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Angry Metal Guy<a href="https://www.angrymetalguy.com/august-moon-something-eldritch-and-macabre-review/" rel="nofollow noopener" target="_blank">August Moon – Something Eldritch and Macabre Review</a>By Steel DruhmWritten By: Nameless_N00b_87As Listurnalia hits these hallowed halls with the year-end release doldrums in full swing, scraping the pit to unearth one last juicy morsel before the holidays can be a fool’s errand. Luckily, I didn’t have to scrape much as August Moon’s debut Something Eldritch and Macabre was gifted to me from the bone pile. Conceived at the epicenter of Finland’s renowned 90’s death metal scene as a side project and think tank of avant-garde ideas not suitable for their main band, As Serenity Fades, August Moon are a testament to patience. After a brief one-year run and the release of two demos, the group disbanded in 1994 before re-emerging in 2014 to continue crafting their debut. Though it took another decade to materialize, their initial four-song EP finally saw the light of day at the start of the year. Impressed, Personal Records took notice and promptly commissioned five more tracks within twelve months. Now finally, through the clouds of decade-long breaks, Something Eldritch and Macabre arrives.Rooted in the Scandinavian melodeath scene of olde, one might expect August Moon to be a mere revival of early Sentenced or Amorphis. Yet, there is more lurking in the shadows than meets the eye. August Moon blend black, thrash, and power metal with hints of 70’s rock, and even flashes of 80’s synth (“Journey to Other-Worldly Realms and Beyond”), to craft appealing, dramatic compositions that are both engaging and gratifying. Amongst Something Eldritch and Macabre’s core elements are swarming tremolos, Gothenburg harmonies, Hammond-style organ refrains, thrashy Omnium Gatherum-esque melodic hooks, proto-metal grooves, and power metal panache filtered through raw and unrefined production. Underpinned by Tom Hendriksson’s rock syncopations and boosted by great songwriting, Peter Viherkanto’s fiery shredding works in lockstep with Mikko Sorja’s sharp bass and demonic growls to render August Moon’s genre-bending arrangements.Something Eldritch and Macabre’s success thrives on dynamic songwriting that balances ambition with restraint. Viherkanto’s creative riff craft frames gripping transitions, unexpected shifts, synth and organ overtures, and triumphant crescendos which balance tension and release. Soaring organ lines following heavy blasts in “Constellations Dislodged from the Night Sky” and driving thrash riffs amidst relentless tremolo in “As Cataclysms Swept Across the Cities,” create irresistible headbanging moments that highlight Something Eldritch and Macabre’s strength. Elsewhere, the familiar Gothenburg harmonies embedded within the bridges of “Exitus” or “Summoning of the Feathered Serpent” act to counterbalance the thrash-heavy staccato marches, menacing slides, and frequent stops and starts that resurface throughout the record’s nine tracks. Hendriksson’s measured strikes give Viherkanto’s fretwork space to flourish, employing stylish and inspired rock-centric syncopations with periodic blasts, gallops, and modest tom patterns that enhance August Moon’s tactful songwriting with a selective hand. Though precarious a line it may be to walk, August Moon avoids the pitfall of going for broke and risking Something Eldritch and Macabre becoming a haphazard mess.But Something Eldritch and Macabre’s pacing falters early and stumbles late. Opener “In the Gallery of All Things Macabre,” and penultimate track “Something Eldritch Up in the Heavens Soon to Wreak Havoc Down on Earth” feel like underwhelming and ordinary bookends to an otherwise great album full of artistic vigor, while closer “The Vulture Stone (Pillar 43 to Commemorate the Apocalypse)” is an apathetic finale. Additionally, Sorja’s growls are jarring at times and struggle to find their place within a treble-heavy mix that lacks low-end heft. Exacerbated by inconsistencies with volume, the raw production would benefit from a more balanced mix to settle Sorja’s growls and give punch to Hendriksson’s kick. Nevertheless, August Moon maintains my interest thanks to the material’s powerful hooks coupled with its concise 39-minute runtime.Something Eldritch and Macabre is a pleasant surprise and a strong way to close out the year. While production issues and a few weaker tracks evidence that some fine-tuning remains, August Moon’s songwriting and unique blend of aggression and melody give me everything I want in a melodeath record. August Moon has proven that their decades-long journey has been worth it, and this first offering has only whetted my appetite for more. Rating: 3.0/5.0 DR: 6 | Format Reviewed: 320 kb/s mp3 Label: <a href="http://www.personal-records.com/" rel="nofollow noopener" target="_blank">Personal Records</a> Websites: Too Kvlt for da Webz Releases Worldwide: December 13th, 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/amorphis/" target="_blank">#Amorphis</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/as-serenity-fades/" target="_blank">#AsSerenityFades</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/august-moon/" target="_blank">#AugustMoon</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/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/finnish-metal/" target="_blank">#FinnishMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/melodic-death-metal/" target="_blank">#MelodicDeathMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/omnium-gatherum/" target="_blank">#OmniumGatherum</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/personal-records/" target="_blank">#PersonalRecords</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/sentenced/" target="_blank">#Sentenced</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/something-eldritch-and-macabre/" target="_blank">#SomethingEldritchAndMacabre</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/thrash-metal/" target="_blank">#ThrashMetal</a>

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" 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Angry Metal Guy<a href="https://www.angrymetalguy.com/moondark-the-abysmal-womb-review/" rel="nofollow noopener" target="_blank">Moondark – The Abysmal Womb Review</a>By TymeThirty years is a long time to spend brewing up a debut album, but for Sweden’s Moondark, it’s taken precisely that. Neither the result of sloth nor overwrought perfectionism, Moondark‘s cadre of musicians—composed of current members from Interment and October Tide—have put in plenty of work during this time, contributing to some of Sweden’s heaviest hitters like Katatonia, Centinex, Necrophobic and the tragically short-lived Trees of Eternity.<a href="https://www.angrymetalguy.com/moondark-the-abysmal-womb-review/#fn-207654-1" rel="nofollow noopener" target="_blank">1</a> Not so hot on the heels then of their independently released Demo #1 in 1993, which Xtreem Music reissued as The Shadowpath in 2015, Moondark and label Pulverised Records are finally ready to serve up debut proper The Abysmal Womb to the masses. Will it shine brightly as a beacon at night, or would it be better for this lunar body to remain eclipsed?Moondark trades the HM2 pedals and melodicism of their day jobs for a pummeling, straightforward death-doom style on The Abysmal Womb. Solo-less and stripped of technicality as it is, the simple harmonized leads layered over crushing power chords rend the ears and do most of The Abysmal Womb’s damage. Johan Jansson’s and Mattias Norrman’s deliberately restrained yet devastating guitar work conjures strong Bolt Thrower vibes (“Suffer the Dark,” “Infernal Genocide”), as well as whiffs of Bloodbath (“Palliative Dusk”) and sludgy sprinklings of early Crowbar (“Sterile Earth”). Combined with Allan Lundholm’s beefy bass lines and Kennet Englund’s crushing drums, Moondark leaves listeners battered and bruised, as if having survived a ruthless session of sledgehammer flagellation.Don’t let its near holiday release fool you, there’s no joy within the cavernous confines of Moondark’s creation. The Abysmal Womb’s opening salvo is a one-two punch to the solar plexus and the album’s highlight. “Where Once Was Life,” with its almost Cathedral-esque doom bluesy swagger, will have your head bobbing and your face stanking while the dismal dirge of follow-up “Suffer the Dark” steamrolls you into submission under tank treads of skull-crushing riffs. You’ll be left pining for General Willets and his army of Warmasters to come to the rescue as The Abysmal Womb continues to march, one boot-stomping riff after another. Decimating the last bastion of hope then, and perfectly placed in Peter Bjärgö’s warm and hearty mix are the brutishly discernible growls and icy rasps of vocalist Alexander Högbom, whose Peter