, small shards of precious ore glimmered to the surface.These glimmers are the same which you witness before you. Some are big, some are small. Some are short, some are tall. But all are worthy. Behold! Kenstrosity’s Belated Bombardments <a href="https://www.facebook.com/Cosmic-Putrefaction-331030417723505/" rel="nofollow noopener" target="_blank">Cosmic Putrefaction</a> // Emerald Fires atop the Farewell Mountains [October 4th, 2024 – <a href="http://www.profoundlorerecords.com/" rel="nofollow noopener" target="_blank">Profound Lore Records</a>]I was originally slated to take over reviewing duties for Cosmic Putrefaction this year, as Thus Spoke had a prior commitment and needed a buddy to step in. Unfortunately, I was rendered useless by a force of nature for a while, so I had to let go of several items of interest. But I couldn’t let 2024 go by without saying something! Entitled Emeral Fires atop the Farewell Mountains, Cosmic Putrefaction’s fourth represents one of the smoothest, most ethereal interpretations of weird, dissonant death metal. The classic Cosmic Putrefaction riffsets under an auroric sky remain, as evidenced by ripping examples “[Entering the Vortex Temporum] – Pre-mortem Phosphenes” and “Swirling Madness, Supernal Ordeal,” but there lurks within a monstrous technical death metal creature who rabidly chases the atmospheric spirits of olde (“I Should Great the Inexorable Darkness,” “Eudaemonist Withdrawal”). While in lesser hands these distinct aesthetics would undoubtedly clash on a dissonant platform such as this, Cosmic Putrefaction’s particular application of sound and style coalesces in devastating beauty and relentless purpose (“Hallways Engraved in Aether,” “Emerald Fires atop the Farewell Mountains”). Were it not for some instances wherein, for the first time ever, Cosmic Putrefaction threatens to self-plagiarize their own material (“Eudaemonist Withdrawal”), I would likely consider Emerald Fires atop the Farewell Mountains for year-end list status.<a href="https://www.facebook.com/feralswe/" rel="nofollow noopener" target="_blank">Feral</a> // To Usurp the Thrones [October 18th, 2024 – <a href="https://tometal.com/" rel="nofollow noopener" target="_blank">Transcending Obscurity Records</a>]Another one of my charges that I unfortunately had to put down against my will, Swedish death metal fiends Feral’s fourth salvo To Usurp the Thrones deserves a spotlight here. Where <a href="https://www.angrymetalguy.com/feral-flesh-of-funerals-eternal-review/" rel="nofollow noopener" target="_blank">Flesh for Funerals Eternal</a> impressed me as my introduction to the band and, arguably, my introduction to modern buzzsaw Swedeath, To Usurp the Thrones impresses me as a singularly vicious record in the style. Faster, meaner, more varied, and longer than its predecessor, Thrones offers the punk-tinged, thrashy death riffs you know and love, with bluesy touches reminiscent of Entombed’s Wolverine Blues adding a bit of drunken swagger to the affair (“Vile Malediction,” “Phantoms of Iniquity,” “Into the Ashes of History”). Absolute rippers like “To Drain the World of Light,” “Deformed Mentality,” “Decimated,” and “Soaked in Blood” live up to the band’s moniker, rabid and relentless in their assault. In many ways, Thrones evokes the same bloodsoaked sense of fun that Helslave’s <a href="https://www.angrymetalguy.com/helslave-from-the-sulphur-depths-review/" rel="nofollow noopener" target="_blank">From the Sulphur Depths</a> conjured, but it’s angrier, more unhinged (“Spirits Without Rest,” “Stripped of Flesh”). Consequently, Thrones stands out as one of the more fun records of its ilk to come out this year. Don’t miss it!<a href="https://www.facebook.com/sunworshipband" rel="nofollow noopener" target="_blank">Sun Worship</a> // Upon the Hills of Divination [October 31st, 2024 – <a href="https://vendettarecs.wordpress.com/" rel="nofollow noopener" target="_blank">Vendetta Records</a>]Back in 2020, our dear Roquentin offered some damn fine words of praise for Germany’s Sun Worship and their third blackened blade, <a href="https://www.angrymetalguy.com/sun-worship-emanations-of-desolation-things-you-might-have-missed-2019/" rel="nofollow noopener" target="_blank">Emanations of Desolation</a>. It’s been six years since that record dropped, and Upon the Hills of Divination picks up right where Emanations left off. That is to say, absolutely slimy, post-metal-tinged riffs bolstered by dense layers of warm tremolos and mid-frequency roars. Opener “Within the Machine” offers a concrete encapsulation of what to expect: bits and pieces of <a href="https://www.angrymetalguy.com/hulder-verses-in-oath-review/" rel="nofollow noopener" target="_blank">Hulder</a>, <a href="https://www.angrymetalguy.com/gaerea-coma-review/" rel="nofollow noopener" target="_blank">Gaerea</a>, and <a href="https://www.angrymetalguy.com/vorga-beyond-the-palest-star-review/" rel="nofollow noopener" target="_blank">Vorga</a> melding together into a compelling concoction of hypnotic black metal. Using the long form to their utmost advantage, Sun Worship craft immersive soundscapes liable to scald the flesh just as quickly as they seduce the senses, leaving me as a brainwashed minion doing a twisted mystic’s bidding unconditionally (“Serpent Nebula,” “Covenant”). Yet, there roils a sense of urgency in these songs, despite many of them occupying a mid-paced cadence, which unveils a bleeding heart willingly wrenched from Sun Worship’s body (“Fractal Entity,” the title track, and “Stormbringer”). This is what sets it apart from its contemporaries, and what makes it worthy of mention. Why it’s gotten so little attention escapes me. It is with the intent of rectifying that condition that I pen this woefully insufficient segment. Dolphin Whisperer’s Duty Free Rifftrocity<a href="https://www.facebook.com/extortednz/" rel="nofollow noopener" target="_blank">Extorted</a> // <a href="https://extorted.bandcamp.com/album/cognitive-dissonance" rel="nofollow noopener" target="_blank">Cognitive Dissonance</a> [October 16th, 2024 – Self Release]You don’t need to read this review to know that the Kiwis of Extorted plays pit-whipping death/thrash. Though not adorned with other obvious symbols, like Vietnam War paraphernalia or crushed beer cans, the Ed Repka-penned brain-ripped head figure screams “no thoughts only riff” all the same. With snares set to pow and crashes set to kshhh, Cognitive Dissonance finds low resistance to accelerating early Death-indebted refrains. Vocalist Joel Clark even plays as a dead ringer for pre-Human Schuldiner or Van Drunen (<a href="https://www.angrymetalguy.com/asphyx-necroceros-review/" rel="nofollow noopener" target="_blank">Asphyx</a>, ex-<a href="https://www.angrymetalguy.com/pestilence-exitivm-review/" rel="nofollow noopener" target="_blank">Pestilence</a>) as the torture in many lines grows (on “Infected” and “Ghastly Creatures” in particular). And in a continued tour of Van Drunen-associated sounds, Extorted’s ability to find a push-and-pull cadence that twists the fury of thrash with the cutting drag of death hits that hard-to-nail early Pestilence pocket with studied flair (“Deception,” “Limits of Reality”). Though a considerable amount of the Extorted identity rests in ideas borrowed and reinterpreted, a modern tonal canvas gives Cognitive Dissonance’s rhythms a punchy and balanced low-end weight that doesn’t always present itself in the world of old. Couple that with hooks that reach far beyond the limits of pure homage (“Transformation of Dreams,” “Violence”), and it’s easy to plow through the thirty minutes of tasteful harmonies, bending solos, and spit-stained lamentations that Extorted offers with their powerful debut.<a href="https://brii.bandcamp.com/" rel="nofollow noopener" target="_blank">Bríi</a> // Camaradagem Póstuma [October 11th, 2024 – Self Release] With Camaradagem Póstuma we enter the hazy, folky world of Caio Lemos’ unique vision of what experimental electronic music can be colored by the underpinnings of atmospheric black metal and jazz fusion. Using terraced melodies like baroque music of old and distant breakbeats like the <a href="https://www.angrymetalguy.com/bong-ra-meditations-review/" rel="nofollow noopener" target="_blank">Bong-Ra</a> of recent yesteryears, Brazil’s Bríi represents one man’s highly specific melding that rarely occurs in this space. The guitar lines that do exist play out as textural, slow-developing passages. On tracks “Aparecidos” and “Baile Fantasma” this looping and hypnotic pattern shuffle resembles ambient Pat Metheny or <a href="https://www.angrymetalguy.com/yer-prog-is-olde-king-crimson-in-the-court-of-the-crimson-king/" rel="nofollow noopener" target="_blank">King Crimson</a> colors, the kind where finding the end of nylon pluck into a weaving, high-frequency synth patch feels not impossible but unnecessary. And on the more metallic side of things, Lemos cranks programmed blasts that carry his tortured, panning, and shrouded wails as a guide for the melodic evolution of each track, much in the same way a warping bass line would in a progressive house track. But maintaining the tempo of classic drum and bass, Camaradagem Póstuma wisps away in its atmosphere, coming back to a driving rhythm either via pummeling double kick or glitching break. Despite the hard, danceable pulse that tracks “Enlutados” and “Entre Mundos” boast, Bríi does not feel built for the kvlt klvbs of this world, leaning on a gated, lo-fi aesthetic that makes for an ideal drift away on closed cans, much like the equally idiosyncratic <a href="https://www.angrymetalguy.com/amgs-unsigned-band-rodeo-wist-strange-balance/" rel="nofollow noopener" target="_blank">Wist album</a> from earlier this year. And similarly, Camaradagem Póstuma sits in an outsider world of enjoyment. But if any of this sounds like your jam, prepare to get addicted to Bríi. Thus Spoke’s Rotten Remnants<a href="http://www.facebook.com/livloesband" rel="nofollow noopener" target="_blank">Livløs</a> // The Crescent King [October 4th, 2024 – Noctum Productions]Livløs are one of those bands that deserves far more recognition than they receive. With LP three, The Crescent King, they might finally see it. Their punchy intriguing infusion of Swedish and US melodic death metal—though the band themselves hail from Denmark—has a pleasing melancholia and satisfying bite. Here in particular, there’s more than a passing resemblance to <a href="https://www.angrymetalguy.com/hath-all-that-was-promised-review/" rel="nofollow noopener" target="_blank">Hath</a>, to <a href="https://www.angrymetalguy.com/cognizance-malignant-dominion-review/" rel="nofollow noopener" target="_blank">Cognizance</a>, and to <a href="https://www.angrymetalguy.com/in-mourning-the-bleeding-veil-review/" rel="nofollow noopener" target="_blank">In Mourning</a>. Stomping grooves (“Maelstrom,” “Usurpers”) slide in between blitzes of tripping gallops, and electrifying fretwork (“Orbit Weaver,” “Scourge of the Stars”). Mournful, compelling melodies woven into this technical tapestry—some highlights being the title track, “Harvest,” and “Endless Majesty”—turn already good melodeath into great melodeath; melodeath that’s majestic and powerful, without ever feeling overblown. With its relentless, groovy dynamism, the crisp, spacious production seals the deal for total immersion. If this is your first time hearing about Livløs, you’re in for a treat.<a href="https://www.facebook.com/sordideband" rel="nofollow noopener" target="_blank">Sordide</a> // Ainsi finit le jour [October 25th, 2024 – <a href="https://lesacteursdelombre.net/" rel="nofollow noopener" target="_blank">Les Acteurs de l’Ombre Productions</a>]And So Ends the Day, whilst another begins where I rediscover Sordide. I know not how I forgot their existence despite the impression that 2021’s Les Idées Blanches made upon me, yet all I could recall was the disturbingly simple, <a href="https://sordide.bandcamp.com/album/les-id-es-blanches-2" rel="nofollow noopener" target="_blank">melty art.</a><a href="https://www.angrymetalguy.com/stuck-in-the-filter-october-2024s-angry-misses/#fn-207332-1" rel="nofollow noopener" target="_blank">1</a> Ainsi Finit le Jour arrives with a hefty dose (53 minutes no less) of punky, dissonant black metal that’s even rawer and more pissed-off than their usual fare. “Des feux plus forts,” “La poesie du caniveau,” and the title track stand out as the most vicious, near-first-wave cuts the trio have ever laid down, with manic, group wails, and chaotic, jangling percussion. But as is so often the case with Sordide, perhaps the truest brutality comes in the slower discordant crawls of “Sous Vivre,” “Tout est a la mort,” and the particularly unsettling “La beauté du desastre,” whose creeping, half-tuneful teasing and turns to eerie spaciousness get right under your skin. It is arguably a little too long for its own good, given its intensity, but its impressiveness does mean that, this time, Sordide won’t be forgotten. Dear Hollow’s Droll Hashals <a href="https://www.facebook.com/annihilistmetal/" rel="nofollow noopener" target="_blank">Annihilist </a>// Reform [October 18th, 2024 – Self Release]What Melbourne’s Annihilist does with flamboyant flare and reckless abandon is blur the lines of its core stylistic choices. One moment it’s chugging away like a deathcore band, the next it’s dripping away with a groove metal swagger, ope, now it’s on its way to Hot Topic. All we know is that all its members attack with a chameleonic intensity and otherworldly technicality that’s hard to pin down. An insane level of technicality is the thread that courses throughout the entirety of this debut, recalling Within the Ruins or <a href="https://www.angrymetalguy.com/the-human-abstract-digital-veil-review/" rel="nofollow noopener" target="_blank">The Human Abstract</a> in its stuttering rhythms and flailing arpeggios. From catchy leads and punishing rhythms (“The Upsend,” “Guillotine”), bouncy breakdowns, clean choruses, and wild gang vocals (“Blood”), djenty guitar seizures (“Virus,” “Better Off”) to full-on groove (“N.M.E.,” “The Host”), the likes of <a href="https://www.angrymetalguy.com/lamb-of-god-lamb-of-god-review/" rel="nofollow noopener" target="_blank">Lamb of God</a>, early <a href="https://www.angrymetalguy.com/architects-the-here-and-now-review/" rel="nofollow noopener" target="_blank">Architects</a>, Born of Osiris, and <a href="https://www.angrymetalguy.com/children-of-bodom-hexed-review/" rel="nofollow noopener" target="_blank">Children of Bodom </a>are conjured. Lyrics of hardcore punk’s signature anarchy and societal distrust collide with an instrumental palette of melodeath and the more technical kin of metalcore and deathcore, groove metal, and hardcore. As such, the album is complicated, episodic, and unpredictable, with only its wild technicality connecting its fragmented bits – keeping Reform from achieving the greatness that the band is so capable of. As it stands, though, Annihilist offers an insanely fun, everchanging, and unhinged roller coaster of -core proportions – a roller -corester, if you will. Under Alekhines Gun<a href="https://www.facebook.com/TheurgyBDM/" rel="nofollow noopener" target="_blank">Theurgy</a> // Emanations of Unconscious Luminescence [October 17th, 2024 – <a href="https://newstandardelite.bandcamp.com/" rel="nofollow noopener" target="_blank">New Standard Elite</a>]In a year where slam and brutal death have already had an atypically high-quality output, international outfit Theurgy have come with an RKO out of nowhere to shatter whatever remains of your cerebral cortex. Channeling the flamboyancy of old Analepsy with the snare abuse and neanderthalic glee of Epicardiectomy, Emanations of Unconscious Luminescence wastes no time severing vertebrae and reducing eardrums to paste. Don’t mistake this for a brainless, caveman assault, however. Peppered between the hammiest of hammers are tech flourishes pulled straight from Dingir era <a href="https://www.angrymetalguy.com/rings-saturn-lugal-ki-en-review/" rel="nofollow noopener" target="_blank">Rings of Saturn</a>, adding an unexpected technical edge to the blunt force trauma. The production manages to pair these two disparaging elements with lethal efficiency. Is it the techiest slam album, or the wettest, greasiest tech album? Did I mention there’s a super moldy cover of <a href="https://www.angrymetalguy.com/devourment-obscene-majesty-review/" rel="nofollow noopener" target="_blank">Devourment</a>‘s “Molesting the Decapitated”? It slots right into the albums flow without feeling like a tacked-on bonus track, highlighting Theurgy’s commitment to the homicidal odes of brutality. Throw in a vocal performance that makes Angel Ochoa (Abominable Putridity) sound like Anders Fridén (<a href="https://www.angrymetalguy.com/in-flames-foregone-review/" rel="nofollow noopener" target="_blank">In </a><a href="https://www.angrymetalguy.com/in-flames-foregone-review/" rel="nofollow noopener" target="_blank">Flames</a>), and you’re left with one last lethal assault to round out the year. Dive in and give your luminescence something to cry about. GardensTale’s Great Glacier<a href="https://www.facebook.com/GhostsofGlaciers/" rel="nofollow noopener" target="_blank">Ghosts of Glaciers</a> // Eternal [October 25th, 2024 – <a href="https://translationloss.com/" rel="nofollow noopener" target="_blank">Translation Loss Records</a>]Ghosts of Glaciers’s last release, The Greatest Burden, was a masterclass of post-metal flow and has become a mainstay in my instrumental metal collection since <a href="https://www.angrymetalguy.com/ghosts-of-glaciers-the-greatest-burden-review/" rel="nofollow noopener" target="_blank">my review</a> in 2019. Dropping in tandem with several other high-profile releases, though, I could not give its follow-up the kind of attention it deserves. And make no mistake, it absolutely deserves that attention. The opening duo, “The Vast Expanse” and “Sunken Chamber,” measure up fully to The Greatest Burden, though it takes a few spins for that to become clear. Both use repetitive patterns more than before, but closer listens reveal how subtle variations and evolution of each cycle build gradual tension, so the release becomes all the more satisfying. I’m a little more ambivalent on the back half of Eternal, though. “Leviathan” packs a bigger punch than more of the band’s material, it lacks the swirling and sweeping currents that pull me under and demand full and uninterrupted plays every time. Closer “Regeneratio Aeterna” is a pretty but rather demure piece that lasts a bit longer than it should have. But despite these reservations, the great material outstrips the merely good, and Eternal is a worthwhile addition to any instrumental metal collection.<a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/abominable-putridity/" target="_blank">#AbominablePutridity</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/ainsi-finit-le-jour/" target="_blank">#AinsiFinitLeJour</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/american-metal/" target="_blank">#AmericanMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/analepsy/" target="_blank">#Analepsy</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/annihilist/" target="_blank">#Annihilist</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" 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Jake in the desertIf you're into metal of the brutal death variety, another amazing Australian band (and one of my favorites), DRIPPED, have a new EP out from a few days ago called 'Utopia of Euphoric Envisionment'. Dripped had an LP on my list of 20 favorite records from 2023. They're metal contenders, and this EP is far too short, for me. 😂 I'll always love Dripped.<a href="https://dripped.bandcamp.com/album/utopia-of-euphoric-envisionment" rel="nofollow noopener" translate="no" target="_blank">https://dripped.bandcamp.com/album/utopia-of-euphoric-envisionment</a><a href="https://c.im/tags/metal" class="mention hashtag" rel="nofollow noopener" target="_blank">#metal</a> <a href="https://c.im/tags/BrutalDeathMetal" class="mention hashtag" rel="nofollow noopener" target="_blank">#BrutalDeathMetal</a> <a href="https://c.im/tags/Dripped" class="mention hashtag" rel="nofollow noopener" target="_blank">#Dripped</a> <a href="https://c.im/tags/Australia" class="mention hashtag" rel="nofollow noopener" target="_blank">#Australia</a> <a href="https://c.im/tags/AustralianBands" class="mention hashtag" rel="nofollow noopener" target="_blank">#AustralianBands</a> <a href="https://c.im/tags/AustralianMetal" class="mention hashtag" rel="nofollow noopener" target="_blank">#AustralianMetal</a> <a href="https://c.im/tags/AussieBands" class="mention hashtag" rel="nofollow noopener" target="_blank">#AussieBands</a> <a href="https://c.im/tags/AussieMetal" class="mention hashtag" rel="nofollow noopener" target="_blank">#AussieMetal</a> <a href="https://c.im/tags/indie" class="mention hashtag" rel="nofollow noopener" target="_blank">#indie</a> <a href="https://c.im/tags/IndieMusic" class="mention hashtag" rel="nofollow noopener" target="_blank">#IndieMusic</a> <a href="https://c.im/tags/IndieMetal" class="mention hashtag" rel="nofollow noopener" target="_blank">#IndieMetal</a>

