Angry Metal Guy<p><strong><a href="https://www.angrymetalguy.com/stuck-in-the-filter-july-2024s-angry-misses/" rel="nofollow noopener" target="_blank">Stuck in the Filter: July 2024’s Angry Misses</a></strong></p><p><i>By Kenstrosity</i></p><p></p><p>After the tight lineup we cobbled together for June, July provided a similarly lean yield for our team to offer the masses. It appears that my minions responsible for scraping the channels clean have become far too efficient! That said, what we did find might be our most valuable haul yet this year.</p><p>And so, we persist. Always dedicated to bringing you the not-quite-best-but-also-still-good two months ago or so had to offer, we scour for little nuggets worth inspecting. What more could an Angry Metal Fan ask for?</p> <p><strong><span>Kenstrosity’s Cataclysmic Critters<br></span></strong></p><p><strong><a href="https://awakeinprovidence.com/" rel="nofollow noopener" target="_blank"><strong>A Wake in Providence</strong></a><strong> // <em>I Write to You, My Darling Decay </em></strong>[July 26th, 2024 – <a href="https://www.uniqueleader.com/" rel="nofollow noopener" target="_blank">Unique Leader Records</a>]</strong></p><p>Staten Island symphonic deathcore collective <strong>A Wake in Providence </strong>dropped a considerable payload back in 2022 entitled <em>Eternity</em>. Opulent and catastrophically heavy, <em>Eternity</em> bathed me in rich orchestration and legitimate riffs instead of stereotypical breakdowns and unending single-chord chugfests. Needless to say, I was enamored. Follow-up <em>I Write to You, Darling Decay</em> represents a deathcore equivalent to <strong>Fleshgod Apocalypse</strong>’s <a href="https://www.angrymetalguy.com/fleshgod-apocalypse-opera-review/" rel="nofollow noopener" target="_blank"><em>Opera</em></a>, focusing more on lyrical storytelling and implementing vocal diversification as a vehicle for character development. Perhaps not quite as sophisticated— since those meatheaded, muscular chugs of the deathcore world still crop up here and there<em>—I Write to You</em> still offers major hooks and delectable detailing to keep my interest piqued through a full hour of new material (“Mournful Benediction,” “Agonofinis,” title track, “The Unbound,” and “Pareidolia”). Aside from those superficial qualities, <em>I Write to You</em>’s real selling point is album cohesion and overall fit and finish. Like a babbling brook across the smoothest bed of sand and soil, this record flows with a fluidity rarified in the genre (check out the awesome three-song transition between “Agonofris” and “In Whispers”). Combine that with a textured and multifaceted musical progression through a grief-stricken storyline, and you have a winning formula for an engaging record that earns its epic sound.</p><p></p><p><strong><a href="https://cellandvoid.bandcamp.com/" rel="nofollow noopener" target="_blank"><strong>Cell</strong></a><strong> // <em>Shattering the Rapture of the Primordial Abyss </em></strong>[July 12th, 2024 – Self Release]</strong></p><p>I first encountered Canadian black metallers <strong>Cell</strong> on a little Bandcamp stroll years ago, followed shortly by a breezy and brutal beach set just before 2020’s 70,000 Tons of Metal cruise. Nobody I knew had heard of them then, but I knew they had chops. With third album <em>Shattering the Rapture of the Primordial Abyss</em>, they’ve proven me right and then some. Combining icy <strong>Immortal</strong>isms with the chunky buzz of old school death, major bangers “Waking of the Blazing Night,” “The Plight of Council Skaljdrum,” “Drink the Sun,” “Unification of the Last Alliance,” and “Return of Tranquility through the Desolation of Truth” represent the sharpest, hookiest, and heaviest material <strong>Cell</strong>’s put down to date. Fury and fire characterize every riff, lead, and blast on <em>Shattering the Rapture</em>, but it’s the uncanny sense of groove that suddenly springs from <strong>Cell</strong>’s cells that takes this record within a stone’s throw of greatness. Tightening up the overlong fragments that bloat otherwise solid tracks like “Serenity in Darkness… Evermore” and closer “Carnage from the Sky” would go along way to throwing that stone past that threshold. Until then, rest assured that <em>Rapture of the Primordial Abyss</em> is a ripper, worthy of your time and your spine.