Tätgren-does-Ofermod delivery solidifies the relentless atmosphere Moondark is trying to achieve.However, as The Abysmal Womb crawls past its midpoint, it becomes painfully clear that the horse has been annihilated, yet the beatings continue. Moondark’s firm commitment to plodding pace and nothing-but-bludgeoning riff patterns sees fatigue set in by the end of “Infernal Genocide,” rendering the remainder of The Abysmal Womb a nearly indistinguishable collection of mid-paced riffs as opposed to individually diverse songs. And while I wouldn’t categorize The Abysmal Womb as overtly bloated at just over forty-six minutes, it could benefit from some sloughing. The final track, “Immersed to Crypts,” is the prime example of trimmable fat; with its funeral-like pace and near eight-minute run time—two minutes of which are an ambient outro—spoiling what could have been a stronger outing had the album concluded with the title track.Scouring the promo pit in December can be tricky, and if you asked me whether I’d enjoy an album made up entirely of mid-paced Bolt Thrower-core and “Eaten”-like Bloodbathery I would immediately tell you, “Hell yes!” But too much of a good thing can sometimes be too much. The Abysmal Womb is a good album, but it suffers under the weight of its commitment. With a dash of the speedy ferocity from Interment and a pinch of October Tide’s melodicism, Moondark might have a masterpiece in its future; the cachet of its members suggests as much. I just hope we don’t have to wait another thirty years to find out. Rating: 3.0/5.0 DR: 9 | Format Reviewed: 320 kbps mp3 Label: <a href="https://www.pulverised.net/" rel="nofollow noopener" target="_blank">Pulverised Records</a> Websites: <a href="https://moondark666.bandcamp.com/album/the-shadowpath" rel="nofollow noopener" target="_blank">moondark666.bandcamp.com</a> | <a href="https://pulverised.bandcamp.com/" rel="nofollow noopener" target="_blank">pulverised.bandcamp.com</a> | <a href="https://www.facebook.com/moondark666/" rel="nofollow noopener" target="_blank">facebook.com/moondark666</a> Releases Worldwide: December 20th, 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/bloodbath/" target="_blank">#Bloodbath</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/bolt-thrower/" target="_blank">#BoltThrower</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/crowbar/" target="_blank">#Crowbar</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/doom-metal/" target="_blank">#DoomMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/moondark/" target="_blank">#Moondark</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/pulverised-records/" target="_blank">#PulverisedRecords</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/sludge-metal/" target="_blank">#SludgeMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/swedish-metal/" target="_blank">#SwedishMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/the-abysmal-womb/" target="_blank">#TheAbysmalWomb</a>

Angry Metal Guy<a href="https://www.angrymetalguy.com/wuldorgast-cold-light/" rel="nofollow noopener" target="_blank">Wuldorgast – Cold Light Review</a>By Alekhines GunAs the tendrils of winter usher in good bourbon<a href="https://www.angrymetalguy.com/wuldorgast-cold-light/#fn-207529-1" rel="nofollow noopener" target="_blank">1</a>, unwanted family visits, and moon-bitten frost, the trvest of the black metallers come out to peddle their wares. Releasing anything so late in the year is a bold move, as list-mania seizes the hearts of authors across the blogosphere, making an uphill battle for bands from the first note. Here to try their luck today is two-man USBM outfit Wuldorgast, a band so young that at the time of this writing, they don’t even have a page on the Archives. Such youthful vigor is brimming with promise, and debut Cold Light arrives with admittedly dope artwork, seeking to leave its mark on my top ten(ish) and trigger a holly jolly shakeup. Does it stand a chance? Cold Light sports some of the most engaging production I’ve heard in a black metal album by a country mile, filtering the razor wire of Spectral Wound into a Blasted Heath echoing assault. This extra touch of the cavernous (rather than the merely lo-fi) helps the drums to thunder and riffs to ring out with space and clarity, aiding chug-heavy sections in “Natural Life is Eternal Battle” and the more blast-heavy sections of “Cold Light of Reason” in assaulting the listener from the onset. Leads are caustic and catchy, weaving blackened infectiousness from the first listen, with trusty double base incisions disguising simplistic riffing under howling, reverb-drenched trimming. Vocals yowl and shriek with organic bile, sounding like they’re emerging from the bottom of a well. All in all, Cold Light lashes out as engaging and pleasing to the ear. However, repeated listens slowly degrade infectiousness into replete repetition and overt simplicity. The first half of Cold Light sports riffs that sound like Judas Iscariot with improved production, but Wuldorgast forgot to include the proper stream-of-consciousness flow that comes with the style. Instead, the listener is treated with moments and melodies that are enjoyable at first blush, only for the band to insist that you don’t yet enjoy them as much as you ought. First song ” Obscured in Shadows” features exactly four riffs, run through twice. Other songs feature more riffs in quantity, but each sound like a minor tonal variant of the one that came before it until all the moments begin to blur together in a haze. The drumming is serviceable in such sections and leads are ear-worm bait, but are placed predictably and are played exhaustively, as if the band got too stoked on their own ideas and forgot how to self-edit.This is made more confounding by the matter of track sequencing. Wuldorgast manages to cram almost all their good ideas into the back half of the album. Cold Light ends with songs featuring actual time signature changes, riffs that consist of more than two to five notes<a href="https://www.angrymetalguy.com/wuldorgast-cold-light/#fn-207529-2" rel="nofollow noopener" target="_blank">2</a> and vocal style alterations. “Cipher to Eternity” is the easy highlight, with absolutely monster chug sections, punky riffs, nifty effects over the instruments, and leads that scream “mosh-fodder” after the first measure. Such a bizarre raise in quality (instead of the typical front-loading) does make Cold Light a unique listen, but the good songs don’t outweigh the front half’s collection of tediousness. Ultimately, this peculiar bisection of quality is Wuldorgast’s greatest stumbling block. Black metal this cavernous is a rare treat, and when Cold Light hits, it hits hard and with savagery. In tone, I enjoy it very much. It is unfortunate that it hits far too infrequently, with no tone able to disguise its weakness. An improved track sequencing and greater use of imagination across an album’s worth of songs will go far in helping them cultivate their sound. Otherwise, this is a curious end-of-year footnote. If you haven’t had your fill of winter black metal yet, harvest the b sides for a playlist, but otherwise, it seems year-end lists are destined to remain undisturbed. Rating: 2.0/5.0 DR: 7 | Format Reviewed: 320 kbps mp3 Label: <a href="https://ironbonehead.de/" rel="nofollow noopener" target="_blank">Iron Bonehead Productions </a> Website: <a href="https://wuldorgast.bandcamp.com/album/cold-light" rel="nofollow noopener" target="_blank">wuldorgast.bandcamp.com/album/cold-light </a> Releases Worldwide: December 13th, 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/american-metal/" target="_blank">#AmericanMetal</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/blasted-heath/" target="_blank">#BlastedHeath</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/cold-light/" target="_blank">#ColdLight</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/iron-bonehead/" target="_blank">#IronBonehead</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/judas-iscariot/" target="_blank">#JudasIscariot</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/spectral-wound/" target="_blank">#SpectralWound</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/wuldorgast/" target="_blank">#Wuldorgast</a>

