Angry Metal Guy<p><a href="https://www.angrymetalguy.com/behemoth-the-shit-ov-god-review/" rel="nofollow noopener" target="_blank">Behemoth – The Shit ov God Review</a></p><p><i>By Dr. A.N. Grier</i></p><p class=""><span class="">It’s funny that I’m reviewing back-to-back releases from <b>Hate</b> and <b>Behemoth</b>. While <b>Hate</b> has always been a solid outfit, <b>Behemoth</b> is a bit of an enigma. You really don’t know what to expect from Nergal. Thankfully, he keeps the weird shit on <b>Me and That Man</b> releases and lets <b>Behemoth</b> do what it does best. Like <b>Hate</b>, <b>Behemoth </b>shifted its sound, pulling deathy pomade through its greasy, black hair. In their heyday, we were blessed with remarkable albums like <a href="https://www.angrymetalguy.com/behemoth-evangelion-review/" rel="nofollow noopener" target="_blank"><i>Evangelion</i></a> and <a href="https://www.angrymetalguy.com/behemoth-satanist-review/" rel="nofollow noopener" target="_blank"><i>The Satanist</i></a>. The latter is one of the best black/death albums of all time. Yup, I said it. Since then, the band hasn’t quite lived up to the mastery of <i>The Satanist</i>. But, I would argue that it’s impossible. Now they’re back with a toned new album that, per usual, celebrates our Heavenly Lord much like Pontius Pilate did in ancient times. But, who’s really <i>The Shit ov God</i>? Spoiler alert: it’s you.</span></p><p class=""><span class="">I’ll admit, ole <span><b>Grier</b></span> gave up on <b>Behemoth</b> after the release of 2018’s <i>I Loved You at Your Darkest</i>. While not terrible, it did little to satiate my thirst after <i>The Satanist</i>. While our esteemed leader found <a href="https://www.angrymetalguy.com/behemoth-i-loved-you-your-darkest-review/" rel="nofollow noopener" target="_blank"><i>I Loved You at Your Darkest</i></a> to be more than acceptable, I did not. That said, it’s a better album than the boring-as-fuck <a href="https://www.angrymetalguy.com/behemoth-opvs-contra-natvram-review/" rel="nofollow noopener" target="_blank"><i>Opvs Contra Natvram</i></a>. Seriously, how does one get that through that slog of a release? That was a classic case of an album that could have been an EP, considering that nothing interesting happens until the last couple of tracks. So, I walk into the idiotically-titled <i>The Shit ov God </i>with reservations. But, on paper, this new album has a couple of things going for it before even spinning a single track. For one, it’s tightly cropped to a sleek eight-track structure. The other thing going for it is its reduced runtime. Unlike previous releases, this record caps off at a mere thirty-eight minutes. Not that it suggests greatness, but the epic qualities of late don’t hit as hard as they used to. So, get your rain trousers on. We got some god shit to sift through.</span></p><p class=""><span class="">“The Shadow Elite” gets the ball rolling with a dooming atmosphere that transitions into a heavy, blackened death march. As Nergal’s nasty vocals lash around the instrumentation, the song detours through dissonant guitar work and rumbling drums before tearing off on a blackened charge. While not a remarkable track for <b>Behemoth</b>, it’s a solid way to kick off the album. While I wasn’t overly impressed with the title-track single, it does make more sense in the album’s context. Kicking off with an angry spoken-word segment, the song settles into a mid-paced plod that insults everyone’s favorite Easter bunny. And does it almost absurdly with its lyrical alphabet soup. It’s one of the stronger tracks, instilling the right amount of rage. Follow-up track, “Lvciferaeon,” is similar in its vocal delivery, spouting philosophical wisdom on the Satanic thought process. Or something like that. This track, instead, uses a more melodic approach, utilizing big backing vocals and a hooking chorus.</span></p><p></p><p class=""><span class="">Others worth a re-spin include the back-to-back “Nomen Barbarvm” and “O Venvs, Come!” The first sports some serious black metal action and booming choirs in the background before the death march kicks in, punching through melodic atmospheres and vicious fucking vocals. But the fun part comes on the back half when the guitars unleash a badass death-thrash lick that separates “Nomen Barbarvm” from the rest. Taking one look at the title of “O Venvs, Come!,” my mind immediately wanders to <i>The Satanist</i>’s undisputed classic, “O Father O Satan O Sun!” And, in all honesty, it has a similar foundation. Though it never reaches the levels of epicness displayed in <i>The Satanist</i>’s closer, it holds its own. Injecting some old-school <b>Watain</b> melodicness, this passionate piece proves that Nergal still has it when it comes to fully engulfing one into his chaotic beauty. Not to mention, the riff on the back end feels like I’m being passed violently between two pinball bumpers.</span></p><p class=""><span class="">As one can ascertain, <i>The Shit ov God</i> is not <b>Behemoth</b>’s strongest outing. But, it is their best album since <i>The Satanist</i>. Which, I suppose, is saying something. What helps is the shorter runtime, avoiding the long-winded pieces that have become boring in the last ten years. With that conciseness, the songs also benefit. While a song like “Sowing Salt” doesn’t do much for the record, I can’t say that any of these ditties overstay their welcome. Even the epicness of “O Venvs, Come!” is captured in a tightly-structured six minutes. While this new opus has a ridiculous title and some lyrical content that almost makes me chuckle, <i>The Shit ov God</i> is a comfortable album that works well on repeat. If you are a <b>Behemoth</b> fan, there’s plenty to like on this new platter.</span></p><p></p> <p><strong>Rating:</strong> 3.0/5.0<br><strong>DR:</strong> 6 | <strong>Format Reviewed:</strong> 256 kb/s mp3<br><strong>Label:</strong> <a href="https://www.nuclearblast.com/" rel="nofollow noopener" target="_blank">Nuclear Blast Records</a><br><strong>Websites:</strong> <a href="https://www.behemoth.pl/" rel="nofollow noopener" target="_blank">behemoth.pl</a> | <a href="https://www.facebook.com/behemoth" rel="nofollow noopener" target="_blank">facebook.com/behemoth</a><br><strong>Releases Worldwide:</strong> May 9th, 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/30/" target="_blank">#30</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/behemoth/" target="_blank">#Behemoth</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/hate/" target="_blank">#Hate</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/may25/" target="_blank">#May25</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/me-and-that-man/" target="_blank">#MeAndThatMan</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/nuclear-blast-records/" target="_blank">#NuclearBlastRecords</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/polish-metal/" target="_blank">#PolishMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/review/" target="_blank">#Review</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/reviews/" target="_blank">#Reviews</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/the-shit-ov-god/" target="_blank">#TheShitOvGod</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/watain/" target="_blank">#Watain</a></p>
101010.pl is one of the many independent Mastodon servers you can use to participate in the fediverse.
101010.pl czyli najstarszy polski serwer Mastodon. Posiadamy wpisy do 2048 znaków.
Administered by:
Server stats:
476active users
101010.pl: About · Status · Profiles directory · Privacy policy
Mastodon: About · Get the app · Keyboard shortcuts · View source code · v4.5.0-alpha.2
#NuclearBlastRecords
0 posts · 0 participants · 0 posts today
Angry Metal Guy<p><a href="https://www.angrymetalguy.com/eluveitie-anv-review/" rel="nofollow noopener" target="_blank">Eluveitie – Ànv Review</a></p><p><i>By Twelve</i></p><p>Unlike a certain <span><strong>Angry Metal Overlord</strong></span>, I really liked <em>Origins. </em>Up to 2014, I had only a dim awareness of <strong>Eluveitie</strong>, save that they were a Swiss group that did not believe in keyboards. <em>Origins</em> was my gateway into folk metal, an album I found exciting and refreshing, and <strong>Eluveitie</strong>’s live show in support of it is still one of my top concert experiences. For over twenty years, <strong>Eluveitie</strong> has been a force in folk metal. Armed with many instruments and a metal core, they are now on their ninth full-length album, <em>Ànv</em>. What have these giants of the genre cooked up for us this time?</p><p>The hallmarks of <strong>Eluveitie</strong>’s sound are all present on <em>Ànv</em>: melodeath riffs from ye ole aughts, the violins, Chrigel Glanzmann’s shouts, and Fabienne Erni’s cleans—it’s the <strong>Eluveitie</strong> you love or love to hate, continuing their trajectory from <em>Helvetios</em> through <em>Origins</em> and up to <em><a href="https://www.angrymetalguy.com/eluveitie-ategnatos-review/" rel="nofollow noopener" target="_blank">Antegnatos</a>. </em>As ever, the Swiss octet blends traditional Celtic folk, Gaulish themes, and modern metal into their music. “Aeon of the Crescent Moon” and “The Prodigal Ones” are instantly recognizable as <strong>Eluveitie</strong>, with fast-paced riffing, vocal duels, and Lea-Sophie Fischer’s violin, either keeping pace or layering in emotion. Another familiar hallmark is the use of folky interludes like “Memories of Innocence,” a jig with an eastern feel that gives Glazmann’s mandolin and whistles their moments to shine alongside Fischer’s lively fiddling.</p><p>It’s all familiar, and a touch predictable too—<em>Ànv</em> feels safe as <strong>Eluveitie</strong> albums go. It’s odd to remark that an album performed by an octet playing more than fifteen instruments between them is predictable, but if you’ve followed <strong>Eluveitie</strong> at all since <em>Evocation</em>, you know what to expect. “Premonition” is standard <strong>Eluveitie </strong>fare and could have easily fit on <em>Origins. </em>It features <strong>In Flames</strong>-esque riffs that are more texture than flavor, followed by a brief flute appearance and lively violin over the chorus. “The Harvest” follows a near-identical formula, but executes it more intensely, which makes it a stronger song; this time, one that would be at home on <em>Helvetios</em>. “Ànv” feels like an outtake from <em>Evocation II</em>—Erni’s singing is passionate, but the formless music makes it forgettable. In each case, you know what you’re in for before the song reaches the minute mark.