</p><p></p><p><strong><a href="https://dehumanaut.bandcamp.com/" rel="nofollow noopener" target="_blank"><strong>Dehumanaut</strong></a><strong> // <em>Of Nightmares and Vice </em></strong>[July 17th, 2024 – Self Release]</strong></p><p>Just like <strong>Cell</strong>, <strong>Dehumanaut</strong> entered my rotation thanks to a serendipitous stroll through the Bandcamp ticker. Boasting a unique blend of death metal, thrash, and bluesy bar-crawl hard rock, these Brits offer something novel to the extreme metal catalog. With sophomore effort, <em>Of Nightmares and Vice</em>, <strong>Dehumanaut</strong> double down on the death and blues, evoking <a href="https://www.angrymetalguy.com/yer-metal-olde-entombed-left-hand-path/" rel="nofollow noopener" target="_blank"><strong>Entombed</strong></a>‘s <em>Wolverine Blues</em> in spirit as much as in execution. With swinging tracks like “Shred this Reality,” “A Perilous Path,” “Battle Weary,” “Epiphanies,” and “Black City” deftly stepping between deathly riffs and danceable grooves, thrashier cuts such as “Reject the Knife,” “Nexus of Decline” and “A Truth Most Foul,” and “It Has a Name” feel even speedier and more rabid than usual. Aside from affording <em>Of Nightmares and Vice</em> oodles of dynamics in songwriting, this multifaceted and structured approach to genre-bending showcases <strong>Dehumanaut</strong>’s versatility as musicians. Everything they attempt here feels effortless and reflexive, making every transition between measure and phrase not just purposeful but also buttery-smooth (“Battle Weary”). If it weren’t for a bit of bloat across the board, oddly muffled mixing, and somewhat flat death metal growls, <em>Of Nightmares and Vice</em> would be in play among my top records of July. Even still, it comes close!</p><p></p> <p><strong><span>Saunders’ Salacious Slams</span></strong></p><p><strong><a href="https://www.facebook.com/CephalotripsyOfficial/" rel="nofollow noopener" target="_blank"><strong>Cephalotripsy</strong> </a> // <a href="https://cephalotripsy.bandcamp.com/" rel="nofollow noopener" target="_blank"><em>Epigenetic Neurogenesis</em></a> [July 13th, 2024 – <a href="https://cephalotripsy.bandcamp.com/album/epigenetic-neurogenesis" rel="nofollow noopener" target="_blank">Self-Release</a> ]</strong></p><p>Looking for something so stupidly heavy and obnoxiously brutal that listening could kill brain cells and incite a rampage? California’s underground warriors <strong>Cephalotripsy </strong>have you covered on long-awaited sophomore album, and follow-up to 2007’s cult and apparently well received debut, <em>Uterovaginal Insertion of Extirpated Anomalies. </em>Unfamiliar with their previous output, I stumbled across this latest endeavor through a trusted recommendation, fulfilling my fix for devastatingly brutal slam death. <em>Epigenetic Neurogenesis </em>takes no prisoners and delivers blow after blow of steamrolling, pugnacious brutal death. Brimming with inhuman, sewer dwelling vocal eruptions of Angel Ochoa (<strong>Abominable Putridity),</strong> hammering percussion, and an onslaught of ridiculously thick, heavy riffs, exhibiting the sharp, technical skills of veteran brutal death axe wielder and long-term member Andrés Guzman. The newer members form a pummeling rhythm section driving the guttural swarm. Weighing in at a tight and efficient 32 minutes, the beatdown is relentless, though concise enough to avoid an early burn out. The songwriting doesn’t reinvent the brutal slam death wheel. However, the tight execution, dynamic tempo shifts, and memorable riffcraft elevates the material. Viscous, cranium crushing riffs and utterly devastating slams frequently deployed adds further grunt, immense weight and memorability on a set of killer tunes, including extra chunky gems “Alpha Terrestrial Polymorph,” ” Lo Tech Non Entity,” and “Excision of Self.” Nasty, crushing stuff.