Angry Metal Guy<a href="https://www.angrymetalguy.com/hades-rising-chaos-review/" rel="nofollow noopener" target="_blank">Hades Rising – Chaos Review</a>By KilljoyHades Rising is a testament to the power of camaraderie. Originally formed in Greece by Bill Written as an atmospheric death metal project, he soon moved to Tromsø, Norway where he released a promising but unpolished self-titled album in 2017 and an EP As Frost Takes Over in 2018. Not long afterward, Juan Vazquez Garcia joined him on guitar and songwriting, while also helping to sustain morale amidst years of member turnover and no less than three rewrites of the material that now makes up Chaos. Their hard work and perseverance paid off, culminating in a finals appearance in Wacken Metal Battle Norway in 2023. And now, a year later, Chaos arrives with a plucky statement of intent to break into the symphonic death metal scene.Hades Rising chose an unusual spot to set up camp in the burgeoning realm of symphonic-tinged metal. The plentiful orchestrations certainly help to build dramatic tension, however, they are used more for garnishment than substance. The result is something like Fleshgod Apocalypse with much of the bombast stripped out and replaced with the intimate melancholy of Fires in the Distance. This may sound paradoxical on paper, but Hades Rising generally pull it off well. The majority of Chaos settles comfortably in medium tempo with far fewer blast beats than one might expect from death metal. There are small forays into melodeath (“The Paradox”) and black metal (“The Voyage”) which add flavor without detracting from the overall consistency.Chaos is at its strongest when there is a conscious effort to craft a deliberate tone. This is best exemplified by “One with the Murder,” a dabble with death-doom, where the slower, more deliberate pace favors the minimalist orchestral compositions. Where compositions tend to falter is when they attempt to prop up extended guitar chugging in the two opening tracks “Spiraling” and “The Obscurity of Life.” Thankfully, moments like these are rare as the record progresses. Most songs contain some form of instrumental break which, in a strange twist, is what I look forward to the most. They range from gentle tremolos (“The Obscurity of Life”) to intrepid guitar solos (“Chaos”), lending nuance to the rich emotional atmosphere.Sadly, a few traits dull this attention to detail in the songwriting and make Chaos feel more homogeneous than it is. The first is the programmed drums. While it’s understandable why a small independent band would use it, their increasingly grandiose aspirations mean that they are outgrowing the drum machine.<a href="https://www.angrymetalguy.com/hades-rising-chaos-review/#fn-207446-1" rel="nofollow noopener" target="_blank">1</a> More problematic is the overreliance on Bill Written’s deep, rumbling death growls that seldom vary in pitch and are a bit too loud in the mix. He has a fantastic singing voice but only uses it in “The Voyage” and “Lay Your Head.” The latter in particular sees Hades Rising firing on all cylinders to close out the album, featuring double-tracked vocals and nifty bass and guitar solos, and it’s unfortunate that this level of variety didn’t permeate the material that came before. All of this makes the 49-minute runtime drag slightly and the weaker tracks “Only Ashes Left” and “As Darkness Fades” could have been excised to strengthen the entire package.Much like Chaos’ album art, Hades Rising strikes me as an entity still deciding what exactly they want to be. If they want to continue pursuing the symphonic death course, they should double down on the orchestral facet and make it more prominent and dramatic. Or they could pivot to a death-doom direction more suited to the crushing atmosphere that’s present here. In any case, I believe the best is yet to come from these gentlemen as they continue to refine their already solid writing skills. Chaos won’t be threatening to topple many year-end lists at the eleventh hour, but neither does it deserve to be lost in the kerfuffle of the impending Listurnalia. Rating: 3.0/5.0 DR: 8 | Format Reviewed: 320 kbps mp3 Label: Self-Release Website: <a href="https://hadesrising.bandcamp.com/" rel="nofollow noopener" target="_blank">hadesrising.bandcamp.com</a> | <a href="https://www.facebook.com/hadesrising/" rel="nofollow noopener" target="_blank">facebook.com/hadesrising</a> Releases Worldwide: December 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/30/" target="_blank">#30</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/atmospheric-death-metal/" target="_blank">#AtmosphericDeathMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/chaos/" target="_blank">#Chaos</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/fires-in-the-distance/" target="_blank">#FiresInTheDistance</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/fleshgod-apocalypse/" target="_blank">#FleshgodApocalypse</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/hades-rising/" target="_blank">#HadesRising</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/international-metal/" target="_blank">#InternationalMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/norwegian-metal/" target="_blank">#NorwegianMetal</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-release/" target="_blank">#SelfRelease</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/symphonic-death-metal/" target="_blank">#SymphonicDeathMetal</a>

Angry Metal Guy<a href="https://www.angrymetalguy.com/winds-of-tragedy-death-wash-over-me-review/" rel="nofollow noopener" target="_blank">Winds of Tragedy – Death Wash Over Me Review</a>By TwelveSince its inception in 2022, Winds of Tragedy has put out one full-length per year, and I was starting to wonder if it wouldn’t happen this time. Maybe, I thought, running a record label has finally taken up enough of his time that Chilean mastermind Sergio Catalán will have to dial back on his usual creative outlets. More fool I—Catalán seemingly never stops, and Winds of Tragedy is back with its third full-length release, Death Wash Over Me. In the past, I’ve commented that the rapid cadence of these releases leads to too little change or shift between them, and so with every release, I look for the changes, the progress, the forward momentum that signals a new direction on the horizon. It’s a fascinating way to review new music, but Winds of Tragedy is an interesting project. How does the new one hold up?Death Wash Over Me is a bleak album—the cover art should give that much away—but not in the doom-heavy way that Hating Life and As Life Drifts Away were. Death Wash Over Me sees Winds of Tragedy experimenting more with sound than Catalán arguably ever has. The album is filled with thrash-y riffs and snarling vocals, and pulls back on the mournful leads, heavy keys, and guttural roars that have been Catalán’s hallmarks for several years now. In fact, the vocal style is so different from previous Winds of Tragedy and Rise to the Sky releases that I had to double-check that there was no new vocalist—the rasps and snarls that dominate Death Wash Over Me are impressive, very well-suited to the music, and a huge step up from the previous two albums.The other notable thing about Death Wash Over Me is that, as it progresses, it moves increasingly into depressive black metal territory. “I Am No One” is standard Winds of Tragedy fare, with a slow strings start and a gradual build over a solid riff. “My Feet Don’t Touch the Floor,” on the other hand, even apart from the title, is significantly more desperate, with guest vocals from Void in the form of manic shrieking that evokes Ezkaton in a darkly depressive duo with Catalán’s snarls. “I Built My House to Suffer” leans further into the depressive side, with more shrieks from Void and strong riffing infused with emotional keys. There is a lot of this depressive imagery in use across the album—even in the song titles (“I’m Fine But Not Really,” “Giving Up on Life”) it’s hard to avoid the dismay and depression that dominates the forty-minute runtime.That aspect of Death Wash Over Me is likely to be its make-or-break element for many listeners, with the extreme vocals and imagery enhancing or damaging the album’s flow depending on whether or not you like them. It’s always a risk for an artist to experiment with extreme elements like this. For me, the best moments on the album don’t make use of them; “I’m Fine but Not Really” and “Giving Up on Life” have great acoustic moments and electric leads that add so much emotional depth that I wish Winds of Tragedy had utilized them more. The vocal samples in “Blood Will Wash All That’s Left of Me” don’t quite add that same depth, and Void’s guest spots feel awkward in a few places. Fortunately, the album is rooted in a fair, if slightly loud mix that does a good job of balancing these many elements into a cohesive whole.These elements make Death Wash Over Me a tough album for me to rate. In some ways, it is the strongest Winds of Tragedy release for me, with some of the best vocals Catalán has ever done and superb instrumental moments. On the other hand, it demonstrates a potential departure from familiar territory into a side of music that I usually don’t turn to. I’d try to be objective, but that’s obviously impossible, so I’ll just go with my gut and say it’s a good album that shows untapped potential. Winds of Tragedy could go in several directions from here—I’ll be very interested to see which one Catalán treads next. Rating: 3.0/5.0 DR: 4 | Format Reviewed: 320 kb/s mp3 Label: <a href="https://www.tragedyproductions.com/" rel="nofollow noopener" target="_blank">Tragedy Productions</a> Websites: <a href="http://windsoftragedy.bandcamp.com" rel="nofollow noopener" target="_blank">windsoftragedy.bandcamp.com</a> | <a href="http://facebook.com/WindsofTragedy" rel="nofollow noopener" target="_blank">facebook.com/WindsofTragedy</a> Releases Worldwide: December 13th, 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/black-metal/" target="_blank">#BlackMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/chilean-metal/" target="_blank">#ChileanMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/death-wash-over-me/" target="_blank">#DeathWashOverMe</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/depressive-black-metal/" target="_blank">#DepressiveBlackMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/ezkaton/" target="_blank">#Ezkaton</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/rise-to-the-sky/" target="_blank">#RiseToTheSky</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/tragedy-productions/" target="_blank">#TragedyProductions</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/winds-of-tragedy/" target="_blank">#WindsOfTragedy</a>