</p><p></p><p>There are a few genuine surprises on <em>Ànv</em>, but I’m sad to say I dislike most of them. “Taranoías” is a hard-hitting beast of a song right up until the minute mark, when Erni takes over from Glazmann’s furious growls and performs what I keep thinking is the chorus to a different song. “All Is One” similarly sounds like it’s found its way to the wrong album. Here, <strong>Eluveitie</strong> perform their best <strong>Nightwish</strong> impression, reaching for emotional highs in a very clichéd fashion. In neither case is the decision bad in isolation, but both are tonally mismatched from the rest of <em>Ànv</em>. What’s particularly frustrating is that in both examples, Erni is the odd musician out, despite being a very strong singer, evidenced particularly by her terrific performance in “Awen.”</p><p>But the most surprising part of <em>Ànv</em> is that it doesn’t feel all that much like folk metal, especially when compared to past <strong>Eluveitie</strong> albums. Often, it feels like modern melodeath with a violin. The flutes and hurdy gurdy are produced so weakly as to slide under the radar in most songs. Much of the folk rests in the three metal-less interlude tracks, none of which feel essential. Instead, songs like “All Is One” suggest an interest in a poppier, more “modern” sound.<a href="https://www.angrymetalguy.com/eluveitie-anv-review/#fn-215404-1" rel="nofollow noopener" target="_blank">1</a> In this sense, there is something akin to a division in <em>Ànv</em>, making for a disjointed listen of good songs (“The Harvest,” “Awen”), forgettable songs (“The Prodigal Ones,” “Aeon of the Crescent Moon”), folk tunes (“Anamcara,” “Memories of Innocence”), and “All Is One.”</p><p>I’ve been a fan of <strong>Eluveitie</strong> for some time—I know that authenticity is important to this band. And don’t get me wrong, <em>Ànv</em> is certainly folk metal and certainly <strong>Eluveitie</strong>. It is also inconsistent and signifies a direction that I hope <strong>Eluveitie</strong> are not set on. I’ve loved this band for the way it blends folk and metal music. Unfortunately, that makes it very difficult to feel much love for <em>Ànv</em>.</p><p></p> <p><strong>Rating:</strong> 2.5/5.0<br><strong>DR:</strong> 7 | <strong>Format Reviewed:</strong> 320 kb/s mp3<br><strong>Label:</strong> <a href="https://www.nuclearblast.com/" rel="nofollow noopener" target="_blank">Nuclear Blast Records</a><br><strong>Websites:</strong> <a href="http://eluveitie.ch" rel="nofollow noopener" target="_blank">eluveitie.ch</a> | <a href="http://facebook.com/eluveitie" rel="nofollow noopener" target="_blank">facebook.com/eluveitie</a><br><strong>Releases Worldwide:</strong> April 25th, 2025</p><p></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/amaranthe/" target="_blank">#Amaranthe</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/amorphis/" target="_blank">#Amorphis</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/anv/" target="_blank">#Ànv</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/apr25/" target="_blank">#Apr25</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/eluveitie/" target="_blank">#Eluveitie</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/epica/" target="_blank">#Epica</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/folk-metal/" target="_blank">#FolkMetal</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/nightwish/" target="_blank">#Nightwish</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/nuclear-blast-records/" target="_blank">#NuclearBlastRecords</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/swiss-metal/" target="_blank">#SwissMetal</a></p>
Angry Metal Guy<p><a href="https://www.angrymetalguy.com/cabal-everything-rots-review/" rel="nofollow noopener" target="_blank">Cabal – Everything Rots Review</a></p><p><i>By Dear Hollow</i></p><p>The struggle between viciousness and velocity is a storied one in the realm of deathcore, and <strong>Cabal</strong> is no exception in its battle between tone-abusing slogs and blazing blastbeats. Enacting a blackened deathcore attack that neglects orchestral atmospheres and paper-thin symphonics in favor of thick filth that covers every surface lead and fills every chugging crevice, it flaunts an arsenal of blackened chord progressions that lend a horror appropriate to its occult theme. The band has nevertheless toiled between the trenches of stagnation and devastation. Four albums in, expect filthy chugging aplenty, dark electronic flourishes abound, and a tasteful array of guest vocalists, all in service of a darker power. Business as usual.</p><p>In spite of its unmistakable filth that separates it from the likes of <strong>Lorna Shore</strong>, <strong>Worm Shepherd</strong>, or any of the other Deathcore <strong>Borgir</strong>s of the world, Denmark’s <strong>Cabal</strong> has a bit of a rollercoaster of a discography since 2018. Debut <em>Mark of Rot</em> was a simultaneously too-clean and too-dirty blend of down-tempo deathcore with blackened flourishes and a sterile djent guitar tone. 2020’s <em>Drag Me Down</em> amped the tempo with an unfuckwithable cutthroat quality that kept things fresh and brutal with spotlights of guests from <strong>Polaris</strong>, <strong>Møl</strong>, and <strong>Trivium</strong>. 2022’s <em>Magno Interitus</em> amped the tone with a lightless and mammoth foray into dark electronics that kept things interesting, although its more experimental pieces damaged its consistency. In this way, <em>Everything Rots</em> more seamlessly incorporates it into an over-the-top and absolutely relentless deathcore romp caked with <strong>Cabal</strong>’s suffocating trademark filth.</p><p></p><p>Like “Tongues” or “Demagogue” from <em>Drag Me Down</em>, <strong>Cabal</strong> manages to balance its absolutely crushing weight with a tasteful novelty in <em>Everything Rots</em>. While you’re guaranteed to be bludgeoned by breakdowns infused with the weight of <em>Magno Interitus</em> and pulverized by Andreas Bjulver’s husky roars, a heavier usage of blastbeats adds to the frenzy and the guest vocals add a dosage of well-placed freshness, not unlike <strong>Aborted</strong>’s latest. Injecting a hardcore call-out badassery (<strong>Viscera</strong>’s Jamie Graham in “No Peace;” <strong>Nasty</strong>’s Matthi Odysseus in “Unveiled”), rapid-fire groove (<strong>ten56.</strong>’s Aaron Matts in “Still Cursed”), and thick brutality (<strong>Aviana</strong>’s Joel Holmqvist in “Stuck;” <strong>Distant</strong>’s Alan Grnja in “Beneath Blackened Skies”). “Sort Sommer” (featuring hip-hop/punk duo <strong>Fabräk</strong>) has the same feel as “Blod af Mit” from <em>Magno Interitus </em>in its sudden embarrassment of nu-metal riches, but has been safely relegated to bonus track this time around. <strong>Cabal</strong> utilizes novelty as a reprieve to the relentless density that comprises its more straightforward pieces.</p><p>What’s consistently refreshing about <strong>Cabal</strong> is that their deathcore novelty is bolstered by a smart songwriting style that balances the meatheaded and the menacing. The best songs are those that are securely <strong>Cabal</strong>’s – in spite of the army of guests elsewhere – from the sweet placements of icy blackened chord progressions to mammoth breakdowns (“Everything Rots,” “Hell Hounds”). Compared to its predecessor, <em>Everything Rots</em> returns to what the band does best: being completely unhinged. It’s all about adrenaline-pumping intensity, pure gym-core, unshakeable groove populating its digestible tracks with a cold and intense melodic template (“Redemption Denied,” “End Times”). The electronic influence is far less jarring, adding a surreal pulse in addition to (instead of in replacement of) the deathcore intensity (“Forever Marked,” “Snake Tongues”).</p><p><em>Everything Rots</em> will not sway your opinion on deathcore. It’s a meatheaded foray with enough chuggy breakdowns, brickwalled production, and vomitous vocals to kill an adult horse:<a href="https://www.angrymetalguy.com/cabal-everything-rots-review/#fn-215019-1" rel="nofollow noopener" target="_blank">1</a> A faster <strong>Black Tongue</strong> perhaps or a more blackened <strong>Humanity’s Last Breath</strong>. But armed with a blackened filth and a vocalist who could pass as his own arsenal of guest vocalists, <strong>Cabal</strong>’s got a trademark sound and a great interpretation of it. It’s a return to form for a band known for its balance, thanks to a cutthroat intensity that recalls the grandiosity of Drag Me Down. Dwelling in hell-scraping tone worship and tempo ignorance only when it benefits its occult aims, <em>Everything Rots</em> is a suffocating listen, smartly designed with necessary reprieves, with a must more tasteful electronic presence. It’s a brutal blackened deathcore album without all the symphonic bullshit. Deathcore fans rejoice!</p> <p><strong>Rating:</strong> 3.5/5.0<br><strong>DR:</strong> 4 | <strong>Format Reviewed:</strong> 320 kb/s mp3<br><strong>Label:</strong> <a href="https://www.nuclearblast.com/" rel="nofollow noopener" target="_blank">Nuclear Blast Records</a><br><strong>Websites:</strong> <a href="http://cabalcph.bandcamp.com" rel="nofollow noopener" target="_blank">cabalcph.bandcamp.com</a> | <a href="http://cabalcult.com" rel="nofollow noopener" target="_blank">cabalcult.com</a> | <a href="http://facebook.com/@cabalcph" rel="nofollow noopener" target="_blank">facebook.com/@cabalcph</a><br><strong>Releases Worldwide:</strong> April 11th, 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/aborted/" target="_blank">#Aborted</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/apr25/" target="_blank">#Apr25</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/aviana/" target="_blank">#Aviana</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/black-tongue/" target="_blank">#BlackTongue</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/blackened-deathcore/" target="_blank">#BlackenedDeathcore</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/cabal/" target="_blank">#CABAL</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/danish-metal/" target="_blank">#DanishMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/deathcore/" target="_blank">#Deathcore</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/dimmu-borgir/" target="_blank">#DimmuBorgir</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/distant/" target="_blank">#Distant</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/electronic/" target="_blank">#Electronic</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/everything-rots/" target="_blank">#EverythingRots</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/fabrak/" target="_blank">#Fabräk</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/hardcore/" target="_blank">#Hardcore</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/humanitys-last-breath/" target="_blank">#HumanitySLastBreath</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/lorna-shore/" target="_blank">#LornaShore</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/mol/" target="_blank">#Møl</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/nasty/" target="_blank">#Nasty</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/nuclear-blast-records/" target="_blank">#NuclearBlastRecords</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/polaris/" target="_blank">#Polaris</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/ten56/" target="_blank">#ten56_</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/trivium/" target="_blank">#Trivium</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/viscera/" target="_blank">#Viscera</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/worm-shepherd/" target="_blank">#WormShepherd</a></p>
