Angry Metal Guy<p><a href="https://www.angrymetalguy.com/labyrinthine-heirs-labyrinthine-heirs-review/" rel="nofollow noopener" target="_blank">Labyrinthine Heirs – Labyrinthine Heirs Review</a></p><p><i>By Tyme</i></p><p><span>Eclectic Texan quartet </span><strong><span>Labyrinthine Heirs</span></strong><span> is ready to float their self-titled debut album, partnered with I, Voidhanger Records, which has one of the most diverse rosters in the metalverse. All four musicians come from different musical walks of life, and given the label partner, I expected that the music on </span><em><span>Labyrinthine Heirs</span></em><span> would be off-kilter at a minimum. With Léon François Comerre’s excellent cover painting in view but very little to go on by way of </span><strong><span>Labyrinthine Heirs</span></strong><span>‘ history, I was intrigued by the promo blurb, which quoted vocalist Evan Sadler as saying, ‘The plan was to marry the sound of Touch and Go Records artists like </span><strong><span>The Jesus Lizard</span></strong><span> and </span><strong><span>Shellac</span></strong><span> with that of </span><strong><span>Celtic Frost</span></strong><span> and </span><strong><span>Virus</span></strong><span>.’ I was a big fan of </span><em><span>Goat</span></em><span> in the 90s and love </span><strong><span>Celtic Frost</span></strong><span> to this day, so I was excited to hear how </span><strong><span>Labyrinthine Heirs</span></strong><span> would attempt to pull this feat off. </span></p><p><span>Apropos and in keeping with I, Voidhanger tradition, the </span><strong><span>Labyrinthine Heirs</span></strong><span>‘ sound, an alternative mix of blackish death metal, presents a descriptive sticky wicket. Comparisons with </span><strong><span>The Jesus Lizard</span></strong><span> are valid here, and a fair amount of </span><em><span>Written in Waters</span></em><span> era </span><strong><span>Ved Buens Ende </span></strong><span>is at play.<a href="https://www.angrymetalguy.com/labyrinthine-heirs-labyrinthine-heirs-review/#fn-213517-1" rel="nofollow noopener" target="_blank">1</a> Samuel Kang’s (</span><strong><span>Cathexis</span></strong><span>) guitar work is distinctly crisp, full of plucky riffs (“Brick Refusers Quartered”), cascading shimmers of dissonance, and circusy leads (“The Loop of Human Flesh Told in Perpetuity”). In lock-step accompaniment is the slap-happy bass work of Bryan Camphire (ex </span><strong><span>Bloody Panda</span></strong><span>) and the understated drumming of Anthony Brownlow, all three creating a hypnotizing flow over which vocalist Evan Sadler can drape his raspy, spoken-word delivery. </span><em><span>Labyrinthine Heirs</span></em><span> certainly sounds impressive, but one of the problems with hypnosis is that the subject eventually falls asleep.</span></p><p></p><p><span>Colin Marston’s master of </span><em><span>Labyrinthine Heirs</span></em><span> is warm and inviting, highlighting the interplay between the guitars and rhythm section while providing enough wide, organic spaces to hear every separate instrument on its own and simultaneously. Like how a dog can smell each ingredient in that stew on your stovetop individually while still smelling the whole thing. The opening track, “Brick Refusers Quartered,” with the guitar and bass playfully splashing in puddles of dissonance, pulls you immediately into </span><strong><span>Labyrinthine Heirs</span></strong><span>‘ web and ushers you through the next thirty-seven minutes. Sadler strays from his go-to mono-rasp to bring some ear-catching dynamism in the form of screeching screams, vomits, chokes, and coughs (“The Loop of Human Flesh Told in Perpetuity,” “The Conceited Determination of Nimrod”) and this reminds me of the vocals from some of </span><strong><span>Nattefrost</span></strong><span>‘s nastier solo work at times. I was also thankful for these moments since they were some of the few to rouse me from my slumberous hypnosis. </span></p><p><strong><span></span></strong></p><p><strong>Labyrinthine Heirs</strong><span> packs a fair number of ideas into </span><em><span>Labyrinthine Heirs</span></em><span>‘ five tracks.