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Angry Metal Guy<a href="https://www.angrymetalguy.com/aversed-erasure-of-color-review/" rel="nofollow noopener" target="_blank">Aversed – Erasure of Color Review</a>By Dolphin WhispererMelodeath is an old, reliable friend for many a metalhead. Ever since the In Flames and Arch Enemies of the World took an anthemic and accessible version of the Gothenburg sound to the masses throughout the ’90s and ’00s, countless acts and other regional sounds have emerged from rollicking riff and less-than-deathly vocal inclusions. But combined with the right personal flair—a modern melding of blackened, jazzned, and altned influences much like contemporary wildcards <a href="https://www.angrymetalguy.com/dawn-of-ouroboros-bioluminescence-review/" rel="nofollow noopener" target="_blank">Dawn of Ouroboros</a> or <a href="https://www.angrymetalguy.com/vintersea-woven-into-ashes-review/" rel="nofollow noopener" target="_blank">Vintersea</a>—melodic extreme metal forms have a growing presence in the hands of those who came of age with this musical history as their guide. Imitation breeds iteration, and, combined with adoration, the heart hopes to find a path alongside its infatuations, not just in shadow. Aversed walks the walk and Erasure of Color talks the talk.As yet another product of a Berklee pedigree, in part, the Massachusetts-hailing Aversed displays a technical polish across their languished and rifftacular displays that saturates Erasure of Color far beyond mere hero worship. Rather than use these exemplary qualifications to noodle and sweep songs to oblivion, guitarist and primary songwriter Sungwoo Jeong runs with his talents through a gamut of heavy metal influences, from the Jeff Loomis-indebted (Nevermore, ex-Arch Enemy) squeals and scale runs (“Lucid Decapitation,” “Burn”) to a classic heavy metal strum and wail (“Departures”) that shade the languid messages sewn through Erasure. Of course, Jeong can shred and does so in flashes of neoclassical brilliance once cutthroat chords and rattling bass runs build tension enough to will an electric clearing (“Cross to Bear” and “Departure” having the wildest solos). Compared to the full-length debut, 2021’s <a href="https://aversed.bandcamp.com/album/impermanent" rel="nofollow noopener" target="_blank">Impermanent</a>, the structures here are tighter, darker, and loaded with an expedited drama.Emotion comes first, whether at Jeong’s nimble articulations or new vocalist Sarah Hartman’s vast array of screeching, tearing, and slithering harsh and clean vocal techniques. And through languishing cry, soulful croon, and whammy-kissed solo, Aversed builds a world through Erasure that’s as detailed as it is immediate. Churning riffs pave the way for Hartman to unleash laryngeal assaults of growing intensity, equally likely to find feral shrill (“To Cover Up the Sky,” “Lucid Decapitation”) as they are full-chested clean belting (“Inexorable,” “Departure”). It may seem that Hartman’s ferocious and elegant climbs drive the growth of each of Erasure’s numbers, but Jeong’s blend of Björriff to bright metalcore chase, and thrashy groove to swaying treble dive guitar action, carries just as much the energetic arc. Covered in echoing arpeggios (“Lucid Decapitation”), scorching bends (“Burn,” “Erasure of Color”), and unstoppable charges (“To Cover…”) Erasure wears a guitar identity that’s toothsome and exhilarating.However, as strong as the pull of Aversed’s fervent rhythms and dreamlike melodies are on the best cuts from Erasure, its back half finds a more tepid momentum. It’s hard to say where a song like “Solitary” belongs on an album like this as its ballad-like nature neither swells with grandiosity of similar closer “Departures” nor slams, at its conclusion, with the level of thuggishness of the preceding “Burn.” And with the burst of speed that the title track injects after “Solitary” and before the acoustic interlude “Yearning,” the inherent tempo jostle that succeeds within many tracks feels bumpy at the macro level—really, Aversed has an exacting feel for acceleration and easing within the confines of each individual piece. Erasure doesn’t have a higher-level concept to spin, though, so any dip in quality or overall flow—even if no song is ever bad—is to its slight detriment.Alas, it’s easy to love the best of what Aversed has to offer with Erasure of Color, its clanging rhythms and finessed guitar weeping sticking readily to memory with its most careful hooks. Finding contemporary touchstones adjacent to the blackened melodic tech of Australia’s <a href="https://www.angrymetalguy.com/freedom-of-fear-carpathia-things-you-might-have-missed-2022/" rel="nofollow noopener" target="_blank">Freedom of Fear</a>, the hypnotic whammy abuse of the frenetic <a href="https://www.angrymetalguy.com/fallujah-empyrean-review/" rel="nofollow noopener" target="_blank">Fallujah</a>, and accessible progressive aim of Vintersea, Aversed emboldens the forward-thinking melodeath scene to make an effort to be more riff-driven, more hook-wielding, and more vocally distinct. Erasure of Color does everything but paint Aversed as a one-trick pony. And in time, I’m certain<a href="https://www.angrymetalguy.com/aversed-erasure-of-color-review/#fn-213561-1" rel="nofollow noopener" target="_blank">1</a> that Aversed, in their impassioned and empathetic lashings, will find even more weaponized and wide-reaching aggression. Rating: 3.5/5.0 DR: 7 | Format Reviewed: 320 kbps mp3 Label: <a href="https://www.m-theoryaudio.com/" rel="nofollow noopener" target="_blank">M-Theory Audio</a> | <a href="https://m-theoryaudio.bandcamp.com/music" rel="nofollow noopener" target="_blank">Bandcamp</a> Websites: <a href="http://aversed.bandcamp.com/music" rel="nofollow