Angry Metal Guy<p><a href="https://www.angrymetalguy.com/obscura-a-sonication-review/" rel="nofollow noopener" target="_blank">Obscura – A Sonication Review</a></p><p><i>By Dolphin Whisperer</i></p><p>As an institution of modern death metal, <strong>Obscura</strong> albums arrive to eager metalheads with anticipation, accolades, and, well, a little controversy.<a href="https://www.angrymetalguy.com/obscura-a-sonication-review/#fn-212196-1" rel="nofollow noopener" target="_blank">1</a> The German workhorse Steffan Kummerer (<strong>Thulcandra</strong>) and his assembled (and frequently flushed) roster of seasoned and sensational performers continue to deliver bombastic material while deviating down paths of structural simplification. Though the path of increasing hippitude often appeals to aging, progressive musical minds—think the <strong>Cynic</strong>s and <strong>Devin Townsend</strong>s of this world—<strong>Obscura</strong> has emerged from <a href="https://www.angrymetalguy.com/obscura-omnivium-review/" rel="nofollow noopener" target="_blank">a snaking</a> and <a href="https://www.angrymetalguy.com/obscura-akroasis-review/" rel="nofollow noopener" target="_blank">deeply-arranged</a> past into a nature barbed with Björriffed hooks and piercing, melodic peaks. Of course, a path, however traveled it may be, can always reveal a new wrinkle in weathered hands.</p><p><em>A Sonication</em> functions as a step further into the synthesis of melodeath’s formative sounds with the steadfast <strong>Obscura</strong> amalgam. Kummerer has framed <strong>Obscura</strong> throughout each iteration as an exploration of his love for death metal, leaning on the percussiveness of <strong>Cynic</strong>-indebted guitar lines for rhythmic propulsion or the heft of a <strong>Morbid Angel</strong> syncopated, violent groove to shatter the typically bright, techy flow.<a href="https://www.angrymetalguy.com/obscura-a-sonication-review/#fn-212196-2" rel="nofollow noopener" target="_blank">2</a> And as the earlier, longer-form progressive leanings swelled and passed, <strong>Obscura</strong> extracted from punchier sources a scrappier stance and lower-sweep attitude. That’s not to say that neither Kummerer nor new hire Kevin Olasz (<strong>Crone</strong>, <strong>God Enslavement</strong>) ignore their virtuosity entirely, letting vibrant and buttery leads and solos guide the path of spacious riffs on several occasions. But <em>A Sonication</em>’s compositions sway through scales with a tight tether to the growing sadness in Kummerer’s shrieky and modulated cries.</p><p></p><p>Seven albums in, <strong>Obscura</strong> doesn’t aim to surprise so much as they aim to wear their strengths well. Through thundering tom booms and frayed guitar cuts that veteran producer <a href="https://www.metal-archives.com/artists/Fredrik_Nordstr%C3%B6m/7732" rel="nofollow noopener" target="_blank">Fredrik Nordström</a> helps boost and divide for bubbling bass delicacies, <em>A Sonication</em> achieves a scratchy yet clear sonic identity that grants it a defined stance amongst its preceding incarnations. Raging opener “Silver Linings” and spiritual follow-up “In Solitude” capture the same <strong>At the Gates</strong> on bass-loaded poppers melotech swirl that helped 2021’s <a href="https://www.angrymetalguy.com/obscura-a-valediction-review/" rel="nofollow noopener" target="_blank"><em>A Valediction</em></a> find a power-swagger in resuscitated Gothenburg licks. And in a syncopated heroic riff pattern that recurs that peppers itself from open to close—a pattern that too litters the <strong>Obscura</strong> discog, from “Noospheres” (<em>Cosmogenesis</em>, 2009) to “Akróasis” (<em>Akróasis</em>, 2015) to “Emergent Evolution” (<em>Diluvium</em>, 2018)—<em>A Sonication</em> finds a familiar and invigorating harmonic grounding for the pummeling rhythms and throat-mangling rasps that surround.</p><p>However, <em>A Sonication</em> loses steam at the hands of piecework pacing amongst its self-referential hooks. <b>Obscura</b> has chosen this release to be their shortest to date, often a signal for experience-dialed intrigue and charm. But in paradox, cuts like “Evenfall” kill the early ripping mood with a sadboi-coded, anthemic lurch, despite <strong>Obscura</strong> still trying to navigate up front with quick-sticking riffs. Easy enjoyment finds a further sputter both in bursts of speed that feel like part of a different album (“The Prolonging”) and a reprisal instrumental track (“Beyond the Seventh Sun”), the latter of which, in its high-tech nature, has been an <strong>Obscura</strong> staple (“Orbital Elements” of <em>Cosmogenesis</em> and “Orbital Elements II” of <em>A Valediction</em> being the direct pedigree). Both that whiplash <strong>Necrophagist</strong> intensity followed by an in-the-lines obligation fill space in a way that doesn’t service the dark, harmony-seeking themes of the album—detours for the sake of fulfilling traditional aggression and wankery. In contrast, “Stardust” unpacking the finishing trio, no matter how many times we’ve heard a variation on that main riff,<a href="https://www.angrymetalguy.com/obscura-a-sonication-review/#fn-212196-3" rel="nofollow noopener" target="_blank">3</a> delivers on the melodic melancholy that gives <em>A Sonication</em> its grayscale character.</p><p>As the enmelodeathification of <strong>Obscura</strong> continues through <em>A Sonication</em>, Kummerer has found a comfort in a focused and polished expression that pleases with little effort, even if it lacks novel and awe-inspiring moments. In that same way, <strong>Obscura</strong>’s trajectory mirrors the patterns of crystallization that have occurred in the melosphere at large, with a streamlining of attack that errs close to a sanding of its unique aspects. <strong>Obscura</strong> retains a core of digestible and attachable showmanship carried by death-loving riffage, which makes its missteps quizzical in its supposed three-year construction. But <em>A Sonication</em> succeeds enough anyway—not with the blossoming strength of wisdom but with a persistence too practiced to craft a bad product.</p> <p><strong>Rating:</strong> Good.<br><strong>DR:</strong> 8 | <strong>Format Reviewed:</strong> V0 mp3<br><strong>Label:</strong> <a href="https://nuclearblast.bandcamp.com/artists" rel="nofollow noopener" target="_blank">Nuclear Blast Records</a><br><strong>Websites:</strong> <a href="http://www.realmofobscura.com" rel="nofollow noopener" target="_blank">realmofobscura.com</a> | <a href="https://obscura.bandcamp.com" rel="nofollow noopener" target="_blank">obscura.bandcamp.com</a><strong><br>Releases Worldwide:</strong> February 7th, 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/30/" target="_blank">#30</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/a-sonication/" target="_blank">#ASonication</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/at-the-gates/" target="_blank">#AtTheGates</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/cynic/" target="_blank">#Cynic</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/death-metal/" target="_blank">#DeathMetal</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/german-metal/" target="_blank">#GermanMetal</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/morbid-angel/" target="_blank">#MorbidAngel</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/nuclear-blast-records/" target="_blank">#NuclearBlastRecords</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/obscura/" target="_blank">#Obscura</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/review/" target="_blank">#Review</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/reviews/" target="_blank">#Reviews</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/technical-death-metal/" target="_blank">#TechnicalDeathMetal</a></p>
Angry Metal Guy<p><a href="https://www.angrymetalguy.com/marko-hietala-roses-from-the-deep-review/" rel="nofollow noopener" target="_blank">Marko Hietala – Roses from the Deep Review</a></p><p><i>By Twelve</i></p><p>Marko Hietala doesn’t need much of an introduction. Active in the Finnish metal scene since 1982 and in the international scene since 2001, his distinctive singing voice, expansive songwriting, and “we don’t need a second guitarist because I have this thing” approach to playing bass set him apart from a great many musicians. Since departing <strong>Nightwish</strong> in 2021, he’s reconnected with several past projects, from <strong>Raskasta Joulua </strong>to <strong>Northern Kings</strong> to <strong>Tarot</strong>—and then back to his own solo work. <em>Roses from the Deep</em> marks Hietala’s return to his own songwriting, following 2019’s <em>Mustan sydämen rovio</em>. Joined by Tuomas Wäinölä (guitars, <strong>Kotipelto</strong>), Anssi Nykänen (drums), and Vili Ollila (keys, <strong>Northern Kings</strong> and <strong>Raskasta Joulua</strong>), Hietala’s sophomore solo comes with a whole lot of talent… and very high expectations too.</p><p>Of course, the reason for those high expectations is simple: <strong>Marko Hietala</strong> is a gifted, experienced musician, so it should come as no surprise that <em>Roses from the Deep</em> is a confident album with varied influences. Across ten songs and fifty-four minutes, <em>Roses from the Deep</em> treads traditional and symphonic metal territories, with folk and orchestral influences generously scattered in. Most of the choruses are huge, bombastic, get-stuck-in-your-head-forever types, with “Frankenstein’s Wife” and “Proud Whore” having the catchiest of the bunch. The riffs are loud and nearly as catchy, with songs like “Dragon Must Die” and, especially, “Rebel of the North” enhancing Hietala’s heaviest of singing styles. Then, in the breaks between the bangers, <em>Roses from the Deep</em> offers somber, acoustic-orchestral songs in the title track and the beautifully earnest “Two Soldiers.” No matter where <strong>Marko Hietala</strong> treads, he finds solid ground, a nod to the superb performances, production, and songwriting on display.