<a href="https://www.angrymetalguy.com/labyrinthine-heirs-labyrinthine-heirs-review/#fn-213517-2" rel="nofollow noopener" target="_blank">2</a> The biggest problem is that nearly every idea sounds the same. In its entirety, </span><em><span>Labyrinthine Heirs</span></em><span> never strays from the sonic palette introduced on the opening track. Nearly every time I arrived at the fifth and final song, “Yaldabaoth Gored to Blindness,” I was surprised to discover that almost 30 minutes of music had passed with nary a blip on my radar of interest to show for it, which brings us to the crux of my problem with </span><strong><span>Labyrinthine Heirs</span></strong><span> debut, and that is its overwhelming sense of similitude. All five songs suffer from reciprocating guitar techniques that, combined with the steady slap n’ tap bass, reserved drums, and raspily spoken lyrics, shroud the whole in a drone-like pall. </span></p><p><span>My relationship with I, Voidhanger, Records, is like a series of coin flips. There always seems to be a fifty-fifty chance I’ll enjoy what I hear or be equally content to let it pass. I’ve found many gems (</span><strong><span>Creature</span></strong><span>, </span><strong><span>Neptunian Maximalism</span></strong><span>, </span><strong><span>Yhdarl</span></strong><span>), to name a few, but I’ve discovered stinkers that balance the equation for each one. </span><strong><span>Labyrinthine Heirs</span></strong><span> may be deserving of their I, Voidhanger, roster spot. However,</span> <span>I don’t find this debut engaging enough to keep my attention, so I can’t </span><span>fully</span><span> recommend it. There are flashes on </span><em><span>Labyrinthine Heirs</span></em><span> that will have me on the lookout for its follow-up, but I prefer to pass on this. </span></p> <p><strong>Rating</strong>: 2.5/5.0<br><strong>DR</strong>: 10 | <strong>Format Reviewed</strong>: 320kbps mp3<br><strong>Label</strong>: <a href="https://metalodyssey.8merch.us/" rel="nofollow noopener" target="_blank">I, Voidhanger Records</a> | <a href="https://www.facebook.com/i.voidhanger.records/#" rel="nofollow noopener" target="_blank">Facebook</a><br><strong>Website</strong>: <a href="https://i-voidhangerrecords.bandcamp.com/album/labyrinthine-heirs" rel="nofollow noopener" target="_blank">Bandcamp</a><br><strong>Releases Worldwide</strong>: March 28th, 2025</p><p><a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/2-5/" target="_blank">#25</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/2025/" target="_blank">#2025</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/alternative-metal/" target="_blank">#AlternativeMetal</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/death-metal/" target="_blank">#DeathMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/i-voidhanger-records/" target="_blank">#IVoidhangerRecords</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/labyrinthine-heirs/" target="_blank">#LabyrinthineHeirs</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/mar2025/" target="_blank">#Mar2025</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/the-jesus-lizard/" target="_blank">#TheJesusLizard</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/ved-buens-ende/" target="_blank">#VedBuensEnde</a></p>
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Angry Metal Guy<p><a href="https://www.angrymetalguy.com/venomous-echoes-dysmor-review/" rel="nofollow noopener" target="_blank">Venomous Echoes – Dysmor Review</a></p><p><i>By Grymm</i></p><p>I’ve told many friends, both online and in-person, that for death metal to connect with me these days, it’s got to go for my throat in unflinching, unapologetic ways, and that usually involves taking one of two avenues. Either the artist in question has to go all-out musically in a way that’s memorable yet uncompromisingly heavy, brutal, technical, chaotic, or all of the above, or the music has to come from a place of personal sincerity and experience. With <strong>Venomous Echoes</strong>, the project of sole mastermind Ben Vanweelden, it’s a maelstrom of frightening proportions brought on by Vanweelden’s personal struggles with body dysmorphia.<a href="https://www.angrymetalguy.com/venomous-echoes-dysmor-review/#fn-213027-1" rel="nofollow noopener" target="_blank">1</a> <em>Dysmor</em>, the project’s third album, further explores a topic that far too many people experience in silence with unfaltering intensity.</p><p>In just a hair under 46 minutes, <em>Dysmor</em> tells the tale of an unfortunate soul trapped in a hell of their own mental and physical image. Riffs swirl and undulate like slimy, breathing walls trapping you within its calculating vortex, with Vanweelden snarling and screaming in a barely hinged fashion, recalling both The Curator (<strong>Portal</strong>) and Peter Benjamin (<strong>Voices</strong>) in delivery and intensity. Programmed blastbeats pummel you into and through the shattered earth. Even the saxophone that opens up “Walls of Memories and Despair” warns you that things aren’t going to be okay going forward. But these things alone, while all good and everything that metalheads love and crave, aren’t going to be enough to make a lasting impact.