noopener" target="_blank">aversed.bandcamp.com</a> | <a href="https://www.facebook.com/AVERSEDmetal" rel="nofollow noopener" target="_blank">facebook.com/aversedmetal</a> Releases Worldwide: March 21st, 2025<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/arch-enemy/" target="_blank">#ArchEnemy</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/aversed/" target="_blank">#Aversed</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/dawn-of-ouroboros/" target="_blank">#DawnOfOuroboros</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/erasure-of-color/" target="_blank">#ErasureOfColor</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/fallujah/" target="_blank">#Fallujah</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/in-flames/" target="_blank">#InFlames</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/m-theory-audio/" target="_blank">#MTheoryAudio</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/mar25/" target="_blank">#Mar25</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/nevermore/" target="_blank">#Nevermore</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/progressive-metalcore/" target="_blank">#ProgressiveMetalcore</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/vintersea/" target="_blank">#Vintersea</a>

Angry Metal Guy<a href="https://www.angrymetalguy.com/hazzerd-the-3rd-dimension-review/" rel="nofollow noopener" target="_blank">Hazzerd – The 3rd Dimension Review</a>By Dr. A.N. GrierLet’s get this fucking year started with some THHHHRRRRRAAAAASSSSSHHHHHH. First up is the third release from the Canadian quartet, Hazzerd. An up-and-coming outfit, Hazzerd plays the traditional, Bay-area thrash that continues to be a thing. But, their first record, Misleading Evil, was a tasty morsel that had me rooting for these neo-thrash Canucks. Then, 2020 arrived with Covid and Hazzerd’s sophomore release, Delirium. It’s not a bad record, but as the band continues to flex their songwriting and technical skills, Delirium was too much of everything. Be it the fifty-minute runtime, the exaggerated drum fills, or the focus on solo placement instead of song structure. What it did reveal was these boys can shred, and their desire to create interesting leads and harmonizing guitar work can work with the proper structure. Four years later, The 3rd Dimension sets out to prove the band can pull it off. The only question is, can they?Since the debut, Hazzerd’s core three remain: vocalist/drummer, lead guitarist, and bassist. With an additional guitarist in the studio, this foursome hopes they’ve found that perfect guitar duo to achieve their goals. And The 3rd Dimension will put that to the test. Though the vocals are similar to Death Angel’s Mark Osegueda, you’ll also find some new vocal variations. Not only that, but the dueling guitar work stretches their skills and, at times, even removes them from the thrash genre. As with all young bands, there’s a point when a band must push against their walls of comfort to create something unique and beautiful. Compared to the entire thrash scene, I’m not sure they have (or could) fully achieve that. But, in comparison to their previous efforts, The 3rd Dimension is the band’s most ambitious record yet.“Interdimension” might be the band’s best opener to date, driving the thrashtastic mood, permeating throughout the rest of the disc. After a fun trashy intro, the opener shifts into gear when the vocals arrive. After the midpoint, the back half is reignited, delivering a sinister, Slayer-esque chug. With the mood set, we roll into the impressive and interesting back-to-back numbers, “Scars” and “Unto Ashes.” The first is basically a clinic on scales, injecting melodic elements up the fretboard. Then, we’re cruising, dragging along the emotion as we approach the chorus. Once we arrive, the vocals deliver higher-range sustains that are odd and distracting as fuck, but work on repeat listens. The most surprising element of the song is the guitars. Playing off each other, the guitars swirl around with varying leads, harmonization, and fitting solos. They are so intricate that they are almost Neoclassical. “Unto Ashes” also borrows these fine elements from its predecessor, stoking the fire with gang shouts and one of the slickest rebuilds on the record.Other killer tracks are so opposite in approach that I couldn’t help but analyze them together. Hazzerd continues to include absolutely absurd lyrics and, like so many thrash bands before them, instrumentals. The short but sweet “ThArSh TiLl DeTh” brings to mind the unrelenting attacks of moshpit classics like Exodus’ “Bonded by Blood” and Testament’s “Into the Pit.” For those who have opinions that do not align with someone else’s,<a href="https://www.angrymetalguy.com/hazzerd-the-3rd-dimension-review/#fn-209296-1" rel="nofollow noopener" target="_blank">1</a> this song is a direct attack on all you posers. It’s a fun ditty that is so comical and bludgeoning that I suspect it’ll be the band’s quintessential pit go-to. “A Fell Omen” is a nine-minute instrumental beauty that is a clear nod to the days of yore when a thrash instrumental could be a memorable track on the album.