Angry Metal Guy<a href="https://www.angrymetalguy.com/misanthropy-the-ever-crushing-weight-of-stagnance-review/" rel="nofollow noopener" target="_blank">Misanthropy – The Ever-Crushing Weight of Stagnance Review</a>By KenstrosityApparently, Chicago progressive tech death quartet Misanthropy used to play thrash metal. Once I learned of this shift, it felt like I could suddenly hear a thrashy thread running through their newest release, The Ever-Crushing Weight of Stagnance. Having no prior experience with Misanthropy’s back catalog, I walked into their third record with an open mind, ready and willing to be probed by the wild and the wacky. Sometimes, unexpected changes make for unexpected pleasures.You’d be forgiven for mistakenly clocking Misanthropy as boilerplate tech death based solely on outward appearances. You’d nonetheless be incorrect. For the longest time, I struggled to nail down exactly what amalgamation of sounds and styles Misanthropy represented. But then I started writing this piece and it hit me. Imagine a dirtier Augury fed through an Atrae Bilis filter and finished with a proggy Atvm glaze, and you have a roughly accurate blueprint of what to expect from current Misanthropy. Twisting, gnarled compositions, motivated by Paul’s multifaceted kitwork, mesh and morph against guitarists Kevin’s and Jose Valles’ unending cavalcade of mind-shredding riffs. Mark’s burbling bass and vicious vox form both the throbbing underbelly and the piercing voice of the record, propelling The Ever-Crushing Weight of Stagnance through its forty-five-minute tale with gusto and gravity. In totality, The Ever-Crushing Weight of Stagnance represents a fierce and furious affair. Yet, countless stops and swaps between blistering grooves, manic freakouts, mind-melting churns, and ground-shaking stomps leave me mostly rapt throughout.Highlighting standout moments on The Ever-Crushing Weight of Stagnance proves a challenge, as Misanthropy penned so many killer passages into these seven songs that it’s hard to pick favorites. Even so, massive pit-opening grooves and slithering riffs elevate thrashier songs like “The All-Devouring” to the top of the pile. An eerie, waltzing dalliance with jazz rhythms allows opener “Of Sulking and the Wrathful” to shine in its back half as well, showcasing Misanthropy’s knack for oddball transitions that work deceivingly well in the context of their chosen style. At first I struggled to appreciate “Condemned to a Nameless Tomb” and “Descent” for their unorthodox combination of Veilburner stream-of-consciousness writing and Artificial Brain shimmer, but with time I grew to appreciate their place in the lineup as the next-door-neighbor monstrosities that they are. Unafraid to get down and dirty, “Sepulcher” offers just the right amount of funky Alkaloid intelligence to offset filthy Incantation tones and harmonized riffing, expertly juggling straightforward and slimy with weird and wretched.Impressive though it is that Misanthropy managed to cover so much stylistic ground without sullying their unique new character, The Ever-Crushing Weight of Stagnance remains a touch disjointed as a whole. Tonally, Misanthropy play fearlessly with rough-hewn textures inside a more clinical environment, but there are moments of mild uncanny valley associated with that experiment, as certain elements of Misanthropy’s flexible sound clash rather than coalesce (“A Cure for the Pestilence”). Misanthropy’s willingness and ability to throw everything but the kitchen sink at their compositions without totally destabilizing everything deserves great respect, but it sometimes comes at the cost of fluidity and cohesion (“Consumed by the Abyss”). This, therefore, makes certain sections of The Ever-Crushing Weight of Stagnance somewhat difficult to listen to casually, as I often lose details or miss quality segments when not listening intently. Additionally, the occasional abrupt switch between unexpected change-ups make already lengthy tracks (most soar past the six minute mark) feel even lengthier.Thankfully, listening intently is quite literally my job here, and I spend lots of time with my charges. Consequently, I can assure you that The Ever-Crushing Weight of Stagnance represents yet another killer in Transcending Obscurity’s lineup of crazy beasts. It may not be everyone’s favorite creature, but if you aren’t careful, it’s liable to sink its teeth into your flesh and rend it from the bone regardless. Some, if not most, of you would probably love that, I’m sure. If so, Misanthropy’s third unleashment is a fine selection for your sick kicks. Rating: Very Good DR: 5 | Format Reviewed: 320 kb/s mp3 Label: <a href="https://tometal.com/" rel="nofollow noopener" target="_blank">Transcending Obscurity Records</a> Websites: <a href="http://misanthropychicago.bandcamp.com" rel="nofollow noopener" target="_blank">misanthropychicago.bandcamp.com</a> | <a href="http://facebook.com/MisanthropyChicago" rel="nofollow noopener" target="_blank">facebook.com/MisanthropyChicago</a> Releases Worldwide: December 13th, 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/alkaloid/" target="_blank">#Alkaloid</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/artificial-brain/" target="_blank">#ArtificialBrain</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/atrae-bilis/" target="_blank">#AtraeBilis</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/atvm/" target="_blank">#Atvm</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/augury/" target="_blank">#Augury</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/incantation/" target="_blank">#Incantation</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/misanthropy/" target="_blank">#Misanthropy</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/progressive-metal/" target="_blank">#ProgressiveMetal</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/technical-death-metal/" target="_blank">#TechnicalDeathMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/the-ever-crushing-weight-of-stagnance/" target="_blank">#TheEverCrushingWeightOfStagnance</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/transcending-obscurity-records/" target="_blank">#TranscendingObscurityRecords</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/veilburner/" target="_blank">#Veilburner</a>