Angry Metal Guy<a href="https://www.angrymetalguy.com/cave-sermon-divine-laughter-things-you-might-have-missed-2024/" rel="nofollow noopener" target="_blank">Cave Sermon – Divine Laughter [Things You Might Have Missed 2024]</a>By Thus SpokeWhen I finally heard Divine Laughter, it was closer to January 2025 than it was January this year, when Cave Sermon released it. This temporal technicality turned out to be trivial because its brilliance was immediately obvious. Divine Laughter traverses death, black, sludge, post, ambient, and more, exploring further, and committing harder to mania—as I later discovered—than debut Memory Spear, which I also devoured eagerly. There is primarily just one person behind Cave Sermon, Aussie musician Charlie Park, and until now, the project was instrumental. Miguel Méndez’ vocals—with an impressively versatile, unhinged, and savage performance—are a perfect accompaniment to what appears to be Cave Sermon’s signature abstract and interpretive compositional style, channeling a kind of musical stream of consciousness that must be experienced to be understood.To say that Divine Laughter is affecting would be criminal understatement. The lyrics alone are touching in a sense totally devoid of sentimentality, reflecting a singularly modern capitalist loneliness, a hatred of human apathy, and a guilt in one’s complicity. But it is the truly magnificent way in which Parks tells (and Méndez narrates) this story musically which makes it so arresting. It feels, at its core, refreshingly and exhilaratingly organic; vibrant and smart and true. Reprises feel like the returning edges of a persistent thought, percussion is as often a tech-death texture as a sludgy battering ram (“Crystallised”), or a vague tap in a noisy void (“Birds and Machines in Brunswick,” “Divine Laughter”); barks pitch upwards into howls in sudden gasps of the realization of some depressing, mundane, and fearful reality (“Liquid Gold”). Quieter moments of almost folky naïveté brush up against acerbic sludginess, alien synth, and the pseudo-chaotically mixed nuts and bolts of razor-sharp death and black metal with a facile deftness I’ve not heard outside of Vicotnik’s work.<a href="https://www.angrymetalguy.com/cave-sermon-divine-laughter-things-you-might-have-missed-2024/#fn-208435-1" rel="nofollow noopener" target="_blank">1</a>With so few words, how can I convey Divine Laughter’s mania? Comparisons feel stale. The through lines, like paint in abstract art,<a href="https://www.angrymetalguy.com/cave-sermon-divine-laughter-things-you-might-have-missed-2024/#fn-208435-2" rel="nofollow noopener" target="_blank">2</a> play with and subvert the expected course of a given genre’s template. Energetic black(ened death)<a href="https://www.angrymetalguy.com/cave-sermon-divine-laughter-things-you-might-have-missed-2024/#fn-208435-3" rel="nofollow noopener" target="_blank">3</a> (“Beyond Recognition,” “The Paint of An Invader”) comes as a thrillingly uneven rain of vitriol. Angular, dissonant extremity tumbles into echoing industrialism, or dizzy ambience (“Beyond Recognition,” “Divine Laughter”); sludgy death remains off-kilter and wild, while charging prog-death rhythms stumble suddenly, (“Crystallised”) and spiraling solos precipitate turns to gazey post (“Liquid Gold”), and every other influence on display. Though there’s a rawness and frightfulness about the relentless transformations of guitar, vocals, and tempo, the use of synths and atmosphere, they remain surprisingly alluring thanks to the powerful emotions bubbling up in subtle resurgences of themes. A lot of this has to do with Méndez’ incredible vocal performance, another lot are these tangled, gorgeous compositions. There are so many of these beautiful, cathartic rises of yearning, urgent melody, and many of them come with the unforeseen force of involuntary emotional reaction (“Beyond Recognition,” “Liquid Gold,” “The Paint of An Invader”), though multiple listens show their edges were presaged.The only potential stumbling block for Divine Laughter I can concede, is the noisy, sample-spliced “Birds and Machines in Brunswick.” Transitioning into the rather terrifying opening to “Divine Laughter” with its almost Portal-esque bellows, its five minutes stick out perhaps a little too much from the rest. It’s clear that this is an experiment, taking place in a transition period for Cave Sermon. Given the excellence of everything else about Divine Laughter, it is very easy to forgive this trifle. I can truly say that no album—at least in recent years—has so instantaneously affected me, smashing down the doors of my musical perception, and settling deep in my soul. Cave Sermon may have received shockingly little recognition so far,<a href="https://www.angrymetalguy.com/cave-sermon-divine-laughter-things-you-might-have-missed-2024/#fn-208435-4" rel="nofollow noopener" target="_blank">4</a> but they will no doubt soon be a name on the lips of many in whatever strange sphere of metal we find ourselves in.Tracks to Check Out: Every one except “Birds and Machines in Brunswick” is mandatory listening.<a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/2024/" target="_blank">#2024</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/australian-metal/" target="_blank">#AustralianMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/black-metal/" target="_blank">#BlackMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/blackened-death/" target="_blank">#BlackenedDeath</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/cave-sermon/" target="_blank">#CaveSermon</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/death-metal/" target="_blank">#DeathMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/divine-laughter/" target="_blank">#DivineLaughter</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/experimental-metal/" target="_blank">#ExperimentalMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/post-metal/" target="_blank">#PostMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/self-releases/" target="_blank">#SelfReleases</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/sludge/" target="_blank">#Sludge</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/things-you-might-have-missed/" target="_blank">#ThingsYouMightHaveMissed</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/things-you-might-have-missed-2024/" target="_blank">#ThingsYouMightHaveMissed2024</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/tymhm/" target="_blank">#TYMHM</a>