</p><p></p> <p><strong><span><strong>Dear Hollow’s Disturbing Dump<br></strong></span></strong></p><p><strong>Silvaplana // <a href="https://silvaplana.bandcamp.com/album/sils-maria" rel="nofollow noopener" target="_blank"><em>Sils Maria </em></a>| <a href="https://silvaplana.bandcamp.com/album/limbs-of-dionysus" rel="nofollow noopener" target="_blank"><em>Limbs of Dionysus</em></a><i> </i>[July 17th, 2024 – Self-Release]</strong></p><p></p><p>Although shrouded in mystery, <strong>Silvaplana </strong>is a solo project of Alex DeMaria of <a href="https://www.angrymetalguy.com/yellow-eyes-rare-field-ceiling-review/" rel="nofollow noopener" target="_blank"><strong>Yellow Eyes</strong></a> and <a href="https://www.angrymetalguy.com/anicon-entropy-mantra-review/" rel="nofollow noopener" target="_blank"><strong>Anicon</strong></a>. Blackened punishment paired with atmosphere have long been the aim, but <strong>Silvaplana</strong>’s duel release finds duality: both take influence from parent releases separately. <em>Sils Maria </em>takes on a hyper-atmospheric, classically influenced, and dark ambient approach across six tracks and forty-one minutes, blackened blastbeats and distant shrieks hidden behind thick swaths of ambiance, organ, and piano, a relatively gentle affair that recalls the wild yet placid sounds of <strong>Yellow Eyes</strong>’ latest. Meanwhile, the two-track and also forty-one minutes of <em>Limbs of Dionysus </em>feeds a ritualistic fire with a scathingly raw black attack, reverb-laden growls, moans, and shrieks colliding with relentless tremolo that continuously scale minor and diminished frostbitten mountaintops with reckless abandon. Both seem entirely disparate in context to one another, but smartly they are held together by the thin thread of melodic motifs. The organ that populates <em>Sils Maria</em>’s tracks “II,” “IV” and “VI” are recalled in the closing remarks of “I” in <em>Limbs of Dionysus</em>; the ominous organ trills of the former’s “III” are warped into a blackened beast in the latter’s “II.” As <em>Limbs of Dionysus </em>concludes, the feedback-laden plucking feeds right into the morphing plucking populating the beginning of <em>Sils Maria</em> – an ouroboros of the blackened arts. <strong>Silvaplana </strong>exists on both self-indulgent and decadent ends of the blackened spectrum with <em>Sils Maria </em>and <em>Limbs of Dionysus</em>, both baffling and tantalizing in their rawness and ambiance, and otherworldly in their collaboration.</p><p></p> <p><strong><span>Dolphin Whisperer’s Inconspicuous Import</span></strong></p><p><strong><b><a href="https://www.facebook.com/p/Quasidiploid-100069571441927/" rel="nofollow noopener" target="_blank">Quasidiploid</a> // <em>Deconstruction</em></b><strong> [July 1st, 2024 – <a href="https://www.amputatedvein.com/shop/cart.cgi?avr01=016044" rel="nofollow noopener" target="_blank">Amputated Vein Records</a>]</strong></strong></p><p>Do you see that cover art? Yes, it’s some sort of countess of the undead summoning the skull-kind with a horn. Would you believe then that one of the features throughout <em>Deconstruction</em> is its inclusion of a female trumpet player to break up the tension of a relentless, brutal technical death metal? Oh yeah, she’s also the vocalist and possesses a vicious guttural bark, shrill and penetrating squeals and hisses (the vocal intro on “Disasters and Infection Routes” is a straight <strong>Dir en grey</strong> moment), and a higher register manic collapse that features at key moments. That’s all to say that the cover lands a bit on the nose, but, in turn, the carnival crazed whiplash of <strong>Quasidiploid</strong> swings between brutal <a href="https://www.angrymetalguy.com/cryptopsy-as-gomorrah-burns-review/" rel="nofollow noopener" target="_blank"><strong>Cryptopsy</strong></a> riff smashing, <strong>Pat Martino</strong> jazz guitar pleasantries, <strong>Necrophagist</strong> sweep punishing, and <strong>Chuck Mangione</strong> brass crooning (“Overture”)—unhinged, unbothered, and anything but accessible. I would call it too unpolished, as <em>Deconstruction</em> strikes with a bit of a demo quality. But sometimes we have to ask ourselves whether what we hear is a questionably processed demo or an intentionally shredded Japanese master? In any case virtuosity reigns as provably human skin slammer Vomiken pushes a bass-loaded kick and a high-crunch kit to abusive and enthralling accelerations only to crash in on the spurt of a forlorn trumpet or flourish of a prancing guitar line (“Brutal Strafing,” “Massacre Fantasy”). Guitar lines weave about traditionally nimble sweeps to tricky meter riff crushes on a dime (“Melodies of Distorted Time and Space,” “Disasters…”). Tonal identities flip between <a href="https://www.angrymetalguy.com/nile-the-underworld-awaits-us-all-review/" rel="nofollow noopener" target="_blank"><strong>Nile</strong></a>-istic, snaking melodies, flippant yet tasteful guitar heroics, and propulsive rhythm blasts whose only break is the close of a song. The definition of something olde, new, borrowed, and blue, <strong>Quasidiploid</strong> has come from far left field to provide a classics-inspired but funky fresh version of an extreme genre that thrives exactly on this kind of weird—a curiosity now, but with all the makings of something truly explosive to come.