<a href="https://www.angrymetalguy.com/hazzerd-the-3rd-dimension-review/#fn-209296-2" rel="nofollow noopener" target="_blank">2</a> This track has it all: acoustic guitars, emotional builds, dueling guitar solos, technical prowess, and a closing riff that will give you neck pain.The skill of The 3rd Dimension alone is superior to anything Hazzerd has released before. While Delirium displayed many of the traits appearing in this new record, the greatest achievement was pulling it all together and restraining it just enough to let the album shine. Though some of the vocal risks are odd to me (as mentioned in “Scars”), it’s a good first step in this new direction. I also wish “A Fell Omen” closed the album instead of the unforgettable “Control.” It would have made for a stronger conclusion to a tight album. David Sprague’s stellar bass work isn’t as prominent as Delirium, but that could be corrected with a more dynamic master—and would also support the layered guitar work. Much like how I’d wished Spirit Adrift’s <a href="https://www.angrymetalguy.com/spirit-adrift-curse-conception-review/" rel="nofollow noopener" target="_blank">Curse of Conception</a> was more dynamic for these reasons, The 3rd Dimension has the potential to be more impactful. That said, 2025 finds Hazzerd in a great place. Rating: 3.5/5.0 DR: 6 | Format Reviewed: 192 kb/s mp3 Label: <a href="https://www.m-theoryaudio.com/" rel="nofollow noopener" target="_blank">M-Theory Audio</a> Websites: <a href="https://hazzerdthrash.bandcamp.com/" rel="nofollow noopener" target="_blank">hazzerdthrash.bandcamp.com</a> | <a href="https://www.facebook.com/HazzerdThrash" rel="nofollow noopener" target="_blank">facebook.com/hazzerdthrash</a> Releases Worldwide: January 17th, 2025<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/canadian-metal/" target="_blank">#CanadianMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/death-angel/" target="_blank">#DeathAngel</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/exodus/" target="_blank">#Exodus</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/hazzerd/" target="_blank">#Hazzerd</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/jan25/" target="_blank">#Jan25</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/m-theory-audio/" target="_blank">#MTheoryAudio</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/review/" target="_blank">#Review</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/reviews/" target="_blank">#Reviews</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/slayer/" target="_blank">#Slayer</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/spirit-adrift/" target="_blank">#SpiritAdrift</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/testament/" target="_blank">#Testament</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/the-3rd-dimension/" target="_blank">#The3rdDimension</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/amiensus-reclamation-part-1-things-you-might-have-missed-2024/" rel="nofollow noopener" target="_blank">Amiensus – Reclamation: Part 1 [Things You Might Have Missed 2024]</a>By Thus SpokeAmiensus really blessed us this year. Their fourth and fifth full-lengths dropped as the two parts of epic Reclamation. Each a beautiful work of art of their own, together, they’re a shining example of progressive black metal, an emotional and music journey of truly Homeric proportions. But it is towards the former of the pair, Reclamation: Part 1, that I turn here, my esteemed spongefren Kenstrosity having given Part 2 its deserved praise <a href="https://www.angrymetalguy.com/amiensus-reclamation-pt-ii-review/" rel="nofollow noopener" target="_blank">elsewhere</a>. The heftier brother—at nearly an hour long—the magnificent breadth of Amiensus’ stylistic prowess is here on still greater display. If the whole of Reclamation were represented by the seasons, then Part 1 is Summer into Autumn, and Part 2 Winter into Spring. Starting in a golden light of innocent reverie,<a href="https://www.angrymetalguy.com/amiensus-reclamation-part-1-things-you-might-have-missed-2024/#fn-206513-1" rel="nofollow noopener" target="_blank">1</a> Reclamation Part 1 grows ever darker as it moves through impassioned waves of bittersweet yearning to an ellipsis of solemnity for Part 2 to triumph over with harsh, and then cathartic intensity.Much like its twin, Reclamation: Part 1 is beautiful in more ways than one. The grace with which Amiensus weaves together cello and guitar melodies; pair warm, heartfelt cleans with savage roars; and turn atmospheric introspection into blazing blackened assertiveness, is nothing short of magical. Tempos that trip from a patient sway into a galloping frenzy, or ecstatic dance, only to settle into a whispering of cymbal taps, are the final layer in this tapestry, finalizing the stirring power of meticulously-crafted compositions. Imperceptibly, little drum beats and cascading riffs send you soaring through an anthemic chorus (“Blink of the Moment,” “Spoken into Will”), or a wonderful intermingling of uplifting refrains, passionate screams, and gazey singing (“Reverie”). You might be floating on the calm waters of delicate strings or plucks, and mellow melodies only to be launched into a stormy sea as percussion hammers and those strings twist and writhe to accent the suddenly urgent guitars (“A Consciousness Throughout Time,” “Vermillion Fog of War”). Or things may be truly still, and so it is the most moving of all as the soundscape gently builds (“Sun and Moon”).Part 1 is so emotionally affective in part because of how masterfully the elements are intertwined. Not one transition between screamed or sung vocals, or shift from peace to turbulence, ever feels artificial; not one cathartic release of thematic tension is overwrought. Though melancholic and introspective at turns, Amiensus infuse the music with a kind of wistful naïveté that makes me personally simply feel joy. “Sun and Moon” makes it to the higher rankings on my Songs of the Year list largely due to its embodying this innocent poignancy so perfectly, led by a gorgeous, rippling melody. But no song is devoid of that magic, even the harshest moments have been touched by some harmonious and intricately-layered beauty.And while some may call it indulgent, Part 1’s lengthier runtime allows not only the songs themselves, but the emotions they express, more room to breathe. It pairs well with the way