Angry Metal Guy<a href="https://www.angrymetalguy.com/convulsing-perdurance-things-you-might-have-missed-2024/" rel="nofollow noopener" target="_blank">Convulsing – Perdurance [Things You Might Have Missed 2024]</a>By Dear HollowIf you’re not familiar with Australia’s Convulsing, you’ve likely been exposed to mastermind Brendan Sloan’s impact on underground extreme metal. Alongside serving as bassist/vocalist of Altars (beginning with 2022’s <a href="https://www.angrymetalguy.com/altars-ascetic-reflection-review/" rel="nofollow noopener" target="_blank">Ascetic Reflection</a>), guitarist of cinematic post-rock act Dumbsaint, and one-man show behind dissonant death/black distortionist Convulsing, he has contributed in some way or another to acts like Greytomb, Cosmic Putrefaction, Defacement, Gonemage, and Nightmarer. Convulsing remains his flagship project, and after two excellent LP’s Errata (2016) and Grievous (2018) of consecutively higher praise and a fantastic split with Siberian Hell Sounds, we are finally met with a gem of dissonant death metal after a six-year absence, an iconic record and monolithic sound steeped in nuance and imbued with dynamics, contrast, and texture: Perdurance.What makes Perdurance such a resounding and enduring success is its ability to attack with intensity and dissonance that outdoes the best of its genre-mates. Warped rhythms are graced with staggered riffs and blazing percussion, as Convulsing explores every nook and twist of a rhythm and melody until its inevitable conclusion is happened upon in tragic and fatal fashion. Dissonant leads are the guide of Perdurance, providing scenic vistas to punishingly heavy riffs while reminding listeners of the inevitable doom that awaits. Like this year’s Ulcerate, the devastation is beautifully nuanced and dynamics are secured, giving a sense of freedom, sentience, and lushness amid the relentless darkness and discordance. Tempo-abusing, blastbeat-wielding, and heavy as mountains, the more immediate offerings (“Pentarch,” “Flayed,” “Shattered Temples”) offer this weight in pulverizing chuggy progressions, with a lurking monstrosity and humanity beneath its processions somehow more mammoth than its ten-ton riffs.Beginning with “Inner Oceans,” we are graced with Convulsing’s massive sense of crescendos and atmospherics. A slow burn guided by the leads, the riffs are explored more subtly and incrementally – leading to a sense of immense claustrophobia and suffocation. Beginning delicately and organically, the tracks warp and shift while constantly growing in size and intensity, leading to what feels like cave walls closing in. The organicity suggests a warmth unexpected in this breed of death metal, as lush progressions morph to menacing tones seamlessly (“Endurance”), while devastation and grandiosity are the killing blow for natural growths and crescendos (“Inner Oceans”). The episodic nature of closer “Endurance” is aptly climactic and cinematic, its different three-minute portions threaded together with lush and yearning progressions slightly twisted to uncanny valley’s version of the heartfelt, amplified by brief passages of clean vocals and punkish beats.Perdurance shows that Sloan remains at the top of his game – Convulsing cements itself as one of the best offerings of underground extreme metal and death metal in general. The second you think you’ve heard a progression or passage before, Sloan distorts it with the precision of a mathematician and the ambition of a madman. It never neglects punishment or overstays its welcome, and every twist and turn feels beautifully executed and stunningly methodical. Even the cleanly sung bonus track Porcupine Tree cover “A Smart Kid” feels at home following “Endurance.” Reflected in its evergreen title, Perdurance represents an immortal statement in dissonant death metal and extreme metal in general: ceaselessly brutal, meticulously crafted, and indubitably iconic.Tracks to Check Out:<a href="https://www.angrymetalguy.com/convulsing-perdurance-things-you-might-have-missed-2024/#fn-207387-1" rel="nofollow noopener" target="_blank">1</a> “Flayed,” “Inner Oceans,” “Endurance”<a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/2024/" target="_blank">#2024</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/altars/" target="_blank">#Altars</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/australian-metal/" target="_blank">#AustralianMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/blackened-death-metal/" target="_blank">#BlackenedDeathMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/convulsing/" target="_blank">#Convulsing</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/cosmic-putrefaction/" target="_blank">#CosmicPutrefaction</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/death-metal/" target="_blank">#DeathMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/defacement/" target="_blank">#Defacement</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/dissonant-death-metal/" target="_blank">#DissonantDeathMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/gonemage/" target="_blank">#Gonemage</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/greytomb/" target="_blank">#Greytomb</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/nightmarer/" target="_blank">#Nightmarer</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/perdurance/" target="_blank">#Perdurance</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/porcupine-tree/" target="_blank">#PorcupineTree</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/progressive-death-metal/" target="_blank">#ProgressiveDeathMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/self-release/" target="_blank">#SelfRelease</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/siberian-hell-sounds/" target="_blank">#SiberianHellSounds</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/things-you-might-have-missed/" target="_blank">#ThingsYouMightHaveMissed</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/things-you-might-have-missed-2024/" target="_blank">#ThingsYouMightHaveMissed2024</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/tymhm/" target="_blank">#TYMHM</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/ulcerate/" target="_blank">#Ulcerate</a>

Angry Metal Guy<a href="https://www.angrymetalguy.com/to-the-grave-everyones-a-murderer-things-you-might-have-missed-2024/" rel="nofollow noopener" target="_blank">To the Grave – Everyone’s A Murderer [Things You Might Have Missed 2024]</a>By Thus SpokeTo the Grave are not fucking around anymore; not that they ever really were. Lyrically, musically, and visually,<a href="https://www.angrymetalguy.com/to-the-grave-everyones-a-murderer-things-you-might-have-missed-2024/#fn-207485-1" rel="nofollow noopener" target="_blank">1</a> Everyone’s A Murderer is the Sydney outfit’s most brutal, no-holds-barred audial assault to date. Vocalist Dane Evans states that the intention was to be the voice of activists in the fight for animal liberation; “There’s no words, no lyrics and no music that can describe the violence or bring back the lives stolen by human hands so this is for them.” Everyone’s A Murderer isn’t angry, it’s apoplectic. So brimming with bile and blood you can practically taste it in every neck-snapping groove and juddering, pong-snare breakdown.If you thought you had To the Grave pegged after Director’s Cuts, you’d be wrong. “Dead Wrong,” in fact, as that monster of a closer itself epitomizes. Most of the melodies have faded; gone are the more metalcore-influenced sung choruses, and much of the modern-sounding deathcore polish has evaporated. This more stripped-back approach works wonders for the record’s brutality, in message and medium. Fast riffs are meaner and slow ones uglier, with jerky squeals chucked in a rhythmic, thrilling angles. Vocals are more frequently on the low end of a growl, and when they dip back into a whispered (“TerrorMilitary”) or squealed style (“Vegan Day of Violence”) they’re the vilest and most vicious they’ve been. The drums are blessed with a gloriously thick, clanging tone that culminates in some lethal charges (“Set Yourself on Fire (In Public)”) and primal headbanging moments (“DxE or Die,”<a href="https://www.angrymetalguy.com/to-the-grave-everyones-a-murderer-things-you-might-have-missed-2024/#fn-207485-2" rel="nofollow noopener" target="_blank">2</a> “Eight Four One Six,” “Dead Wrong”). This is everything To the Grave need to hammer their point home and use the remaining nails to pin your ears back and make you listen.Deathcore has historically had a reputation for misplaced macho swagger, and To the Grave, here as ever, turn this on its head, jabbing a finger at the ordinary people supporting inherently violent industries, to which the theatrical guts, gore, and vengeance of To the Grave’s music can hardly hold a candle.<a href="https://www.angrymetalguy.com/to-the-grave-everyones-a-murderer-things-you-might-have-missed-2024/#fn-207485-3" rel="nofollow noopener" target="_blank">3</a> Not only sporting some of the best track titles this year—”Set Yourself on Fire (In Public),” “Vegan Day of Violence,” come on—these songs are effortlessly invigorating and expertly executed.<a href="https://www.angrymetalguy.com/to-the-grave-everyones-a-murderer-things-you-might-have-missed-2024/#fn-207485-4" rel="nofollow noopener" target="_blank">4</a> The way lyrics are delivered to the bang of beatdown percussion, and grit of ten-tonne riffs, is incredibly satisfying, whether gutturally drawled (“Dead Wrong”), venomously spat (“A Body for a Body”) or on one guest feature, belted out in song (“Eight Four One Six”). To the Grave have not lost their propensity for groove, and the rougher, rawer sound only makes these rhythms chunkier, more murderous, and much, much catchier—see “DxE or Die,” “Burn Your Local Butcher,” and “Dead Wrong” in particular. And it’s not all ignorant stomping either. Mixed into the massacre is technicality that makes for some truly gnarly moments of rabid flailing and aggression (“Set Yourself on Fire (In Public),” “Vegan Day of Violence,” “Made in Aus”).While mainly a perfection of pitilessness, Everyone’s A Murderer grants the listener a little mercy. Instrumental “Gaschamber P.T.” divides the album into two with an ominous ambience that grows uplifting as it closes with an empowering message. The crushing grisliness of “Eight Four One Six”<a href="https://www.angrymetalguy.com/to-the-grave-everyones-a-murderer-things-you-might-have-missed-2024/#fn-207485-5" rel="nofollow noopener" target="_blank">5</a> is split open by the guest cleans from Sophie Wilcher,<a href="https://www.angrymetalguy.com/to-the-grave-everyones-a-murderer-things-you-might-have-missed-2024/#fn-207485-6" rel="nofollow noopener" target="_blank">6</a> culminating in a gritty, but sort of beautiful duet that again, amplifies the voices of the activists and the reason To the Grave are doing this at all.The Venn diagram of vegans and deathcore enthusiasts may be small, so I understand if not everyone can share my joy. But if you occupy either side, even tangentially, you’d be a fool to miss this. Actually, fuck that; just listen to it anyway. With this blaring in your headphones, watch if you don’t march up to your nearest farm and set every captive animal free.Tracks to Check Out: ”Set Yourself on Fire (In Public),” “A Body for a Body,” “Made in Aus,” “Dead Wrong”<a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/australian-metal/" target="_blank">#AustralianMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/deathcore/" target="_blank">#Deathcore</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/everyones-a-murderer/" target="_blank">#EveryoneSAMurderer</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/hardcore/" target="_blank">#Hardcore</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/metalcore/" target="_blank">#Metalcore</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/things-you-might-have-missed/" target="_blank">#ThingsYouMightHaveMissed</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/things-you-might-have-missed-2024/" target="_blank">#ThingsYouMightHaveMissed2024</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/to-the-grave/" target="_blank">#ToTheGrave</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/tymhm/" target="_blank">#TYMHM</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/unique-leader-records/" target="_blank">#UniqueLeaderRecords</a>