</p><p></p><p>This blend of styles means that <em>Roses from the Deep</em> has a lot of balance and strong flow as an album. For my part, I think it is a touch front-loaded, as the opening salvo of “Frankenstein’s Wife,” “Left on Mars,” and “Proud Whore” is a fantastic trio of bombastic symphonic power metal that speaks right to my preferences. Around the midpoint, another trio takes shape: “Dragon Must Die,” “Devil You Know,” and “Rebel of the North” are all traditional heavy metal rockers. I could argue that the album lags a touch here because it’s less my style, but it’s not like the talent falters—and it helps that it all sounds great, with Nykänen’s drums in particular packing quite the punch, making songs like “Dragon Must Die” hard-hitting triumphs. There are a couple of guest singers, too—<strong>Tarja Turunen</strong> in “Left on Mars” and Juha-Pekka Leppäluoto (<b>Northern Kings</b>, <strong>Dark Sarah</strong>) on “Two Soldiers,” both of whom add dimension and feeling to their songs. The variety is welcome and makes the hour fly by.</p><p></p><p>As a longtime fan of Hietala’s work, what is far and away the coolest thing about <em>Roses from the Deep</em> is the way it seems to draw on his full breadth of experience as a musician and a songwriter. It may be that I’m making up connections where none exist, but it really does feel like this album is what would happen if <strong>Nightwish</strong> and <strong>Tarot</strong> somehow had a baby and named <strong>Northern Kings</strong> godfather. “Impatient Zero” and “Proud Whore” would find happy homes on <em>Suffer Our Pleasures</em> and <em>Gravity of Light</em>; “Two Soldiers” could sneak into <em>Rethroned</em> or even <em>Dark Passion Play;</em> many of the more traditional metal numbers like “Rebel of the North” remind me of <em>The Spell of Iron MMXI</em>; and “Roses from the Deep” feels like the spiritual successor to “Gone,” but wouldn’t be so out of place on <em>Endless Forms Most Beautiful</em>. Of course, this assumes you ignore the modern polish the production offers, but it still marks a uniquely interesting listening experience for someone who still listens to <em>For the Glory of Nothing</em> on a semi-regular basis.<a href="https://www.angrymetalguy.com/marko-hietala-roses-from-the-deep-review/#fn-210912-1" rel="nofollow noopener" target="_blank">1</a></p><p>I guess that means I’m a bit biased, but there’s just so much to like about <em>Roses from the Deep</em>—strong songwriting, great lyrics, and confident performances from experienced musicians who bring their all to each song. <strong>Marko Hietala</strong>’s talents are as strong as ever. <em>Roses from the Deep </em>is at times fun, heavy, beautiful, and catchy. More importantly, it balances each of these traits gracefully. You don’t get bored listening to Hietala play here, because there’s always something new around the corner, making this a truly exciting album from a genuine metal artist.</p><p></p> <p><strong>Rating:</strong> 4.0/5.0<br><strong>DR:</strong> 8 | <strong>Format Reviewed:</strong> ~260 kbps VBR mp3<br><strong>Label:</strong> <a href="https://www.nuclearblast.com/" rel="nofollow noopener" target="_blank">Nuclear Blast Records</a><br><strong>Websites:</strong> <a href="http://markohietala.bandcamp.com" rel="nofollow noopener" target="_blank">markohietala.bandcamp.com</a> | <a href="http://facebook.com/markohietalaofficial" rel="nofollow noopener" target="_blank">facebook.com/markohietalaofficial</a><br><strong>Releases Worldwide:</strong> February 7th, 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/40/" target="_blank">#40</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/dark-sarah/" target="_blank">#DarkSarah</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/finnish-metal/" target="_blank">#FinnishMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/kotipelto/" target="_blank">#Kotipelto</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/marko-hietala/" target="_blank">#MarkoHietala</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/northern-kings/" target="_blank">#NorthernKings</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/nuclear-blast-records/" target="_blank">#NuclearBlastRecords</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/raskasta-joulua/" target="_blank">#RaskastaJoulua</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/roses-from-the-deep/" target="_blank">#RosesFromTheDeep</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/symphonic-metal/" target="_blank">#SymphonicMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/tarja-turunen/" target="_blank">#TarjaTurunen</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/tarot/" target="_blank">#Tarot</a></p>
Angry Metal Guy<p><a href="https://www.angrymetalguy.com/the-halo-effect-march-of-the-unheard-review/" rel="nofollow noopener" target="_blank">The Halo Effect – March of the Unheard Review</a></p><p><i>By Steel Druhm</i></p><p>It seems like only yesterday I was writing about a supergroup helmed by Mikael Stanne of <strong>Dark Tranquillity</strong> fame. That’s because I just covered <strong>Cemetery Skyline</strong>, his Goth rock project that dropped the very successful <a href="https://www.angrymetalguy.com/cemetery-skyline-nordic-gothic-things-you-might-have-missed-2024/" rel="nofollow noopener" target="_blank"><em>Nordic Gothic</em></a> release late last year. Now in the blink of a <em>Mind’s I</em>, he’s back with the sophomore outing from <strong>The Halo Effect</strong>. This star-studded collective features various past members of <strong>In Flames</strong>. It’s essentially a salute to the early days of the Gothenburg sound, with an approach that conjures nostalgia of the glory days of both <strong>Dark Tranquillity</strong> and <strong>In Flames</strong> equally. This formula largely worked on 2022s <em>Days of the Lost</em>, and it works again on <em>March of the Unheard</em>. Part of that may be the enduring appeal of the core sound, but a lot of it comes from the sheer talent and charisma of the assembled cast. Aiding in the charm offensive, there’s a greater incorporation of traditional metal ideas and influences this time out, as well as more consistently interesting songsmithing. This makes what could have been a yawner of the throwback album something just a bit more compelling.</p><p>If you need an elevator pitch for what to expect here, think <em>Fiction</em> / <em>We Are the Void</em> era <strong>Dark Tranquillity</strong> meets <em>Whoracle</em> era <strong>In Flames</strong>. On paper that seems enticing and in practice it works quite well too. Opener “Conspire to Deceive” reminds me why I fell for the Gothenburg sound back in the early 90s. Stanne is his usual badass self, utterly comfortable in his melodeath growls and barks as melodic but crunchy leads and polished, glossy harmonies envelope him. The guitar work by Jesper Strömblad (Ex-<strong>Hammerfall</strong>, ex-<strong>In Flames</strong>) and Niclas Engelin (ex-<strong>Gardenia</strong>, ex-<strong>In Flames</strong>) is bright and shiny, full of melodic noodling but girded by meaty riffs. It reads more like a <strong>DT</strong> cut overall and that’s just fine by me. “Detonate” is just a fun, rocking dose of melodeath that belongs on your cardio playlists toot sweet. It’s uncomplicated and catchy and Stanne owns the hooky chorus. “Our Channel to the Darkness” is very much a <strong>DT</strong> creation at its core, thrashy, punchy, dark and regal. This could appear on any <strong>DT</strong> album from <em>Damage Done</em> to <em>We Are the Void</em> and be right at home. The riffs have bite and aggression and Stanne sounds extra venomous.</p><p>I’ll admit I kept waiting for <em>March of the Unheard</em> to go off the rails and become stale and boring. The strength of the album’s first half surprised me, but what really got my goat was how consistent all the material is. Tracks like “Cruel Perception” and “What We Become” offer melodeath fans all they could want, and later cut “Forever Astray” marries <strong>DT</strong>’s cold, sterile aesthetic with gleaming and glorious guitar harmonies for a rousing ride as Stanne throws in some effective clean singing for extra oomph. “Between Directions” drills down into <strong>DT</strong>’s frigid sound and again nails the clean bits for maximum maximumness. Only the inclusion of a relatively bland mid-album interlude and a long and unnecessary symphonic/folksy instrumental closer mar what is a very enjoyable romp through the salad days of Swedish metal. At 48-plus minutes, the album feels a touch too long due to the instrumental padding, but it’s still easy enough to spin. The sound and mix are fine for the material, with enough meat on the guitars and allowing Stanne enough room to shine.</p><p></p><p>Speaking of which, Stanne continues to be a legend in the melodeath universe and he’s aging like fine wine. He adds +2 to every song he graces and the man is a boon to whatever project he touches. His always expert delivery is enhanced by the solid and polished guitar work from Strömblad and Engelin. They split time mining the main acts of the members for inspiration, but they also bring in bits and pieces of <strong>Omnium Gatherum</strong> and <strong>Insominum</strong> and add subtle nods to the NWoBHM as well. It’s melodeath made for those of us who were there at ground zero in the 90s and offers nothing new whatsoever. That’s okay though when the writing and execution is this solid.</p><p>You can appreciate <em>March of the Unheard</em> as a lost <strong>Dark Tranquillity</strong> album or as a slick homage to a specific moment in metal history and it works well both ways. This is a superior album to<em> Days of the Lost</em> with a much greater replay potential and I’ve been surprised by how vital and fresh much of it is. Remove the instrumental flab and this clicks up to very good. Not bad for a bunch of olde dawgs retreading their own ancient stomping grounds. Here’s to the olden ways in these confusing modern days.</p><p></p> <p><strong>Rating:</strong> 3.0/5.0<br><strong>DR:</strong> 7 | <strong>Format Reviewed:</strong> 192 kbps mp3<br><strong>Label:</strong> <a href="https://www.nuclearblast.com/de/" rel="nofollow noopener" target="_blank">Nuclear Blast</a><br><strong>Websites:</strong> <a href="https://www.thehaloeffect.band/" rel="nofollow noopener" target="_blank">thehaloeffect.band</a> | <a href="https://www.instagram.com/thehaloeffectse/" rel="nofollow noopener" target="_blank">instagram.com/thehaloeffectse</a><br><strong>Releases Worldwide:</strong> January 10th, 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/30/" target="_blank">#30</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/dark-tranquillity/" target="_blank">#DarkTranquillity</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/gardenian/" target="_blank">#Gardenian</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/hammerfall/" target="_blank">#Hammerfall</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/jan25/" target="_blank">#Jan25</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/march-of-the-unheard/" target="_blank">#MarchOfTheUnheard</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/nuclear-blast-records/" target="_blank">#NuclearBlastRecords</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/review/" target="_blank">#Review</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/reviews/" target="_blank">#Reviews</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/swedish-metal/" target="_blank">#SwedishMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/the-halo-effect/" target="_blank">#TheHaloEffect</a></p>