Angry Metal Guy<a href="https://www.angrymetalguy.com/the-old-dead-tree-second-thoughts-review/" rel="nofollow noopener" target="_blank">The Old Dead Tree – Second Thoughts Review</a>By Dolphin WhispererThe hibernal cool-down of December brings with it the urge to succumb to an early setting sun and frozen morning air.<a href="https://www.angrymetalguy.com/the-old-dead-tree-second-thoughts-review/#fn-207215-1" rel="nofollow noopener" target="_blank">1</a> And with this desire for thick socks, fuzzy blankets, and warm, spiced beverages no matter the hour comes a call from the gothic and downtrodden. In both those words The Old Dead Tree lives, having waved the dark and morose flag since 1997 inconsistently through a minefield of break-ups and hiatuses. In fact, their 2019 EP The End—also a tribute to one of their founding members, Frédéric Guillemot, whose life came to a tragic end before The Old Dead Tree could grow—stood as an alleged conclusion to their idiosyncratic, sorrowful career. But a tree cannot stop growing just because it wants to, even if it’s old and dead.Ambition overtook hesitance to allow Second Thoughts to be not a second wind but a rebirth for the French sadbois. While the lyrics still deal with subject matter like personal loss, mental struggles, and an unavoidable malaise for life, a thread of adventure colors the journey with footstep recordings, heavy breathing, clock tower gongs, scattering dog barks, and distant lightning, laying a pleasant, engrossing mulch world around The Old Dead Tree. This living soundscape against founding vocalist Manuel Munoz’s vibrant, weeping crack and croon builds a narrative that doesn’t need to be on the page in front of you to dive straight into your heart. And as The Old Dead Tree cycles through timeless, pathos-drenched passages like the alt-y, breathy yodel of “Better Off Dead” or the sudden mic-distorted, volume-loaded cry that opens “Story of My Life,” it is clear that the dramatic urgency that defined the draw of their past works hasn’t skipped a beat.More than a reliving of The Old Dead Tree’s past, Second Thoughts appears with plenty of new wrinkles that anchor important energy shifts. In a move informed by his time with melodic death/folkers <a href="https://arkanband.bandcamp.com/album/lila-h" rel="nofollow noopener" target="_blank">Arkan</a>, Munoz has brought on a few friends<a href="https://www.angrymetalguy.com/the-old-dead-tree-second-thoughts-review/#fn-207215-2" rel="nofollow noopener" target="_blank">2</a> to lend tension-building barks to driving stomps and snarling diffusions (“Without a Second Thought,” “OK,” “The Worse Is Yet to Come”). And though that more aggressive harsh vocal stomp serves both thematic contrast and tonal divergence, long-time guitarist Nicolas Chevrollier maintains a twangy, petulant six-string strut that paints the bluesy waltz of Wovenhand in a light equally gothic but triumphantly troubled (“Don’t Waste Your Time,” “OK”). The diversity throughout makes for little downtime across Second Thoughts’ fifty-minute journey.Despite its excursions into those more novel and often proggier territories, The Old Dead Tree keeps a firm footing in the established goth playbook for several cuts. The tremolo chord overlay that opens Second Thoughts, along with plenty of other wistful riffs, give hits of late ’90s Katatonia/Anathema guitar-forward melancholy that paints a frown long before any words can (“The Lightest Straw,” “Luke”). “Fresh Start,” on the other hand, leads with reverberating piano hits that morph into a throbbing bassline that swells with the mopey dance floor energy of <a href="https://www.angrymetalguy.com/yer-indefensible-90s-weirdness-olde-paradise-lost-one-second/" rel="nofollow noopener" target="_blank">One Second</a> era Paradise Lost—you can take the Docs off the goth, but you can’t truly escape the urge to drag around a good beat. To class up some of the more rote and melodramatic musical conclusions that build with “The Trap” and “Solstalgia,” Second Thoughts invites the gifted cellist Raphaël Verguin (Psygnosis) to lay sullen lines against Chevrollier’s classically mournful melodies. All of this leads to a finale that too feels of the Paradise Lost playbook, albeit more of the lingering Mackintosh guitar wail, but Munoz’s ability to hold a comfortable yet discomforting tune keeps its roots firmly in The Old Dead Tree.As a true return to the fray, The Old Dead Tree’s updated take on a well-tread but not widespread sound feels as fresh as it does nostalgic. Like a cozy blanket on a shiver-inducing night, Second Thoughts wraps the listener in a believable tale of emotional turbulence and life-informed loss. For those enamored enough by its scattershot, moody shuffle, the highest points of histrionics will hit that deep-seated sadboi within. It’s hard to say whether that same approach lands as a true boon, as some of the lesser moments feel unnecessary on repeat listens. But this sort of episodic narrative also means that you can pick up Second Thoughts from just about any point and let its gothy charms take over. Rating: 3.5/5.0 DR: 5 | Format Reviewed: 320 kbps mp3 Label: <a href="https://www.season-of-mist.com/" rel="nofollow noopener" target="_blank">Season of Mist</a> | <a href="https://seasonofmist.bandcamp.com/music" rel="nofollow noopener" target="_blank">Bandcamp</a> Websites: <a href="https://theolddeadtree.bandcamp.com/" rel="nofollow noopener" target="_blank">theolddeadtree.bandcamp.com</a> | <a href="https://www.facebook.com/TheOldDeadTree.Official" rel="nofollow noopener" target="_blank">facebook.com/theolddeadtree.official</a> Releases Worldwide: December 6th, 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/alternative-rock/" target="_blank">#AlternativeRock</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/anathema/" target="_blank">#Anathema</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/arkan/" target="_blank">#Arkan</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/french-metal/" target="_blank">#FrenchMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/gothic-metal/" target="_blank">#GothicMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/gothic-rock/" target="_blank">#GothicRock</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/katatonia/" target="_blank">#Katatonia</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/paradise-lost/" target="_blank">#ParadiseLost</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/progressive-metal/" target="_blank">#ProgressiveMetal</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/second-thoughts/" target="_blank">#SecondThoughts</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/the-old-dead-tree/" target="_blank">#TheOldDeadTree</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/wovenhand/" target="_blank">#Wovenhand</a>

Angry Metal Guy<a href="https://www.angrymetalguy.com/icon-of-evil-locust-cathedral-review/" rel="nofollow noopener" target="_blank">Icon of Evil – Locust Cathedral Review</a>By Steel DruhmI’m a sucker for Polish delicacies like pierogis, kielbasa, cabbage rolls, and death metal. With acts like Vader and Decapitated plowing the memory gardens so wonderfully over the years, the country has become a hotbed of brutish thuggery. Icon of Evil is a lesser-known entry in this Pole race. They released their Syfilis Mentalis debut way back in 2013 but failed to follow it up until now. Locust Cathedral delivers that Polish sound, offering nods to Vader and later-era Behemoth paired with influences ranging from legends like Morbid Angel to Deicide. They bring a typically Polish blackified edge to the slaughter but this is very much a knuckle-dragging slab of pounding, pummeling death designed to put you in the ground for keepsies. But can Icon of Evil do enough to stand out amid a crowded field of frightful fiends?Based on the righteous title track, yes they can! “Locust Cathedral” erupts from the soil with icy blackened tremolos flaying all the flesh in sight and before you know it, big, stomping death grooves arrive to blast your ass into assdust. There’s a lot of Vader in the overall sound profile, but you’ll hear plenty of other influences as the assault drills into your skull meat. This track got me amped up and dreaming that I stumbled on an unexpected gem, which in December is rarer than a kind word from crusty, cranky ass Doc Grier. “Verge of Collapse” is equally forceful, hitting that sweet spot between pure death fury and blackened insanity. The vocals veer wildly from guttural croaks to Dani Filth-esque screams and extremity is the watchword. Riffs come in punchy bunches and massive grooves roll over your melon without looking back. “Cursed with Oblivion” effectively cross-pollinates Deicide with Vader and throws in some Marduk for extra fuck you. I appreciate this kind of shit.Icon of Evil know they can’t travel at Mach 10 forever and keep things interesting so they throw in some curve balls like “Colossus,” which is a mid-tempo meatgrinder with Bolt Thrower-style riffage that crunches along inexorably. It’s less massive than the opening salvos but it still delivers a satisfying beating. Unfortunately, things get a bit less consistent after that. “Creeping Corruption” goes for a weird ritualistic vibe that kind of works, but the song drags toward the end. “Depths of Scorn” is a savage thrasher sure to leave marks, but closing Amebix cover “Chain Reaction” is nearly 7 minutes and feels disconnected from the mood and vibe of the album. At a trim 40 minutes, Locust Cathedral moves briskly and avoids sounding too one-note. The production is sharp and the guitars have a lot of grime, grit, and bite.This is a very riff-forward outing and that works in Icon’s favor. Jumping between stout, loutish death leads and shrill blackened terms, Kamil and Rapidfire deliver a rigorous beating regime to the listener. The title track is especially packed with six-string fireworks and “Depths of Scorn” is kinetic murderdeath of a high caliber. Marcin Hendzlik appears to be the sole vocalist, so his ability to effectively pair deep, powerful death roars with insane blackened rasps is doubly impressive. He often reminds of a youthful Glen Benton and he elevates the