</p><p>No, the real prize here is how well everything ties together thematically. It’s not easy to write music that’s barely tied together with the most frayed of twine, yet have it get its message across, but Vanheelden made it flow somehow. The odd groove that happens in the middle of “Walls of Memories and Despair” would have easily derailed the insanity that precedes and follows it, but it <em>works</em>. “Broken” starts of with a tranquil-enough piano melody before even that warps and distorts into something sinister and uncomfortable. Speaking of uncomfortable, the sad, subdued sobbing that punctuates just past the halfway mark of closing highlight “The Begetter” indicates that something terrible is going to happen, with the following riffs and closing atmospherics that would make <strong>The Great Old Ones</strong> proud pretty much confirming all suspicions.</p><p><em></em></p><p><em>Dysmor</em> sounds appropriately grimy and discommoding, barely kissing against aural cacophony but not quite going beyond that line. With riffs slicing and julienning and a pissed-off drum machine laying waste to everything, anyone could see <em>Dysmor</em> getting swallowed up by a cyclone of its own design, but somehow it’s barely constrained enough to keep it together for the listener to hear. What can be a bit fatiguing is the length of some of the more atmospheric passages. By trimming some of the endings a bit (like the keyboard swirls that occur in the last almost two minutes of “Deafeated and Withered Creation”),<a href="https://www.angrymetalguy.com/venomous-echoes-dysmor-review/#fn-213027-2" rel="nofollow noopener" target="_blank">2</a> it would help out a little with the overall impact.</p><p>But an impact this definitely made. I often worry whenever an artist writes music detailing a rather personal struggle, as it could very easily be heavy-handed or horribly delivered. But like <strong>An Isolated Mind</strong> before him, Vanweelden crafted an album that simultaneously crushes skulls and slices nerves. Ask anyone who’s ever experienced body dysmorphia, and they’ll tell you that no amount of external body shaming can compare to the hell of those who are beating themselves up,<a href="https://www.angrymetalguy.com/venomous-echoes-dysmor-review/#fn-213027-3" rel="nofollow noopener" target="_blank">3</a> and <em>Dysmor</em> lays that all out to bare with amazing results. I sincerely both applaud Vanweelden for his bravery, intensity, and honesty in communicating his battles with body dysmorphia through his art, but I’m also pulling for his continued efforts in overcoming a silent, yet all-too-common, struggle.</p><p></p> <p><strong>Rating: </strong>3.5/5.0<br><strong>DR: </strong>5 | <strong>Format Reviewed:</strong> 256 kbps mp3<br><strong>Label:</strong> <a href="https://i-voidhangerrecords.bandcamp.com/" rel="nofollow noopener" target="_blank">I, Voidhanger Records</a><br><strong>Websites:</strong> <a href="https://ampwall.com/a/vvenomousechoes" rel="nofollow noopener" target="_blank">Ampwall</a> | <a href="https://venomousechoes.bandcamp.com/" rel="nofollow noopener" target="_blank">Bandcamp</a> | <a href="https://www.facebook.com/people/Venomous-Echoes/100095607218571/" rel="nofollow noopener" target="_blank">Facebook</a><br><strong>Releases Worldwide:</strong> February 28th, 2025</p><p><a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/2025/" target="_blank">#2025</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/american-metal/" target="_blank">#AmericanMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/an-isolated-mind/" target="_blank">#AnIsolatedMind</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/dysmor/" target="_blank">#Dysmor</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/feb25/" target="_blank">#Feb25</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/i-voidhanger-records/" target="_blank">#IVoidhangerRecords</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/portal/" target="_blank">#Portal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/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/the-great-old-ones/" target="_blank">#TheGreatOldOnes</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/venomous-echoes/" target="_blank">#VenomousEchoes</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/voices/" target="_blank">#Voices</a></p>