Angry Metal Guy<p><strong><a href="https://www.angrymetalguy.com/grand-magus-sunraven-review/" rel="nofollow noopener" target="_blank">Grand Magus – Sunraven Review</a></strong></p><p><i>By Steel Druhm</i></p><p>We all have bands we feel a special kinship with and avidly root for, approaching each new release with great expectations. Of the acts near and dear to the heart of <span><strong>Steel</strong></span>, Sweden’s <strong>Grand Magus</strong> enjoy a lofty perch in the Appreciation Pantheon. I’m a rabid fan of their early works, especially their <em>Iron Will</em> and <em>Hammer of the North</em> outings. Their blend of traditional, doom, and epic/true metal had enormous scope and bite, inspiring the listener to great deeds of high adventure. JB Christoffersson has been one of my favorite vocalists for more than 2 decades and I’m a sucker for what <strong>Magus</strong> do. That being said, their last few albums have been varying degrees of underwhelming, devoid of the fire and brute brimstone of earlier works. 2019s <a href="https://www.angrymetalguy.com/grand-magus-wolf-god-review/" rel="nofollow noopener" target="_blank"><em>Wolf God</em></a> was only so-so and I all but forgot it existed after reviewing it. It was an album that sounded like a band stuck in a rut and going through the motions. After 4 years, I hoped a refreshed, refocused <strong>Grand Magus</strong> would arise to seek wengeance and wictory. Will their 10th full-length <em>Sunraven</em> be the tip of the spear of a <strong>Magus</strong> resurgence? Pray for warjo.</p><p>The first thing that struck me about <em>Sunraven</em> besides the totally badass artwork was the short runtime (35 minutes) and tight song lengths (most in the 3-minute window, none cracking the 6-minute mark). Could this be the sign of a revitalized war machine? Opener “Skybound” comes off the longship swinging with the burly, beefy riffs one expects from <strong>Grand Magus</strong> and JB sounds large and very much in charge. The song is punchy, direct, and most importantly, badass. It’s full of macho gravitas and it sounds like the work of the band that gave us <em>Hammer of the North. </em>That’s all I could ask for. “The Wheel of Pain” is heavier and doomier, with massive riffs flowing like molten lava from the speakers, and the epic sound is bold enough to resurrect the Hyborian Age where men were rampaging beasts. This is the stuff I’ve been longing for since 2012! Song after song boldly strides forth brandishing the <strong>Argus</strong>-meets-<strong>Visigoth</strong> master metal sound I love and it’s as if the band found the Fountain of <strong>Manowar</strong>ter and enjoyed of deep dranks. “Winter Storms” is a mighty mid-tempo saga about snow storms and inner strength that hits just right and increases testosterone levels by 666%. It reminds me of <strong>Rose Tattoo</strong>’s classic cut “<a href="https://www.youtube.com/watch?v=LE0_ewL-EH4" rel="nofollow noopener" target="_blank">Branded</a>” due to JB’s vocal pacing and placement and that makes it even cooler. This one will be blasted with every snowfall this winter.</p><p>In a surprising development, things get heavier as <em>Sunraven</em> unspools. “Hour of the Wolf” is one of the best things <strong>Magus</strong> have done in forever, brimming with aggressive, churning riffs and chest-thumping vocals full of piss and uric vinegar. Dramatic guitar lines merge with heroic chanting and the word “epic” barely sums up the results. Where has this shit been the last 10 years? The two-song run covering the <em>Beowulf</em> saga (“Grendel,” “To Heorot”) is a masterful way to wind down a righteous return to the throne of trve metal, and closer “The End Belongs to You” is especially powerful with crunching, strident riffage and fist-pumping energy aplenty. It will infest your apeish mind with the need to swing a war hammer and you should not resist. The best news is that there’s zero filler here, which can’t be said for the last few albums. Every song is at least very good and a few are great. And at 35 minutes, it all happens in a dizzying blur leaving you eager to hit the replay gizmodo.</p><p></p><p>With vastly improved writing focused on the battle-forward edge of the <strong>Magus</strong> sound, <em>Sunraven</em> lets the power trio flex their musical muscles. JB sounds born again hard, his valorous baritone sounding regal and commanding. He’s still a great vocalist and he adds his macho magic to every song (especially “The Black Lake”). His riffing is much more dynamic and energetic this time too, lustily channeling NWoBHM and flirting with proto-speed metal. There are even traces of Viking metal seeping in with grand results (“To Heorot” in particular). His solos are slick and full of feeling and everything sounds Mjolnir worthy. Ludwig Witt is his reliably thunderous self behind the kit, pounding the war drums for all he’s worth like <strong>Manowa</strong>r’s late, great Scott Columbus, jacking everything up to the next level, and Fox Skinner rounds out the sound with his ace bass work and backing vocals.</p><p><em>Sunraven</em> is the album I feverishly hoped to get from <strong>Grand Magus</strong>. It’s a grand return to prime form with the fire firmly back in the Balrog. This is the best <strong>Magus</strong> outing since 2012s <em>The Hunt</em> and it gives me a warm feeling in the war regions and makes my back hair confrontational. Grab your sword, dust off the war helm, and get in the ship, loser. We’re doing Viking gangsta shit! <strong>MAGUS</strong>!!</p><p></p> <p><strong>Rating:</strong> 3.5/5.0<br><strong>DR:</strong> 6 | <strong>Format Reviewed:</strong> 264 kbps mp3<br><strong>Label:</strong> <a href="https://www.nuclearblast.com/de/" rel="nofollow noopener" target="_blank">Nuclear Blast</a><br><strong>Websites:</strong> <a href="https://www.grandmagus.com/" rel="nofollow noopener" target="_blank">grandmagus.com</a> | <a href="https://www.facebook.com/grandmagusofficial" rel="nofollow noopener" target="_blank">facebook.com/grandmagusofficial</a> | <a href="https://www.instagram.com/grandmagusband/" rel="nofollow noopener" target="_blank">instagram.com/grandmagusband</a><br><strong>Releases Worldwide:</strong> October 18th, 2024</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/35/" target="_blank">#35</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/argus/" target="_blank">#Argus</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/grand-magus/" target="_blank">#GrandMagus</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/heavy-metal/" target="_blank">#HeavyMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/nuclear-blast-records/" target="_blank">#NuclearBlastRecords</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/oct24/" target="_blank">#Oct24</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/review/" target="_blank">#Review</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/reviews/" target="_blank">#Reviews</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/sunraven/" target="_blank">#Sunraven</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/swedish-metal/" target="_blank">#SwedishMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/visigoth/" target="_blank">#Visigoth</a></p>
Angry Metal Guy<p><strong><a href="https://www.angrymetalguy.com/oranssi-pazuzu-muuntautuja-review/" rel="nofollow noopener" target="_blank">Oranssi Pazuzu – Muuntautuja Review</a></strong></p><p><i>By Twelve</i></p><p>You know how some people really don’t like the word “moist?” There’s an explicable-yet-incomprehensible element to it that makes people uncomfortable; an “I don’t get it, but I get it” element to the feeling that most everyone can follow, if not relate to. In that sense, it’s an excellent metaphor for Finland’s <strong>Oranssi Pazuzu</strong> and the psychedelic, avant-garde black metal they’ve been crafting since 2009. I <a href="https://www.angrymetalguy.com/oranssi-pazuzu-mesttarin-kynsi-review/" rel="nofollow noopener" target="_blank">previously reviewed</a> <em>Mestarin kynsi</em>, their fifth full-length release, in 2020 and had a lot of trouble wrapping my head around the music; it was dense, unforgiving, and unpredictable, an album I both liked and disliked. While I think I put together a decent review at the time, I really had a hard time expressing that feeling. Over four years later, <strong>Oranssi Pazuzu </strong>return with <em>Muuntautuja</em>, a new challenge for my ears and mind. Do I like it? Do I <em>understand</em> it? Does it even matter?</p><p>Respectively, the answers are yes, I think so, and probably—while <strong>Oranssi Pazuzu</strong> remain as enigmatic as ever on <em>Muuntautuja</em>, the music is both darker and more straightforward, and as a result slightly less challenging than it’s been in the past. Mind you, the metal is still absolutely worthy of its album art, and it takes a whole lot of spins to even start to recall which song is which. Frantic drumming, manic guitar work, and incomprehensible vocals are accented with samples, symphonic elements, and “clean” intoning that give <strong>Oranssi Pazuzu </strong>a surprising amount of flexibility, leading to notable variance across <em>Muuntautuja</em>’s seven tracks. The title track, for instance, takes on an almost prog-like approach, opening with distorted, drumming and a sample that persists throughout the song. For a while, it hangs out in this mid-paced territory, all drums, synths, and vocals, before exploding into a lo-fi extravaganza of distorted shrieks, crushing riffs, and an oddball lead that evokes danger, anxiety, and tension. It never “fully” becomes black metal, but it is undeniably <strong>Oranssi Pazuzu</strong>.