that tracks bleed into one another, further enhancing the sense that this is one complete journey. And it feels half the length it is. Reclamation—Part 1 in particular—is an album that having sat with for most of a year, I can confidently say marks Amiensus’ crowning achievement thus far. And if somehow, even after Ken‘s review, you haven’t experienced it yet, go now and find what’s missing from your year-end list.Tracks to Check Out: ”Reverie,” “Sun and Moon,” “A Consciousness Throughout Time”<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/amiensus/" target="_blank">#Amiensus</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/m-theory-audio/" target="_blank">#MTheoryAudio</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/melodic-black-metal/" target="_blank">#MelodicBlackMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/post-black-metal/" target="_blank">#PostBlackMetal</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/reclamation/" target="_blank">#Reclamation</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/reclamation-part-1/" target="_blank">#ReclamationPart1</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/things-you-might-have-missed/" target="_blank">#ThingsYouMightHaveMissed</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/things-you-might-have-missed-2024/" target="_blank">#ThingsYouMightHaveMissed2024</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/tymhm/" target="_blank">#TYMHM</a>

Angry Metal Guy<a href="https://www.angrymetalguy.com/records-o-the-month-august-2024/" rel="nofollow noopener" target="_blank">Record(s) o’ the Month – August 2024</a>By Angry Metal GuyAugust of 2024 was a pretty good month. First, it marked my return from the Injured Reserve, where I’d been nursing a high ego sprain and nagging executive dysfunction issues. These aren’t perfectly fixed, but being back on the field has shown beyond a doubt that I’m still a force to be reckoned with. Second, August of 2024 was a particularly fecund month for potential Records o’ the Month. This surprised me.I couldn’t remember August being a particularly productive month historically and as I went back through the archive, that seems sort of true. Between 2012—when the RotM was started—and 2023, the hit rate for August Record(s) o’ the Month landing on my Top 10(ish) list for the year is 73%. Only once has an August record reached the top spot—that would be <a href="https://www.angrymetalguy.com/opeth-pale-communion-review/" rel="nofollow noopener" target="_blank">Pale Communion</a>—with <a href="https://www.angrymetalguy.com/sophicide-perdition-of-the-sublime-review/" rel="nofollow noopener" target="_blank">Sophicide</a> hitting #2 in 2012 and Lör’s <a href="https://www.angrymetalguy.com/l/" rel="nofollow noopener" target="_blank">In Forgotten Sleep</a> getting a #3 spot in 2017. Turisas’ controversial <a href="https://www.angrymetalguy.com/turisas-turisas2013-review/" rel="nofollow noopener" target="_blank">Turisas2013</a> was a runner-up in August of 2013 and ended up at #5, while the actual winner—Witherscape’s excellent <a href="https://www.angrymetalguy.com/witherscape-the-inheritance-review/" rel="nofollow noopener" target="_blank">The Inheritance</a>—took the #10 spot on that list. 2020 saw <a href="https://www.angrymetalguy.com/havukruunu-uinuos-syomein-sota-review/" rel="nofollow noopener" target="_blank">Havukruunu</a> ending up at #7, and Crypta’s <a href="https://www.angrymetalguy.com/crypta-shades-of-sorrow-review/" rel="nofollow noopener" target="_blank">Shades of Sorrow</a> took #9 last year. The rest is a sea of -ishes and honorable mentions: <a href="https://www.angrymetalguy.com/cattle-decapitation-anthropocene-extinction-review/" rel="nofollow noopener" target="_blank">Cattle Decapitation</a> (2015), <a href="https://www.angrymetalguy.com/dialith-extinction-six-review-and-album-premiere/" rel="nofollow noopener" target="_blank">Dialith</a> and <a href="https://www.angrymetalguy.com/eternal-storm-come-the-tide-review-and-album-premiere/" rel="nofollow noopener" target="_blank">Eternal Storm</a> (2019), and <a href="https://www.angrymetalguy.com/pain-of-salvation-panther-review/" rel="nofollow noopener" target="_blank">Pain of Salvation</a> in 2020.And in 2024? How many of these babies will follow me to the end of the year? I’ve got an inkling, but I’m curious to see what you think.<a href="https://www.angrymetalguy.com/records-o-the-month-august-2024/#fn-203429-1" rel="nofollow noopener" target="_blank">1</a> Dawn Treader’s <a href="https://www.angrymetalguy.com/dawn-treader-bloom-decay-review/" rel="nofollow noopener" target="_blank">Bloom & Decay</a>—out August 24th from Liminal Dread Productions [<a href="https://dawntreaderuk.bandcamp.com/album/bloom-decay" rel="nofollow noopener" target="_blank">Bandcamp</a>]—is one of the biggest surprises of 2024 so far. The ‘one-man black metal project’ is a minefield of absolutely terrible music that I tend to avoid at all costs. Yet the sophomore record from London’s Ross Connell is an album notable for its pathos, rich composition, and artistry. What makes Blood & Decay remarkable is how it draws inspiration from—and comparisons to—revered bands like Agalloch, Alcest, and Panopticon without falling into the common pitfalls. Typically, such comparisons raise concerns about excessive reverb, overly long songs, and toothless riffs. Yet Connell subverts these expectations by creating a dynamic, storytelling experience filled with emotional peaks and valleys, masterfully blending black metal’s rawness with atmospheric beauty. Connell’s addition of his own vocals for the first time elevates the project. His powerful delivery—and powerful use of samples—transforms each song into a vivid emotional journey. As Itchymenace gushed in his