Angry Metal Guy<a href="https://www.angrymetalguy.com/sarcophagum-the-grand-arc-of-madness/" rel="nofollow noopener" target="_blank">Sarcophagum – The Grand Arc of Madness</a>By Alekhines GunSide projects are a staple in all genres of music, and metal is no exception. Some projects are used to explore new ideas that would be out of place in a musician’s main outfit (Spectral Voice), with others to express themselves in a more individualized setting (Corpsegrinder). But what if members of a band decided they could do the same thing as their old and current outfit, but better? Enter Sarcophagum. Created by current and past members of Golgothan Remains, this Sydney Australia studio project wasted no time crafting a debut EP in 2022 and released a stand-alone single just last year. Now, they stand poised to deliver their first full-length, The Grand Arc of Madness. Does this side project deserve to leave the shadow of its predecessors? Sarcophagum play a brand of treble-heavy death metal which focuses on overwhelming the listener with hypnotic heft rather than brute force. While the previously <a href="https://www.angrymetalguy.com/golgothan-remains-adorned-in-ruin-review/" rel="nofollow noopener" target="_blank">reviewed</a> Golgothan Remains outings channel a brand of Ulcerate by way of caveman intensity and bludgeoning, Sarcophagum distinguish themselves by toning down the raw attack into something more akin to the engorged tonal clusters of Suffering Hour. Throw in just a hint of Gorguts skronk for ugly atmosphere, and you have a sound that teeters from the enchanting to the repugnant. This slightly cleaner presentation allows the band to alternate between straightforward tension-laced chug fests in “Ritual Pillars Burn” to atmospheric, sustained progressions in “Vermiform.” Across four songs and 34 minutes, The Grand Arc of Madness attempts to concoct a menacing atmosphere where moments of stark beauty are set apart by the discomfort of jarring time signature shifts and melodies collapsing into clashing, overlapping heaps of noise. The man who makes this all work is the drummer and star of the album, Robin. His drumming style is Sarcophagum’s secret sauce, using a mastery of cymbal-only fills, well-timed double bass drills, and the ability to pull back or fill the empty space. This couples nicely with axe-men Matt and Adam’s use of repetition and looping riffs, allowing a constant yin and yang of sound. “Feudal Futures” exemplifies this formula, with Robin going berserk over his kit when the guitars are at their emptiest, and switching to the most basic of beats when the melodies cut loose. With prolonged tremolos ebbing into self-titled era Krallice melodies one minute and collapsing into piercing, distortion-laced feedback the next, The Grand Arc of Madness is an album of perpetual contrast. The only two blemishes on The Grand Arc of Madness go hand in hand with one another: too much repetition and too much cleanliness. Closing title track “The Grand Arc of Madness” clocks in at a gargantuan 15 minutes, with no less than three separate spots which sound like great endings, only to have the band launch into yet another needlessly extended groove. All four songs suffer from this crutch, with haunting, enjoyable riffs that continue to carousel the listener around while Robin does his best to keep things interesting and fresh. This wouldn’t be so bad, except that Sarcophagum chose to polish away the dirt and grit of their grimier EP in favor of a production so clean that it lays the droning nature of the longer passages bare. Acts like Paysage D’hiver and Ulcerate have shown that repetition can make for a powerful atmosphere, but the tones must serve to help that atmosphere, rather than expose the bare bones of the songwriting. In the end, the album limps rather than strides to a finish, with no amount of drum heroics able to distract from the overly saccharine tones and deja-vu nature of the riffs as a whole. I can’t recommend Sarcophagum as superior to its entity of origin, but there is certainly promise here. When The Grand Arc of Madness is firing on all cylinders, it’s a treat to listen to, making disso-death as approachable as it can be without losing the genre’s sense of tension and fright. Tightening up the songwriting and bringing back some of the muck of their earlier releases will go far in helping them hone a sound that stands apart from their mother band. Still, if you’re already counting down the years until the follow-up to Cutting the Throat of God, you would do well to give this a spin and keep an eye out for growth from a promising studio act. Rating: 2.5/5.0 DR: 8 | Format Reviewed: 320 kbps mp3 Label: <a href="https://nuclearwinterrecords.com/shop/" rel="nofollow noopener" target="_blank">nuclearwinterrecords.com/shop</a> Websites: <a href="https://sarcophagum.bandcamp.com/album/the-grand-arc-of-madness" rel="nofollow noopener" target="_blank">sarcophagum.bandcamp.com</a> | <a href="https://www.facebook.com/sarcophagumband/" rel="nofollow noopener" target="_blank">facebook.com/sarcophagumband</a> Releases Worldwide: December 6th, 2024<a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/2-5/" target="_blank">#25</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/2024/" target="_blank">#2024</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/australian-metal/" target="_blank">#AustralianMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/death-metal/" target="_blank">#DeathMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/dec06/" target="_blank">#Dec06</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/dissonant-death-metal/" target="_blank">#DissonantDeathMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/golgothan-remains/" target="_blank">#GolgothanRemains</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/gorguts/" target="_blank">#Gorguts</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/krallice/" target="_blank">#Krallice</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/nuclear-winter-records/" target="_blank">#NuclearWinterRecords</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/paysage-dhiver/" target="_blank">#PaysageDHiver</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/review/" target="_blank">#Review</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/reviews/" target="_blank">#Reviews</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/sarcophagum/" target="_blank">#Sarcophagum</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/suffering-hour/" target="_blank">#SufferingHour</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/the-grand-arc-of-madness/" target="_blank">#TheGrandArcOfMadness</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/ulcerate/" target="_blank">#Ulcerate</a>

Angry Metal Guy<a href="https://www.angrymetalguy.com/gutless-high-impact-violence-review/" rel="nofollow noopener" target="_blank">Gutless – High Impact Violence Review</a>By SaundersIn a banner year for death metal of especially brutal, dissonant and challenging varieties, as we close in on the end of another action-packed year for metal, it’s time to return to the simpler joys of the death metal genre. Enter rising Australian upstarts Gutless. Following their 2018 demo release, the quartet finally unleashes their debut LP, High Impact Violence. Gutless make it clear from the outset they are wired into the old school framework of ’90s-flavored death, pulling no punches. While indebted to the classic American death metal eras of the early to mid ’90s, Gutless feature their own twisted, muffled charms and modern interpretations to smash out an album of solid substance and plenty of ballsy attitude, neck-snapping riffs, and tidy chops. But as end-of-year burnout kicks in and list season begins to take shape, do these Melbourne lads have what it takes to make a significant splash in the death metal cesspool of 2024?Not being familiar with the underground history and previous short-form releases by Gutless, I dug out their well-received Mass Extinction EP from 2018 in preparation for the High Impact Violence to follow. It was a particularly nasty, feral slab of old school goodness, hinting at their potential. High Impact Violence features a more refined, polished update of their earlier material, yet retains a nasty, no-frills underground edge, including nods to the classic Floridian scene, and early Suffocation, Cannibal Corpse and Dying Fetus. Straight off the bat, when dissecting the Gutless DNA threaded into their formula, their strong affiliation with ’90s death metal shines through. Rather than hone into one particular influence, Gutless sculpt their own robust sound, built upon blunt force aesthetics, favoring brutish, tautly wound assaults, thuggish riffs and curb stomping beatdowns.Amidst the aggressive, take-no-prisoners songwriting, Gutless boast the riffs, bludgeoning, tightly executed musicianship, and upgraded retro flair with an endearing charm that is easy to like. So, while initially, the overall package seemed to blaze by without leaving much of a lasting impression, repeat listens have treated the album kindly. This becomes all the more palatable considering the lean twenty-six-minute runtime. “Bashed and Hemorrhaging” does what any lean, mean death metal album should do, feasting on fast, aggressive rhythms, rabid vocals, and sick, pit-ready groove sections. The belligerent, no-frills assault continues to batter senses and hammer skulls across the album’s efficient duration. Gutless leverage the rough and tumble riffs and chunky mid-paced surges with tasteful soloing and blastier explosions (“Scalpel Obsession”), deft thrash and slam-infused dynamic twists (“Galvanized”), and old school grind, pummel and melodic flair (“Carved into Existence”). Certain tracks, such as those named, stand out from the pack, but it’s all solid, if sometimes unremarkable fare.High Impact Violence succeeds more often than it falls flat or fails to impose itself on the listener. Yet despite its strengths and solid qualities, the album is not without some issues. Each song offers cool moments; however, a handful of tracks fail to carve deeper impressions in the memory bank once the frenetic attack subsides. More song-by-song individuality and further development of their songwriting skills will hopefully yield stronger results next time around. Allan Stacey and Tom Caldwell skillfully wage war on their instruments, cherry-picking from their influential touchstones with an energetic mix of old school death riffs, clubbing grooves, and occasional melodic flourishes and nifty solos. Drummer Ollie Ballantyne bludgeons his kit with reckless abandon, employing a busy, aggressive, groovy style without relying heavily on excessive blasting or one-dimensional rhythms. Joe Steele isn’t left behind, his meaty low-end given moments to shine. Caldwell’s motor-mouthed, muffled growls are serviceably performed, though a little more variety and unhinged edge of the early vocal eruptions would have added a welcome layer of grimy menace.Overall, Gutless exhibit a fine example of their long-gestating efforts in finally unleashing their debut LP to the underground masses. And although the final package does not quite deliver a knockout punch, High Impact Violence remains a polished debut and hopefully a springboard to greater things in store for the band’s future endeavors. Perhaps splicing the album’s accomplished riffcraft, refinement and addictive sense of groove, with the nastier, rawer aesthetics of their early work could produce a more potent platform for this beast to grow. Rating: 3.0/5.0 DR: 8 | Format Reviewed: 320 kbps mp3 Label: <a href="https://www.darkdescentrecords.com/shop/" rel="nofollow noopener" target="_blank">Dark Descent Records</a> Websites: <a href="https://gutlessmelbourne.bandcamp.com/" rel="nofollow noopener" target="_blank">gutlessmelbourne.bandcamp.com</a> | <a href="https://www.facebook.com/gutlessmelbourne/" rel="nofollow noopener" target="_blank">facebook.com/gutlessmelbourne</a> Releases Worldwide: November 22nd, 2024<a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/2024/" target="_blank">#2024</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/30/" target="_blank">#30</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/australian-metal/" target="_blank">#AustralianMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/cannibal-corpse/" target="_blank">#CannibalCorpse</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/dark-descent-records/" target="_blank">#DarkDescentRecords</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/death-metal/" target="_blank">#DeathMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/dying-fetus/" target="_blank">#DyingFetus</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/gutless/" target="_blank">#Gutless</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/high-impact-violence/" target="_blank">#HighImpactViolence</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/old-school-death-metal/" target="_blank">#OldSchoolDeathMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/review/" target="_blank">#Review</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/reviews/" target="_blank">#Reviews</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/suffocation/" target="_blank">#Suffocation</a>

Jake in the desertYet another bonus <a href="https://c.im/tags/ThursDeath" class="mention hashtag" rel="nofollow noopener" target="_blank">#ThursDeath</a> for this week. This is a fairly new one for me. I'm not sure how I missed the 'Foul Examination of Putrified Remains' EP by Australia's DECREPITORUM from last year, but I certainly have listened to a lot of it this year. That gross cover art! This is a rotten, fantastic EP. <a href="https://decrepitorum.bandcamp.com/album/foul-examination-of-putrefied-remains" rel="nofollow noopener" translate="no" target="_blank">https://decrepitorum.bandcamp.com/album/foul-examination-of-putrefied-remains</a><a href="https://c.im/tags/metal" class="mention hashtag" rel="nofollow noopener" target="_blank">#metal</a> <a href="https://c.im/tags/DeathMetal" class="mention hashtag" rel="nofollow noopener" target="_blank">#DeathMetal</a> <a href="https://c.im/tags/OSDM" class="mention hashtag" rel="nofollow noopener" target="_blank">#OSDM</a> <a href="https://c.im/tags/Australia" class="mention hashtag" rel="nofollow noopener" target="_blank">#Australia</a> <a href="https://c.im/tags/AustralianMetal" class="mention hashtag" rel="nofollow noopener" target="_blank">#AustralianMetal</a> <a href="https://c.im/tags/AustralianBands" class="mention hashtag" rel="nofollow noopener" target="_blank">#AustralianBands</a> <a href="https://c.im/tags/Decrepitorum" class="mention hashtag" rel="nofollow noopener" target="_blank">#Decrepitorum</a> <a href="https://metalhead.club/@wendigo" class="u-url mention" rel="nofollow noopener" target="_blank">@wendigo</a> <a href="https://metalhead.club/@HailsandAles" class="u-url mention" rel="nofollow noopener" target="_blank">@HailsandAles</a> <a href="https://metalhead.club/@Kitty" class="u-url mention" rel="nofollow noopener" target="_blank">@Kitty</a> <a href="https://metalhead.club/@umrk" class="u-url mention" rel="nofollow noopener" target="_blank">@umrk</a> <a href="https://metalhead.club/@BlackenedGreen" class="u-url mention" rel="nofollow noopener" target="_blank">@BlackenedGreen</a>