insanity on every track. This is a seasoned, talented crew and when things gel, they burn shit down convincingly.Locust Cathedral is a good death metal album that threatens at times to be very good. A few misfires bring the whole back to Earth, but this is a fugly little bone duster full of intense noise. It also partially fills the sizeable void left by Vader, which is a needed service these days. All in all, Locust Cathedral leaves me impressed enough to keep one good eye peeled for the next Icon of Evil release if there is one. Worth investigating for death heads and Poleophiles. Rating: 3.0/5.0 DR: 5 | Format Reviewed: 320 kbps mp3 Label: <a href="https://selfmadegod.com/" rel="nofollow noopener" target="_blank">Selfmadegod</a> Website: <a href="https://www.facebook.com/ICON.OF.EVIL.StenchMetal" rel="nofollow noopener" target="_blank">facebook.com/icon.of.evil.stenchmetal</a> Releases Worldwide: December 6th, 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/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/deicide/" target="_blank">#Deicide</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/hate/" target="_blank">#Hate</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/icon-of-evil/" target="_blank">#IconOfEvil</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/locust-cathedral/" target="_blank">#LocustCathedral</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/morbid-angel/" target="_blank">#MorbidAngel</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/polish-metal/" target="_blank">#PolishMetal</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/selfmadegod-records/" target="_blank">#SelfmadegodRecords</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/vader/" target="_blank">#Vader</a>

Angry Metal Guy<a href="https://www.angrymetalguy.com/forndom-mothir-review/" rel="nofollow noopener" target="_blank">Forndom – Moþir Review</a>By TwelveI remember perfectly where I was the first time I heard Forndom’s music through the album <a href="https://www.angrymetalguy.com/forndom-fabir-review/" rel="nofollow noopener" target="_blank">Faþir</a>. Very early in the Covid-19 pandemic, Faþir was a peaceful harmony at the onset of an extremely troubling time. In part because of that emotional connection—and because it is an exemplary album—it remains in my regular rotation four years later. The ambient, Nordic folk musings of Ludvig Swärd continue to offer incredible catharsis in times of joy and sorrow. To say I am excited to be reviewing the follow-up and third full-length album from the project is a severe understatement—but with that excitement comes trepidation, the fear of disappointment, the knowledge that it would genuinely break my heart to write negative things about Moþir after such a <a href="https://www.angrymetalguy.com/sentynel-and-twelves-top-tenish-o-2020/" rel="nofollow noopener" target="_blank">strong initial impression</a> of the project. Such is the life of the reviewer. So does Moþir live up to the incredible standard Forndom has raised? Can it?One of the most amazing things about Forndom’s music is how effectively it transports the listener. All of the above emotions vanished within seconds of “Tunridor” beginning, and by the time it was halfway through I’m not even sure I was in the twenty-first century anymore. Truly, the songwriting on Moþir is phenomenal; slow orchestral passages, performed by the Uppsala Temple Orchestra, build to aching heights, bringing the listener to warm wintry sunrises and faraway fields. Swärd’s singing acts as a guide, friend, and storyteller in an unknown time, with choral accompaniment from Janne Posti and Gullan Swärd. Often at the helm, Thomas von Wachenfeldt (Bards of Skaði) performs incredible leads on his violin, his emotional tremolandos and measured pizzicatos soaring atop the ancient folk harmonies. The result is both acoustic and orchestral, authentic and polished, and highly effective.As was the case with Faþir, Moþir excels through emotional melodies and harmonies rooted in a deep respect for the history, mythology, and tradition of Swärd’s native Sweden. From the very first track this is on full display; “Tunridor” is slow to start; ritualistic chants and rhythmic percussion lull the listener into a sense of peace. Then a scream (Disa Åman) emerges from the distance and a gorgeous, reverent melody takes the song in a completely new direction. “Moderstårar” is written like a power ballad, beginning with quiet singing atop pizzicato strings and slowly, slowly building on that theme to an emotional crescendo over seven minutes that fly by. “Jord” is one of the two instrumentals, and even these are effective, despite the absence of Swärd’s emotional delivery; such is the strength of the songwriting and the impassioned playing by every involved musician.Moþir is unmistakably a folk album, but the inclusion of von Wachenfeldt and the Uppsala Temple Orchestra overtakes a lot of the traditional acoustic stylings of past Forndom releases. The result is an album that toes the line between cinematic orchestral music and dark, ritualistic folk. As I mentioned earlier, it is entirely acoustic, but the orchestra blurs that line a bit. “Den kärlek s om vi gav,” the album closer and, in my view, the best song, is a great example both of the balance needed and the way Swärd approaches it. It is a cinematic journey that builds and builds, with a memorable and evocative chorus wherein the layers of strings, chorus, singing, and lead violin are haunting. Just as you think the song is about to end, the violin returns with a solo, transitioning the song to its orchestral conclusion. It’s a fine balance, but Forndom does it well, and I appreciate the direction. It helps that the production, by Swärd, and mastering, from Tore Stjerna, offer warmth and balance to the music, allowing each instrument to shine and contributing to an accessible whole.Moþir is a powerful album. It is a feat of storytelling and an amazing expression of culture, history, and tradition. Forndom is the kind of project that you can put on for thematic, intriguing background noise—but the more you listen and pay attention, the more lost you become in the details, the more swept away you are by the evocative, cathartic melodies. Moþir is an album that attempts to defy time. I can’t seem to stop listening to it because it succeeds. Rating: 4.0/5.0 DR: 9 | Format Reviewed: 320 kb/s mp3 Label: <a href="https://www.nordvis.com/" rel="nofollow noopener" target="_blank">Nordvis Produktion</a> Websites: <a href="http://forndom.bandcamp.com" rel="nofollow noopener" target="_blank">forndom.bandcamp.com</a> | <a href="http://forndom.com" rel="nofollow noopener" target="_blank">forndom.com</a> | <a href="http://facebook.com/Forndom" rel="nofollow noopener" target="_blank">facebook.com/Forndom</a> Releases Worldwide: December 6th, 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/40/" target="_blank">#40</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/bards-of-skadi/" target="_blank">#BardsOfSkadi</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/folk/" target="_blank">#Folk</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/forndom/" target="_blank">#Forndom</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/mothir/" target="_blank">#Moþir</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/neofolk/" target="_blank">#Neofolk</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/nordvis-produktion/" target="_blank">#NordvisProduktion</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/not-metal/" target="_blank">#NotMetal</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/swedish-metal/" target="_blank">#SwedishMetal</a>