</p><p></p><p>In case my repeated use of “distortion” didn’t make it clear, the production on <em>Muuntautuja </em>is suffocating. Fuzz adorns every moment of every song, and no player is spared its wrath. What would normally be something I dislike works very well in this case, because the songs sound very good in dense, dark places. “Voitelu” is perhaps the best example, a song that sounds like it’s trying to give you claustrophobia. It is perhaps the most black metal of the bunch; its relentless insanity is broken only by the sudden introduction of haunting, ringing piano that gives it a faint essence of horror. It is followed by “Hautatuuli,” a false sense of safety that gives the bass a rare minute to shine before introducing haunting whispers that segue to a massive, creeping black metal crescendo that leans heavily on keys to give it a similarly horror-like motif. All of these tense, angry, “scary” moments are heavily benefitted by the all-consuming production style.</p><p></p><p>One drawback to this style, however, is that it doesn’t favor long songs as well as <strong>Oranssi Pazuzu</strong> have pulled off in the past. In particular, “Ikikäärme” struggles under its own weight, with lengthy piano, arpeggio, and, yes, suffocating black metal sections that all seem to take up more time than they need to. Here, the samples start to grate, and, rather than building tension, the lengthy creeping buildups just add to the song’s length. In a similar vein, closer “Vierivä usva” is essentially an atmospheric track that, despite its neat retro synths and terrific keyboard use, accomplishes very little over its five-minute runtime. With these two songs alone making up a full third of the album, <em>Muuntautuja </em>feels longer and more bloated than it needs to, despite a fairly succinct forty-two-minute runtime. I couldn’t say I think any songs are weak, but I do believe there is an over-reliance on atmosphere in the back half of the album.</p><p>To my ears, <em>Muuntautuja </em>is a notable improvement over <em>Mestarin kynsi </em>and a good example of how distortion, avant-garde songwriting, and elements of horror can make for strong, cathartic music. Nothing <strong>Oranssi Pazuzu</strong> does is predictable, but their ability to harness tension and imbue anguish into their compositions is a bright light in the dense, unending marsh that is <em>Muuntautuja. </em>I was skeptical, but <strong>Oranssi Pazuzu</strong> has convinced me there’s more to this style than I think. I will inevitably be drawn back for more.</p> <p><strong>Rating:</strong> 3.0/5.0<br><strong>DR:</strong> 8 | <strong>Format Reviewed:</strong> 192 kbps mp3<br><strong>Label:</strong> <a href="https://www.nuclearblast.com/" rel="nofollow noopener" target="_blank">Nuclear Blast Records</a><br><strong>Websites:</strong> <a href="http://oranssipazuzu.bandcamp.com" rel="nofollow noopener" target="_blank">oranssipazuzu.bandcamp.com</a> | <a href="http://facebook.com/pages/Oranssi-pazuzu/58437793552" rel="nofollow noopener" target="_blank">facebook.com/pages/Oranssi-pazuzu/58437793552</a><br><strong>Releases Worldwide:</strong> October 11th, 2024</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/30/" target="_blank">#30</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/avant-garde-metal/" target="_blank">#AvantGardeMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/black-metal/" target="_blank">#BlackMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/finnish-metal/" target="_blank">#FinnishMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/muuntautuja/" target="_blank">#Muuntautuja</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/nuclear-blast-records/" target="_blank">#NuclearBlastRecords</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/oct24/" target="_blank">#Oct24</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/oranssi-pazuzu/" target="_blank">#OranssiPazuzu</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/psychedelic-metal/" target="_blank">#PsychedelicMetal</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></p>
MDMRN<p>So, after watching a ton of K-Pop, EDM, and J-Pop music videos, YouTube's algorithm decided to suggest the new song "Frankenstein's Bride" by Marko Hietala. And you know what? Good catch.</p><p>Cool song. </p><p>Using it as my entry for <span class="h-card" translate="no"><a href="https://metalhead.club/@Kitty" class="u-url mention" rel="nofollow noopener" target="_blank">@<span>Kitty</span></a></span>'s Mittwoch Metal Mix. </p><p>Check out the song here: <a href="https://song.link/us/i/1760370115" rel="nofollow noopener" translate="no" target="_blank"><span class="invisible">https://</span><span class="">song.link/us/i/1760370115</span><span class="invisible"></span></a></p><p>Also, the music video is cool.<br>YouTube: <a href="https://www.youtube.com/watch?v=kap3cktlis8" rel="nofollow noopener" translate="no" target="_blank"><span class="invisible">https://www.</span><span class="ellipsis">youtube.com/watch?v=kap3cktlis</span><span class="invisible">8</span></a><br>Invidious: <a href="https://invidious.jing.rocks/watch?v=kap3cktlis8" rel="nofollow noopener" translate="no" target="_blank"><span class="invisible">https://</span><span class="ellipsis">invidious.jing.rocks/watch?v=k</span><span class="invisible">ap3cktlis8</span></a></p><p><a href="https://urusai.social/tags/MittwochMetalMix" class="mention hashtag" rel="nofollow noopener" target="_blank">#<span>MittwochMetalMix</span></a> <a href="https://urusai.social/tags/Music" class="mention hashtag" rel="nofollow noopener" target="_blank">#<span>Music</span></a> <a href="https://urusai.social/tags/NewMusic" class="mention hashtag" rel="nofollow noopener" target="_blank">#<span>NewMusic</span></a> <a href="https://urusai.social/tags/Metal" class="mention hashtag" rel="nofollow noopener" target="_blank">#<span>Metal</span></a> <a href="https://urusai.social/tags/MusicVideo" class="mention hashtag" rel="nofollow noopener" target="_blank">#<span>MusicVideo</span></a> <a href="https://urusai.social/tags/MarkoHietala" class="mention hashtag" rel="nofollow noopener" target="_blank">#<span>MarkoHietala</span></a> <a href="https://urusai.social/tags/HeavyMetal" class="mention hashtag" rel="nofollow noopener" target="_blank">#<span>HeavyMetal</span></a> <a href="https://urusai.social/tags/NuclearBlastRecords" class="mention hashtag" rel="nofollow noopener" target="_blank">#<span>NuclearBlastRecords</span></a></p>
Angry Metal Guy<p><strong><a href="https://www.angrymetalguy.com/nails-every-bridge-burning-review/" rel="nofollow noopener" target="_blank">Nails – Every Bridge Burning Review</a></strong></p><p><i>By Dolphin Whisperer</i></p><p></p><p>Born of collusion between the thuggish intensity of powerviolence and sawing groove of <em>Wolverine Blues</em>, <strong>Nails</strong> has evolved in sprints from wrecking ball riffmongers to a band whose chops aim to prove heavier than their breakdowns. After all, <strong>Nails</strong> doesn’t have to prove they are your favorite grindcore band—they wouldn’t even claim themselves as such. Always entrenched in the brutish slow slam of hardcore, <strong>Nails</strong> doesn’t care to always keep it fast or keep it anything “pure” for that matter. <strong>Nails</strong> does <strong>Nails</strong>. <em>Every Bridge Burning</em> is not trying to be powerviolence crown jewel. It seeks to prove only that in less than twenty minutes, <strong>Nails</strong> can destroy you in whatever way Todd Jones and co. see fit.</p><p>On roster, <strong>Nails</strong> has changed a good deal in the eight-year bridge between now and <a href="https://www.angrymetalguy.com/nails-will-never-one-us-review/" rel="nofollow noopener" target="_blank"><em>You Will Never Be One of Us</em></a>. Carlos Cruz (<strong>Warbringer</strong>, ex-<strong>Hexen</strong>) now pummels the skins, adding a thrash-laden groove to lengthier breaks (“Bring Me the Painkiller,” “I Can’t Turn It Off”) while still maintaining the blast and d-beat that fuels the fervent punk two-step character of <em>Burning</em>’s tangible angst. Jones himself, while not entirely foreign to the concept of quick solos or leads, finds a comfort in stretching the bounds of that character, lowering the breakdown to screaming string disparity with class. Bringing on <strong>Ulthar</strong>/<strong>Thanatotherion</strong> guitarist Shelby Lermo and multi-instrumentalist/<a href="https://www.metal-archives.com/artists/Andrew_Solis/510672" rel="nofollow noopener" target="_blank">engineer</a> Andrew Solis (<strong>Apparition</strong>) on bass too may have helped thicken the filth of HM-2 gain stains and the metal musicality that scatters wild life into the hardcore thread that threatens to unravel in the face of <strong>Nails</strong>’ boiling-over rage.</p><p>Though 2010’s <em>Unsilent Death</em> set a modern touchpoint for full-fury powerviolence, <strong>Nails</strong> never had a strong desire to replicate that album over and over to succeed, which shows in <em>Burning</em>’s continued iterations about the tones that define their sound. Ever increasing the focus on guitar tone and pick attack, the very crackle of each riff that cuts—through double-kick run, over a Bannon (<strong>Converge</strong>) approximating throat lashing, against a snare tumble that just won’t let up—feels more urgent and defined than any in prior <strong>Nails</strong> outings. <em>Every Bridge Burning</em> won’t likely win any contest for its dynamic range, but its tonal arrangement allows for the intensity of loudness to carry through, with longer cuts like “Give Me the Painkiller” and “I Can’t Turn It Off” finding breathing room in breaks for screeching solo work and classic metal riffwork. Occasionally, this even means that a dry bass rumble pops through—once a growling feature of the weight of their hardcore shuffle now reduced to a standard supporting partner. But as tracks like “Lacking the Ability to Process Empathy” and “No More Rivers to Cross,” a saw and rabid bark work together plenty fine to crush skulls.</p><p></p><p>Is there a such thing as crushing too much though? Such is the question that every powerviolence-informed assault asks, to which <em>Every Bridge Burning</em> responds by continuing to be the <strong>Nails</strong> pit thug that <strong>Nails</strong> always is. It’s crazy to say that an album of this level of snappiness is too long—and really it’s still not—but with the mid-album duo of “Give Me…” and “Lacking..” and the closing pair of “I Can’t…” and “No River…,” many of the supporting floor-churning other pieces don’t measure up in intensity. Opening salvo “Imposing Will” does a good job slathering your ears in its fresh tonal onslaught, hissing away in pressurized feedback. But then, so does “Punishment Map.” And so does “Every Bridge Burning”—albeit with a little more setup. Either way, the penchant to pummel, breakdown, and <em>skreeeee</em> remains ever-present. And though <strong>Nails</strong> does it well, their success in more diverse channels on this very record has me wondering what more could have been with a few less breakdowns and few more songs highlights.