Angry Metal Guy<a href="https://www.angrymetalguy.com/tyrannic-tyrannic-desolation-review/" rel="nofollow noopener" target="_blank">Tyrannic – Tyrannic Desolation Review</a>By Mark Z.No matter how far today’s bands push the envelope, no matter how weird or experimental or innovative modern music becomes, there will always be bands who look around and simply say: “Fuck that, give me Celtic Frost.” Australia’s Tyrannic is one such band. The trio’s founding member, vocalist, and drummer “R.,” has <a href="https://www.nocleansinging.com/2019/12/27/an-ncs-interview-tyrannic/" rel="nofollow noopener" target="_blank">readily admitted</a> that Tom G. Warrior’s brainchild is their biggest influence, though the band’s music isn’t just another carbon copy of Morbid Tales. For the past decade, the group seems to have steadily been gaining attention in the underground due not just to their consistent “cemetery photoshoot” album art, but also their strange combination of black and doom metal. The band seemed to really start turning heads with their second album, 2021’s Mortuus Decadence, which I enjoyed for its sinister atmosphere and epic climaxes. With third album Tyrannic Desolation, the group has largely opted to stick to the same burial grounds as before, but are they able to continue unearthing interesting material?Yes and no. At first listen, Tyrannic Desolation sounds like the lo-fi extreme metal of Throneum with a bit of Tyrannic’s own special sauce mixed in. Many of these eight songs fill a decent amount of their runtimes with tight, creaky guitar lines that are propelled by clattering, off-kilter drums and vocals that run the gamut from rancid rasps to fervent war shouts to anguished hollers. Perhaps most interesting, however, are the deep operatic vocals that wail just out of the foreground during the doomier segments. The album’s opening duo, “Prophetic Eyes of Glass” and the title track, both slow down after their faster first halves to deliver such operatic singing between eerie, immense, and twisting guitar lines that sound like Candlemass gone black metal.The approach works well enough at first, but by the time “Impaled before Your Mirror of Fate” hits halfway through the record’s runtime, the “fast first half and doomy second half” songwriting formula begins to lose its footing. Fortunately, the album’s second half adds diversity via ideas that are doomier, gloomier, and weirder. “Dance on Graves Chained to the Labyrinth” is perhaps the most interesting track here,<a href="https://www.angrymetalguy.com/tyrannic-tyrannic-desolation-review/#fn-206366-1" rel="nofollow noopener" target="_blank">1</a> as the song creates a strange and ominous mood with its squealing, Mithras-style soloing and bold decision to have the entire band play with no drumming for almost all of the track’s five-and-a-half minute runtime. Later songs like “Incubus Incarnate” and the closer, “Morbid Sanctum,” really drive home the doom, with both songs featuring deathly and morose guitar lines that would sound perfectly fitting at a funeral.Tyrannic Desolation contains compelling moments, but I can’t say the record as a whole blows me away. While I appreciate how naturally Tyrannic transitions between styles, the album seems content to merely twist and contort itself rather than offer any true hooks or standout riffs. Thus, even while things change in ways that should be compelling, the overall experience ends up just feeling inconsequential. Songs like “Only Death Can Speak My Name” and “Stillbirth in Still Life” are perhaps the least interesting of the bunch, with the former featuring odd, sour notes and the latter being little more than a long, anguished death crawl that doesn’t offer enough to stand out from its brethren. Fortunately, the dry and raw production is a good fit for what the band is going for, with the unpolished guitars and in-your-face sound somehow working together to create a surprisingly strong atmosphere. The drum performance also keeps everything fluid while possessing a natural, unassuming quality that I find endearing.Tyrannic has a cool vibe, and I always appreciate bands that use a retro sound and aesthetic without regurgitating things we’ve heard a million times before. In this way, the band reminds me of what modern Darkthrone is doing, and Tyrannic’s ultimate level of quality here is about as mixed as Fenriz and company’s albums have been for the last two decades. For those interested in the odder and more foreboding edges of extreme metal, Tyrannic Desolation offers forty-eight minutes that might be worth your while. For me? While I can appreciate the band’s interesting style and ghastly atmosphere, I can’t say for certain I’ll be joining them on their next jaunt through the cemetery. Rating: 2.5/5.0 DR: 8 | Format Reviewed: 320 kb/s CBR MP3 Label: <a href="https://ironbonehead.de/" rel="nofollow noopener" target="_blank">Iron Bonehead Productions</a> Website: <a href="https://tyrannic.bandcamp.com/" rel="nofollow noopener" target="_blank">tyrannic.bandcamp.com</a> Releases Worldwide: November 22nd, 2024<a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/2-5/" target="_blank">#25</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/2024/" target="_blank">#2024</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/australian-metal/" target="_blank">#AustralianMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/black-metal/" target="_blank">#BlackMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/candlemass/" target="_blank">#Candlemass</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/celtic-frost/" target="_blank">#CelticFrost</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/darkthrone/" target="_blank">#Darkthrone</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/doom-metal/" target="_blank">#DoomMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/iron-bonehead-productions/" target="_blank">#IronBoneheadProductions</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/mithras/" target="_blank">#Mithras</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/nov24/" target="_blank">#Nov24</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/review/" target="_blank">#Review</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/reviews/" target="_blank">#Reviews</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/throneum/" target="_blank">#Throneum</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/tyrannic/" target="_blank">#Tyrannic</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/tyrannic-desolation/" target="_blank">#TyrannicDesolation</a>

Angry Metal Guy<a href="https://www.angrymetalguy.com/empire-of-eden-guardians-of-time-review/" rel="nofollow noopener" target="_blank">Empire of Eden – Guardians of Time Review</a>By Steel DruhmAnyone out there remember Dungeon? They were Australia’s answer to Hammerfall and Stratovarius and from 1999 through 2006 they released a series of entertaining platters of heavy/power metal before calling it a day. Dungeon guitarist Stu Marshall went on to found his own entity called Empires of Eden and set out to follow the same template used by Tobias Sammet with his Avantasia project. Stu would do the writing, play multiple instruments, and then bring in a host of musical guests to do vocals and whatever else needed to be done. A lifetime ago in 2012, I covered their sophomore outing Channeling the Infinite in a review that to this day has <a href="https://www.angrymetalguy.com/empires-of-eden-channeling-the-infinite-review/" rel="nofollow noopener" target="_blank">yet to receive one lousy comment</a>. Such is the musical isolation Australian metal bands endure.<a href="https://www.angrymetalguy.com/empire-of-eden-guardians-of-time-review/#fn-206060-1" rel="nofollow noopener" target="_blank">1</a> Channeling was decent enough for what it was with a few hits that still live happily on my playlists. I missed a 2015 follow-up completely, and now Stu and friends are back with fourth album Guardians of Time. The same template is in play again, with Stu shoehorning in as many vocalists and guitarists as he can, this time with many coming from other Australian acts. This means the relative star power is more modest here with fewer “big” names included. Can this kind of cut-and-paste all-star effort lead to a successful album? Place yer bets!After a cookie-cutter intro, the title track sallies forth with a heavy power metal sound led by the ageless vocals of Rob Rock. Rob sounds fine as always, giving a forceful and spirited performance, and the song’s style is one that appeals to me on paper. Unfortunately, the writing feels like the definition of average. You won’t mind hearing it but it’s unlikely to stick or leave much of an impression. Things then switch to cheesy hard rock for “When Will It End,” and it’s a jarring jump. The song itself isn’t bad and the chorus is decent, as are the vocals by Darren Smith (Jake E. Lee’s Red Dragon Cartel). Again though, the writing is at the level of stock standard. This issue plagues Guardians from start to finish as styles shift and performers swap out. “Mortal Rites” is thrashy and heavy, sounding like Iced Earth collaborating with Death Angel and it’s a very modest highlight. “When the Beast Comes Out” features Sean Peck of Cage and if you squint really hard, you can imagine it being a lost track from Hell Destroyer, though it makes sense why it ended up getting lost. It’s just not very memorable.The worst moment hits with “Stand United” which is a painfully cheesy power metal anthem badly undermined by the vocals from Tony Webster (Archetype, ex-Axemaster). His delivery is just so weak and wishy-washy that it makes the already uninspired song a real effort to get through. Add to these issues a pointlessly shreddy instrumental called “Arabian Nights” and 2 versions of “Baptise This Hell” when one would be entirely sufficient and you have an album that never finds its legs despite the talent involved. Worse, the shifting styles and revolving door vocalists make everything feel disjointed and devoid of cohesion. Avantasia works because Tobias Sammet usually appears alongside his various guest vocalists, thereby insuring a cohesive end product. There’s no disputing that Stu Marshall is a gifted guitarist, but his playing isn’t enough to make the album feel like the work of an actual band and not a mix tape of Aussie attractions. Guardians is also way too long at 52-plus minutes.It’s rather pointless to opine on the various hits or misses of the guest vocalists and whether this guitarist or the other nailed a memorable solo. The big issue here is that the writing never exceeds serviceable and no song is sticky enough to become proper playlist fodder. That’s a step down from the last time I encountered Empires of Eden. If forced to pick the best moment it would be “August Runs Red” because it reminds me of Sweden’s 90s power-prog renaissance and the works of Tad Morose and Lefay, but even here the results are only moderately successful.I wasn’t expecting to be blown away by Guardians of Time, but even with such muted expectations, I was underwhelmed. Stu Marshall can wail on a guitar and he’s demonstrated writing talent in the past, but this is an album full of recycled, uninspired power and heavy metal moments and it feels like a filler dumping ground. If I need guest-heavy ego metal projects, I’ll stick with the vastly superior Avantasia. In short, I shant be returning to this Eden no matter how many apples are offered. Rating: 2.0/5.0 DR: 8 | Format Reviewed: 320 kbps mp3 Label: <a href="https://massacre-records.com/" rel="nofollow noopener" target="_blank">Massacre</a> Website: <a href="https://www.facebook.com/empiresofeden" rel="nofollow noopener" target="_blank">facebook.com/empiresofeden</a> Releases Worldwide: November 15th, 2024<a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/20/" target="_blank">#20</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/2024/" target="_blank">#2024</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/australian-metal/" target="_blank">#AustralianMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/avantasia/" target="_blank">#Avantasia</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/channeling-the-infinite/" target="_blank">#ChannelingTheInfinite</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/empires-of-eden/" target="_blank">#EmpiresOfEden</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/guardians-of-time/" target="_blank">#GuardiansOfTime</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/massacre-records/" target="_blank">#MassacreRecords</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/nov24/" target="_blank">#Nov24</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/review/" target="_blank">#Review</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/reviews/" target="_blank">#Reviews</a>

Angry Metal Guy<a href="https://www.angrymetalguy.com/black-aleph-apsides-review/" rel="nofollow noopener" target="_blank">Black Aleph – Apsides Review</a>By Dear HollowBlack Aleph is a sonic experiment devoted to ritual. Debut Apsides, while short, is nothing short of perplexing in its evasion of genre trappings, ultimately making some form of drone metal with folk instruments, imbued with post-metal’s metamorphic crescendos. However, the value lies behind these descriptors, with a distinct ritualistic heart beating beneath as its Middle Eastern modal traditions guide the movements—a divine and otherworldly experience. Don’t misunderstand, Apsides will still crush you, but just as much in its serenity as its dense guitar riffs—the weight it conjures is a suggestion and anticipation of punishment rather than a rod brandished. The result is haunting and unique, but brimming with more potential than it capitalizes upon.Black Aleph is a trio from Australia, its Sydney- and Melbourne-based members comprised other acts from the country’s weirder underground offerings. Aside from respective solo offerings, guitar and effects wizard Lachlan Dale hails from <a href="https://en.wikipedia.org/wiki/Maqam" rel="nofollow noopener" target="_blank">maqam-centric</a> acts like Hashshashin and the Arya Ensemble,<a href="https://www.angrymetalguy.com/black-aleph-apsides-review/#fn-205406-1" rel="nofollow noopener" target="_blank">1</a> cellist Peter Hollo lends his eerie drones in post-rock/electronic collectives like Tangents, Haunts, and FourPlay String Quartet, and dar player/setarist Timothy Johannessen plays in the folk-inclined Mehr Ensemble. Johannessen and Dale’s respective roots in Arabic, Iranian, and Persian folk music pronounce the motifs that Black Aleph utilizes. The trio has been compared to renowned experimental acts like Godspeed You! Black Emperor, Justin Broadrick, and Jesu, while associated with members of We Lost the Sea and Sunn O))). However, Black Aleph plays more in line with Hashshashin or countrymates Omahara in the blurring of drone and folk, ever-punishing and ever-organic.Black Aleph deals in a style that balances weight, tension, and melody. Just as in Godspeed’s Lift Your Skinny Fists…, chord progressions throughout Apsides are layered with tension, bated breath between dissonance and harmony. While layered with ominous droning doom riffs (“Descent,” “Precession”), the crescendos within its micro-movements prove the most intriguing. Whether it be its dancing and complex rhythms (“Return”), climbing arpeggios (the “Ambit” duo), or gradual uses of volume and curious motifs (“Separation,” “Return”) the best uses of the percussive daf are utilized in quieter moments, creating a pulsing undercurrent of mystery and frailty rather than the punishing drums they pretend to be in the more droning cuts. These more gentle movements gradually increase in girth with post-rock intention, erupting in satisfying droning climaxes (“Ambit II (Aphelion),” “Return”). While droning guitars are relatively straightforward, their acoustic instruments—setar, daf, cello, and violin<a href="https://www.angrymetalguy.com/black-aleph-apsides-review/#fn-205406-2" rel="nofollow noopener" target="_blank">2</a>—provide Black Aleph an easy and effective bridge between droning metal and folk motifs, as the songs are constructed safely and neatly.Black Aleph’s voiceless music creates a greater impetus to focus on the songwriting, and unfortunately, Apsides suffers from moments of directionless meandering and awkwardly curtailed movements. In general, the lack of vocals is a critique depending on the listener. In a manner of songwriting, however, the best crescendo occurs in “Ambit II (Aphelion)” and no track following lives up to this peak, although others attempt to scale it (“Separation,” “Return”). While noodling occurs throughout (i.e. “Ambit I (Ascension)”), it overwhelms the moments of climax, leading tracks plummeting to the ground, especially in the limp closer “Occultation,” whose wonky rhythms and skronky setar rob the guitars of needed weight. Most frustrating with Black Aleph is that, although each track is neatly composed and competently executed, the album at large feels too short and abrupt. Apisdes’ thirty-minute runtime feels too short like Black Aleph missed the chance to adequately flesh out their ideas when eschewing drone metal’s tendency towards lengthy offerings.Apsides offers a unique sound, hindered by its own ambition. Although the songs are too short and performances can be shortsighted, Black Aleph has an endlessly intriguing premise and unique execution. Ritualistic rhythms, Middle Eastern motifs, droning riffs, and otherworldly drive collide in an album that largely succeeds. It’s good that I want to hear more of Black Aleph, because I think their next album will be better than Apsides. Rating: 3.0/5.0 DR: 8 | Format Reviewed: 320 kb/s mp3 Label: Self-Released Websites: <a href="http://blackaleph.bandcamp.com" rel="nofollow noopener" target="_blank">blackaleph.bandcamp.com</a> | <a href="http://facebook.com/blackaleph" rel="nofollow noopener" target="_blank">facebook.com/blackaleph</a> Releases Worldwide: October 25th, 2024<a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/2024/" target="_blank">#2024</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/30/" target="_blank">#30</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/apsides/" target="_blank">#Apsides</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/arya-ensemble/" target="_blank">#AryaEnsemble</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/australian-metal/" target="_blank">#AustralianMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/black-aleph/" target="_blank">#BlackAleph</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/doom-metal/" target="_blank">#DoomMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/drone/" target="_blank">#Drone</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/drone-metal/" target="_blank">#DroneMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/folk/" target="_blank">#Folk</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/fourplay-string-quartet/" target="_blank">#FourPlayStringQuartet</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/godspeed-you-black-emperor/" target="_blank">#GodspeedYouBlackEmperor</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/hashshashin/" target="_blank">#Hashshashin</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/haunts/" target="_blank">#Haunts</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/jesu/" target="_blank">#Jesu</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/justin-broadrick/" target="_blank">#JustinBroadrick</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/mehr-ensemble/" target="_blank">#MehrEnsemble</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/noise/" target="_blank">#Noise</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/oct24/" target="_blank">#Oct24</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/omahara/" target="_blank">#Omahara</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/post-rock/" target="_blank">#PostRock</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/post-metal/" target="_blank">#PostMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/review/" target="_blank">#Review</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/reviews/" target="_blank">#Reviews</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/self-released/" target="_blank">#SelfReleased</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/sunn-o/" target="_blank">#SunnO_</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/tangents/" target="_blank">#Tangents</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/we-lost-the-sea/" target="_blank">#WeLostTheSea</a>