Angry Metal Guy<a href="https://www.angrymetalguy.com/xenotheory-blissful-death-review/" rel="nofollow noopener" target="_blank">Xenotheory – Blissful Death Review</a>By KenstrosityFrench deathcore troupe Xenotheory landed in 2022 with their Alien-themed beatdown-fest Dawn of an Eyeless Realm. While this launch didn’t quite put them on the map in a scene crowded with slam fiends and breakdown addicts, the artwork for their upcoming follow-up, Blissful Death, caught my eye. A divisive field for many, deathcore hits me hardest when it focuses on crushing riffs, stomping aggression, and creative use of a limited palette. Otherwise, my shields go up, unwilling to succumb to base, mind-numbing chugs and stuttering breakdowns. Can these xenomorph-obsessed slamcore brutes penetrate my bulkhead?My immediate connect between Xenotheory and the greater deathcore scene is Within Destruction’s first three records. Roars that are a dead ringer for my beloved Rok Rupnik, heavily triggered (but satisfyingly bone-cracking) drums and subterranean downtuned guitar tones, and a penchant for slammy breakdowns permeate every moment of Blissful Death. Unlike those early Within Destruction records, however, there’s very little actual songwriting to be found here. This unfortunately puts Xenotheory in the same lifeless territory as deathcore colleagues <a href="https://www.angrymetalguy.com/distant-heritage-review/" rel="nofollow noopener" target="_blank">Distant</a>. Blissful Death is a massively bloated forty-five-minute beatdown of the world’s deadest horse. Chugs abound. Single-chord breakdowns pitted against industry standard slams litter the barren ground. Drums satisfy the bare minimum, keeping the pace as dictated by those aforementioned chugs. Otherwise, there’s little to no brain activity detected in this alien carcass.I cannot overstate how accurately Blissful Death epitomizes the phrase “one-note.” From the opening scene setting of “Resurrection” to the monotonous trail of basic slams and forgettable caveman riffs that lead to the first new idea in twenty minutes, found in “What Lies Below,” Xenotheory attempt to beat my brains out with a relentless hammering against the cranium. Unfortunately, my skull cracks open to reveal absolute and total emptiness, as the record’s utter lack of creative or compelling songwriting left me without a cell to my name. This braindead assault to the senses is undoubtedly Xenotheory’s mission statement—the goal being summary pulpification of all audiences in a mindless, zombie-like stomp. However, it leaves very little for that audience to hold on to after it’s all over. Furthermore, the persistent presence of a Deathcore Standard Eerie Two-Tone Melody™ in just about every song steals whatever life Blissful Death may have possessed otherwise. More than that, it makes forty-five minutes of what is essentially one repeatedly recycled theme a deeply annoying, frustrating affair.Occasionally, Xenotheory’s approach makes a minor impact; and in those moments, a glimmer of potential shines. “The Chasm,” “Ozymandias,” and “What Lies Below” provide a little burst of adrenaline with energetic, if extremely basic slams that are nonetheless immense fun in the moment. “The Fortieth Night” offers the record’s first instance of a blast beat instead of continuing the percussion’s trend of ghosting alongside the lead guitar’s rhythm. On a half-decent record, this would never stand on its own as a positive. However, Xenotheory’s approach to deathcore on this record is so monotonous that any development of character in their music earns a celebratory note. Amazingly, “The Fortieth Night” also develops some of those trademark background guitar melodies a bit more as well, hinting at some undiscovered ability to inspire interest in Xenotheory’s songwriting. Other elements of Blissful Death’s final act, such as the refreshing blackened char introduced in “Son of Man” and the closing “Le Dixieme Cercle” suite, allow me to barely scrape past the album’s finish line without having totally fallen asleep. Unfortunately, this notable step towards a redeeming quality comes far too late.Blissful Death doesn’t qualify as a disappointment. It reaches beyond that. It demonstrates an undeniable familiarity and competence with the core material and aesthetic, then phones in the execution so lazily that it gives credence to every deathcore hater’s proclamation. Xenotheory have their work cut out for them going forward if they intend to stand out for a hard-won audience. Those who indiscriminately enjoy simple slams and bare breakdowns will love this, and I’m glad for that. But for me and all of those who ask for just a little more in their deathcore, ignorance of Blissful Death is bliss. Rating: Bad DR: 3 | Format Reviewed: 320 kb/s mp3 Label: Self Release Websites: <a href="http://xenotheory.bandcamp.com" rel="nofollow noopener" target="_blank">xenotheory.bandcamp.com</a> | <a href="http://facebook.com/xnth.slam/vVaw1Jestt7mIt-mCXqjZW-A2W" rel="nofollow noopener" target="_blank">facebook.com/xnth.slam/vVaw1Jestt7mIt-mCXqjZW-A2W</a> Releases Worldwide: December 6th, 2024<a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/15/" target="_blank">#15</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/blissful-death/" target="_blank">#BlissfulDeath</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/dec24/" target="_blank">#Dec24</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/distant/" target="_blank">#Distant</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/french-metal-metal/" target="_blank">#FrenchMetalMetal</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-release/" target="_blank">#SelfRelease</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/slam/" target="_blank">#Slam</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/within-destruction/" target="_blank">#WithinDestruction</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/xenotheory/" target="_blank">#Xenotheory</a>

Angry Metal Guy<a href="https://www.angrymetalguy.com/pillar-of-light-caldera-review/" rel="nofollow noopener" target="_blank">Pillar of Light – Caldera Review</a>By Thus SpokeA Caldera is a hollow resulting from the collapse of a volcano’s magma chamber, normally after an eruption. This lasting effect of catastrophe, in the form of a deep depression, describes a mental state as much as it does a geological phenomenon. Pillar of Light—who dedicate their debut Caldera to late friend Steven Jon Muczynski (Hollow Earth/Tharsis They)—channel this state in an unflinching exploration of mortality and misery. Through a crushing brand of sludgy doom, Pillar of Light rain bitter feelings and agonized resignation in a shower of pathos as massive and confrontational as that haunting, incandescent door.It can be paradoxically enjoyable to indulge in one’s gloominess, and Caldera takes this right to the brink of real despair. With Aaron Whitfield screaming pure sadness and spite over the deceptively simple interplay of Scott Christie, Alex Kennedy, and James Obenour’s resonant riffs and crushing chords, to the pulse of Eric Scobie’s thump and crash, Pillar of Light ensures that every note, beat, and breath hits you firmly and squarely in the chest. The presence of reverberant guitar in a dense production is weighty enough, trudging bleakly along to sluggardly sludge, But it grants a solidity also to the mournful refrains that spill down out of an opening in the grey cloud in delicate atmospheric drops, or a downpour of rich tremolo. In their violence, and patient creep towards devastating, destructive outpourings, Pillar of Light frequently reminds me of Amenra—almost too much at times, though such a comparison is only a good thing for Caldera’s effectiveness.If Caldera is designed to rip your heart out, then it succeeds. Drums and concrete guitar batter and beat you down, you crawl along the tense path of blunt near-dissonance, your breath catches in moments of atmospheric anticipation, or a shivering build, and then is knocked clean from you as you collapse in a devastatingly beautiful catharsis. If you’re me, listening alone in my flat on a dark November evening, you’re crying. If you’re not me, you might not be crying, but you’d have to have a heart of stone not to be moved by the grief (“Leaving”), the despair (“Infernal Gaze”), and the surrender (“Certain End”) that bleeds out of these massive mournful melodies. More muted harmonies bleed with apathy (“Wolf to Man,” “”Spared,” “Unseeing”) before they too succumb to pulchritudinous despair. Venomous barks and somber spoken-word become a mantra of misery as they repeat over blunt and beautiful themes alike (“Wolf to Man,” “Infernal Gaze”). Quiet should be taken gratefully, even as delicately wrought plucks precipitate further despondence (“Leaving,” “Eden,” “Unseeing”).Across its near-hour-long runtime, Caldera hardly lets up on its emotional abuse, changing only the manner in which it assaults. “Spared” and “Unseeing,” etched with screeching slides, are cold and depressive whether dwelling in ringing atmospheres or dissonant chugging. Unflinching and inexorable next to the more overtly pathetic “Leaving,” and “Infernal Gaze,” with “Unseeing”‘s battering, disharmonic conclusion setting the stage for “Certain End”‘s crippling finale. Only the aptly-titled “Eden” offers peace in its three instrumental minutes that bridge “Spared,” and “Infernal Gaze,” its hazy, perhaps overlong reprieve serving to make “Infernal Gaze” that much more devastating. If one wanted to trim anything, taking a smidge out of “Eden” could be a start, while “Unseeing” could also be pared down. In all honesty, however, Caldera doesn’t feel nearly as long as it is. Something else worthy of note is that “Certain End” hits with a particular type of nostalgic intimacy due its theme reminding me very strongly of Amenra’s “A Solitary Reign.” It took me a couple of listens to realize the reason it felt so familiar, but I wouldn’t class it as plagiarism, just strong inspiration that makes a good song better.It seems that every year, something lands right at the cusp of list