Angry Metal Guy<p><a href="https://www.angrymetalguy.com/stuck-in-the-filter-august-and-september-2024/" rel="nofollow noopener" target="_blank">Stuck in the Filter: August and September 2024</a></p><p><i>By Kenstrosity</i></p><p></p><p>I am a stubborn bitch. I work my underlings hard, and I won’t let up until they dig up shiny goodies for me to share with the general public. Share might be a generous term. Foist upon is probably more accurate…</p><p>In any case, despite some pretty intense setbacks on my end, I still managed to collect enough material for a two-month spread. HUZZAH! REJOICE! Now get the hell away from me and listen to some of our very cool and good tunes.</p> <p><strong><span>Kenstrosity’s Turgid Truncheons<br></span></strong></p><p><strong><a href="https://www.facebook.com/tenuepunx" rel="nofollow noopener" target="_blank"><strong>Tenue</strong></a><strong> // <em>Arcos, bóvedas, pórticos </em></strong>[August 1st, 2024 – Self-Release]</strong></p><p>Spanish post-black/crust/screamo quartet <strong>Tenue</strong> earned my favor with their debut record, <em>Anábasis</em>, back in 2018. Equal parts vicious, introspective, and strangely uplifting, that record changed what I thought I could expect from anything bearing the screamo tag. By integrating ascendant black metal tremolos within post-punk structures and crusty attitude, <strong>Tenue</strong> established a sound that not only opened horizons for me taste-wise but also brought me a great deal of emotional catharsis on its own merit. Follow-up <em>Arcos, bóvedas, pórticos</em> deepens that relationship. Utilizing a wider atmospheric palette (“Distracción”), a shift towards epic song lengths (“Inquietude, and a greater variety of instrumentation (observe the beautiful horns on long-form opener “Inquietude”), and a bluesier swagger than previous material exhibited (“Letargo”), <strong>Tenue</strong>’s second salvo showcases a musical versatility I wasn’t expecting to complement the bleeding-heart emotional depth I knew would return. This expansion of scale and skillset sets the record apart from almost anything else I’ve heard this year. Even though one or two moments struggle to stick long-term (“Enfoque”), <em>Arcos, bóvedas, pórticos</em> represents an affecting, creative, and ridiculously engaging addition to my listening schedule. And for the low low price of NYP, it ought to be a part of yours as well.</p><p></p><p><strong><a href="https://www.facebook.com/OpenFleshWound" rel="nofollow noopener" target="_blank"><strong>Open Flesh Wound</strong></a><strong> // <em>Vile Putrefaction </em></strong>[August 28th, 2024 – <a href="https://www.facebook.com/tenuepunx" rel="nofollow noopener" target="_blank">Inherited Suffering Records</a>]</strong></p><p>Thicc, muggy slam with a million pick scrapes. Who could ask for anything more? Not I, and so it is with great pleasure that I introduce to my AMG fam Pennsylvania’s very own <strong>Open Flesh Wound</strong> and their debut LP <em>Vile Putrefaction</em>. Essentially the result of <strong>Analepsy</strong>’s and <a href="https://www.angrymetalguy.com/devourment-obscene-majesty-review/" rel="nofollow noopener" target="_blank"><strong>Devourment</strong></a>‘s carnal lovemaking, <em>Vile Putrefaction</em> is a nasty, slammy, brutal expulsion of chunky upchuck. Only those with the most caved-in craniums will appreciate the scraping swamp-ass riffs showcased on such slammers as “Smashed in Liquids” and “Cinder Block to the Forehead,” or the groove-laden thuggery of death-focused tracks like the title track, “Fermented Intestinal Blockage” and “Body Baggie.” <em>Vile Putrefaction</em>’s molasses-like production is an absolute boon to this sound as well, with just enough gloss to provide a deliciously moist texture which imparts an unlikely clarity to especially gruesome details in “Stoma Necrosis” and “Skin Like Jelly.” It’s dumb as hell, and isn’t doing anything new, but is an overdose of good, dirty fun. Simple as.