</p><p>Regardless of whatever familiarity sets in at short moments throughout <em>Every Bridge Burning</em>, <strong>Nails</strong> consistently delivers the energy to spin kick, throw arms, and mosh about its flaws. With all the finesse of a bulldozer, <strong>Nails</strong> wears each of their scuttles with a leaking, manic frown and a cab that groans with power. While previous <strong>Nails</strong> outings may have succeeded through a manic vibe and unstoppable intensity, <em>Every Bridge Burning</em> succeeds by being classically memorable at its best moments. And when it’s not? Well, at least it rips.</p><p></p> <p><strong>Rating</strong>: 3.5/5.0<em><br></em><strong>DR</strong>: 5 | <strong>Format Reviewed</strong>: 192 kbps mp3<br><strong>Label</strong>: <a href="http://www.nuclearblast.de/" rel="nofollow noopener" target="_blank">Nuclear Blast Records</a> | <a href="https://nuclearblast.bandcamp.com/music" rel="nofollow noopener" target="_blank">Bandcamp</a><br><strong>Websites</strong>: <a href="http://nailsmerch.com" rel="nofollow noopener" target="_blank">nailsmerch.com</a> | <a href="https://www.facebook.com/NAILSoxnard/" rel="nofollow noopener" target="_blank">facebook.com/nailsoxnard</a><br><strong>Releases Worldwide</strong>: August 30th, 2024</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/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/aug24/" target="_blank">#Aug24</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/crossover-thrash/" target="_blank">#CrossoverThrash</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/entombed/" target="_blank">#Entombed</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/every-bridge-burning/" target="_blank">#EveryBridgeBurning</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/hardcore/" target="_blank">#Hardcore</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/nails/" target="_blank">#Nails</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/nuclear-blast-records/" target="_blank">#NuclearBlastRecords</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/powerviolence/" target="_blank">#Powerviolence</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/thrash-metal/" target="_blank">#ThrashMetal</a></p>
Angry Metal Guy<p><strong><a href="https://www.angrymetalguy.com/fleshgod-apocalypse-opera-review/" rel="nofollow noopener" target="_blank">Fleshgod Apocalypse – Opera Review</a></strong></p><p><i>By Angry Metal Guy</i></p><p></p><p><em>Opera</em>, the fifth full-length LP from the Italian symphonic death metal juggernaut <strong>Fleshgod Apocalypse</strong>, marks the band’s first record since 2019’s <a href="https://www.angrymetalguy.com/fleshgod-apocalypse-veleno-review/" rel="nofollow noopener" target="_blank"><em>Veleno</em></a>. Some may recall that in 2021, the band’s mastermind, Francesco Paoli (bass and vocals), suffered from a mountain climbing accident that landed him in the hospital. During the harrowing ordeal that followed, he and the band had little sense of the future of <strong>Fleshgod Apocalypse</strong>. It should come as no surprise that Francesco and the others burst into a creative frenzy upon improving and returning to band activities. From the remnants of this tragedy, <em>Opera</em> was born.</p><p><em>Opera </em>marks a significant change in <strong>Fleshgod Apocalypse’s</strong> trajectory. Inspired by the <em>Opéra Lyrique</em>, a genre less grandiose than the <a href="https://www.angrymetalguy.com/wp-content/uploads/2024/08/grand_opera_painting-2024.jpg" rel="nofollow noopener" target="_blank">opera you’re thinking of</a>, <em>Opera</em> contains episodic dialogues or confessionals with the imaginary characters of Francesco’s episode. To accomplish this, Veronica Bordacchini—featured on the album’s cover—was enlisted to play the role of these companions: death, life, and hope.<a href="https://www.angrymetalguy.com/fleshgod-apocalypse-opera-review/#fn-201987-1" rel="nofollow noopener" target="_blank">1</a> And while the band has not changed, with Francesco Ferrini (Piano), Fabio Bartoletti (Guitar), and Eugene Ryabchenko (“Drums”) filling out the act, <em>Opera </em>is not your <a href="https://www.angrymetalguy.com/fleshgod-apocalypse-king-review/" rel="nofollow noopener" target="_blank">Monarch’s</a> <strong>Fleshgod Apocalypse</strong>.</p><p></p><p>The core of <strong>Fleshgod Apocalypse’s</strong> sound hasn’t changed markedly. Blasty, heavily replaced drums prop up guitars and orchestras that trade places as the leading musical characters. The mix sports audible but unremarkable bass, and Paoli’s guttural vocal attack over the top. In its peak—and most recognizable—form, <strong>Fleshgod Apocalypse</strong> is fast, heavy, and evokes Europe in the time when wigs were a common fashion accessory, with the guitars carrying melodies and engaging in Vivaldian gymnastics<a href="https://www.angrymetalguy.com/fleshgod-apocalypse-opera-review/#fn-201987-2" rel="nofollow noopener" target="_blank">2</a> (“Morphine Walz”). Elsewhere, the sound is dark, dramatic, and heavy, utilizing grinding drums and blasting French horns or orchestral hits to create an undeniable tension (“At War with My Soul,” which recalls the excellent horn compositions from <em>King</em>). The songwriting isn’t progressive, but it sure as hell is technical, with ridiculous riffs that, at their best, dance on a bed made by lush orchestrations (“Per Aspera Ad Astra”). And when it’s less successful, the guitars take a <strong>Nightwish</strong>ian backseat, leaving the orchestrations to do the heavy lifting.</p><p>Rather than being the “darker” or “heavier” album bands often tout in meaningless interviews, <em>Opera</em> is a significantly tighter and—<em>Padre, perdonami</em>—poppier record than its predecessors. <em>Opera</em> features short songs, including an instrumental intro and outro, and the album clocks in at a tight 44 minutes. This means there are eight episodes, none longer than roughly five and a half minutes. But rather than just tightening the writing, Paoli and company also made new stylistic choices that differentiate <em>Opera</em> from its predecessors. “I Can Never Die” features a piano breakdown of the chorus and a Eurovision key change. “Matricide 8.21” starts sounding like a <strong>Nightwish</strong> song from <em>Once</em>; no double kick, 4/4 time signature, and heavy on Veronica’s voice. More tellingly, the song also features simple melodies carried on the guitars, with almost no neoclassical affectation. Moments like these speak to a significant perspective shift.</p><p>The other major change is, as noted above, how Veronica’s voice becomes a shifting character throughout <em>Opera</em>. Rather than sticking to her opera soprano—as she did so charmingly on “Paramour” from <em>King</em>—Bordacchini performs different vocal interpretations meant to embody different characters. On “I Can Never Die,” she (mostly) eschews her formal technique for a straight tone, while “Bloodclock” finds her straddling an unaffected pop approach with operatic emphases. Veronica’s most effective and unexpected performance comes on “Morphine Waltz,” where she adopts an almost punky scream like Agnete Kjølsrud (<strong>Djerv</strong>). Of course, opera is her greatest strength and part of <strong>Fleshgod Apocalypse’s</strong> core idiom, and she does that frequently and well. But while <em>Opera</em> showcases Veronica’s ample gifts, the use of straight tone and poppy cleans unexpectedly pushes <strong>Fleshgod</strong> into territory fitting of Napalm Records.</p><p></p><p>The combination of all these elements gives the album an undeniably poppy feel. The varied songwriting that, at times, leans into more heartfelt and balladesque territory (“Till Death Do Us Part”) or seems to be drawing from pop writing (“I Can Never Die,” “Matricide 8.21,” “Bloodclock”). Prominent melodic vocals from Veronica, with clean, tight songwriting, give the creeping sensation that <strong>Fleshgod </strong>is trying to take a <strong>Nightwish</strong>ian turn toward more accessible, less grandiose music. The final element is <em>Opera’s </em>slick and polished presentation. Working with Jacob Hansen again, the album clocks in at a DR6 and is loud, but well-balanced. Even though <em>King’s</em> drum tone was better, Hansen’s grip on <strong>Fleshgod’s</strong> sound is firmer on <em>Opera</em>. He deftly handles Ferrini’s orchestrations and helps the vocal arrangements to ascend into the same stratosphere as Turilli’s <a href="https://www.angrymetalguy.com/turilli-lione-rhapsody-zero-gravity-rebirth-and-evolution-review/" rel="nofollow noopener" target="_blank">excellent vocal compositions</a>. The choral parts are huge and lend operatic gravity to the band’s sound.</p><p><em>Opera</em> does an excellent job of balancing the old and the new, and most importantly, it justifies its artistic choices. Framing <em>Opera</em> as a lyric opera is a brilliant strategic move because it discredits criticisms of a poppier sound by foregrounding the artist’s vision and <a href="https://en.wikipedia.org/wiki/Post-traumatic_growth" rel="nofollow noopener" target="_blank">post-traumatic growth</a> of what was a harrowing time for Paoli and his compatriots. Furthermore, <em>Opera</em> is simultaneously and undeniably fun, heady, and technically impressive. While I suspect <strong>Fleshgod Apocalypse</strong> ‘lost’ its trvest death metal fans after <em>Oracles</em>, I can see <em>Opera</em> being a divisive record for current fans because of its novel traits. And yet, I find it hard to argue with quality and the ability to take a base of brutal death metal and forge a product this addictive and immediate. Despite not being in love with the idea of a future <strong>Fleshgod</strong> that eschews its brutal base and embraces more simplistic melodies and composition, that day has not yet arrived. So, while I miss <em>King’s</em> <em>grand opera</em> aspirations, I admire the execution of the unified vision from which the album benefits.</p> <p><strong>Rating:</strong> Great<br><strong>DR:</strong> 6 | <strong>Format Reviewed:</strong> 192 kb/s mp3<a href="https://www.angrymetalguy.com/fleshgod-apocalypse-opera-review/#fn-201987-3" rel="nofollow noopener" target="_blank">3</a><br><strong>Label:</strong> <a href="https://www.nuclearblast.de" rel="nofollow noopener" target="_blank">Nuclear Blast Records</a><br><strong>Websites:</strong> <a href="https://fleshgodapocalypse.bandcamp.com" rel="nofollow noopener" target="_blank">fleshgodapocalypse.bandcamp.com</a> | <a href="https://facebook.com/fleshgodapocalypse" rel="nofollow noopener" target="_blank">facebook.com/fleshgodapocalypse</a><br><strong>Release Date:</strong> August 23rd, 2024</p><p><a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/luca-turillis-lione-rhapsody-of-fire/" target="_blank">#LucaTurilliSLioneRhapsodyOfFire_</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/2024/" target="_blank">#2024</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/40/" target="_blank">#40</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/blog/" target="_blank">#Blog</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/djerv/" target="_blank">#Djerv</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/king/" target="_blank">#King</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/nightwish/" target="_blank">#Nightwish</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/nuclear-blast-records/" target="_blank">#NuclearBlastRecords</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/orchestral-death-metal/" target="_blank">#orchestralDeathMetal</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/syymphonic-death-metal/" target="_blank">#SyymphonicDeathMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/veleno/" target="_blank">#Veleno</a></p>