Jake in the desertOver this last year, Burial Chamber have definitely become one of my favorite metal bands. Still can't believe I missed this last year when it came out. I posted about this record earlier this year. But this is now an ultimate 'anytime metal' kind of record for me. Great for the car, too. Just the most solid, catchy, dynamic and tightest stuff you've ever heard. Something in that Australian water, man. <a href="https://burialchamber.bandcamp.com/album/symbolic-flesh-entombed-2" rel="nofollow noopener" translate="no" target="_blank">https://burialchamber.bandcamp.com/album/symbolic-flesh-entombed-2</a><a href="https://c.im/tags/metal" class="mention hashtag" rel="nofollow noopener" target="_blank">#metal</a> <a href="https://c.im/tags/DeathMetal" class="mention hashtag" rel="nofollow noopener" target="_blank">#DeathMetal</a> <a href="https://c.im/tags/BurialChamber" class="mention hashtag" rel="nofollow noopener" target="_blank">#BurialChamber</a> <a href="https://c.im/tags/OSDM" class="mention hashtag" rel="nofollow noopener" target="_blank">#OSDM</a> <a href="https://c.im/tags/Australia" class="mention hashtag" rel="nofollow noopener" target="_blank">#Australia</a> <a href="https://c.im/tags/AustralianBands" class="mention hashtag" rel="nofollow noopener" target="_blank">#AustralianBands</a> <a href="https://c.im/tags/AustralianMetal" class="mention hashtag" rel="nofollow noopener" target="_blank">#AustralianMetal</a> <a href="https://c.im/tags/Sydney" class="mention hashtag" rel="nofollow noopener" target="_blank">#Sydney</a> <a href="https://c.im/tags/SydneyBands" class="mention hashtag" rel="nofollow noopener" target="_blank">#SydneyBands</a>

Angry Metal Guy<a href="https://www.angrymetalguy.com/destruktor-indomitable-review/" rel="nofollow noopener" target="_blank">Destruktor – Indomitable Review</a>By Mark Z.Deep in the dark chasm of extreme metal lies a hidden gem: Destruktor. Led by vocalist and guitarist “Glenn Destruktor,” these filthy Australian miscreants have been spewing their raw and blasphemous compositions since 1997, crafting a sound that lies somewhere between the blasting blackened death of Abominator and the blistering blackened thrash of Nocturnal Graves. What sets them apart from the rest of the horde, however, is their excellent songwriting. More so than similar groups, Destruktor know how to make things memorable, with many of their tracks containing clear hooks, distinct riffs, and accessible verse-chorus structures. These traits helped make their 2009 debut Nailed and its 2015 follow-up <a href="https://www.angrymetalguy.com/destruktor-opprobrium-review/" rel="nofollow noopener" target="_blank">Opprobrium</a> two of my favorite extreme metal albums ever (and their 2004 EP Nuclear Storm was no slouch, either). Crafting such strong compositions apparently takes time, however, as it’s now been nine long years since we’ve last heard from Glenn and his demonic cohorts. When their third album Indomitable was finally announced, it immediately became my most anticipated record of 2024. But does it reach the high bar set by its predecessors?If nothing else, Indomitable shows that the band have not grown soft in their time away from the studio. After ostensibly referencing Hell Awaits with faint whispers of “join us,” the opener “Speaking with the Dead” blasts forward on ragged, belligerent riffs that soon give way to squirming tremolo lines and roars of the track title. Everything sounds just as bestial and aggressive as before, including Glenn himself. Somehow the man’s vocals have only gotten better with age, as his guttural approach is as powerful as ever while sounding even more intelligible. The title track further hammers home that the band are just as extreme as they’ve always been, with churning chords and infernal progressions that aren’t too far removed from Blasphemy.The group haven’t gone flaccid in the songwriting department, either. Take the aforementioned “Speaking with the Dead,” which supports its chorus with a clever, sinister riff that alternately ascends and descends before it reinvents itself in the song’s final minute. Later tracks like “Better Off Aborted” and “Beyond the Bleakness” use hooks that are equally sharp, while “Holy Orgy” is especially captivating and perverse with its bouts of raspier vocals and quick, devilish riffing. Amidst the throttling blast beats that propel much of the album, Destruktor add variety with slower moments that make things feel even more unholy. The bridge of “Holy Orgy” employs wailing notes and sluggish tempos to conjure a particularly menacing aura, while the slower section in the middle of the title track sounds tortured and harrowing. If there’s any downside to such passages, it’s that they make the relentless hammering of “Writhe in Pain” seem almost uneventful in comparison.The biggest drawback to Indomitable is that, as a whole, it feels less adventurous and dynamic than the band’s prior albums. While the fiery core of Destruktor’s sound is still here, this record lacks the occasional acoustic flourishes, extended buildups, and grander moments that helped make Nailed and Opprobrium such outstanding releases. The closing track, “The Path to Lucifer,” makes this especially apparent, as the song forgoes any real attempt at an epic ending and instead fades out on a slow riff that’s outclassed by much of the material that preceded it. Fortunately, the track itself is still a success, as the fast and violent riffing earlier in its runtime is some of the most vicious and inspired on the album. Ripping through its eight songs in just 33 minutes, Indomitable is also both tightly composed and consistently engaging, with Glenn constantly firing off great riffs that blend the malevolence of black metal, the heaviness of death metal, and the energy of thrash. When things are less wild, bassist Chris McEwin steps up, unveiling moist bass lines that deviate from the riffs and bubble like molten metal just below them. The production emphasizes the sharp guitars while ensuring everything sounds harsh, clear, and natural. In particular, the performance of longtime drummer Jahred Mawdsley hits all the harder because it isn’t overly processed.Following up Nailed and Opprobrium was always going to be an uphill battle, but Destruktor manage to succeed by once again skillfully balancing their signature catchiness and fiery fury. While I hope the band spread their black wings a bit more widely on future releases, Indomitable nonetheless shows them continuing their infernal crusade in fine form, delivering a record that should undoubtedly please both curious newcomers and longtime fans alike. Rating: 3.5/5.0 DR: 8 | Format Reviewed: 320 kbps mp3 Label: <a href="https://www.hellsheadbangers.com/" rel="nofollow noopener" target="_blank">Hells Headbangers Records</a> Websites: <a href="https://destruktor.bandcamp.com/" rel="nofollow noopener" target="_blank">destruktor.bandcamp.com</a> | <a href="https://www.facebook.com/destruktorofficial" rel="nofollow noopener" target="_blank">facebook.com/destruktorofficial</a> Releases Worldwide: October 18th, 2024<a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/2024/" target="_blank">#2024</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/35/" target="_blank">#35</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/abominator/" target="_blank">#Abominator</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/australian-metal/" target="_blank">#AustralianMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/black-metal/" target="_blank">#BlackMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/blasphemy/" target="_blank">#Blasphemy</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/death-metal/" target="_blank">#DeathMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/destruktor/" target="_blank">#Destruktor</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/hells-headbanger-records/" target="_blank">#HellsHeadbangerRecords</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/indomitable/" target="_blank">#Indomitable</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/nocturnal-graves/" target="_blank">#NocturnalGraves</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/oct24/" target="_blank">#Oct24</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/review/" target="_blank">#Review</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/reviews/" target="_blank">#Reviews</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/slayer/" target="_blank">#Slayer</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/thrash-metal/" target="_blank">#ThrashMetal</a>

Jake in the desertLuckily, something's in the water in Australia, and this week's <a href="https://c.im/tags/ThursDeath" class="mention hashtag" rel="nofollow noopener" target="_blank">#ThursDeath</a> is this grody, disgusting and aptly named demo brought to us last June by band of same name from down under. Some really wild dynamics, riffs etc here. Six reeking, putrescent tracks of nasty, filthy OSDM named after how ya feel after ya listen to em. Grotesque Bliss indeed. <a href="https://grotesquebliss.bandcamp.com/album/grotesque-bliss-demo" rel="nofollow noopener" translate="no" target="_blank">https://grotesquebliss.bandcamp.com/album/grotesque-bliss-demo</a><a href="https://c.im/tags/metal" class="mention hashtag" rel="nofollow noopener" target="_blank">#metal</a> <a href="https://c.im/tags/DeathMetal" class="mention hashtag" rel="nofollow noopener" target="_blank">#DeathMetal</a> <a href="https://c.im/tags/OSDM" class="mention hashtag" rel="nofollow noopener" target="_blank">#OSDM</a> <a href="https://c.im/tags/AustralianBands" class="mention hashtag" rel="nofollow noopener" target="_blank">#AustralianBands</a> <a href="https://c.im/tags/AussieBands" class="mention hashtag" rel="nofollow noopener" target="_blank">#AussieBands</a> <a href="https://c.im/tags/AustralianMetal" class="mention hashtag" rel="nofollow noopener" target="_blank">#AustralianMetal</a> <a href="https://c.im/tags/AussieMetal" class="mention hashtag" rel="nofollow noopener" target="_blank">#AussieMetal</a> <a href="https://c.im/tags/Australia" class="mention hashtag" rel="nofollow noopener" target="_blank">#Australia</a> <a href="https://c.im/tags/GrotesqueBliss" class="mention hashtag" rel="nofollow noopener" target="_blank">#GrotesqueBliss</a> <a href="https://metalhead.club/@HailsandAles" class="u-url mention" rel="nofollow noopener" target="_blank">@HailsandAles</a> <a href="https://metalhead.club/@wendigo" class="u-url mention" rel="nofollow noopener" target="_blank">@wendigo</a> <a href="https://metalhead.club/@BlackenedGreen" class="u-url mention" rel="nofollow noopener" target="_blank">@BlackenedGreen</a> <a href="https://metalhead.club/@Kitty" class="u-url mention" rel="nofollow noopener" target="_blank">@Kitty</a> <a href="https://mastodon.sdf.org/@rtw" class="u-url mention" rel="nofollow noopener" target="_blank">@rtw</a> <a href="https://metalhead.club/@umrk" class="u-url mention" rel="nofollow noopener" target="_blank">@umrk</a> <a href="https://social.lol/@cory" class="u-url mention" rel="nofollow noopener" target="_blank">@cory</a>