review: “Dawn Treader’s Bloom & Decay not only contains amazing songs that celebrate the highs and lows of the human experience, it also sounds great.” A surprisingly easy choice for Record o’ the Month. Fleshgod Apocalypse // <a href="https://www.angrymetalguy.com/fleshgod-apocalypse-opera-review/" rel="nofollow noopener" target="_blank">Opera</a> [August 23rd, 2024 | Nuclear Blast Records | <a href="https://fleshgodapocalypse.bandcamp.com/album/opera" rel="nofollow noopener" target="_blank">Bandcamp</a>] — Fleshgod Apocalypse’s Opera, their first album since 2019’s Veleno, has marked a significant evolution for the band. Drawing from the Opéra Lyrique style, the album features soprano Veronica Bordacchini voicing characters like life, death, and hope, while her vocals have brought fresh dynamics to the band’s symphonic death metal sound. With a more streamlined, melodic approach, Opera leans into catchier, poppier elements without losing its technical edge. Songs like “I Can Never Die” and “Matricide 8.21” highlight this shift, adding emotional depth through Bordacchini’s diverse performances. Though some longtime fans may miss the more grand operatic and technical side—Opera is not King—the album is still a genuine triumph. Opera blends new ideas with the band’s established identity, creating a fresh, cohesive record that accomplishes both a stylistic shift and adds another great record to Fleshgod’s already well-respected oeuvre. As I vigorously exclaimed and defended in the comments, “Opera is simultaneously and undeniably fun, heady, and technically impressive.”Amiensus // <a href="https://www.angrymetalguy.com/amiensus-reclamation-pt-ii-review/" rel="nofollow noopener" target="_blank">Reclamation Pt. II</a> [August 30th, 2024 | M-Theory Audio | <a href="http://amiensus.bandcamp.com/" rel="nofollow noopener" target="_blank">Bandcamp</a>] — Amiensus’s Reclamation Pt. II, the companion to Pt. I released earlier this year, has marked a standout achievement in progressive melodic black metal. The album blends melancholic melodicism, blackened fury, and progressive elements to create a dynamic and cathartic experience. With tracks like “Sólfarið” and “Acquiescence,” Pt. II offers invigorating and emotionally charged compositions, Amiensus skillfully balances moments of atmospheric beauty with powerful black metal. While initially, Reclamation seemed disjointed in places, the album’s intricate songs and layered instrumentation grow with each listen, presenting some of the band’s most versatile material to date. Despite some production issues, the album features elite composition and great songs like “Orb of Vanishing Light.” Reclamation Pt. II stands as Amiensus’s current “magnum opus”—in tandem with its predecessor—and a highlight of the year’s metal releases. As Kenstrosity opined, “Reclamation Pt. II is a more energetic, smartly edited, and exquisitely arranged work that blooms brighter the longer I live with it.” That’s a fancy way of saying that it’s a grower.<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/amiensus/" target="_blank">#Amiensus</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/aug24/" target="_blank">#Aug24</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/black-metal/" target="_blank">#BlackMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/blog/" target="_blank">#Blog</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/bloom-decay/" target="_blank">#BloomDecay</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/dawn-treader/" target="_blank">#DawnTreader</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/fleshgod-apocalypse/" target="_blank">#FleshgodApocalypse</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/liminal-dread-productions/" target="_blank">#LiminalDreadProductions</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/m-theory-audio/" target="_blank">#MTheoryAudio</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/nuclear-blast/" target="_blank">#NuclearBlast</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/opera/" target="_blank">#Opera</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/reclamation-pt-ii/" target="_blank">#ReclamationPtII</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/record-of-the-month/" target="_blank">#RecordOfTheMonth</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/records-o-the-month/" target="_blank">#RecordSOTheMonth</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/rotm/" target="_blank">#RotM</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/veleno/" target="_blank">#Veleno</a>

Angry Metal Guy<a href="https://www.angrymetalguy.com/avernus-grievances-review/" rel="nofollow noopener" target="_blank">Avernus – Grievances Review</a>By TwelveThe last time Avernus released a full-length album, the year was 1997, which means the release of Grievances represents the longest delay between a debut and sophomore album I’m aware of. Twenty-seven years is a long time for fans to wait, but you have to admire the dedication! These U.S.