</p><p></p> <p><strong><span>Mark Z.’s Musings</span></strong></p><p><strong><strong><a href="https://www.facebook.com/200StabWounds/?eid=ARBzEfZwmKJ_MAFrLvTQdr10_TXxRAnHrddQRVrqDHMl8QhP3g6RtNZGqAwezHu04lLHarCWUER0q_m3&fref=tag" rel="nofollow noopener" target="_blank">200 Stab Wounds</a> // <em>Manual Manic Procedures </em></strong>[June 28th, 2024 – <a href="https://www.metalblade.com/us/" rel="nofollow noopener" target="_blank">Metal Blade Records</a>]</strong></p><p>Following a rapid rise to fame during the first few months of the COVID-19 pandemic, Ohio death metal troupe <strong>200 Stab Wounds</strong> thrust their <a href="https://www.angrymetalguy.com/200-stab-wounds-slave-to-the-scalpel-review/" rel="nofollow noopener" target="_blank"><em>Slave to the Scalpel</em></a> debut onto the masses in 2021. While I was about as mixed on that one as <span><strong>Felagund</strong></span> was, their second album <em>Manual Manic Procedures</em> has proven these wounds cut far deeper than originally thought. The massive beefy chugs that the band have become known for are still here in full force, but now they’re paired with sharper hooks and a heightened sense of maturity. On <em>Procedures</em>, you’ll hear acoustic plucking, immense <strong>Bolt Thower</strong> riffing, grooves that will blow your guts out, and even some melodic death metal influence—and that’s just on the first song. The band also know when to give you a breather, be it a well-placed atmospheric instrumental (“Led to the Chamber / Liquefied”) or an extended ride on a great groovy riff (“Defiled Gestation”). With a monstrous guitar tone, plenty of killer moments, and a track flow that’s smoother than liquefied human remains sliding off a kitchen counter, these Cleveland boys have given us a record that truly feels like modern death metal coming into its own.</p><p></p><p><a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/200-stab-wounds/" target="_blank">#200StabWounds</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/a-wake-in-providence/" target="_blank">#AWakeInProvidence</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/abominable-putridity/" target="_blank">#AbominablePutridity</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/american-metal/" 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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/hard-rock/" target="_blank">#HardRock</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/i-write-to-you-my-darling-decay/" target="_blank">#IWriteToYouMyDarlingDecay</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/immortal/" target="_blank">#Immortal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/japanese-metal/" target="_blank">#JapaneseMetal</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/limbs-of-dionysus/" 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Angry Metal Guy<p><strong><a href="https://www.angrymetalguy.com/stuck-in-the-filter-june-2024s-angry-misses/" rel="nofollow noopener" target="_blank">Stuck in the Filter: June 2024’s Angry Misses</a></strong></p><p><i>By Kenstrosity</i></p><p></p><p>Managing this Filter is a full-time job. Or it would be if I paid anyone, or got paid myself. I doubt anyone in this godforsaken facility has seen a greenback in the last two decades.<a href="https://www.angrymetalguy.com/stuck-in-the-filter-june-2024s-angry-misses/#fn-201200-1" rel="nofollow noopener" target="_blank">1</a> Nonetheless, I grabbed my clipboard and my flogger and I made my way to the lockers, where my dutiful minions await my first order of each day. It’d been a minute since we cleared out the ducts in the south wing of <strong>AMG</strong> Headquarters, so that’s where I ushered my team first. The poor souls shivered at the thought of tackling a highly neglected section of the system. But, as always, work needs doing and this is the work.