Angry Metal Guy<a href="https://www.angrymetalguy.com/carmeria-tragedie-damour-review/" rel="nofollow noopener" target="_blank">Carmeria – Tragédie D’amour Review</a>By KenstrosityIn my estimation, power metal lives and dies by the <del>sword</del> chorus. A band may showcase the world’s greatest guitar wizardry in the universe, the widest vocal range humanly imaginable, and the most boisterous percussive acrobatics, but I need a chorus that makes me want to shout to heavens to tie it all together. Others might offer a different experience, but I’ve yet to meet a power metal record without big, showstopping choruses that stuck with me for longer than a couple of weeks. Armed with this unwavering condition in my mind, body, and soul, I approach Australian symphonic power metal troupe Carmeria and their sophomore record Tragédie D’amour.Carmeria’s debut record, <a href="https://carmeria.bandcamp.com/album/advenae" rel="nofollow noopener" target="_blank">Advenae</a>, spanned over an hour of lush, but often basic symphonic power metal. Folks familiar with mid-period <a href="https://www.angrymetalguy.com/kamelot-silverthorn-review/" rel="nofollow noopener" target="_blank">Kamelot</a>, <a href="https://www.angrymetalguy.com/serenity-nemesis-a-d-review/" rel="nofollow noopener" target="_blank">Serenity</a>, and <a href="https://www.youtube.com/watch?v=OmCFMSReKEc" rel="nofollow noopener" target="_blank">Seventh Wonder</a> would recognize the blueprint implemented by these Australians in an instant. As you might guess, one of that record’s greatest strengths were its choruses. That strength not only carries over to this new outing, but also blooms with vivid new brilliance. Embracing the gothic romanticism of HIM and translating it into ridiculously catchy love songs that recall the same indelible infectiousness as many of <a href="https://www.angrymetalguy.com/night-flight-orchestra-amber-galactic-review/" rel="nofollow noopener" target="_blank">Night Flight Orchestra</a>‘s hits, Tragédie D’amour represents a tightly written and delightful clinic of gigantic choruses, backed by decent, if still unremarkable, power metal instrumentation.Even on their weakest cuts, Carmeria’s choruses constitute some of the most memorable material I’ve heard all year. Massive, stadium-rocking tunes like “Thorns” and “Leading the Lyre” make for surefire crowd pleasers, boasting soaring lines and muscular stomps that work in tandem to alight the soul with surging fire. “Call Forth My Sorrow,” “A Thousand Winter Rains,” and “Shadow’s Throne” represent the heaviest offerings, showcasing Carmeria’s surprisingly strong harsh vox while still providing deadly sharp vocal and percussive hooks at every corner. Meanwhile, gorgeous and fleeting ballad “Whispers of Forgiveness” evokes an olden, mystical tone that maximizes the earnest character imbued deeply throughout the record. In a way, that track—despite being the lightest and gentlest application of Carmeria’s sound—represents the bleeding heart of the record, the fount from which the hopelessly romantic emotions that fill Tragédie D’amour springs.And yet, Tragédie D’amour’s unreal value argument for memorability can’t obscure the relative lack of showmanship displayed by guitars and synths. Where bands like Kamelot and Night Flight Orchestra, to pull from two different pools, both effectively utilize hooky, memorable writing for their guitars and synths, Carmeria’s writing lacks flair in either department. An overwhelming majority of Tragédie D’amour’s riffs, leads, and solos lack distinct personalities, save for rare exceptions like the beautiful acoustic accompaniment in “Whispers of Forgiveness,” the main themes of “Leading the Lyre,” or the noodly synth solo at the final third of “Call Forth My Sorrow.” Consequently, Carmeria’s instrumental material is only ever strong enough to play a support role to the vocals. This, in turn, leaves a lot of potential for even greater musicality on the table that could’ve made a wholly fun record into an undeniable showstopper.Interestingly, despite my initial claim that power metal needs strong chorus work to resonate with me, Carmeria’s newest release needed more robust instrumentation to be great. Tragédie D’amour’s choruses are easily some of the best I’ve heard all year—not a one misses the mark. However, that metallic essence brought into the affair by guitars, and the whimsy brought by synths, leaves a lot to be desired. With more inventive instrumentation, this album could’ve easily threatened the top spot of my year for new releases. As is, Tragédie D’amour remains a thoroughly enjoyable and easily replayable record tailor-made to lift you up and make you sing. Rating: Good! DR: 6 | Format Reviewed: 320 kb/s mp3 Label: Self Release Websites: <a href="https://www.facebook.com/CarmeriaMusic/" rel="nofollow noopener" target="_blank">facebook.com/CarmeriaMusic</a> | <a href="https://carmeria.bandcamp.com/music" rel="nofollow noopener" target="_blank">carmeria.bandcamp.com/music</a> Releases Worldwide: August 23rd, 2024<a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/2024/" target="_blank">#2024</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/30/" target="_blank">#30</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/aug24/" target="_blank">#Aug24</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/australian-metal/" target="_blank">#AustralianMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/carmeria/" target="_blank">#Carmeria</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/him/" target="_blank">#HIM</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/kamelot/" target="_blank">#Kamelot</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/night-flight-orchestra/" target="_blank">#NightFlightOrchestra</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/pop-metal/" target="_blank">#PopMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/power-metal/" target="_blank">#PowerMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/review/" target="_blank">#Review</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/reviews/" target="_blank">#Reviews</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/self-relase/" target="_blank">#SelfRelase</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/serenity/" target="_blank">#Serenity</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/seventh-wonder/" target="_blank">#SeventhWonder</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/symphonic-metal/" target="_blank">#SymphonicMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/tragedie-damour/" target="_blank">#TragédieDAmour</a>

Angry Metal Guy<a href="https://www.angrymetalguy.com/king-zog-second-dawn/" rel="nofollow noopener" target="_blank">King Zog – Second Dawn Review</a>By GardensTaleKing Something bands operating in the fuzz-heavy side of metal have historically done quite well at AMG. King Buffalo is <a href="https://www.angrymetalguy.com/king-buffalo-regenerator-review/" rel="nofollow noopener" target="_blank">at the top</a> of the psych-stoner food chain. King Woman got a good score and made some waves <a href="https://www.angrymetalguy.com/king-woman-celestial-blues-review/" rel="nofollow noopener" target="_blank">a few years back</a>. King Gizzard & the Lizard Wizard <a href="https://www.angrymetalguy.com/king-gizzard-or-dawn-of-eternal-night-an-annihilation-of-planet-earth-and-the-beginning-of-merciless-damnation-things-you-might-have-missed-2023/" rel="nofollow noopener" target="_blank">remains ever popular</a>, and even less prominent bands like King Bastard managed to garner <a href="https://www.angrymetalguy.com/king-bastard-it-came-from-the-void-review/" rel="nofollow noopener" target="_blank">positive response</a>. So I was quite hopeful picking up the sophomore record from Aussie quartet King Zog. Named for an Albanian king from last century, likely for no other reason than ‘it sounds cool,’ King Zog promises heavy Sabbathian grooves and thundering riffs. Does the King deliver what is owed?That it does, and not an ounce more. Second Dawn is hazy desert doom stripped down to the skeleton. It heaves itself from plodding verse riff to pounding chorus riff at a blistering 75-85 bpm, chucks in a solo or two, maybe a bridge if it’s feeling fancy. The vocals are every inch the classic ‘if Ozzy can do it, so can we’ nasal drawl that doesn’t quite hold key, an afterthought in the face of the Big Damn Riff upon which bands like King Zog always come to rely. It is a paradox of high and low risk at the same time. It’s a tried and true format that countless bands have produced perfectly fine records with, but that makes it very difficult to stand out. Any attempt to color outside the lines can as easily spell disaster as it does salvation, but playing it safe is the best way to be forgotten as soon as the listener hits ‘skip.’King Zog tries to walk the line and not tip the scales. Its main deviation from the norm is the guitar tone, a smart area to focus on. Stoner doom bands have a tendency to drown everything in fuzz and reverb, dissolving entire albums into blurry mush. Here, the tone is compact, muscular, and colossal, like a striding beast with eyes full of rage. It grants clarity and contrast, increasing the heft and impact of every Big Damn Riff that thunders along. “Hollow Man Blues” trudges and grinds through several variations of its main riff, interspersed with some very sweet solos, and the energy increases enough with the back-to-back combo of “Madagascar Tree” and “Brute Beast” for the crunching hooks to do some serious damage.But the riffs-per-minute ratio is really not up to snuff for an album so reliant on them. “Rat King” has about 2.5 acceptable specimens, repeated and smeared out over 7 minutes and 13 seconds. “Creep On” may be shorter, but the quality of its melody is decreased to match, often getting stuck on empty-eyed single-chord repetition. The title track has some sweet solos and a groovy bopping riff, but it’s beaten to death for half the track before anything more interesting happens. Whenever the guitars aren’t enough to hold attention, the vocals try to support, but the wavering double-tracked drawl is not strong enough to fill the void.I don’t want to be too harsh on King Zog, though. The flaws of Second Dawn are evident, but they are diffuse enough for the album to stave off boredom or irritation. There are enough fun riffs to wile away a spin or two, and the above-average production lets them shine in all their heaving beauty. Second Dawn isn’t gonna win any prizes, but if you like stoner doom that’s not afraid to get in your face, you can do a whole lot worse. Rating: 2.5/5.0 DR: 6 | Format Reviewed: 320 kb/s mp3 Label: <a href="https://www.ruemorguerecords.com/" rel="nofollow noopener" target="_blank">Rue Morgue Records</a> Websites: <a href="http://marchofkingzog.bandcamp.com" rel="nofollow noopener" target="_blank">marchofkingzog.bandcamp.com</a> | <a href="http://facebook.com/marchkingzog" rel="nofollow noopener" target="_blank">facebook.com/marchkingzog</a> Releases Worldwide: July 31st, 2024<a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/2-5/" target="_blank">#25</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/2024/" target="_blank">#2024</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/australian-metal/" target="_blank">#AustralianMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/black-sabbath/" target="_blank">#BlackSabbath</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/doom-metal/" target="_blank">#DoomMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/jul24/" target="_blank">#Jul24</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/king-bastard/" target="_blank">#KingBastard</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/king-buffalo/" target="_blank">#KingBuffalo</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/king-gizzard-the-lizard-wizard/" target="_blank">#KingGizzardTheLizardWizard</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/king-woman/" target="_blank">#KingWoman</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/king-zog/" target="_blank">#KingZog</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/review/" target="_blank">#Review</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/reviews/" target="_blank">#Reviews</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/rue-morgue-records/" target="_blank">#RueMorgueRecords</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/second-dawn/" target="_blank">#SecondDawn</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/stoner-metal/" target="_blank">#StonerMetal</a>

Angry Metal Guy<a href="https://www.angrymetalguy.com/black-lava-the-savage-winds-of-wisdom-review/" rel="nofollow noopener" target="_blank">Black Lava – The Savage Winds of Wisdom Review</a>By IcebergSome musicians pour all their energies into one project, shaping and molding until they’ve chiseled their own David out of sonic marble. Others, like the members of Melbourne’s Black Lava, mix aural color across different mediums, leaving different permutations of themselves in the wake. Consisting of members of Vipassi, Ne Obliviscaris, and Metalstorm, these Aussies emerged from the wilderness two years ago with Soul Furnace, a sludgy platter of death metal completely different from its associated acts. Not content to rest on their laurels, the trio has churned out their sophomore album, The Savage Winds of Wisdom, two years later. The band aims to expand their horizons on this LP, incorporating elements of tech-death and black metal into their proven death-n-roll palette. As the first raindrops of “Colour of Death” begin to fall, whether or not Black Lava can concoct a new amalgamation remains to be seen.It’s telling that Black Lava’s members come from disparate side projects because the musical DNA of the band’s sound is hard to pin down. There are HM-2 Swedeath moments throughout, and the highly varied drumming style reminds me of fellow countrymen Werewolves, but the band seem to keep their influences close to the chest. What we can discern is the differences between this and the previous album. TSWoW hits harder and meaner than Soul Furnace and has largely left the sludge and punk influences behind (excepting opener “Colour of Death”). There’s a real sense of cinematic horror here, with Rob Watkins employing a cavernous, narrative vocal style not unlike The Vision Bleak (“Dark Legacy,” “Unsheathing Nightmares”). There are meaty riffs to be found here and there (the openings of “Wrapped in Filth” and Ironclad Sarcophagus”) but guitarist Ben Boyle feels slightly underused, acting in a supporting, atmospheric role to the chameleon-like performance of drummer Dan Presland. Black Lava is a group of accomplished professionals, but a well-rounded album must be greater than the sum of its parts.The tracks in TSWoW can be split into two, broad categories; those that play it safe, and those that push the edges of the band’s creativity. Unsurprisingly, the songs with more trimmed runtimes belong to the former category. The band toys around with signature unison rhythms designed to worm into the listener’s brain (“Dark Legacy,” “Wrapped in Filth”) amid flashes of death-n-roll (“Ironclad Sarcophagus”) and atmospheric synths (“Pagan Dust”) to augment the death metal base. I highlight the opening salvo, comprised of the first three tracks, as unusually tepid when compared to the music to come. Everything in this category is well executed from a musical standpoint, but the constant mid-paced tempo and drum-forward, mostly guitar solo-less construction feels weaker amongst the other, more adventurous tracks.Starting somewhere in mid-album track “Unsheathing Nightmares” Black Lava settle in and let their imagination fly. The focus on a narrative storyline involving witches and swords(?) Injects much needed thrash energy and kicks the album into a higher gear. Subsequent riffs feel stronger, locking into place (“Summoning Shadows”). Presland finds new ways to use the drum kit (“Sanguis Lupus”) and those previously mentioned synths in “Pagan Dust” are a breath of fresh air that need more time in the sun. But the band save their real ambition for the eponymous closer, which contains some of the most unexpected, intriguing death metal I’ve heard this year. The first half of the track features the band as Frankenstein, with hyperactive drums clashing against chunky chords and ghostly arpeggiations in a way that shouldn’t work, but alchemically, it does.<a href="https://www.angrymetalguy.com/black-lava-the-savage-winds-of-wisdom-review/#fn-200824-1" rel="nofollow noopener" target="_blank">1</a> Ne Obliviscaris’ Benjamin Baret really gets his teeth into a guest solo spot on the song’s outro, but it’s marred by a coda that grinds on far too long. It’s a shame because the four minutes of “The Savage Winds of Wisdom” preceding that envision a fertile breeding ground for the future of Black Lava.It’s plain that The Savage Winds of Wisdom represents a big step in the right direction for Black Lava. They’ve shed their jammier sludge beginnings for a more straightforward death template, and have begun to branch out into some less populated musical areas (“Sanguis Lupus,” “The Savage Winds of Wisdom”). Black Lava has already proven they’re a competent group of musicians; their next act involves them cementing their own personal sound and fury. I’m excited to see where they go next and recommend this record to fans of atmosphere-drenched death metal that’s not afraid to push the envelope. Rating: 3.0/5.0 DR: 9 | Format Reviewed: 320 kb/s mp3 Label: <a href="https://www.season-of-mist.com/" rel="nofollow noopener" target="_blank">Season of Mist</a> Websites: <a href="http://blacklava-aus.bandcamp.com/album/the-savage-winds-to-wisdom" rel="nofollow noopener" target="_blank">Bandcamp</a> | <a href="http://facebook.com/BLACKLAVA00" rel="nofollow noopener" target="_blank">Facebook</a> Releases Worldwide: July 12th, 2024<a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/2024/" target="_blank">#2024</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/30/" target="_blank">#30</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/australian-metal/" target="_blank">#AustralianMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/black-lava/" target="_blank">#BlackLava</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/blackened-death-metal/" target="_blank">#BlackenedDeathMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/death-metal/" target="_blank">#DeathMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/jul24/" target="_blank">#Jul24</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/metalstorm/" target="_blank">#Metalstorm</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/ne-obliviscaris/" target="_blank">#NeObliviscaris</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/occult-rock/" target="_blank">#OccultRock</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/review/" target="_blank">#Review</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/reviews/" target="_blank">#Reviews</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/season-of-mist/" target="_blank">#SeasonOfMist</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/sludge-metal/" target="_blank">#SludgeMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/the-savage-winds-of-wisdom/" target="_blank">#TheSavageWindsOfWisdom</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/the-vision-bleak/" target="_blank">#TheVisionBleak</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/thrash-metal/" target="_blank">#ThrashMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/vipassi/" target="_blank">#Vipassi</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/werewolves/" target="_blank">#Werewolves</a>