season that threatens to demolish the neatly-considered line-up. Pillar of Light are guilty of this terrible timing as they single-handedly snatch my personal Best Doom of the Year title. Stunning by itself, as a debut Caldera sets a heavy precedent and stamps a deep imprint on the scene. As enduring as its namesake, Caldera is gorgeous and heartbreaking, and it won’t let me go. Rating: Great DR: 7 | Format Reviewed: 320 kb/s mp3 Label: <a href="https://tometal.com/" rel="nofollow noopener" target="_blank">Transcending Obscurity</a> Websites: <a href="https://pillaroflight.bandcamp.com/album/caldera" rel="nofollow noopener" target="_blank">Bandcamp</a> | <a href="https://www.facebook.com/pillaroflightband" rel="nofollow noopener" target="_blank">Facebook</a> Releases Worldwide: December 6th, 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/40/" target="_blank">#40</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/amenra/" target="_blank">#Amenra</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/caldera/" target="_blank">#Caldera</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/doom-metal/" target="_blank">#DoomMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/doom-sludge/" target="_blank">#DoomSludge</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/pillar-of-light/" target="_blank">#PillarOfLight</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/sludge/" target="_blank">#Sludge</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/transcending-obscurity-records/" target="_blank">#TranscendingObscurityRecords</a>

Angry Metal Guy<a href="https://www.angrymetalguy.com/athena-xix-everflow-part-1-frames-of-humanity-review/" rel="nofollow noopener" target="_blank">Athena XIX – Everflow Part 1: Frames of Humanity Review</a>By Dolphin WhispererBefore Fabio Lione rose to prominence with [(Luca) Turilli(/Lione)’s] Rhapsody [of Fire] and Angra, Athena—stylized now as Athena XIX<a href="https://www.angrymetalguy.com/athena-xix-everflow-part-1-frames-of-humanity-review/#fn-204087-1" rel="nofollow noopener" target="_blank">1</a>—served as another potential vehicle into the growing European prog/power landscape. Wielding an of-the-time histrionic Dream Theater guitar-driven drama alongside the lightness of chorus-driven power metal, the low-fanfare Italian outfit never quite topped any charts despite respectable musicianship and Lione’s formative pipes on 1998’s A New Religion?. And after another swing at success, sans the Rhapsody-snatched Lione, with 2001’s equally unreceived Twilight of Days, Athena hung up its spurs to ride another day. And now, twenty-six years after Lione had debuted his only full-length recording with Athena, that same line-up has returned, rested and determined to show age like a fine Parmigiano-Reggiano.Athena XIX, at core, emerges with Everflow Part 1: Frames of Humanity as a revived relic of the late ’90s and early ’00s prog/power realm. Finding riffs that move with the low-end groove of classic Symphony X and an overblown narrative that flies due to the talent of a powerhouse vocalist—think Jørn Lande with <a href="https://www.youtube.com/watch?v=9un2HDLoJ_Q" rel="nofollow noopener" target="_blank">Beyond Twilight</a> or Vasilis Georgiou from <a href="https://www.angrymetalguy.com/sunburst-manifesto-review/" rel="nofollow noopener" target="_blank">Sunburst</a>—Athena XIX hasn’t made many attempts to live in the synth-forward lands of modern takes on the style. That’s not to say that classic line-up keyboardist Gabriele Guidi strays entirely away from the dancing electronic works of a band like Voyager, with a pulsing wub and panning synth flutter adorning key intros to keep the total of Frames diverse (“Legacy of the World,” “The Calm Before the Storm”). But Athena XIX always manages to find a way back to a driving stringed refrain, whether it be in the virtuosic thick-stringed pop of Alessio Sabella (“The Day We Obscured the Sun,” “The Conscience of Everything” among others) or the down-tuned axe clamor of Simone Pellegrini.Despite the instrumental prowess at play throughout Frames, its true power rests in the piped-prowess that Lione imbues into every verse and chorus. Neither as operatic as his time with any of the Rhapsodys (especially <a href="https://www.angrymetalguy.com/turilli-lione-rhapsody-zero-gravity-rebirth-and-evolution-review/" rel="nofollow noopener" target="_blank">Turilli / Lione Rhapsody</a>) nor as aggressive as in his <a href="https://www.angrymetalguy.com/amg-goes-ranking-angra/" rel="nofollow noopener" target="_blank">continued charge with Angra</a>, Lione uses Athena XIX to play around with different, more subtle techniques. Though morose and haunting vocal harmonies are standard in the darker tones of prog/power, Lione’s wide range serves him well in creating a unique eeriness between his capable heady highs, smooth mid-range croons, ghastly counterpoint lows, and reckless nasal lashings (“Legacy…,” “The Conscience…,” “Where Innocence Disappears”). Given the number of layers that live within each phrase for these captivating runs, it’d be easy for Lione to get lost in the art of tracking. But as Frames progresses Lione reveals consistently that he still possesses the pure diaphragmatic might to sear gigantic choruses and gritty wails deep into ears that crave his dramatic expression with late player “Synchrolife” seeing every cranny of his voice play out against a wild-and-whipping sonic clash.Though just about everything that Athena XIX has put to tape produces a gentle bob of a closed-eye groove or delightful and resonant harmony, Frames doesn’t build a strong scaffold for its cinematic scope. A few moments from a tonal perspective do feel like they belong side-by-side—the riff reprisal of “The Day…” into “The Seed,” the piano refrain morphing to modulated synth backing from “Where Innocence Disappears to “Idle Mind.” But these kinds of related happenings often occur regardless of whether an album’s connected ideas build a greater thematic whole. And with a continued reliance on huge choruses to propel interest, Frames’ fifty-plus minute stretch enters the realm of crescendo fatigue without a tightly woven plot to catch it. By the time we arrive at the dramatic closing segue that presumably builds for part two’s introduction, I have a hard time believing more is necessary.Twenty-three years in the making, Everflow Part 1: Frames of Humanity does more right than wrong for a band who never got much of a chance to prove themselves to the greater metalverse. Athena XIX may find comfort in a sound long removed from the popular paradigm, but its members, many of whom also have assisted in the engineering and recording of this comeback album, have kept an ear to enough production trends and tonal constructions to give Frames a full and engaging platform to display their talents. And, perchance, its implied sequel will deliver to us a package further refined to turn gentle smiles into screaming fans. Rating: 3.0/5.0 DR: 6 | Format Reviewed: 320 kbps mp3 Label: <a href="https://shopeu.reigningphoenixmusic.com/" rel="nofollow noopener" target="_blank">Reigning Phoenix Music</a> Website: <a href="https://www.facebook.com/Athena.Band.Italy/" rel="nofollow noopener" target="_blank">facebook.com/Athena.Band.Italy</a> Releases Worldwide: December 6th, 2024<a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/luca-turillis-lione-rhapsody-of-fire/" target="_blank">#LucaTurilliSLioneRhapsodyOfFire_</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/30/" target="_blank">#30</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/angra/" target="_blank">#Angra</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/athena-xix/" target="_blank">#AthenaXIX</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/beyond-twilight/" target="_blank">#BeyondTwilight</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/dream-theater/" target="_blank">#DreamTheater</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/italian-metal/" target="_blank">#ItalianMetal</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/progpower/" target="_blank">#ProgPower</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/progressive-metal/" target="_blank">#ProgressiveMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/reigning-phoenix-music/" target="_blank">#ReigningPhoenixMusic</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/rhapsody/" target="_blank">#Rhapsody</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/rhapsody-of-fire/" target="_blank">#RhapsodyOfFire</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/sunburst/" target="_blank">#Sunburst</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/symphony-x/" target="_blank">#SymphonyX</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/turilli-lione-rhapsody/" target="_blank">#TurilliLioneRhapsody</a>

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