</p><p>At long last, just when I started considering replacing my whole crew outright and leaving the current one for dead, they returned, battered and winded, but alive. And they brought wares! O blessed day! Without further ado, I bring you our June Filter!</p> <p><strong><span>Kenstrosity’s Medieval Mutton<br></span></strong></p><p><strong><a href="https://www.facebook.com/aklashmusic" rel="nofollow noopener" target="_blank"><strong>Aklash</strong></a><strong> // <em>Reincarnation </em></strong>[June 20th, 2024 – Self Release]</strong></p><p>Proving the unlikely flexibility of black metal as a medium, tales of knights, castles, and fantastical clashes of class marries with charred extremity so effortlessly that it comes at no surprise to me how UK Medieval melodic black metal troupe <strong>Aklash</strong> came to be. Kicking fourth record <em>Reincarnation </em>off with an incredible one-two punch, “Reincarnation” and “Communion with Ghosts,” <strong>Aklash</strong>’s melodic black metal-meets-<a href="https://www.angrymetalguy.com/vulture-industries-ghosts-from-the-past-review/" rel="nofollow noopener" target="_blank"><strong>Vulture Industries</strong></a>-meets-<strong>Modest Mouse</strong>-meets-<a href="https://www.angrymetalguy.com/aether-realm-tarot-things-you-might-have-missed-2017/" rel="nofollow noopener" target="_blank"><strong>Æther Realm</strong></a> concoction charms its way deep into my very being. These songs, burgeoning with lush compositions, incredible guitar work, and multifaceted personalities, evoke imagery of the ancient and the arcane so vividly that it often feels like traveling through time in an alternate universe of magic and mirth. The rabid “Babylon” takes this initial salvo and stabs yet another 1,200cc of pure adrenaline into my veins.<a href="https://www.angrymetalguy.com/stuck-in-the-filter-june-2024s-angry-misses/#fn-201200-2" rel="nofollow noopener" target="_blank">2</a> As my neck swings and spirals with great velocity, giant mugs of mead spontaneously manifest in both fists. What is a sponge to do but imbibe? Against all odds, such infectious energy sustains into the magnificent closer “My Will Made Manifest,” making this record a wall-to-wall festival of sound. If it weren’t for a couple of frilly interludes and the teensiest spot of bloat in a couple of places, I could see <em>Reincarnation</em> growing into a year-end contender. In the end, it might do just that.</p><p></p> <p><strong><span><strong>Thus Spoke’s Forgotten Findings</strong></span></strong></p><p><strong><span><a href="https://www.facebook.com/profile.php?id=61557511479684" rel="nofollow noopener" target="_blank">Cainites</a> // <em>Revenant </em>[June 21st, 2024 – <a href="https://scarletrecords.com/" rel="nofollow noopener" target="_blank">Scarlet Records</a>]</span></strong></p><p>It was once rumored across Eastern Europe that those who rebelled against the Orthodox church were cursed to become vampires after they died. <em>Revenant</em>, however, follows an Orthodox priest, whose induction into the class of bloodthirsty monsters happens irrespective of his religious devotion. Crafting a spooky tale with Scandinavian-inspired melodeath and flourishes of synthy blackened death, Italian duo <strong>Cainites</strong> strike a little like a less-polished <a href="https://www.angrymetalguy.com/tribulation-down-below-review/" rel="nofollow noopener" target="_blank"><strong>Tribulation</strong></a>, but with bags of their personality. These guys know how to write a riff that shivers its way up your spine (“Theotokos,” “God’s Wrath,” “Redemption”) and dance around in your belly (“Darkness Awaits,” “Forgive Our Sins”), and damn, can it be catchy. Using a dueting mixture of growls and moaning cleans, choruses jam their way into your brain and don’t budge (“Vampire God,” “We Lost Our Sanctity”), amplifying the gleefully malicious bounce of the riffs with tongue-in-cheek melodrama. Solos have just enough yearning depth while staying grounded with a gritty tone, and not outstaying their welcome. The album generally treads the line well between camp and serious, discounting, perhaps, the extended spoken-word Bible recitation where God curses Cain (“Cainites”). In all, it’s a very good time and only grew on me the more I listened. One to check out for true fans of melodeath.