Angry Metal Guy<a href="https://www.angrymetalguy.com/werewolves-die-for-us-review/" rel="nofollow noopener" target="_blank">Werewolves – Die For Us Review</a>By SaundersBarring a short sample, one of numerous scattered across the album, “Get fucked” is the first lyric spewed forth on fifth LP Die For Us from Australian extreme metal anarchists, Werewolves. It’s a fitting introduction to the vitriolic assault on the senses the Australian trio unleash on their latest opus of controlled chaos and destruction. Comprising a trio of accomplished underground musicians, sporting a combined resume that includes time spent in The Antichrist Imperium, The Amenta, Psycroptic, Ruins, King and Faustian among other recognizable names, Werewolves have carved a prolifically entertaining body of work since their formation a mere five years ago. The seasoned line-up and band chemistry bleeds from the ugly, hate-filled heart at the album’s blackened core. Prolific work rate aside, can Werewolves maintain their rage and bring the songwriting substance to back their vice-tight instrumental chops and unhinged brutality?Listeners yet to catch hold of the band’s frenetic flurries of blast beats, riffs, rabid vocals, riffs and more riffs, will be greeted by a tightly coiled avalanche of modern death metal, generously spiced with a grindy edge and blackened afterburn. Speed reigns supreme, propelled by the outstanding percussion of legendary Psycroptic skinsman Dave Haley. The dizzying riffs and frantic fretwork keep pace with the album’s speedy core, as clever rhythmic twists and knuckle-dragging grooves lend the album welcome variety amidst the speed-driven assault. Snippets of the members’ various other acts occasionally seep into the pool of influences, and in terms of the grindy, punky crunch and sheer intensity of the material, common musical traits are shared with the likes of Anaal Nathrakh, Lock Up, and cult Aussie grinders The Kill.Like previous albums, Die For Us deftly balances grindcore-like speed and white-knuckled intensity with dark humor and a vaguely accessible, fun edge. Werewolves specialize in tough-as-nails extreme metal party anthems, suitable for punching brews and lifting weights. “Die For Us” and “Beaten Back to Life” bring the speed, thunder, riffs and fuck society attitude in spades, creating an effectively sharp and rugged one-two punch to launch the album into action. “Spittle-Flecked Rant” is an especially enraged, thrash-laden deathgrind beast that would do Misery Index proud. Elsewhere, the doomy pacing and blackened moods of “Under the Urinal Moon” showcases a measured, sinister side of the band, with cool results. Overall, the material is all good, if not entirely essential, but it hits the spot and forms a well-executed beatdown. “My Hate Is Strong” delivers on its title, unleashing a dark, impressively intense experience, featuring a rapid-fire percussive assault and gnarly grooves. “We All Deserve to be Slaves” detonates whiplash speed, punk-thrash attitude, and techy flourishes to strong effect.At a concise 35 minutes, time races by. Despite the relentless pedal-to-the-floor tempos, the charismatic vocals of Sam Bean, and deceptively dynamic writing, mostly staves off monotony and overkill. Song-to-song character lends the album a catchy edge, meanwhile the lyrical angle is crude, angry and a wee bit juvenile, a little clunky on occasion, but often wildly entertaining (especially as a resident Aussie). A minor frustrating point is for all its easily likable qualities, Die For Us still hovers around the good to very good songwriting range. Nothing misses the mark, but several songs are a bit by-the-numbers, while the sleek, punchy production is held back by a crushed mastering job. Concerns linger for the album’s longer-term staying power, however, in the moment this shit hits hard and is appealing on a base level.Die For Us follows consistent trends from previous Werewolves albums; it’s a fun, raging slab of extreme metal goodness that pulls no punches and chews up and spits out silver bullets in all its feral, teeth-gnashing glory. It also signals the halfway point in the band’s ambitious plan to pump out ten albums in ten years. This also smacks of a great opportunity for us AMG staffers to mix up review duties in sync with the decade-long mission. The concern is with their steadfast formula and prolific turnover rate, do Werewolves have it in them to release a truly show-stopping album? Five albums deep, I’m not so sure. However, at the very least Werewolves remain an entertaining, consistently solid force to be reckoned with. Die For Us may not blow minds, but it will crack skulls and increase heart rates, so they are certainly doing something right. Rating: 3.0/5.0 DR: 5 | Format Reviewed: 320 kbps mp3 Label: Independent Release Websites: <a href="https://werewolvesdeathmetal.bandcamp.com/" rel="nofollow noopener" target="_blank">werewolvesdeathmetal.bandcamp.com</a> | <a href="https://facebook.com/werewolvesinhell" rel="nofollow noopener" target="_blank">facebook.com/werewolvesinhell</a> Releases Worldwide: July 12th, 2024<a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/2024/" target="_blank">#2024</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/30/" target="_blank">#30</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/anaal-nathrakh/" target="_blank">#AnaalNathrakh</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/australian-metal/" target="_blank">#AustralianMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/death-metal/" target="_blank">#DeathMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/deathgrind/" target="_blank">#Deathgrind</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/die-for-us/" target="_blank">#DieForUs</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/faustian/" target="_blank">#Faustian</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/independent-release/" target="_blank">#IndependentRelease</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/king/" target="_blank">#King</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/lock-up/" target="_blank">#LockUp</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/psycroptic/" target="_blank">#Psycroptic</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/review/" target="_blank">#Review</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/reviews/" target="_blank">#Reviews</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/ruins/" target="_blank">#Ruins</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/the-amenta/" target="_blank">#TheAmenta</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/the-antichrist-imperium/" target="_blank">#TheAntichristImperium</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/the-kill/" target="_blank">#TheKill</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/werewolves/" target="_blank">#Werewolves</a>

Angry Metal Guy<a href="https://www.angrymetalguy.com/mages-terror-damnations-sight-review/" rel="nofollow noopener" target="_blank">Mages Terror – Damnation’s Sight Review</a>By Dr. A.N. GrierLook at this, another metal exploration by the horror-loving guitarist and drum programmer, Horror Illogium. While staying busy between his efforts as founder of Portal and guitarist of Vomitor, this Australian native seems incapable of sitting still for long. With the help of the vocalist and guitarists of Australia’s newest Pustilence, Illogium is out to ravage the annals of black, death, thrash, and speed metal with Mages Terror’s debut record, Damnation’s Sight. While the man is not new to writing thrashy licks for Vomitor, Mages Terror is an old-school tribute to the sounds of olde. Stripped to its basic elements, Damnation’s Sight does little to tinker with them individually, they combine them all to deliver a unique twist in Illogium fashion. Spattering the riffs and song structures with eerie and sinister guitar tricks, this record looks to meld death and speed elements into those early, dark days of Sodom. It’s time to damn them eyes.Having been a part of the Australian metal scene for a long time, this new project is unique because Illogium has teamed up with young pups that only recently released their first full-length record. And, according to Metal Archives, the drummer has never seen combat. But that doesn’t slow them down as they dive into this weird combination of genres and smash out ten songs in a mere 36 minutes. The result is barebones with a guitar tone that feels like I’m back in the late ’80s/early ’90s. Which, inevitably, does no more than any other band of its kind, but the spooky tone of the record is very much as you would expect from an outfit led by Illogium. Between its short runtime and horror-inspired character, there’s just enough to keep the interest up for a rather old-man inclusion into the metalverse.“Serpent Bat” kicks things off in good form with old-school Sodom vibes as the vocalist alternates between black metal rasps and death metal growls. The fast-moving blackened thrash riff moves along nicely, interrupting itself in the song’s final minute to drop some heavy chugs wrapped in a dark presence. This latter riff, in particular, sets up the mood for the rest of the album. The follow-up track, “Paramount Specter,” keeps the ball rolling with its own black/thrash character and overlapping rasps and growls. The guitar work also increases a bit, delivering an intricate riff that, sometimes, feels like the guitars can’t keep up with the drums. But this is only the beginning. This song is all over the place, transitioning to some heavy riffage before introducing strange guitar leads and a mid-paced groove. For only three-ish minutes in length, this is the most confusing track on the record because it has no idea which riffs it wants to settle on.Better tracks on the album are “Ruthless Guild,” “Master in the Black Cavern,” and the surprising instrumental, “Demon Bell.” The first is a trve banger with a high-pitched, mid-paced thrash lick that builds throughout. Its first riff change comes with neck-breaking beauty and punching vocals that remind me of the older stompers in 1349’s catalog. It also shows off some solid drum work from the newly-christened drummer. “Master in the Black Cavern” also sees solid drum work as it leads this heavy number chockful of tasty soloing tidbits. The bass also lends its sinisterness to the mix to create something truly cavernous in the final, chugging moments. “Demon Bell” is a surprising piece because, being near the end of the record, I didn’t think something with such killer riffs and structure would come without vocals. But it’s a nifty piece with surprising dueling guitar work—at least in comparison to the album’s other instrumental, “Presage.” This instrumental isn’t bad, but its sad, reverberating guitars do little to introduce its follow-up.Damnation’s Sight has a lot of old-school character, where simplicity reigned supreme and solos ruled the roost. That alone sets it apart from those modern outfits trying to mash multiple genres and sub-genres together to create something unique. Not once did I feel like I was heading somewhere special with this release, but I still enjoyed it for what it was. Sure, the chorus of “Fane of the Slug Gods” is so forced that it becomes almost funny. And “Vulgar Overlord” is so simplistic that I barely remember it with each new listen. But, for what it is, the old tone matches the style, and the weird, eerie guitar work on songs like “Paramount Specter” provides a unique twist to the album. In the end, Damnation’s Sight is a solid effort even if it doesn’t completely grab me. Rating: 2.5/5.0 DR: 6 | Format Reviewed: 320 kb/s mp3 Label: <a href="https://invictusproductions.net/" rel="nofollow noopener" target="_blank">Invictus Productions</a> | <a href="https://invictusproductions666.bandcamp.com/" rel="nofollow noopener" target="_blank">Bandcamp</a> Website: <a href="https://www.facebook.com/magesterrorfront" rel="nofollow noopener" target="_blank">facebook.com/magesterrorfront</a> Releases Worldwide: July 12th, 2024<a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/1349/" target="_blank">#1349</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/2-5/" target="_blank">#25</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/2024/" target="_blank">#2024</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/australian-metal/" target="_blank">#AustralianMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/black-metal/" target="_blank">#BlackMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/damnations-sight/" target="_blank">#DamnationSSight</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/death-metal/" target="_blank">#DeathMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/invictus-productions/" target="_blank">#InvictusProductions</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/jul24/" target="_blank">#Jul24</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/mages-terror/" target="_blank">#MagesTerror</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/portal/" target="_blank">#Portal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/pustilence/" target="_blank">#Pustilence</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/review/" target="_blank">#Review</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/reviews/" target="_blank">#Reviews</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/sodom/" target="_blank">#Sodom</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/speed-metal/" target="_blank">#SpeedMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/thrash-metal/" target="_blank">#ThrashMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/vomitor/" target="_blank">#Vomitor</a>

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