-based doom-slingers experimented with death and doom metal back in ye olde 1990s before life and limbo got in the way. The intervening years are a long time to hone a sound, so there was no telling what to expect with Grievances—except one look at that cover should tell you we’re in for some serious doom metal. With only that to go on, I was eager to see how nearly three decades make a sophomore album.Straightaway it’s clear that the years have been kind to Avernus, as Grievances sounds excellent. The guitars (Erik Kikke, Rick McCoy, and James Genez)<a href="https://www.angrymetalguy.com/avernus-grievances-review/#fn-203817-1" rel="nofollow noopener" target="_blank">1</a> have a great tone to them, with just the right amount of distortion to sound both heavy and clear. McCoy’s growls evoke Swallow the Sun, and even the drumming (Rick Yifrach) sounds great, with enough punch to adapt to the many shifting paces and moods adorning Grievances. Rounding out the Avernus sound, synths from Genez made subtle appearances to add layers to most tracks, sometimes acting as a lead (“Exitus”) but generally supporting the many guitars acting as the heroes. Add to this an excellent mix that emphasizes each contributing player, and we’re off to a great start within seconds of pressing play.Grievances is primarily a doom metal album. And after 27 years, Avernus seems to have shed most of their death metal influence, except perhaps in the pacing of the music. “Nemesis” is a quintessentially modern doom song, opening with gorgeous arpeggios and subtle keys before transitioning into a melancholic theme that persists throughout the nine-minute song. This main idea allows the guitars to shine and gives the song a hopeful feel to contrast against its opening woe. Similarly, “Return to Dust” is a powerful track, with a memorable chorus and a comforting theme. These songs remind me a bit of My Dying Bride in the guitar work and prevailing sadness that hangs over Grievances. There’s a gothic influence in the compositions, a general preference for long songs, and an energy that keeps you engaged across the full runtime. It’s a strong sound, and Avernus performs it well.The main drawback for Grievances is its length, and, sadly, the length of nearly every song on the album. “Nemesis,” “The Burning Down,” and “Quietus” all feature too-long interludes that feel mostly like filler, and few of the album’s eight-or-nine-minute songs quite justify their length. There are also several interlude tracks on the album that give the impression of recycled song ideas rather than thematic, connective tissue making things more coherent. “Open Arms” and “Plateau” are two such tracks; they’re genuinely beautiful, but at three minutes apiece awkwardly tread the line between proper song and album break. In the back half of Grievances are “Utter Uphoria,” a spacey track with touches of electronica that feel very out-of-place, and “Abandoned,” a five-minute song in which almost nothing happens. When you put all of this together, it’s hard not to regard Grievances as an album with quite a bit of bloat. Even though none of the songs are bad, I can easily picture an alternate album that is fifteen or even twenty minutes shorter, and I think I would have much preferred that version.The good news is that there isn’t any part of Grievances that isn’t enjoyable; perhaps the lengthy break between albums meant that Avernus had a lot of ideas going into this and the vast majority of them are good. If you’re just a little less picky than me about album flow, you’ll probably enjoy Grievances significantly more than I do. Every song, band member, and idea sounds great—the ideas just tend to stay a little overlong. Still, there are much worse things than too much of a good thing and the world of doom metal will be better off to have Avernus back in it. I am certainly looking forward to seeing where they take this next. Rating: 3.0/5.0 DR: 7 | Format Reviewed: 256 kbps mp3 Label: <a href="https://www.m-theoryaudio.com/" rel="nofollow noopener" target="_blank">M-Theory Audio</a> Websites: <a href="http://avernus.bandcamp.com" rel="nofollow noopener" target="_blank">avernus.bandcamp.com</a> | <a href="http://facebook.com/avernusdoommetal" rel="nofollow noopener" target="_blank">facebook.com/avernusdoommetal</a> Releases Worldwide: September 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/american-metal/" target="_blank">#AmericanMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/avernus/" target="_blank">#Avernus</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/gothic-metal/" target="_blank">#GothicMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/grievances/" target="_blank">#Grievances</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/m-theory-audio/" target="_blank">#MTheoryAudio</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/my-dying-bride/" target="_blank">#MyDyingBride</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/sep24/" target="_blank">#Sep24</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/swallow-the-sun/" target="_blank">#SwallowTheSun</a>

Angry Metal Guy<a href="https://www.angrymetalguy.com/amiensus-reclamation-pt-ii-review/" rel="nofollow noopener" target="_blank">Amiensus – Reclamation Pt. II Review</a>By KenstrosityIn the grand tradition of doing things late and in the wrong order, this review for interstate progressive melodic black metal outfit <a href="https://www.angrymetalguy.com/amiensus-abreaction-review/" rel="nofollow noopener" target="_blank">Amiensus</a>‘ fifth album, Reclamation Pt. II, comes before any AMG coverage of its companion predecessor, Pt. I, released just this past April. How does something like this happen? It’s easy. We missed it.