<a href="https://www.angrymetalguy.com/stuck-in-the-filter-june-2024s-angry-misses/#fn-201200-3" rel="nofollow noopener" target="_blank">3</a></p><p></p><p><strong><a href="https://www.facebook.com/inheritsthevoid/?ref=page_internal" rel="nofollow noopener" target="_blank">Inherits the Void</a> // <em>Scars of Yesteryears </em>[June 21st, 2024 – <a href="https://avantgardemusic.com/" rel="nofollow noopener" target="_blank">Avantgarde Music</a>]</strong></p><p><em>Scars of Yesteryears </em>took me so much by surprise that I had to be informed by another staff member that it even existed. Having reviewed last year’s <a href="https://www.angrymetalguy.com/inherits-the-void-the-impending-fall-of-the-stars-review/" rel="nofollow noopener" target="_blank"><em>The Impending Fall of the Stars</em></a>, and finding it quite an uplifting piece of melodic black metal, I was keen to see where the project had gone, musically, in the intervening time. The answer is nowhere, but that’s not entirely negative. This is still soaring (“L’effigie Du Déclin”), epic (“Scars of Yesteryear,” “L’eternelle Course Des Astres”), blistering (“Celestial Antler”), and sometimes beautiful (“The Endless Glow of Twilight”) meloblack. With lightning-fast and stormily dynamic riffing and enough of a melodic through-line to keep things going. The highs are not as high as they were on the previous record, the slower moments lacking the atmosphere and grandiosity that former work showed (though coming closest on “L’eternelle…” and “The Endless…”). However, the whole feels more consistent and steady, with the first half whizzing by on the tailwind of “Celestial Antler,” “The Orchard of Grief,” and “Ashes of Grievance”‘s bubbling energy, and the second dipping in intensity only to be saved by the final couple of tracks. Above-average, fiery meloblack, and worth taking for a spin even if it won’t be making any lists.</p><p></p> <p><strong><span><strong>Dear Hollow’s Dumpster Disturbance<br></strong></span></strong></p><p><strong><a href="https://www.bilmuri.com/" rel="nofollow noopener" target="_blank">Bilmuri</a> // <em>American Motor Sports</em><i> </i>[June 28th, 2024 – Self Release]</strong></p><p></p><p>Everyone loves easycore.<a href="https://www.angrymetalguy.com/stuck-in-the-filter-june-2024s-angry-misses/#fn-201200-4" rel="nofollow noopener" target="_blank">4</a> In an alternative universe where easycore is a natural progression of pop country rather than pop/punk, it becomes an international treasure and that treasure is <em>American Motor Sports</em>. Of the crabcore alum of <strong>Attack Attack!</strong>,<a href="https://www.angrymetalguy.com/stuck-in-the-filter-june-2024s-angry-misses/#fn-201200-5" rel="nofollow noopener" target="_blank">5</a> Johnny Franck is least likely to be featured on Octane Radio,<a href="https://www.angrymetalguy.com/stuck-in-the-filter-june-2024s-angry-misses/#fn-201200-6" rel="nofollow noopener" target="_blank">6</a> as the <strong>Bilmuri</strong> project has been a means for musical exploration since his departure. Offering the most streamlined homage to the three M’s (‘Murica, memes, and the Midwest), get ready to crank your hog to ten songs of heartbreak, beer, and landscaping through arena pop country with needlessly heavy djent guitar riffs – alongside Franck’s signature insanity coursing through all the movements. From the deathcore-meets-honkytonk and sub drops of “Better Hell” and “Spinnin’ You Around,” the blaring and sexy sax solos of “2016 Cavaliers (Ohio),” “Straight Through You,” and “Drunk Enough,” the blazing fiddle of “Talkin’ 2 Ur Ghost,” to the Kevin James breakdown call out of “Emptyhanded,” <strong>Bilmuri </strong>creates an infectious blend of the safely predictable and the utterly apeshit. It features guest artists from country scenes (<strong>Dylan Marlowe</strong>, <strong>Mitchell Tenpenny</strong>) and indie pop spheres (<strong>Knox</strong>, <strong>Arizona</strong>) who all add yearning and theatricality to Franck’s already emotive performances. <em>American Motor Sports </em>is twenty-eight minutes of catchy melodies, scathing grooves, and tastefully tragic lyrics with a penchant for memes. We’re all supposed to hate it, but much to my assigned promos’ dismay and <span><strong>Steel Druhm</strong></span>‘s chagrin,<a href="https://www.angrymetalguy.com/stuck-in-the-filter-june-2024s-angry-misses/#fn-201200-7" rel="nofollow noopener" target="_blank">7</a> I haven’t been able to listen to much else.