Angry Metal Guy<p><strong><a href="https://www.angrymetalguy.com/hammerfall-avenge-the-fallen-review/" rel="nofollow noopener" target="_blank">Hammerfall – Avenge the Fallen Review</a></strong></p><p><i>By Steel Druhm</i></p><p><strong>Hammerfall</strong> were the vanguard of the power metal resurgence in 1997, essentially saving the genre from a slow fade. Their <em>Glory to the Brave</em> debut reminded older folks why they once loved <strong>Helloween</strong> and <strong>Gamma Ray</strong> so dearly even as it snagged new metal fans with its infectious exuberance, strong foundation in classic heavy metal, and unnatural supply of hooks. The band capitalized on their unexpected success with the highly enjoyable follow-up <em>Legacy of Kings</em> and then kept going for the next 20-plus years with uneven results and diminishing returns. I left camp by the time 2002s <em>Crimson Thunder</em> came along, but I’ve always had a soft spot for the <strong>Hammer</strong> Crew and over the years I checked out the albums that got a modicum of good press. Since 2014, they’ve settled into a late-career comfort zone and released a string of good if not exceptional platters of 80s-style power metal with all the <strong>Hammerfall</strong> hallmarks present for better or worse. Now comes 12th album <em>Avenge the Fallen</em> and it’s more of the same, but perhaps, just perhaps, there’s a little more oomph and pizazz this time.</p><p>If you heard any <strong>Hammerfall</strong> album you know exactly what’s coming since the band rarely tampers with the style first heard back in 1997. This is upbeat, highly polished early-era power metal sitting someplace between <strong>Helloween</strong> and <strong>Manowar</strong> and carefully crafted to be anthemic, catchy, and soul-stirring. The opening title track nails the mission statement and delivers the sword-swinging goods with a rousing, chest-puffing piece of <strong>Mano</strong>metal that even Joey DeMaio Himself would grudgingly hail. Joacim Cans’ ageless vocals provide the rally cry as the traditional metal riffs stir the war pot and pound mindshare into swords. It’s the blueprint <strong>Hammerfall</strong> used forever but when it works, it really works. “The End Justifies” sounds exactly like a lost cut from <em>Legacy of Kings</em>, with the classic trad-metal gallop and the epic flexing funneling directing into a classic power metal tune that feels familiar and inspiring. Cans sounds like Don Dokken but still commands the war party, and the hooks are everywhere. “Freedom” and “Hail to the King” offer even more of the good stuff, anthemic as fook with oh-oh-oh chants and pounding drums putting the point across that this is epical stuff best listened to whilst wearing mail and flying battle standards.</p><p>As a long-time listener of <strong>Hammerfall</strong>, I kept waiting for <em>Avenge the Fallen</em> to tail off and become tepid or tedious, but that never happens. Even the inevitably overwrought power ballad “Hope Springs Eternal” isn’t bad or cringe-inducing, and the back half of the album has some winners waiting in reserve. “Burn It Down” is very <strong>Riot V</strong>-esque in sound and approach, so that’s a big win and the riffage is mighty. “Capture the Dream” is like a return to the band’s best days with everything working just right, and “Rise of Evil” is just a badass song with gritty riffs offsetting Cans’ smooth-as-silk crooning. At 47 minutes, <em>Avenge the Fallen</em> flies by in a triumphant blur with songs <em>just</em> long enough to do the job and not a bit longer. I’ve spun it start-to-finish 6 or 7 times and it goes down like fine bourbon on a cold winter’s night. I’ll admit to being surprised at just how solid it all is, since <strong>Hammerfall</strong> seemed to have settled into the 2.5-3.0 zone for the last 10 years.</p><p></p><p>While <strong>Hammerfall</strong> may be best known for the polished vocals of Joacim Cans, to me their success always depended on the level of machismo in the guitar work. On <em>Avenge the Fallen</em> Oscar Dronjak and Pontus Norgren bring the ancient thunder to the compositions with beefy, rabble-rousing riffs, stately harmonies, and regal soloing. Yes, it’s power metal, but the olden variety that skews just off the block of <strong>Maiden</strong>, <strong>Priest</strong> and <strong>Manowar</strong>. While they never go <strong>Iced Earth</strong> heavy, they do enough to give the songs grit and backbone. This allows Mr. Cans to do his thing without worrying about relative heaviness quotients. His burnished, clear delivery sounds as good here as it did in 1997 and he’s a master at adorning this kind of metal with class and charisma. Would I love for him to get harder and meaner at times? Sure, but he has a specific style that’s worked for the band and he sticks to it. The star of the show here is the writing, which is way more consistently catchy than usual. To my ears, this is the most enjoyable <strong>Hammerfall</strong> album since 2014s <em>(r)Evolution</em> and I’m happy to hear them sounding this spry again.</p><p>I came into <em>Avenge the Fallen</em> expecting a respectable platter of safe, familiar <strong>Hammer</strong>tunes, but this is better than that. It’s not a new sound or style, just their standard fare done more convincingly and with more pop than they’ve shown in a while. We may never get another <em>Glory to the Brave</em>, but if this is what <strong>Hammerfall</strong> can deliver in 2024, I’m pretty happy with the state of play. Recommended for hammer-fisted weekend warriors worldwide. Up the hammers!</p><p></p> <p><strong>Rating:</strong> 3.5/5.0<br><strong>DR:</strong> 8 | <strong>Format Reviewed:</strong> 192 kbps mp3<br><strong>Label:</strong> <a href="https://shop.nuclearblast.com/" rel="nofollow noopener" target="_blank">Nuclear Blast</a><br><strong>Websites:</strong> <a href="https://hammerfall.net/" rel="nofollow noopener" target="_blank">hammerfall.net</a> | <a href="https://www.facebook.com/hammerfall" rel="nofollow noopener" target="_blank">facebook.com/hammerfall</a><br><strong>Releases Worldwide:</strong> August 9th, 2024</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/35/" target="_blank">#35</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/avenge-the-fallen/" target="_blank">#AvengeTheFallen</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/dokken/" target="_blank">#Dokken</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/hammerfall/" target="_blank">#Hammerfall</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/heavy-metal/" target="_blank">#HeavyMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/helloween/" target="_blank">#Helloween</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/manowar/" target="_blank">#Manowar</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/nuclear-blast-records/" target="_blank">#NuclearBlastRecords</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/power-metal/" target="_blank">#PowerMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/review/" target="_blank">#Review</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/swedish-metal/" target="_blank">#SwedishMetal</a></p>
🤘 The Metal Dog 🤘<p><a href="https://mastodon.social/tags/TheMetalDogArticleList" class="mention hashtag" rel="nofollow noopener" target="_blank">#<span>TheMetalDogArticleList</span></a><br><a href="https://mastodon.social/tags/BLABBERMOUTH" class="mention hashtag" rel="nofollow noopener" target="_blank">#<span>BLABBERMOUTH</span></a><br>DORO PESCH: All Animals Are Sacred To Me</p><p><a href="https://blabbermouth.net/news/doro-pesch-all-animals-are-sacred-to-me" rel="nofollow noopener" translate="no" target="_blank"><span class="invisible">https://</span><span class="ellipsis">blabbermouth.net/news/doro-pes</span><span class="invisible">ch-all-animals-are-sacred-to-me</span></a></p><p><a href="https://mastodon.social/tags/DoroPesch" class="mention hashtag" rel="nofollow noopener" target="_blank">#<span>DoroPesch</span></a> <a href="https://mastodon.social/tags/AllAnimalsAreSacred" class="mention hashtag" rel="nofollow noopener" target="_blank">#<span>AllAnimalsAreSacred</span></a> <a href="https://mastodon.social/tags/LyricVideo" class="mention hashtag" rel="nofollow noopener" target="_blank">#<span>LyricVideo</span></a> <a href="https://mastodon.social/tags/VoiceOfTheCrown" class="mention hashtag" rel="nofollow noopener" target="_blank">#<span>VoiceOfTheCrown</span></a> <a href="https://mastodon.social/tags/NuclearBlastRecords" class="mention hashtag" rel="nofollow noopener" target="_blank">#<span>NuclearBlastRecords</span></a> <a href="https://mastodon.social/tags/NewSingle" class="mention hashtag" rel="nofollow noopener" target="_blank">#<span>NewSingle</span></a> <a href="https://mastodon.social/tags/MusicVideo" class="mention hashtag" rel="nofollow noopener" target="_blank">#<span>MusicVideo</span></a> <a href="https://mastodon.social/tags/AnimalRights" class="mention hashtag" rel="nofollow noopener" target="_blank">#<span>AnimalRights</span></a> <a href="https://mastodon.social/tags/Veganism" class="mention hashtag" rel="nofollow noopener" target="_blank">#<span>Veganism</span></a></p>
TrendingLive feeds
Mastodon is the best way to keep up with what's happening.
Follow anyone across the fediverse and see it all in chronological order. No algorithms, ads, or clickbait in sight.
Create accountLoginDrag & drop to upload