<a href="https://www.angrymetalguy.com/amiensus-reclamation-pt-ii-review/#fn-202209-1" rel="nofollow noopener" target="_blank">1</a> Life gets in the way, or promo came too late or not at all. Any number of scenarios lead to this result, but it is rare that we encounter such situations over the course of a single year. With so little time between releases, I ask myself what kind of album Reclamation Pt. II could be, and what kind of quality should I expect?To put it in simple terms, Amiensus’ sound is equal parts compelling and immersive. A wondrous foundation of In Mourning sadboi melodicism coalesces fluidly with vicious White Ward-ian black metal and a touch of progressive proclivities to form a dramatic, dynamic, and tightly written conclusion(?) to the Reclamation suite. Where Reclamation Pt. I offered a more introspective quality to its storytelling, Reclamation Pt. II is more cathartic. Shifting sands of airy cleans often telegraph the impending, swirling storms of blackened fury just over the horizon, only to settle once again into that mournful pall that ensconces me so completely I feel as one with it. Exploring varying song structures and durations, Reclamation Pt. II ebbs and flows between its movements with a rare grace I generally don’t associate with progressive metal or black metal. Yet, here we are.As if to pick up directly where Reclamation Pt. I left off, Reclamation Pt. II opens with Amiensus’ most invigorating material. Between the stomping black n’ roll of “Sólfarið” and the shredding flesh-rend of “Acquiescence,” Reclamation Pt. II wastes no time and takes no prisoners. However, these pieces aren’t relentless, mindless attacks. Moments of peaceful atmosphere, particularly effective in SotY contender “Acquiescence,” conjure a thematic tether to Reclamation Pt. I with beautifully plucked melodies and wonderfully layered vocal lines. Miraculously, not even a hint of mimicry or self-plagiarism exists during these dalliances with the light. Weeping strings then enhance the emotional topology of Reclamation Pt. II’s compositions in instrumental interlude “Disconsolate,” only to release beastly progressive black metal triumphs “Decaying God Child,” “The Distance,” and regal closer “Orb of Vanishing Light” unto a world lulled by a false sense of security. These numbers constitute some of Amiensus’ most versatile material yet. Utilizing riffs that express the better traits of melodic black and death metal; post-metal leads and atmosphere reminiscent of Latitudes’ introspective style; shifting rhythmic structures commonly pursued in the progressive metal scene; then pairing them with transcendent solo work and multifaceted vocal performances, these tracks stand out vividly without sacrificing cohesion to the whole.The sheer quality of Amiensus’ music here makes it increasingly difficult to pinpoint weak spots, especially as the album grows with time. At first, the aforementioned interlude seemed overlong at just under three minutes. Additionally, “Leprosarium” initially felt somewhat out of place with its Carnosus-like riffset and aggressive swagger. As I lived with Reclamation Pt. II, however, these former detractors started to coalesce with the greater picture the record paints for me. Just like that, my complaints melted away. Of course, that doesn’t mean other listeners won’t align more closely with my initial reactions even after investing time here. Aside from those compositional quibbles, my biggest nitpick is one of production. Boasting a rather flat and compressed mix and master, Reclamation Pt. II deserved more room for its beautiful layering to make a greater impact—and give their bass guitar bigger presence. Especially evident on the magnificent final moments of “Orb of Vanishing Light,” which evokes …and Oceans’ wondrous combination of ethereal atmospherics and rippling black metal riffs, Reclamation Pt. II’s production leaves some to be desired.Nonetheless, Amiensus’ songwriting throughout the Reclamation suite represents their current magnum opus. Not only do both records showcase the band’s best material to date, but they also represent a standout work of art in this year’s catalog of metal releases. Of the two installments, I prefer Pt. II, as it’s the more energetic, smartly edited, and exquisitely arranged of the two. As a bonus, it only blooms brighter the longer I live with it. With that I say go forth, invest some quality time with Reclamation Pt. II, and rejoice! Rating: Great! DR: 6<a href="https://www.angrymetalguy.com/amiensus-reclamation-pt-ii-review/#fn-202209-2" rel="nofollow noopener" target="_blank">2</a> | Format Reviewed: 320 kb/s mp3 Label: <a href="https://www.m-theoryaudio.com/" rel="nofollow noopener" target="_blank">M-Theory Audio</a> Websites: <a href="http://amiensus.bandcamp.com" rel="nofollow noopener" target="_blank">amiensus.bandcamp.com</a> | <a href="http://facebook.com/Amiensus" rel="nofollow noopener" target="_blank">facebook.com/Amiensus</a> Releases Worldwide: August 30th, 2024<a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/and-oceans/" target="_blank">#AndOceans</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/40/" target="_blank">#40</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/amiensus/" target="_blank">#Amiensus</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/aug24/" target="_blank">#Aug24</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/black-metal/" target="_blank">#BlackMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/carnosus/" target="_blank">#Carnosus</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/in-mourning/" target="_blank">#InMourning</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/latitudes/" target="_blank">#Latitudes</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/m-theory-audio/" target="_blank">#MTheoryAudio</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/melodic-black-metal/" target="_blank">#MelodicBlackMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/post-black-metal/" target="_blank">#PostBlackMetal</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/reclamation-pt-ii/" target="_blank">#ReclamationPtII</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/white-ward/" target="_blank">#WhiteWard</a>