</p><p></p><p><strong><a href="https://www.facebook.com/theflayingmetal" rel="nofollow noopener" target="_blank"><strong>The Flaying</strong></a><strong> // <em>Ni dieu, ni maître </em></strong>[September 5th, 2024 – Self Release]</strong></p><p>I’ve been singing Canadian melodic death metal quartet <strong>The Flaying</strong>’s praises for almost six years now. And still to this day not enough people choose to sing with me. Why? Because they wouldn’t know sickeningly fun death metal if it hacked their faces right off. That’s okay, because <strong>The Flaying</strong> do hack faces right off regardless, and it feels so good to watch the faces of those who don’t heed my call get hacked right off. Third onslaught <em>Ni dieu, ni maître </em>proves that once again, <strong>The Flaying</strong> are an unstoppable force of bass wizardry, riff mastery, and hook-laden songwriting. Opener “Le nécrologiste” perfectly encapsulates <strong>The Flaying</strong>’s particularly addicting brew of <a href="https://www.angrymetalguy.com/cannibal-corpse-chaos-horrific-review/" rel="nofollow noopener" target="_blank"><strong>Cannibal Corpse</strong></a>, <a href="https://www.angrymetalguy.com/the-black-dahlia-murder-servitude-review/" rel="nofollow noopener" target="_blank"><strong>The Black Dahlia Murder</strong></a>, and <a href="https://www.angrymetalguy.com/de-profundis-the-corruption-of-virtue/" rel="nofollow noopener" target="_blank"><strong>De Profundis</strong></a> influences, shaken and stirred until the resulting cocktail blooms with a flavor all its own. Technical and brutally fast, follow-up track “L’enclave” continues the deadly rampage, featuring noodly bass lines guaranteed to elicit stank face in the even most prim and proper elite. A trim twenty nine minutes, spread over ten tightly trained tracks, <em>Ni dieu, ni maître</em> boasts unbeatable replay value. Highlights “Ni dieu, ni maître<em>,”</em> “Les Frondes” “La forge,” and “Noyau sombre” seal the deal by providing sharp hard points and memorable landmarks to which any listener would look forward. Simply put, this record rocks my socks and further proves that I am right about <strong>The Flaying</strong>, and those who ignore my recommendation are wrong.</p><p></p> <p><strong><span>Dolphin Whisperer’s All-Seeing Affirmations</span></strong></p><p><strong><b><a href="https://www.facebook.com/eyeeaterdeath" rel="nofollow noopener" target="_blank">Eye Eater</a> // <a href="https://eyeeater.bandcamp.com/album/alienate" rel="nofollow noopener" target="_blank"><em>Alienate</em></a></b><strong> [August 1st, 2024 – Self Release]</strong></strong></p><p>In a post-<strong>Ulcerate</strong> world, the modern output of atmosphere-minded death metal has grown exponentially. With ringing dissonant chords and slow post-informed builds taking center stage, bands like New Zealand’s unheralded <strong>Eye Eater</strong> borrow plenty from the <em>Destroyers of All</em> sound. However, while many acts would be content to dial in the space or ramp up the dissonance to try and put their own twist on this growing post-death movement, <strong>Eye Eater</strong> looks to the laser-precise melodic tones of progressive, core-borrowing names like <a href="https://www.angrymetalguy.com/fallujah-empyrean-review/" rel="nofollow noopener" target="_blank"><strong>Fallujah</strong></a> and <strong>Vildhjarta</strong> to carve an identity into each of <em>Alienate</em>’s album eight sprawling tracks. Swinging sustained brightness in one hand about the grizzly chug-crush of the other, burly bangers like “Other Planets” and “Failure Artifacts” find churning, djentrified grooves that amplify the swell of the blaring melodies that swirl above the low-end clamor. And though the main refrains of “Alienate” and “Everything You Fear and Hope For” sound like loving odes to their Kiwi Forebears, the growth into sonorous and lush-chorded peaks lands much closer to the attraction of turn of the 10s progressive death/metalcore luminaries <a href="https://www.angrymetalguy.com/the-contortionist-intrinsic-review/" rel="nofollow noopener" target="_blank"><strong>The Contortionist</strong></a> had they stayed closer to their heavy-toned, hefty-voiced roots. As an anonymous act with little social presence, it’s hard to say whether <strong>Eye Eater</strong> has more cooking for the future. With their ears tuned to the recent past for inspiration, it’s easy to see how a band with this kind of melodic immediacy—still wrapped in the weight of a brooding, death metal identity—could easily play for the tops of underground charts. To those who have been following the twists and turns of both underground and accessible over the past decade or so, <strong>Eye Eater</strong> may not sound entirely novel. But <em>Alienate</em>’s familiarity in presence against its quality of execution and fullness of sound makes it easy to ensnare all the same.