</p><p></p> <p><strong><span>Dolphin Whisperer’s Maritime Musing</span></strong></p><p><strong><b><a href="https://www.facebook.com/HouleOfficiel/" rel="nofollow noopener" target="_blank">Houle</a> // <em>Ciel Cendre et Misère Noire</em></b><strong> [June 7th, 2024 – <a href="https://lesacteursdelombre.net/" rel="nofollow noopener" target="_blank">Les Acteurs de l’Ombre Productions</a>]</strong></strong></p><p>We all know that black metal hits harder when it’s actually something else wrapped in a blackened and shrieking package. France’s <strong>Houle</strong> offers <em>Ciel Cendre et Misère Noire</em> as a one part <a href="https://www.angrymetalguy.com/yer-metal-is-olde-iron-maiden-iron-maiden/" rel="nofollow noopener" target="_blank"><strong>Iron Maiden</strong></a>, one part <a href="https://www.angrymetalguy.com/immortal-war-against-all-review/" rel="nofollow noopener" target="_blank"><strong>Immortal</strong></a>, and two parts unstoppable siren screaming as vocalist Adsagsona shreds throat through each of the blazing numbers on this debut (minus the beer-swinging sailor intro). Her ear-stabbing cries tally high, and if it weren’t for her glottal punishments and accompanying guitarists’ breaks into tremolo melodies, tracks “Sur Les Braises de Foyer” and “Sel, Sang et Gerçures” could be instead the backdrops to something of the dark power metal world, replete with <strong>Maiden</strong> bass gallop and anthemic flair. She has a fine narrative croon too, but it’s her flagrant vocal flayings that sell the extremity of what <strong>Houle</strong> packs as ballast. With terraced guitar lines and thrashed-out drum breaks (“La Danse du Rocher,” “Mère Nocturne”), <em>Ciel Cendre</em> has the forward energy of battle and doesn’t let go to the very end, joining bands like <strong>Aorlhac</strong> and <strong>Passièsme</strong> in the modern melodic black metal field fit for castle raids. But as long-form closer “Née des Embruns” reinforces with calls of the ocean in its open and fade, <strong>Houle</strong> attacks from the sea. <em>En garde</em>!</p><p></p> <p><strong><span>Mark Z.’s Musings</span></strong></p><p><strong><strong><a href="https://www.facebook.com/200StabWounds/?eid=ARBzEfZwmKJ_MAFrLvTQdr10_TXxRAnHrddQRVrqDHMl8QhP3g6RtNZGqAwezHu04lLHarCWUER0q_m3&fref=tag" rel="nofollow noopener" target="_blank">200 Stab Wounds</a> // <em>Manual Manic Procedures </em></strong>[June 28th, 2024 – <a href="https://www.metalblade.com/us/" rel="nofollow noopener" target="_blank">Metal Blade Records</a>]</strong></p><p>Following a rapid rise to fame during the first few months of the COVID-19 pandemic, Ohio death metal troupe <strong>200 Stab Wounds</strong> thrust their <a href="https://www.angrymetalguy.com/200-stab-wounds-slave-to-the-scalpel-review/" rel="nofollow noopener" target="_blank"><em>Slave to the Scalpel</em></a> debut onto the masses in 2021. While I was about as mixed on that one as <span><strong>Felagund</strong></span> was, their second album <em>Manual Manic Procedures</em> has proven these wounds cut far deeper than originally thought. The beefy chugs that the band has become known for are still here in full force, but now they’re paired with sharper hooks and a heightened sense of maturity. On <em>Procedures</em>, you’ll hear acoustic plucking, immense <strong>Bolt Thrower</strong> riffing, grooves that will blow your guts out, and even some melodic death metal influence—and that’s just on the first song. The band also knows when to give you a breather, be it a well-placed atmospheric instrumental (“Led to the Chamber / Liquefied”) or an extended ride on a great groovy riff (“Defiled Gestation”). With a monstrous guitar tone, plenty of killer moments, and a track flow that’s smoother than liquefied human remains, <em>Manual Manic Procedures</em> feels like modern death metal coming into its own.</p><p></p><p><a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/200-stab-wounds/" target="_blank">#200StabWounds</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/aklash/" target="_blank">#Aklash</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/american-motor-sports/" target="_blank">#AmericanMotorSports</a> <a rel="nofollow noopener" class="hashtag 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