Angry Metal Guy<a href="https://www.angrymetalguy.com/verni-dreadful-company-review/" rel="nofollow noopener" target="_blank">Verni – Dreadful Company Review</a>By Dolphin WhispererFew bands in the thrash business have remained as enjoyable through their dips and resurgences as New Jersey’s very own gutter brigade Overkill. And since The Lubricunts dissolved to form that unsung thrash titan, bottom-rumbler D.D. Verni has been pluckin’ low and clangy under scooped riffs and snarled anthems for the better part of forty-four years, equally as integral to the Overkill grime as Bobby Blitz’s trash-tongued antics. So it’s understandable then that Verni’s output, being born of a mind—D.D. Verni performs everything here—that has reveled in riffs with a sticky crunch, has aimed to take a step back to roots, back to rock ‘n’ roll. After all, nothing says “hello from the gutter” like a cranked amp shootin’ a power chord across the airwaves.That louder-than-loud and windows-down philosophy builds the core, the cover, and crannies of what Verni offers with Dreadful Company. The second in line of Verni’s solo works, this newest sound collection lands on the heels on 2018’s Barricade, which saw thick-rhythm guitar music in the vein Queens of the Stone Age or the scuzzy drawl of Black Label Society. But it seems that between then and Dreadful Company, Verni himself decided that he needed to turn the dial back further to the sound of The Ramones-era punk, letting just a few chords and song-title choruses do the heavy lifting (almost every song up to “Thanks for the Memories”). Heck, with the spell-out sneer of “L-U-N-K-H-E-A-D, Lunkhead! Lunkhead!” (“Lunkhead”), Verni threatens to be damn near fun and wholesome—a far cry from the dirt and spit image of his younger days—at least until he let’s the Jersey out and turns call to “stupid fuck” instead of “lunkhead.”Of course, it’s natural for artists to evolve and work in different lanes, so all of these changes aren’t wholly bothersome, not so much as Verni’s inability to cobble together a diverse assortment of tunes, anyway. If it weren’t for those clearly audible title shouts, it’d be difficult to place where you are in the first twenty minutes through which Verni with bouncing yet predictable fervor. And yes, that is twenty minutes to prowl through five songs, which in this punk-worship lane is far too long. The tempo runs just a bit under what a snappy brawl might entail. The choruses follow cut-and-paste melodies between each other, reducing the impact of catchy phrases like “The whore, the whore, the whore with see-through shooooes” and “Thanks for the memories, thanks for the memoriiiies” (“The Whore with the See-Thru Shoes,” “Thanks for the Memories”). And Verni also borrows passages from classic works (“Na Na Hey Hey Kiss Him Goodbye” in “Thanks…,” “Pachelbel’s Canon” in “Call of the Highway”), even tossing in a pointless cover of Bachman–Turner Overdrive’s “Takin’ Care of Business,” to no impact other than added time.At least Verni knows how to keep performances tight and professional, though that’s the least you’d expect of someone who has been at it this long. Yet in this niche of old-timey worship in which Dreadful Company lives, the lack of warmth and depth in the tones and production rings frustrating. In particular, a majority of songs present up-front with loud guitars, which isn’t a problem on its own. But with the lack in character in its tone, this wall of sound blends into the same mass every time its present, despite the trademark bass underpinning. On “Wild Horses” Verni takes a breather on this style to work in a classic blues rock lick that opens space tasteful rhythmic exploration and vocal harmonization—Verni’s voice could use a bit more edge all-around, but it’s pleasant enough, especially when layered.No one expected Verni to reinvent the wheel, but when the promise is rock, I at least want to roll. With a name as known as Overkill, it’s easy to form expectations, though. However, even when removed of that pedigree, Verni’s mission doesn’t change: to deliver unbranded rock ‘n’ roll with a blush of toughness and grit enough to pare down the most glaring of snags. Faceless, formulaic, and frustrating, Dreadful Company plates a forty-five-minute experience that sums to far less than what peak radio rock would offer. And in a world where rock as a simple format must go against annals that run deep and wide with acclaim, Dreadful Company isn’t enough to achieve any kind of repeated airplay. Rating: 1.5/5.0 DR: 6 | Format Reviewed: 320 kbps mp3 Label: <a href="https://www.m-theoryaudio.com/" rel="nofollow noopener" target="_blank">M-Theory Audio</a> | <a href="https://m-theoryaudio.bandcamp.com/" rel="nofollow noopener" target="_blank">Bandcamp</a> Websites: <a href="https://www.facebook.com/ddverni" rel="nofollow noopener" target="_blank">facebook.com/ddverni</a> | <a href="https://ddverni.bandcamp.com/music" rel="nofollow noopener" target="_blank">ddverni.bandcamp.com</a> Releases Worldwide: July 26th, 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/bachman-turner-overdrive/" target="_blank">#BachmanTurnerOverdrive</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/black-label-society/" target="_blank">#BlackLabelSociety</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/hard-rock/" target="_blank">#HardRock</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/jul24/" target="_blank">#Jul24</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/m-theory-audio/" target="_blank">#MTheoryAudio</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/overkill/" target="_blank">#Overkill</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/punk/" target="_blank">#Punk</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/queens-of-the-stone-age/" target="_blank">#QueensOfTheStoneAge</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/ramones/" target="_blank">#Ramones</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-ramones/" target="_blank">#TheRamones</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/verni/" target="_blank">#Verni</a>

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