</p><p></p><p><strong><b><a href="https://www.facebook.com/dissolvebandfr" rel="nofollow noopener" target="_blank">Dissolve</a> // <a href="https://dissolvefr.bandcamp.com/music" rel="nofollow noopener" target="_blank"><em>Polymorphic Ways of Unconsciousness</em></a></b><strong> [September 20th, 2024 – Self Release]</strong></strong></p><p>From the sand-blasted, monochrome human escaping the floor of <em>Polymorphic Ways</em>’ cover to the tags of technical, progressive, death that adorn the Bandcamp tags, it’s easy to put a band like <a href="https://www.youtube.com/@DissolveFr" rel="nofollow noopener" target="_blank"><strong>Dissolve</strong></a> in a box, mentally. But with the first bent guitar run that sets off “Efficiency Defiled” in a run like <a href="https://www.angrymetalguy.com/judas-priest-invincible-shield-review/" rel="nofollow noopener" target="_blank"><strong>Judas Priest</strong></a> more than <strong>Spawn of Possession</strong>, it’s clear that <strong>Dissolve</strong> plays by a different set of rules than your average chug and run tech death band. Yet true to their French nature, the riffs that litter <em>Polymorphic Ways of Unconsciousness</em> possess a tangible groove following the footsteps of lesser-known tricksters <a href="https://www.angrymetalguy.com/trepalium-h-n-p-review/" rel="nofollow noopener" target="_blank"><strong>Trepalium</strong></a> and Olympic titans of metal <a href="https://www.angrymetalguy.com/gojira-fortitude-review/" rel="nofollow noopener" target="_blank"><strong>Gojira</strong></a> (“The Great Pessimistic,”<a href="https://www.angrymetalguy.com/stuck-in-the-filter-august-and-september-2024/#fn-205552-1" rel="nofollow noopener" target="_blank">1</a> “Polymorphic Ways of Unconsciousness,” “Vultures”). And while too <strong>Dissolve</strong> finds a base in the low-end trem assault of <strong>Morbid Angel</strong> (“Ignorance Will Prevail”), there’s a thrash and bark energy at play that nets a rambunctious and experimental sound recalling the warped Hetfield-ian (<a href="https://www.angrymetalguy.com/72-seasons-in-the-amg-rodeo-abyss-taking-the-new-metallica-opus-for-a-ride/" rel="nofollow noopener" target="_blank"><strong>Metallica</strong></a>) scrawl of <em>Destroy Erase Improve </em><a href="https://www.angrymetalguy.com/meshuggah-immutable-review/" rel="nofollow noopener" target="_blank"><strong>Meshuggah</strong></a>, right down to the monstrous bass tone that defines Sonny Bellonie’s (<strong>Sanctuary</strong>, <strong>ODC</strong>) growling, extended range performance. As a trio it’d be easy for guitarist Briac Turquety (<a href="https://smerter.bandcamp.com/album/smerter" rel="nofollow noopener" target="_blank"><strong>Smerter</strong></a>, ex-<a href="https://sideburn.bandcamp.com/album/crows-court" rel="nofollow noopener" target="_blank"><strong>Sideburn</strong></a>) to rely on overdubs for saturation of sound and complexity of layers—and for solo cut-ins he definitely does—but equally as often his choice to let certain chords and notes escape a thrashy muting to ring in distorted harmony against snaking bass lines. And speaking of solos, Turquety’s prowess ranges from bluesy shred (“The Great Pessimistic,” “Ropes of Madness”) to noisy, jazzy explorations (“Polymorphic…,” “Shattered Minds of Evolution”) to Satriani on <strong>Slayer</strong> whammy abuse (“Bonfire of the Vanities”)—a true treat to lovers of tasteful shred. Turquety, Bellonie, and <a href="https://www.youtube.com/@narocoon/videos" rel="nofollow noopener" target="_blank">Quentin Feron</a> (on drums, also of <strong>Smerter</strong>) sound as if they’ve been playing together for much longer than the year that <strong>Dissolve</strong> has existed. With a debut this polished, it’s anyone’s guess as to what kind of monster will emerge from the talent that appears so effortless in assembly.</p><p></p><p><strong><b><a href="https://www.facebook.com/ObsidianMantra" rel="nofollow noopener" target="_blank">Obsidian Mantra</a> // <a href="https://obsidianmantra.bandcamp.com/music" rel="nofollow noopener" target="_blank"><em>As We All Will</em></a></b><strong> [September 27th, 2024 – Self Release]<br></strong></strong></p><p><span>Sometimes, a tangled and foreboding cover sits as the biggest draw amongst a crowd of death metal albums alight with splattered zombie remains, illegible logos, and alarm-colored palettes. And in the case of <strong>Obsidian Mantra</strong>, it doesn’t hurt that lead single “Cult of Depression” possesses a devastating, hypnotic groove that recalls the once captivating technical whiplash of an early <a href="https://www.angrymetalguy.com/decapitated-anticult-review/" rel="nofollow noopener" target="_blank"><strong>Decapitated</strong></a>. However, rather than wrestle with tones that incite a pure and raw violence like that cornerstone act (or similar Poldeath that has followed in its legacy like <a href="https://www.angrymetalguy.com/dormant-ordeal-the-grand-scheme-of-things-review-2/" rel="nofollow noopener" target="_blank"><strong>Dormant Ordeal</strong></a>), <strong>Obsidian Mantra</strong> uses aggressive and bass-loaded rhythmic forms to erupt in spacious and glass-toned guitar chimes to create an engrossing neck-snapping (“Slave Without a Master,” “Condemned to Oppression”). Whether we call these downcast refrains a dissonant melody or slowly resolving phrase, they grow throughout each track in a manner that calls continual reinforcement from a rhythm section that can drop into hammering blasts at a dime and a vocal presence that oscillates between vicious snarl and reverberating howl. In its most accessible numbers (“Chaos Will Consume Us All,” “Weavers of Misery”), <strong>Obsidian Mantra</strong> finds an oppressive warmth that grows to border anthemic, much in the way like beloved blackened/progressive acts like <a href="https://www.angrymetalguy.com/hath-all-that-was-promised-review/" rel="nofollow noopener" target="_blank"><strong>Hath</strong></a> do with their biggest moments. <em>As We All Will</em> still never quite reaches that full mountainous peak, though, opting to pursue the continual call of the groove to keep the listener coming back. Having come a long way from the <strong>Meshuggah</strong>-centered roots where <strong>Obsidian Mantra </strong>first sowed their deathly seeds, <em>As We All Will</em> provides 30 minutes of modern, pulsating, and venomous kick-driven pieces that will flare easy motivation for either a brutalizing pit or a mightily-thrusted iron on leg day.</span></p><p></p> <p><strong><span>Thus Spoke’s Cursed Collection</span></strong></p><p><strong><strong><a href="https://esoctrilihum.bandcamp.com/" rel="nofollow noopener" target="_blank">Esoctrilihum</a> // <em>Döth-Derniàlh </em>[September 20th, 2024 – <a href="https://i-voidhangerrecords.bandcamp.com/merch" rel="nofollow noopener" target="_blank">I, Voidhanger Records</a>]</strong></strong></p><p>We complete another orbit around the Sun, and <strong>Esoctrilihum</strong> completes another album; such are the inalterable laws governing each 365.25 Earth day period in our Solar System. Possessed by some mad, restless spirit, it seems they cannot be stopped. Ever the experimenter, sole member Asthâghul now picks up an acoustic guitar, a nickelharpa, and warms up his throat for more clean vocals to further bizarre-ify his avant-garde black metal. As we travel into the cosmos for <em>Döth-Derniàlh</em>, <strong>Esoctrilihum</strong>isms abound in the see-sawing strings and echoes of chanted singing and throaty snarls. The addition of more acoustic elements does bring some weird delicacy to moments here and there (“Zilthuryth (Void of Zeraphaël),” “Murzaithas (Celestial Voices)”), and it adds layers of beauty in addition to those already harmonious passages. it’s striking how well these new instruments blend with the overall sound: so well, in fact, that it almost feels like <strong>Esoctrilihum</strong> hasn’t evolved at all. This isn’t even a bad thing, because <em>Döth-Derniàlh </em>still feels like an improvement. Past albums have always had at least <em>sections</em> of perfection, where the scattered clouds of self-interfering chaos or repetition blow away and the brilliant light of the moon shines strongly. <em>Döth-Derniàlh </em>has more of these than ever, some extending to whole, 16-minute songs (“Dy’th Eternalhys (The Mortuary Renewal),”).<a href="https://www.angrymetalguy.com/stuck-in-the-filter-august-and-september-2024/#fn-205552-2" rel="nofollow noopener" target="_blank">2</a> If you have it in you to listen to one (more) album over an hour long, and you don’t already know you hate <strong>Esoctrilihum</strong>, sit down with a drink, and maybe a joint, and go where <em>Döth-Derniàlh </em>takes you.</p><p></p><p><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/alienate/" target="_blank">#Alienate</a> <a 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